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Yurolov

Blackmagic Pocket Cinema Camera 4K

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7 hours ago, bigmouthmedia said:

Silly question - does it do LOG (whatever BM call theirs) ? I can't seem to find specs for that (and assuming RAW is a different thing than LOG).

All Blackmagic Cinema Cameras - including the old version of the Pocket - have always shot Log in 10bit ProRes (called "Film" in the camera setting for the color space). 

BM sucks at marketing.

What they better shouldn't do:

- Call their cameras "Pocket Cinema camera" when 90% of people/consumers associate "pocket" with a small, easy-to-use point-and-shoot camera, rather than a Cinema Camera (like Arri/RED) shrunk to Pocket size (in relative terms).

What they should do:

- Advertise their cameras with "10bit ProRes log - always included, not a paid update, since 2012!"

- Advertise their cameras with "Raw video - no hack or external recorder needed, since 2012!"

- Advertise their cameras with "the only 12bit video camera under $2000, since 2013!"

- Advertise their cameras with "the only sub-$2000 camera with no artificial sharpening and noise filtering, since 2013!"

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1 hour ago, anonim said:

Dealing with different shooting situations (just today I was in such complex one - tight indoor and extremely spacial outdoor) I realized that I'm most satisfied and mostly covered with such solution: two cameras, both with one prime on it - (utra)wide and portrait. (M43 system is especially great for easy accomplishing such choice.)

BTW I had SLR Magic 10mm and Voigtlander 42.5mm for my task - both, of course, extremely recommended for BMPCC...

Do you know how the quality of the SLR Magic 10mm compares to their 17mm? I have the SLR Magic 17 and it's nice, but it doesn't come close to the quality of my voigtlander.

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4 hours ago, jonpais said:

Could be, you know more than I do. But primes aren’t about to disappear anytime soon. 

What?! Of course not! I have more than a dozen primes of various systems. We could talk for ages about different focal lengths, f stops, mounts and all.

@anonim I have 4 NX cameras for situations like these, but that are mostly for personal projects and low budget work, for all the rest, that isn't an option. Imagine having to rent and use 2 Alexas, or Red cameras, or even 2 C300mkII with the appropriate rigging and technicians.

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1 hour ago, Nathan Gabriel said:

Do you know how the quality of the SLR Magic 10mm compares to their 17mm? I have the SLR Magic 17 and it's nice, but it doesn't come close to the quality of my voigtlander.

I had SLR Magic 12, 25 and 50mm, unfortunately not 17mm - now I have/I kept Voigts 17.5  and 42.5 and SLRM 10mm.

SLRM 10mm is significantly better than SLRM 12mm and actually quite match with  image qualities of Voigts - just little bit warmer in rendition, but that's instantly corrigible in post. There's no known optic aberrations of its 12mm sibling, construction is higher level even in, say, comparison with SLRM 25mm. Focus and aperture rings are not so smooth (i.e. they are calibrated with harder tense, although perfectly even) as those in Voigt's - but, it has to be admitted that I didn't yet meet any other set of lenses with such perfect smoothness as Voigt Noktons, but maybe some Leica R's in excellent conserved shape.

I'd say that I'm very, or even extremely/brutally  strict in selecting/keeping lenses - but I settled with SLRM 10mm as UW choice. It is wonderful lens and its in fact macro focus distance opens so much creative possibilities. What I found especially nice is very low distortion in focusing subject when using such close distance (5cm!). In other words, SLRM 10mm can be used as very interesting and quite real portrait lens! Being picky, I'd just like that focus ring smoothness also match that of Voigts... Contstruction vise, SLRM 10mm shows mature pick level in evolution of Hyperprime line - in hand it makes impression as being made from one piece of hard iron, so it seems that extreme "unibody" robustness is nice word to describe its construction logic. However, it is little bit or two less refine in mechanic operations than m43 Voigts... but, modern Zeiss lenses are even lesser refine than these Noctons.

Later I could extract some snapshots from last clips shot with 10mm...

1 hour ago, Kisaha said:

@anonim I have 4 NX cameras for situations like these, but that are mostly for personal projects and low budget work, for all the rest, that isn't an option. Imagine having to rent and use 2 Alexas, or Red cameras, or even 2 C300mkII with the appropriate rigging and technicians.

Yes, of course. Zooms are sometimes indispensable, especially with clumsy rigs. I'd just add that it highly depends of director's pre-chosen concept of directing mood - for perpetually flowing camera movements as choice, actually primes are more practical. As famous examples - Lubetzki in all last movies, being these of Inarritu or Malick. For more static oriented works, where giant dimensions of good zooms are tolerable, they are more convenient.

Problem with m43 (subject of thread) is that there's just no enough fast native zoom lenses, as also with OOC "cinematic" quality. All of them are extremely oversharpened . From adapted lenses I had the most pleasing results (of course, for my criteria) with Leica R 28-70 and Zeiss Contax 28-85. But I had no chance to try that new Fuji...

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1 hour ago, cantsin said:

What they should do:

- Advertise their cameras with "10bit ProRes log - always included, not a paid update, since 2012!"

- Advertise their cameras with "Raw video - no hack or external recorder needed, since 2012!"

- Advertise their cameras with "the only 12bit video camera under $2000, since 2013!"

- Advertise their cameras with "the only sub-$2000 camera with no artificial sharpening and noise filtering, since 2013!"

Wow. You've nailed it. 

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1 hour ago, Kisaha said:

What?! Of course not! I have more than a dozen primes of various systems. We could talk for ages about different focal lengths, f stops, mounts and all.

No need to talk for hours about anything. Maybe you misunderstood my post. If not, have a good day! 

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3 hours ago, Garug said:

I wonder that handle, is the camera really able to take it if lifting from it? well it is badly out of balance anyway.

I’d like to see someone fly that on a gimbal. Or shoot discretely with it. The Veydras are fast; affordable; optically brilliant; compact; and built completely of metal. They have user changeable mounts for Sony, Fuji and micro four thirds. $8,000 for two lenses is out of reach for most of us.

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I only have a steady cam thingy but its ok without AF if you know what you are doing. Obiously shallow dof is only possible if distance stays the same....otherwise hyperfocal distance shout be fairly easy with a mft camera if I can do it with full frame....

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7 minutes ago, hansel said:

I only have a steady cam thingy but its ok without AF if you know what you are doing. Obiously shallow dof is only possible if distance stays the same....otherwise hyperfocal distance shout be fairly easy with a mft camera if I can do it with full frame....

Come to think of it, I’m going to start shooting everything at hyperfocal distance. Focusing is such a pain. 🙂

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I think the thing that astounds me is that for a standalone 5 inch daylight viewable external monitor from a company like SmallHD you are looking at a price not too dissimilar from the price of the entire camera! But along with including LUT previews, you also get the added benefit of baking in LUTS.

The OS of the blackmagics is second to none. The touchscreens are like what you would find on a smartphone.  The same cannot be said of Sony's or Fuji's top-end cameras which leave a lot to be desired. Canon and Panasonic get it right, though.

That's some kind of value. Really makes you think about what the profit margins are for companies like SmallHD and the bigger players in the industry.  

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24 minutes ago, Yurolov said:

I think the thing that astounds me is that for a standalone 5 inch daylight viewable external monitor from a company like SmallHD you are looking at a price not too dissimilar from the price of the entire camera! But along with including LUT previews, you also get the added benefit of baking in LUTS.

The OS of the blackmagics is second to none. The touchscreens are like what you would find on a smartphone.  The same cannot be said of Sony's or Fuji's top-end cameras which leave a lot to be desired. Canon and Panasonic get it right, though.

That's some kind of value. Really makes you think about what the profit margins are for companies like SmallHD and the bigger players in the industry.  

I agree the prices are crazy, but there's no contest at all between the Ursa Mini touchscreen and the SmallHD702. I'm assuming their other daylight viewable are the same?

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2 hours ago, jonpais said:

Having reliable AF-C is indispensible for gimbal work.

Of course, it depends on what you're doing. Brandon Li does the best gimbal work I've seen and often doesn't use AF at all.

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