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I believe the real conversation should be whether the new Pocket 4k will measure up to the NX1.

I am an indie filmmaker, I shot my first feature on Sony HVR-FZ 1, back in 2009 and a year later Canon 5D disrupted the market. We toiled hard to get over harsh video look and deep DOF of HVR Z1 and then 5D made us look like fools. Even though many known filmmakers appreciated the screenplay, but harsh video look was stumbling block. Then every other indie filmmaker was coming out with "cinematic" 5D, 7D footage and our film looked amateurish. That got me started with DSLR and understanding them. I was shooting Panasonic GH2 till last year and finally I got GH5. I was absolutely loved it. I though 10 bit is new standard for indie filmmakers now, especially those who can't afford raw. Just few months later Panasonic released GH5S, which is even more suited for my work. I didn't need IBIS more than low light capabilities. I was anyways juggling between between GH2 and rented A7SII and then GH5 and A7SII. When I heard they already had GH5s in mind even before the launch of GH5, I felt cheated. Panasonic like any other camera manufacturer was trying to exploit market. I am Panasonic fanboy since Panasonic DVX100 days. And then comes BPCC 4K, it gives 12 bit raw, which even Panasonic EVA 1 can't deliver. If it has same or similar sensor as GH5s, I don't need A7Sii. I hardly go over 10,000 ISO even on AS7sii. And it is cheap. It will force Camera manufactures to reduce price on cameras like Canon C200, EVA 1, Sony F7 and F5. IMO Raw will be new indie film-making standard, if not already and 10 bit will be new prosumer standard. It may have lots of issues, but I won't shooting another indie on anything less than 12 bit raw. If budget permits I will go for C200 or even better. But in worst case scenario there is always BPCC 4k to fall back upon. Point is BPCC 4k will disrupt the indie film-making landscape just as Canon 5D did back then.

Meanwhile, Sony updates the FS5 firmware and calls is the FS5 mk2!

Sensitive Topic. This can blow up. Especially when, ahem, little children are involved.

Jon, speaking of our recent discussion on ergonomics topic, hope we future BMPCC 4K users do not end there on a gimbal: :-)

Nice, FujiFilm is step by step making themselves a more competitive alternate option to Panasonic/Sony/BMD. They're now the clear choice at least ahead of Canikon for the average hybrid shooter, and that isn't something you could have easily said a few years ago.

Tried v15 Beta 1. Here are my initial impressions: It's very simple and fast to add titles. There are many predefined 3D templates. More templates will come for sure. LUT Browser is awesome if you use LUTs and want to try different color grades Improved speed and interface. Improved noise reduction. In v14 noise reduction was good enough for me. V15 is even better. Very easy to remove objects and/or spots / blemishes on the footage Whole workflow is well thought and using all the tools is easy and quite intuitive. Bottom line: It's my only video editing software now. Has everything I need and like it a lot. Well done Blackmagic.

I am! I've said before that I try to capture in a relatively neutral style and then I put in the work in post, and Resolve is my all-in-one. I'm excited by Fusion, more specifically for the stabilisation and the 3D titles. I'm really hoping that I can get better stabilisation than the Classic Stabiliser in v14, as sometimes I film in difficult situations and I need more stabilisation than Resolve currently supplies. The 3D titles will be cool, but I'm more hoping that combined with the tracker I'll be able to add 3D items into the 3D space I've filmed. I watched the 20 minute video from BM about Fusion and got lost about a third of the way through. It's like Resolve is a house and each tab is a doorway through to an array of controls that each rival the space shuttle!

As stated earlier, it was there when I ordered mine, and I'm their first order.

Lots of cool looking stuff there! I was trying to build my own tiny flexible velcro LED lights, but it seems there are similar better options here, and also considering buying four 2X2s from Westcott when they were on sale for $500 apiece to make an 800w 4X4 to rent out. Looks like Litegear already has an 8X8 version, even better! That's the book light of the future and possibly bright enough for day exteriors, too. It claims 1600w and while I doubt it has the punch (beam angle) of a 960w MacTech (which gaffers tell me is about equivalent a 6k HMI through diffusion), the extra wattage might make up for it. I would love to rent that for the right project. I'm sure the price is extreme, but the smaller lite mats are excellent, so that could be useful even for day exteriors... maybe... That's a shame that lightning is gone, that's one of the main reasons I bought the light but I was probably going for more of a strobe effect anyway. To be fair, at that power output (guessing 10w equivalent about) you could just get a bog standard high CRI E26 bulb and flicker it with a switch or button on a dimming device. The brightness would not be that different whereas "real" lighting units are brighter than 6k HMI so it would never be useful for that except maybe in dimly lit interiors on an A7S or something. The real issue is the attack and decay envelopes being too hard with LEDs, though some seem to be worse than others... I'm experimenting with that now actually. For all I know the "strobe" effect on the viola is just as harsh as standard lights, unless you can carefully tune in the attack and decay (the sine wave effect looks good, but maybe too soft). Though I hope I'm surprised about the brightness. And I assume the more of those you buy, the better. A fire gag constructed out of three or four of them could be brighter and more varied. I actually just found two more at $120 used so I picked those up. Could be useful for fire gags club light gags etc. and there's not much else in this price range that is.

The 1.7 crop factor from a 6000x4000 sensor means that at best case their sampling a 3530x1985 area and scaling it up to 3840 x 2160, and given the aliasing performance I think they do use all this area. I actually don't think there is a lot of aliasing or moire, probably just the typical from 1:1 sampling with a weak antialiasing filter. And I also don't think that is a problem during normal shooting. The Fuji X-T2 has more aliasing artifacts than M50 for example but nobody complains about it. The softness is typical for Canon and I actually prefer that from a digitally sharpened footage. My only concern for this camera other than the crop factor is the jello. I might be more sensitive to it than others but 4K from this camera should be used only with a rock solid tripod. Here is a tripod that is not rock solid:

I wish the LUT gallery thumbnails were from the current selected video frame. that way you can see all the grades how they would look like on your shot. Now you have to select each one to see how they look like in a shot. It's better than it was for sure, just could have been perfect if they did that.

I think they could make it switchable based upon V-Log being installed on the camera, which would be the fairest thing to do anyway. That way they give themselves a revenue opportunity from those who haven't upgraded and reward the people who have already paid. Whether its worth having when, as you say, it then involves the user paying another chunk of money for a recorder is neither here nor there for Panasonic I suppose if it means that they overcome a major objection from customers. Its a bit like the X-T2 only having F-Log externally - it offered a solution for Fuji to an objection and for customers to tick the box of their own 'must haves'. And then hardly anyone used it

Some more of my favorite lights that I've seen from different NAB reporting so far. My MOST FAVORITE so far is this guy : https://www.newsshooter.com/2018/04/12/66093/ I messaged them via their facebook page, and I'll order couple of their 6W lights for fun. This Westcott has a great/performance value at $499: https://www.newsshooter.com/2018/04/12/westcott-solix-oled/ This 1X3 DPLumi at $1200 or so is also seem like an interesting option. It's about 3X the chinese versions but quality seems pretty good. https://www.newsshooter.com/2018/04/12/dp-lumi-flexible-led-lights/ These guys are doing a smart RGB panel. Their driver as they claim keeping colors within the rec709 color range. I'm assuming it'll help in color grading and preventing banding. It reminds me of photoshop and doing web graphic in the old days when you had to worry a lot about web colors and GIFs. They also are saying their profiling various camera sensors to better emit lights that match their characteristics. https://nofilmschool.com/2018/12/litegear-litemats-litetile-nab These guys have taken essentially a SCUBA diving lights and are marketing it to the cinema crowd. I guess why not. Anything with "photo", "Cine" or "Broadcast" in front of it usually demands higher pricers. The owner/rep sounds like a snobbish prick so I'm not sure even if I had the money, I would buy their stuff. https://nofilmschool.com/2018/04/distance-isnt-problem-stellas-new-leds Lastly, I have to give it to another small guy. They got here so far via several fundraising campaign. And they build nice looking stuff: The CRI doesn't seem that good, so maybe their next version could be more interesting. https://nofilmschool.com/2018/12/blind-spot-lights-pack-powerful-punch-tiny-fixture Anyways, hope others find this compilation useful or interesting.

I'm getting déja vu from the XH1 thread.. where every page was getting polluted by GH5 defense talk. i kindly suggest to jonpais not to get so personally affected by GH5 criticism.. let's face it the camera jus isn't as unanimous as it was a year half ago. times gonna change. that being said no need to feel threatened if you're still enjoying its output..

Why is everyone comparing this to the GH5? It has the same sensor as the GH5s. That is it’s direct competition

No worries. Those camera threads are always tricky! We want to assure ourselves we have the latest and greatest but we're also legitimately biased because our cameras are what we know how to use best.

I'm not sure what you mean. Wasn't there just a DIY lighting thread? I didn't mean to brag about anything–attaching LED strips to velcro is pretty simple and anyone could do it who was inclined to. Same with taping together 4 2x2 Westcott lights into a 4x4. I'm just glad there are alternatives that don't require DIY. If I was bragging about anything, it's just that a few DIY ideas I had were showing up in commercial products. But mostly because I'm glad to learn they'll be available for rental!

Exactly flip 21. And you get the Studio version of Resolve free (just like they did with BMCC). At 1300, that's a bargain!

In stark contrast to the FS5II, with the Z280 Sony went all in. That is going to be a popular camera for broadcasting/documentary. https://pro.sony/ue_US/products/handheld-camcorders/pxw-z280

Super 16 crop at 2.5-2.7K (whatever it works out to) and frame rate upto somewhere in between the 4K and HD like 72-96fps would be nice.

I shared a video (or more than one), where one of the Blackmagic employees says that it does upto 100fps non-windowed.

She is so lovely... and I think there's some serenity of Yasujirō Ozu's style in this unpretentious shots that lure enjoyable smile as result. Maybe just to add one more angle as variation while she is speaking? I like the most this part/composition because of simplicity and combination of colors of wood/oldfashioned darkblue fabric that highlights subtle naive moves of her timid eyes...Maybe it can be pattern or the best foundation for an idea - to compose another version of little movie as a story of her virtue and virginity as deriving (and owing to) from her antique background...

I preordered from Hotrod immediately after the BM presentation and I can confirm that the Deposit is non-refundable line was definitely there when I ordered. I know for sure it was because it made me pause for a beat to decide if I definitely wanted to order at that moment.

Well, with working ProRes RAW on the GH5/s I wouldn't even consider a Pocket4K...

I've never used FCPX so I couldn't speak to that. It's been my experience working in the offline edit (generally in Premiere; I assume the transcodes were done in Resolve by the DIT, though) that ProRes 422 Proxy footage is unusable for anything except preview. Fwiw, it's always been Alexa footage, sometimes with a rec709 LUT applied, sometimes in log. Perhaps the Alexa, because it's fairly noisy and flat, is particularly unsuited for that codec, but generally I find it to have excellent image quality. I can't speak as well to LT, but I don't remember it looking particularly good, either. (I forget sometimes if the proxies were 422 Proxy or 422 LT since I think it varies by post house.) This is more anecdotal because I think Atomos' early recorders may have had a poor ProRes implementation, but generally I found the image quality from external recorders as compared with AVCHD out of a camera to be: 422 HQ > AVCHD > 422 > 422 LT That's with the caveat that while AVCHD edged out 422 overall, when there was a lot of camera motion or a lot of moving foliage, AVCHD was significantly more susceptible to macro blocking. So for many people 422 would have been better than AVCHD depending on what they shoot. Below that, LT was clearly worse. I was very surprised by this result since 422 is considered good enough for broadcast (some network shows used to and still might shoot 422 instead of 422 HQ to save space) and AVCHD isn't. To be fair, the difference was very small, whereas 422 HQ was a lot better than either. I don't know if that's due to Atomos having a poor implementation of the codec–I suspect it is–but generally I find the thinner flavors of ProRes to be quite poor and Proxy to be unusable for anything but... proxies. Also, you can't tell much by bitrate alone. ProRes is a DCT (discrete cosine transform) codec and less efficient than ALL-I h264, which is a wavelet codec, and that's only touching on the very basics of both codecs. ProRes is built for speed more than it's built for image quality. Again, just my experience. Of course it is all up to the client, I agree with you. A while back I worked on a few shows for cable (tier one cable, but still lower budget shows) that seem to work with thinner ProRes or DNXHD variants than most people on this board would consider acceptable, and the raw footage had substantial macro blocking, whereas prime time network tv seems to mostly be 422 HQ but again standard 422 also seems to get use, or used to. (Most people on this board have wildly higher technical standards than prime time network tv and indie film, closer to Netflix or major studios, which is ironic since for a while streaming had the lowest quality delivery codecs and it still might.) Still, I would put Proxy and LT both below even the tier one cable threshold and to my eye they are far worse than AVCHD, but I think AVCHD is pretty good. I don't know whether or not the BBC accepts LT, but imo they should not. I don't know if their standards are based purely on bitrate or also on subjective impressions, since 50mbps MPEG2 is much better than LT as it's interframe and I believe that's the lowest they'll accept (they won't accept AVCHD).

I hope your experience is not built from Final Cut Pro X Proxy editing. ProRes Proxy is fine if you dont want to grade the footage. For 4K 25p it's 151 Mbps which is a little low for ALL-I codec. If your plan is to record in BMD Film LOG with any of the Blackmagic Camera's ProRes LT is the best choice with good balance between image quality performance and storage space (about 302Mbps for 4K 25p)

-1 for my reading comprehension. Oops.

I think they mean the physical appearance of the camera. I quite like it. It looks like Batman's camera. In fact, from now on when I see 'BM' I'm going to read it as Batman.

No! Keep the ink for a paid (a la Sony) mid cycle upgrade, or give it for free (a la Fuji) and everyone will be happy!

In my experience the image is much worse than h264 variants, including AVCHD and Canon dSLR codecs, but the performance is excellent. It's a proxy codec, meant for offline edits. I wouldn't use it for anything else. It's not as efficient as h264 and the image quality is much worse, it's only built for speed for offline edits. Still, it's usually good enough to judge if footage is in focus or something so if you shoot with a built in LUT and nail exposure and don't expect to grade or otherwise manipulate the footage you could get away with it for certain content.

True, there's no definitive confirmation as of yet. But when you compare the M50's 4K output to that of the G7 and D7500, which are both confirmed to output 1:1 from a 4K crop of their respective sensors, it's noticeably softer and more moire prone. I suppose it's possible that Canon are just using a really poor codec, but the upscale theory seems to make sense given that Canon employed it on their early VDSLRs. As to why they'd be doing that, could be any number of reasons from heat dissipation to "product segmentation." We can only speculate. No, the 1080p uses the full width of the sensor, so it's probably the pixel bin and downscale technique that's believed to have been used on their sensors since the 80D came out. It's probably higher than full HD, but not 3.3K.

Less?!?!? With the ability to record directly to SSD? To record professional audio?!??! The camera is designed for video... An all this at less 1000€ than the Gh5...

Tanqueray at the back!! My favorite. I wouldn't evaluate the image of a camera from 2 screenshots and a mobile phone video. But maybe I am too conservative with equipment I haven't touched, or use.

If people took to the limit the cameras that they criticize so much, maybe they would not need to buy higher cameras that they do not even get 50% of.

Nice evaluation by a professional colorist on reduser on those images posted here at first hand: http://www.reduser.net/forum/showthread.php?166868-NAB-2018-Blackmagic-Pocket-Cinema-Camera-4K&p=1797545&viewfull=1#post1797545

Yeah I'm pretty upset my A7r II never received the "my menu" option. I've stuck with sony instead of fuji mainly due to sensor size and RS.

Errr.... you're bringing this up in a discussion about the Rode NT-SF1??? That isn't what this mic is primarily about. (although the NFS video could be a bit deceptive about that) The entire purpose of this mic is to capture sounds in ALL DIRECTIONS

Yes, I tried them all except last one from Fxphd. I also at the first place recommend fxphd's - I'd suggest, look around for early ones, Fus201 and Fus202 - Fusion doesn't change anything in its base using at least for 7 years. There's also great old course with Matt Lennard's own company called Fusion 3D, although for Fusion v5-6 (Lennard also was instructor on first fxphd's) - I have this dvd it somewhere, but I can't remember the name od Lennard's company to easy find a link. Early cmivfx's have plethora of more specific informations and examples - for example, there's still not, I think, anything better about using of particles than two courses from cmivfx. Fusion particle system was so advanced even before 8 years that it doesn't need any add (at the time where Nuke has no anything similar). Their not so long course about rotoscoping - which maybe the most important for Resolve users - is also great, concise and simple. EDIT http://www.spherevfx.com/videotraining/legacy/fusion-5-in-depth-3d/ correction - Matt Leonard not Matt Lennard

If you give half a sh*t about the footage I'd usually do at least ProRes LT, and I do that quite often when I know it is just for social media and the "editor" won't be doing much editing at all with it and yet would appreciate the smaller file sizes.

Seriously, though... I’m just joking around but really I don’t get why people are getting so fucking angry over a stupid camera... or even worse what some people on a nerdy camera forum think? If you like the GH5... then awesome.... there’s no reason to get the PocketII... really I’d prefer it. Isn’t there already enough footage floating around that looks exactly the same... do we really need more?

The cameras you are mentioning are S35, and EVA takes EF lenses natively. For a lot of pros, these 2 things matter. When you say "the codecs are better, the sensor is 5.7" then you mean that it is more expensive! GH5s is 2500euros and EVA is 6500euros here, certainly a lot more expensive, with all these new releases I would expect EVA/C200 to come down to 5000euros territory, or else a lot of people will have back thoughts about investing in them. The other day I was doing sound to a fashion internet tv thingy, and the guys were using GH5 with metabones and EF lenses, and the whole rig was close to FS5/C100 territory, price wise, a C100mkII would be sufficient 100%! And to continue from another thread, the small-ish(I am not so sure that is that small anymore) pro video market is definitely listns to every release. If you had Canon/Sony having the 90% a couple of years ago, BlackMagic (rental houses here got a few UMPs), EZ, EVA, Kinefity, DJI (in a sense) and I do not know who else, cut their 20% until the end of the 2018, then it is something. Maybe they won't get it in 2018/2019, for sure they will know when in 2022 they would have lost almost half of the market. The ability of having this kind of raw for cheap, will give to all the smaller players an advantage. How special the C200 will look -for 9000euros here - when there will be half a dozen cameras (including the pocket and kinedity with their own raw) offering raw, 10bit middle codecs for less, or half, or 1/5 of the price?! The market is changing, fast, faster than ever, and that is because of the small players.

I can see Panasonic giving it the ole college try with the gh5s in light of recent events.

I think this is good advice. Finding a camera that you WANT to shoot because it is enjoyable is going to be a very big factor in how much you want to shoot. Sometimes I dread shooting with my a6500... The dim, small and not all that sharp (yet highly reflective) screen, the stupid recessed record button, the funky menu system, the difficulty in seeing the AF point selection when using the touchscreen, the inaccuracy of focus peaking (at really shallow DOF apertures)...

Couldn't help myself, picked up a used one for $118. Can you program in animations to simulate flame or a flickering fluorescent or something? I've been looking for a budget magic gadget since years ago. Can you program color loops? Of course the trick with magic gadget flame gags is ganging up a bunch of different lights to create some real chaos, usually including a constant base source dimmed way down to a low color temp like embers, so one of these will never replace but merely supplement that. Aputure's approach seems to understand the need for being able to program in animations; recording a flame and then recreating it on a larger scale is sooooo cool. But even a poor man's version of that would be wonderful, especially for $118. Lighting with projectors as hard sources and RGB(W) displays as soft sources (look up Sony's Crystal LED technology) is sort of the holy grail of control. This is sort of like a super low res Crystal LED. And until then, Digital Sputniks aren't bad. They are too expensive, though. Hoping the app offers some decent control not just for color but also for animation. What are your experiences? Edit: just watched this video: ! So cool As for Deakins, I think that stuff is pretty common. I see a lot of batten strips/covered wagons and when I talked with the DP of the Sopranos he explained that most of their sets are lit by massive grids of 60w (or maybe 100w) incandescent lights on dimmers, at the top corner of each set. The approach is simple, always keep the scene backlit by those and then accent as needed. But you need to be very very good to dial in the details and of course the cost of constructing custom lights is often greater than just buying something fast and cheap and only justifiable or feasible on a big set in the first place...

Nothing to see here gentlemen, move along to the Black Magic thread right now!

Oh come on they did change the color of the ND Filter Knob LoL. But that is External.

Looks like a Canon release....

I bought the first version. It was full frame. (Film )