Yannick Willox

https://www.nkon.nl/accessories/powerpax-cases/4x-18650-batterijhouder-met-losse-draden.html this should work, just need to add the right connector and the batteries. the batbox4k in this thread is very nice, but I did not get a response yet. So I might experiment with the 2.5 euro solution above ... Should give an extra 2h-2h30 on top of the internal battery. 3h useful battery life with a still compact solution would be great !

rtfm ... twol issues at the same time: 1. my ipad pro does some funky stuff when connecting a stereo 3.5mm cable, so it kinda worked (when I do that, Siri is always harassing me, and some strange music often starts playing). Using my 2 euro smartphone, it works instantly, and without fiddling around. 2. my self-made cable ended in a stereo + third ch plug (the one typically used for stereo + 1 mic) - this of course does not work ... There it is, 25 years + pro audio recording experience, and I still did not figure out something as simple as a 3.5mm stereo connection ! I will order the right kind of cable and it will work - instantly. At least I now know that my p4k syncs properly, and that the workflow I want to do is possible ! I also know I have to read up on consumer audio connections ? Thanks for the tips however, using my smartphone to troubleshoot was the easy way ! Now if someone can just advise me to buy a RX 5700 XT or RTX 2060 super (both 8GB - price difference about 20 euro) ???? Then I can finally put together an editing system that can actually edit 4K BRAW footage + color correction and some stuff ...

With any 15 mm at f/5.6, focus on 3m, you are sharp between 1.45 m and infinity. With any 12 mm at f/3.5 as well. So any 12-15 mm lens that fits your budget will do ...

So, I did a test connecting the P4k to my Ipad with the proper cable, and timecode generator app installed. It works. After selecting 3.5mm input for the left channel of course ! Which I forgot to do, I wrongly assumed this would happen automatically ... Then I repeated the test with bnc to 3.5mm self made cable, I get a much hotter level to about -6 dB, and the P4K does not sync at all ! At what level do you have the timecode signal coming in ? EDIT: I tried with 3.5 mm mic input for the left ch, gain all the way down, now my F8 TC signal is coming in at -18 dB - still no sync !

@BTM_Pix : thanks for the tip ! So it should work, the Internet was confusing me, some Internet pages suggest it does not work straight from BNC timecode out to 3.5mm audio/timecode in. Some seem to pass via a standalone sync device, but that would make things impossible for me. I will try to test before end of the week and report back.

OK, so I finally have the Pocket 4K ! I also have a Zoom F8, which outputs timecode on a BNC. I have some cable/converters into 3.5 mm stereo jack, but I cannot get my p4k to sync up. Does anyone know if a direct connection is possible ? It would be great to record "playback" video shots on pr-edited audio tracks. I want to start playback of the audio clips on my Zoom, which would output the correct timecode, and all my shots would be in sync.

Ok, so for a full readout p6k 19.8 ms and p4k 16.2 msec. P6k in prores 4k will be the same 19.8 ms.

I would still like to see a shot of a (static) scene filmed at 4K on the P4K (native glass, know to be tack sharp) compared to the +- the same shot of the same scene filmed at 6K on the P6K but DOWNSCALED to 4K. Probably the P6K will still have a slight advantage, but how much ? Certainly not as much as showing upscaled 400% zooms of the 4K footage ... On another note, some youtube reviewer mentions that the color science is almost exactly the same between the two. Incidental viewers on this and the P4K thread see the P6K footage as having much better color science and filmic motion cadence. Weird to say the least & confirmation bias ? Blackmagic themselves say p4k and p6k have the same color science. Probably rolling shutter should be better on the P4K (can anyone confirm the rolling shutter on the P6K), but the P6K could surprise us here ?

A more interesting test would have been to downscale the P6K footage to 4K, same size as the P4K. Blowing up looking for detail you won't need is not very interesting, nor fair. One reason to buy the P6K would be - IF - you really need that extra resolution, and are willing to cope with the file sizes and processing power needed. Also, there is a speedbooster in the equasion, producting some of the softness, and I would guess the loss of contrast ?

I pity all those trying to sell a new p4k online for 1735 euro ...

What does this actually mean for the new PL 10-25 mm native m43 lens ? Does it also suffer, as it has been designed for thicker sensor stack ?

I hear blackmagic design make a very good pocket 4k cinema camera !

Quoting entire posts just to say +1 should be banned also @BTM_Pix i was barely able to resist downvoting you ! It is a pity one cannot downvote with a ?

My experience with flash drives is that even the tough & pro ones die instantly, without any warning. Never was able to recover one.

That is strange. I used the GH5 once, and skin tones did not look any better than on my GX85. I used 2 bmpcc4K cams once (together with the GX85), and the skin tones looked dramatically better. Both conditions indoor, on a big (classical) concert stage. Still waiting for the p4k to become available ... Luckily rental is quite cheap (but you do not get the Resolve license of course)

That is how we do it. Nine times out of ten I can make an undetectable edit+Crossfade without listening to it. Far more accurate and quicker then scrubbing. Image is another thing, only 24 frames per second. 24 notes per second is not that extreme...

" the skull crushingly loud wide dynamic range audio mixes that are so in fashion at the moment. They’re better suited to a cinema than a living room TV." I have to remark that the audio mixes are in fact low dynamic range, not wide. If they would have great dynamic range, the loud passages would sound loud, but natural. This point in time everything is really loud, so the loudest things are compressed to hell, and sound really obnoxiously ugly. In cinema, the norm would be wide dynamic range, but alas the same phenomenon has been going on for at least a decade. But at least one has clear guidelines for cinema. This is in fact my biggest complaint about Netflix quality control. Image wise they have total control (?), but sound is all over the place. I have to put my TV volume somewhere between low to extremely low ?

So I've got two rented bmpcc4k, I'm off for a concert shoot this afternoon/evening. Some remarks: 1. my Panasonic 4/3 to m4/3 adapter works, but autofocus (on the old 4/3 12-50 phase detect AF panaleica lens) does not. Not a big deal, it would take approx. 47 seconds to focus anyway, and the manual focus tools are great. The physical aperture ring also does not function, but camera control does. Fine. 2. my cheap m4/3 12-32mm kit lens and my panaleica 12-60mm work great, stabilisation and all. Looks quite steady when handheld, of course not as good as the dual ibis but anyway. The nice thing is, the OIS of the old 4/3 panaleica lens still works. 3. the camera's are quiet, but not noiseless ! I can clearly hear them in my studio from 1m. During a classical shoot, I would not go near the main mic in a silent hall. Not within 2m. 4. the menu is a breaze. It took about 0 seconds to start changing settings. Also (and this is very important to me): no hidden/buried settings. 5. I do not know if it is possible to move the AF box. That is the only thing unclear.

Well, this man seems to like braw: after seeing the footage, I think I don't care about what is missing with the latest update... Found rentable bmpcc4k nearby, finally going to test one shortly ...

It’s not even FF ...

? Still using it, mainly for complex recordings/mixes

My first digital audio workstation, designed in 1991-92, bought in 93, was coupled to a Intel 80286 PC. When you just pulled the plug out of the PC, the audio & recording just went on&on without failure. If you pulled the plug out of the DAW itself, the files where there, intact, up to the very moment the power was pulled. Never one corrupted file. Now, if that was possible in 1993 ... Sometimes I wonder in which school modern day programmers learnt their trade. It is my understanding a RAW recording cannot get corrupted in the P4K, as it is written frame by frame. Are we talking about prores here everybody ?

Is it just me, or does the P4K look less videoish and more warm/smooth than the BMCC 2.5K ? It does not strike me as being too sharp, or too modern/digital, at all.

Does anyone agree it is strange the above tester mentions it is hard to get skintones good on the P4K, while in all his footage the skintones look much worse on the GH5s ? Or is my monitor calibration off ?

Only a pity you cannot edit prores (by Apple) on an Ipad pro (by Apple), which can cut consumer GX80 footage at 4K like butter. That is the only downgrade I am facing when I get my P4K.