mercer

Nah, I highly doubt it will.

Thanks for posting it. It’s easy to sit around and look at specs and announcements but it’s posts like these that show what those specs can do. And a reminder to me to put my nose down and get to work. But yes... this camera should be epic.

Never thought of that... thanks for the head's up.

Messing around with an outtake from my film... shot on the 5D3 and ML Raw with the Canon 28mm 1.8... I really like a fast 28mm in FF... Click the screengrab for a more accurate image...

Man I wish I could get a 1DC for $1299... I wouldn’t even bother with the P2. Obviously, you must like it?

@webrunner5 Well almost any camera can be a run and gun camera if you work within its limitations and maximize its benefits. I just have a prediction that there is going to be a backlash against this camera once it starts shipping because it won’t do exactly as hoped... or there will be some Barney and Friends color cast fixed pattern noise on all of the footage that is backlit... or something. But BM will fix it, via returns or fw updates and it will eventually be an amazing camera.

Yeah I get the idea, I just don’t think this camera will be as good for events as people hope it will be... I mean cinema is part of the product’s name. So, I get why somebody may choose ProRes over Raw... but... Of course I could see this being popular with weddings and I guess that is a subset of event work?

Idk, I still wouldn’t expect miracles from this camera for lowlight. I think this is a two ISO camera 400 (or 800... whichever one is right) and 3200. Of course, 3200 is great and everybody should be happy with that. And like previously mentioned... with a Speedbooster you can eek some more out of it. But there is this new technology I’ve heard about recently that could make all the difference... I think they’re called lights? Supposedly there’s this bulb thingy that has a filament in it and when electricity runs through it, it glows... that should get us another stop or two.

One could argue, that the full price of the camera and software is $1599 and we’re only paying $1299 because the software is free. But I like your idea better.

Honestly, this is my theory. BlackMagic hasn’t been doing as well with their Ursa sales as they had hoped and with the release of the GH5, GH5s, C200, EVA1... higher end video/cinema cameras have become cheaper, so their market has dwindled and this camera is a way for them to get that market share back... we’re basically getting the P1 Fire Sale price at launch. Just a theory. I don’t think you get physical/literal dongles any more... you just get a code or a link to the software that you download online.

Now maybe, Davinci will give a 10% off discount to people who purchased Resolve Studio in the past 3 months... but I doubt it. But seriously why would I take a bet when the prize is described as... “this crappy, old beat up lens.” Lol. Prepare for a backlash in... 3... 2... 1...

It’s like going to Walgreens and they have a buy one get one sale of paper towels. You are paying full price for the first roll of paper towels and the second roll you are getting for free. You cannot go to the counter and say, well I already paid for paper towels last week, so I don’t need the second roll of free paper towels, will you please deduct the price of the paper towels I paid for last week from the paper towels I am buying this week.

If you need the software or not, it’s irrelevant to the price of the camera.

But who would pay for a full price add on when there will hundreds of dongles for sale on eBay for at least $100 off the full price. The camera costs $1299, with the price of the camera, they are giving you free software.

But you cannot buy the camera without the free software included, so you are still paying $1299 for the camera.

You’re not paying for it, it comes free with the price of the camera. It’s just a marketing ploy to get people into their post workflow system and an extra bit to entice people to buy the camera.

Idk, I think the price is the price. I have a feeling, there may be a revamped “Pro” version of Resolve in the works, which will expand upon the Studio version and this is why they are giving it out for free with the camera.

So, this is my thought on the topic... why buy a camera and not use the best settings? If you want to shoot Raw, shoot the best Raw. If you want to use ProRes, shoot the best ProRes. If you really want to save storage space or use cheaper cards, shoot 1080p. Or honestly, maybe this camera isn’t for you? There are plenty of great cameras on the market.

Well, he already said he used Magic Bullet Looks to correct it and admitted he shouldn’t have. I also think this was a hard time of day to shoot... no matter what the camera. That harsh, mid afternoon light is never flattering. His second example is much better, even with the harsh, mid afternoon sun. I will agree with him, that it is nice to see different camera footage posted and I look forward to seeing what he can do with the footage as he grows more accustomed to the camera.

Congratulations, you have just received my first downvote, and probably only downvote... something I swore I would never do because I really don’t find them productive and I believe they only create animosity... which is the exact opposite reason for visiting this forum. But I honestly don’t know what to say about your recent posts, Jon? I’m thinking that maybe you have some personal issues going on in your life because you used to be one of the most friendly, jovial, and helpful members of this forum. But now you are full of such vitriol, and vindictive behavior. I sincerely apologize for bringing this up publicly, but this is getting out of hand now. In this specific instance, you were asking DBounce for his review of the lenses, but then when you heard HIS honest impression, you went on full out attack mode... to the point of calling him a liar with ulterior motives?!?! C’mon man it’s just camera stuff, it’s not worth having a stroke over.

Man that is a pretty brilliant move. It reminds me of when I was in 3rd grade and my teacher complained about how much of a mess our cubbies were. Myself and one other kid went and cleaned up our stuff but the other kids just looked down... needless to say, I didn’t have to do homework that night. So yeah, the weapon upgrade must’ve felt exactly like that...

However, it was a pocket cinema camera, so I don’t think it was ever intended to be literal. To add, I really think BM skipped a generation with this camera and if the evolution would have been more organic, who’s to say.

Maybe they should have named it the 4K Cargo Pocket II... But in all honesty, unless you used the P1 with native pancake lenses or c-mounts without a cage, it was never a pocket camera.

I don’t know, I think this is people’s problem with new technology... everybody is excited about the crazy new thing the gadget does but forgets the refined jewel buried in the menus. I saw this with the GH5... everybody went nuts for 10bit 4K... when the 10bit, 200mbps all-i, up to 60p is the jewel in that camera. In the P2, everybody is going crazy for the 4K, but the jewel will be the 10bit ProRes up to 120fps recorded to SD cards (hopefully). And in the Hydrogen, the hologram concept is so cool... it becomes our only hope... but the straight up video will be the star at that price point... especially if they have a Log Profile or RedFilm or whatever Reds do. Hell, even with the built in lens, this phone/camera could be groundbreaking for run and gun filmmaking. What Soderberg did with the iPhone should be nothing compared to what could be done with the Hydrogen... maybe. I agree about lenses. I have had some stinkers in my life and I’ve had some that were supposed to be stinkers but actually had some pretty good character with motion... for instance, the Nikkor ai-s 35-70mm f/3.3-4.5 is regularly mentioned as one of Nikon’s worst lenses ever made. So of course, I bought one new for $50 and all in all it’s not that bad. It has good color rendition, with nice character, plus it’s tiny for a medium zoom. Hmm, I’ll have to dig it out and see how it fares on FF in ML Raw. It could be a cool two lens set up with my Nikon 50mm Series E.

Cinematographers use diffusion filters on the Alexa and it’s only 2.7K, 3.3K at open gate. The problem is camera resolution has been decided upon by monitor and TV manufacturers. Now if you don’t shoot 4K, your image supposedly doesn’t have enough resolution? In my opinion, I think a Pocket 2 could have had a 2.5K image and be equally as appealing. 4K at this price point, is usually best for downscaling, so it will be interesting for me to see what the downscale looks like from 4K P2 footage. But for the most part, I’ll shoot 1080p at the two base ISOs, on a clean sensor, with cheap SD cards. I already have a bunch of Canon batteries for my 5D3, so if battery time is bad (I suspect about 30-45 minutes) I’ll just swap them out. I’ll get a Rode NTG mic, and maybe a couple XLR lavs, for in-camera audio and have an amazing little, run and gun cinema camera... no need to rig up this little beast.