Geoff CB

I have the focus and it works well. 720p really does not make a difference at that size. For example the Blackmagic Recorder is 1080p but far worse of a screen. Brightness on it is good enough for most daylight usage.

I have yet to see any great footage from these cameras...

For mirrorless AF Sony is way ahead in first, Nikon is second, Canon Third. The AF between Nikon and Canon is pretty damn close though. Canon is kicking ass in primes but Nikon is making incredible zooms. I'm trying to hold out until generation 2 of Canon/Nikon and generation 4 from Sony, hoping for 10-bit 4:2:2 internal from all of them.

Full frame. I'm also tempted by the Z6, my great dislike for external recorders ( unless it's SDI) has prevented me from pulling the trigger.

Already have the Small HD focus which I love. I've dabbled in external recorders, they are not worth the hassle for me to own sperate media and add another layer of complications to my setup. I can never trust the HDMI and setting up rigging to lock it in place is overkill. Just never worth it for me.

Thanks for doing this test. I'm seeing very nothing here that I could not achieve with the D750. Thanks guys, every so often I need to get my GAS under control. Love the image from the D750, and my deliverable will not benefit from 4K very much. Support gear and lighting it is!

So I have a bit of a dilemma, starting a new job at a movie theater where a large portion of the content will need to be 2048x858 24p to confirm to DCI spec. I have three options I'm looking at: Nikon Z6: Already have Nikon glass and will be an image quality upgrade, with autofocus and IBIS support for my lenses. Fuji XT-3: Better colour, 10-bit. Better internal mics. Most importantly actual 24 fps and 2048x1080 recording. If anyone has an XT-3 and can get me sample footage in this mode I would greatly appreciate it. Nikon D750s: Already own 2 of them know how to push them, could invest heavily in glass/lighting instead of further bodies. What do you think?

Looks incredible and a great step forward for Atomos, who need to expand beyond the external recorder game before cameras internal recording get too good. They made a GIANT mistake in them not having SDI out of the box on them, requiring a add on box for the privilege. 99% of users that will buy this thing will want to use SDI.

I tested both, raw is Far better if your doing color correction. Prores okay for basic correction, make sure you nail the white balance in camera. Really wish the pocket received the prores 4:4:4 codec from the Ursa mini. Love that codec.

"Small" being for me around the size of an FS5.

Just give me a small FF camera with great internal ND's... Hope it's a product that will result in competitors dropping prices.

I think it's a large on set monitor with internal recording to two drives at a time. That can also be used as a grading monitor.

The first company that gives me a Full Frame sensor in a camera with built in ND, XLR, and a good codec (10-bit 4:2:2) will get my money. The EVA-1 in L-mount with a full frame sensor would be awesome. The EOS mount on the EVA-1 (without the magic Canon AF) killed the camera for me. Also, never bet against Sony. The FS5 and the FS5 II both have had huge price drops recently. Would love to see a FS5 Mark III with the sensor from the A7III and their Venice colour. Hell even a FS5 with 10-bit and 4K 60p would win me over.

Thanks for sharing some love for the D750. I have two and they are workhorses, great image, amazing codec for the bitrate, and killer low light ability. I wish the image was slightly sharper, but the colors are worth it.

Inspiring images and great planning on his part to get the shot.

The studio version handles 10-bit more efficiently. So this may be the issue if you using the free version

I disliked it in Arrival and Solo, and it grated me here. Not everyone has great screens, or watches the show in the dark, or on a Dolby certified HDR monitor. Contrast is your friend.

Some great shots and an interesting edit. But I despise that heavy teal/orange grade.

Broadcast requires 10 bit 4:2:2 The GH5s is the exact same sensor as the BMP4k, the sensor size is exactly the same.

Voigtlander 40mm 1.2 with the A7III or A7s II. Plenty brightness for your needs and sharp from wide open. Anything wider or faster on full frame will up your budget considerably.

They were all recorded in Film mode and then converted to Rec. 709.

Another video test of the Tamron 45mm 1.8

Great work on this. Also a interesting discovery about OLED Color

Soooo I'm going to throw stones here a bit. I tried out the camera an had some serious problems with it. The form factor threw me off. Why for the love of god are BM still putting reflective screens on their cameras for video? Tried to test out the camera for a upcoming short. Honestly it did not immediately strike me as being better than the image from my D750, though zooming in the compression differences do show the advantages of the Pocket. The Dynamic range is worse than I was expecting, about on par with my D750. It is vastly inferior to the URSA mini that I had tried previously, and is actually a surprisingly noisy image out of the camera (cleans up nicely in Resolve denoise). Crop factor was harder to deal with than expected without adding a speedbooster or buying all new glass. Also wanted to rent cine glass for the short, and there is limited options available for wides. Most of all seeing the continuing issue of IR contamination from BM sensors seriously drives me up the wall. Color is better on the BM, but wondering if a external recorder on the D750 will bridge the gap even further. Blackmagic (Prores HQ 4:2:2 Arri Alexa Lut) 28mm D750 (Neutral out of camera) 40mm