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I agree with most of the above, but the thinking is wrong. Is super slow-motion required in 2018? Not if you're shooting a doco, but yes if you're shooting a hair or shampoo commercial. Is IBIS required in 2018? Not if you have the time, space and permission to take a stabiliser of some kind and set it up, yes if you're shooting in situations where a tripod/monopod/shoulder-rig/gimbal/etc isn't allowed or isn't practical. Is 4K required in 2018? Not if you're shooting for a client that doesn't mandate it, yes if they do (eg, Netflix). Is RAW required in 2018? Not if the requirements of your scene will be sufficiently captured in a more compressed coded, yes if you need the flexibility or resolution in post (eg, green screening) Is AF required in 2018? Not if you have the ability to manually focus sufficiently on set to track the subject in your images, yes if you don't. Is extreme high ISO performance required in 2018? Not if you are shooting a bright enough subject, or have the ability to light them sufficiently, yes if neither of these is true. Anyone can ask the question of ANY parameter within photography and find examples of both yes and no, depending on the project. ANY DISCUSSION OF REQUIREMENTS BEGINS WITH THE CONTENT TO BE CREATED. CAMERAS ARE TOOLS FOR A JOB. EACH JOB IS DIFFERENT. Anyone who thinks they can generalise is too stupid to understand that other people shoot different projects, using different techniques, in different circumstances.

Nice! That's quite a collection!

Very nice work. I found myself looking at the style and editing and ignoring the IQ. The style seemed kind of light and excited in a kind of gentle and playful way. I think that was due to the smooth but hand-held camera movement, faster cuts, and lots of short macro shots. It was a very long way from the very formal aesthetic of slower orchestral music with slow slider shots that you often see! It was almost like he was interested in lots of things and ran around filming all the awesome stuff and then just cut it together. I shoot home and travel videos for my family, but I love looking at weddings because they're about capturing what happens with a minimum of staging things, plus they're trying to make things look happy and joyful, rather than accurate or neutral, which is the same for personal work of loved ones.

Lenses and crop factors and speed boosters can be complicated.. if you have questions then just ask What lenses do you have? In terms of them "holding up to 4K" I think that's probably not a problem, here's why. Firstly, 4K video is 8MP, which for a photography lens (which these will all be) isn't that high a resolution. Secondly, lots of people think that 4K is about getting super sharp images, but not everyone actually likes those super sharp images, and frequently people find that sharp images look "digital" and softer images look more "cinematic". Film has been pretty soft for the majority of cinematic history, and even more recently when film was of higher quality it doesn't look sharp, so soft can be a nice aesthetic. I think the BMPCC4K will prove to be an excellent camera, and already the images look pleasant and most importantly, it doesn't seem to have the digital over-sharpened look of cheaper digital video, so I think it will look nice with whatever lenses you put on it. My personal view is that you shouldn't put too much emphasis on resolution, but think of it in terms of image quality. For example, the 1080 from Canon DSLRs is no match for the 1080 in the C100 despite being of similar resolution and bit-rate (actually the DSLRs have a slightly higher bit-rate). Most 4K cameras don't match the image quality of the original BMPCC despite it "only" shooting 1080. In this sense, the BMPCC4K can be viewed as having high image quality and then just think that it will do a good job of capturing whatever the lens gives it. If a lens is a little soft then you will still benefit from capturing it with a camera that has high image quality, right? Then, once you've chosen a set of lenses, work out the most important part of the equation - what to put in front of the camera.

AFAIK, the only difference is possibly the crop factor? BMPCC v1 had a larger crop than true M43, but my understanding is that m42 lenses were for FF so image circle should easily be large enough. The problem might be the C-mount lenses that were borderline, even for the original Pocket. I'm using mine without a speed booster, so coverage isn't an issue at all.

Wow! I stand corrected. That is pretty darn cool. I'm now sitting here looking at my GH5 and the DJI Osmo Mobile 2 that I bought and basically never use... hmm. In a sense, it looks like you just hack it until it's balanced really well.

I got a couple of vintage lenses today for my new MFT setup, and I couldn't be happier. In fact I was so excited that when I discovered I'd bought the wrong adapter (who puts "M42-MFT" in the title of an eBay auction for a Nikon-MFT adapter - seriously!) that I cut a small section of PVC pipe to act as a spacer and tried a few free-lens style tests. All frames are grabs from 4K 50p 8-bit 150Mbit HLG file exported to Prores 422. Hellios 44M-4 58mm F2 on MFT (2x crop makes it 116mm FOV) Yashica yashikor 28mm f2.8 (2x crop makes it 56mm FOV) and lucky last, just for comparison, my decidedly non-vintage native MFT Panasonic 14mm F2.5 pancake lens. The vintage lenses look so much nicer. The GH5 was on AWB so I'm not sure if the changes in the colour came from the lens or AWB or late afternoon sun. However, notice the lovely elliptical bokeh of the Hellios, and the lowered contrast of the vintage lenses. Also, the highlights have a bit of flare on the Yashica that look like a slight Tiffen Black Pro Mist filter, very nice. That might also be due to the front coating being basically worn off on that lens I haven't shot into the sun with these yet, so no idea on flares, but they look pretty darn good to me. Even the files with only 150Mbit look so nice - reminding me a little of the soft but clear look of the original BMPCC. This is what I was hoping for in the GH5 / vintage lens combo. I've got a Nikon Nippon Kogaku Cine-NIKKOR-C 13mm F1.9 lens on its way that is a gamble about if it will cover the MFT sensor, and I will pick up an 8mm SLR Magic at some point too to round out the set, but very nice so far.. With the exception of ordering the right M42-MFT adapter, I couldn't be happier! and considering you can't even buy a sensibly sized memory card for what I spent....

I would imagine there's no hope of that - partly due to the motors likely being as only powerful enough to move the phone around, but also the centre of mass of a phone is within its thickness and anything you mount will be sticking a lot further forwards or backwards and wouldn't balance. In terms of those handles with springs to smooth out vertical motion, I doubt they can be used at an angle, which would mean that you have to have the gimbal handle vertical for the whole shot. This is possible, but if your shot requires any tilting then you'll have to operate it electronically instead of using the gimbal in a follow mode. Also, will you have the room to manoeuvre if the rig is vertical? You probably would, but just make sure. One of the awesome things about a gimbal is that you can put it in follow mode and then run around waving it like a sword and get whatever shots you want, panning and tilting as you desire, and fitting through tight spots and holding it comfortably as you go.

@Sage I'm ready to buy but I'm not sure which WB to get. I shoot in all conditions and use auto-WB. I'm comfortable adjusting WB in Resolve if it's not quite right and I only do non-professional work so isn't completely critical. Does it matter which version I get?

Also to consider is that there can sometimes be a difference between something being illegal and being treated like it was illegal and getting banned from a site. I've seen a few examples of sites like YouTube (or PayPal) blocking users for some reason and then not responding to appeals. Being in the right but locked out of your account until you take legal action against YT to force them to re-activate your account isn't a great position to be in, and unfortunately the MPAA / RIAA lobbying about copyright enforcement is continually threatening to change the law from being innocent-until-proven-guilty to the other way around, so these companies basically do whatever the copyright holders want - false positives be damned... Having said that my impression was that large youtubers tend to use whatever they want and just demonetise a video that has a copyright claim. Of course, if a big youtuber complains to YT then they listen, but the rest of us might not experience the same level of service. In a sense it might be a choice between playing it safe or exercising your rights but having to fight a potentially unfair battle for them.

I will definitely use HLG for 4K25 10-bit. Slow-motion modes are the question - HLG is only available externally for 60p or 180p but I don't use an external recorder so I must use an alternate picture profile. @jonpais what PP would you recommend for 60/180p internal recording? It seems like Cinelike-D was the favourite profile before HLG was released? I think we have similar shooting styles @anonim - I want to configure the camera at home and then when I go out shooting I also want to be "sparing all precious time/concentration for evaluating composition of image" as you say I am really looking forward to 10-bit images. I found that 8-bit C-Log on my XC10 was normally fine, even to adjust WB and exposure in post, and I don't have as demanding shooting scenarios as you so I can be happy with more ISO noise and colour shifts, but extra bit depth certainly won't hurt Also, how much difference is there between the 400Mbit and 150Mbit modes for 4K25 10-bit?

I realise that other companies are also no slouch at innovation, and I was half-kidding about wanting to be a BMD fanboy. In terms of BMD being slow to compete with hybrid features, well yeah, we're back about half-a-dozen pages in this thread where I was basically shouting from the rooftops about it being a cinema camera.... but in a sense it has taken a half-step to being a hybrid as it does have some of the hybrid features, albeit weak implementations. I think it's trying to be a hybrid and failing about as much as hybrids are trying to be cinema cameras and failing. Everyone wants the best of both worlds and as various manufacturers offer up cameras that get closer and closer to the middle ground between the two we're getting more and more confused about what type of cameras there are, what types there should be, and what types are best for us (and the job we have at hand..). I am pretty stoked at how fast Resolve has come over the last few years though. In that regard they're basically the only ones jumping ahead significantly.

I'd love to be a BM fanboy.. they're pushing out products that are big leaps forward, not the usual "it's 4% better than last-years model" that is so common. I love Resolve, despite it being buggy and now so complicated it might be easier to actually fly the space shuttle, but they just don't make cameras targeted at me! ??? I agree. We may find that the 1080 output (either 1080 RAW, 1080 Prores, or 4K to 1080 downscale in post) is a really cinematic sweet spot. I'm looking forward to those tests. It certainly would be a good compliment between the GH5 and P4K. Both great cameras, but optimised for different tasks. I think you have the right attitude - not the "which is better" mindset, but the "the best tool for the job depends on the job" mindset

Thanks Anonim! I've mapped the ETC and IS Video Lock to buttons. That IS Video Lock is really great - I just tried it for walking and it does a really respectable job - almost gimbal-like movement, and in a couple of places perhaps even a bit floaty for my tastes. Definitely something to reach for when I want more aggressive stabilisation, and of course, a static shot I just setup HLG, but unfortunately it's not available in 4K60 or 180fps modes... what would you suggest for filming slow-motion shots? Cineline-D seemed to be the previous favourite? I'm ok in Resolve to match shots ok, but getting it closer to HLG would be nicer I think I like the GHa conversion more for the highlight softening than I do for the colour, and the colour is pretty darn nice. I was contemplating a new thread about how much of 'colour science' is hue and how much is luminance, but that's another topic. I have so much to learn and so much reading to do. With the XC10 there was basically no-one talking about it and no support whatsoever, and now for the GH5 it will be a matter of sifting through the content to get the good bits because there's so much of it around! Of course, better to have too much advice than too little, and I ingest information pretty easily, so it's definitely the problem I'd rather have. I have done some tests with the 14mm 2.5 and all I can say is I can't wait until my other lenses arrive! Neither the f2.5 or the MF ring of this lens are really floating my boat, but the IQ looks lovely, and I don't even have a 400Mbit capable memory card yet, so I've only played with 150Mbit files.

Does anyone use the 4:3 open gate mode without anamorphic lenses? This guy thinks it's a winner, and he compares it to a RAW photo, but doesn't compare it with the DCI 4K 400Mbit mode which might be just as good perhaps?

Thanks @jonpais - I actually watched his video last night! I just wrote a big post asking how to set things up the way I wanted, but I figured it out. I now have C1 as C4K-10bit, C2 as 4K60, and C3 as 1080p180, with all of them in Aperture priority and auto-ISO. I couldn't work out how to set this up until I realised I could set a bunch of things in "Camera-M" mode but then save them to the Custom modes... I was in the Custom mode looking for movie settings that weren't available in the menus! A confusing start, but I think I'm there. So now, 24 hours after bought it, I think I'm ready to record my first test clip! ??? I only have the 14mm 2.5 on it for the moment until next week when my m42 adapter and lenses show up. I'm anticipating another steep learning curve at that point Of course, there will also be learning curves when: I pull footage into Resolve for the first time, I buy the V-Log update, I get the GHa package, etc etc etc...

I'm now an official member of the GH5 owners club. Spent three hours last night trying to understand the settings and set up the camera how I want it. I am so confused!! I'll work it out, but holy wow, the complex interactions of the record format, record quality, VFR option, and system frequency settings are making my brain hurt..

Have you posted in the BM forums? Those forums are good because that's where the real power users hang out but I've definitely noticed that it's mainly people helping each other, and BM typically fix it in a future release or just leave people hanging with bugs that don't get fixed over many many releases. BM are more focussed on fast development rather than taking their time to make every release polished and super stable. I guess that's the price for the crazy number of features they provide for the price.

This is true.. and these days, it's not a terrible backup option Good point! even if it took me a while to work out what you were talking about ???

After I posted those shots of the Philip Bloom pushed and pulled around I had the same thoughts and wondered how well other lesser footage would respond. So I pulled in a shot from my XC10 in C-Log and a shot from my 700D and applied the same push and pull. I expected both to not stand up, and of course the 700D footage broke so hard it looked like modern art, but the 305Mbit 8-bit C-Log from the XC10 looked just fine. As I don't film like PB I didn't have a shot with similar tonal distribution, and then all my thoughts about how camera comparisons aren't done right (by basically anyone) so I didn't end up posting them. I really like the look of the OG Pocket and this one hasn't given the same wow factor, but considering that BM release early and tweak, considering that we've not had many examples of footage that was well shot, considering the extensive camera tests that high-end cinematographers do with a new camera working out it's sweet spots and optimal settings, and the maturity of understanding with other contenders like the GH5, A7Sii, etc, we really can't tell what potential there is in this camera yet.

I'm interested in how much redundant equipment people bring in case of malfunctions. I know it's not that common to take two bodies or duplicate lenses and that it's basically inevitable that people have multiple batteries and media, but who takes things like duplicate battery chargers, card readers, microphones, cables, and computers on set or when travelling? I shoot travel so tend to travel light, but I'm contemplating buying a spare charger, card reader, and a few little bits like that to lessen the number of single-points-of-failure while I'm out travelling.

Wow.. that will be such a great combo. I know that time is money for people who have to turn things around quickly as you say, but this could also be a way of getting proxy files to edit with but not having to wait for the computer to render them when you ingest the footage. A good media management program (or even just a script like I have) would mean it's not that much harder to ingest the footage from two sources instead of one.

Indeed it is. I've seen lots of YouTubers do their tutorials in mixing sound and adding foley and it's truly amazing at how much latitude you have with making things still believable. and how much the sound really makes a difference. I've heard people say that the picture is for the viewers brain and the sound is for the viewers emotions. I think excellent sound and music is one of the reasons I like many movies. A few that come to mind is The Hours and Run Lola Run, and I'm also reminded of the cult Australian hit Hercules Returns. Highly recommended

Yep. and for those who are used to shooting in those rec709 profiles and throwing on a LUT in post it's definitely a case of "oh Toto, we're not in Kansas anymore!!" ???

You might be a silly tourist, but in film-making terms you're definitely not! Truly nice work, and if the modest setup is limiting you then it's not coming through in the edit. Makes me want to sell everything and buy an RX100 and just go shoot stuff, which is a sign of a successful film! Subscribed.