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Blackmagic Pocket Cinema Camera 4K

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1 hour ago, independent said:

Pocket 4K is an incredible value. That being said, the pocket 6k can be a worthwhile upgrade - it was for me.

The increased amount of detail (more than double the pixels) is not trivial. If you have a 5K monitor you can see the difference; the pocket 4K looks soft and slightly out of focus in comparison. 

The low light is also noticeably better. The larger sensor helps, but 6K downscaled to 4K really reduces noise and gives you a much cleaner image. You can get a Speedbooster for the 4K, but that brings the price close to the 6K.

Of course, some complain about the lens mount, but I haven’t found it an issue considering the availability, range, and variety of EF (and EF-S) lenses from various manufacturers.

I’ve found the Canon 10-18mm and 18-135mm nano usm to be great lightweight, affordable, stabilized lenses. For fast and wide, the sigma 20mm 1.4 has been stellar.

 

The Pocket 6k does give a better image. However a speedbooster can be had for $200 which is still much less than the Pocket 6k with wider field of view and the option to do 4k RAW without having to crop in on the sensor. 
 

Different strokes for different folks I guess. I was debating between the two but ended up with the URSA mini 

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EOSHD Pro Color for Sony cameras EOSHD Pro LOG for Sony CamerasEOSHD C-LOG and Film Profiles for All Canon DSLRs

So I read back in October that the BMPCC 4k added at 2.6k crop mode that "suitable for Super 16mm lenses" according to cinema5D. Has anyone used this? Is it a proper s16 crop or something fairly close? With a tax return coming, I'm thinking of upgrading from the BMMCC, which I'm using with my beloved vintage c-mount lenses, and I don't want to buy more lenses to cover the full sensor). I'm curious to hear from anyone who has had both the Micro and P4K. I'm thinking of going for the P4K for the low light and higher res (2.6K also seems optimal for going higher res but not as high as 4K, to save card/drive space and possibly use the same cards from the Micro. I've seen people online able to get 12:1 raw on the 95mbps Extreme Pros). The Micro has a wonderful image most of the time, but some things that bother me about it.

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45 minutes ago, Matt Kieley said:

So I read back in October that the BMPCC 4k added at 2.6k crop mode that "suitable for Super 16mm lenses" according to cinema5D. Has anyone used this? Is it a proper s16 crop or something fairly close? 

I did a comparison of it a few pages back with the OG BMPCC sensor coverage wise.

Its close enough for jazz.

 

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46 minutes ago, Matt Kieley said:

So I read back in October that the BMPCC 4k added at 2.6k crop mode that "suitable for Super 16mm lenses" according to cinema5D. Has anyone used this? Is it a proper s16 crop or something fairly close? With a tax return coming, I'm thinking of upgrading from the BMMCC, which I'm using with my beloved vintage c-mount lenses, and I don't want to buy more lenses to cover the full sensor). I'm curious to hear from anyone who has had both the Micro and P4K. I'm thinking of going for the P4K for the low light and higher res (2.6K also seems optimal for going higher res but not as high as 4K, to save card/drive space and possibly use the same cards from the Micro. I've seen people online able to get 12:1 raw on the 95mbps Extreme Pros). The Micro has a wonderful image most of the time, but some things that bother me about it.

I asked a similar question a few pages back. It seems the crop is a little more than the Micro... I think a 3x crop... so it's closer to 16mm... which opens up some possible c-mount 2/3" zoom lenses. That 2.6K resolution interests me a lot as well... downscaled to 2K, it could really have that "Alexa look."

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In my experience 8:1 and 5:1 BRAW are OK for Sandisk Extreme Pro. My clips are short 10 sec to 2 min but so far never had a problem recording  5:1 4K DCI 24 fps on a fast Sandisk SD card.

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On 3/4/2020 at 8:52 PM, mercer said:

I asked a similar question a few pages back. It seems the crop is a little more than the Micro... I think a 3x crop... so it's closer to 16mm... which opens up some possible c-mount 2/3" zoom lenses. That 2.6K resolution interests me a lot as well... downscaled to 2K, it could really have that "Alexa look."

Pardon if this was discussed elsewhere, but which c-mount lenses are your favorite with BM? I'm curious to give the 2.6k a try.

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DaVinci Resolve 6.2 is out (lots of things, imo):

https://www.blackmagicdesign.com/support/

What's new in DaVinci Resolve 16.2

Fairlight timeline editing toolset improvements.

  • New mouse and keyboard based editing toolset.
  • User adjustable per track scalable waveform display.
  • Keyboard shortcut editing actions now include fade, cut, select and move.
  • Support for alt/option dragging clips to create a clip copy.
  • Support for pasting clips across timelines.
  • Support for bouncing individual audio clips to files.
  • Support for dragging audio clips to separate tracks using modifiers.
  • Support for dragging audio clips to specific positions using modifiers.
  • Support for converting multichannel tracks into linked groups.
  • Support for a user preference to align audio edits to frame boundaries.
  • Support for an action to trim all audio edits to frame boundaries.

Fairlight sound library.

  • Release of the Fairlight sound library installer for foley effects.
  • Support for searching and displaying sound library description metadata.

Effects and plugin management improvements.

  • Automatic sorting of AU and VST audio effects into types and categories.
  • Favorite audio plugins are now displayed at the top of the mixer plugin list.

Additional immersive audio support.

  • Support for MPEG-H bussing and monitoring in DaVinci Resolve Studio.
  • Improved pan and balance including the ability to constrain panning.

Track Index improvements.

  • Support for the edit index in the Fairlight page.
  • Drag selection of tracks, mute, solo and record controls in the track index.
  • Drag and drop reordering of audio tracks in the track index.

AAF import/export improvements.

  • Support for importing AAF sequences as new tracks in an existing timeline.
  • Support for importing AAF sequences with an offset to an existing timeline.
  • Support for importing multichannel tracks from an AAF as linked groups.
  • Support for broadcast wave files when exporting an embedded AAF.
  • Support for exporting audio cross fades and fade handles in AAF files.

Audio mixing improvements.

  • Support for additional notch filters in clip EQ.
  • Support for new FairlightFX Meters.
  • Support for new FairlightFX LFE Filter.

Fairlight Audio Editor improvements.

  • Support for dedicated controls for panning up and down.
  • Support for editing clip EQ.
  • Support for copying and pasting clip EQ.
  • Support for creating and applying presets for clip EQ.
  • Support for adding, managing and custom mapping of plugin parameters.
  • Support for changing relative clip levels.
  • Support for resetting clip levels to unity.
  • Support for editing fade shapes and deleting fades.
  • Support for saving and recalling user defined track view presets.
  • Support for enabling layered audio editing from the desktop audio editor.
  • Support for choosing automation curves from the editor panel or console.
  • Improved behavior when moving track selection with no tracks selected.
  • Support for improved timecode entry and high frame rate timecode.
  • Support for entering relative timecode values.
  • Support for inserting 00 in timecode entry by using the colon key.
  • Support for master spill on console faders.
  • Support for finer adjustment of controls using the mouse or audio editor.
  • Support for media left and media right selection keys.
  • Support for a text-only labels mode.
  • Support for a traditional Fairlight keyboard layout.

Improved support for legacy Fairlight project import.

  • Improved import of EQ, automation and fade from legacy Fairlight projects.
  • Improved speed when importing large legacy Fairlight projects.

Editing improvements.

  • Improved performance when switching to large timelines with many tracks.
  • Support for creating a compound clip from an in-out range in the timeline.
  • Support for previewing timeline audio during live overwrites of video edits.
  • Support for editing individual angles to the timeline from a multi-cam viewer.
  • Support for updating clip duration display while editing in the cut page.
  • Support for a change transition duration dialog.
  • Support for viewing duration in frames or timecode format in the viewers.
  • Support for Fusion transition templates in the edit page.
  • Support for Fusion generator templates in the edit page.
  • Support for timeline view options per system in collaborative projects.

Media Pool improvements.

  • Improved audio track metadata support with support for up to 24 tracks.
  • Support for duplicated clips and timelines being placed in the source bin.
  • Support for sorting media pool clips by date added.
  • Support for showing synced audio filenames in the media pool list view.
  • Support for revealing the media pool location of a clip from a smart bin.
  • Support for a media pool context menu to duplicate clips and timelines.
  • Support for only additional files when repeating media management copies.

Color grading improvements.

  • Multiple stability and usability improvements for collaborative projects.
  • Support for smart filters based on keywords and people metadata tags.
  • Support for modifying primary grade values using numerical values.
  • Support for retaining out of range data when monitoring at video levels.
  • Support for Fusion MediaOut name tooltips on the node graph inputs.
  • Support for feet and frames data burn-in options.
  • Support for disabling output sizing and blanking for individual clip renders.

Scopes improvements.

  • Support option for showing scopes at video level and data level.
  • Support for HLG gamma when using HDR scopes.
  • Support for highlighting the color viewer qualifier position in the scopes.

Codec improvements.

  • Support for Blackmagic RAW SDK 1.7.
  • Support for rendering audio only timelines.
  • Support for decoding 32 bit floating point audio.
  • Improved support for color space and gamma when decoding H.265 clips.
  • Support for displaying EXR codec name based on compression method.
  • Support for overriding the color space and gamma tags in render settings.
  • Support for RED SDK 7.2.1 and decoding clips from the Komodo camera.
  • Support for two new parameters in the RED camera raw settings.
  • Support for REDWideGamut Log3G10 IDT for ACES projects.
  • Support for the Canon EOS-1D X Mark III camera.
  • Support for decoding u-Law Audio in QuickTime clips.
  • Support for alpha channel clips with the bypass re-encode option.

Scripting, API and general improvements.

  • Support for running the primary screen as a window in dual screen mode.
  • Improved scripting API with the ability to close an open project.
  • Improved scripting API to set frame rate for media pool clips.
  • Support for new scripting functions to return ordered lists.
  • Support for video monitoring advance and delay on the Fairlight page.
  • Support for GPI/GPO control on the Fairlight Audio Interface.

Multiple performance and stability improvements.

 

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On 3/4/2020 at 8:26 PM, thebrothersthre3 said:

The Pocket 6k does give a better image. However a speedbooster can be had for $200 which is still much less than the Pocket 6k with wider field of view and the option to do 4k RAW without having to crop in on the sensor.

You can boost P6K too though:

 

I guess the only P4K advantage is MFT mount lenses option route aside the price, obviously.

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16 minutes ago, Emanuel said:

You can boost P6K too though:

 

I guess the only P4K advantage is MFT mount lenses option route aside the price, obviously.

Not sure how well those speedboosters perform in comparison to all the options you have on the pocket, very little information about them. 

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13 minutes ago, thebrothersthre3 said:

Not sure how well those speedboosters perform in comparison to all the options you have on the pocket, very little information about them. 

There's not much information indeed. Here's something I could succeed to gather:

 

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23 hours ago, graphicnatured said:

Pardon if this was discussed elsewhere, but which c-mount lenses are your favorite with BM? I'm curious to give the 2.6k a try.

I always liked Cosmicar, Fujinon, Kern Paillard and the Angeniuex 15mm I liked a lot as well.

The key to c-mount lenses is knowing what size sensor/film the lens was originally designed for. Some c-mounts were made for security cameras and some were made for S16mm film. This will tell you if the lens will cover the sensor without vignetting.

The other issue is learning which lenses will fit on a c-mount to M4/3 adapter without needing to be modified. Some are too wide at the base to screw all the way into the adapter. Some Cosmicar and Fujinon lenses need to be modified. With the Cosmicar lenses, look for ones that look kinda like old manual metal lenses with knurled grips. There are essentially two different ones... black ones that are f/1.9 and silver ones that are f/1.4. The f/1.9 lenses are fairly sharp wide open. Most Kern lenses will fit the adapters and so will the Angenieux. I've done a lot of research, so I probably know if a specific lens will work or not if you are unsure.

Good luck, but be careful... c-mount lenses have a very unique look because you're using the entire surface of the glass, so the image is akin to using FF lenses on a FF camera. They can be very addictive.

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1 minute ago, mercer said:

I always liked Cosmicar, Fujinon, Kern Paillard and the Angeniuex 15mm I liked a lot as well.

The key to c-mount lenses is knowing what size sensor/film the lens was originally designed for. Some c-mounts were made for security cameras and some were made for S16mm film. This will tell you if the lens will cover the sensor without vignetting.

The other issue is learning which lenses will fit on a c-mount to M4/3 adapter without needing to be modified. Some are too wide at the base to screw all the way into the adapter. Some Cosmicar and Fujinon lenses need to be modified. With the Cosmicar lenses, look for ones that look kinda like old manual metal lenses with knurled grips. There are essentially two different ones... black ones that are f/1.9 and silver ones that are f/1.4. The f/1.9 lenses are fairly sharp wide open. Most Kern lenses will fit the adapters and so will the Angenieux. I've done a lot of research, so I probably know if a specific lens will work or not if you are unsure.

Good luck, but be careful... c-mount lenses have a very unique look because you're using the entire surface of the glass, so the image is akin to using FF lenses on a FF camera. They can be very addictive.

Thanks. Going by your comments over the years and by looking through past threads, I figured you'd have some good suggestions. I appreciate your time.

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10 minutes ago, graphicnatured said:

Thanks. Going by your comments over the years and by looking through past threads, I figured you'd have some good suggestions. I appreciate your time.

No problem, happy to help! Also Canon TV-16 c-mounts are really nice too as are the Zeiss Tevidons. The Cosmicar lenses, which are made by Pentax, are probably the cheapest. The 12.5 and 25mm are great little lenses and can be found for around $50 a piece. Kerns are a little more expensive but they are just gorgeous... mechanically and optically.

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1 minute ago, mercer said:

No problem, happy to help! Also Canon TV-16 c-mounts are really nice too as are the Zeiss Tevidons. The Cosmicar lenses, which are made by Pentax, are probably the cheapest. The 12.5 and 25mm are great little lenses and can be found for around $50 a piece. Kerns are a little more expensive but they are just gorgeous... mechanically and optically.

I'm not afraid of lenses with character so looking forward to trying some of these out in the BM4k crop when I can.

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That's what makes P4K the best cinema camera ever designed, launched and manufactured so far : ) I mean considering all variables, it's a gem with no comparison at all : -)

Be sure I've produced and shot with dozens of camera manufacturers so far, very likely, all existent brands without mention some non-existent today too, beyond more than three decades of work and my love for them ; -)

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On 3/7/2020 at 2:52 AM, Emanuel said:

I guess the only P4K advantage is MFT mount lenses option route aside the price, obviously.

And the fact that it can shoot 4K BRAW.....which the 6K can't do

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This is available for free, new 3D LUT for BMPCC4K (inspired by the industry standard Arri - Rec709)

The LUT is currently available for Blackmagic Pocket Cinema Camera (BMPCC4K, BMPCC6K, orig. BMPCC) I've been bothering a lot of different LUTs for a long time... until I created my own

http://tondadamborsky.cz/2020/03/19/lut-for-bmpcc4k/

BMPCC4K has warmer colors i recommend u bmpcc4k - WB set slightly to minus (-300,500) than other cameras or orig.Pocket (BMMCC)

I hope, you will like it. I tried to keep the max dynamic range, and natural skin color.

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A few shorted manuals for DaVinci Resolve (the full manual is 3,200 pages long):

The Beginner's Guide to DR 16 (444 pages, direct download here)

Advanced Editing with DaVinci Resolve 15, Introduction to Fairlight Audio Post with DaVinci Resolve 15, Color Correction with DaVinci Resolve 16, Fusion Visual Effects with DaVinci Resolve 16 - manuals on this BMD page here.

In these days of auto-isolation it is not bad to volve the pages of the manuals, something we never had enough time. - Stay safe.

 

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