Blackmagic Pocket Cinema Camera 4K

[emielregis]

21 minutes ago, Turboguard said:

Right,

1. Why is he getting more info than the people at IBC?  

2. What is “1 godz”?

1. Maybe because he asked nicely ?

2. 1 hour

[Emanuel]

1 hour ago, emielregis said:

 

Panny 12-35 f/2.8... Nice to know that outcome : -)

And here's the BTS of the other one:

 

[A_Urquhart]

6 hours ago, Anaconda_ said:

B&H expected availability changed to November.

I pre-ordered the Tilta Nucleus M wireless follow focus kit when it was announced from a smallish retailer here in Australia. I received it months before anyone on B&H.......

Not sure why everyone is getting so hung up on B&H's availability dates.

[jonpais]

I wish people didn’t act so human.

[LtJTMarsh]

this happened with my original pocket, date kept getting pushed months out,  adorama had the pocket in stock so i ordered from them.  suspect same thing will happen this time.

[mechanicalEYE]

Back with the OG Pocket I felt like B&H was telling me anything they felt they needed to, to secure my order, they pretty much told me I was within the first 10 orders they had received, and I was guaranteed to get my camera before I would ordering elsewhere. During my first call inquiring about delivery and my place in line, the first 10 statement I received when ordering was refuted by different sales rep. They told me something different each time I called. Late I found out a small camera shop had a few in stock, I called placed my order, received my pocket with in three days ( this was after all the ebay price gouging ) Since then I have avoided B&H just because I think they arent going out of there way to be upfront with B&H pre-orders.

Since then all my pre-orders have been with Hot Rod. I like that if they don't know they will tell you they don't know. There is no estimate games,  and no changes in delivery times because they will only tell you what they can guarantee. 

[Anaconda_]

A quick sample of the touch AF kind of in action. It doesn't show much, but you can see that it's doing something.

 

[Emanuel]

If it is accurate to push the focus, it is already something. AF not at its best, but autofocus anyway. Pity to not track it, though.

[Emanuel]

 

[emielregis]

 

[BTM_Pix]

Erm...yeah...well that was all a bit uncomfortable and somewhat dubious.

 

[DBounce]

Looks pretty good to me.

[jonpais]

Info for “Afterschool” by Jun Areia

Another shoot of mine with the Pocket 4K and model Bonnie Lee in Seoul! (Instagram @iambonnielee) 
Thank you for watching!

I went out the other day for a quick comparison between the Ursa Mini Pro and the Pocket4K in order to see how they can be cut together. While the results of that comparison will be out in a future video, I took the chance to shoot some extra shots and put together another video for the Pocket4K.

Since I have done most of the popular tests in my previous videos (Dynamic Range, Low Light, Moire, Motion Cadence etc.) this time I decided to go a little more careless and harsher on the camera. While shooting out the sun is always a nice test for dynamic range, I wanted to see how the camera behaves when the sensor is starving for light in those unpredictable nighttime city shots. When different street lights of various colors and intensity blend together, creating interesting lighting environments with irregular shades.

I knew that slow motion could give a nice feel to this particular concept but I wanted to keep it at 24fps as I think this could help a lot of people see the camera’s performance and feel, in shots and environments that you would typically see in feature films.

On the first part, most of the time we were under a thin layer of clouds with occasional sun beams coming through. The intro shot is part of the rolling shutter test I have done and I have decided to include it here as a little teaser. There are a few shots without camera movement that were shot side by side with the Ursa Mini Pro and I decided to include them anyways. The rest of the video is on the Ronin-S. All these shots in this part were shot at ISO400 and had minimal exposure adjustments.

In the second part, we are at a terrace between skyscrapers, near sunset time. These are actually shot at the building that BlackMagic’s offices in Korea are located and I've shot them right after a workshop where I presented my works so far with the camera. These are all ISO400 shots, without any particular adjustments.

The next and final part is the most interesting as I have put the camera through some very challenging situations. From ISO1250 up to 5000, I filmed without caring what direction the lights are coming from and how it should be filmed professionally. I just filmed it – video logging style. There are many parts that we are filming against lights and Bonnie’s face is completely in the dark. In all the footage though you don’t actually see the reality of the environment. You see, when I film at about f2 and at ISO3200, the camera seems to be seeing brighter than what my eyes can see. The environments I have filmed, especially the walking shots with the fruit and the flower and even worse the one by the river are environments unthinkable for filming. Mobile phones just show black screens and we can barely see where we are stepping. Yet, somehow, we managed to film. Some lights might seem bright and mistakenly make you feel like there was some kind of light; the reality is that those lights were much dimmer than what they appear to be in the footage. At one shot by the river, I have opened my 50mm lenses at f1.4 (f0.9 exposure, f1.7 FF equiv. FOV via speedbooster) for some bokehlicious shots and I wasn’t disappointed. Finally, at the alley part, there were some very harsh shadows but it was still really really dark. It was that combination of random street lights in the dark that I wanted to try. I was really satisfied by the roll-off on Bonnie’s skin, especially at such a high ISO. Yet, I have escaped with clean usable footage that after a slight chroma de-noise was ready to go (the camera doesn’t apply any kind of de-noise). I have intentionally left any luma noise untouched as I think it’s aesthetic and reminiscent of film grain.

Like my previous Pocket 4K footage, I have shot everything on my own. I haven't used any additional light or lighting technique such as diffusion or reflectors. I didn't use any filtration except the NDs. There were no particularly planned shots as we were running through ideas and filming freely. Color grading wise, I applied some basic contrast and saturation and then did white balance adjustments to taste. Finally I applied a touch of my favourite film emulation. I didn't do any further color correcting such as skin refinement, power windows, sharpening and so on, as I liked people to see the result that was coming out of the camera without any particular coloring.
 

[Mark Tincho]

9 hours ago, Emanuel said:

 

thank you Derek, I didn't want it but now I do :-)(

[emielregis]

Comparison with original Pocket and RED Gemini

 

[DBounce]

1 hour ago, emielregis said:

Comparison with original Pocket and RED Gemini

 

Not sure what the heck they are saying, but from what I can see, there isn't much difference from the P4K to the Red Gemini. Impressive.

[jonpais]

Red Gemini looks dramatically better on my display. 

[DBounce]

2 hours ago, jonpais said:

Red Gemini looks dramatically better on my display. 

Watched on my laptop, so maybe I'm missing something?

[zerocool22]

4 hours ago, jonpais said:

Red Gemini looks dramatically better on my display. 

yeah for some reason the gemini is creamier and has some kind of pop like the alexa. Might be the other 24k $ that is giving that. BM should figure out what it is and implement it into their next camera, or better yet give it through a firmware update on the ursa mini pro.

[Anaconda_]

That's quite a reflective screen on there.