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I thought they’d already discontinued the pocket ? Watch that become a cult camera if it isn’t already. I think they’ll keep the micro going for some time. It’s really a different camera. In the photo above the camera has a wooden camera cage, a Noga arm and a BMD 5” VA as the operating monitor. On front is the SLR Magic 10mm T2.1. I’m manually focussing myself, using peaking on the VA. By way of example almost all of this promo is either Ursa Mini Pro or Micro using that exact rig. This whole scene is shot Ursa Mini Pro I have used a LOT of Ursa Mini Pro and Micro in the resident. Not just as an insert camera, but shooting whole scenes using only the Ursa Mini Pro. Most scenes have a mix of Ursa Mini Pro and ALexa, and I’d estimate more than 40% of the show is Ursa Mini. I tend to use the micro camera for these kinds of surgery shots where I can very easily reach into the scene and get super close before diving down to almost inside the surgical field, and then transitioning back to another actor. It keeps it very agile and alive shooting this way. I’d anticipate the Pocket 2 will replace this rig for these kinds of shots. JB

It has been reported that ProresRAW bitdepth depends on what the camera sends. So for example it can be 12bit like with the FS5 or 14bit like the Varicam. While the linear 12bit signal is limited to 12 stops of dynamic range, one 12bit ProResRaw example from the FS5 looks great: It appears that ProresRAW is very efficient both in the data rates and the playback performance. I am sure Resolve will implement it at some point and when that happens we will probably see an update of all BM cameras to support it as well.

I have no idea. As far as I recall, they only did that once with the pocket. And I do love using the pocket / micro to get shots I can't get any other way. JB

My guess is BMD were considering ProResRaw support during the NAB launch but may not anymore. First of all as mentioned, BMD already supports Raw & ProRes. Adding ProResRaw isn't as simple as just adding an extra codec to the camera. ProResRaw works primarily on the NLE side ( Demosaicing and processing are deferred to the time of playback and are performed by application software.). This means BMD would have to also develop and ensure full compatibility with Resolve, which they have just released a new version and probably aren't eager to mess with. I also suspect Apple have developped ProResRaw in an attempt to sell/convert more editors to FinalCutPro as the official ProResRaw white paper specifies: Final Cut Pro includes a streamlined and GPU-optimized demosaicing algorithm designed to meet the performance demands of real-time, multistream video editing. So it could also be BMD aren't eager to support a codec that may make their Resolve users switch to another platform and/or hinder current Resolve performance. Unlike other camera manufacturers, BMD's hardware is very tied to their software package. In addition there may be high licensing fees both for camera & software dev tools that BMD just aren't ready to deal with on both ends..

https://www.fxguide.com/featured/boom-times-the-wolf-of-wall-street/ This article says they used a C500 with the Gemini recorder (12-bit) and shot in 4K. Actually worth a read besides that too.

I wold expect a new mount and any FF camera to have a F mount adapter ready to go. I don't give much to it being the "same" old F mount as while yes, the lenses will mount to all the cameras, they don't all work. Geez, there are still current cameras that wont work at all with the latest E lenses and then all those bodies without a screwdrive motor and all the bodies that can actually be BROKEN using some older lenses! I wouldn't be worried about Nikon F mount adapters for mirrorless though. They even had adapters that can auto focus some of those old manual focus Nikon lenses on some Nikon cameras too (1.6x) with a couple of old adapters (similar to the ones for Pentax, Sony and others- there was even one that auto focused Nikon lenses on Minolta/Sony A mount cameras). Whatever they do, I am sure it will be great but they need to do it soon (as do Canon).

" Show me some cinematic looking footage shot with this camera" - shows cinematic footage shot with the camera "They could make any camera look good" Yeah we all know that the skills of those shooting are the most important factor in terms of end result. But you asked for cinematic footage from the camera ?? One of those skills though is also choosing a camera / lens package. There have been Zeiss super 16 format Superspeeds as long as the 35mm format ones have existed. They're great and actually pretty cheap. Mostly in AB or PL m ount which can be easily adapted to MFT. Unfortunately at this price there are many users that are new to filmmaking, or maybe see filmmaking as a hobby. Blackmagic are exposing many users to a RAW or even high DR LOG workflow for the first time. I see people slapping on LUTs designed for other cameras, not bothering to grade or even learn Resolve turning out half arsed results. But. If you're willing to step up YOUR game, willing to LEARN how to grade within this workflow, the camera will not hold you back. The codec will not get in your way. It won't guarantee success either, you still have to be able to light, make nice frames and have a plan. But you won't hit a ceiling with the camera very quickly in terms of image fidelity. JB

I pretty much use the terms "guerilla filmmaking" and "run and gun" shooting interchangeably. They're both war metaphors. The shooting style is applicable both for when you have permission, and when you don't, when you have actors, and when you're filming real people. There's also "one man band" which fits in a similar mould. To me run-and-gun is a relative term. A Hollywood person might use it to describe a crew of 10 people, LOL. If there is a difference between the terms it's that "guerilla" implies an ethos - get the film shot by any means. When I shot the piece below, for instance, I never had more than two crew members and was usually alone. All of the rooftop shots were a location that we sneaked onto (and setup a slider and handheld LEDs, ha). The terms guerilla, run-and-gun, and one man band apply to nearly every shot:

I assume ProRes Raw will mature with future updates to Pro Codecs and FCPX. Re: Jon’s critique on that Pocket cam video... Obviously, being a fan of the camera and owning a couple of them over the years, I’ve seen that video, and although it has some IR pollution, I really like that look. It’s very analog and reminds me of a very distinct “indie film” look that was popular for a while. So for grabbing a camera and a lens, I think the kid was very successful. @John Brawley any chance BM is going to reduce the price of the Pocket or Micro... or maybe another Summer sale?

Fingers crossed for a D5600 update with no crop 4K and focus peaking in 4K!

Prores Raw does have advantages. It can be edited natively in Final Cut/Premiere (hopefully) and it's extremely CPU efficient. Cinema DNG not so much. It would basically be similar to working with R3D files only a little larger in size which is the one thing that turns people away from RAW in the first place. From what I understand there are some problems with it. Firstly, I believe it's 12-bit linearly encoded which is awful. 12-bit linear encoding is what the original REDONE caputured. Log encoded raw or 16-bit linear is much better for preserving color information. Secondly, a lot of color science stuff is contained within the CinemaDNG format which likely doesn't translate over to ProRes raw. I could be wrong about those things, but it definitely would be a nice feature to have when you want the convenience of ProRes with raw data.

My bad, when you said everyone, and then named me on your post, I assumed it was directed at me. You know what they say: to assume is to make an ass of u and me.

No did not try it. The fan is audible. I think if the light is within 2-3 meters of a shotgun mic it could possibly be picked up. But I could have lived with and put the light further away. However, the spot is only down to 25 degree, I wish it could do 20 or better 15 degree and I wish it was lighter. They tried to make a clever design. And it is pretty well made. But it comes at a cost, which is weight. There is some kind of a heavy heat sink inside, the body is partially metal and once you add all the stuff to it, it becomes to heavy to travel with, unless you want have a few pieces of luggage. Now I'm looking at the Aputure 20. It's not as powerful, but it seems lighter and it spots to 20 degrees which is better than 25. The daylight is rather cool. But I wanted to use it as a kicker mostly in the project I had in mind, so I can put on a CTB gel and get nice bluish kick hair light and use some thing softer as a key. So that's my plan for now and how I'm pre-visualizing my shots for now.

Seriously, great video! I consider all the action cams unacceptable for me. What I use mostly (not waterproof) is an old NX3000, an APS-C 20megapixels very very small mirrorless woth the native, tiny amd great 10mm 3.5f fish eye. The 1" Sony must be great as well, but the other option cost me less, 3 years ago, and arguably the quality is great.

The quality of the final video is pretty good for a gopro! The flare is caused by greasy lens, you can avoid it if you are not using the skeleton case, but the frame. Of course in this case the camera is no longer protected against the elements. Almost all of the action cameras are using the same sensor, the low light performance is most likely the same. With the gopro's you can use a special professional mode where you can turn off all of the precessing. For this mode you need Protune 2.0 capable camera so Hero3+ at least. Use the usual Protune, Native WB, Flat settings, fix your shutter speed (1/50-1/100) and instead of "max iso" choose "fix ISO" value. In this mode the in camera noise reduction turns completly off. In this case you get a very detailed (and of course very noisy) results till iso1600, but after NR the final footage can look better.

Older blackmagic cameras with gen1 color science (BMCC, BMPCC, Micro, etc.) have much less sophisticated color science than the modern Blackmagic cameras. They look good with nice dynamic range and good skintones, but when you want to match them to better cameras, it's a little bit harder. It probably has more of a baked-in look that people prefer. The color science of the newer 4.6K Blackmagic camera is very nice and matches much better to higher-end camera systems. I think mainstream is a good thing with this new Blackmagic camera as it will get their name out there even more to the general public. If they sell a large enough volume of cameras they might even make other manufacturers reconsider the features they're putting in the cameras which will benefit everyone.

It may sound like I’m a newbie to stock footage/photos, but actually I still have a portfolio of footage which I put up onto a few agencies about ten years ago. I just want to get back into it again now as I have a bit more spare time. You are absolutely correct in not being able to predict what sells. My best selling footage is a of a hand (mine) putting coins into a piggy bank, I shot that on a Canon 550D (T2i) 8 years ago with the lighting setup, shoot and editing taking not much more than 20 minutes in total. It’s an appealing business model whereby you can have a long earnings tail from your portfolio, but I am the first to admit that it is really competitive and very hit and miss. You also need a huge number of clips to get over its randomness, I’m not considering this as a main earnings stream, but more of an add on to my client work and other earnings streams.

That's my Niece for you. She laughed and got on with it! You can install the picture profile with or without ML installed (ML was installed on mine). Those grades were pretty testing too -- I personally didn't see any noticeable reduction to image quality. Test away, man Nikon F Mount Carl Zeiss 25mm -- B

Yeah it really is. And this was shot in ProRes... stunning. To be honest, I am a little bummed out by the Pocket II. It seems too mainstream to me. Like it’s neither here nor there. I much rather would have had them build on the original Pocket/Micro but with a 2.5K image. Until we see footage, it’s all conjecture, but I could see myself scooping up another Micro for cheap and be happy with FF Raw from my 5D3 and S16 ProRes from a BMMCC. With that being said, BM does have to be commended for the price point/features of the Pocket II.

I agree with not comparing it to a new 4k camera, but this is the best I've seen from that sensor (BMMCC tho)

While F mount will be convenient for all the people that have Nikon lenses, and for Nikon to make sure there is a large selection of lenses already for their new camera, I find it unlikely for two reasons: 1. It unnecessarily increases the size of the camera. Both due to dead space in the camera and because it cannot reduce the size of the wideangle lenses. 2. Camera companies make a lot of money from lenses, so I doubt they will miss on a huge opportunity to sell a ton with a new mount. More fun than a Canon 4000D

If this is true, then it’s quite possible the entry level models may have this new X mount and the pro FF will retain the traditional F mount? I was waiting for my GF yesterday and had a minute or two to look at the camera section at Target... it was bleak, but they did have a Nikon D3400 on display. I was surprised to see it has the Flat Profile. And the kit lens’ VR was rock steady, with a great little zoom ring... seemed sharp and clean too. At $300, not a bad little pocket camera. The damn thing was TINY too. So if their entry level mirrorless cameras can offer the Flat Profile, zebras, and focus peaking on an aps-c sensor... even at 1080p... they’ll have a little winner in my books. Hell, I may go out and buy a D3400 for some inconspicuous shooting... it looks like a lot of fun.

She popped right up like a trooper and didn’t miss a beat though... good on her! So, I assume I have to load the picture profile before I change the firmware to ML, right? I used ML on the EOS-M years ago to test Raw, but wasn’t a fan of it on that camera. The bitrate hike may be perfect though. I think the EOS-M already had a slightly higher bitrate than the other Canon cameras of its time, anyway. Yeah, I’m really just looking for a little more wiggle room. The grades on your website show you can do a lot with it... more than enough. Cinestyle is a bit much, but I always liked Marvels. Definitely looking forward to testing them yours and Marvels... if my stupid job would slow down for a few minutes. Was that the C-Mount Tevidon 25mm or the M42 25mm? Either way, wicked look.

Sorry for the late reply. Been out of town! Yeah, laughed my ass off too when she hit the ground :D. Thanks, bud. These little cams have got so much to offer that it's a shame they're discarded like some kind of antique relic from the past. I personally find them more enjoyable and more satisfying to use Yep, I used Magic Lantern. My personal setting is 1.3x bitrate. I've found this is to be the best balance between image quality/file sizes for my needs. I don't see the point in creating big file sizes for minimal difference in quality (especially if uploading to YT, Vimeo etc). My profile isn't intended to be compared with Cinestyle or Marvel. For me it was more of a case of trying to create something like a -6 contrast option with a smoother transition between shadows and highlights. Pushing the 8bit codec in these Canons just produces muddy/noises images that I personally think is not very pleasing to look at. You'll def see the difference between Prolost and my profile. It's def worth checking out if you're looking for a little more wiggle room in your image. -- B Thanks. I used a Carl Zeiss 25mm prime lens. Ask away, man. I have nothing to hide! -- B

Ah so the P4K does have IBIS! (In Built Instant Stick)

Thom Hogan has been saying two entry level mirrorless APS-C bodies in the US $500-$1000 bracket to be announced in the next few months followed by a full frame around US $2,000 four or five months later.D5600 is already due for update perhaps it is the last of the D5000 series ??

Those Netflix originals (and the most recent Sundance feature I worked) were released last year. Things are moving fast, but large professional markets are the slowest to catch up. And frankly, most festival features don't have the budget to finish at 4k. I'm just offering my experience, maybe elsewhere things are different. For stock footage I totally agree you want 4k bare minimum, fwiw.

For personal work, I don't care about 4k or 10bit. But for stock footage I think you do want to shoot 4k bare minimum. Beyond that, just do a cost/benefit analysis if something even higher end will improve your client base. I don't think you need to worry too much about bit depth, though... Because for stock footage I don't think the requirements are as exacting as you think. BBC specs are for the A camera. B cameras can be whatever. No studio is going to reject a lone clip of stock footage because it's 8 bit instead of 10 bit, that would be insane. The difference between the two is usually invisible anyway, except for HDR or with thin codecs or poorly exposed images. It's only if the image doesn't hold up subjectively that a client would turn it down. In fact, the bigger question is what database you're on. Some networks won't use Pond5 because their clearance system isn't rigorous enough. I worked on a Netflix show and the footage itself was all 4k raw but the stock footage was whatever worked, like anything HD would be fine. I remember on Wolf of Wall Street (which I didn't work on, I wish I could have!) they used iPhone 5 footage for a shot. I never noticed in the theater. Some of the drone footage was also 1080p 8 bit (C500 but without an internal recorder). I didn't notice. Others here with keener eyes surely did, but for bigger clients usually the technical image quality is less of a concern. Most of us here are aiming for significantly higher technical image quality than Wolf of Wall Street on our personal work, I get this this forum prides itself in delivering the utmost image quality without a lot of money, but it doesn't mean most clients care. That said, with stock footage there's a good change your client will be zooming in on, grading, compositing, or manipulating your footage pretty heavily, so any extra resolution is good and log files aren't a bad idea. But I would be very surprised if they even looked at the bit depth. Personal work is obviously another story.

Interesting... I think I just have a different mentality than a lot of people around here. Content is content in my mind. 4K, 2K, 1080p... In almost every job I have done, there is the best way to do it and the best budget way to do it... often they're synonymous in the end. Now I agree, 4K is probably important, as your research has shown. But unless you know exactly how much revenue your stock footage can generate, buying a new camera for this specific task puts you in a hole right from the outset. It's okay to swing for the fences, but a lot of times you may end up striking out... whereas a nice grounder up the middle will get you on base. I would be more interested in a Raw or ProRes 1080p image from a BMPCC or BMMCC than another shot of a sunset from the GH5... I would think it would set you apart. Anyway, you've seemed to have done your research, I would just consider the overall cost in equipment, media and time before jumping head first into a $2000 camera that requires $200 cards for the best codec and a really fast computer to edit, render and deliver the content... Just a thought.

Pimping out your camera can help as well. You will also get footage with interesting looks as a bonus.

Hi, good job, but the problem are the highlights in the clouds. These are extremely overexposed. 1. Profile XR 2. Profile XR with your Highlight-LUT 3. Profile XR with your Highlight-LUT+0 highlights in post production

Because his budget isn't realistic for having anything workable? What's the point of a hacked 5d if he won't be able to afford any decent lenses, storage or a monitor to see what he is doing? He would be much better served by something like a g7 with a speedbooster. Nobody was being condescending or rude, there is no problem.