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Indeed. Helpful FAQ video. AF related too. I know a few of you spend hours of discussion on some pixel peeping when to my perspective, AF and IBIS are the crucial points of a $1-1.5 device. These cameras are or should be designed to be operated for a single shooter at any rate or some other doesn't mean much else : ) We are in 4Q 2018... : -) I think this may immediately answer you or anyone else shooting under those conditions: : -)

Some threads are starting to read like somebody's personal SMS app. It's ridiculous. Let's calm down, think before we post, if we haven't got anything new to add apart from 20 pages of chitchat!?! No? Let's not post! I am fine with some chat but not EVERY PAGE. Deal?

I certainly get the argument that there isnt much inherently wrong with the EOS-R that you cant find a work around. I can also see the rationale - for those with a large collection of Canon lenses - to say that it is the best mirrorless option out there for them. The problem as I see it, is that the 'shortfalls' in the EOS-R that we see seems to be indicative of a far greater 'structural' problem at Canon - I dont think they will magically disappear with the next mirrorless release. As I see it, cropped 4k, terrible rolling shutter and 120fps at 720p with no autofocus are mostly a function of the fact that both Canon's sensor tech and its processing tech is well behind the competition (and there are similar arguments for its stills.). (I dont really buy the 'avoid crippling' its Cinema argument.) As such, it just seems an incredibly big 'ask' to try and persuade anyone who isnt incredibly entrenched in their ecosystem to invest in a brand new mount.

The problem with Jon is he clearly has zero interest in EOS R (or Nikon Z, XT3, P4K etc). His only purpose in these threads is to point out the cameras limitations ad eternum & try and prove how superior his own camera is (currently A7III, formerly GH5). He isn't the only member using such tactics.. they exist on every gear forum, but often times it gets quite snarky, borderline troll.. and threads get derailed like this one right now.. again.

$339.99 here in the US. https://www.amazon.com/FEELWORLD-2200nit-Daylight-Viewable-1920X1200/dp/B07HH1RQSP That's not to bad considering it's a 7" display and has hdmi and sdi in and out.

The overexposed super saturated LEDs are clipping the gamut. This will happen with Gen 4 on 4.6K too. You can reduce the issue by soft clipping the gamut using the colour space transform Resolve FX plugin. Here I am using the Broadcast gamut because the Pocket 4K option isn't in the colour space transform plugin at this time but they are actually the same gamut/primaries anyway. Without soft clipping the gamut:

A Picture Profile is nothing like a LUT. Nope, people will still make great home videos/ low budget films etc on the GH5 once the GH6 is out. OK, so the GH5s has TC input but you lose IBIS. Which camera are you comparing here? Yep, needs an iditional add on making it a bigger, more expensive and heavier camera. Again, bigger, heavier, more expensive This is so much more than a codec and it's a massive advantage. No but it suggests that the materials used are strong. Last time I checked, FCPX, Adobe Premiere and AE were not included with any Panasonic cameras. Has this changed? Thats because you can't shoot raw on the GH5. I wasn't all that interested in this feature either when they announced it but having used it, it's actually really handy. ?‍♂️ Good grief.......obviously (or maybe not to some people) the GH3 was not six years old when I had issues with it. It was less than a year old. You can use OIS lenses on the Pocket. You can put the pocket on many gimbals. I really don't know where you are getting your info from? I'm not sure of your background, but I've shot on many cameras from BetacamSP (Manual Focus Only, no weather sealing) to the Red Weapon and Alexa (Again, MF only and no WR) and operated all the cameras without a crew. Just because you don't have AF doesn't mean you need a focus puller. Have you not seen operators pull focus off the barrel while looking through the EVF? It actually works! Skate videos have been shot without AF for years. Personally for my work and even just my creative standards, getting the shot but seeing some AF hunt is personally not acceptable to me. I'm pretty happy with how my eyes and focus ability are though and will trust them over AF. Ive had the camera for two weeks now and used it without a crew. It's an easy camera to operate. I do wish the screen would tilt, it seems a shame to have such a nice big screen and not be able to use it all the time. At the same time, while most mirrorless cameras screens do tilt, I've always found them too small so like to rig a bigger monitor or EVF anyway. Even just the fact that the screen is so big on the Pocket means that using the touch screen is such a joy. Can't say the same about the touch screens I have used on mirrorless cameras. Ive always maintained that most people don't need RAW due to the large file sizes, hardware requirement etc. 10bit is enough for most people. After thinking about Blackmagic RAW recently, I've now changed my mind. While large budget productions have much more control over varying conditions, solo shooters do not. A solo shooter has a lot to think about and it's more likely that a solo shooter is going to have to compromise on DR due to not having a gaffer on hand, or is going to forget to set the WB correctly for a shot due to lack of time and having so much to think about. If that shooter could now shoot RAW but in a flavour like BRAW which is easy for most modern computers to handle, can be shot to cheap SD cards and requires less drive space than many 10bit codecs, then why wouldn't they want that? For run and gun shooters, BRAW makes a lot of sense where CDNG raw didn't. BRAW doesn't make a bad shooter great, but it can be used to fix mistakes easily......Good shooters, bad shooters.....we all make mistakes every now and again. DBounce, this camera is obviously not for you and you have made that quite clear. I just don't understand why you feel the need to get on the Pocket4K thread and constantly argue about why the GH5 is better. I haven't felt the need to get on the GH5 thread and talk up the Pocket or shit can the GH5. Can we keep this thread about the Pocket4k, it's getting really tiring trawling through pages and pages of silly arguments. I have made a new thread.....feel free to continue the argument there please. I'd like to converse here and share information with others that want/ have the camera.

I'd tend to never be a fanboy of a company self-centered into the broadcast sector when we live media convergence days as ever before, if some people haven't understood yet. I don't find hybrids to be bad cinema cameras, rather the opposite or this website wouldn't even exist. Neither this thread with more than half million of views, trust me. People come here not because they're not happy with their hybrid cinema cameras. Only because they want much more. Hybrids are reaching that one. As observer and industry player, I'd say 5DII was only the first stone to be followed by that 'S' model by Sony with Panny to include 10-bit 4:2:2 in-camera, now even Fuji has added their 4:2:0 version. How long up to arrive to the BMD standards? Will it be so long? Is anyone sure of that will be a long road from today? C'mon... Why that same GH5S sensor? I've even asked to someone top ranked inside BMD, just a few days ago and he was unable to deny it... Disclosed information, he defended himself. Give us a break for a very simple reason: market and its players will dictate that one, step by step, from any incremental introduction now because giant leaps have been taken. Not marketing -- rather different than market(s) who actually establish the rules.

My 4 year old has a Sony PD170.

Special focal reducer for Black Magic Production Cinema Camera. Visit: https://www.facebook.com/LucAdapters-284084538620105/ New life to our old Blackmagic cinema production camera! The new Magicbooster manages to increase the light by more than 1 stop, giving the 4k camera a true full frame look! Perfect for those who do not need 60fps but want a 35mm movie look!

I mean, the thread title has Cinema Camera in it. It doesn’t say the price range or hybrid segment. Personally I’m not here to compare this to any other camera, just to evaluate how well it does this things it promises to do. It doesn’t promise to have ibis, af or take high quality stills so there’s little point in comparing those elements to cameras that do, of course they’ll win. Comparing it’s low light, clipping, audio etc is much more important. Rambling on about lack of features it never even hinted at having is almost as pointless and insightful as repeating the fact that it doesn’t fit in your pocket.

So should the Panasonic Varicam, Red Helium, Arri Alexa, Sony F5, Kinefinity Mavo etc all offer IBIS and Tracking AF considering that they cost many thousands more? Surely they should be able to include AF in their high priced cameras considering my phone has it right? For the price of an Alexa, you'd also think they could include a front facing camera for taking selfies! Interestingly, did you know that the Sony A7III face tracking AF apparently doesn't work when using an external monitor or recorder? Now theres something not many people would have known when they bought the camera! And BMD are giving you other things that no other manufacturer are. Go and complain that Panasonic are not giving you a free, top of the line edit suite when you buy a GH camera. Go and complain that Sony are not giving you internal TC, Phantom power, XLR inputs, a 5" 1080p screen, RAW, internal 10 bit etc. Its all about priorities. If your priorities are more in line with what Panasonic are doing, buy a Panasonic. Self centred? Blackmagic are more open than any other camera manufacturer I know. Look, I like a conversation , that's why I'm here so if you want to continue, feel free to PM me but I'm not sure this is the right place to talk about a companies business models.

Why so harsh man? Is that really needed? What do you know about my experience with this company? For your information, I've dealt 28 camera units with Blackmagic now. These days... Never saw so improper attitude coming from a similar industry player in my 25 years of business. Real world. Period. Business policies and lack of industry vision, yes. Or you only are able to talk about technology? You complain. Very well, I also complain on lack of business knowledge from a few of you. Go to school. That's what I did. Why to spread misinformation on topics we have no even clue they exist? Who are you after all? Sorry pal, but I am starting to see you as a shill over us. I read recent Andrew's thread on topic. And that's what comes to my mind after your new post. You look like a child to whom we can't address a compliment or the kid starts to misbehave. Fully stupid this attitude. You come here to insult (y)our webmaster... In the same page. C'mon, give yourself a better shot.

Policies and lack of vision? Andrew is upset because he didn't get an invite to an event. That is the only reason. Before that, he was looking forward to the camera despite knowing that there was no IBIS, No flappy screen and no usable AF. We all knew it! And which market are you pigeon hole-ing the Pocket4K into? It was never meant to compete with Hybrid or mirrorless cameras for travelling or your mobile phone like you keep comparing it to. Blackmagic have always been about Image quality and affordability and are the leaders of the market at this price point and even way above. They lead the market in image quality in a camera this small, they lead the market in image quality at this price, they have had 10bit in a tiny camera for years and mirrorless are only now catching up so how can you say they are 'old school and lack vision? I know this makes me sound like a BMD rep (as Andrew suspects) but It's just getting tiring here on the Pocket4K thread constantly hearing people complain about things that we have known all along and expecting the camera to be something it was never intended to be. @Andrew Reid I started a thread where people could complain all they like about how the Pocket4K isn't a mirrorless hybrid. It would have been nice to have all this complaint somewhere and kept this thread for useful information. Why did you close that thread? The conversation had already started on it. Now, for useful information here, people have to trawl through pages and pages of useless argument. Really disappointed in your 'my way or the highway' dictator-like attitude Andrew.

Correct Dennis : ) This camera is the best bang for the buck. I am just upset with the brand. Andrew was fully right on that one. I've been in touch with several people inside the company. Grant Petty should address all that. Their policies and lack of vision for a noteworthy business much different than broadcast realm so to this segment, affordable cinema cameras or hybrids ballpark, simply suck. My only complaint.

No disappointment with this camera at all. I am actually with both of you @A_Urquhart @grex in your choice : D Maybe only with a brand which is still lazy in several aspects and old school when market is trending somewhere else. Thanks for your entries and civil reply BTW, much appreciated, really (E : -)

No, people have been handholding cameras for many years. Does a phone shoot the quality of images the Pocket4K can? A smartphone has PDAF and an Array Alexa at over $70,000 doesn't. So what? I just don't get these arguments. If a phone has what you require, use it. Don't buy the pocket4. Pretty simple really isn't it? I have multiple cameras from three different manufacturers. I bought them each for their individual strengths. I did my research knowing what I needed and didn't need. I have no self esteem to protect here. I knew that the Pocket4K didn't have IBIS and wouldn't have a good, usable continuous autofocus system. No blackmagic camera ever has. I haven't just found this out and now feel the need to defend my decision. Is this really how people are these days? I know I can focus a camera manually, I know that when I am shooting on my own, I can attach a lens with OS or carry a tripod/monopod if need be or even shoot from the hip on a cine saddle. The price of the camera makes no difference, but if you need IBIS and AF, buy a camera that meets your needs. The pocket4k never claimed to have IBIS or usable continuous autofocus so I don't understand the disappointment here. If you wan't a travel camera, buy one that was designed for that purpose. I travel and take family photos/video with my Fuji X-T2. Sure, I could take family/travel videos with the Pocket4k but I don't like taking multiple cameras with me on holidays so I make the decision to sacrifice a little image quality for convenience.

Best camera for the job i suppose. If i need something professional i will deck out the Pocket 4K with whatever i require for that project (follow focus, gimbal, etc) i enjoy modularity and the fact that this camera starts off small and can be built up to your needs), if i'm on a family vacation and want to travel light while running after my kids then i'll go for convenience (IBIS, Autofocus). I don't think iPhones are up to the quality standards we are looking for as of yet.

Does that mean you have the latest glass, or old glass? By the way I actually really liked the swirly bokeh

Dimitris, maybe the problem is the codec you are using to export the files. Which codec do you use? After effects has color management. Premiere doesn't. You have to create a lut for it. On After can go to Project Settings -> Color Settings and choose the color space you want to work. I have found that Rec 709 Gamma 2.4 has inconsistencies when exporting ProRes files. For ProRes export, working in sRGB 2.1 colour space gives me the most accurate results.

Ah so there's also travelers not to be forgotten here... ; ) Let me see, the best camera is that one you have with you, isn't it? Or should we infer we have to resign on our phone camera for that? ; -)

I have to agree with you on the autofocus and IBIS. Now that all these gimbal manufacturers are beginning to offer wireless follow focus motors for cheap these systems take care of these 2 issues. The only reason I would need autofocus and IBIS is if I am traveling and don’t want to bring a gimbal or I just feel like being lazy and would rather hand hold the camera. For those reasons I would just bring my A7RIII. I know most people will say why have 2 cameras when you can have all these features in 1 camera but I haven’t see this perfect camera yet.

Indeed but when that 5DII popped up? (you even look like to repeat some post I had posted here before LOL) Let me see... 4Q 2008? We're speaking about what here, actually and more exactly? Tripod or slider shots? Is that? How much is the price range of that cinema camera BTW? Because it was mentioned US$ 1-1.5 grand, the same for the top smartphone offering all that PDAF has implemented from some time earlier than 4Q 2018. You know something? Something that really pisses me off is when we, me included if/when happens (hey, I am not perfect either! LMAO : ) tend to forget a point because we have something of our inner own -- like an investment we did, no matter how small it is... just to protect or to massage our self esteem ; ) This is not honest : ) I am not glad to feel like to have to write it anywhere, go figure here, but we're trading a subjective interest for a fact. Doesn't serve the truth or the reality of the facts. Reason why fanboys end to get a pejorative meaning over these and other boards, I'm afraid. But you have there good tap to focus, as far as it is reported from that video I commented... so, why bother with my AF remark? : X If it is because I've mentioned that. Let me tell you starting to present my disclaimer that for three years during my film school going along with 16mm film, I had to be focus puller without clue if me and my colleagues, we'd have the whole school to praise or curse our skills when the 'collective footage' was used to be pixel peeped @ big screen, just arrived from lab rushes. Moreover, what for that cap on the operator's head with the RED up there? : D As much helpful as AF or IBIS for handheld shooting, I presume...?! C'mon... give me you all of those old school lovers a break because I've already given to him @wolf33d on his usual point whenever a new release comes, pretty fair BTW : -)

You can record 4k60p in RAW on the Pocket4k with no problems. You just need to use 3:1 or 4:1 RAW, so no need to wait for BRAW (another compressed RAW format). I really don't know anyone who needs uncompressed RAW though. The Red Weapon doesn't do uncompressed RAW at all, only compressed at 2:1 and up. Is there anyone here that would say the Weapon is not good enough for them? IF the Pocket4K's USB port is USB3.1 Gen 2, then maybe we'll see an external drive like an NMVE drive, be able to record uncompressed but again, you really don't need it. Generally, you need two SSD's working as a RAID configuration to get uncompressed RAW. The Convergent Design Odyssey can only record uncompressed RAW CDNG at 4K60p when there are SSD's in both slots and your files end up needing to be merged afterwards. Wile it's not technically a RAID config, it does send every second frame to the second SSD as the data rates are just too high for a single SSD to handle. Same as Ursa Mini Pro, you need two CFast Cards in the camera for Uncompressed at 60p Maybe 2018 has made people soft. I don't know when it started that people had to have Autofocus and IBIS to be able to shoot on their own. Remember the Canon 5D that started this whole DSLR video revolution, it didn't have usable AF in video mode or IBIS and we all shot fine with that.

I have never got that either. I have found that in many instances Sony colours are more accurate to reality and in many cases people prefer Sony colours in blind tests. I think it comes down to People getting used to Canon and Nikon colours more over many years and liking what they knew. I have never had any issue with any brand for colours for stills and for video, I just use what I get from the camera. Besides, there is always a much bigger difference in what I see between the various computers, monitors, TVs I look at stuff on.

Even though, it's made for gimbals, I used a handle bar thing similar to this (but cheaper) with an a7iii and got some nice handheld shots, some limited walking shots, too. https://www.bhphotovideo.com/c/product/1265758-REG/ikan_dgh_dual_grip_gimbal_handle.html

I just calibrated my monitor again, but this time used DisplayCal as @KnightsFan suggested, instead of iProfiler. Same settings but totally different results. X-rite's app (iProfiler) gives a strange red shift. Many users have mentioned the same thing, so i can definitely confirm this. As for After Effects, i forced the application to use my icc profile and the results where totally off. I tried the same thing with Premiere by exporting stills which i passed through a simple colorimetry process using Photoshop. I am sure i made a lot of mistakes and this was not a scientific test in any universe but i can say this with confidence: The color management in Adobe video apps on a mac doesn't work in harmony with Colorsync. Even if you force these apps to implement an icc profile you can't trust what you see. KnightFan said that VLC's color is not accurate and i totally agree. But i was not expecting in any case that i would see the exact color management inside 2 widely used Adobe's apps. I made a custom lut in Photoshop, then added that on an adjustment layer in AE and exported my files again. That was the quickest way to fix the color shift and it worked as a charm. I think... Overall i think those are major issues and must be discussed more on the forums. It's funny cause we talk everyday about how disruptive a codec or a compression method could be and i just discovered that every single clip i have exported from AE has been rendered in a slightly shifted colorspace.

Yes, I would be the operator and as much as I prefer the look of a Glidecam, I don’t know if I have the time to really get good at it before shooting begins in December. Like @leslie ‘s S40, I have a cheap Merlin copy made by Vidpro. It actually works fairly well except for the obvious wind drift... after a day or two of practicing with it (a few years back) I was able to get my index finger to reign it in a little but even that wasn’t perfect... which I guess a gimbal would cure more easily? This film doesn’t need long, silky smooth movements. I was going to use cuts to make it feel more frenetic. So I wouldn’t be following the talent around as much as I would be meeting them at a mark, or pushing them in a different direction as though the camera was a constant obstacle in their chase scene. Thanks, it does seem that a gimbal will be more beneficial. @scotchtape recommended the Ronin-S, do you have any other recommendations? I don’t mind spending the money on it but a cheaper alternative would also be good... especially since my concurrent project is a completely static film on sticks. I had a look at the BH site and as I mentioned, the Glidecam Centurion has a briefcase mode which seems very intuitive to me for some low profile shots... But that model doesn’t seem to have many reviews. I’ve also heard some okay things about the Beholder and obviously the Crane. An AF wheel would be a plus as well, I guess.

I have the Z Axis for the Osmo. Its not cumbersome and it is effective but it does make people stare a little bit. By which I mean a lot. I am going to pick up one of those ones I linked to in a couple of weeks and my exact thoughts were how it would fare with an IBIS camera (specifically my cinevised A6500 ) so I'll let you know!

Don't forget 1DX2 does 4K60p at APS-H format which is still larger sensor coverage than any of the competition. As well as some of the best 120fps at 1080p. So Canon aren't that far behind tech wise when they want to. In fact i believe 1DX2 was by far first to do 4K60p in a hybrid cam. It's hence quite forseeable that the higher end pro model mirrorless Canon have been hinting at will inherit 1DX2 specs and maybe even give us FF 4K. IBIS however hasn't been done in any Canon camera AFAIK and really needs to happen soon. Fuji did it, less than 2 years after claiming it was impossible so I don't see why a camera company with as much R&D as Canon couldn't solve it either.

Facts lmao lol... well the fs5ii stock profile has a better highlight roll off so maybe we will see that in the a7siii then buy a camera thats 1:1 readout and not oversampling.. like come on.

I have conducted a bunch of tests comparing shots between the XT-3 and the Pocket 4k, which unfortunately I can't share because they are of my wife and she won't let me post them online. I will see if I can do some shots of other folks whom are comfortable having video of them shared online. But for now I can give a bit of insight with my findings. The highlight retention/roll off of the Pocket 4k is miles ahead of the XT-3. Having the ability to have RAW, is also miles ahead of the XT-3. Both of these are obvious to me and I pretty much knew them going in. I think we all knew this. The colors straight out of the camera, again, blackmagic wins. So is the obvious choice the Blackmagic Pocket 4k? No. Keep reading... After all that, the combination of a more organic/slightly softer looking image and much MUCH smoother motion cadence of the Fuji XT-3, make it look more cinematic, with less work. When both cameras are out of harsh light, I prefer the video of the XT-3. Just the way the movement looks is immediately apparent and almost jarring. I know a lot has been talked about whether the pocket 4k is the same sensor of the GH5 or not, personally I am not here to say it is or it isn't, but the actual movement (motion cadence) reminded me of my old GH5. You can soften the video all you want, add grain, but tweaking motion cadence is not an easy thing. So I really value the way the motion looks. With both arguments out there, I still don't see it as a clear choice for the XT-3 or Pocket 4k, unless you start factoring what you want out of it. If you do gimbal work, the XT-3 is hands down a better choice with its great auto focus. If you need RAW, then you don't even need to read or bother with your choice and I am not sure why you even read this far, the Pocket 4k is your choice. Screen on the pocket 4k is amazing, fujis is small and harder to use. But, you can use a small Ninja on the Fuji and record prores. With the Pocket 4k, unless you are using CFAST, you will need to mount an SSD on a cage. So with either one, chances are you will have either an ssd or monitor on top of it. I prefer having a monitor on top, because thats an added bonus of easier to focus and choose angles. Here is where I stand. I shoot video and do photography, pretty much 50/50. The specs of the pocket 4k blow my mind. They are amazing. But, for what I do, I am not sure if its worth having 2 cameras, 1 for photography and 1 for video, which means more gear I need to carry - as opposed to just my Fuji to do both.I bought the pocket 4k to see if it would blow my mind. It has impressed me, but has not blown my mind. I lose some, no RAW, not as great of a color science, and far better codecs. But, I also gain some with the Fuji, smaller body, easier to balance on gimbal, autofocus for gimbals, and no need to lug around 2 cameras and more lenses for each system. This last argument is whats making it harder to just keep both. The fuji regardless is staying, because its my main photography camera. Its a keep the fuji or keep both choice for me. I am going to do more tests once the sun goes down a bit and see how they fair outside of the harsh light I tested today. Right now, I am leaning toward sending the pocket 4k back, just to simplify things. When I have too much gear , over stimulated/whelmed with choices - I end up NOT being creative. This is why I have always liked hybrids as a photographer, the camera is always on you and ready to shoot video when you need. Decisions, Decisions... I am open to answering any questions on either camera.

ah OK, so take a look here: http://urbanvideo.ca/avoid-video-flicker Hope this helps, E : -)

Of course. I guess he meant the typical 30p aka soap opera frame rate instead.

Looks some Iscorama glass coupled there. To me, bothers much more that flickering over there which could be corrected with the use of proper shutter speed BTW : ) Aside the dichotomy 50Hz vs 60Hz for 25/50/100 or 24/60/120 fps, respectively.

Its not better than P4K only because the 2 simply shouldn't be compared. The GH5 is a video camera and the P4K is a cinema camera. This is another apples to oranges comparison..

I don't know anything about the Glidecam product but a while back I was looking at Z axis addons for one handed gimbals. I got caught up in other stuff so didn't end up getting one but I was looking again the other day and they seemed to have come down in price a lot. The one in this review is about £65 on Amazon and could be a two birds with one stone solution with regard to reducing fatigue as well as adding what from this video appears to be an impreasive degree of additional stabilisation. With it being an add on it also gives you that option to remove it and just use the one hand unit when you need a bit more low profile. https://youtu.be/_wmaNdImgf0

It was shot in Zlog at 60 p and I recorded internally but monitored through a BlackMagic Video Assist 4K on a Zhiyun M gimbal. The ZCam E1 has all the components a cinematographer needs (besides IBIS). Actually the BBC used the E1 for three years as an in the vehicle camera for “Top Gear”. Truly impressive! I’ll be using two of the E1’s I own for some other projects, but I’m going to start shooting more with the Eva1. I’ve had it for months and only filmed with it once. I’ve been using the LS300 because it’s just so easy to pick up and go, plus the images I get out of it is one of the best!

The colour science is at least 80% done in post when you shoot LOG... and 99% when you shoot RAW! The colour science is in Resolve and can be applied to any camera with a capable enough codec! What we need to know are things like - - Dynamic range in LOG and RAW - Noise in shadows - High ISO performance - 8bit vs 10bit And the job of the grading is to get the colour to match perfectly between the two cameras being tested. I still have no idea how the GH5S and Pocket 4K really compare in dynamic range, noise and bit depth.

And there would be your mistake, because the P4k will require more resources to actually shoot nice footage. FYI: when I was at NAB I asked the Panasonic rep about ProRes Raw... and he said it could be added as a firmware update if they felt the need to up the ante should the P4k threaten the GH series. So don’t be surprised if that happens. Also Atomos and Apple are busy trying to convince camera manufacturers to get onboard with their new format.

Then do I have a deal for you?

Funny. The use of focal reducers is exactly the major sale point for MFT IMHO. This, affordable light MFT glass. And C-mount bargains on eBay. And... ...Pocket 4K doesn't fit in the category of small camera bodies though ; -)

I guess 'S' model is over for both Panny and Sony too. We could infer hybrid's milestone. No one can ignore BMD's role whether we like the brand whether not : ) I am like you. Nothing will touch Panny love. Once; it is forever ; ) Let alone YT where no other camera got such spread indeed. Fujifilm has gotten the best results in the hybrid realm with their aggressive business model now. Seems hybrid shooters are their targeted business today rather than that video world for social media like Panny or broadcast and corporate like Petty's brand. I wish BMD had their business vision rather than only codecs and color science to be fair. They could and should be further. But seems they don't like you use the word "should" LOL ; -)

GH6 will inevitably be a need here.

The whole point is BMD guys are slow to compete with hybrid features like AF and IBIS as for instance or even a different camera range in the same segment. Hybrids arrived to a certain point Jannard's DSMC intended to be. Scarlet 3K for 3K, now lowered to 1K-1.5K (BMD realized that but they struggle to deliver hybrid features).

...a camera or the brand itself? :-X Hybrid is something a CC will never be but a CC will tend you shoot more motion than stills when not only stills... I find this camera unique of a kind. They will be in trouble when X-H2 will be outside though. Albeit only if sooner than later. I guess 2019 shall be a terrific one anyways, maybe from scratch (only price will justify 2018 models by then) already from beginning, very early, perhaps Feb/March if/when X-H2 and GH6 will pop up ; -)

BM fanboys are far, but so far away from their company policies... ; -) Tough business, no more no less. Sometimes can even happen to contradict the common sense behind : X Well, I guess some senior executives can be junior executives (or the contrary hehe) trading places in disguise... LOL

On the spot, Glenn. Will you notice it then? ; ) If you look after PDAF nothing will stop you to not end there ; -)

...and their superior color science & acquisition tech, no matter what : ) It is a bit pointless to try pretending to ignore that. Useless IMO. We have the right to favor something else if our IQ standards match fulfilled, though. May the holy grail be beyond pixel peeping ; -)

Competitors are there but they've raised the bar too. I believe there's room for all, trust me, they're not even worried with them. We arrived to a certain point it's not the major players to ignore innovator companies like Blackmagic anymore, rather the opposite. Numbers, the only God. Who pays the bill, after all? Is it really important to them? It should be... I don't think this is meaningless. Not only tech is important at least to my book. RED got the love of the clientele because their service, view and respect for their support basis.