Snuff

BMPCC4K Footage "Bubble Gum" filmed with Blackmagic Pocket Cinema Camera 4K
RAW 3:1 4K DCI
24fps Project / 60fps Off-Speed
ISO 400, 1250, 3200, 5000
Samsung T5 SSD through USB-C
DJI Ronin-S
Metabones EF to MFT T Speedbooster XL 0.64x
Shot with Contax Zeiss MM primes: 35/f2.8, 50/f1.4, 85/f1.4, 135/f2.8
95% Ronin-S / 5% handheld.
 

Another video from BMPCC 4K
Probably my favorite so far.

Been working on learning color correction with the new-ish tools in FCPx 10.4, so I'm using the P4k samples as grading practice. I'll admit I'm a total novice, but I hope I'm heading in the right direction. The red jersey in the MTB video was way hot, so I pulled it down a bit. The balloon was tough with the sun in one part of the shot. The bugs gave me the heebie-jeebies. Cool stuff, hopefully more to come. Thanks Blackmagic for the samples.
Chris
 

To add upon my previous response on Resolve’s Highlight correction in the Raw Tab, here are some frames from ML Raw video I took with an old Minolta lens. When I processed the footage through the Footage App, this was the best I could bring down the highlights...

Bringing the footage into Resolve using the Highlight correction, I was able to pull this out of it...

That feature is magical. I don’t know if it would have helped with that footage if it was shot in Raw, but I think it may have.

Yeah its the only vid that uses nice glass. I really hate that digital sharp look. But to each their own I guess

Finally, a soft organic picture, but the sun, glare looks overdone. We need to carefully select the plot and shooting parameters to fit into the DR.
 
 

It would be nice to save stills not only as DNG but as PNG with baked LUT and chosen aspect ratio.
Tokina 28-70 f/2.6-2.8, Tokina 28-70 f/2.8 with screw in hood (1st ver., on the attached picture) and with bayonet hood (2nd ver.), all with 77mm filter thread. Avoid 72mm version (Tokina Pro SV).

I like the pictures. A lot. 
This camera will probably replace the micro cinema camera for me as it’s not much bigger and is much easier to work with. 
I didn’t feel as strongly about the 4K production camera / Ursa because they were limited, principally by dynamic range.
I have a deep affection for the 4.6K sensor and have shot nearly daily withnit since before it was launched. I know it very well. 
This pocket camera will integrate and sit very nicely alongside the 4.6K. It’s already a closer match than the micro for me without having really tested it in an A/B scenario. 
I was a little worried about it having less DR Than the 4.6K but I think the other clips  show some great examples of what this sensor can do. “Nature” was incredibly tricky material to shoot as anyone who’s been in that situation before would know and it was unfair to see it being derided.  
Those that did so only reveal their own inadequate understanding of what those shots reveal. 
I can think of a million other scenarios I would have rather done but these sequences were specifically produced to illuminate what the camera can do in specific situations. 
What im almost more excited about is the unification that Gen 4 brings. As I mentioned earlier, it’s pretty much the same people at BMD that brought you the first camera working on this camera.
They’ve learned a lot (and so have I) and I think Gen 4 is really strong. I wish this and extended video would get rolled out wide already as I think half the issue I see with users of BMD products is a lack of knowledge in grading. 
Now BMD do have perhaps the greatest colour correction tool on the market BUT they don’t make it easy to get to a great result without a little arcane knowledge.
Even I often run into issues when working by myself and I see extended video being a great step in addressing that shortcoming. There’s no point in talking about how great you can make images shot RAW if you don’t know how to do it and can’t easily or intuitively find a way to do so. 
With regards to the 4k Pocket. 
Its a genuine low light contender. I was really impressed at what a useable picture it produces with little lighting.
I’m laughing at those that said it’s overlit. I mean a 500w chimera dimmed to almost nothing so the background lighting would still show though the tinted hotel windows is very very low light, much lower levels than the idiots demanding I walk out on the street and light by sodium were demanding.
Again, I laugh when I see comments about how noisy ISO3200 is but I’m guessing those users aren’t aware how much image processing their cameras are doing at high ISOs.  BMD allow you as the user to choose your poison. A very very underrated feature. And like colour correction it’s almost too powerful because users haven’t been instructed to change their expectations, nor how to add noise reduction or sharpening so they can season to taste. 
The best testbfootage will be friends users so the sooner they ship the cameras the better.  Hopefully Gen 4 means there will be less hysteria about its performance and a few will realise there’s no point comparing it to a GHx or a Sony and learn to get the most from what it is good at.
JB

Camera: BMPCC
Lens: Tokina 28-70mm f/2.8 + Metabones SpeedBooster XL 0.64 (Nikon F)
Filters: B+W UV-IR Cut, Haida PROII-S Variable ND, Tiffen Black Pro-Mist 1/4
ProRes HQ, Impulz LUT BMDFilm Kodak Vis3 50D 5203 (DP) FC

Camera: BMPCC
Lens: Tokina 28-70mm f/2.8 + Metabones SpeedBooster XL 0.64 (Nikon F)
Filters: B+W UV-IR Cut, Haida PROII-S Variable ND, Tiffen Black Pro-Mist 1/4
ProRes HQ, Impulz LUT BMDFilm Kodak Vis3 50D 5203 (DP) FC

Camera: BMPCC
Lens: Tokina 28-70mm f/2.8 + Metabones SpeedBooster XL 0.64 (Nikon F)
Filters: B+W UV-IR Cut, Haida PROII-S Variable ND, Tiffen Black Pro-Mist 1/4
ProRes HQ, Impulz LUT BMDFilm Kodak Vis3 50D 5203 (DP) FC

It would be nice to save stills not only as DNG but as PNG with baked LUT and chosen aspect ratio.
Tokina 28-70 f/2.6-2.8, Tokina 28-70 f/2.8 with screw in hood (1st ver., on the attached picture) and with bayonet hood (2nd ver.), all with 77mm filter thread. Avoid 72mm version (Tokina Pro SV).

Camera: BMPCC
Lens: Tokina 28-70mm f/2.8 + Metabones SpeedBooster XL 0.64 (Nikon F)
Filters: B+W UV-IR Cut, Haida PROII-S Variable ND, Tiffen Black Pro-Mist 1/4
ProRes HQ, Impulz LUT BMDFilm Kodak Vis3 50D 5203 (DP) FC

Really is a great combo - BMPCC & Tokina. I'm Sure the P4K will look great with this lens.
Just hate it when people think you should judge a lens by how well it shoots wide open, utter rubbish!

The Tokina 28-70 2.6 is a wicked lens. I haven't had many issues with CA but it is noticeably softer than the Zeiss and Sigma lenses I'm used to but the image that it produces is, to my eye, much prettier. Cant wait to test it on the new pocket. Also I picked it up for like £120.

John Brawley talks about the new Blackmagic Pocket Cinema Camera 4K. ‘Models Close up at Night’ is his third camera test where he checked out the camera’s ability to handle different skin tones in very low light conditions.
“This camera test was about shooting different skin tones in different low light conditions, so we wanted to keep it simple using the least amount of artificial lighting. We had a hotel room in Atlanta where we shot from 3pm until 11pm and got through about 70-80 shots cycling through different lighting and skin conditions. When you can get really great pictures at ISO3200 and above, things suddenly get very interesting. In this test, we were shooting two hours after sunset and you can still see blue sky around the buildings in the background! This camera can really read a long way into the shadows, which was a big surprise.”
“I see this camera as continuing the evolution that Blackmagic started with the Pocket Cinema Camera by now making it 4K. Having something that we can work with in really low light like this, means you can still get really great results with any type of ambient light.” 
Blackmagic Pocket Cinema Camera 4K
Apple ProRes 422 HQ 
ISO1000 and 3200
Olympus Pro 17, 25, 45, 1.2 Micro Four Thirds lenses

Blackmagic Pocket Cinema Camera 4K ‘Models Walking in Daylight’
John Brawley talks about the Blackmagic Pocket Cinema Camera 4K for the first time. ‘Models Walking in Daylight’ is his first camera test where he checked out the camera’s ability to handle different skin tones.
“The whole point to this daylight test was to see how the camera handled skin tones. We were shooting these scenes later in the afternoon, so I was at ISO1000 or 1250, so it was at the lower ISO for this camera. I understand this gives more in dynamic range, so you have a little bit more highlight-headroom there. When I look at those shots now, I am really impressed at how good the dynamic range is. It is great to see all of that detail I was seeing was actually captured in those shots.”
“I don’t think people realize how easy it is to make things look cinematic with Micro Four Thirds! I know that there are a lot of people who like that 35mm full frame look, but it’s still very easy to get images with an out of focus background with the Micro Four Thirds sensor. I found it a great 4K sensor and really good compromise for a small camera that still gets really, really good looking pictures.”
Blackmagic Pocket Cinema Camera 4K
Apple ProRes 422 HQ 
ISO1000 and 1250
Olympus Pro 25, 45, 1.2 micro and Olympus Pro 12-100 F4 zoom Micro Four Thirds lenses

Old Pocket.

Old Pocket.

I'm not particularly fond of this shot, but in that lighting condition this is basically a silhouette shot. Why would you need shadow detail at that level of exposure? If black was pulled down more it would pop a lot more. 
The shot looks like it could be exposed another two or three stops lower. There doesn't need to be shadow detail when you're shooting directly into the sun. This is exposing wrong for that type of shot. 
I attached a still I shot with the OG pocket last week. If you're shooting a light source like that, black can be black.

it's literally a list of affiliate links, dude pumps out garbage clickbait
notice how he only lists lenses that are available on B&H and amazon
where is this supposed good info?

Thanks for the "welcomes".
I (and others at BMD) have been following this thread (and threads elsewhere) so we're aware of what people are discussing and asking but in general we don't/can't comment on a lot of things before release sorry.
We appreciate the support and are working hard to deliver the best we can offer you all.

Since we have an insider here, are you able to provide us with some real, new info?
Is there a plan for any sample footage to be released soon?
Is September still a realistic estimate? Is that global or just a handful of stores to meet the suggested release time?
Of course, I (and I assume the rest of us) understand if you're unable to provide any more information. The silence is deafening.

A quote from the review of Terra 4K: https://nofilmschool.com/2018/04/review-kinefinity-terra-4k-offers-bang-buck

Blackmagic were at the Media Production Show in London today. They didnt have any Pocket 4k's on display but they told me they are still expecting a September release.