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Yurolov

Blackmagic Pocket Cinema Camera 4K

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Both P4K & P6K are practically the same with a difference for resolution, lens mount and acquisition price. It ends a bit pointless to discuss it or dismiss any one of those. They simply have no competition, end of story IMO : ) Waiting for P8K FF here if ever because P6K replaces it pretty well as hybrid tool.

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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

P6K makes no sense to me, as you need another set of lenses.

I will rent one, for a specific project where we need to crop in (a lot ?). Will be interesting to see the difference in that specific case.

I bought a Kamlan 50mm f1.1 mk2 a month ago - amazing glass for the price. I just need to order the 21 mm now.

Does anyone have more experience with the DZO cinema glass ? I like my panaleica 12-60 a lot on my gx80, but somehow it does not make me happy on the p4k. Too much distortion on the wide end. It is still parfocal though.

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

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MFT is a great format indeed. When I mean dismiss any of them, I meant to ignore either of both actually. You can surely skip one of those if you have the other one, of course : ) But this camera series is a dream come true, my fav acquisition system ever designed, produced and delivered to my book : -)

Mainly shot on P6K, here's a trailer of a feature film co-produced by me currently @ post production:

 

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On 5/20/2020 at 7:15 AM, Emanuel said:

MFT is a great format indeed. When I mean dismiss any of them, I meant to ignore either of both actually. You can surely skip one of those if you have the other one, of course : ) But this camera series is a dream come true, my fav acquisition system ever designed, produced and delivered to my book : -)

Mainly shot on P6K, here's a trailer of a feature film co-produced by me currently @ post production:

 

Looks amazing. Very much like film. How was the color grading process? 

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On 4/30/2020 at 12:16 AM, Yannick Willox said:

The output voltage is too low ... It is only 10.8 V which is the minimum. The output is only 2A max, the bmpcc 4K power supply is 2.5A !

Imo it is a product that works, but it is anyone's guess how long the bmpcc 4K will work without frying itself.

I use a batpower 98Wh model, output is 15V. It cuts out before voltage goes out of bmpcc 4K specs, and transition to internal battery is seemless. It also has more than enough power to power the camera + OIS + 48V + SSD and charge the internal battery. It can output 90W at 15V, so it should be safe at 6A max (it is designed to power laptops ...)

At only 110 euro it will power the 4K for 270' with T5 connected, screen at 60%, lens OIS on (the internal LPe6n battery gives 44' under the same conditions)

So I can safely keep the camera on and recording for 5h ! (6h20 on SD card, screen at 30%, no OIS).

They also have 148Wh and 210 Wh models (the 148Wh has the same physical size...)

I use the smallrig powerbank holder, on a nato clamp. I have 2 extra nato rails on my cage (one underside, one on the top handle), so I can reposition or attach the powerbank in seconds.

My advice would be : do NOT buy a cheap charger with less than 3A / 15V specs. I think 110 euro is already on the cheap side. My runtime with it equals 6,13 LPe6n batteries, which translates to €484 !

 

For anyone looking to purchase this Zitay - I have had a further look. The output is 10.8V which is within the required range and it is rated at 6800mAH, which is more than enough. It is not 2A. So you get 75Wh - for the 6k that is about 3 hours of run time, and more for the 4k. The current price is 85USD . Some people will appreciate how it mounts and how discrete it is.

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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

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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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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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I've never heard of updating the firmware on a storage device. Bonkers! 

Thanks for the tip though... Where I am, 1tb is in-stock basically everywhere, but 500gb is not quite so available.

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Cheers for the update.  I didn't realise that you could or needed to update storage drives.  So this info is very useful.

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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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