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EDIT>>> I had a longer reply but really I think "Fuck off" will suffice. I'm joining the long list of people that have you on ignore you complete and utter tit.

Please don’t advertise you’re an American, it makes the rest of us look bad. Hahaha... just kidding. I’m almost convinced Skip77 (and possibly ZachGoodwin2) are alter egos of somebody on this site having a laugh.

Based on comparing the actual sensor size of the Pocket 6K with the JVC LS300 then from my experience the typical VSM setting on most MFT lenses would just cover it. Though even a small windowed crop mode of 5-10% with that extra resolution would be a worthwhile trade off to be able to use those lenses. You think and have seen ? Which one is it ? Your argument or one that you have seen? Either way, can you talk me through how there can be a better argument for the EF mount camera when both cameras could take EF lenses and the MFT camera can additionally use native MFT, Leica M and PL mount lenses ? Based on the arguments you have thought of/seen would your Nikon Z6 have been better to be F mount or is it better to have the shallower Z mount that opens up a whole mass of different lens options and also be able to use F mount as well then? MFT P4K users ? As opposed to what? Users of the non-existent EF P4k? You are conflating two entirely different things. These are different cameras and hence why the reaction from people who actually own the Pocket 4K has been largely muted because either they aren't that bothered about the extra resolution or prefer the extra flexibility of the MFT mount or don't want to spend the extra money to trade up the camera and the increased IT costs of dealing with 6K or some combination of all of those. And some owners have gone "great, I'll buy the 6K one and use that as well". As much as you'd clearly likely there to be a massive outpouring of rage from Pocket 4K owners about this new camera, it just isn't there because this is not a Mark II version of the Pocket 4K thats come in at the same price with more resolution, it is clearly a different camera. For anyone with a bizarre fetish for revelling in and stoking other people's outrage, I can see that that would be a disappointment but it doesn't alter the facts. Now, if the Pocket 6K had come out with an MFT mount at or around the same price then you might well have needed a few extra boxes of Kleenex and some screen wipes but thats because that would have been a Mark II version of the Pocket 4K. But then of course, that would also be related to it using the same, more flexible, mount. You can't get any detail on the P6K if you can't get your lens on it. Are we just going to gloss over the fact that you can't mount the vast majority of PL lenses on it or does that not now matter for a cinema camera ? There are flaws in a lot of the side by side tests but if we let that slide then considering its twice the price then it should really shouldn't it? Which is why its whats known as a different camera.

As someone who has shot with a range of budget cameras (including GoPro/iPhone/point-and-shoots/etc) and put many many hours and money into learning to colour grade, I fundamentally disagree with this. The really expensive cameras with great colour give an image that you can just apply some contrast to and they look fantastic, but the worse the colour from the camera the harder it is to get a good grade out of them. Of course, it's not impossible to do so, but you have to be highly skilled, lucky, or both to get that great result. The fantastic grade on that short from the Micro has much to do with the camera, even if it was just that the camera wasn't creating an almost impossible task for the film-maker.

Having been present at NAB when RED was first introduced, it seemed at the time to be “pay no attention to the man behind the curtain” vapor ware. I worked in cinema advertising at the time, specifically post production. The Quantel eQ and iQ Pablo 4K I used to create content captured up to 4K left eye/right eye uncompressed in real-time with real-time (no render) color grades and parallax adjustments. The Pablo cost $440k. It wasn’t portable. It’s drive arrays were 10 gig Ethernet SANs. In 2008, when dealing with .r3d files, import into Quantel workstations allowed for one-light color grading on import with white balance and ISO control among other typical RAW parameters. There was nothing like RED in terms of a capture device in 2008. NOTHING. Whatever the legalities, Sony, Panasonic, Canon and anyone else made nothing like it. RED was an upstart. It killed Digital Intermediates (scanning film to DNG for dust busting, color grading and editing, then outputting the sequence of final DNGs back to film for theatrical exhibition on film projectors.) Now, cinema projectors play back encrypted Digital Cinema Packages, containing JPEG frame sequences, made from graded and edited RAW files. Digital end to end. The entire motion picture industry production, post production and exhibition industries all transformed because of RED. While I kinda want RED to lose the patent fight with Apple much the same way as I want generic medications to replace brand name due to the expiration of patents and the resulting cost savings—RED deserves credit. Just not enough credit to be aggressively litigious, and be the sole beneficiaries of the compressed raw concept forever. Let Nikon and Panasonic users benefit from internal compressed raw without owing RED prohibitive licensing fees. (But don’t let Canon or Sony because I don’t like them.) My 2¢.

So I keep meaning to do something more elaborate for the BMMCC but never have the time but I had an hour free this afternoon to knock this together for anyone who wants something cheap and easy to base a DIY controller on. Basically, its a 6 channel servo tester that costs £15 from Amazon ( https://www.amazon.co.uk/LewanSoul-Channel-Digital-Over-Current-Protection/dp/B073XZH264/r ) and a £5 solder less VGA breakout from Amazon ( https://www.amazon.co.uk/sourcing-map-Breakout-Connector-Solderless/dp/B07MQX1BBP ) (Yes, I've soldered the ground but thats only because mine must have been made on a Friday afternoon and they put in one side of the connector wrong ) With this, you can use the rotary pots to control four parameters on the camera so you could use it to have physical control of focus, aperture, ISO and WB etc. I've shown the solder less breakout as it makes things really easy for anyone to connect up (it has a shell to enclose it obviously) but you can just solder to a connector if you want to. Obviously you will want to use longer cables than these test ones ! The connections from the breakout to the servo board are BMCC PIN 1 > SERVO BOARD - BMCC PIN 14 > SERVO BOARD + BMCC PIN 3 > SERVO BOARD SERVO 0 S BMCC PIN 8 > SERVO BOARD SERVO 1 S BMCC PIN 12 > SERVO BOARD SERVO 2 S BMCC PIN 13> SERVO BOARD SERVO 3 S You then assign the functions that will be controlled by the pots on the servo board in the remote menu of the camera by setting the functions to be controlled by PWM1-4 respectively. (servo pot 0 is PWM1, pot 1 is PWM2 etc). So if you want to build your own DIY physical controller thats all you need to know to get it going and then its up to you how you case it etc. Because the BMMCC only has 4 ports you can control through then you have got two spare controllers which if you wanted to get fancy you could connect actual servos to for controlling manual focus lenses, zoom control etc.

No, that was Canon by accident and Panasonic on purpose.

I bet you made that ToF device because your complete rubbish a manual focus. Loser!

The Russian over at Personal-View makes me chuckle. Having a good at laugh at our expense!! LOL! I hand it to him for that comment. It's hilarious. We should tell him to go back to hacking the bitrate on the GH2 though.... It's a much more productive use of his time in communist land. Or maybe Vitaliy is turning capitalist? Wanting the limelight all for himself and a nice Russian bride?!

Can't speak for Ed but I'm fine thanks mate, just been a bit busy writing some code to contribute further.

Same thing for me. I had that troll on ignore but some how he resurfaces. Because you are trolling and deserve it?

Frame grabs from a shoot yesterday, 1080p 120 fps upscale to 4K in Resolve.

Not quite. If that was the case, we would all have gopros as our main rigs. I think you are underestimating the colors, dr, and sensor on these cameras. I get your point to a certain degree - good color correcting definitely helps any footage. But this camera has a special quality to it as do most with this fairchild sensor. i unfortunately can't edit, it won't let me - not sure why that's the case

If I owned a RED then I would be very tempted to look down on the rest of the world with comical interest in what the 'little people' who 'are playing at film-making' and aren't serious because they didn't sell their house/car/wife to afford a 'real camera' and I would assume that because the P6K didn't impact the lofty place that I exhibit that it doesn't have any real impact on anyone else except the other cameras that play in the shallow end. Of course, I don't own a RED and I don't view the world in that way, so I would beg to differ. I think there's loads of people who shoot Canon and have invested in EF mount lenses, and who would love to record RAW but can't afford a C200, and this would be hugely interesting to them. But in reality, I have a camera with fantastic IBIS and so I look down from the lofty place of cinematic hand-held film-making watching all these suckers slug around their tripods and huge camera rigs wishing deeply that they could leave the house without a boot full of equipment and not produce a video that has so much hand shake it looks like an 8mm home video. Ah, but seriously folks... I'll be here all week! ???

As I’m sure everybody knows by now, at the end of the shooting days, for my film, I get my lead actor to hang out a little while so I can test out a lens. I’m trying to have a lens or two for every one of my favorite focal lengths. The other day, after we filmed a scene, I wanted to give the Samyang 50mm 1.4 another chance and I’m glad I did. As BTM said a dozen times, Samyang lenses really pull more than their weight...

Incidentally, similar servo testers are available individually or in dual packs so if you wanted to use one on one handle to control focus and another on a handle on the other side for aperture etc then they would be ideal. Ditto if you just wanted to use a single one on a gimbal to control focus.

As I'm intrigued by all this I felt the need to register and take part in it. Nikon India is trying to say something. https://nikonrumors.com/2019/08/16/new-nikon-india-video-teaser-nikon-has-something-exciting-for-videographers-and-filmmakers-a-revolution-is-coming.aspx/

Yes the 95 mb card is working fine for me, although I would not mind having a faster card, because there seems to be a little delay when I want to playback a picture just after taking it, as it needs to write to the card. ( using RAW + JPG fine )

We know it's not an acronym but RAW looks cooler +10000000

welll duh..... the 6k is nearly double the price you would expect it to better. pretty sure the p4k can capture it... you must be doing something wrong. technically the only thing being vocal is you!! I would bet most of us p4k owners are happy chappies, but perhaps not everyone. Not sure what your game is, and honestly i dont care. I guess 4k isnt enough for you. 6k should compensate for whatever it is your lacking. ?

Ha ha ha, what an epic clown you are... I guess if I told you I've lived in the US you would deny it just like all the other lies you tell as soon as your wrong. I thought you would wake up yesterday when no one answered in your favor when you and I asked the forum if they agreed with you.. but I guess that's just further confirmation of your troll status. (And I think it's sweet that you still try with personal attacks even though it only makes us laugh ) Yup, I won't mention any names but I've had a prime suspect for a while on "Skip The Judder 77" true identity

My understanding is that patents deemed improperly filed or invalid result in the patent concept becoming public domain and permanently unpatentable in perpetuity.

Still waiting for mine to be delivered. I received a mail from Panasonic France on august 9th, saying I will receive it in a week (so I hope I will have it on Monday or Tuesday). But i believe the delivering method is country dependent. I tried a Samyang 20 1.8 with MC21, and it was great. I returned it, because I want larger field of view, and I will order the 14 f2.8 next week (want this sigma 14 1.8... but my wallet and backpack don't). I also got an Haida VariND (love it !) ! I have the 24-105 L "kit lens". Of course, not a character lens, nor extremely bright, but so useful range and unbelievable dual IS. I just tried the LINEAR focus mode with this lens. First time for me, and it is just wonderful. You can quickly change the focus adjustment range from 90° to 360°. I leave it on 150° and adjust when I need to have more or less range. I am still discovering the camera (more on the still side for the moment), but I really love it. Also, concerning cards, it seems to work well with my "old" Sandisk pro 95Mb/s ; I tried 4k 24 and 4k60, and I faced no problem. I hope it will be the same with the Vlog upgrade (I believe @Lars Steenhoff confirmed that), so it won't be an expensive cards eating machine. I may order a Lexar v60 to try.

Anyone interested? This Lut fixes the brown tint, gamut clipping, roll-off issues, skin etc. and is made to look similar to RED IPP2 Soft Rec709 conversion - a conversion Lut to RedWideGamut/RedLog3G10 for a native IPP2 workflow is also provided. Can't wait to hold the Pocket 6K in my own hands - seems like it's more color accurate.

Yes you can do 4K with ML. Yes the framing is impractical for any professional application. Yes they haven’t fixed this on the mark iii and probably never will. That camera doesn’t seem to get much development nowadays

After using both the P4K & P6K cameras for a bit, I do not believe that the P6K is an upgrade to the P4K. It is a sibling or cousin to the P4K. There are advantages to both. If I had to pick only one, I don't know which I would pick. If I could only take one on a trip, I would currently probably take the P4K, because I have a much larger selection of M4/3 lenses. I am positive that either one will give you great footage, if you do your part. I bet we will end up with three cameras in the P4K line: M4/3, Super35, & Full frame $1,295, $2,495, $3,495

What I can say about compressed raw is: Stills cameras had a form of compressed raw already before Red made it version. https://www.photo.net/discuss/threads/raw-file-size-on-d70.95856/ I used to have a Nikon D70 and the Raw files were compressed. So what I try to understand is what makes the compression on a series of stills at 24 frames per second so different than the single images? It is the same single compressed frame just more of them. So In my view the patent should not have been granted. only the compression algorithm could perhaps have been awarded a patent. But if this was just a form of jpg2000 I don't see why they would even need to get a patent for that.

I’m sure Vitaliy is willing to help out with any legal fees that are inquired in this “crusade”.

Push Focus on EOS R with the 50mm F1.2 wide open is blazing fast (like maybe 0.4ms). AF continuous takes about a second to transition a focus pull from +2m to near distance (with the AF settings I have). It's even faster on my 6yo C100 mk1 DAF.

So much this. WTH/F Adobe? There's no reason with their budget that they couldn't have released a cohesive "PRO" version of their editing software with strict hardware requirements and support so it's an effective reliable tool. Nope, just an endlessly buggy BS. My favorite new annoyance is this: I do a lot of slow-mo, and I like to shoot in 60p. So, I batch apply 50% speed to my clips for my 30p sequences. In bins I can scroll the thumbnails, which is helpful. However, latest version, for no discernible reason, will now "blank" all thumbnails of clips with any speed variance applied. They get turned to black. So now I'm looking at a bin full of black thumbnails. Basically, making thumbnails of clips with speed adjustment useless. https://forums.adobe.com/thread/2622768 Yes, it's not the end of the world, but it affects the workflow. One needs to fight Premiere to work effectively. That's always been the problem. It just doesn't play nice. I've been using Premiere on and off since version 1, so I know it's always been a problem child. Had a 15 year run there when I was on Final Cut and that was nice. One of my colleagues is still using FCP. I might return to it although I don't find it as appealing as the traditional version. Ugh, I dunno. Gave Resolve a spin but their version of using proxies was unreliable and everything I do is proxy editing...so still looking.

Mine does.

I still would dump my pocket 4k for 5d iv raw.

The test footages actually look great on the P6K but it's not something that you can't reproduce on the P4K. But yeah the shakiness is kinda distracting if the shots are just people walking or stationary buildings

indeed, if there was a mountain range in the background we'd have to start calling you ansel ?

I just finished a short piece that was all Super 8 and the bmpcc. We had a few GH5 inserts and the colorist said they looked “glossy” compared to the pocket camera. The small size was perfect for what I was doing and I have always loved the look. I think the S8 and bmpcc is a good combo. I completely agree as well. Flat film scans are the same way. A beautiful look can be had with a simple three way color balance.

is there another Leslie ? or have you been partaking from the dregs of btm_ alcohol fueled lens tests again ? because i'm confused. i'm pretty confident i couldnt really do a 8,10,12 log discussion much justice at all. although i am pretty happy with what the p4k sends my way ?

That is probably the nicest frame you've posted so far... I don't know how much is the lens and how much is composition, gesture/expression, lighting, or anything else, but that is truly well done!

The A7sIII could be interesting if Sony gets the color science right and it has some form of raw, it may even have a global shutter. There's rumors of pro-spec Sony and Nikon APS-C bodies.

I didn't have time today to do detailed tests, but I did grab a few clips while the kids were playing in the pool this afternoon. I haven't looked at the footage yet, but I did discover one thing: As you probably know, the P4K + Metabones + Sigma 18-35 is a bit slow to focus (it sucks ~ 3 seconds each time you focus). I wondered if the slow focusing had something to do with the Metabones. Having the P6K gives a perfect opportunity to test the lens directly. Interestingly, the focusing on the P6K.....equally sucks. It takes about 3 seconds to focus with the 18-35 on the P6K. I didn't notice a difference in focusing speed on either the P4K + Metabones or the P6K. Not sure about other lenses, as I only tested the 18-35 today.

I have no interest in the P6K. The problem I've found with speed boosters is they sometimes need fine backfocus adjust for individual lenses. I'm using a $180 Vilrox adapter and getting very good results once it's dialed in properly, so I'm going to get a couple more. For $540 extra, my P4K is just as capable as the P6K. For the cost of a P6K I'm looking for features like DPAF in particular, that's why I have my eye on the Sigma FP and upcoming Sony and Nikon models. Just hoping Apple whoops ? and frees internal raw for the masses.

As much as it has crossed my mind, I just cannot let either the Micro or the OG pocket go. Even if I rarely use them, they just produce such a beautiful image.

I think its being misinterpreted by a lot of people that the Pocket 6K is the Pocket 4K Mark II and it just isn't. The resolution is one thing but the mount dictates that it a different camera. There is no lens you can put on the Pocket 6K that you can't put on the Pocket 4K but there are plenty the other way round. If I look at 3 example lenses of a similar focal length that I own and use on the Pocket 4K but will not fit on the Pocket 6K: Panasonic 25mm f1.7 MFT mount 7Artisans 28mm f1.4 M mount REDPro Prime 25mm t1.8 PL mount So would I prefer the bump in resolution or to be able to use those lenses? I'd like both but I'll take the lenses thanks. That doesn't mean its right for everyone, of course, but for me as a Pocket 4K owner its my preference. What seems to be forgotten in all this is that when the BMCC was launched with the EF mount, people were absolutely thrilled right up until the point that BM produced the MFT mount version shortly after which devalued the EF version immediately as everyone wanted the more versatile mount. So I find it curious that the EF was the "wrong" mount and the MFT was the right mount then and yet now it seems to be the other way round when even leaving aside the additional adaption capabilities there are also far better MFT mount lenses available now than there was then too. Who knows whether history will repeat itself again here and the Pocket 6K will be released with an MFT mount?

Apple have said something similar since the very first jailbreak, but it's not stopped them from hacking iphones.

Ive had both and compared them side by side. The Viltrox is sharper on all apertures accept for wide open, has an adjustable back focus (no tools required) and its like a third of the price. The only Metabones I would ever buy is the dedicated BMPCC version (which I currently own), used. Otherwise I would go Viltrox (I sold my Metabones XL).

The advantage of the Magicboosrer is that it has no electronic contact. is a group of glasses that is mounted inside the body without modifying the original mount of the camera.

The latest Blackmagic cameras has excellent UIs, for sure

I’ve returned or sold many cameras in the past few years and have kept my micro the entire time. I agree with the quirks, but for me they are solvable. For example only shoot raw and manual focus lenses, so I have no need to ever even go into the menus - besides maybe to format a card once in awhile. So the menu buttons don’t bother me. I also have the NPF adapter, so battery life is great. So the micro is more compact, battery life is better, it has in my opinion the better raw codec, and a better filmic quality to it and also records to regular SD cards. Yet, nobody talks about it because of the way blackmagic promoted it as almost a drone only/go pro-ish brain. When in reality it’s an amazing filmic camera perfect for rigging. It’s truly one of the most insanely under-appreciated hidden gems in the consumer/prosumer film/video industry. Also, with resolve superscale - you can upscale it to 4k with amazing results. @Skip77 120hz only makes it look worse to me. It’s not the motion cadence being bad. Most starting out in the past few years won’t tell a difference. For us old timers, the motion cadence we are speaking of gives a bit more cinematic feel to it. For example the micros motion cadence seems slower, with more natural blur, which I find more pleasing.

Not to get too off topic but you mentioned the blackmagic micro cinema camera. Everytime I use it I think I should just throw all my other cameras (z6, xt3, etc) in the trash. For me too it has the best look to it by far. But, you really have to work to use that camera with all of it's quirks. Folks say you can soften modern cameras in post, but I've never seen good examples of that to match something like the bmmcc. I wish BM or another co. would just package that same sensor into a newer body with all the ergonomics and battery life of a modern cam.

Here are my early impressions of the pocket 6k - My camera came with scuffs and scratches all over the body. It looked like it has been used for months. Went on FB and saw several people complaining and posting pictures of very bad scratches and even dents all over the body. Check out the official Facebook group to see more info on this. - Vmount or some other solution is needed. I fall into the prefer pocket full of batteries category, as I like to keep it compact. But I am not even sure I made it 15 minutes before it died with an official canon batter (newest version). It was really bad. I need to do more tests on this. I was shooting 6k braw for what it’s worth - Motion cadence and overall look still doesn’t really do it for me. It looks fantastic, but it doesn’t have the magic older blackmagic sensors had. Maybe it’s the resolution bump and it’s just the way it is with these modern sensors. So far, nothing in the consumer/prosumer price range beats my blackmagic micro cinema camera as far as motion cadence and nailing the filmic look with ease. I feel cameras now days nail the specs on paper, but they lack feel/organic quality/smooth motion cadence, etc. Often people get up and arms when the word “cinematic” is brought up. Yes you can make cinematic footage with the pocket 6 or prob any camera for that matter. Yes lighting impacts it and proper grade does as well. And yes it’s a term that is overused and misused. But I think their is definitely an organic feel missing from these often sterile modern sensors. Sure you can throw a pro-mist filter on it, some vintage glass, and massage it to look great. The sensor kind of reminds me of my old Red Raven. Which isn’t really a bad thing (or great). Just has a slightly similar look and feel to it. - Having a dedicated ef Mount is wonderful. Much better not dealing with an adapter. TL;DR Overall, it’s a great camera and just like the pocket 4k - it’s great when rigged up. Battery life seems much worse than the 4k when using canon batteries - but I need to do more testing. Overall look and feel is sharp and impressive, but lacks an organic quality which can be attributed by slightly video-esque motion cadence, modern sensor, and higher resolution.

What will have stunned them is that BM were able to deliver the camera the day after the announcement while RED are only in the position to show off teaser pictures of theirs. I don't know how long RED intend to let this routine of putting out teasers go on for but if it continues much longer we'll have to start calling it the Komodo Drag On.