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SteveV4D

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SteveV4D last won the day on May 2

SteveV4D had the most liked content!

About SteveV4D

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  1. I'm not selling my other cameras as I need them all. I am often filming with 4 or 5 cameras at once. And I wouldn't mind a 6th for some shoots. When I get the P6K, it will be my main camera, and my P4K my B camera though. I could always have afforded the P6K, its price not that different to a GH5s. But I had to think long and hard over the merits of filming in 6K. File sizes, workflow. Plus there seemed to be more quality control issues with the P6K, perhaps being more rushed released. Time has passed, and what with the R5 coming out with 8K, the P6K price reduction, it feels a good time to invest in a 6K camera. I need a 2nd Pocket for Corporate shoots where I've been using the GH5s as a B camera, but I'm not happy mixing the 2. It was always a choice between another P4K or a P6K, and BM have helped me make my mind up.
  2. I'm not sure judging forum posts is the best gauge of popularity. The Pocket 4K was announced April 2018 and I didn't get mine till December. Most of those posts were speculating over this very cheap RAW enabled camera for the many months leading g to its release. Then more posts over the faults and issues with it soon after people got theirs. Being the first of it's kind will always generate more interest, speculation and debate. In contrast, the Pocket 6K was quickly announced and released. Its cost no doubt put some people off including me, and since many already owned or were still waiting for their 4K version, it was never going to have the same buzz. Plus in some cases, the Pocket 4K thread was used to discuss the 6K too. Frankly there are advantages to each camera. Now that the cost is down, I am looking to buy one to supplement my Pocket 4K. For me it's not practical to rent and I prefer to own my gear. As a sole shooter working on Weddings and Corporate work, I need to work with multiple cameras that are small and can be rigged if needed. I can see both Pocket cameras working very well for me with their own strengths and weaknesses. For me, being able to grab stills at 6K resolution would be very useful. Plus I'm using the Sigma Art EF lens for my Pocket 4K, so no issue with the lens mount I have loads of 4/3 lenses, but I tend to keep them for my GH5 and GH5s cameras. There is no better choice here. There are of course more Pocket 4Ks out there being used than 6Ks. But that is no reason to dismiss the camera over the Pocket 4K. I think the price reduction will tempt many to look at it again, as I have done.
  3. You must have added that in whilst I was replying. I didn't see that part of your reply initially. You're right about IMAX, but I think film is more forgiving that digital when it comes to detail and resolution. Maybe the fine grain in film helps, I'm not sure, but the detail feels less obvious and in your face. As for your examples, I've used 6K on my GH5 for close ups of watches. So good point. The ring shot is a nice example, but it doesn't mean you have to shoot 8K for it. My GH5 can switch easily between using the entire 6K sensor for a 4K image or a 4K crop of the sensor to punch in closer. Less latitude in the edit I know, but smaller file size in return. That said, they're all good examples of 8K use, and why I do look at getting the Pocket 6K. In my mind, I'm not sure my system is ready for 8K. I've been on the fence over 6K, and only now thinking it would be worth it. 8K is still too far in the future to invest now. Not that I can anyway. Besides, we have to see the trade off. If its rolling shutter and a time limit, useful application of 8K would be further reduced. It's already limited by the fact the R5 doesn't do what the Pockets do, output to an SSD via USB. This is what makes filming 6K RAW viable for me. It's a shame the R5 has ignored this feature. My 1TB Samsung drive was a lot cheaper than 512gb Cfexpress card. Filming 8K RAW will be very expensive.
  4. Fair enough. But I think I'll save my investment for the future when a) I'm sure I have one and am not dead by virus, b) have money to pay for that investment and c) I shall wait and see what other manufacturers can offer for that 8K future before jumping in. I don't have a 5K display. If I did, I think 6K is a good trade off between file size and extra resolution. For now at least. I'm not sure how seeing 8K on a 5K display can be classed as a benefit. Sure there are, and will continue to be 8K TVs coming down the line, but when it comes to resolution in smaller cameras, you need to capture more pixels to see the real benefit. 4K gives great HD, 6K gives great 4K. Technically 8K will give great 6K. You'll need at least 10K for a great 8K image. I do see 8K being great for sport and areas with fine detail, but will actors and actresses who are already feeling worried about the detail that 4K does to their wrinkles, spots and pimples really want an 8K camera pointing at them. 😂😂
  5. I film Weddings with my Pocket 4K set to BRAW. Other cameras are sadly H264. At Q5 setting, it's not much larger than ProRes, but so worth it. Not just for being able to adjust ISO for those shots where lighting caught me out, but also because it edits so smoothly. It was so frustrating editing H264 in Premiere. Thumbnails would take ages to load. Playback choppy even before effects were added. In Resolve, I can add effects and still playback the image. Not so well with the H264 files alas; but its saved me so much time and hassle doing the switch last year to BRAW and Resolve. I actually enjoy editing these days, as opposed to wanting to smash my computer and send foul messages to adobe.
  6. I think you can take future proof a bit too far. 😁 By the time I live in that future of 8K, there will be loads of choices for 8K cameras, all of which will be an improvement on the first one to adopt it. Of course if you buy the 8K now and then save all those 8K files for that future, good luck. Aside from the huge amount of drives you'll need; by the time you get to that 8K future, you'll be shooting on 16K and those 8K files will be so old tech. 😅
  7. I'm holding off new purchases till this crisis is over and my workload is back up and running. This will be Autumn at the earliest, next year if not. The price reduction for the P6K is tempting and no doubt done to encourage sales in lean times, but without work, it's a stupid investment, when I have bills to pay and minimum income. When will the R5 be released? Maybe Autumn for the same reasons.
  8. Moving back to the R5, everyone is going on about 8K RAW, but file sizes will be massive I imagine. BRAW is very good at getting file sizes down, but I'm not sure Canons implementation of RAW is as compressed. But what of 4K RAW in the R5? Is it included? The P6K doesn't offer 4K RAW, only ProRes. Theres some argument that the camera has to shoot at maximum resolution for RAW. Whether true or not. So is RAW in the R5 reserved only for 8K; in which case how useful will it be for the majority of users. How many of you planning to buy the R5 will be shooting 8K RAW? Especially if there is a time limit. At a time where I'm struggling to get my clients to receive and value 4K over HD, where does 8K actually fit into peoples workflow? Apart from vanity projects, 'hey I'm shooting in 8K' videos, to be buried on YouTube, along with all the 6K videos out there.
  9. Earlier you said one camera was worse than the other. And yet by the time it gets to you as a colourist, it's not RAW. There was a long discussion on that. Example #1 (already mentioned) We crew I hired shoot with 2 BMP6K's and the footage was delivered in ProRes not RAW, the footage had massive IR pollution. I shot with a third camera that was not the P6K. This was one example I gave. Why didn't you tell them to shoot RAW. You hired them.
  10. No I think he owns them.. it's hard to figure out I know. Presumably one of those has the bad IR pollution. Or am I mistaken in this. Blackmagics quality control is poor. Hit and miss whether your camera has issues. I had to return my first P4K for a replacement.
  11. So why wouldn't the S1H be a better fit for you than the P6K. Surely they wouldn't reduce the process by 40% with IBIS, fullframe and a timecode too.
  12. Real shoots with real clients.... wow that's amazing... as opposed to the rest of us who go on unreal shoots with unreal clients... you're are so in a league above everyone else on this forum... 😂😂 Tell me then, why are you using P4K and P6K. You don't need RAW as apparently the finished files end up in ProRes. The S1H sounds a better fit for your needs. Sure AF is poor, but a lot better than the Pockets. It has IBIS, its fullframe, full VLOG, timecode (useful on Professional shoots), and is Netflix approved when set to it's best codec. Why suffer a camera that is reducing your workflow by 40%, when there are already cameras out there that would better serve your needs. P4K and P6K are for people like me, on a low budget and can't afford the more expensive cameras. 😉 Though my clients are real too. I know, I've met them and they weren't imaginary. Does that mean my working for them counts as a real shoot too... ??? 🤔🤔
  13. Destroy... destroy... destroy!!!! 😂😂😂 What you mean is that the R5 may well be a better camera for the work you're doing than the P6K... that's all. It's not what you're saying, it's how you say it that promotes these reactions from others. You sound like a hobbyist using cameras when you go off on one about one camera destroying another. What, will the R5 be attacking your P6K with a baseball bat? Destroy indeed. 😂😂😂
  14. Oh I know smaller cameras get used by large production companies. Often because they are disposable or small enough to fit inside a narrow, tight space. Maybe I'm just naive though to think such large production companies are not shooting with cameras they're not familiar with, and making rookie mistakes with them, but if you're playing with the sort of money some larger movies have, why risk any longer, more cinematic shots on a camera that costs a fraction of their Red or Alexa. Sure for quick cutaways maybe. If the Canon 1DX Mark III is such a great camera for grading and colour, why bother with those pesky P4Ks and P6Ks, if you're a professional Production company using Reds. I mean I like them, I use my P4K all the time, but boy, you have to rig them to hell to make them work, with extra battery, cage, monitor if its outdoors. Better options are now out there for the sort of B shots needed these days, even compared to what was available when Mad Max Fury Road was being made. 10 bit in smaller mirrlorless cameras just didn't really exist then to the extent they are now. So you can understand their choice. Now an S1H with its timecode and Netflix approval, is a better choice for B camera for larger production companies. Especially if none can be bothered to make good use of RAW. Plus I'd wager the R5 will do just as well when released for those sort of jobs too. It's being touted by Canon as a great B camera for their C300 and C500.
  15. I'm not sure if I was large studio, I'd be sending people out with Pocket 6Ks, or relying on footage go be produced by people not well versed in cameras strengths and weaknesses. I would have thought such cameras were reserved for the amateurs and smaller Production companies. The self employed Video producers. Still it's one reason I prefer not to be a part of a large studio, I prefer the control to rest in me from start to finish. I've always been that way. But it probably does mean, I have the luxury to shoot and edit in RAW that some production companies don't have. Though in my mind, I always felt they were more professional than that in their workflow.
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