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I think we're just nostalgic. When the Ursa Mini 4.6K first started shipping there were many many threads that were EXACTLY the same as some of the complaints on here.... Users complaining that the UM4.6K didn't have the same mojo / look / feel as the 4K sensor which at that point was in the Production camera, the Ursa and the Ursa mini 4K. This is a new sensor. It has the same chef's in the kitchen, working with new ingredients. Spend some time with the images, look at the RAWS when they're available and learn to get the most from it. THEN come back and post about what you like or don't like. But grading from a downloaded 264 and then writing it off as being inferior is a bit premature and simplistic. JB

So, beyond all the Chicken Little reactions and a subpar press release from Nikon (creating a crazy echo chamber of negativity), what I'm seeing is: -A well respected manufacturer with good qc and customer service -Small mirrorless body with adaptable mount -Full frame 24mp with clean 4K -10-bit HDMI out -Flat and Log profiles (basically the Nikon equivalent of CLog1 and CLog 3) -A few essential lenses, with every logical core option already roadmapped -IBIS that, by all accounts, bests Sony's -Great battery life (more than 2 hours of straight 4K) -Solid ergos, on par with other mirrorless manufacturers -Natural color science without any major problems (blue channel clipping, greenish skin, greens shifting towards blue, magenta cast, etc) -Integration with Atomos recorders for easy on set workflow All baggage, brand politics, and bad press strategy aside, it ticks a LOT of boxes for me. Gonna be looking hard at the Z6 when it drops.

I am very surprised by the comments about the lack of "film look" in the footage from new pocket. Sure, first two videos with skin tones test did not look perfect in this regard, but the rest? I watched all the clips and I still see this organic, "classic BMD look". But with better, more natural colors, more details etc. compared to original BMPCC. My favourite shots I think that looks way more cinematic than BMPCC. Actually, if someone told me that the mirror shot was filmed with Ursa mini, I would believe him. Also almost every camera (and lens) have his "weak" moments, I can found on YouTube high amount of BMPCC videos that looks extremaly digital, as if they were shot with cheap DSLR.

Such a good time. Bring them on. A7S III, GH5 FF, Canon R ... First one to give me 4K60p + IBIS + good video AF + good codec and/or 10bit + at least 24mpx WINS my money

He's called the angry photographer for something lol.. he ripped the A7III a lot harder in his overzealous 3 part review.. it should be worth mentioning he was already dissing the Z cameras before they were even announced. it seems like indeed a lot of Nikon DSLR shooters have had a negative reaction towards the camera ever since the new mount was announced. The pro body shooters got even more worked up when the mode dial, single card slot info came out.. justifiably so i guess. But it should be noted most of these reviewers are photographers. most of them know or care little about video.

This was a labour of love project I did for my sister trying to help increase her profile as she climbed the ranks of Muay Thai in Australia. She eventually became Australian champ before retiring to pursue her career in Social Work. Shot on a GH4 with the Sigma 18-35mm mostly. I'm more of a visual production guy so the audio is the weak link here but I was very satisfied with the result. Pouring your heart into a project is far more fulfilling than any payment, naturally this was a freebie

John Brawley talks about the new Blackmagic Pocket Cinema Camera 4K. ‘Models Close up at Night’ is his third camera test where he checked out the camera’s ability to handle different skin tones in very low light conditions. “This camera test was about shooting different skin tones in different low light conditions, so we wanted to keep it simple using the least amount of artificial lighting. We had a hotel room in Atlanta where we shot from 3pm until 11pm and got through about 70-80 shots cycling through different lighting and skin conditions. When you can get really great pictures at ISO3200 and above, things suddenly get very interesting. In this test, we were shooting two hours after sunset and you can still see blue sky around the buildings in the background! This camera can really read a long way into the shadows, which was a big surprise.” “I see this camera as continuing the evolution that Blackmagic started with the Pocket Cinema Camera by now making it 4K. Having something that we can work with in really low light like this, means you can still get really great results with any type of ambient light.” Blackmagic Pocket Cinema Camera 4K Apple ProRes 422 HQ ISO1000 and 3200 Olympus Pro 17, 25, 45, 1.2 Micro Four Thirds lenses

The lenses are the ones we had available when the photography was done. As @jonpais says, we try to be as agnostic as we can practically be and we often recommend Panasonic lenses and others to people at trade shows etc when they ask.

The Tokina 28-70 2.6 is a wicked lens. I haven't had many issues with CA but it is noticeably softer than the Zeiss and Sigma lenses I'm used to but the image that it produces is, to my eye, much prettier. Cant wait to test it on the new pocket. Also I picked it up for like £120.

Correct. It is The thing that excites me about this rumor is the fact that Panasonic UNDERSTANDS the video game really really well. I think they were caught off guard with the Phase Detect AF for video thing. When they started designing the GH5 I don't think it was that much of a need or concern. Now, in 2018...its become quite a requirement and I know Panasonic knows that. The other thing that excites me is the fact that it will most definitely have all the video features thrown in it that we expect it to have coming from a GH5. Waveforms, high bit rates, max frame rates...(however it may be less powerful than a GH5 cause the sensor is so much larger and requires some serious processing and cooling) BUT MOST OF ALL....it WILL have a flip out screen and we all know it will. Hahahaha. This is great news. And I am glad its later in the year....that gives me time to make a bunch of videos about the sony a7siii, canon mirrorless, and Nikon before it comes out. Its spaced out nicely for my channel

ugh can't keep up anymore

New stuff I did for Olay;

I did a little poll with my possibly impossible but still, imo, interesting suggestion. +1100 votes with 70% thinking it sounds cool. What if Canon just added a built in optional EVF and called it a day? First let me say that Im pro mirrorless. I use both extensively as anyone that follows me know. And we are taking about Fullframe here, leave Fuji and MFT out of it. In general lenses doesnt get smaller with mirrorless, they get bigger. Its just laws of physics, they just ad extra length to make up for the shorter flange. Unless they have a smaller sensor and/or slower aperture. (They can somewhat get around it with software correction.) So there really isn't any size difference in fullframe worth mentioning once you put on exotic glass. And often it just gets unbalanced in my personal opinion. Ibis, instant focus in liveview with burst and no blackout, peaking, etc, all that exists in similar sized DSLRs today. The only thing really missing is an EVF. Which at the end of the day is just a "pretend" viewfinder, a tiny screen in a hole. I'm thinking something pop-up, like in the X-Pro2/x100f. Then you have a true hybrid with the benefits of both systems like the DSLRs extremely fast AF and OVF, even in dim light. Also, then they can simply keep the EF mount which have exotic f1.2 lenses already. Just a thought, not even sure if its possible

Gut reactions are by definition spontaneous...not based on actual experience of the thing effecting your gut. There are always quick and emotional responses online to pretty much everything, and definitely in this field. My head tells me to trust the team that got us here and the pros who are speaking with confidence and praise regarding their hands on experiences. As a music producer I was part of a blind test of engineers that tried to differentiate, also a similar test with dozens of engineers who swore by analog tube preamps versus digital. I'll let you guess what the blind tests proved. Hint, some of the analog manufacturers were present for the test and not only couldn't they guess what was recorded on analog vs digital - they couldn't idenitfy their own (very expensive) tube preamps. A lot like Coppola choosing the GH2 over the Alexa in the Zacuto shoot out.

Yeah, I guess the original produced somewhat footage that I'd call 'flat with character'. That gave it a very organic and filmic look, which people took to heart and embraced even further in post. This new one seems to have more bite, more contrast and seems to lend itself nicely for a natural clean look. Would be interesting to see something more in the blockbuster direction. How things look when you give it more of a mood and look. I'm sure it will handle that like a champ as well. This puppy is probably very well-rounded and versatile.

Idk, so far from what I've seen, I prefer the S16mm look from the older sensor. The new camera has a more modern, video look to it (it looks good and crisp and clean) but the OG Pocket/Micro had a different aesthetic that I prefer. Ugh.

Hi everybody! It´s been a long time since the last time i pass on this forum. Now i wanna share my last work, a fashion/music film. Shot with GH5 and using @Sage Alexa color for starting point in the grading. Using 2,21 aspect ratio. Mastered in 2.3k (2386x1080) Hope anyone can enjoy it. PS: Soon I'll share some stills for comparison.

RF 28-70mm F2 anyone? Read the full article

Wild guess: the mount could be a more extreme version of EF-S: same backward-compatible mount, but a special pin to prevent forward-compatibility. And then lenses with the RF mount are allowed to have a much deeper rear element, but it won't butt up against the mirror on a dSLR because it can't be mounted on one despite the superficially similar mount and forward-compatibility of the RF, due to the pin... With the new lenses, the rear elements can go much deeper, so the rear element needs to be protected, so there's a deeper plastic ring extending around the rear element, and the lens caps are much deeper, too, to accommodate it. But otherwise it's the same basic shape of the EF mount. Telephoto lenses etc. will never be RF, because they don't need to be. Rear lens caps will not be interchangeable, but RF lens caps will mount on EF lenses, they'll just also extend too far. Wild guess: RF stands for rangefinder, or something similar is implied. Would be nice to see this mount on the FF 6k C300 Mk III when it's released in mid-September. (Another wild guess.) Hoping that'll knock down the price of the C200. ?

I used some variation of Kodak Vision, also I have some love for the Fuji Eterna. That helps to establish a base grade, then i start with my own secret sauce. I will only reveal that some important ingredients of my grading are, Diffusion and warming the shadows/cooling the highlights.

I was just thinking out loud along with you.

Really is a great combo - BMPCC & Tokina. I'm Sure the P4K will look great with this lens. Just hate it when people think you should judge a lens by how well it shoots wide open, utter rubbish!

See perfect answer from jonpais below exactly. @webrunner5 I really don't see how you can possibly miss my message but somehow you did :). I was answering a comment saying that 4K60p will be external only. I answered this seems unlikely to me as that would mean A7SIII internal specs would be too similar to A7III. I did not say I believe it will have 10 bit internal, and honestly I do not know. What I think is that many things are changing (canikon coming, Panasonic joining the party) and that may change last min specs that are firmware modifiable for people like Sony who know they have to have the best specs to sell (cause Canon and stuff got the name + ergonomics and so on). This confirms to me that without 4K60P internal the A7S III is going to have a hard time, especially for 1000$ more than an A7III.

Visually, in general I like them more than Contax - they are full metal and always smaller, so very pretty and... sexy as full set, resembling me to SLR Magic line Construction wise - as I bring some of them to refreshing treatment to master - they are on the same level as Contax, but my impression that they are little bit or two-three more prone to time-passing effect... so try always to find nice condition examples, lubrication etc. wise. Also, zooming operation is stiffer - at least with examples I had. Coating of Contax is always little bit better - so Rolleis are more prone to flaring... but there is, of course, some magic. "Sharpness" and all connecting with image wise, there's no difference between Contax and Rollei, besides, probably, as usual sample variation. BUT... pay attention that signature should always be Rollei Zeiss line... Although Japanese version of just Rollei engraved could be also equally nice, German origin is more proven to quality. I especially liked 35mm 2.8 Rollei Zeiss. Sometimes they are on the market even more pricey than Contax... for example 85mm 1.4 is very very rare, as even more 35mm 1.4 f2.8 line is wonderful as set for gimbal - little and powerful 25mm (strange painting instrument!), 35mm (astonishing smooth rendering from 2.8), 50mm (also sharp from 2.8), 85mm (same as Contax secret 85mm 2.8 favorite). Once upon a time there was an Ikarex 50mm 1.4 concave version - it could be easy the most astonishing rendering lens that I was lucky to try with proper adapter.... extremely rare, but my country is inside old East German optic circle, so these lenses today mostly come from Eastern Europe. Just be careful not to messed them with Rolleinar lenses - these are not at the same league... so just Rolleiflex line...

If this information may be useful for someone: I had 5-lenses set of Rollei Zeiss as also Contax-Zeiss - Rollei version could be very easy "Leitaxed" with cheap chinesse 3-screw replacing mount... such are provided just for Rollei, not for Contax version of mount.

Camera: BMPCC Lens: Tokina 28-70mm f/2.8 + Metabones SpeedBooster XL 0.64 (Nikon F) Filters: B+W UV-IR Cut, Haida PROII-S Variable ND, Tiffen Black Pro-Mist 1/4 ProRes HQ, Impulz LUT BMDFilm Kodak Vis3 50D 5203 (DP) FC

Take a pill, dude.

To be honest the main reason Im attracted to mirrorless is the EVF. I miss full size bodies and I think you have a great idea.

Although being Panasonic they may well come out with a FF camera with no 'af' or 'ibis'. Wonder if there will be an adapter for their M43 lenses?!!

IMO this is a good, but not great lens - and only in certain situations. I've had two copies of the bayonet version that I used on the 5d3 and a7s, and both were pretty soft wide open and had lots of CA - to the point it made shots unusable for me since I'm always shooting in bright sun. The Nikon 28-70/2.8 is a better lens IMO. Lots of people say great things about the Ang/Tok, and they can be found cheap - I don't think it'll be all that great on a 4k camera and its a brick if you're only shooting at f/5.6 to get a sharp shot. Just my opinion. Chris

I still can't believe people are trying to compare a camera which shot HD with one that shoots 4K. It's like when we moved from SD to HD (here i'm refering to the TV world back then) - all the tests, all the moaning & then the slow realisation that we would have to change the way we did things. What BM have given us so far are 3 different tests, using 3 different types of lenses & thus gave us 3 different shooting styles. Yes, i thought John's looked the best - lens choice & experience? But the Balloon film was meant to show off what a Documentary style piece could achieve - there was never a point where I thought it should look cinematic. The Nature piece really showed of the DR in extreme circumstances, but I could really do without ever seeing another piece made with that Sigma zoom, absolutely hate that thing, yuck - if someone gave me one for free, I'd sell it & buy something else. I laughed when Frank (over at BMUser) slapped on the Tokina ATX Pro to his BM4.6K last year & it shone - then everyone went scrambling for one. This is a lens we've known about here for ages (thanks to Andy Lee) & how could you go wrong with such a lens - it's an Angenieux recipe lens that screams that cinema feel/image. If you slap on an over sharp modern photography lens, as is, you're going to get that video look in 4K - it's not rocket science. Maybe, just maybe, you might need to really start thinking about what you pair with this camera & stop thinking that it's only the camera. The recommendation has always been to invest in glass, not camera bodies - that's really where the mojo starts & ends. I wonder what that Nikon "Bourne" lens would look like on the P4K, probably amazing!?

The short answer is that both 4k FOV and 4k HQ shoot 10 bit with H.265. Long answer. I think Phillip Bloom confused matters by saying only 4k HQ shoots 10 bit. However, when you get your Mavic 2 Pro it asks you install a 23/08 firmware update. My guess is that this enabled FOV 10 bit but that Phillip Bloom was using earlier firmware (a couple of comments from DJI imply that a firmware update is needed.) It is further complicated by the fact that nothing in the app (or online manual) says anything about 10 bit or 8 bit. So I simply took some quick video in both 4k FOV and 4k HQ and looked at the underlying video exif using mediainfo. Mediainfo says both videos are 10 bit.

erm, i've not even seen any footage yet, or hands on reviews. I for one kinda think thats a good idea before shelling the moolah Getting a bit fed up of all the wankspittle from youtubers who also havent seen any footage yet, or handled the thing.

I really don't think (or hope) it's done in camera. BM never did that before. They always delivered a RAW like image in ProRes with all the nice looking grain and smoothness, very much like ARRI and Red do. Don't really care about chroma noise. Easy fix in Davinci Resolve without losing texture.

True but there is a Ton of old, real old MF Nikkors laying around that will be a hell of a lot better suited for Video work for peanuts to buy. And they Ought to work really well with the new adapter. So it is not like you Have to buy these new lenses. Sure for Photos the new ones might be the way you want to go.

I think the color is just more accurate with the new Pocket 4K. In the past the footage had more of a look to it, and now the color is better so you have to do that yourself. Putting a heavy "look" on something makes it hard to judge the performance of the camera, so Blackmagic chose the route of grading it themselves and making sure it accurately represented the camera. A lot of the Kinefinity Terra footage (especially Phillip Bloom's stuff) is hard to judge the color science of the camera due to haphazard and heavy grading. I have no idea if Kinefinity cameras produce nice images because all of the graded material is very artistic.

I don't know. From what I have seen so far it has sort of lost the magic the BMPCC has. But I want to see something in 1080p. Maybe you can't get a real organic look in 4k. It is in a sense too good. But i will admit the skin tones JB is doing, especially the last video seen on Vimeo is really damn good.

That's not a plugin or effect, The original take is pretty long, then the actress poses and then we change position, angle and pose. That is repeated for a entire long take. Then in post, I use normal speed and then speed ramp to the other pose. Some positions have been edited to between takes and cross faded. At the end i added motion blur to the transition to make it look like a Hyperlapse. Wow thanks! I actually go more towards narrative drama, I made a feature and some short films. But sometimes i like to play and try different approaches to story. It's all about the joy of the process.

All the videos look good, I was just expecting something different.

So... are there any plans to release a BMPCCii or BMMCCii with a more similar sensor to the original?

rumour taken down to SR1 lol... (SR1) UPDATED: Sony A7sIII to be announced at IBC 2018 on September 14 ??? Unlikely…

The beautiful city of Stockholm, capital of Sweden where the day never ends in summer (the Sun sets at 11pm and rises again at 1:30am, there is always light on the horizon). Shot with the Mavic Air and 6D for the timelapse.

The first stills are the ungraded Cine-D - here's a frame with LogC and also Main routes (no WB tweak): Cine-D Original Cine-D to VLog + GHa LogC Cine-D to VLog + GHa Main Cine-D to VLog + GHa Main + Basic Luma Placement

Hello! Thanks for the comments, I really like you guys take the time to watch it. Here I share some still, Pre-and-post color grade. The raw was shot on Cine-D and then converted to LogC. I didn't have the time to try the "Main" grade, maybe someone wanna give a try? ?

Hello, first post after few years reading you guys. I have both gh5 and gx80 and use them regularly for video and stills. Gh5 is clearly superior in image quality not just resolution but color rendition, noise, detail, etc. Is an incredible piece of gear and it really feels solid and all the controls are in the right place. But gx80 keeps things smaller, lighter and anybody cares when you get it out, very usefull sometimes, is my everyday cam for pictures. I have quite a few pictures from both cameras in my instagram, maybe not the best platform to see image quality but I can upload any of them to 500px too. Here is the url https://www.instagram.com/carlos_lor/ in case you want to check it. We also have a couple of g80s at the production company I work for, very comfortable camera too, good ergonomics and viewfinder, same image quality as the gx80.

Speaking as someone who’s a long time user of the Olympus 4/3 (anyone remember that format??) and then micro 4/3 format. I own many 4/3 and m4/3 lenses from Olympus, Panasonic and others (Veydra, SLR Magic, Voigtlander) Generally speaking Olympus m4/3 lenses are better corrected optically. Panny tend to rely more heavily on in-camera / post correction. Olympus also OEM many lenses for others. You’d be surprised what major brands have lenses that are made by Olympus. Optics have always been their primary strength. (They are absolute leaders in other fields like medical where they have near monolopoly market share of endoscopes etc). Olympus are a really interesting company, very innovative. They were the first to do live view in a stills camera. First to have an ultrasonic cleaning of the sensor. And of course their IBIS has always been the best along with weatherproofing. In the past few years I have been consulting with Olympus on improving their product and features to appeal to more cinematographers. These things typically take time to filter though their product development cycle. The Pro primes are actually beautiful lenses. And they’re great for cinematography. Hard stops on focus for example. BMD asked me to shoot with the Olympus primes to show what could be done with inexpensive native 4/3 lenses and they do not disappoint. JB

That's actually not true, maybe it is sometimes, but is it mainly dependent on the optical design itself. Oh, and the glass looks a bit fancier both on the specs sheet and in real life... I am sure Sigma could make even better f/2 ART prime lenses for instance, but people would just say 'meh, too expensive but not faster'. Generally speaking, you can design a much higher resolving lens (especially in the corners) with lower geometric distortion and far less aberrations by opting to use a slower aperture (the increase going into extreme F-stops is actually monumental). The vignetting might be more significant, but that can be corrected. This is exactly why they went with f/1.8 Z primes instead of faster. Other casing point is the Leica 50/2 APO, which still sets the benchmark (although all the rest they made is not far off in absolute terms). It will be interesting to see what the 58mm f0.95 can do. I have to say, while the 35mm f/1.8 looks very sharp, I don't find the rendering anything special in these early samples. Only seen thumbnails from the 50mm f/1.8 so far.

Go to DXOMark website and look at T stop ratings for f1.2 and f1.4 lenses and be amazed at the marketing mumbo jumbo. Also, what good is light if it is almost completely OOF? Lens designs have matured to the point that most high end primes are excellent wide open. No more stopping down that f1.2 lens to get decent sharpness etc.

There has been a lot of updates of the app, so give it a try, and let me know what you think. To save the generated LUT, press the "cloud download" icon. Android app can be downloaded here: https://play.google.com/store/apps/details?id=com.kinoseed.matchcolor Here's how things look like now:

Work in advertising and haven't really had much time for my own projects the past years. But I am releasing a music video in June that I directed, shot (handheld BMPCC), edited and colored. For now, this is my latest, for mother's day: