majoraxis

12 bit log is RAW enough for me. I thought I needed CNG RAW so I got the USRA mini pro v1 and it turned out I did a session with both CNG and BRAW the difference did not make a difference for the project. Really, this decision is a win for Blackmagic who is already marginalizing RED. That said: RED thanks for the cinema camera revolution! Those were good days when RED was the good guy, on the side of the little guy and I went to bed at night dreaming of 3k for $3k. I miss rooting for RED. Now I’m rooting for Blackmagic. I feel like my future success depends on Blackmagic’s future success, which is just silly, but that’s how my mind sees it. I like believing that there are companies who gets what I need and are trying to deliver it. At this point, as far as I can tell, Blackmagic is the company who Is trying to best meet my needs as a wannabe filmmaker. There I said it: Blackmagic is for all us upstart-no budget-wannabe-filmmakers and I am very thankful!

By downscale I mean that the GH5 takes the full sensor resolution and sub samples it to get 1080p in camera, which saves a step as apposed to shooting 4K and then sub sampling it to 1080p in Resolve.

I do the same work flow with my GH5. I shoot 1080p and it down scale it in the camera and it looks great and saves storage space in the process.

I miss Ed David already...

@currensheldon Great info! Thanks for letting us know the disqualifying disposition due to the time code capabilities on on the pockets regarding making the Netflix Originals approved camera list.

Of note, the usra mini pro G2 is on the Netflix list as well, so BRAW is raw enough for Netflix. Maybe we will see the pocket 6k on the list someday - unless the its dynamic range is not enough - I’m saying it not, but I can’t think of anything else that is holding it back now that BRAW is acceptable.

I admit it. I am still mad that RED never delivered 3k for $3k. I hope that the truth comes out and that RED is either vindicated, if they have done nothing wrong, or pays the price for their actions if they have done something wrong. Either way, I hope Jim recovers from his health issues.

I am still really loving the sound or lack there of, of this Eq. If you don’t own already it, and want a great (not just for mastering) eq, grab it while it is still free here: https://harrisonconsoles.com/site/free-plugin.html Still free as of 10/22/2019 @8:40 am pst...

Hi Audio Guys, This is a great sounding eq. It works like a graphic equalizer where you make a shape with the sliders, except you draw the shape with your mouse. I don't know how long it will be for free so get it while you can. It is regularly $89. Here's the link: https://harrisonconsoles.com/site/free-plugin.html This one is kind of special because graphic eqs and mastering don't normally go together, so they have done some good coding to minimize phase issues and band interaction. You may notice it does not sound tizzy or harsh and the bass is punchy even when cutting, so this may be your new favorite, eq especially for free. Also, it has a useful display mode called lighting, which can visualize the frequency response in an easy to follow way. Enjoy!

The Grass Valley LDX 86 B4 2/3" camera can do15-stops for live broadcast with its HDR (software) option. Here's a link to a US 4K HDR broadcast. Maybe Europe is doing it as well. https://www.theverge.com/2019/9/26/20884246/nfl-4k-hdr-broadcast-first-ever-fox-sports-thursday-night-football-streaming So the new B4 cameras and HDR broadcast standards are making higher dynamic range live broadcast possible and that may explain the difference (improvement) noted above.

Looking forward to some comparisons between other full frame RAW cinema camera and the FP. Hopefully the dynamic range will be 13.5 stops or greater. The price is right for sure.

@Otago Thanks for posting this!

BH Photo has 2 used in stock as of a minute ago - 15% and 18% off.

He says it will be 700 euros... less interesting at the higher price, but it does look to flare a bit...

I remember when doing 6k to 4k down sampling in camera was said to be too power consuming and too heat producing and then NX1 did it and now everybody does it. Same with any new technology - at first it's impossible, then it's near impossible and super expensive, then it's expensive be readily available, then it shows up in consumer product as the next big thing and costs just slightly more that the previous next big thing. This will happen at the high end first then give it 2-3 years after that and it will be available for and affordable price and be seen as cost saving tool because of the amount of time you save in production and post because of the extra margin for error on set - less redos and less corrections etc.

Looking forward to seeing how the this sensor, AF, gyro stabilization and color science trickles down into their future more consumer based offerings. That said, looks like this will become some type of industry standard based on it looking great right out of the camera.

I checked BH Photo and it is still $2499, maybe we will see a price drop tomorrow - first day of IBC. Seems like a good move for Blackmagic to make though I don't think they needed to lower the pock to $1036 to sell it, but still great news for those how were considering purchasing either one.

If it is sharp at f1.8, and produces nice flares it could be of interest and value to many including myself. Looks like I would get the E mount version and then adapt it to M4/3 as needed. 1.33x is pretty lack luster for an anamorphic, but as character lens this may worth price.

Using 3D LUT Creator I did a rough pass at trying to match the 4k with the 6k both at 5 stops under. You can see the color shift required. Major shift from magenta to green, but it was not possible to achieve this with just the tint, temp sliders which were only tweaked slightly using auto white balance then tweaked further to dial it in. I also increased the dynamic range slider which made it have more contrast without having to use the contrast slider. I also added saturation. Also slight tweaks on the color web to skin tone color area. So it seems there needs to be a dynamic shift in color, contrast and saturation based on the under exposure level for each pixel of the image for the Pocket 4K.

As we see in the under exposure test above that difference between the Pocket 4K and Pocket 6k image is more than resolution. I hope that Blackmagic can fix the color issue with the underexposed images with the Pocket 4K. If so, it is a much better value. If not, and the Pocket 6k had a MTF mount, I would pay the almost twice the price cost difference for it - I think many would. The Pocket 6k has a great image, which is very forgiving when it comes to variable/low light conditions and it will pay for the difference in price by missing less shots over the life of the camera.

I find it interesting that Pocket 6k is in stock at B&H and the Pocket 4k is not. Also, last night I saw a used Pocket 6k on B&H for a little over $2k . It’s gone today, but it goes to,show how available the 6k is.

Super impressive performance for 5-stops under exposed for the Pocket 6k then brought up by 5-stops in post. The underexposed performance of the Pocket 6k was also evident in Tom Antos' USRA Mini Pro, Pocket 6K, Alexia and Red Tests. It seems to me that if you are shooting in natural light the Pocket 6k is the way to go. I knew there was a reason I liked the Pocket 6k over the Pocket 4k - now if Blackmagic would release a MFT version of the Pocket 6K - I would purchase it. From this: To this: Wow!

I am really hoping for a micro 4/3 version of the Pocket 6k as the Pocket 6k has about 25% more resolution at the same size sensor crop vs the Pocket 4k. I would not need a Pocket 4k for M4/3 lens, I would just use the Pocket 6k M4/3. At some point, hopefully sooner rather than later, Blackmagic will offer this as I believe their is lots of demand for it and the engineering seems like it would be nearly trivial.1 Along with M4/3 mount, in camera scaling using the super scale algorithm from Resolve would allow me to crop based on the lens' image circle and output, 6k, 4k or 2k. This would cover all of my lens and output file size requirements, basically making one camera to rule them all.

It’s welcome, but I am not buying a new tv just for this. Maybe some people will and maybe that’s in part, the reason why they are introduced this. So don’t charge me extra for turning off features and it is a win... also, I would be interested to see if with high brightness panels they would be able to tune it to work with the light on in the room. I assume part of watching a film is being in a darken room...

If you’re looking for a production package to rent, try Sharegrid. Often people have packages they would like to rent. The thing about ShareGrid is that it can be a lot less than a rental house. Beyond that it seems like looking for an URSA mini pro package as an A camera to the Pocket 4k’s as B camera may be the way to go.