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This is a portrait I took with the Voigtlander 17.5mm and GH4 a couple of years ago. With all these cool M43 cameras out/on the horizon I wish I'd kept the Voigty set now. . . and added the 10.5.

Anticompetitive? Haha, now I've read it all. Give people more than what they expect for a steal of a price and some will still complain. Get a grip. Sell the dongle on ebay or buy another 'more competitive' camera for just over a grand that does internal 4k 12bit RAW and 10 Bit ProRes at 60p etc. The only thing ant competitive about BM is that they have just blown the competition out of the water. Argh, that's why I try to avoid forums like this. People always whinging!

This thread is called Final Cut ProRes Raw. The actual wb value must be saved in the file. How we know? First, Atomos CEO Jeremy Young says so: Then there is this clip You don't have to start playback, just watch that stupid lamp in this posterframe. This is probably with the exposure, ISO and WB the filmmaker intended. It's what you'd also get with ACR or Resolves CR, a serving suggestion based on the metadata of the file. That it looks like this here is an indication that the metadata are there and that they are read by FCP. BUT: FCP doesn't display them, nowhere. This weakness is just the tip of the iceberg. If it comes to serious color work, FCP just isn't the right tool. God is in the detail, they say, and I have found too many flaws compared to Resolve. This doesn't necessarily mean that PRR isn't interesting. If Resolve adopts it, I could edit RAW in FCP.

You do realize a lot of that metal is exposed and just painted black, right? In case you've never handled one, its not completely covered in plastic. So that would fit your definition of a body. As far as I know, there aren't many exposed bones on the human body. There are plastic bits tacked onto it, but its still the body, your responses are just some BS semantics "I'm right, you're wrong" game. I'll refrain from further comments on a BM P4k thread. Cheers

Hey, finally done with the trailer to our debut feature film at 55Media shot almost entirely on the Panasonic GH5 (some shots on the GoPro6 and P4P) in just 12 days. Our best work yet. Movie is still going through post-production. Production company: 55Media Director/Writer: Uche Aguh Director of Photography: Dennis Schmitz (me) Assistant Director: Ukairo U. Ukairo. Starring: Jarius Drew Sowells, Kayode Akinyemi, Vincent Ramirez, Thiree Pinnock, Julian Horton, Obum Nwankwo and J Shawn Durham as 'Daddy G' Editing done in Premiere. Colorgrading done in Davinci Resolve. Dealing with the usual quirks of this camera, but results are still great. More information: www.imdb.com/title/tt7928156 www.55media.net

Great test. I'm not sure I'm any the wiser about motion cadence but after about 55 seconds of watching that pendulum I definitely felt that I could've been prompted into giving up smoking and getting over my fear of flying

I set up these cams (although more carefully aligned in the actual video) Details and settings are in the YT description.

Wow! This is great! I talked to Photodiox at NAB and they are considering making a M4/3-to-EOSM adapter, so it might be possible to use a Metabones BMPCC speedbooster with this scenario! Thanks for the update!

Ehhh, not so much outside of their own sensors and AF. Sony takes the best sensor and then finds every way to cut corners in order to maintain margins. UHS-I card slots in a 42mp camera, no intervalometer like literally every other brand has, no PP's on the flagship and so on - SMH. They rolled with that crappy 28mbps AVCHD for a couple years past its shelf life and now we're seeing the same lazy 8-bit, 100mbps video in every subsequent camera they've released. A73 video looks like a lot of NR at higher ISO's, its smoke and mirrors with the blogger junkets raving about revolutionary features (eye AF, HDR video!). The gulf between the alphas and the FS line is pretty wide. And with the recent mk3's getting the same lazy video spec, it'll be awhile before anything changes since we probably won't see a new a7 body for another 2 years. The a7s3 is still a mystery at this point and at best it gets 8- 4k60p, the FS5mkII showed exactly where the alphas will not tread. They haven't even added higher bitrates or 10-bit to the alpha lineup - Canon will have a raw hybrid camera before Sony. But I agree with Jon, the first big player with raw will be Panasonic IMO, because as a hybrid camera Panasonic falls short on the stills side, so they need every edge they can get on the video side. Geez, Fuji has even passed Sony on the video side - again my opinion - but the 200mbps stuff out of the XH1 is a step above what the a7's can do. For all their technical prowess, they're hell bent on protecting the FS line, compared to the competition Sony's video has become just meh... All I can say is I'd be genuinely shocked if Sony is first to raw in a hybrid. I hope sales of the P4k move into GH5/A7s territory or even exceed them, that's the only way the bigger players will respond - when it puts a dent in their bottom lines. Sadly it'll likely be a small volume enthusiast niche camera, leaving us stuck with incremental "upgrades." How long has it been since the original Blackmagic Cinema camera - that goofy silver box with the crappy rear screen? Its been 5 or so years, right? Still no sub $4000 raw from any of the major players. Chris

I was/am lucky to had/have all BM cameras under Ursa line and all GHx. From my experience I can say just what you and most of other members already know: shooting in raw is, after all, exclusive and most important value of BM vs Panasonic. Actually, in version P2 it may be also and monitor, but if its quality is as P1, than - not. Everything else is unimportant for those who enjoy shooting in raw. Price +/– 500$, viewfinders, battery, rigs, cards, all of that is, I think, secondary... For me, personally, even higher bit rate, even sound. But - raw, in fact, nowaday doesn't mean any significantly better final image comparing with great codec-science of newer GH5/s - power of raw is in the process of shooting. It still provides more freedom and left much more time for concentration on compositing process and polishing aesthetic before clicking record button. Mistakes of WB, even a worry about light, are completely or much more forgiving with raw. So, for those whose primary goal is concentrated in highly accurate and controlled filming (be it 1 hour on a day or more) - raw means more enjoyable (less painful) action. Shooting in raw is more similar to act of painting once when problems with rigging/stabilization are solved (which is not easy with BM! and that's why I am, as compromise, settled with GH5 ) - someone can more easy "lost" himself in quasipainting shooting because of higher simplicity of mobilized actions. Further more relaxant using of files in postproduction has also, I think, some similarity with bigger painter's palette. Having said that, Panasonic non-raw codecs are also some sort of technician's art - after using all models in line from GH1, for me it is impressive how much grading potential have 10bit files after continual codec progress/refining. That's all from my perspective, experience and equal love for BM and Panny. I must admit that I'm, in fact, using Panasonic as BM with stabilization - don't liking too much usage of slow motion on narrative, for me might be enough just 24p, and it always turns out that I'm somehow too stupid for proper usage of AF lenses... so I've tested and sold near all AF m43 lenses, even Oly 75mm... (Turning around mechanical aperture ring also calms me down... of course, with "buttery smooth" mechanic focus ring I'm already in the little private heaven.)

Did you read BMCuser after the C200 was announced... I think there may have been some laces dangling from their mouths.

I dont think its that easy. Its a matter of taste. If you like BMs color science the camera is a big deal for you. If you dont like it, you dont have to buy it. But my BMPCC has SO MUCH MORE skin texture at proresHQ than i have seen in my a7s II, or a6500, or in any DSLR/M footage that iam pretty sold to BM when it comes to "aliveness" of skin. Maybe i could achieve a similar result with proper post-production but thats time. And time is money. BM does also try do achieve a pleasing grain instead of digital looking noise. I guess thats why they call their cameras "cinema". For small file sized just shoot prores proxy, or prores lt in full sensor FHD. Just bake in you own lut and you may not even have to "grade" in post. 5 axis is cool, but there are also good IS lenses out there for run&gun work. Wide lenses can be handheld even without IBIS. AF is a thing for some but iam glad that they did not put their ressources into improving that at the first point. Personally i like MF. Just feels more handheld to me and sometimes, selfmade, organic focusshifts can also look more natural or interesting than AF failure. Which will happen. In the end its all personal taste. For me, i can tell, i was so eagerly waiting to get the look and feel of my BMPCC footage back but since i do a lot of run and gun i am in the need of a more full-framish look, slow motion and low light capabilites. My clients do love the look, its way more obvious to them than colors. Most of my stuff is produced for social media, so it also suffers from bad compression rates in the end. Meanwhile the sony footage always looked dead and flat to me. I learned to deal with it to some amount others would call "no difference" but i see it, so yes, its just about me. But i also cant listen to mp3s anymore because they do lack so much of dynamic and they sound compressed compared to CD quality recordings. When i show it to others, some notice the difference immediately and others are like "huh, sounds the same". I guess last ones are also happy with DSLR/M footage ;-)

I have recently got for my old Pocket a good power solution. It works more than 5 hours with this power bank powered by 5x hi quality 18650 batteries. You can also put it in a cell phone tripod mount to attach it to the camera. You need to get a LEMO connector to power a new BMPCC4K. 1. Power Bank 5x18650 QD 185-TY ($20.8) https://www.dhgate.com/product/18650-power-bank-case-battery-holder-output/388633847.html Size: 13cm* 8cm*2.0cm (5.1' x 3' x 0.8'). 2. 5x VariCore New Original 18650 NCR18650B Rechargeable Li-ion battery 3.7V 3400mAh ($14.7) https://ru.aliexpress.com/item/4pcs-lot-2015-100-New-Original18650-3-7V-3400mah-NCR18650B-Lithium-Rechargeable-Battery-For-Panasonic-batteries/32433452171.html 3. Universal Cell Phone Tripod Mount ($3.9) https://ru.aliexpress.com/item/OOTDTY-Universal-Cell-Phone-Tripod-Mount-Clipper-Vertical-Bracket-Holder-360-Degree-Adjustable-4XFC-Drop-Ship/32833106727.html 3. 2 pin LEMO connector for BMPCC4K ($7.3) https://ru.aliexpress.com/item/LEMO-Connector-FGG-0B-2-3-4-5-6-7-9-Pin-Male-Connector-0B-FGG/32836029840.html

Petition to start a thread called Blackmagic Pocket Cinema Camera 4K Footage, for footage, if there ever is any

I'd love to stop talking about what materials Canon cameras are made of and if resolve should or shouldn't be included. Seriously.

Seriously, do you not understand how business works? What do you think the scale of value is for camera parts vs a resolve license? Obviously BM wants people using their software but if you really think this is anyway screwing people over you are kidding yourself. The value of the software is insignificant for them vs hardware cost of the camera.

Light bulbs over your head? That sounds like a smart idea...

Here is another unique use of ML https://petapixel.com/2018/04/10/this-short-film-was-shot-at-2520mm/

That risk might be minimized by disabling the "Release shutter without lens" function in Custom Function menu (C.Fn-7?).

Thanks, that's good to hear. Hopefully this adapter will appear soon. Would be amazing to use the BMPCC speedbooster, which in this case would provide an equivalent crop factor of 1.93x. Could be risky though as the EOS M has a mechanical shutter which might hit the back of that speedbooster but I suppose it's possible to shoot video without firing the shutter.

Interesting quote from John Brawley about the cooling on the P4k: "Like all other BMD cameras, the fan is a constant on and hasn’t really been a problem as far as I’ve ever “heard”. The camera doens’t cool with a fan. Like ALexa, they use a solid state cooling system, piped to a heat sink. There the fan ensures the heat escapes quietly. So not like a Sony or RED where you suddenly get loud fan noises. Like an Alexa where it’s constant and quiet."

We're getting close to this capability on the EOS M. As mentioned in the main EOSHD magic lantern video thread, the magic lantern people found a way to hack the SD card writing speed on Canon cameras, which on the EOS M would mean being able to shoot at max 2520x1072 continuously in 12 bit lossless raw in 5x zoom mode (2.35:1 aspect ratio), as opposed to just 5 seconds max recording time. The crop factor at this resolution is 3.33x which is between 16mm and super16. With a speed booster, the crop factor would get pretty close to micro 4/3. Someone has already successfully used this SD card hack on their EOS M, although for now it remains very experimental and possibly dangerous for the SD card - see his forum post here: https://www.magiclantern.fm/forum/index.php?topic=12862.msg199939#msg199939 and his video shot at 2.5k below

I can agree with your first point. I am the hobbyist market that would love to shoot with one but can not afford it. But I also think Canon is segmenting their line up so much, that there is a camera for everybody’s needs. The C200, in my opinion, is solely for micro budget narrative, documentary and music video work. This is a camera to use when you have a small budget and a tight schedule... When you’ve scheduled for a 3:1 shot ratio and you’re trying to compete with short films or features that are shot on Alexas. Obviously, it’s not as good as an Alexa, but it will get you nearly halfway there. That was obviously a lost in translation title. We all knew what he meant. On a side note... A few years ago I was driving through an urban area and there was a billboard with a McDonalds ad. The ad showed a huge Big Mac and Ronald McDonald eyeballing it with crazy eyes. The caption read... “I’d hit that.” Hahahahaha. Obviously, nobody in the McDonald’s ad approval department realized that “I’d hit that” was a sexual slang phrase. So instead of proclaiming how much Ronald wanted to eat that Big Mac, in actuality their advertisement proclaimed that Ronald McDonald wanted to have sex with the Big Mac.

If that happens I'll eat my shoe.

Well, that's still ten years away. But color science and price are factors.

Actually it does seem to suggest having AF (even if it's as bad as the one on the GH5 and GH5s), and the Bluetooth is for monitoring. If it does monitoring well enough, one may not miss the articulating screen (and maybe use a phablet or tablet for monitoring instead). Bluetooth is far lower energy than WiFi, though the question is how well can it be used to actually control the camera. I guess more questions will keep getting answered as the actual product starts hitting shelves.

Maybe I'm wrong, but from my experience with these two Sigma's zooms - they are not quite appropriate to provide SOOC smoother image. Or maybe they even are not at all appropriate for such preference - because their concept actually accentuates the same that trait aimed also with Panasonic's inner softwer-over-sensor manipulation. Using of speedbooster just amplifies effect even more. But, of course, using of filters and accurate grading direction can make everything mellower. I'm sometimes forced to think that many members on the forum actually rarely used modern grading softwares even to the level of at least fraction of their capacities. To put it simply, with reaching enough reality-reproductable level of resolution and DR, near every distinctive inner software/color characteristic of cameras can be replicate by usage of grading process - even by not too deep one. And anybody who tried to learn some indeed hard-to-comprehend software that required whole life to mastered - mostly 3D such as Houdini or Maya, but also to a lesser degree serious compositors - will find that even Resolve is actually very easy, simply because of enormously lesser variables and equally enormously bigger level of subjectivity and tolerable try-and-repeat paths and effects. It seems to me that creator(s) of this short movie didn't bother/worry with look that gravitate to, say, such of an prestige TV production - maybe they just like it, or they thought it is better choice considering content of movie - of course sharp, aggressive, disturbing, distracting... BTW I'll be free to take opportunity and write to you what I thought: it'll be so nice if you also make some short movie, or more narrative presentation with Huang... It is so nice and interesting how you and she, despite of generation difference, actually grow-up together Maybe just she as reciting some illustrative verses in illustrative changing visual moods... Or omnibus of situations, it is so close to Eastern spirit, as Kurosawa's Dreams, or different "Monogataris"... Who knows, maybe you'll decidedly help her to become a new Ziyi Zhang... ZZ about

Exactly. This camera could be priced at $2000 and it'd STILL be a steal.

This looks so cinematic to my eye! I don't know if it's because of the unique event, location, live sound, good compositions or what else, but at least half of the shots definitely look like out of some car racing movie. Very nice I see you've shared the lenses used, but what about picture profiles and your grading settings?

You can read rec_709 above the RGB parade on the upper left. They surreptitiously fixed all but one third of the two existing bugs concerning Color Wheels and Color Board. To recap: Wheels didn't work properly in 709, Board not in 2020. Now if you open an existing project with 10.4.1, FCP forces you to convert it. Why? So that everything looks like before. Nothing of he CC work you performed was destroyed. If you test the tools in the existing timeline, the bugs are STILL there. It's only when you add a new clip and apply wheels in 709 or board in 2020 that you realize the bug is gone - almost. The shadows in the Exposure tab of the Board still have the bug. On the one hand, kudos to how Apple handled this without ever admitting there were bugs. Then again, why don't the shadows work? Beautiful as always. The subtitles jump. A long line runs from left edge to center, two short lines are centered. Irritating. Don't know how to fix his, never tried Closed Captions myself ... EDIT: Shadows work neither in 709 nor in 2020, neither with the Wheels nor with the Board. Not sure about Midtones. Highlights work everywhere. Tells me once again that Apple is no expert for color.

^ Reading the comments, URSA is on the right there. I actually prefer the GH5.

The body is magnesium. It’s wrapped in a stick on grippy vinyl material. Check Canon’s website. There’s really no debating this.

1. Amazing. You can get some very affordable and fast usb-c SSD drives. Three options to record is pretty great. 2. Not for me. See point above. 3. I'm hoping you can use something like an Anker powercore through USB-C. I'd be satisfied with that plus a few LP-E6s.

It would be nice to have the option to exclude it, but at the price I don't really care. If the camera were 2,000 with resolve then I might be a little more upset.

The injustice is clearly entrenched!

Wow, just wow. I feel so sorry for you for feeling the urge to state sth like that.

This is what Grant Petty had to say when they acquired DaVinci in 2009. "When we were doing the due diligence on DaVinci, I saw a $50,000 price in the price list if you bought a secondhand system, and now wanted to be supported by DaVinci. And not only that, you're paying upward of $80,000 a year for support contract after that." That was just the service charge price you paid to get it checked out if you bought a second hand one. At that time he was talking about getting the purchase price of the high end systems down from $850K to $500K At $1299, I'd say its the camera you are getting for free and not the software.

If you don't mind a bit of a project.....? You can start and stop the MixPre 3 with keyboard commands on its USB port (CTRL+R and CTRL+S) and the arduino boards like the Sparkfun Pro Micro have easy programmable functionality to emulate a keyboard. They can also be used to make LANC controls (with a minimal amount of breadboard action ). So you could make a very simple (and very small) box with a simple push button that would start/stop the C100 over LANC and also simultaneously start/stop the MixPre 3 over USB with the TC being passed via HDMI from the C100 to the Atomos to the MixPre 3. Or even a small HDMI splitter if the Atomos is stripping it. The little box would actually be powered by the LANC port of the C100 as well.

I agree. This is what prevents me from buying a C200. The C300ii is much more suited for the work I do. Recording long interviews and mic'd up b roll for 30/40 minutes at a time. You can buy a recorder, but that takes away from what makes the C series so awesome. Raw seems suitable for the hobbyists and the top pros, but not the in between. This depends on the scenario of course.

That was the first Nikon lens I ever owned as it was the kit lens with my EM when I was but a pup! If you come across the 75-150mm Series E it is also a bargain. I regularly see them on eBay for less than £40. The 100mm f2.8 Series E as well is worth a look for what they go for as well. Really compact little thing.

Cinematographers use diffusion filters on the Alexa and it’s only 2.7K, 3.3K at open gate. The problem is camera resolution has been decided upon by monitor and TV manufacturers. Now if you don’t shoot 4K, your image supposedly doesn’t have enough resolution? In my opinion, I think a Pocket 2 could have had a 2.5K image and be equally as appealing. 4K at this price point, is usually best for downscaling, so it will be interesting for me to see what the downscale looks like from 4K P2 footage. But for the most part, I’ll shoot 1080p at the two base ISOs, on a clean sensor, with cheap SD cards. I already have a bunch of Canon batteries for my 5D3, so if battery time is bad (I suspect about 30-45 minutes) I’ll just swap them out. I’ll get a Rode NTG mic, and maybe a couple XLR lavs, for in-camera audio and have an amazing little, run and gun cinema camera... no need to rig up this little beast.

The Alexa Mini in open gate is a 7.5mp camera... I haven’t heard many people complain about detail. Obviously the P2 won’t be nearly as good as an Alexa Mini, but there is a reason why the P1 was often referred to as a Baby Alexa. But yeah if you prefer Red over Alexa, you may also prefer sLog from the a6500 over BMDFilm on the P2.

GH5: IBIS/EVF/AF/UI/weatherproofing/stills/etc

Absolutely. I believe he says it at 2:40 or so. I could be wrong. Actually each and ever interview with Pety and the Blackmagic guys is interesting. Because they all give interesting information Including why they didn't put ProRes RAW on it and whay he thinks about it.

Sorry to remark: for the vital part (concerning "little or no advantages") it is not true. I am shooting every day (well, not exactly every) between internal and external on GH5. First, for some reason DNxHR codec works better than ProRes on Atomos. Second, there is significant difference especially in greatly suppressed Noice Reduction, but also in noticeable less sharpening with externally recorded DNxHR HQ. What previous poster, to whom you answered, stated is, I think, simply too superficial (or maybe naive) impression - "details" confused with absence of heavy correction, while at the same time claiming with obvious insulting tendency/dictionary about oversharpened rubbish - which get several likes of like personе. As @Jonpais put in the words my already long resource of enjoy: efforts of degrading to the zero quality of GH5 image in this (so often) theater of many omnipotence personalities are so funny and sympa. What is even more funny is to read how the same people that yesterday glorify GH5s or Fuji or what else new (actually, I believe even GH5 at its dawn) now started to minimize everything to favor of yet unseen new BMPCC - camera with modest un-cinematic m43 mount... Because RAW must be so great! - so, thanks for such original and powerful discovering - from these so powerfully sounding and discovering mouths.

I really like the ergonomics for such a camera, that I probably use with a speedbooster, or bigger lens, not so great with m43 lenses, even GH5 is a little more in both size and weight for my taste (even the 12-100 Olympus is too small and light for such a camera). It is actually a bit shorter and has less depth than the Panasonic, and obviously wider because of the 5" screen. I would really prefer a 4" screen, as the best compromise on-a-camera-monitor, and obviously some kind of hinge, preferably the kind of Samsung/Sony has that doesn't take any space from the side of the cameras, and help with lower/higher shots, but for the price, I really can't complain, can I?! If everything goes well, and nothing "better" (= more preferable for my case) exists until then, this is a certain buy. Just can't see how NOT having one for the price. I already have 4 mirrorless right now, I can sell a couple and get this as a more video orientated camera. It is that cheap. On the other hand, this is not a hybrid, nor a photo camera, I can't see that it will replace my hybrid system, or my photo taking machines, so I believe all this negativity against Panasonic is unfair, and really unnecessary as there are at least 5 things that GH5 does A LOT better than the Pocket (and a few more that Pocket doesn't do at all), and the most important thing, is that you can take it right now, and make a video. I doubt anyone here can say the same for the Pocket 4K! GH5 is 1 years old, and shaked the industry well. It sold amazingly well for such a camera, there isn't a company or a group of people that are in the business that do not have one, just in case. What it does is just amazing for the price. I mean, what were the other options last year? What are the other options right now, for less than 1800euros? There isn't any, really. Also, if you need an Alexa, you take an Alexa, how the GH5 is in the same conversation with a camera that cost as much as dozens of GH5, (multiple dozens, and add a couple of GH5s dozens, for good measure!) it is seriously above me. Do really people think, that Arri is doomed because of the Pocket then? We started from killing Canonikon, then we moved to Sony, today we killed Panasonic, and now we are moving to Arri, in just 24 hours!

I'm proud of the fact that I have now finally caught up and read EVERY post on this entire 50+ page thread.

Storm is coming... SD Card writing speed hack If you are familiar with the ML possibilities, you already know the best RAW capable cameras are those with CF card. The CF Card interface is capable of 70MB/s writing speed with 5D2, 75MB/s with 7D, and 95MB/s with 5D3. 6D / 700D which has SD interface is only capable of 40MB/s, limited by the camera and not the SD card. Now the ML team are pumping up the SD card interface writing speed. It seems like the 40MB/s can be raised up to 70MB/s or even further. That means the 700D will be able to record in 2520x1072 continuously I hope they can make it stable

My new video, filmed mostly with canon XC10.

There is not one f ing ounce of Magnesium alloy that touches your hand when you hold the camera. It is All Plastic you hold, every square inch of it. Jesus I think Kindergarten has let out. The "Exterior Material" is not a metal, zero of it.