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Aware of what? Was he convicted of a crime? We are getting into very dangerous territory when all that need happen is a woman claims abuse and everyone is expected to believe each and every word she says whilst totally ignoring comments from the opposing party. From what I can see, if something happened she should have filed charges and they both would have their day in court. Until then it is nothing more than a case of "he said, she said". I'm not defending PB... I don't have any unique information regarding this alleged incident. I'm just sick of this pitch fork mentality. I'm sure some will take exception to what I have written. To them... you can take a long walk off a short pier. I have personally known someone that was falsely accused. Thankfully, there was an investigation and exculpatory evidence proved beyond a shadow of a doubt that the supposed victim was full of $h!t. Really? Didn't someone once suggest something unsavory about you? Should we take their comment as fact without proof also? Glass houses my friend.

Ive never heard a good DP complain that the Red Epic, Red Helium, Arri Alexa, Sony F55 are not full frame. I've put the Metabones XL speedbooster on my pocket4K and super happy with the look. Andrew, it seems that the whole BMD Manchester incident still has a bitter taste in your mouth. You are looking for any excuse to hate this camera in the same way that most heavy forum users look for excuses to hate on any camera and use a cameras lack of features as excuses as to why they are on forums rather than out shooting nice images. Sorry, I know that view is going to make me unpopular on a forum but I think it's kinda on the mark. Is the Pocket4K for everyone? No. The camera isn't a white unicorn....it isn't the perfect camera for everyone. No camera is. If you just want to shoot bare bones, in the hand video with no light, get an A7III. If you want to VLOG, get a camera with a flippy screen (although interestingly, I know a few vloggers that use Red Helium as a vlogging camera!). It really depends on what your priorities are. The Pocket4k is a solid little camera. Sure I wish the battery lasted longer than an hour and I wish the screen was easier to see in bright sun but having used Sony A7 series, Panasonic GH series and the Fuji X-T2 all as B cams, would I chose to shoot with one of those over the Pocket4K? No chance! I still need to add external monitors to those small hybrid cameras anyway and their battery life is barely any better ( apart from GH series) ........but the Pocket4k image creams them!

Watch this video and stop saying that Pocket4K is not сinematic. In the hands of the master with taste and good lenses, even the GH5 is beautiful. Otherwise, it is too early for you to have such a camera, learn to shoot first Shot on GH5 using Lomo anamorphic and spherical lenses (50mm roundfront and +1 +2 diopters in a few shots). Graded with FilmConvert using KD 5207 Vis3.

Perhaps. But that doesn’t give anyone on here the right to condemn him. Especially based on rumours less well evidenced than the specs of the A7S3. Focus on his abilities as a film maker and life will be happier for all. (superb review of Mavic 2 Pro on Bloom’s site)

Just received my Pocket 4K, incidentally the day following receiving my XT-3. Got a wedding to shoot on Saturday so good timing.

Seriously?! I’m not being a smart ass here... but what does he say? I heard about 3 minutes of nothing with Caleb Pike and eoshd thrown in there. His set looks like a stripper’s champagne lounge. Honestly, I don’t mean to be hard on him. I don’t know his name and I hate all of those videos. I can’t watch most of Caleb Pike videos either before I X out of them. The whole medium bores me.

Lifting blacks in filmconvert?

Philip Bloom has received the pocket cam from PROAV TV Looking forward to seeing what he can do with the cam

Really nice looking piece. It should be noted that it really helps that every shot in this piece is either a sunset, silhouette, or some sort of low split light setting. The really great thing about the OG pocket camera is that you can get that cinematic look in the middle of the day, overcast, or even indoors. Watch this, shot with the pocket and 16mm film and you’ll see what I mean. Very vivid looking images. It will be interesting to see what people will create with th new pocket. Hope I can be proved wrong.

I don't think that's true. A lot of blackmagic cameras have exposed holes, but all of the stuff that is vital to the camera (FGPA, Sensor, etc.) are sealed from dust/weather, etc. I do think that the Pocket 4K is a better option for professional cinema use, but for everyday users I don't think Blackmagic cameras are ideal. Autofocus, IBIS, rotating screen, etc. are huge features that will greatly benefit the average user more than raw will. If another brand of mirrorless camera would incorporate the BRAW codec then there would be very little reason to buy a Blackmagic cam anymore.

It's $500!

You aren't @MERCER secret lost brother or sister are you?? This changing thing looks familiar LoL.

Please keep this out of this topic. it’s really boring when you come here for the subject of this thread ?

YouTube is so boring. I have no idea who that guy is and no idea why I am supposed to listen to him talk for 10+ minutes about Caleb Pike?

Does anyone shoot anything but slow-mo?

I really love my Super-Takumar 55mm f1.8 & I don't care what sensor it's on. For me, it's never about focal length, it's how the lens always seems to deliver something special no mater what. The exclamation "it's not wide enough" is never something that enters my mind - I just move about & frame with what I've got. Go take a look at the original version of Point Blank (1967) - they just used a 50mm lens & diopters.

I assume you think you are one of these $10k level photographers? Seems odd that you waste your days being bitchy on a forum and filming test footage with early teen children. This thread was a really nice one until you arrived, just professionals discussing craft. Like many other threads beforehand, you've filled it with your brand of negativity.

Shot and edited this today with the setup I pictured above. GF3 + 14mm F2.5 + Manfrotto pocket tripod. Shot in full auto with manual focus (because there are no settings available in video mode except focus mode, and autofocus is sloooow and hunts a bit), editing and colour in Resolve. The setup was a PITA really, the tripod either obscures the screen or the MF ring on the lens, which is focus by wire, the screen is fixed so good angles are almost blind, there's no focus assists during recording apart from a slider showing you where in the focus range you are (when you stop recording it shows a small 1:1 crop so if the focus distance isn't changing then it's ok) and it's so small it's hard to hold steady although the tripod actually helps as a bit of a handle. Not bad for a metal body camera that came with two lenses, memory card, battery, charger, UV filter, screen protector, air blower, and many other things for under $450 about a decade ago. Of course, we're now in 2018 and I'd rather a setup that was nicer to hold, use, and could be configured in any way at all It takes great photos though, and has full manual controls as well as RAW in stills mode. Pity about video mode.

B&H just charged my card!!!!

It can easily be the 'gold standard at the price point. The images up to ISO4000 are fantastic and 6400 is usable.. I never need to go above ISO4000 for my paid work. For lazy hobbyists that just want to shoot in the dark, get a Sony A7III and shoot 8bit. It's all you need. Lowlight performance of the Red Epic wan't as good as the A7S but I'd rate the picture of the Epic far above the A7S all day long. I've shot with the Red Epic, The Ursa Mini Pro among other cameras that have massive holes in the top. The Epic even has a huge noisy fan in the front that also use to suck all sorts of crap into it, didn't stop me using it in all sorts of conditions. Using the supplied BMD LP-E6, the battery icon flashes red and displays the voltage so you know it's time to change batteries. Using Wasabi, this doesn't happen and the meter is unreliable. I will try some genuine Canon batteries and report back but the BMD LP-E6 works fine after a few charges and discharges. Mine hasn't done this at all. The OS is extremely robust...My Fuji X-T2 on the other hand hangs every now and again forcing you to pull the battery and I've heard the same about the X-T3. It's not just RAW, the ProRes files also look fantastic on the Pocket4K. Absolutely no jaggies on fine hair but still plenty of detail. Very smooth image. As a Fuji shooter, I also love good colour science and the Pocket4K doesn't disappoint. The X-T3 also has poor battery life and crashes.

Raw is phenomenal ... but not worth dealing with beta firmware and buggy implementation. Cancelling my preorder ... going to add the GH5s to my Leica SL.

Original file is available to download on Vimeo (click the video title above). Want the absolute best cheap low-end camera for 4K shooting? You're looking at it. I think the E-M10 III at $500 might just be the best value for money 4K camera now available, but it's easy to lose sight of that. With the recent price race to the top, I'm starting to wonder how monied you have to be. A certain "DSLR video" blog currently features an Alpa cage on a Hasselblad H6D 100C! Anyone got a spare $40,000? Read the full article

@Brian Williams You know that there is a white balance lock setting on the x-t3? It’s genius. Let the camera set the white balance of a certain scene, which it does pretty well in most cases, then push the button you assigned to lock white balance. This is something I wish more cameras would implement.

If Fujifilm can be doing so well with both APS-C and medium format at the same time I am sure Micro Four Thirds can survive full frame, it has done since the start. I once chose the GH1 over the 5D Mark II remember! And I will never part with some of the more unique c-mount lenses, micro four thirds lenses and anamorphic glass - the anamorphic on full frame is, shall we say, more challenging.

If they can keep cameras small and not hold back on features then I see no reason why they cant sell more m4/3rds cameras possibly by the millions if they play their cards right. Especially if they were cheap. Imagine a camera half way in size between a GM5 and a GX85, with an articulating screen, mic socket, gh5 sensor and gh5 video features. Is anyone seriously saying that wouldnt sell like hot cakes? And thats before you even think about adding in smartphone technology.

Same here. If i could afford to own instead of rent that Sony 16-35/2.8 I used on the feature, the A7iii would probably be my 5D3. I swear that one has a more filmic, less digital rendering than any other digital lens I've used. And just so i could stay on topic, a gx85 is on its way. Decisions will be made next week (because the cc payment is due soon).

These questions are causing me existential grief. I used to feel safe and happy in EF land, but now that I switched to Sony, the world is a big unknown place. 1) I really like the 24L II on Canon...hoping I'm going to love the 24 GM on Sony. But a 24 as an only lens? I don't think I could get by with just one, tbh. 2) As far as lenses that I've used extensively, I would say the 135L. It's just effortless to get a good shot, renders nicely, AF is great, MF ring is nice. 3) I would really like to try the Batis 135. Looks like a great lens. I'm hoping to eventually have the 24 GM (pre-ordered), Sony 55 1.8 (own it), and Batis 135 (eventually) 4) I'm really happy with Sony and where they seem to be going with lenses for the E mount (even with the Sony "limitations"). I stayed with Canon for a long time, and I don't see myself switching again any time soon. Also, there are so many things that can be adapted to E mount, it's a nice place to be.

I hope they continue with both, and don't handicap or pigeonhole one line in favor of the other (like only making ultra-compact bodies for m4/3, or keeping video features out of the FF bodies because they're "for photographers" ). It would be really nice if they made an adapter to use m4/3 lenses on the FF mount, so people can ease into the new system, and to make both systems more appealing. The SL mount is a big enough diameter that I think this could work.

Yeah, I’m starting to get antsy. I doubt I’ll ever sell that thing. But there are just so many cameras around that I want to try. Oh well.

Yeah I have been worried about him with the 5D mk III thing. Unlike him. ?

Only in spirit, as far as i know. But Mercer has stuck with his 5D3 longer than I've held onto any camera. If i don't sell the A7iii soon, it'll set a record or something.

So I'm almost finished with post on a horror feature that i shot with the A7iii and couldn't resist checking out the X-T3. So I've been trying to decide whether to sell the Sony or send back the Fuji. Both are great. But I also realized that a couple gx85s or one gx85 and one g85 would be about right for my next project. So while contemplating these options today, I find this resuscitated thread. Maybe it's a sign...

As old as you are that is probably the best you can see LoL. I am surprised it even had 1080p in it that long ago. I think most Olympus stuff back then was still 720p..

Let's keep it to the X-T3 with the footage please Jon.

I have watched him a few times. Yeah he is different, but usually right. Canon has bought Nothing new to the game on this camera. It is the same old 6D type bullshit. Soft 1080p, cropped as hell 4K, overpriced, no IBIS crap from the past. It had nothing new other than that stupid swipe thing in the way of where there should have been focus lock buttons, etc..A Total wasted space of a on off switch to boot. It is a joke plain and simple. The Fuji XT3 kills it for 800 dollars less. Typical Canon horseshit. And Caleb acts like it is the second coming of Christ. It even isn't a polished turd, it is just an overpriced plain wrapped turd with overpriced lenses from hell on top of it that 12 people will buy. And Like I said before and a ND adapter that is Totally useless if you buy into the R lenses. Crazy shit. I have a Throttle ND that does that for a LOT less money. They need to go out of business. Of All the new cameras that have came out it is the Last one in hell I would buy. It's an overpriced Canon T2i with half assed 4K thrown in.. Pentax and Canon ought to merge. The old school club. The old "we have been selling this shit for years" Thingy. They had the chance to kick Everyone's Ass, no they can't do that, hell no.

Great codec. It´s extremely powerful. Don´t know if for 4K delivery but for 2.5K, C2K, HD it provides fantastic quality and beautiful gradeability and image. Just don´t shoot it with too high Kelvin number in sunlight. Color will get a bit brownish then, depending on lens and filters of course. Panasonic has a history of strong codecs. The 8bit 25mbit codec for the Lumix G7 is like c100m1 quality. Hey Ben, thank you for posting! Holy cow! Fantastic image. One of the top three and best I´ve seen here! Now I am thinking about getting the older Pocket.

Was Bloom ever found guilty of domestic violence?

Image speaks for itself.

The Original Pocket was great for mimicking S16. I did this some years ago in El Salvador.

Not sure if you've had the chance or desire to mess with it, but any comments on the 1080 video quality would be much appreciated! I'm still not necessarily fond of the idea of shooting 4K for a lot of things workflow wise

If you want to control the aperture through the camera, you need a smart adapter. I believe on the Nikon adapter there is a manual aperture lever, but you'll have to check as I have the Canon one. For choosing between speedbooster or not: determine what you need: With speedbooster you get a fullframe equivalent of around 25-50mm f2.5 Without speedbooster fullframe equivalent of 36-70 F3.6 Or get both adapters with and without glass to effectively get two zoom ranges from one lens! The Viltrox are quite affordable. Just don't plan on relying on continuous autofocus.

Knock yourself out... http://www.riversidecreative.net There is an imaginary featured video here... pixel peep your night away. We said it to you because you didn't seem to understand the pressure of wedding work while slating someone's work...

So, you've spent half the day talking about something you've never done or have no intention of doing? Passes the time, I guess.

Yes absolutely viable but Nikon's marketing department probably doesn't even know what an anamorphic is!!

I really want Nikon Z6 to be a very successful camera, I just wished a 4K 60p internally. C'mon Nikon, surprise everyone at Z6 launch, you can do it ? I have one question, when changing between photo and video mode, does it keep the values from each mode? I hate to keep changing the shutter, iso, aperture when going from photo to video. And this new Nikon' Z6 is possibly my new future camera, a really hybrid camera. And then I can sell my D600 and Samsung NX1.

I am in a dilemma. I currently have a Sony A7III and blackmagic pocket 4k on preorder. I have not been blown away by the pocket 4k footage. The specs are great, but so far the footage I have seen seems very similar to the GH5, which doesn’t do it for me. Where the XT-3 footage has looked great and has a less sterile look to my eyes. I shoot photos and videos for what it’s worth I am contemplating selling all my Sony gear, canceling pocket 4k preorder, and buying an XT-3 with 4 lenses. I would use it as a hybrid camera. I am a hobbyist that does no paid work. But, leaving full frame scares me, though shooting with Fujifilm seems more “fun”, for lack of a better word. The look of the body, film simulation, and lenses are what draws me. I would love to hear any opinions on my first world problem. Also, just for the sake of it also being a huge pro for going Fuji - if I sold my Sony gear - canceled pocket 4 - and still bought an xt-3 with lenses, I would still get back almost $4,000, since my Sony camera and lenses net me back a lot of money. So yes, money plays a factor here as well.

@jonpais Can't you tell when a lot of people on here have had enough of your condescending bullshit and know-it-all attitude with nothing to show for?

I’ve said this before but I’ll say it again. I’ve worked on about a half dozen DIY feature films and I am finally working on mine now. I don’t think a lot of people realize how near impossible it is. Moving boulders would be easier. It’s as if the world is constantly fighting you. Sheer will and determination is the only thing that gets you to the end credits. So be proud of that. And go make another one. And another one. And if need be... another one until somebody notices it. You have all of the tools and the talent. I’m reminded of a theory I read when I first started screenwriting. The theory goes, when you first start, there are a thousand other screenwriters aiming for the same sale as I am. After a couple of years, half of those other writers quit and move on. After 5 years, half of those quit. After 10 there are less than a couple of dozen of those original screenwriters still writing. In those 10 years, the odds are in your favor and your craft has grown exponentially. So keep plugging away and tell the stories that show the world who Jonesy Jones is.

hello all! I made the Ireland video, thanks for all of your lovely comments @PannySVHS I'll try to remember as much as I can about the process I used for this video. In-camera: I set my WB for each shot using a grey card, and the whole video was shot in V-LOG 24fps 150mbit 4K. Post: I use Premiere Pro for all post-processing, and I'm pretty sure I did all of the colour correction and grading within Lumetri for this video. I used the GHa Premiere 10-bit VLog [PRE] LUT in the 'Input LUT' section of Lumetri. And then used the GHa Daylight (Soft) at 80 Strength in the 'Creative LUT' section. I would do those 2 steps first, before colour correcting (minor adjustments to WB, exposure, possibly adding contrast in the RGB curve, slightly increase saturation). I didn't have to do anything else to the video in terms of grading, I really liked the colours like that. As @Sage mentioned, I found sometimes that greens went too far towards blues, but this was fairly easy to correct with the Colour Wheels in Lumetri. After colour correcting, I duplicated the videos into a second layer and set this new layer to Opacity 0.18 and Gaussian Blur 5.2, as recommended in the LUT PDF as a way of removing some of the GH5's digital sharpness. I then added in some grain which has been smushed by Youtube as expected. It's worth mentioning I only have a very limited experience of videography and colour grading, having done it as a hobby for about a year now. However, I'll gladly try to answer any other questions anyone has. Equally, I'm very open to any suggestions on my process anyone has after watching my video! I can't recommend @Sage's conversion LUT enough, it does magical things to the GH5.