Shirozina

Robin makes a good point - what 4k camera files are you going to be working with. Highly compressed H.264 codecs use a lot of CPU power.

I've noticed this with the included BM battery but the Canon batteries seem to be more predictable.

"Although a tilting mechanism should, in my opinion, have been added" A 5" screen generates lot of heat and the fan is is very likley there for cooling this rather than the sensor so a tilting mechanism would not be possible without a much bigger body and more expense.

Buy a used GTX1080ti - plenty going quite cheap on ebay from currency miners and now the new models have come to the market. For data storage you will need fast access and write speeds and lots of storage so at the moment the best cost /benefit that means traditional 7200rpm HD's in RAID 0. 4 of these will get you enough speed and size but as there is no redundancy ( if one drive fails you loose it all) so you will also need to have daily backups to ideally multiple disks. 4 x 2tb will get you 7.25Tb actual storage space and then get a couple of 8tb external drives for backup and backup of backup ( depending on how paranoid you are). Use a 256gb SSD for your C drive and any spare SSD's for scratch/cache. Even put these in RAID 0 for even faster performance. I'd say you need a minimum of 32gb RAM. CPU and motherboard - get the best you can afford with what's left in your budget...... This advice comes from experience of running several workstations for video and stills. Again if you are using Resolve you need a top end GPU. If you are using Premier you can get away with something more modest. Stills apps hardly touch the GPU and also you need Resolve Studio to fully exploit the GPU and work in 4k (I guess you know this though)

This is a stupid test. DR goes down ( quite significantly) as you ramp up gain from zero ( Ramp up ISO from base) so any overexposure is going to hit highlight clipping faster - DOH! Who in any semi-competent use of this or any camera is going to overexpose by 3 stops anyway and expect to recover highlights esp highlights in skintones? In a real world situation the clipping highlights on skintones would have been obvious from the zebras or scopes so the user would have brought the exposure down. As ISO gain reduces DR the real world test would be a more ETTR based exposure method ( esp with RAW) and the differences between cameras and/ or ISO's would be to look at the shadow recovery. Repeat - this is not a test that in anyway represents a real world situation to anyone competent or even remotely aware of how to expose footage correctly. Due to the DR limitations when you move away from base ISO I just avoid it as much as possible - increase you lighting or open up the aperture or use a faster lens. The P4k has very respectable DR at base ISO but start to deviate from it and you are quickly into the kind of DR you get with a mobile phone!

For Resolve you need the best GPU you can afford. If you can't afford a top end GPU then your 4k editing experience will be frustrating. What is your budget?

What about when the image is resampled to a smaller scale as with say the GH5?

Also 'good' sharpening that doesn't introduce artefacts takes a lot of processing power and is not going to happen in-camera so what you see is crude but CPU light sharpening thus all the halos and nasty edges. I'm not even sure if the sharpening filters in Premier and Resolve are that good and certainly nothing as sophisticated as 'smart sharpen' in Photoshop.

Sharpness is not a substitute for resolution.

An AA filter designed for stills shooting and 1:1 pixels sampling in 4k - vs X trans with no filter and 4k subsampling - case closed......

It doesn't match as the sharpened EOS R footage shows obvious sharpening halo's around the fine details ( lettering). Does the EOS R have an anti aliasing filter over the sensor? Not sure if this is related but I had issues with my XC10 in LOG in that it was very soft but I put that down to excessive in camera NR. The effect was most noticable on foliage and it's quite an obvious artifact when you know what it looks like.

Not everyone shoots outside and a good hood or loupe fixes it.

Thanks for that clarification and I'll set my Zebras accordingly.

I can't view Luma on a a display and most NLE's work in an RGB working space. Also what about RAW capture which is not YUV? YUV is just the codec colour recording system for ProRes etc.

Also the screen has a very warm tone so don't use this as a WB guide either. I wonder if BM will incorporate a screen colour balancing feature in a future firmware update?

Messing around with my external monitor and looking at the scopes I can see that the zebras are linked to the red channel so all the more reason to make sure you WB correctly to avoid clipped highlights if you are using the zebras to ETTR. The GH5 along with many other cameras have the zebras linked to the green channel. Maybe BM want to avoid the user clipping skin tones above all else? Never understood why manufacturers need to just link zebras to a single channel and not have it work when any channel clips????

Just checked now (without the 1:2.40 frame guides) and yes there is a very slight corner shading wide open at the wide end but I wouldn't call it a problem and nothing that can't be fixed in the grade. Maybe on the Metabones it's different though?

https://news.panasonic.com/jp/press/data/2018/10/jn181026-1/jn181026-1.html I'm certain this will make it's way into the GH6..........

Stabilisation works on native M43 lens with the BMPCC4K.

Not seen any problem with my Viltrox .71 and yes it will be unusable on full frame as it's an APS-C lens.

DR advantages are only useful if you can expose the footage accurately enough to exploit it and exp controls on the P4k are pretty basic (Even the GH5 has a waveform). I'd like to see an RGB parade display on the P4k.....

I've had one of these for a while https://www.atomos.com/power-station It can power the camera via the included dummy LP-E6 battery or possibly from the USB outlet? It will also power an EVF or Ext monitor. It's a bit big and awkward though and I never found a very satisfactory way of using it with my other cameras without it going on a fully rigged rod system. For this reason I'm just going to buy more LP-E6 batteries for my P4k.

I've now only got one question to answer about the P4k and that is ProRes vs RAW? - oh to have such a choice!

I fixed the loose mount issue by bending the spring tabs with a screwdriver and lenses now fit nice and snug with no play.

It's DR that is as good or better than any other camera you can buy for similar money - why is this a reason to be upset?