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Blackmagic Pocket Cinema Camera 4K


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On 6/17/2020 at 12:44 AM, seanzzxx said:

Hey folks, this is the first music video I ever shot. While I am decently happy with the results, I am very much looking for feedback and impressions, any at all. If you have any questions feel free to ask, of course! :)

https://vimeo.com/429361546 password: mogimikevideoclip

Need to give us more details regarding setup (lighting and camera movement) and color grading so we know what you are working with and what can be realistically improved. 

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  • 2 weeks later...

Just to give a heads up, IMO the T5 drives are EOL. Stocks are drying up (the  1TB anyway).

I just posted the following over at the Blackmagicdesign forum, I have some interesting observations re T5 speed - I did not find any mention anywhere one should update the firmware of the T5 drives, even recent ones.

I just got a bunch of new T5s before they run out of stock, and after using a 1TB T5 for 6 months that actually does not record as high bitrates as my cheap 256GB SD card I tried updating to the latest firmware on the T5.

It is much quicker now, also when connected to PC and writing to it. Previously I only got 300 MB/s peak, which drops down to 130 MB/s after say 40 GB.

At this very moment my P4K is recording BRAW at max resolution a 60 fps at 3:1 compression ratio (=270 MB/s). I'm 4 minutes far, no dropped frames, still recording ! (that's 64 GB, after which the write speed remains constant for sure)

I would recomend downloading the Samsung T5 utility and updating the firmware. This does not seem documented at all.

This means my 500 GB T5 is not on the supported media list for braw 3:1 60 fps, but after the firmware update, it works !

Does anyone here have similar experiences ?

This would mean any T5 with correct firmware would be able to do 6K full res at 24p on a bmpcc 6K !

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On 6/23/2020 at 9:04 AM, Yurolov said:

Need to give us more details regarding setup (lighting and camera movement) and color grading so we know what you are working with and what can be realistically improved. 

Hey Yurolov, sorry for the late reply - I completely missed this comment! First of all, thank you for the interest, and you are completely right that I could have provided a bit more detail.

So the atmosphere we were going for was that of a daydream, except for the scenes with the lead actress just by herself. The aesthetic of that daydream was heavily inspired by old music videos, both from the seventies and early 2000's. So all the studio shots (the seventies aesthetic) were shot with actual stage lighting equipment, using mostly old seventies lights with fresnels and so on, except for one or two LEDs that originally were used for providing some extra color but ended up creeping in the shots. The camera was a very light one (Pocket 4K), but it was operated as if it was much heavier to emulate the feel of those videos: the tripod had a lot of resistance on it, the camera was on sticks and rails, and we mostly shot on long lenses (50 and 85mm Sigma Arts that were heavily Pro-Misted with stacked 1/8 and 1/4s), at a minimum of 28mm (except again for one time when I cheated to have a two-shot with the bass-player and the keyboardist) around f4-f5.6. Then the hotel scenes (the early 2000s) were shot much more modernly, with a lot of LED lighting (120D to provide enough light generally, with cheap Yongnuo LED panels for overhead and backlighting). A wide-angle lens was used almost exclusively (a Tokina 11-16) shot at f.2.8 or around there, and everything except for one shot was handheld.

Both scenes made extensive use of rim-lighting, because that just feels old-fashioned to me. The lights were either all tungsten or gelled to be tungsten, (with the exception of the backlight in the hotel, for a bit more 'kick'), to give the color rendition of tungsten lighting.

The scenes in the apartment with the lead actress (the ones in 16:9) were lit very differently, with much softer lighting (using the same 120d and led panels, but much farther away and diffused at 5600k), only meant to accentuate the light that was already there: the lights were supposed to be invisible. We also really dialed back on the promists (using only a subtle 1/8) until the band shows up, at which point the pro-mists went back to 1/8+1/4 (also the fake grain returns) to illustrate the daydream blending into her reality.

As for the grade: I used a custom grade, with a bit warmer greens/yellows/oranges, and more saturated blues. Also a lot of fake grain was added and some balancing was done, and the scenes at blue hour (with the guitarist) were graded to have the shots were the sun had not yet set match. Also in the blue hour scenes the skin tones were warmed up, to make everything look a bit more pleasant. Aside from that almost no local or 'stylized' color grading was done, because I think very stylized grading would have detracted from the old feel of the clip.

Hope that provides some more info: any and all feedback is welcome!

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2 hours ago, Yannick Willox said:

Weill, thanks to the Canon R5, we now have the lp-e6nh battery, which should give 17% more power.

That should take us p4k users close to the 60 min mark ?

I know these new batteries fit the old chargers, but is there any confirmation they will fit the Pocket 4K and 6K.  There's no mention made these batteries serve other Canon cameras other than the R5 and R6.

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From someone on the BMD forums - ProRes 422 export from Braw sample.



P4K, ISO400

Only changes made in post:
- Processed with gen 4 or gen 5
- Black, mid, and white points matched

As you can see, the dramatic difference is in the gamma curve. Gen 5 is much more "open". Whatever color differences there are will need a more controlled test with more challenging memory colors to reveal.


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For those that aren't visiting BM forum, here is quote of Juan Melara's cheer and ask about gen 5 color science - as mentioned earlier, also with further playing with gen 5, similarity with P4KAlexa lut is astonishing - it seems as that BM engineers took his achievement as pattern to replicate in effect:

"Just spent an hour or so checking out the new Gen5 colour science. The new gamma curve is great. Pretty much exactly what I’ve always wanted from BMD. Top work.
But Captainhook, Blackmagic Design, any chance you could include an option to disable the Gen5 gamut mapping/limiting? Or include a colour space that has it disabled?
A lot of grading workflows require access to the full unconstrained gamut. For example negative film emulation. Currently neg film emulation works so well on BMD cameras as they see and hold onto extremely saturated colours. The results I’m getting on the P6K in Gen4 are as good as any other camera I’ve shot and profiled.
I’ve got extremely saturated test charts shot on the P6K and on Vision3 film and what the P6K sees in Gen4 is pretty amazing. On the Vision3 charts I can see a gradient of red values getting deeper as they saturate, then organically curving towards orange as they reach peak saturation. On the P6K in Gen4 I can see the same smooth gradient of reds as they reach the same end point but with less of the curve towards orange.
In a profiled LUT based match, that organic curve towards orange is easy to achieve. In a procedural Yedlin style match that curve is easy enough to recreate.
But in Gen5, that gradient of deep red values doesn’t exist, as they’ve been constrained and homogenised into a light pink tone. All the amazing colour separation is gone, which makes it difficult if not impossible to accurately emulate neg film. As you can imagine this is slightly disappointing.
If the URSA 12k and the other BMD cameras are expected to integrate into high end workflows when shooting Gen5, make some colourists and colour scientists happy and please allow access to the full unconstrained gamut."

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On 7/18/2020 at 10:41 PM, Kisaha said:

Thank you @anonim for the info.

Does anyone have any IR filter/solution to suggest?

Sorry for delay, I've found that the best price/quality ratio have Rocolax filters, say


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On 5/19/2020 at 10:46 AM, Yannick Willox said:

I still prefer my older fourthirds lenses on the P4k ... Even the ois seems to have less quirks.

How are you able to get your Four Thirds lenses to work on the P4K? I have an Olympus Four Thirds 11-22mm F2.8-3.5 lens and a Chinese 43-m43 adapter.  It works fine on my Panasonic bodies but the lens won't work on my Pocket 4K.  What adapter are you using?

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