majoraxis

Seems to me that what people talk about as Canon like colors is actual not only Canon color science, but also the Canon sensor science that yields the Canon look, along with the storage codec which also effects the motion rendering characteristics. Now that we see what BRAW can do to the sensor output, it seems to me the Canon look has some stiff competition with the BRAW look with the USRA Mini Pro. Great job Blackmagic on figuring out how to get the most out of your sensor data. May the best sensor and sensor/color science win!

That's what I am hoping as well, that the sensor specific partial de-mosaic filtering tuning will make the Pocket 4k more like the USRA Minii Pro after it got the BRAW update. With Pocket 4k it would be nice if they would do 2 tunings, one for each native ISO. I am already really liking the look of the Pocket 4k at high ISOs in low light, but at lower ISOs with lighting or daylight, I am hoping it can be further refined, like the USRA Mini Pro was after the BRAW update.

My sentiments exactly. It seems to me that this camera is going to just get out of the way of the creative process from shooting (good monitor, hopefully good audio, great low light), to editing (low bit rate for ease of playback of multiple video streams), to grading (RAW and recall of the camera shooting settings, and good color science). Blackmagic has removed the issues that get in the way of me just getting out and shooting and editing. Dynamic range is a question I would like to answered as well...

Maybe they were just being artistic, but having multiple dead people in product video is bit of a first to my recollection. That said the skin tones of the living were too muted for my tastes regardless of the artistic intent. In the comments the author said that it was not the final color grade and may not even the final edit once Fuji gets a look at the content.

It would be wierd if Blackmagic can't implement BRAW on the Pocket 4K. They have been developing BRAW for the past 2.5 years so maybe longer than the Pocket 4K has been in development (or maybe not) but for sure there was a significant amount of time when they were both being developed in parallel. How could they designs a camera and not plan and test the components for compatibility before for finalizing the design? This is such a key feature that will increase the volume of sales to make of the lack of margin due to the low price of the Pocket 4k that it would a serious engineering error if BRAW does not make it on to the Pocket 4k.

Well done Blackmagic! Is it possible to transcode my current non-BRAW video files to BRAW in Resolve 15.1 before I edit? And can I master to BRAW as a delivery format? Seems like the path to recording 8k video is set before us and 4k now seems like a reasonable workflow choice especially if 12:1 is a good as it is said to be. I would like to see a link between external follow focuses like the Nucleus M and and BRAW so the metadata I capture has the focus distance for post relate processing. I wonder if the audio for BRAW gives the option to record PCM and hopefully up to 24bit / 96k?

They say: Never meet your heroes, because they're sure to disappoint you.... I think it's more like: Never meet your heroes, because they're really human just like you and everyone else on the forum. I hope this forum is big enough for both Andrew and John or John and Andrew, whichever, because I will miss hearing from both of them on a regular basis. Maybe a vitural hand share over PM could happen and we could get back to obsessing over a camera that most of us have yet to hold in our hands.

@Andrew Reid I visit 3 sites at least once a day. EOSHD, Personal-view and Gearsultz. EOSHD is unique in that it is not only a forum, but a blog foremost that gives ideas and insights that are not being put together in the same way by anybody else. Your perspective gives me confidents about my buying decisions. I bought the NX1 and the a6300 because of you and this site. The way you see things and write about them is a valuable contribution to the community. Keep doing what you love despite what you view as a slight against you, in the end you are defined by your writing not what is written about you. I look forward to you doing more of your excellent blogging in the future.

8k would be nice on a 100" screen if you are 8 ft away in your living room. If you are 16ft away a 4k 100" screen will do just as well as an 8k screen. Seems to me resolution is not what makes a great image alone, but all other things being equal shooting at 4k vs HD is beneficial. Now, the way I edit, I pan and zoom to reframe in post so I can't really deliver HD if I shoot in HD, I have to shoot higher than HD to deliver HD. Given the choice I will shoot 4k.

It's been said before, but I like to say a huge thank you @John Brawley who chose to spend time here on the forum and give your invaluable information and time. Your presence here is greatly appreciated and hope you continue to feel welcome here!

@Andrew Reid I really hope you keep the site going. It bummed me out when previously took a hiatus. I know it's selfish of me to ask for something without paying for it, though I believe I purchased one of your guides at one time. Anyways, it would be hard to believe Blackmagic does not have eye balls on this tread and I hope they will reach out to you with a review unit ASAP. I always look forward to your insights and perspective and hope I have the opportunity to read about your hands on experience with and options about the Pocket 4k.

@John Brawley - Really interesting discussion! If you use a faster lens wide open without a speed booster will the performance change based on sensor stack thickness? Does a manufacturer like Sony stay will the same sensor stack thinness year over year? or if Sony makes it thinner generation to generation, does performance increases generation to generation with the same native lenses? Thanks!

@seanzzxx great explanation - that makes sense. Thanks!

The assumption I was questioning is if there is a equal relationship between shooting two stops lower and actaually loosing the same number of stops of dynamic range. The post stated that shooting at ISO 100 and you will loose 2 stops of DR. Tests will show if this is actually the case... also because of the lower noise floor st lower ISOs you could underexpose a bit and bring it back in post, which would compensate for loosing some dr/headroom in the highlights.

With daul native ISO's it should have the most dynamic range at ISO 400 and ISO 3200 - correct? So the assumption is shooting at ISO 100 would reduce the dynamic range and the noise by the same amount - 2 stops? Hmmm... I would like to see some tests that illustrate the reality of this assumption or disprove this assumption relationship between ISO and dynamic range.

Wow - from where I am viewing, I liked the look of Pocket 4K better than the C200 mountion bike video. Might have been the grade or the time of day when it was shot, but the Pocket 4k footage was more natural looking to my eyes.

The Sony UHC-8300 is a 8K camera system, which includes 3 x 1.25-inch 8K sensors - it's a broadcast B4 style camera with 5/4 size sensors (smaller sensor than 4/3). Certainly a professional m4/3 8k sensor be made. A16k FF Sensor could be extrapolated based on 2x 4/3. Though I would prefer and 8k FF if the RS is less, and the DR and High ISO's are better.

@Wild Ranger what is the transition effect used between 2:30-2:48? Thanks! Mark

@deezid: I liked the grade you did. It drew my focus to their eyes. I liked the skin tones for all but the blonde, which seems to be baked into the shot or maybe its just the natural color of her skin that looks unnatural to me. Anyways - thanks for doing this - it further showed me what the camera is capable of.

The tech specs on the Black Magic website says: Shooting Resolutions 4096 x 2160 (4K DCI), 3840 x 2160 (Ultra HD), 1920 x 1080 (HD). So, I assume that the RAW resolution would be 4096 x 2160.

Black Magic has 2 x booths at IBC Exhibit September 14th-18th. The IBC Conference starts on the 13th so there could be announcements by then to help people plan to stop by the booth. It would be hard to believe that Black Magic will not have a demo video of the Pocket 4K on display at IBC. They will also most likely give an updated shipping date if it isn't or won't ship by the end of September. I would also like to see Black Magic update the Blackmagic Micro Studio Camera 4K with Pocket 4k sensor and a Pro Rez RAW output, while they are at it. Providing a much wider field of view for those behind the backboard shots as they advertise on their website... I would also like to see a URSA Broadcast m4/3 with the Pocket 4k sensor and a B4 2.1x USRA Mini Pro Mount as standard issue announced at IBC.

What profile does a file have to be recorded in camera to wind up with an accurate GHAlexa and Like 709 file frame? Seem like maybe they shot Like 709 and the converted it to something to convert it to GHAlexa? Please help me understand what process was used to generate the same exact frame used for comparison from the link above and if it is considered an accurate example of what GHAlexa can do. Thanks!

The skin tones look better to me as well! Seems to make the out focus detail a little softer or maybe effects the bokeh slight. Did you possible open the aperture slightly - that could do it as well. Thanks!

As your EOSHD user name is the same as the ebay seller's name - is it safe to assume that you are the ebay seller? If so, it would be better to be up front about you wanting to promote something your selling on ebay. Anyways, good luck with the sale.

Most B4 HD lens with a doubler will cover a m4/3 as the B4 lens is 2/3" and with the doubler makes it cover ~4/3". Worst case coverage wise should be some minor vignetting at the very wide end (testing of individual B4 lenses is required.) The issue is that B4 lenses are not designed for a single chip camera, but rather 3 x CCD sensor cameras like the Sony F23. The B4 lens optically compensates for the different color channel arrival time due to being split by a prism, so without a prism in the optical path the image is soft with chromatic aberration wide open at the wide end of the lens. An optical adapter like the Abakus 132 compensates for the lack of a prism in the optical path. In order to cover the m4/3 sensor an Abakus 132 can be paired with an Olympus 1.4x m4/3's extender, which makes the magnification factor 1.32 x 1.4 = 1.85x. Ideally it would have been 2x, but depending on the B4 lens and how generous the manufacture was with their lens' image circle size there is a good chance it will cover - or require a little crop in post. Once I have my Pocket 4k, I will do some B4 lens tests with different adapter combinations to evaluate them for both the 1080p cropped 120fps slow motion mode and the standard non-cropped m4/3 sensor mode. These tests will include DigiPrimes, DigiZooms, Fujinon and Canon B4 cinema lens with the Tilta Nucleus M wireless follow focus as an alternative to the broadcast B4 zoom rocker grip lens. I will do it in a separate thread when the time comes. Here's a picture of the GH5 with a Fujinon 4.5mm 13x HD B4 lens, Abakus 132 Super16 to PL adapter, Pl to m4/3 adapter and Olympus m4/3 1.4x extender.