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Blackmagic Pocket Cinema Camera 4K


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6 hours ago, Kisaha said:

Isn't it focal length X sensor crop factor X speedbooster's crop factor? It should be smthing like 23-45mm for the Ultra.

For run and gun the 12-100mm Olympus is unbeatable. A true workhorse lens.

I love the Olympus 12-100 f/4. It is on one of my cameras almost always. I would like it even more if I could get that kind of range in a f/2.8, but oh well :)

I was sharing the specs for the 18-35 + Speedbooster in terms equivalent to the Panasonic 12-35 lens, not "full frame" equivalent. A new person might not be familiar with the 35mm equivalent conversion specs. Also, to me, quoting everything in 35mm equivalent specs is just silly when we were only talking about the m4/3 format cameras. It isn't like the video world records most everything in 35mm format (although some of that is changing now). I could see it if everyone converted the different formats to Super 35, but 35mm? That wasn't even really a thing until the Canon 5D Mark II a few years back. Of course, I also think that calling 35mm "full frame" is silly too as there are many cameras (e.g. medium format) that use much larger sensors. So, what are they? "Mega Frame"? :)

 

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My dear erstwhile member can you please stop attacking John Brawley now. I have long since given up on camera forum arguments so might not be completely up on who is right and who is wrong-evil /

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

What a shame. Who are these "deep state" BMD insiders that are here pushing an agenda ? Myself and Hook.  Who else ?  What do you guys think, there's a plot and conspiracy ?  You guys don't wat t

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I noticed a bug today with the new firmware update for the Metabones Ultra SB EF. The touch AF is absolutely horrible on the Sigma 18-35mm in BRAW. But, switch it over to any flavor of ProRes and it’s pretty decent. 

Along those same lines, the same lens setup works horribly with the Bluetooth+ app’s manual focus slider in BRAW, but is perfect in ProRes.

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7 minutes ago, stefanocps said:

Onr question about.codec.Are.files produced easy to work with better han those h265 from fuji for example that require very performint pc?also would like to know if i can get ready good footage may be with lut not being that good (yet) in grading?

Go with the GH5. Nothing against the P4K, it’s a great camera but it will require more of a learning curve and more to get her going. With the GH5 you can be up and shooting right out of the box. I think for what you’re looking for, you’ll be grateful to have the IBIS. And the P4K isn’t going anywhere. In 6 months to a year, you can probably get one used for around a thousand or less if you want more of a cinema camera than the GH5.

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47 minutes ago, stefanocps said:

Onr question about.codec.Are.files produced easy to work with better han those h265 from fuji for example that require very performint pc?also would like to know if i can get ready good footage may be with lut not being that good (yet) in grading?

To answer your first question, I wasn't able to run Fuji H265 files on my laptop without transcoding.  For the BMPCC4K, I can smoothly play and edit BRAW files on my laptop. 

The only problem I've had with it is that my video card is only 2GB so I sometimes get Out of GPU memory error messages in Resolve.

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14 hours ago, MurtlandPhoto said:

I noticed a bug today with the new firmware update for the Metabones Ultra SB EF. The touch AF is absolutely horrible on the Sigma 18-35mm in BRAW. But, switch it over to any flavor of ProRes and it’s pretty decent. 

Along those same lines, the same lens setup works horribly with the Bluetooth+ app’s manual focus slider in BRAW, but is perfect in ProRes.

From what I've read on reddit, the Lumix 12-35/2.8 II suffered from the same issue. So, I believe this needs to be tackled from the camera-body side.

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1 hour ago, mercer said:

Go with the GH5. Nothing against the P4K, it’s a great camera but it will require more of a learning curve and more to get her going. With the GH5 you can be up and shooting right out of the box. I think for what you’re looking for, you’ll be grateful to have the IBIS. And the P4K isn’t going anywhere. In 6 months to a year, you can probably get one used for around a thousand or less if you want more of a cinema camera than the GH5.

it s not easy, there is XT3 competiting :)

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28 minutes ago, stefanocps said:

it s not easy, there is XT3 competiting :)

I think that you are on the wonderful safe side of testing at the moment: if you can, buy P4K, test it thoroughly for two weeks, and then you can immediately resell it on EOSHD forum to any of many eagerly waiting hands even for little bit more!

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11 minutes ago, anonim said:

I think that you are on the wonderful safe side of testing at the moment: if you can, buy P4K, test it thoroughly for two weeks, and then you can immediately resell it on EOSHD forum to any of many eagerly waiting hands even for little bit more!

i thought it could be a solution, reselling the bm sill be very easy

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5 hours ago, stefanocps said:

Onr question about.codec.Are.files produced easy to work with better han those h265 from fuji for example that require very performint pc?also would like to know if i can get ready good footage may be with lut not being that good (yet) in grading?

I have the GH5, GH5S, & P4K cameras. The Panasonic cameras produce great looking files straight out of the camera. Many people like the Natural profile on the Panasonic cameras. However, you will have to transcode these files into ProRes (or proxy) in order to edit them smoothly on a lower spec computer. 

The footage from the BM cameras does not look as good straight out of the camera as the Panasonic footage, in my opinion. The BRAW and the ProRes files from the P4K are much easier to edit on lower spec computers than the Panasonic footage, but the file sizes are much larger. In order to get decent footage straight from the P4K camera, you would need to "bake in" a LUT into the footage when recording. Without baking in a LUT, you will have to grade the footage in a program like Resolve.

Picking between the GH5 & the P4K is a tough one as each has advantages. The choice would come down to your use case. The GH5 has image stabilization, great battery life, & great footage straight out of the camera, with the option for V-Log footage that you can grade. The P4K doesn't have stabilization, and has much worse battery life, but the P4K is better in low light and gives you the ability to record RAW footage. Each has lots of advantages and a few weaknesses.

After color grading, both cameras produce wonderful footage. I think that either is a great choice, but the GH5 would be better for beginners. If you don't have any M4/3 lenses, you should also consider the Fuji XT3.

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3 minutes ago, Kisaha said:

I was wondering, which one has better low light performance?

XT-3 or P4K?

To me, the P4K is usable up to ISO 10,000. It also cleans up really nicely when you use noise reduction in Resolve. I think that the GH5s is a bit better in low light, probably something like 1/3 - 2/3 of a stop. I don't have the Fuji, but I think it is probably about a stop better than the P4K from the footage that I have seen and from my usage of the GH5s & P4K. For great low light, get the Sony cameras (e.g. A7III) their engineers used magic pixie dust in those things :)  

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6 hours ago, stefanocps said:

Onr question about.codec.Are.files produced easy to work with better han those h265 from fuji for example that require very performint pc?also would like to know if i can get ready good footage may be with lut not being that good (yet) in grading?

I'd say there's really no reason to afraid of look of BM files straight out of camera: it is just one click operation to "normalized" them without any exotic manipulation: there's already native BM lut and, say, equally nice free CaptainHook's lut and - voila, footage will look (pretty obviously) better SOC (to say true) than that of "natural" profile of GH5's. Unfortunately, I have no Fuji XT3 to say the same with ground of personal experience... So, please, hurry to buy P4K, play with it and I'm sure that @Kisaha will help you in trouble to get rid of it if you find yourself disappointed :)

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2 hours ago, MeanRevert said:

Only because someone brought up the XT-3 again and I just moved from that platform, I'd say it has the best image coming SOC.  Set that thing to Eterna or Classic Chrome, transcode to ProRes and then do your thing in Resolve or Premiere.  

How did you find colour matching fuji and bm?

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1 hour ago, xzobinx said:

How did you find colour matching fuji and bm?

They both have nice color, but would be a pain for sure. Definitely possible as both have very nice codecs.

 

5 hours ago, Kisaha said:

I was wondering, which one has better low light performance?

XT-3 or P4K?

XT3 is better. Though the P4K is really good as well. Probably the two best low light performers outside of the A7S2. The GH5S is nice but retains less detail and the A73 has weird ghosting issues and there is no way to turn of its noise reduction. 

I don't know enough about the Nikon Z6 to say. It could be a real winner recording externally(not really sure how good the internal recordings are). I know they are very clean but I am not sure how good or bad the NR is.

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8 hours ago, drm said:

I have the GH5, GH5S, & P4K cameras. The Panasonic cameras produce great looking files straight out of the camera. Many people like the Natural profile on the Panasonic cameras. However, you will have to transcode these files into ProRes (or proxy) in order to edit them smoothly on a lower spec computer. 

The footage from the BM cameras does not look as good straight out of the camera as the Panasonic footage, in my opinion. The BRAW and the ProRes files from the P4K are much easier to edit on lower spec computers than the Panasonic footage, but the file sizes are much larger. In order to get decent footage straight from the P4K camera, you would need to "bake in" a LUT into the footage when recording. Without baking in a LUT, you will have to grade the footage in a program like Resolve.

Picking between the GH5 & the P4K is a tough one as each has advantages. The choice would come down to your use case. The GH5 has image stabilization, great battery life, & great footage straight out of the camera, with the option for V-Log footage that you can grade. The P4K doesn't have stabilization, and has much worse battery life, but the P4K is better in low light and gives you the ability to record RAW footage. Each has lots of advantages and a few weaknesses.

After color grading, both cameras produce wonderful footage. I think that either is a great choice, but the GH5 would be better for beginners. If you don't have any M4/3 lenses, you should also consider the Fuji XT3.

I have the Panasonic GH5 and I use it extensively for stock footage but I would like to produce a series of short films. Even tweaking and color grading and using  filters like the  Tiffen Pro Mist I cannot get a beautiful cinematic look like I see with Arri Mini Alexa or even cameras like my 5D MK IV. Comparing the GH5 with the P4K (as you said you own both) do you perceive a distinctive look that makes the second closer to that "organic feel" we all associate with film ? 

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