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https://www.youtube.com/watch?v=oAbB4dQOz4I Mark Wyatt talks about using the Blackmagic Pocket Cinema Camera 4K. ‘Nature’ is Mark’s test of the camera’s 4K performance in the extreme lighting conditions of rainforests and ravines. “The camera tests I wanted to do were in the forests and waterfalls on the outer West Coast of Canada. I was really interested in seeing how the new sensor would handle these harsh lighting conditions. By increasing the ISO to an impressive 1250 and 2500, it allowed me to capture the dark moss-lined walls and unique emerald color, yet also hold onto the highlight detail of the top of the waterfall and sky. I feel most cameras would likely struggle with this scene.” “I had the Blackmagic Pocket Cinema Camera 4K for only a few days, but overall I was really impressed by it. The weight of the camera is very liberating, especially when you are used to using larger camera systems. The screen is big and bright enough to use in daylight, which I found great for judging focus and exposure. And, the colors too on the screen, were also nicely represented. In fact, I would argue it is Blackmagic’s best screen yet.” Blackmagic Pocket Cinema Camera 4K RAW ISO400, 1250 and 2500 Sigma 18-35mm, Rokinon Cine 50mm EF lenses Metabones Speedbooster to Micro Four Thirds

Very interesting for behind the scene experience in video, my surprise when I saw so much drone shot and thought why did they use so much drone shot in a video about Nikon. LOL. Overall colours etc seems very good. He talks a lot about stabilization in video which he says is very very good, he also says autofocus was very good even if he did not know too much what he was doing. That's the final shot.

Mine is here with 2 days advance

I don't know about dying to but it was nearly a case of dying from so the first image from my limited wandering about yesterday with these cameras was this.... For anyone wondering if the Sigma SD Quattro has an overheating warning icon in the viewfinder then I can confirm it does It didn't stop it from working but it was getting uncomfortably warm to the touch (as was I) so strike one to the Fuji X-T20 there. Anyway, due to not being totally willing to suffer from my Sigma ART, it was a much abridged wandering about a couple of streets so apologies for the less than inspiring content. I was mainly looking for things with strong colour and/or some degree of highlight and shadow content. As discussed, the two cameras were the Fuji X-T20 with the Fuji 35mm f1.4 and the Sigma SD Quattro with the Sigma 30mm f1.4 ART and both shooting RAW. Most shots are in the f2.8 to f5.6 range to compensate for the massive amount of light to the absolutely no ND filters in my pocket ratio. Some post cropping to compensate for the different fields of view as that 5mm makes a big difference on APS-C and also some tweaks in the name of harmonisation in the overall look as the Fuji tells a few fibs regarding exposure and Lightroom tends to be a bit aggressive with the contrast with the Sigma's DNG files. The shots on the left are from the X-T20 and the ones on the right from the SD Quattro As I say, I was going for some harmonisation so they are pretty close but I would say that the SD Quattro just has that little bit more bite but there's not a massive amount in it. One of the benefits of the SD Quattro resolution is being able to play a bit fast and loose with composition as you can take more liberties with cropping. This is particularly useful if you are doing street stuff as you can deliberately shoot wide enough to appear to be taking a shot of something else without alerting your real subject. In this voyeurism by resolution example (which is an intentionally extreme one), the original wide shot is at the top followed by the shot that I was actually going for on first the X-T20 and then the SD Quattro. Again, there is not a lot in it (which surprised me a little I have to say) and if anything the X-T20 edges it, particularly as the unwitting subject has a more interesting pose. At this point, when you factor in the size, weight, cost (especially lenses), battery life and convenience, I can't see the SD Quattro being a better option for you in the context that you wanted it for, particularly if you have any ambitions of using it at above 400 ISO. And of course the X-T20 absolutely smokes it when it comes to video ! Just for a bit more interest though in terms of the general everyday use that you were talking about and to throw a smaller sensor into the mix, I did take along another camera to offer some context. And yet another one which is there for a bit of sport In these comps, in quadrant 1 is the X-T20, quadrant 2 is the SD Quattro, quadrant 3 is the Panasonic LX100 (shooting RAW as well) and quadrant 4 is none of the above. Whilst the LX100 isn't out performing the other cameras, it isn't being disgraced either and when you throw in the convenience factor with its in built zoom lens and a passable 4K video option if you need it and at a much reduced cost to the others, maybe it is the real winner here as the all round camera for the use you were describing as you can certainly get a tune out of it if you shoot RAW. In point of fact, whilst the mark ii has been a let down for most on here because of the video aspect not moving on, the additional photo performance it offers might make it a contender as they will be popping up used around the time you are looking to buy.

Your posts are a waste of everyone's time here.

It can be frustrating with Flickr because a lot of it also depends on where in the life cycle of the camera you look. I tend to go back to about a quarter of the way from the start point as people will usually have found their feet with it by then and you start to get the most representative images. Its also quite situational though as well as to how interesting the content is as I was in a far more interesting location last Sunday than I was this Sunday, for example, so the images reflect that. Once you've made your format choice these days, I really do think you can get as near as dammit the same look out of most cameras and its the handling and the lenses that are the difference. If you don't want to pick up the camera and use it then whats the point ? Or if you've spent so much on upgrading to a marginal gain for the sensor that you can only afford to put inferior lenses on it then, again, whats the point? Its actually an interesting exercise taking 4 completely different cameras out in 42 degree temperatures and juggling the around trying to take the same photographs as it really hones the mind about which ones do and don't get in the way and I heartily recommend it. You'll end up being like this fella with them after about 20 minutes !

@jonpais The Sony FS5 & FS7 don't do ProRes Raw internally (nor will you even find any mention of it on Sony website). They do output Raw, and AFAIK Atomos exploits that to do the ProRes Raw encoding.

Even if they are late, so what? Assuming you learned from history and didn't schedule any projects around it you should be ok to wait. and then once it's out, it's not going to be like the cameras from PaSoCaNikon where they become obsolete in a year or two. 4K60 RAW isn't going to be upstaged at any point in the near future - the Pocket 1 still looks gorgeous!

Here are my tests from the past day with 1736x1120 resolution. https://vimeo.com/286711725 https://vimeo.com/286711914 Using a $30 toy c-mount lens (can't figure out how to embed...)

It could be the grade, but there seems to be a color shift at higher ISOs and yes, other than that Raw texture, especially in the tree bark, it does seem to look more like the GH5 in its highlights. But for the first video out in the wild, not too shabby at all.

Get the Sigma SD H Quattro. Go big or stay home!

Shallow DOF and wide apertures for sure have a place. What I meant was I have seen far to many instance of shallow DOF being the subject instead of being used to accentuate a subject. In other words people thinking shallow DOF makes everything better. Another example that comes to mind is all the superfluous focus pulls that started appearing after the GH5 was released. A few years back I remember seeing some portraiture shots a guy had taken with an old Canon 50mm f/0.95 He was gushing all over the place about the bokeh, and got pissed when people pointed out the model wasn't completely in focus in most of the shots.

The m50 has a big advantage in this department, because their are a lot more of them out in the world and thus likely to fall into the hands of someone who truly knows how to use them. I can walk into my local Best Buy and buy an M50, I'd have to drive a couple hours to buy a GH5 in person. I'd also say you have to have a decent amount of experience to really get every last drop out of an MFT camera. They can be customized and tweaked in so many way that they overwhelm some people. Playing with the picture profiles and highlight and shadow curves can yield amazing results, but also some horrendous crap. Just the other week a new G9 owner was complaining in another forum that everything was to sharp, saturated, and contrasty. After a few rounds of inquires the group determined he was using the Vivid photo style. He then became petulant when we told him you cant just use any style, and the thread went to hell fast. for reference here are some shots I have at hand that I took with my G7 which has a lesser sensor than my GH5. Make sure to open them in a new window/tab to see the full res version.

Yeah, the photographer takes the photo, I get that but there still seems to be something unique in every camera that beginners can benefit from if they choose the right camera. For instance, for shits and giggles, I had a glance at the M50 Flickr Group page and the first few pages had way better photos than the first few pages of the GH5 page... like not even close. Obviously I know nothing about the photographers who took any of the photos, nor know anything of their skill or artistic level BUT the M50 is one of the most entry level cameras you can buy, so one must assume, they were taken by a more beginner photographer and yes I know, I know... a lot of assumptions but when you go page by page by page and see the same thing, a pattern starts to arise. BUT, with that being said, I am not giving up hope on the GH5, I think I just need to do more research and maybe rent one in a few months... because as long as I like the Raw files, there is no arguing about the video specs and how good it could do as a hybrid. But then again, it really isn’t much smaller than my 5D, so it could be out of the running based on that alone. Anyway, thanks for all the help, too many options, too many specs and no camera that has everything.

I use a Ninja flame with my d750, what it brings is so much more than just a recorder, show me one dslr/milc that have has the functionality that an Atomos recorder brings you . The NinjaV will still be viable with its 60p 4k and even raw recording for at least two more generations of cameras, that I don't even think will have all its exposure tool, etc in any small MILC for the next 5 years. If in 2018 the equivalence of a 70mm Imax camera esthetics can be put in a small hand bag including the camera and a 5 inch size screen, I am baffled. 10 bit was the last limitation in the affordable cinema quality. We first got large sensor with the Canon 5d, then came resolution with 4k minus moire/aliasing, but what was missing was 10 bit. Those two bits add so much in terms of colour information and level of shade that have been plaguing dslr/milc image. You can have 8k, log etc but without those at least 2 bit it is useless. Those 10 bit will make log usable so that you can use the maximum of the DR of your camera and eliminate banding. If putting a screen that would fit in a big pocket is outrageous for you, so image quality is not important to you. And for what cost $ 2700!!!!!!! Much less that what the 5d use to cost... 10 years ago. Please rant a bit more... because for me, this is a pivotal point, where the camera has become good enough or exceed the capacities of the operator. If you can't do some serious/gorgeous imagery with this camera, it is not the camera the limiting factor, but you. The same as what happened in photography with the D800 camera, if you could not do good photography with it, it is your fault.

And one reason I think more people will have better results with this new BM PK4 than buying a FF camera that shoots great video. AF, even manual focus is damn hard to do right on a photo, let alone on a 5 minute short or longer. There IS a reason they have Focus Pullers, and do 20 takes LoL.

Yeah... that is pretty spectacular looking. I know mjpeg is highly unpopular in these here parts, but I often wonder how much it contributes to the 1DC’s “look,” because 6 years later and I have yet to see another 4K capable camera with that level of output.

I wish it was the FZ2500, as you know I have a not so secret admiration for that camera. It’s kinda big and clunky but it gets better video than it has any business getting. In shutter priority mode and that push button slow motion, it turns the camera into a point and shoot cinema camera. Throw a Ninja Star on there and you have 10bit 4:22 1080p. But I digress, of all of my staring at Flickr over the weekend, I did like the images from the SD Quattro the most. It seems to handle shadows and midtones so wonderfully and in a lot of samples it seems to “favor” darker midtones, which is what I tend to do in post with ML Raw... So this will be a tough one. I do like the idea of a stills only camera, so the Sigma is still in the running and maybe get another FZ2500 as a walkaround hybrid. I assume in a pinch, it will work for casual snapshots.

And for $1299 there do have to be some limitations, right?

Yeah when you see a video like this all shot on a 1DC sure makes you want sell a Kidney LoL.

Thanks @Alpicat. For the first few tests I used MLV app to decode the MLV files to DNG, then brought into Resolve 15 for editing and CC. On that last test, I finally got MLVFS to work on my Mac (still no luck on Windows side, just pink DNG's), and after a few strange renders (realized I had to set Chroma smoothing to 2x2 in MLVFS to get rid of some weird patterns that were showing up) I brought those DNG's into Resolve- MLVFS workflow is a great timesaver.

Now what would your mother say LoL. ?

You guys aren't paying attention to the S line lenses, from what I have seen they render aberration free from edge to edge with an extreme creamy rendering without being too contrasty, until now you had to buy cine zeiss master primes for that, now you can have it for 900$. No wonder they made the flange distance so short, you can only use them on their bodies.

Have a question here : is it, or is it NOT possible to have 10bits and 4k60p on a full frame body as tiny as A7s2? I am looking forward, like many on this forum, for the next gen a7s but it seams like tech is not there yet to have this on board and i think it would be a bummer not having this. Nikon doesn't have it internally and as much as i like nikon colors and bodies, i can't get over it. Now my hope relies on Sony. Just don't want to be disappointed. I am waiting for 2 years now to upgrade mu NX1 body and i couldn't find anything to worth it. I just love NX1 but i need better low light, and 60p. With the firmware and the native support for h.265 the codec on nx1 still holds up good enough. Can't say the same for the a7s2 codec. Anyways, Photokina is only a month ago and i hope a7s3 will be presented there.

Apologies for off-topic, but the concept of this video is very reminiscent of this video, which is also much better in my opinion.

^ well aware of all that.. fact remains 5D3 was a staple in the video world.. and imo had a much much bigger impact than GH2 outside the walls of forums. thanks for sharing that Danyyyel, some really nice footage in that video, especially considering it's the Z7, 1080p and was all shot internally with the S lenses!

One more using the mv1080 mode, 1736x1120 14bit raw My color grading skills dont do any of this justice.

The image processor today has an absolutely equal importance to the overall image quality as the image sensor itself. Many of the improvements we see today are due to processing and NOT image sensors being better and better. The QE (quantum efficiency) of image sensors and photosites has not really improved very much in the last 5-10 years. We have BSI and now fully "stacked" BSI architecture, all that does is make photosites larger on the same surface area. It doesnt change the efficiency of the actual pixel well. What HAS improved year over year is the image processor. Canon has "Digic". Nikon has "Expeed". Panasonic has "Venus". Sony has "Bionz".....and DJI has "Ambarella". How they read/scan a sensor, deBayer and apply noise reduction makes all the difference in the world! Take the Sony Exmor-R 1inch-type that DJI uses. DJI can process it with an Ambarella H2 and get "good" quality from it. However that same Sony sensor with "Bionz-X" behind it will produce absolutely amazing results! Sony processing is truly cutting edge. Bionz can read 5K-6K without pixel binning or line skipping and can make +12db noise reduction almost completely transparent with little signs of noise reduction artifacts. We often credit the sensor but it's really the image processor that did the work. I'm dying to find out which Ambarella chip DJI is using. H1, H2, H22 or H3. I suspect we will see the first teardown video within a month.

There isnt a separate NR adjustment with the Mavic. It is lumped in with sharpening. Set sharpening to 0 or below and you get buckets of noise reduction and blotchy shadows. Setting sharpening to +1 gets rid of the noise reduction but does cause other problems. DJI resolved the problem with the Mavic Air.

Actually the Mavic Air is very good. Definitely softer than the Mavic Pro 1 but DJI footage is too sharp anyway. The only thing that bothers me on the Air is the noise even at base ISO. You must expose carefully. Here is a video I made with the Mavic Air. Most of the artifacts comes from the youtube compression (and from my flashing grading sometime). Perhaps, as I said earlier in this thread I used the Phantom 3 Pro extensively and I never encountered the image issue I had with my Mavic Pro 1. Both have a 1/2.3" sensor that max out at 60 mpbs so it might be something else. I'm not exactly a pixel peeper but I got rid of the Mavic Pro 1 just a few days after purchase because the footage and "compression" issue was pure garbage.

Being that Nikon are keeping specs under wraps and this is a very modern mount, it seems like we may be waiting for some time. I won't be getting my hopes up any time soon. I think people are confused about the N-Log compatibility - The BMVA4K should have no issues. It's at most a build in LUT on the Atomos. You will surely be able to add a LUT to the BM. I have a Shogun and both the 5" and 7" BM. The Shogun has the advantage of using cheaper and faster media. The BMVA4K has dual slots, which makes up for the Nikon's lack of dual slots (for video). The BM uses the smaller Canon batteries while the Shogun uses the larger Sony L series. Overall I prefer the build and balance of the BM once set up (with batteries etc attached. The screen is brighter for sure on the newer Atomos models, but I am not convinced it makes enough of a difference for me. I had the Ninja Flame, but it wasn't bright enough in many conditions. Obviously the Ninja V is a lot smaller and I definitely prefer the smaller form factor of my 5" BMVA, it then loses XLRs, dual media and dual batteries and no options for SDI etc. Ninja V does have that accessory port, which may add SDI or XLR in the future which could be really interesting. A 4K BMVA 5" with dual card slots would be the perfect setup, if only they made such a thing. Reasonable for bread and butter work. Not good enough to replace a dedicated sound person when you should really have one. Almost certain to be more 'reasonable' than the built in audio. Much better than the complete lack of Audio my 1DC does over HDMI.

that's because it's a parfocal lens. with old cameras, you didn't have punch in focus. you zoomed with your lens, focus and the frame the shot.

i wouldn't go BM 4K VA for Z6. It's long in the tooth, dim screen.. go Ninja V it's optimized for NLog & Z bodies.

It has "reasonable" audio recording? I wouldn't have thought that But depends on how you define "reasonable" Also my personal preference that 7" is too big for a camera operate, that 7" is the right size for an AC or a portable director's monitor. While 5" is the sweet spot for a cam op

You can't be serious! ?

Now I finally learned how sounds somebody who is completely out of suspicion to be the fanboy I mean, not just being absolutely sure that one manufacturer is /has "largely a superior product compared to the rest", and not just being even more absolutely sure that all around are people that feel threat and logically hate that largely superior product, but, most important - saying such epochal true in such epic last-line way and intonation, that all mirrors are immediately breaking apart! Thank you, sir, you finally tell to all of that fanboy-pet-cameras unenlightened-cowards full of shit what they deserved!

Right, we'll make it A,B,C,D,E,F then so we can be twice as good No promises but I'll check it back in here if I get a chance to do it over the next few weeks.

You are actually waiting patiently for BM to release the Pocket 4K as this is what the hold up is about as it needs to support Panasonic, Sony and BM I haven't got a GH5 but I thought it had this feature in it ? Anyway, knocking something together that has big chunky on screen buttons like the BIG RECORD SWITCH app above wouldn't be a massive hardship though. How about A,B,C,D with move to each when you press it and a couple of speeds ?

If a Fuji or other brand had such an issue, the reaction would be very different. Sony has an "under the carpet" mentality to various issues through the years. The first thing they did when their a6xxx overheated was to change the thermal threshold and warn you to not touch the camera, Fuji from the other hand limited the video time limit and adviced on the use of the battery grip (obviously it transfered some heat from the battery compartment further away to the grip) a minus on the spec sheet, but a more honest and respectful approach to their customers.

Nikon as well as Sony sell their newly released cameras at a loss. They then try to make up for it by selling lenses. It would be suicide to let third party in from the beginning. Switching mounts is a huge deal if suceccfull. All those Nikon shooters sitting on backwards compatible lenses are no longer customers. They no longer bring profit. A camera house is like a printer. Ink is the real business. Same thing in camera stores.They hardly make anything on cameras. Their business is bags, insurance, payment plans, memory cards, etc. Also, wasn't the A7 also released with just a few very expensive primes.. seems people forgotten that.

DJI is about to announced a 10 bit consumer drone camera of all things, of Sony doesn't include 10 bit in the a7s iii, it will be yesterday's camera the day it's announced.

And still no Cinelike D I'm going to wait for the Leica version of it so I can feel as let down but with a slightly more elitist glow.

Hang on, let me just check my collection of 35mms ....

My recent trip to Guilin China, shot on gh5s and color graded using the latest Verde version with overlay of ImpulZ film lut ? loving the colors.

Old white male in South East Asia, I'm not going to state the obvious.