Anaconda_

After flip flopping about buying it for myself and my freelance work, i spoke to someone at the production house I work at very regularly, and they bought it through the company. Best of both worlds I guess ? I'm taking it home this weekend to get it set up for them.

@Mr. Freeze @webrunner5 @Ehetyz Thanks for the advise, but upon further reflection, I'm going to pass on that deal. My main gripe is I can't see any buttons to adjust settings, and touch screens drive me nuts. All the settings Pocket can be changed with physical buttons, but I can't see any switches for ISO and iris on the Ursa Mini. Only menu shortcuts - please correct me if I'm wrong though. I think if anything, my best course of action is keep the €2500, sell my LS300 and put that money towards the Ursa Mini Pro, which does have physical buttons.

Unrelated, but I didn’t want to start a whole new topic. I’ve just been given the opportunity to pick up an EF Ursa Mini 4.6k (not pro) for €2500 - I was going to buy another pocket once they’re more available, but is this a better idea? Pick up is tomorrow if I want it.

Maybe I missed it in the article. But which do you find the most fun to shoot with? I think I know which is the most fun to edit, but the enjoyment of using the camera shouldn't be over looked and can't be put on a specsheet.

Only if you're shooting raw. I've been filming exclusively in Prores and editing on a 2015 Macbook Pro and it's 10 times faster than trying to edit h264 footage from a consumer GX80.

Is it a live performance in front of an audience? If the band are playing through a mixer/sound system, you can more than likely take a line out of the desk - which will give you the best possible results. If not, and you can only use the shotgun, from an audio standpoint it'll be better to position yourself at the back of the room, maybe up on a balcony if there is one? Of course, that might not be so great for the camera - depending which lenses you have available. Good luck!

Anyone heard anything about Braw? I eber reading they were hoping to get it out before the end of the year - but not sure if it was an official comment or some random making things up. With Xmas in a week, I imagine it's either before the weekend or after the new year.

You should get the battery checked if standalone only lasted 1 minute 58 seconds. ? I wonder if the loss of power is due to the phones charging or more processing. For example, In standalone mode, you only see a portion of The frame due to the square screen, but on a phone you see the whole frame.

I think that’s because when you use it with your phone, it also acts as a charger of sorts, since your attaching it to the charging port. So I guess using it with your phone takes more power from the battery than using it stand alone.

Came here to say that about 25/50p - Is there any reason you have to be 'PRO' to film in PAL? Does anyone know if there's a way to turn off the beeping every time you start/stop recording? It's a horrible noise. I also really hope they turn off the 'feature' that means in PRO mode you can't change to other functions (photo/timelapse/panorama) without having to go through a phone app. The phone is great for when you want to use it, but clumsy when you just want to take a quick photo and then go back to video.

You just slow the 60fps footage to more than 50%. In premiere if you interpret the footage to play at 25fps it’ll slow it down and not skip or jump any frames. Im not sure on exact maths, but this will turn 1 second of footage (60 frames) into more than 2 seconds (maybe 2.25 or something?) interpreting 50fps footage into 25fps will turn that 1 second into exactly 2 seconds. Its far far from ideal, and very limiting to be forced to use this camera for slowmo only . Make it a feature request and they’ll hopefully add it in the next update. Seems totally bonkers to not have PAL rates.

As I understand it, you can shoot 30 and 60 dogs only, but it has an anti flicker setting for 50hz. in theory then, you can still shoot in PAL countries without the usual interferences, but it kind of limits you to only playing back in Slowmo. Any real-time playback will be choppy if you’re working in 25p timelines.

2 hours on grading in resolve, from BMD themselves.

No problem. I don't have it with me at the moment, which must say something about the portability haha. But basically, I use the velcro strap to tie it onto this arm: It balances perfect and you can slide it up and down for any micro adjustments needed. For example the weight needs to go move up or down the arm depending on the weight of the lens to offset the balance on the pivot at the back.

True. I'm just an average guy with no need to buy two gimbals, so haven't personally compared. There are plenty of people using the Ronin S with the P4k though. I only mentioned the Weebill because Kisaha thought it wasn't possible to use them. The Ronin S is heavier but works out the box, Weebill is lighter but you need to modify it a touch. It's up to you as to what's important. For me, fitting it in a sling bag was a big selling point.

That's why I played back at 2x at the end. So it's real time ? This is another test I did in real-time, but there's not much walking in it. And the songs are unfinished.

I mostly agree, but this film was made on an iPhone and picked up loads of awards and nominations. The director's next movie landed Willem Dafoe, so the cheap camera hasn't held him back. https://www.imdb.com/title/tt3824458/awards?ref_=tt_awd I personally didn't like it because of the acting, but that's my issue not the camera's

I use the Weebill with the Pocket, it's fine for my needs. The only limitation I've found is the hyper cool, use it every day VORTEX twisty function doesn't work with this camera just because the motors can't quite handle it. I think the Ronin can balance out the box, but for the Weebill, you do need to add some kind of a counterweight, but that's very simple and I've not found it hindering my movements. In fact, I've recently been using this battery converter, which has a velcro strap. It's both my counterweight and power solution. With this I can balance the P4K, Viltrox and 24-105, so that should give you some idea of what the gimbal can handle. https://www.aliexpress.com/item/DC-12V-NP-F-Battery-Power-Supply-System-Mount-Adapter-Plate-Holder-for-BMCC-BMPCC-4K/32955311989.html Here's my first test with the Weebill. This first 2 min is slow mo shot at 50fps, then the last part of the clip is the same edit played back at 2x speed, to hopefully show any wobbles/jitters.

From what I've seen the Ronin S works very well as a stabiliser for the P4K, all the controlles though become useless. That's not limited to the Ronin, no gimbals can communicate with the BMP4K unless they have bluetooth, but I've not heard of any that do or can connect in that way to the camera. Any focus control must be done with a hardware follow focus too.

The fixed audio is amazing - did the firmware update rewire it or something ?

For 4k its 100mb/s h264 I image 1080p is down to 35mb/s, but could be wrong. That's great news about the audio, it's really terrible and one of the main reasons I wouldn't want one.

I'm really trying not to argue with you, and in most other posts really agree with your thoughts and opinions, however this assumption is wrong again. I was also filming that same event (the Emma Stone grab is from my LS300), and handed my reporter a reporter's mic, they're really not that far away. The barrier is to keep everyone in an orderly line, giving them a specific spot to set up - not to make you stand 6 feet away. Sure there's separation, but they're close enough to hug hello if the reporter is familiar with them. I'm posting the red carpet events because you have to work quickly, no second chances and only time for a couple of soundbites, which sounds close to the situation OP will be filming in. Anyway, my point is, as a 1 man crew who doesn't want the mic in shot and doesn't want to use a lav, there's really only 1 last option, and it's an option many professionals regularly use.

Haha love it! It depends how you shoot. If you're filming in ProRes, any software will do the job, but in my limited experience with RAW, you need Resolve to playback and grade. I'm not sure if 12.5 will be compatible with the RAW files out the new camera, but there are plenty around you could download and test out for yourself

For some reason your LUT doesn't work with footage I shot on my iPhone 3, could you check your settings and re-upload?

Surely they already have the/a license? Their cameras record in ProRes. They also have the partnership with Apple for their external GPU.