Jump to content
Yurolov

Blackmagic Pocket Cinema Camera 4K

Recommended Posts

Info for “Afterschool” by Jun Areia

Another shoot of mine with the Pocket 4K and model Bonnie Lee in Seoul! (Instagram @iambonnielee) 
Thank you for watching!

I went out the other day for a quick comparison between the Ursa Mini Pro and the Pocket4K in order to see how they can be cut together. While the results of that comparison will be out in a future video, I took the chance to shoot some extra shots and put together another video for the Pocket4K.

Since I have done most of the popular tests in my previous videos (Dynamic Range, Low Light, Moire, Motion Cadence etc.) this time I decided to go a little more careless and harsher on the camera. While shooting out the sun is always a nice test for dynamic range, I wanted to see how the camera behaves when the sensor is starving for light in those unpredictable nighttime city shots. When different street lights of various colors and intensity blend together, creating interesting lighting environments with irregular shades.

I knew that slow motion could give a nice feel to this particular concept but I wanted to keep it at 24fps as I think this could help a lot of people see the camera’s performance and feel, in shots and environments that you would typically see in feature films.

On the first part, most of the time we were under a thin layer of clouds with occasional sun beams coming through. The intro shot is part of the rolling shutter test I have done and I have decided to include it here as a little teaser. There are a few shots without camera movement that were shot side by side with the Ursa Mini Pro and I decided to include them anyways. The rest of the video is on the Ronin-S. All these shots in this part were shot at ISO400 and had minimal exposure adjustments.

In the second part, we are at a terrace between skyscrapers, near sunset time. These are actually shot at the building that BlackMagic’s offices in Korea are located and I've shot them right after a workshop where I presented my works so far with the camera. These are all ISO400 shots, without any particular adjustments.

The next and final part is the most interesting as I have put the camera through some very challenging situations. From ISO1250 up to 5000, I filmed without caring what direction the lights are coming from and how it should be filmed professionally. I just filmed it – video logging style. There are many parts that we are filming against lights and Bonnie’s face is completely in the dark. In all the footage though you don’t actually see the reality of the environment. You see, when I film at about f2 and at ISO3200, the camera seems to be seeing brighter than what my eyes can see. The environments I have filmed, especially the walking shots with the fruit and the flower and even worse the one by the river are environments unthinkable for filming. Mobile phones just show black screens and we can barely see where we are stepping. Yet, somehow, we managed to film. Some lights might seem bright and mistakenly make you feel like there was some kind of light; the reality is that those lights were much dimmer than what they appear to be in the footage. At one shot by the river, I have opened my 50mm lenses at f1.4 (f0.9 exposure, f1.7 FF equiv. FOV via speedbooster) for some bokehlicious shots and I wasn’t disappointed. Finally, at the alley part, there were some very harsh shadows but it was still really really dark. It was that combination of random street lights in the dark that I wanted to try. I was really satisfied by the roll-off on Bonnie’s skin, especially at such a high ISO. Yet, I have escaped with clean usable footage that after a slight chroma de-noise was ready to go (the camera doesn’t apply any kind of de-noise). I have intentionally left any luma noise untouched as I think it’s aesthetic and reminiscent of film grain.

Like my previous Pocket 4K footage, I have shot everything on my own. I haven't used any additional light or lighting technique such as diffusion or reflectors. I didn't use any filtration except the NDs. There were no particularly planned shots as we were running through ideas and filming freely. Color grading wise, I applied some basic contrast and saturation and then did white balance adjustments to taste. Finally I applied a touch of my favourite film emulation. I didn't do any further color correcting such as skin refinement, power windows, sharpening and so on, as I liked people to see the result that was coming out of the camera without any particular coloring.
 

Share this post


Link to post
Share on other sites
EOSHD Pro Color for Sony cameras EOSHD Pro LOG for Sony CamerasEOSHD C-LOG and Film Profiles for All Canon DSLRs
4 hours ago, jonpais said:

Red Gemini looks dramatically better on my display. 

yeah for some reason the gemini is creamier and has some kind of pop like the alexa. Might be the other 24k $ that is giving that. BM should figure out what it is and implement it into their next camera, or better yet give it through a firmware update on the ursa mini pro.

Share this post


Link to post
Share on other sites
1 hour ago, zerocool22 said:

yeah for some reason the gemini is creamier and has some kind of pop like the alexa. Might be the other 24k $ that is giving that. BM should figure out what it is and implement it into their next camera, or better yet give it through a firmware update on the ursa mini pro.

Even ignoring the obvious difference in DOF, the grading of the two clips isn't matched.  Without access to the original files, the comparison is meaningless.

Share this post


Link to post
Share on other sites
1 hour ago, zerocool22 said:

or better yet give it through a firmware update (like) on the ursa mini pro.

That's what I am hoping as well, that the sensor specific partial de-mosaic filtering tuning will make the Pocket 4k more like the USRA Minii Pro after it got the BRAW update.  With Pocket 4k it would be nice if they would do 2 tunings, one for each native ISO.   I am already really liking the look of the Pocket 4k at high ISOs in low light, but at lower ISOs with lighting or daylight,  I am hoping it can be further refined, like the USRA Mini Pro was after the BRAW update.

 

Share this post


Link to post
Share on other sites
40 minutes ago, helium said:

Even ignoring the obvious difference in DOF, the grading of the two clips isn't matched.  Without access to the original files, the comparison is meaningless.

The difference in depth of field shouldn't even be that much difference.   The gemini crop factor is 1.17.  BMPCC4k crop factor with the 0.71 speed booster is essentially 1.33.     So in the comparison the equivalent focal length for the BMPCC4k with the 70mm is 93mm, and the gemini with the 50mm is 58.5.  And yet they have the same framing which shows that the 50mm must be closer to the subject therefore focused more closely than the 70mm which is throwing the background out more.  And really the difference in background blur is the only thing that stands out to me as a difference.  Being honest I actually prefer the overall look of the original pocket in these tests, but that will easily be achievable in post with the 4k.

Share this post


Link to post
Share on other sites
2 hours ago, majoraxis said:

That's what I am hoping as well, that the sensor specific partial de-mosaic filtering tuning will make the Pocket 4k more like the USRA Minii Pro after it got the BRAW update.  With Pocket 4k it would be nice if they would do 2 tunings, one for each native ISO.   I am already really liking the look of the Pocket 4k at high ISOs in low light, but at lower ISOs with lighting or daylight,  I am hoping it can be further refined, like the USRA Mini Pro was after the BRAW update.

 

Here's a good comparison between BRAW (with its new debayering filter which almost acts like an optical lowpass filter) and CDNG (using a more oldschool approach)
https://www.slashcam.de/artikel/Test/Blackmagic-RAW---Qualitaet-im-Vergleich-zu-CinemaDNG----IBC-2018--Debayering---Rauschen.html#Debay

 

Once this update hits the Pocket 4K we should have some really smooth footage out of this camera. Talked to some other DOPs over the past few days about their impressions over BRAW. In conclusion they're not looking back at all. The URSA feels like a new camera and way closer to ARRI.

Share this post


Link to post
Share on other sites

It's hard to tell anything from YouTube, so compressed.

A candle is not a good low light test either because you are either at full saturation of the pixel (bright flame), or barely nothing (black background).

NEXT!

Share this post


Link to post
Share on other sites
2 minutes ago, Andrew Reid said:

It's hard to tell anything from YouTube, so compressed.

A candle is not a good low light test either because you are either at full saturation of the pixel (bright flame), or barely nothing (black background). 

NEXT!

Totally agree. I just sigh and shake my head.

Share this post


Link to post
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now

×