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We recently got a couple of DJI Osmo Pockets and decided to have a play while on holiday vacation in the mountains. Here is some footage and a brief impressions video of this tiny camera.

This was three days urgent task to imagine story, shot, choose music and compose with other material arround and make birthday gift for one local actress. I had just few her photos and old tv shots from facebook and our or two to shot several additional shots. So, result with wonderful Resolve 15 and by-myself-modified verses of Louis Aragon ... I'd like to see more examples and techniques, so that's maybe separate thread is not redundant? I'm going to tell you a great secret You are time Time is a woman It needs To be fawned over and bowed down to Time like a dress to be undone Time like endless tresses Combed A mirror misted and demisted by breath You are time asleep at dawn when I rise You're time like a knife across my gullet O how I am unable to tell this torment of time unpassing This torment of time halted like blood in blue vessels Far worse than desire forever unmet Than the thirst of the eye when you walk into the room And my knowing not to break the spell Far worse than feeling you a stranger Fleeing Your mind elsewhere and your heart already in a different century My God how words are heavy That's what it's all about then My love beyond pleasure my love out of reach today unattained You swat at my clock temples And if you fail to breathe I suffocate And on my flesh your step waits and comes to rest I'm going to tell you a great secret Every word On my lips is stricken with poverty, begging A trifle for your hands something glowing black below your stare And this is why I say so often that I love you For lack of a crystal clear enough of a phrase you'd place around your neck Don't mind the baseness of my language It is Plain water making that awful noise in the fire I'm going to tell you a great secret I don't know how To speak of the time you seem to be I don't know how to speak of you I make believe Like those who remain so long on the platform in the station Waving their hands after the trains have left The wrist fading out under the new weight of tears I'm going to tell you a great secret I fear you Fear what goes with you to the window in the evening The gestures you make with unsaid words I fear time rapid and slow I fear you I'm going to tell you a great secret Close the doors It's easier to die than to love That's why I take such pains to go on living My love

When you realise this camera is really 95% a RAW shooting camera with big amounts of data - it’s a fine line between being really stupid or a genius, on the basis you buy one. I didnt get it and it’s just not as versatile as the EVA1. I like the image better on the C200, but sometimes, logic needs to come before your emotions.

Fooling around with HLG. Adjusted curves using a waveform and added some saturation. It definitely seems a bit cleaner then log. Skin tones looked good according to the vectorscopes.

Yeah but he gets around the world a lot. He is an interesting person. I would not have taken him for a Teetotal. I Knew something was off about him LoL. ? Sort of like the old joke, I was thinking I had a drinking problem, so to solve it I gave up thinking.

Bravo @anonim This is one of the most imaginative and influential little video I have ever seen on this forum. This exhibits a distinct quality that most people tend to forget, education/love for the arts. When 95% of the video makers look at specs and price to justify their creation, some others go to museums and read books! The artistic value of each shows..

Well that’s my point, you are firmly stating the C200 is a failure but you don’t need or want what the camera was designed to do... shoot Raw. And then you are stating you’re waiting for the C100iii but you have it with the 8bit codec in the C200. Sorry, I’m just not following your logic. Regarding my camera choice... I’m very happy shooting 1080p Raw with my 5D3. As far as the P4K... I’m just not feeling it. I’ve seen some great stuff shot with it, but overall, I don’t think the footage looks all that special. I’d rather shoot with the Micro for half the price if I ever need 60p Raw... or spend the same money on a rental of the C200 for 10 days. Storage is cheap, I’d rather have the DPAF, built in NDs and other benefits of the C200 over the P4K. With that being said, I totally understand why Oliver chose the EVA1... it creates a beautiful image. Just from his grab alone we can see that... or any footage Zak has posted. If I shot anamorphic, the GH5/GH5s/EVA1 would be a go to choice. I even love the Raw out of the FS5 or the internal 10bit 1080p and could see myself going that route instead of the C200. The right camera is out there, it just depends on the needs of the project. Thanks for the well wishes, I hope to have some teasers to show in the next month or so. I’m even starting another feature in February so hopefully a lot more to show in the coming months.

I am the Greek, he is the Portuguese, similar in temperament, different in drinks!

Sorry, of course I’ve seen the ad and I fully understand the specs of the camera. I shoot run and gun narratives. I need my set ups to be inconspicuous so a large cinema camera doesn’t really suit my needs. But in a year or two, I will definitely own or rent one and I’ll shoot Raw or I’ll export the Raw signal via the SDI for 10bit 2K ProRes. Technically the camera meets the criteria for an in-house Netflix production, so I’m unsure why it wouldn’t be Broadcast acceptable?

Wow that looks nice. Just about a perfect exposure.

I had one on pre-order, and although having never used it - I didn’t go through with the order. This is mostly to do with battery life. I know there are workarounds but I don’t see much point buying a camera with this form factor, just to throw another brick on it. Also I see the screen as a valid issue. If you know that you regularly need to tilt your screen - then the BM isn’t going to work as you’d want. The Z cam is a cool design as it allows you to “create your own camera”. A lot of people who like customisation will welcome that. The BM image is lovely and will be a massive hit for crash cams on big productions. As an indie tool it hits the right spot however as a workhorse, I think the GH5S is a better option.

Just to put some things in perspective. P4K can be used for professionsl work, as it is, and I did. A very demanding 1 day shooting with random Canon batteries (non original), SD card and whatever lenses we had (m43/EF metabones). No problem at all. The monitor is the biggest one ever existed, not even some dedicated video cameras have such a good monitor. I doubt the C200 monitor is any better, and that is a 9000euros camera. People are using terrible NON touch monitors on Sony cameras still, and most 3" cameras in the market are much worst.this is a huge leap ahead. Personally, I bought a SmallHD Focus a year ago, but I had it on one of my other cameras that day. I missed a tilting mechanism at some points (very low angles when on a gimbal). Again, the battery isn't worst than any Sony camera we have used in the past, and Sony were top sellers in mirrorless. There is no camera with better in-camera sound than a dedicated microphone can provide, and this BM has a mini xlr, which no one else offers anyway. This camera offers RAW, but all flavors of prores also. When you buy the Z, you can not use it out of the box, when you buy the Pocket, quite literally you can (if you count the SD card that includes, you do not even need any additional media ?). That is the truth.

Thank you everyone for your inputs. As build in stabilization is a must I will get a G80/85 I have a pretty decent collection of glass - a couple of Zeiss Vario Sonnar's, complete set of Yashica ML primes , a Sigma 18-38 1,8 , a Samyang 12mm and a Panasonic kit zoom, well - and a speedbooster. These cover all my needs ?

yes sir

I agree... mostly. To work effectively it needs to be rigged up. That monitor on the P4k should at least tilt. I can forgive the lack of tilt on a very rugged camera like the 1DXMK2; but BM has no acceptable excuse for this omission. I largely try to avoid rigging cameras that I plan to travel with. I also hate pulling down rigged cameras so that I can travel light with them. This is why I usually opt to purchase a second or third body. The compromises are glaring on the P4K. And the reason for the compromises are obviously to keep costs down. Personally, I would have preferred it hit the $2k price point with the current shortcomings addressed. I won’t be surprised when BM announces a new pro variant that address these issues. It’s sort of a no brainer. The Z-Cam is closer to the mark. Not because it’s more complete, but because it’s not pretending to be the complete package. It’s expected one would rig to suit as the project requires. Nevertheless, it’s hard to recommend the Z given the lack of support state side and still unproven reliability. Imo, it’s a camera for beta testers at this point.

Set it to infinity @ f16 and shoot mountains very far away. Perfect AF every time. ?

I am sure they do. But I would imagine most people would not be to keen at taking one apart to replace the part, and the cost to have Sony do it would be, well pretty expensive I bet! Not counting they would have your camera for 2 months probably before you get it back. I still think it is a great buy for that money. Especially if there is some grace period where you can use it for, and send it back if it looks like a truck ran over it. ? A FS7 is pretty much a no excuses camera, and Pro looking as hell.

Well you can't see the monitor out in bright sun, and you can't see it up on a tripod,, so I would say for me the built in monitor would be as useless as tits on a boar hog. And you are going to need a battery pack. And unless you win the Lotto you are going to need an external SSD instead of 5 CFast cards. And a good microphone holder, on and on. So that means a cage. It needs built out just like the Z cam E2 does. So you end up with a big lump of a rig that cost 2500 bucks. The Osmo Pocket is looking better every day! ? Now if you want to run around naked in your house, with a naked PK4 handheld, with the curtains drawn, taking 20 second clips, of ehh, naked people well sure the damn thing works right out of the box LoL. ?

That is exactly the problem with that cam. It is way overpriced for a glorified C100mkIII.

One can argue that P4K can be bought from anywhere in the world (at least order it for when available), BM has official distributors in almost every country in the world, it is almost half the price (including one of the top 3 editing and post processing suite in the world) and can be used right away (it includes the battery, a 5" screen, which is the greatest ever on a small camera), while the Z can NOT be used straight away. Also, the Prores and raw options of the P4K are a complete package. Where exactly the Z is dominating over the Pocket4K, and makes us forget all the shortcomings?

Wish I could tell you, but I'm not using the app for anything other than tweaking settings. I don't feel like I have as much fine control over what i'm doing. Beyond the controls offered on the handle, I just need to pull focus manually so this particular gimbal works well for me. I'm still running an HDMI directly from the camera to monitor what i'm doing. I don't want to worry about lag or skipping at crucial moments. Runs smoothly with the motors set to medium. Sometimes i bump it to high if I put one of my heavier Contax Zeiss lenses on like the 35/1.4. But the 18mm and the 25mm (pictured above) are pretty light. I also have a Panny/Leica 12-60 that's super light. I put the motors on low for that. Would love to share footage but they are for a short film that the director doesn't want anything released from, or it's behind the scenes footage for studio movies that haven't come out yet. On the short, I do remember the gimbal getting jittery at one point, but i shut it off and immediately saw it needed to be rebalanced. after I did, it was fine the rest of the shoot. Thanks for the great review by the way. I'm going to try your settings over the holiday break.

Used this recently during a month in Isreal.

that's up there with britains got talent, all those ballerinas and magicians and people that are using projections and video techniques to add interesting elements to their performances. good work

Other than the Fan and some Buttons, I don't think there is many things that can go wrong with a Cine camera like the FS7. Sounds like a nice deal to me. Not much more than a FS5 to be honest. Check for Hot Pixels though. Only thing that would worry me.

@Zak Forsman +1 for the Kensigton track ball! What a revelation. After this "honest" review, I see a bigger gimbal as more appropriate for the P4K. Ronin S should be ok.

If you want the "feel" of a big rig, then the simplest way to do that is.... have a big rig. And the easiest practical way to do that is to pop on a V mount battery on the rear (which is useful! Don't need to worry about power for hours and hours), a mattebox (with rails) on the front (which actually can be handy), and monitor in the middle/side. Yes, but..... A glidecam has a completely different feel/language to a "heavy camera" (if it is handheld, easyrig, or shoulder rig, which are each subtly different to each other as well). At least a big beefy 230Wh V mount battery has more practical benefits than weight than a load of lead has. Even a naked F3 can be surprisingly lightweight, compared to a heavy Alexa. Need to add more weight if you want to fully match the mass of the two of them!

You should have just bought a GH5s and been done with it LoL. ?

I learned English thanks to this site (and pornhub too) So I know all about dynamic range and horny milfs looking for a young pizza delivery guy.

glad i joined before the entry level was raised do gopro's count ?

So far so good, after a couple weeks its becoming very intuitive - almost as fast as FCPx with better audio editing tools. I'm focusing on my three needs -- audio production, grading and most of all editing. I'm really liking just about everything about it. Its replacing FCPx & an older version of Protools, or Premiere and Audition depending on the project. Its really well sorted on just about all fronts, if you see the logic behind it, it really makes sense. That's why I like the BM video so much, they show a lot of really great features that I hadn't discovered in other overview videos I've gone through in the last few weeks. What seemed like a really steep learning curve is actually no worse than any other NLE I've worked with, it just has its own process and its actually pretty easy to grasp once you see the basics. And its so easy to move between editing, audio production and grading, I love just clicking on the icons on the bottom and bouncing between media, edit, color and audio. It took awhile to wrap my head around nodes and the ways to link them, how to use them and so on, now it makes perfect sense. I just have to figure out how to get it to show the estimated file size when exporting a finished edit, so I can adjust the bitrate to suit file size limitations like Facebook uploads without waiting for the finished product. Most of the time its not an issue, but I was doing 1-hour versions of a Yule Log project and getting the file size correct took a few tries, at about 4 hours each. Then there was the 8-hour version ( lots of looping) that took 22 hours to export. And it took 4 tries to get the bitrate right and it froze on me a couple of times. Grrr.... But I think the project just overtaxed my ram or video card. On shorter pieces, like 30 sec to 6 min its been fantastic, and really fast from start to finish. And that manual, aye. Seems like a good chunk is Fusion and that one is way beyond most of my needs. I'm not a motion graphics person, so I'm all about the templates. But I do need to learn to animate titles so after getting comfortable with grading, audio and editing I will start work with Fusion basics. The above is a long winded way of saying no regrets about jumping in and making the switch. I really like the all-in-one solution. I tried v12 and didn't like it, but v15 is so much better. I'm now producing photo and video pieces for VISIT FLORIDA and Resolve is going to play a big part in what I do going forward. Eventually a Pocket 4k will too, I shoot a lot of sunrise/sunset stuff so raw will be a welcome addition sometime early next year. Every day I spend 30 minutes or so on a tutorial to sharpen my skills. Thanks for all the help and resources. I check this thread almost daily to see if anyone posts anything new. Cheers Chris

I feel the need to apologise to our community for being a cluess (sic) and classless troll.

Well if we had an award for the Stupidest new person on here you would win first, second, and third place hands down LoL. Go back to DPR.

I was able to recover the file using Resolve. In media -tab, choose the clip -> right click -> Clip Attributes -> Data Levels -> Change from Auto to Full. Voila! Before I figured this out, I made a massive investment (over 4€ )on eoshd recovery lut, which didn't recover anything in my Ninja V files from X-T3. https://youtu.be/bwFRWWNSFlY