Anaconda_

@IronFilm

In the interest of making this thread useful (and not feeling the need to start a new one) @IronFilm Do you know of an inline preamp that has 3.5mm in and 3.5mm out? The 3.5mm input on the p4k is really quiet. For scratch audio, I've been trying to use the cheap and cheerful Rode Videomicro, but even with BM's new firmware that supposedly lifts that input 6db, it's still maxing out around -18db. I'd love a device the size of an AAA battery that just adds some power. I'm aware that mic needs plug-on power, which is why it's so quiet. But there must be a device that can provide that power between the camera and the mic. Kind of like this, but 3.5mm instead of XLR (and obviously no phantom power)

So now the latest Viltrox firmware stops the IS on Canon lenses AND doesn't allow aperture changes? What did Viltrox fix with the updates?

My Viltrox still works. I'm pretty sure I'm on the v2.3 firmware for it and don't have any loss of aperture or anything wrong.

When you update, it restores the camera to factory settings, even removing my saved profiles - so only update if you have the time to reload your LUTs, reset custom buttons and put all your settings back to how you like it.

Here's the updated user manual for those who'd like it. https://documents.blackmagicdesign.com/UserManuals/BlackmagicPocketCinemaCamera4K/20190124-f95645/BlackmagicPocketCinemaCamera4KManual.pdf

Isn’t that Braw?

Well the update came sooner than I thought. v01.04.00.20 1. Added pro setting when using Osmo Pocket without DJI Mimo. 2. Added option to switch between AFC and AFS when using Osmo Pocket without DJI Mimo. 3. Added Cine-Like color mode to video mode. 4. Fixed issue: after powering off, the gimbal attitude of some devices was in an abnormal position to fit into the cover. 5. Optimized face detection. 6. Reduced focus pulsing in some situations, such as when shooting the sky or at night. 7. Increased autofocus speed when moving Osmo Pocket quickly.

I really hope they keep Eterna, 4k60p and a 3.5mm mic input. IBIS would be nice too of course, but I think they're more likely make it a lesser camera than the XT3, not a more attractive purchase. What do you think they'll leave out? Probably just 1 SD slot right? No Flog?

Apparently in the first half of Feb, we'll see a firmware update that enables features that have no reason to not be on the camera in the first place... Cinelike D 16x9 frame on LCD Full manual controls without needing a phone attached All that's left is the USBc audio input, but maybe that's also going to be enabled too...

As far as I know there's no RAW capable camera that can record a proxy in cam. I think your best bet would be to use a Blackmagic Pocket 4K for RAW, and then use a Ninja Star to record to ProRes LT/Proxy in 1080p from the HDMI. Since the P4K can only output 1080p, there's no point getting anything that can record 4K. The Ninja Star is super cheap now, and will be perfect unless you also needed a monitor. I can run on C.Fast 1.0 cards and the battery lasts for ever. Depending on how you're using the camera, you could easily forget the Star is even part of your shooting experience. I've tested it, and to my surprise the record button on the camera triggers the Star to capture. That doesn't happen with many other cameras that have been released in the last few years. I think Atomos changed their protocol after releasing the Star. Of course, once Braw hits this camera, a proxy workflow could well be obsolete.

Alright. Not about specs really though. If the UMP crops in 1080 RAW but not 1080 Braw, then chances are P4k will do the same. If UMP does still crop in Braw, then the P4k will also still crop. It’s ok if you don’t know. Neither do I.

Ok. But it what does that mean about the 4x crop?

Does anyone know if Braw will still crop 1080p recordings to 4x? How does it behave on the UMP?

Personally, I'd sooner go for the JVC camera : http://pro.jvc.com/prof/attributes/specs.jsp?model_id=MDL102557&feature_id=03 Internal ProRes will be so much easier for editing, but you also have h264 if you need to save space. Same colour scheme too.

Well this whole discussion goes out the window if you're talking about RAW. Like you say, as long as you're in the right ISO bracket, you're good in that case, sticking to 400 or 3200 is irrelevant. I was assuming we're talking about filming in ProRes and wanting to expose right in camera, in which case ISO plays a big part.

Also better for focusing too. Any chance you could share a clip with this setting? Seems like the most usable if it has accurate live view.

That’s not true. You can use iso 100 to 800 perfectly fine. Skip 1000 and go from 1250 up. You (I) only consider the noise etc. once you hit 6400 or more. 400 and 3200 are of course ideal, but it’s far from a hard limit one should never deviate from. Like he says in the video , as long as you understand the benefits and pitfalls of the settings, you can make educated and informed decisions on a scene by scene basis. Limiting yourself to 400 and 3200 can of course work, but it’s not a rule I would follow unquestionably.

Yes, but since your iris and shutter determine the look of your footage, by strictly using 400 and 3200, you're essentially locking your iris, shutter and ISOs, which will give you very little freedom in how to adjust your exposure - either NDs or lights. Then if you don't have a controlled environment, you're limited to NDs only. I much prefer to use the ISO to help me expose, rather then limit my shots more than they need to be.

What's the highest resolution you can record continuously? How's the rolling shutter in that setting? Does it also record audio from a mic?

@mercer and anyone else, I couldn't get to some woods, but I shot some high contrast spots. As I said before, I don't shoot RAW, so I exposed as I normally would. I hope you can get the info you wanted from this. Total size 1.72gb - https://mega.nz/#F!3Fs0mSSS!0gMCbZYRQ47KKrmY8WN_YQ All shot with Sigma 18-35 f1.8 (set to f4) on the Viltrox booster. All handheld, so excuse the shakiness. The RAW files are 4:1 and the others are ProRes HQ. The last 2 clips are the same shot, from the same position to show the crop when you shoot 1080p RAW. I believe its a 4x crop in RAW and 1.9x in ProRes - With the booster, those crop factors change, but maths isn't my strong suit, so I'll leave it to someone else to work that out.

I could film some stuff for you this weekend. Let me know what you'd like to see. The Dual ISO is incredible. I used to use ISO only if my lens couldn't open up any further and I couldn't add lights. Now I can use it to keep my iris exactly how I want it no matter the circumstances

As you say, it depends on your usage and what you want out of a camera. I don't feel the need for a GH5s, however if I did have the GH5s I might pine for internal ProRes and RAW. It's also not about RAW for me. I wanted to shoot ProRes because the files off both my GX80 and LS300 were driving me nuts. In my experience no edit suite can play JVC's 422 files at all, and I was also having some issues with h264 realtime playback, even if the files are untouched. I'd imagine the GH5s would give me similar results. On the same machine, I can grade the ProRes files and playback in full quality as if it's nothing. Sure you can convert the files to ProRes, but that adds a lot of time to the workflow. Yes you can also record externally, which I did on the JVC but that's more gear to carry around. For me this camera is fantastic in the field, the only thing I need to carry that the other cameras don't need is extra batteries... in fact, the same batteries I'd have used in the recorders I mentioned. Then when I get home to edit, it's like I'm dreaming. Having used it almost daily since October, I'm fairly convinced I have the best camera available for my requirements, for everyone else, that may vary.

Don't forget that a lot of reviewers get demo units for a very limited amount of time, so can't really test them in real 'professional' situations. They can only really go for a walk and do some street shooting.