The pocket rocket…Blackmagic downsizes the BMCC and does a 4K upsize of the orginal !

Blackmagic Pocket Cinema Camera

Blackmagic Pocket Cinema Camera

Well it’s NAB once again.  It was a year ago that Blackmagic blew everyone’s mind by launching a high dynamic range DNG RAW uncompressed 2.5K cinema camera for three thousand bucks.

It’s worth taking note of the fact that it was the first camera at ANY price point to offer on-board uncompressed RAW recording as well as ProRes and DNxHD.

Even a whole year later, that’s still an amazing and impressive set of features.  And more importantly, I think everyone agrees the camera has a great look right out of the box.  Their colour science and high image quality has become their trademark.

Whilst BMD have certainly had trouble getting the cameras shipping when they said they would, they seem to now be shipping in some more serious volume.  It’s been hard seeing how difficult it has been for the BMD camera team to be frustrated by issues largely beyond their control.  Even though they actually make all the parts that go into the BMCC, they don’t make the sensor, and that’s been the bottleneck.  There’s certainly plenty of BMCC’s out there now though that people are shooting with.  They seem to have dramatically sped up production in the last month or so, probably not wanting to be dealing with the lynch mob of customers with preorders at NAB !  Here’s one I like.  Meet me in Big Sur

I have been shooting with both the EF and mft versions continuously on the three different episodic TV drama series Puberty Blues, Underbelly Squizzy and the fourth season of Offspring (still in production).

OLYMPUS DIGITAL CAMERA

Little brother. This is my battle-scarred prototype m4/3 camera

With the tumult off the last year, BMD have managed to develop not one but two new cameras.

The more developed camera of the two that I’ve been road testing is the new Blackmagic Pocket Cinema Camera.

Blackmagic Pocket Cinema Camera

Blackmagic Pocket Cinema Camera

As you can see, they aren’t kidding with the pocket bit ! And it’s a LOT of fun.

2013-04-07 09.50.57

Blackmagic Pocket Cinema Camera Vs Iphone 4

What BMD have done with this camera is to take a super 16 size version of the exact same awesome sensor that’s in the current BMCC and shrink the form factor down to that of an iPhone with a lens mount. Then they added what many have clamoured for. An internal battery that can be easily switched out.

The camera has an ACTIVE m4/3 lens mount.  That means you can use any of the Panasonic / Lumix or Olympus m4/3 lenses that are already out there, and using dumb adaptors you can mount almost any other lens to the camera, including SUPER 16 cinema lenses, which will cover the sensor perfectly, and are ideal if you want that vintage look.

The great thing about the camera having an active mount is that you can now tap the already extensive list of native m4/3 lenses .  Many of the Panasonic / Lumix lenses also have image stabilisers as well.  I think IS is more of a want because the smaller sensor size and the much smaller and lighter form factor means rolling shutter will be more noticeable when you’re handholding the camera.  The Panasonic / Lumix 12-35 F2.8 is a treat on this camera. It will be probably be the GO TO zoom.

2013-04-02 15.22.50

My focus puller Cam Gaze plays with the Blackmagic Pocket Cinema Camera with the Zunow T2.8 11-16 m4/3 Zoom.

In theory you can also use some of the great 4/3 lenses (not to be confused with m4/3).  I happen to own a few.  Unfortunately the adaptor doesn’t yet seem to work (though it’s meant to) so these images are just suggestions of what should be possible. But it’s still a work in progress.

OLYMPUS DIGITAL CAMERA

PanaLeica 25mm F1.4 and 4/3–>m4/3 adaptor. Not yet working but should be shortly.

2013-04-03 09.19.37

The Olympus 7-14 F4 with 4/3–>m4/3 adaptor. Not yet working but should.

OLYMPUS DIGITAL CAMERA

The legendary F2 14-35 Olympus zoom. Focus works but not iris yet.

You can also use PL mount lenses and I think a lot of Super 16 PL mount lenses like Zeiss Superspeeds and Canon Zooms are about to surge in price.

2013-04-08 14.04.29

Blackmagic Pocket Cinema Camera with Hot Rod PL Adaptor and Zeiss CP2 28mm

OLYMPUS DIGITAL CAMERA

Blackmagic Pocket Cinema Camera with Olympus m4/3 45mm F1.8

2013-04-02 10.58.00

Panasonic m4/3 14mm F2.5 on the Pocket Cinema Camera

The camera records a smaller 1920x 1080 size instead of the larger 2.5K of the BMCC.  Ideally with Bayer sensors you do want to have a bit more resolution than your distribution medium, which is why 2.5K is a good size to rescale down to 1920.  However, testing the 1920 native sensor, there’s not a lot of discernible difference between the two resolutions.  There’s a crop factor of about 1.3X to the 2.5K BMCC.

As I mentioned the Pocket cinema camera also has an interchangeable battery and records to regular SD cards.  Though you can’t get away with any old SD card.  I’ve been using only the SanDisk Extreme Pro 64Gb.  Like we’ve discovered with the SSD’s, they aren’t all created equal, even when the specs say they are.  BMD are doing the research right now on this so expect to see a list of SD cards that will be recommended.

OLYMPUS DIGITAL CAMERA

OLYMPUS DIGITAL CAMERA

The sensor is exactly the same generation as the 2.5K BMCC, but it’s active area is 12.48 x 7.02mm, close to Super 16.

The Super 16 camera aperture is actually 12.52mm x 7.41mm.  So at first glance it seems like there’s a difference, BUT let’s remember the extra height is because super 16  camera aperture is actually 1.66.   The 1.78 (16×9)extraction from Super 16 size is actually 11.95mm x 6.72mm.  If you’re being fussy and want 1.85 it’s 11.75mm x 6.35mm

So the pocket camera active sensor actually is slightly bigger than Super 16 extracted for 1.78, BUT any super 16 lens will be designed to cover the slightly larger 1.66 size.  In other words, any lens that works for Super 16 will work with this camera.

Currently the prototype camera I have records only in ProRes 422 @ 10 bit, just like the BMCC. The plan is to add a NEW compressed RAW implementation of DNG. The spec allows for this be lossless (not lossy) and at 1.5:1 – 1.2-:1.

In fact, there has apparently always been an allowance for compressed RAW in the DNG specifications, it’s just very few of the existing DNG applications have implemented it.  Resolve will of course be able to read these new COMPRESSED RAW DNG files.  Let’s hope some of the other terrific DNG compatible applications catch up to be able to use the compressed RAW versions of RAW.

So, let’s step back and take this all in.

2013-04-02 10.58.06

Instead of a touch screen it features a traditional button style navigation. Note the new focus peaking colour too.

Basically we have a greatly shrunken version of the BMCC with the same proven sensor DR and IQ that records 1920 instead of 2.5K to SD cards in the same compressed codec of ProRes and in a new compressed version of RAW DNG. Oh yeah…and it’s going to cost one thousand bucks.

So what’s the point ?  Well.  the camera is tiny.  I mean it’s kind of ridiculously tiny.  A tiny camera means you can get shots you can’t get with any other camera.  Think of car rigging for example.  but also anywhere you have a tight spot that you’d struggle to get a regular BMCC or full size camera into.

It’s also going to be great for more covert or discrete uses.  The camera looks like a regular NEX style point and shoot camera so if you wanted to slip under the radar or you’re out in the general public it could easily go more unnoticed.

Frankly though, it’s insane that you can  get the same DR into a camera that’s so small.  Theres no reason you couldn’t slap regular super 16 lenses on there and get the great BMCC look from this camera.  It would take some pimping up to make this into a production camera but frankly, I think the camera is best in its naked form.

The lower cost also means its easier to put the camera into more risky shooting scenarios where the camera might be damaged, like stunts.

And of course, it makes an ideal B camera to a BMCC if you already have one.  It’s got the same sensor and the same look, plus you’ll get to access to those nice active m4/3 lenses.

The menu system is very nearly IDENTICAL to the current BMCC.  The main difference being that it’s not a touch screen, so it can take a little longer to navigate to some of the menus, but I don’t think it’s deal breaker.  Also, the peaking system is slightly improved now with a pleasant green colour.

The battery is actually the regular Nikon style battery and BMD choose this for it’s relatively low cost, small size and easy availability.

I’ve been using my existing m4/3 lenses and I’ve loved having the Panasonic 20mm F1.7 on there.  This is one of the cheapest fast m4/3 primes and it’s just great. It means I can just carry the camera almost as a personal video camera.

Frame rate options are the same as the BMCC, and top out at 30 FPS.

This thing is just so much fun.  Seriously.  It’s very easy to carry it on your person.  It’s not intimidating to use. And it’s a heck of a lot of fun.  I’ve ended up using it more for personal use.

While you don’t get the full version of Resolve like you do with the 2.5k BMCC you do get the LITE version.   The freely available lite version isn’t limited in any meaningful way for the kinds of things you’d use this camera for.  The lite version is exactly the same as the full version, except you don’t have noise reduction, higher than 1920 resolution output, ability to use more than one GPU (for faster playback) or 3D. Other than that it’s the same toolset.

The camera has a stereo audio input and mini HDMI video out for monitoring.  There’s also a remote LANC style control and a headphone jack. The firmware is basically the same as the BMCC, and the plan is I believe to make them the same as they go forward with firmware updates.

The Blackmagic Production camera 4K is a direct response to many of those clamouring for global shutter and higher resolutions with a larger sensor size.

The BMCC sensor is a near super 35 size, and they had to source from a different sensor family, but the early tests I’ve done are very promising with regards to maintaining the same BMCC look.  The engineers are working very hard to maintain the great colour science  and BMD “look” they’ve established with the BMCC.  Because of the different sensor technology, and because they’ve implemented a global shutter, there will be less dynamic range than BMCC and the pocket cinema camera.

At the moment there is only the EF mount available, but they will be looking at a PL mount in the near future.

So in the same form factor as the BMCC, they now put a near super 35 4K sensor.  Not only that but the global shutter, eliminates rolling shutter, something many found irritating to work with.  The active image area is  21.12mm x 11.88mm. Super 35 @ 1.78 is 24.89 mm × 14mm. By way of comparison the Sony F5 is 22.6 x 12.7mm and they get to call theirs Super 35.

Recording to the same media in RAW would be impossible at 4K data rates uncompressed in RAW so they’ve had to stick with ProRes for the moment.  It’s still visually lossless at 2.5:1 though. They are planning to introduce compressed RAW DNG’s later on down the track.  This is probably one of the first cameras to use the new 6GB/s HD-SDI standard too, which allows for lots of interesting possibilities down the track.  I think there’s plans for the better 12 bit flavours of ProRes but for now it’s 10bit 422.

Because of the global shutter and different sensor technology, the 4K one doesn’t quite have the same DR, but it’s still going to be very good and certainly better than most of the dSLR’s from what I can see.  It’s still early days and right now they’re trying to squeeze as much DR as they can, but the global shutter mode and slightly different sensor technology means it won’t match the BMCC.  I’ve shot some early engineering tests and it actually already looks very good.  When you directly compare it for DR, you see the difference, but by itself, the images are still great.

There is also a slight difference in the native ISO.  It’s not really been mapped out yet, but it looks like the camera will be a smidge less sensitive in terms of ISO.

At present the frame rates will be the same as the other Blackmagic cameras and go to 30 FPS.

For many, the 4K files, the very nearly Super 35 sensor size and the global shutter eliminate many of the concerns some had about the original BMCC.  I’m looking forward to getting a camera in my hands to start shooting with soon and I’ll upload some clips as soon as I’m able to.

The Blackmagic Production Camera 4K will ship with a full version of Resolve, like the BMCC.

Now for those wanting an active m4/3 2.5K BMCC,  I’m told that it will still be some time before that’s possible.  Basically, it’s a fairly big job to redesign not only the mount, but the electronics inside.  It will still be some time before this becomes an option on the BMCC, but obviously they’ve shown it can be done now ! My impression is it still months away from being able to be done.

BMD also plan to implement compressed RAW DNG’s in firmware in the future on the BMCC as well and try to unify the firmware across the three cameras.

As soon as I’m able, I’ll post some pocket footage.  The 4K will be a little further along.

So now there are three Blackmagic cameras.  A three-tiered structure.  If Super 35 size is your thing then the Production camera is for you.  RAW will still be a fair bit further along with this camera too, and it will probably be ProRes only initially.  The pocket cinema camera is just a whole bunch of fun.  I can’t wait for some of the great shot’s people will get with this camera.

The question for some will be…what should I do with my 2.5K BMCC camera ?  Should I cancel my order ?  Should I change it ?

I think there’s enough point of difference between all these cameras. I don’t think the 4K steals the 2.5K’s thunder for three important reasons, I’ll mention in a sec. The pocket’s advantages are more immediately obvious, and lets face it, 1K is nothing at all for the insane DR, look and IQ you get.  It’s an ideal B camera if you already have a camera or one on order. The only downside for me was the rolling shutter felt a little bit more pronounced when hand holding.  IS should help a lot though with this.

The Production Model ?  Well.  If 4K, global shutter and super 35 is important to you then this is your camera.  But the downside is you’re going to lose some DR.  At least a stop and probably more.  And you’ll loose a little ISO sensitivity as well.  And you might not have RAW initially when it’s released, only ProRes.  The final important difference RIGHT now is the EF mount.  I’d prefer PL myself, but I’m hoping BMD see that as an easy fix.  Look at the upsides though.  It’s 4K and Super 35 with a global shutter for 4K.  That’s pretty hard to ignore if any one of those features is important to you.  You get all of them for 4K.  I’m also assuming that BMD can work the same magic from the look they get from this new sensor.  So far it seems promising, but they haven’t finished working on it so the jury is still out.  But so far to me it looks like they’re going to get it very close to it being every bit as nice.

The other thing to take away from this….

Blackmagic Design are clearly settling in to stay as a camera manufacturer.  In only 12 months, they’ve come up with 2 new cameras, with amazing features for an amazing price. They aren’t mucking around it seems….

NB.  DEMO footage is still to come.  I’ll hopefully have something I can show before the end of NAB.  Rest assured though, the Pocket looks just as nice as the BMCC….

About johnbrawley

Director Of Photography striving to create compelling images
This entry was posted in Black Magic Cinema Camera, Equipment and tagged , , , , , , , . Bookmark the permalink.

269 Responses to The pocket rocket…Blackmagic downsizes the BMCC and does a 4K upsize of the orginal !

  1. Mike Evans says:

    Does the pocket monitor out clean? I’d love to toss a few of those on our ATEM switchers.

  2. Evan says:

    Still waiting for my BMCC though… (ordered in February)

    • Justin says:

      You know, I would encourage anyone still waiting for their orders to really call around different suppliers and not rely on one place.. I literally decided 10 days ago that I wanted the BMCC. 5 days later I had it! You really have to call every camera supplier you can get a number for, eventually you might get lucky and someone has one in stock. They are trickling out, but some camera stores have longer preorder lists than others..

  3. Noel CRigelhof says:

    Very interesting times. Thanks for that John.
    Looks like the 2 new cams are going to be winners.

  4. M. Ryan says:

    Yes, awesome!

  5. James says:

    Something you forgot John is yes the IS is going to be awesome on this pocket camera BUT due to the iPhone there are tons of cheap handheld stabilizers.

    • bhirschy says:

      But are they designed to have a huge chunk of glass sitting infront of it.

      My main concern here is stabilization w/o any bulk in the camera body. iPhone stabilization solutions probably won’t work w/ that in mind.

      • James says:

        Very true. to be honest I was just thinking broadly about all the really small handheld stabilizers out there for DSLR’s and point and shots. there should be some very capable ones for this camera for peanuts.

      • When it is the same size as a P&S or a small mirrorless camera (which is what it is) then some people can do really amazing footage just handheld (and with stabilisation in post)! For instance with the RX100. Another bonus of this compact Blackmagic Design camera is its uses in a quadcopter, would be awesome!

  6. Editor says:

    Not awesome.
    12 stops dynamic range is not an upsize of “the original.” I’ll take 13+ stops at 2.5k over that any day.
    The new mini-me seems great though.

  7. Pingback: BOMBAZO: Blackmagic lanza cámara de 4K por menos de 4000$! (y de propina… otra por menos de 1000$!) | Director de fotografía

  8. Jason Dunphy says:

    I love these announcements. Honestly, there is a part of me that is bummed because I just got my BMC V.1 last month, but I love the Pocket as a B-Cam. If i would’ve waited until this year, I would totally pay 1K more for the Production model, but can’t sit around waiting for cameras.

    Thanks for the post John and all the info you put out, always informative.

  9. alexenman says:

    Wow.. I sorta wish the pocket was a little less “pocket” and had a slightly bigger profile – but can beggars REALLY be choosers? Blackmagic is making things happen, and it’s SO exciting. After shooting a bunch with the BMCC, I’m ordering this little guy ASAP. I’ll just have to explain to my clients that big things come in small packages ;)

    Thanks so much for the write-up, John. Great stuff, as always!

  10. Dovahkiin says:

    How is low light performance on the Pocket Camera? And will we be likely to get one by August if we preorder now?

  11. islandmike says:

    I LIKE IT KIKASSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSS!!!!

    the littel cam is exactly i want….

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  13. Will says:

    Does the 4k camera have the ability to record 4k ProRes and 1080P ProRes in camera, or just one or the other?

    Thanks for the report!

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  15. bhirschy says:

    This looks amazing. Very intrigued to see demo footage.

  16. Pingback: Blackmagic Pocket Cinema Camera: RAW Video In the Palm of Your Hand for $1000 « VidenOmkring

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  19. Is it strange that I’m more interested in the original cinema camera then the pocket.

  20. scottap says:

    Sorry to hear the rolling shutter is worse on the pocket cam than on the BMCCv1. Is it just not usable handheld without an IS lens? Also given the NEX size form factor is overheating a problem like it is on the Sonys?

  21. Does the pocket camera also take stills?

  22. danalucci says:

    dammit let’s have it!!!

  23. sab says:

    very cool. i wonder how the new mini-BM compares to the hacked GH2…would love to see a shootout between those two!

  24. Pingback: Blackmagic Pocket Cinema Camera and Production Camera 4K official | CfpDir.com

  25. Manuel says:

    A bird in the hand is worth two in the bush, I seriously can’t wait one more year for a camera to come! Besides, it seems like the BMPC is not even fully developed.
    What a great improvement tho! Can’t wait to see what other filmmakers are going to be producing with these amazing tools BMD has been putting out for us.

  26. Joey Daoud says:

    How many minutes can you record on a 64 GB card?

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  32. hey thanks for the update, i’m super excited about this camera. man, if i’d have known i could have gotten 2 of these for the price of my camera (Canon 6D). any word on if Blackmagic might consider making a LCD loupe or hood for it since its not touch screen? with peaking that would be amazing! or have you found a solution for bright sunlight already?

    • Stu says:

      HDMI out on it should work with the Cineroid EVF4RVW Retina Display HDMI/HD-SDI …its the one that works native with the BMCC i have, and has built in converter 3G-SDI to HDMI. little pricey but well worth it with the built in wave form monitors and peaking.
      I love it.

  33. Great news John, thank you!

    But, no new firmware for BMCC 2.5K???

  34. AirShaker says:

    The form factor of the pocket version is cool, but to me it is the price of that tiny thing that will make it an instant classic if the sensor is really a crop from the bigger brother as you suggest

  35. AirShaker says:

    One thing I do miss though is the lack of a built in ND filter, it was already not there in the bmcc but it was less of an issue since it is designed more toward professionals who will use with a mattebox. Having it built would really have made sense in my opinion.

  36. Orlando Bullsimoto says:

    Great little wondercam, phantastic! It would be great, if this cam could be synchronized with it´s bigger brothers or with each other via air to match settings.

  37. soulofsound says:

    Footage please! :)

  38. Andrew Julian says:

    Thanks for the write up John! The pocketcam looks amazing! And I totally agree that neither of the two new cameras will make the original one obsolete. There’s room for all.

    BMD was already my new favorite camera manufacturer, but now they’ve taken it to a whole new level.

  39. DJ says:

    Hey John, does BMD plan on adding the compressed RAW option to the original BMCC? This would be very helpful :)

  40. Travis Bain says:

    Wow, talk about disruptive technology. The guys at RED, Sony and Arri must be having heart attacks. You should be able to get some cool 16mm-like ’70s imagery for Puberty Blues with that pocket camera, John. Looking forward to your future updates.

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  44. Paul cook says:

    Not a bad story to wake up to hey Travis? Now get back to editing Throwback! ;-)

    My question is to the frame rate as I heard it was only 23.976 or 29.976? Is this true and if so what does it mean for us in pal land?

  45. vladbox says:

    The question that I beg to ask, same as the rant is: WHY? The BMCC is not a perfect camera has lots of kinks, why would the decide to go this route instead of perfecting what they already have?
    I smell debacle.

    • How was it not a perfect camera?

      Some would say it wasn’t cheap enough, or small enough, well now they have their answer!

      Some would say their sensor needed to be bigger, or it needed 4k, well now they too have their answer!

      I would say Blackmagic Design has done well in going further in taking another step towards “perfecting BMCC”.

    • brynsank says:

      What, then, IS the perfect camera? Couldn’t you make the same complaint about every camera that has ever been released?

  46. lisawilk says:

    Thank you for the extensive write up.

    Will we be able to get 2.5K prores with the original BMCC?

    thanks in advance!

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  48. Antonio Carrozzini says:

    16mm 2.5K 13 stops… or Super 35mm 4K but 12 stops… Worth it?

  49. cpc says:

    Most MFT lenses are quite bad without software corrections, usually featuring heavy distortion and strong chromatic aberrations, especially with wide lenses. For example, the 12-35 you mention as a possible goto zoom actually has very heavy barrel distortion in the wide end without being corrected in software. Any chance for the BM camera to recognize some lenses and apply lens corrections when recording prores?

    • johnbrawley says:

      Yeah it’s tough. The OLY lenses are better without the post corrections and the pannys seem to rely on it a lot. I guess if you want good cinema glass you have to pay for it.

      The camera does shoot DNG (eventually) so you could probably build a correction profile in PS if you could really be bothered. I doubt it would make much difference.

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  51. quobeta says:

    Can I just say that I just immediately fell in love with the Pocket cam the moment I saw it! I am an event filmmaker and have been using nex cameras for more than a uear now for video..so very familiar with the possibilities a small camera makes and now I get to shoot it in Pores/raw! Blackmagic this product os a surefire hit!

  52. Ron Coker says:

    Exciting news. I will go with the M4/3 pocket camera + pre order 2.5K BMCC placed November last year. I had been holding out for M4/3 mount version, however not to be.

    Thanks for sharing. Much appreciated.

  53. Aaron ALlsop says:

    Thanks for the blog post. I am excited to get my hands on one! Will you be releasing a video with some of the footage you shot with it?

  54. I’m really really excited about that pocket camera! Any footage coming soon? That would be awesome. I can’t wait to see a test between original BMCC, Pocket camera and 5D Mark III or any other DSLR.

    Thanks John for this great blog!

  55. Greg Orr says:

    Reblogged this on Welcome to GregOrr.me and commented:
    This is huge what a camera for under 100 dollars

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  58. Pete says:

    What about DNG samples from 4K version? Basically B&H ready to send me my order, but if 4K worth it, I would change my order to 4K version. Thanks.

  59. Christopher says:

    John,

    Great information.

    “At the moment there is only the EF mount available, but they will be looking at a PL mount in the near future.”

    PL is great, however, may I suggest that a more universal mount be selected? The PL mount has a flange distance of 52mm, whereas the EF mount has a flange distance 44mm. Perhaps the next mount chosen should have a flange distance much less, like the MFT (19.25mm), however, a mount with better S35 diameter coverage, such as the FZ-mount (18mm) which is robost for cinema lenses, E-mount (18mm), or perhaps the EF-M mount (18mm), then add an adapter, allowing to adapter out to PL mount (52mm), OCT-19 (61mm), B4 (48mm), Leica (27.8mm), Contax (29mm), Nikon (34.85mm), M42 (45.46mm), etc.

    Reference to PL may or may not have meant a proposed BPC 4K should have PL mount, and may mean to suggest an alternative mount other than EF that will adapt to PL mount and a broad range of manual lenses that the diverse range of buyers of this camera may retain as they move across from a broad range of other cameras with different lens mounts. Further, there are already a number of mount adapter products on the market, perhaps you may consider suggesting to the BM teams a more universal mount, that will easily take PL, amongst many other mounts?

    http://en.wikipedia.org/wiki/Flange_focal_distance

    Just a suggestion for your consideration, as there is broad range of DSLR users with legacy manual lenses that should cover S35. I appreciate any feedback you may share regarding the next possible mount for a BPC 4K allowing for universal accepts of many lenses with various flange distance. Thank you, John.

    • johnbrawley says:

      Hi Chris.

      Id rather have a native PL lens mount thanks. PL is THE standard for cinema lenses. EF for those that want to persist with “stills” lenses but I’d rather not have to go through an adaptor for PL mount, especially on a production version of the camera.

      JB

      • Christopher says:

        John,

        Good to know, thanks for clarifying. Indeed, PL is the standard. Have good one!

      • Christopher says:

        John,

        One more question, if I may. Do you know or consider a native PL mount version to have a removable PL mount? I am thinking similar to the Epic or Scarlet PL mount, removing it and replacing it with another mount, in the Epic’s case, attaching a cinemods OCT-19 mount, or other.

        While I agree that a PL mount is the logical choice for a cinema camera, perhaps consideration be made that the PL mount be removable at the base, then third party manufacturers may possibly make a variety of other mounts for end users? John, I appreciate any feedback or view you may share.

      • johnbrawley says:

        The problem with interchangeable mounts is the high cost of precision. To make them precise enough to be used with cinema lens tolerance requirements, they get expensive. The titanium PL mount for the EPIC is the same cost as a whole BMCC. To make them GOOD and interchangeable would cost too much

      • Christopher says:

        John,
        You’re correct, below (interchange cost of PL version on BM 4K camera). For me, the time may have come to convert my Lomo spherical and anamorphic sets from OCT-19 to PL. This may cost me the price of 3 or more BM 4K cameras to convert them here in Australia. I see the long term benefits for use with any cinema camera maker, in the long run it would pay off also, however, I don’t think the many other potential buyers of the BM 4K camera will do this with their various legacy glass, though there are many people in the same boat as me, and are perplexed that an EF mount, and then potentially a PL mount to follow, it will be so limiting to a vast number of potential shooters with their existing and favourite legacy lenses, even if from the photography world. If PL is next, I/we can only hope that third 4K version of the camera is made, perhaps with an EF-M with 18mm flange distance (which has full functional adapter for $200 on B&H) or E-mount or FZ-mount, so that the rest of the potential user base may possibly use every configuration of lens out there with adapter already made, or adapters we can have made. Note, if you zoom in and look at the promotion photo of the massize Optimo zoom lense on the EF mount 4K camera, it appears you can see the PL mount “ears” to the exterior of the EF mount. You can see the 45 degree guide slit. Yep, bring on a PL mount, and please suggest another ‘dumb’ mount option at arond 18mm flange distance to the BM team for the 4K camera. There are a bunch of people in the market forgotten. I’ll grab a 2.5K in MFT next, however, I perfer the global shutter and potential 4k finish for longevity and retain stock footage for the future 4K world evolving. I am in the top 3 on the list at Lemac local office for the BMPC, so I’ll post some Lomo anamorphic shots in due course. The BMPCt camera looks like a lot of fun, a lot of potential. A no brainer purchase for just about anyone, for whatever intented use. Thank you, John, I appreciate your opinions and your reasoning make sense to me. Best,

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  61. Reflex Films says:

    any advice on a medium wide look ?
    – something like a 24mm on a 5d / full frame sensor look – this is a focal length i am in love with for the stuff i shoot – documentary events coverage / product launch videos / promos

    i can do it with a 12mm SLRmagic on a gh2 – Is there a lense that can get close to this on the POCKET cinema camera ?

  62. Phil Erskine says:

    Very excited for some Pocket footage, I believe you but I wanna see how it matches up for myself! It costs less than my Eos 60d and is amazing. Definitely interesting times

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  65. luchian says:

    Reblogged this on luchian ciobanu and commented:
    Dacă n-ai un DSLR, mai așteaptă!

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  67. Chris says:

    “The camera has a stereo audio input”…. the obvious 3 questions! Do we have manual level controls? Line / mic selection? Meters? For gigs / fast interviews this sucker would be amazing. One with a prime up back… a second roaming around with an IS zoom lens. For sit down interviews you could pop two on a brace to do a MS / CU off the same tripod and still easily pick it up and walk off at the end with pictures you could easily edit.

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  69. Jaakko says:

    One quesion about the Pocket cam: what is the quality of the weather proof? Does it have any splash and dust proof, or is it only for the urban life style? I mean, Canon 5D mkII survives light rain & some freeze or dust with no problem.

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  71. Does it autofocus with panasonic lenses?

  72. James says:

    A request if possible John. I would love to see footage with more reasonably priced and compact lenses rather that massive rigged PL mount ones. Would be great to see that also but the reality is people including me I think need to see what the 12-35mm, 20mm pancake etc panasonic looks like and maybe slr magic lenses if you got them. Stabilization will as you mentioned be key to sort out the RS. I’m wondering as the camera as I inderstood it does some processing on mft lenses will they work well without processing?

  73. Bill says:

    This looks f’ing great. But I have one questions before ordering one: What’s the crop factor on the Pocket Cam?

    Thanks.

  74. Bill says:

    Thanks, John. Do you think it will work with the new MetaBones adapter?

  75. scottap says:

    Thanks for all the information and answers. When DNG recording is enabled do you know if the camera will be able to write those files to the card or will you need an external recorder? In Dan Chung’s interview, the BlackMagic rep says internal card recording maxes out with ProRes while I’ve read other reports that seem to contradict him. On the other hand, the BlackMagic site seems to make a distinction between Storage Rates: ProRes only and Recording Formats: ProRes and Cinema DNG.

    Again thanks.

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  80. JW Lee says:

    John, thanks for the info, very interesting. I see that the crop factor (yeah I know, really field of view) for the pocket cam is just under 3. What is the spec on the 4k Production cam? Can we expect something in the 1.6 range?

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  82. dennis kane says:

    John, can you comment on the audio please. Are there recording meters ?

  83. JR Dziengel says:

    What kind of Low Light capability does it have? Native ISO? Cleanest ISO or recommended setting for low light to not go past for noise? Thanks!

  84. Philip Lipetz says:

    And is the HDMI out 4:2:2 without overlay?

  85. dialogma says:

    Reblogged this on dialogma und kommentierte:
    2015 in Europa !!!!!

  86. Pete says:

    Hey John you said “SUPER 16 are ideal if you want that vintage look”..My Question:.Is there a noticable difference in the result of the image if i would use a super 16 lens or a new m4/3 lens?.I thought I could use an old super 16 zoom lens like a canon 11-165mm T2.5 zoom to get a wide range of focal length. But vintage sounds grainy and not as sharp as other lenses? I don’t want a vintage look, i wan’t a clean image, so i can’t use those old super 16 lenses? Correct me if I have misunderstood something and thank you for your help!

  87. Joe Ciccarella says:

    Hi John,
    Long time reader, thanks for all your great insights and info. Just wondering, where’d you get that sweet Zunow 11-16 for m43, i can only seem to find it for NEX. Thanks in advance and happy yer out there!

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  89. jho says:

    I’ll be a film proyect soon and am in trouble because the BMCC clear mft no news

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  92. Philip Lipetz says:

    On another site someone suggested that the Personal Cam white balance was missing/crippled. Cannot believe this. Can you clear this up?

  93. Andrew Knox says:

    You say the image quality is the same as the BMCC. Does this also hold true for grading? Do the compressed CinemaDNGs grade as well as the lossless equivalent on the BMCC?
    Cheers
    Andrew

  94. Sam says:

    Hey John quick question.. Do you know if pocket cam could do EF with an adapter like this?

  95. Alan says:

    Thanks John and commentators: Got more information here than two days trying to get up and see the cameras at NAB – such a mob scene at Blackmagic you couldn’t get near a knowledgeable rep or the cameras…. When it comes to Blackmagic cameras..thank goodness for John Brawley

  96. Bastubacka says:

    Thanks for the insight! Hope to see footage soon!

    Zeiss super speed mkII S16 lenses weight around 800g per lens. Can the mount handle this and PL-adapter without support? I would guess not, but hoping i’m wrong…

  97. James says:

    Don’t think I have ever wanting to see footage as much as I want to see the pocket version output.

    • Howard Davidson says:

      I cant believe that Black Magic have no test footage to show from the Pocket Cinema Camera at such an massive event. I’m a film composer in real life but I love photography. But all of this reminds me of the audio world – the finest studios ever built and booked by bands like the Bay City Rollers…
      And BTW I have already ordered my PCC…

  98. James says:

    Are the NIkon style batteries rechargeable?

  99. Todd says:

    Amazing cameras and specs, but I’m wondering why DNxHD isn’t listed anywhere in the specs like the original BMCC. Is there some sort of problem with licensing this time around or will the windows-friendly codec be added at a later date? Thanks.

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  101. Daan Gray says:

    FOOTAGE THEN PLEASE JOHN! WE NEED TO SEEIT IN ACTION!!!

    • johnbrawley says:

      Hey scream a little louder….

      Look, footage will be released when it’s ready. There’s no point in releasing footage that doesn’t represent what the finished results will be with the shipping camera.

      jb

    • geniusidea says:

      I believe John can release footage of pre-production camera, only if approved by BM.
      So far it looks like BM isn’t happy with something. So you have to wait until BM will figure whatever it is out.

  102. David Regenthal says:

    I’d be lost without you . . . Thanks for the comprehensive report, much appreciated!

  103. geniusidea says:

    It would be great to see some simple footage, just to get the general idea about rolling shutter and dynamic range.
    And also, John, is there any serious sensor heating & image quality issues with continuous shooting in such small body? It looks tiny, comparing to 5DMII.
    Thank you.

    • johnbrawley says:

      So far it’s been fine. It does get warm, but i haven’t seen it overheat.

      jb

    • Amish says:

      I’m also interested in knowing how much heat this camera creates. I’m working on a underwater housing for it right now, and need to know how much space I should plan on keeping inside for any heat issues.

      • johnbrawley says:

        The camera can get warmish in the hand. It doesn’t have a fan like the BMCC, so it needs to radiate heat trough the metal casing. I haven’t seen it overheat yet, but I haven’t spent enough time with it to really give you that feedback.

        jb

  104. Thomas says:

    Hi John,
    Thanks for these informations…
    Can you confirm that the BMDPC has the exact same sensor than the actual BMDCC ?
    Do you know if we can output an HDMI 4:2:2 signal without overlays ?
    Regards.

    • The sensor is not the same. It has been changed to avoid supply issues. So far what I’ve seen BM has said the output can be clean HDMI with and without overlays. Haven’t seen anything yet about if its 4:2:2 or not.

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  107. walter corbett says:

    Confused on the crop factor of the Pocket Camera, is it 1.3X or 3X.
    I read both in the article and comments.
    Thanks

    • johnbrawley says:

      Which is precisely why crop factors are so misleading. Which camera are you comparing to ?

      JB

      • walter corbett says:

        I have a C300 and I use Canon L lenses and the crop is 1.6X and I would love a second camera
        for interviews so if I use a 50mm is it 150 mm or roughly 66mm?
        Thanks
        W

    • Pete says:

      Pocket Camera has arithmetical crop of 2.9X, respectively 3X compared to full frame and 1.3X compared to bmcc, cause bmcc has a crop of 2.3X compared to full frame. John delete my comment before please.

  108. walter corbett says:

    Also with the smaller sensor how much is shallow dof affected in your tests?
    Thanks

  109. Come on guys. Do your Reading. So much of the information you’re asking about has already been explained by John and discussed elsewhere. He’s not a moderator and can’t take the time to respond to hundereds of absurd simple questions. Don’t mean to speak for him but it has to get annoying when people are badgering him expecting specific information thats entirely accessable elsewhere. It has been specficially stated that the sensor is not the same in this camera as the other. The suppliers are entirely diffrent to avoid supply issues that arose with the previous camera.

  110. Eduardo says:

    Hi John, I’m sure BM and the rest of the public who’s been wise enough to follow you appreciates you responding to so many comments and keeping us up to date. Thanks!

    Question: I ordered a M43 Cinema Camera in early January. My crew and I are trying to shoot a feature for short theater release in 2014 and we chose that camera to do the job. We have Grassvalley Vipers with Global shutter, but in truth they are a pain in bulk and travel and with use on a jib, in-car and side of car shots with their weight. The director asked us if we could intercut between the cameras because he wanted something lighter and easier to grab and go. Now that I see the S35 4k w global shutter, yes I am one who is tempted to change my order. Due to the sensor difference, if I stuck with my M43 and bought a 4k as well, they wouldn’t intercut with one another. So it seems to be a debate between the 4k or 2.5k coupled with pocket cam (crash cam, helicopter shots etc). What would you do? (The film will use car rig shots, jib shots, remote heli shots and steadicam and slider.

    • johnbrawley says:

      Seems to me that if you have a lot of action the global shutter might be a better option for you ?

      jb

      • Eduardo says:

        It’s what I’m thinking, I’m just wondering if by losing the extra stop and uncompressed RAW and the use of virtually any lens on m43 would I be hindering myself by cancelling that order. But if the cameras could cut well with each other (2.5k and 4k) then I’ll get both. Just don’t think they will

  111. Eduardo says:

    Then again if you guys are marrying shots between Alexa, 2.5k BMCC, and the C300 (great colourist), then maybe it can be done (mixing the 4k BMPC and the 2.5kBMCC)?

  112. Eduardo says:

    Should I go with the EF Super 35 version what’s a good set of primes you’d recommend

  113. Ruben Kremer says:

    If the Pocket Cinema Camera is indeed really Super-16, it’ll have a crop factor of 2.88x compared to the 35mm equivalent of a lens’s focal length. To make things easier for myself, and hopefully others, I’ve come up with a simple focal length calculator for the Blackmagic Pocket Cinema Camera. It’s not an exact science, but give everyone a good inidication. http://bmpcc.rubenkremer.nl/ — feedback will be welcomed ;-)

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  115. dude says:

    These are great times for an independent film maker!

  116. Philip Lipetz says:

    Does the HDMI out continue to work when the SDxx card is full or absent? Can we use the BMPC as a head to feed an external recorder or switcher?

  117. Eduardo says:

    Well ppl, please post your thoughts on good bargain lenses for the Super 35 version. It’d be good to have three categories, 1. Bargain, 2. Medium (decent priced primes and zooms) 3. Sets of Primes for Professionals (ie Canons, Zeiss, Cooke)

  118. Michael says:

    There are some interesting C-mount lenses out there. I was looking at a zoom c-mount lens. Any idea if they’ll work? I’m unfamiliar with all the tech specs of c-mount lenses. But from what I gather, some work with 16, and others for super16. Any info would be greatly appreciated and thanks for the in-depth info. Looking forward to the video!

  119. Steve says:

    ….A bit confused with the sensor size. Will there be any crop using a M 4/3 lens?

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  122. Much says:

    I would love to see some footage pleassseeeeeee ;)

  123. M. Ryan says:

    Hey John, how does the resolution of the BMPC compare with the Ikonoskop A-cam dll?
    Also, can you speak a bit more to the color science behind the BMCC, BMPC, and how you feel it compares with other similarly purposed cameras?
    Thanks :)

    • johnbrawley says:

      I think it will have LESS because from memory the Ikonoscope is a CCD sensor, so you get the full 1920 resolution. Because the Pocket is a CMOS, you never get the sensor resolution as recordable. It will however, likely be faster in terms of ISO, and should have more DR.

      The colour science on the Pocket will be EXACTLY the same as the BMCC. In other words, yes it’s awesome. The Production camera has a different sensor so it’s bound to be a little different but they are really working on trying to get the same great look. So far from the early tests I’ve done it’s very good !

      jb

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  125. Michael G. says:

    Any rough estimate on some test footage from the Pocket camera, or the 4k cam? Supposedly they were releasing some before the end of NAB.

  126. dave jones says:

    Where is the footage :( been checking every hour since NAB, the only thing i can think is that something is going wrong, which isn’t good for us pre orders.

    • johnbrawley says:

      Nothing’s “gone wrong”. But there are a few minor issues that mean the footage that has been shot would be picked to death. Better to release something that will reflect the final shipping camera, than something early with engineering issues that will be easily fixed.

      jb

  127. scott buchanan says:

    Hmmmmm, still no footage!….. I’m getting the feeling that Black Magic is going to get a reputation for it NAB announcements. Mouth and trousers comes to mind.

  128. Bruce says:

    John,
    I know there has been a lot of suggestion for the production camera, but why limit the raw compression to only 2:1 ratio. I ordered my camera on the day of the annoucement but my main concern is the massive storage space this thing will take up. Why not do it like RED and have more choices on the compression, like all the way up to 10:1 compression ratio.

    • johnbrawley says:

      Well you could argue ProRes covers the more compressed options. It depends which camera you’re talking about. The Pocket camera will have a LOSSLESS version of DNG and the 4k Production camera will have a more mildly compressed lossy version of RAW.

      jb

  129. Bruce says:

    I have my finger crossed for more compression ratio and more downsampling choices like 3K, 2K ect.. That would absolutely be more flexible for current production.

  130. Eric says:

    Hi John, longtime reader! Did you get a chance to ask Blackmagic if they’re planning on supporting regular 4/3 lenses via the panasonic 4/3 to m4/3 adapter? I have the exact same olympus 7-14 and panasonic adapter, and a few other 4/3 lenses that I’d like to use with the Pocket Cam. Thanks for all the nice heads-up on upcoming Blackmagic gear!

    • johnbrawley says:

      yes Epic, you’ll notice in the photos pf the blog posting it was the first thing I tried. At the moment the m4/3 adaptor doesn’t seem to be working but BMD tell me it will !

      jb

      • Eric says:

        Thanks for the confirmation John! In the meantime I also contacted someone at BMD and they have confirmed that they will be supporting these adapters.

  131. M. Ryan says:

    To all – Thoughts on using Switar C-mount Lenes on the BMPC? Quality, function, etc…

    Thanks

    • M. Ryan says:

      Lenses*

    • Stewart says:

      C-mount? Like security cameras?
      There was an article on Redshark about a modded GoPro H3Black using those, but to my mind, on the s16 size sensor, the C-mount glass would vignette.

      Broadcast size B-mount glass would be great, ditto a way of using the Pocket Camera on an Arri SR2 frame to replace the film canister.

  132. George Paul says:

    Very nice intro. I would have liked to see some clips (even small ones would do) just to understand better your descriptions on DR etc…
    Like I said I’ve enjoyed your post and want to be notified of an update.
    Thanks
    Best :)

  133. Stewart says:

    So, it looks like the only thing missing now is GenLock, for those of us who want to do 3D, or use Projector Lighting (like in Oblivion).

      • Scott says:

        Really, no timecode? My GH3 has timecode and it’s a stills camera! I’m still getting it.

      • johnbrawley says:

        It has time code.

        Just not externally jammable.

        JB.

      • Stewart says:

        A GPS chip can fix both Timecode and GenLock, by locking the camera to the GPS clock, so any camera that can do the GPS tagging of a photo, should be able to derive timecode that way.

        Can’t help but wonder if there will be a way to make use of that USB port next to the battery and SD port to feed in external data. Ditto for the Cine Cam.

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  135. James says:

    This is very exciting. I’m most interested in the digital 16mm sized pocket camera. It’s hard to complain about such an awesome camera but I wish it had a global shutter. I would seriously pay triple! With rolling shutter, effectively amplified by the small sensor, it will need some serious image stabilisation probably even on a tripod so it might not be useable hand-held unless held very still with IS on. Was that your experience John?

    • Scott says:

      Wouldn’t the smaller sensor actually produce less rolling shutter since the sensor readout from top to bottom takes less time? Either way I wouldn’t be too concerned. Rolling shutter will be present but I don’t think Blackmagic would release an ‘unusuable’ camera.

      • Stewart says:

        The time taken to read the sensor has nothing to do with the sensor size – it’s locked to the frame rate – it takes the same time to read out the same frame in a s35 sensor as it does in a s16 sensor, but because there are (generally,..) more photosites in the larger sensor, the sensors internals have to run at a higher speed.

        As long as the skew from the rolling shutter is in the same class as the BMD CC, or a 5D3, proper planning of shots should eliminate most of it’s influence, and there are software tools for getting rid of the rest.

    • johnbrawley says:

      I’ve shot handheld with it and yeah, I think anything above 25mm you’ll start to *feel* the RS of the pocket without additional rigs. It’s more because the camera itself is tiny and small. It’s smaller mass makes it more difficult to hand hold.

      jb

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  137. bruce says:

    John, during NAB I think I saw the 4K camera with native EOS mount. But the lens use is a PL lens. I am assuming BM uses a PL to EOS adapter for that. I used to do that with my Canon camera but the problem is some PL lenses will not fit because the rear come into contact with the Canon’s internal opening. I hope BM internal components will not interfer like Canon’s.

    • johnbrawley says:

      I don’t know what was on display at NAB, but a lot of PL lenses like the Angenieux Optimos can actually have factory EF mount adaptors. So these aren’t PL–>EF adaptors, but actual EF mount’s that can be fitted to some lenses. This is also the case with the Zeiss CPs. Adapting EF mount to PL is problematic, and it’s more to do with the differences between EF and PL, not so much what canon have in the opening and mirrors etc. It’s basically lens dependent.

      • bruce says:

        Thank you for the reply. We really appreciate all the work you have done. Now let us wait for the sample video. There is no doubt that blackmagic will deliver again!

  138. Will says:

    Since it is practically the size SONY NEX cameras, will the e-mount lenses work on this BM pocket camera?

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  141. scott buchanan says:

    Not being flippant or anything but is the plan to have some footage available before launch?

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  144. Trevor says:

    I am pondering the options for caging this little beast from time to time for use with a follow focus with various lens (plenty of promo shots showing this on website)… bit concerned that the mounting holes may be directly over each other preventing the potential of using an offset to gain added rigidity in a cage – know what if mean? And there is just the solo tripod threaded hole with no pin hole … mmmmm … any suggestions of how to firmly clamp the baby to work against all the pushing and shoving that a big lens with leverage may present? All this is about trying squeeze as many possibilities of use from this ridiculously tiny, monster performing marvel – God bless Australia

    • johnbrawley says:

      There is no locating pin due to the tiny size.

      I imagine rigs will have to locate into the bottom of the body itself and use the body to stop rotation.

      JB.

      • Stewart says:

        So a flat piece of foam rubber that conforms to the shape of the baseplate and the base of the camera, would do the job through increased friction for smaller lenses, and a lenshood ring with a clamp to a set of rails would do for larger lenses.

  145. Eduardo G says:

    You’ve shot with the Alexa, and the Red Epic. In your opinion how would the 4k camera perform in comparison to the Epic. I’ve seen the 2.5k camera against the Alexa and the Alexa won no contest and it should for that much $$$$, but I’m curious how well it would perform against some of these other cameras.

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  147. Val Gameiro says:

    What are the odds DM will release a pocket camera with a Canon EF mount?

    I come from the Canon 7D family with a mix of Canon and Nikon glass (with adapters), and I’d prefer to not have to buy all new adapters.

    I was saving up for the BMCC, and then the BMPCC was announced, which is solves a lot of issues for me (namely, computer software and hardware), but at the same time, it introduced:

    1. A new battery (Nikon EL20)
    2. A new lens mount (MFT)

    I also have Panasonic CGR-D54 and Canon LP-E6 bricks, but I’m sure an external adapter will come along, since the specs seem workable. Id’ rather not have to go and buy a whole new set of V-mounts bricks and chargers.

    Thanks a lot,
    Val Gameiro
    Writer/Director/Filmmaker
    Austin, Texas

  148. kronenberger francois from Strasbourg France says:

    Hello, I have a Angenieux lens ,wich was used on my bell howel 16mm movie camera, may i use this lens on the blackmagic Pocket camera.?
    Thanks.

  149. Alexis da Camara says:

    Hi John,

    Thanks for sharing your thoughts and expirience with the BMCC.
    I canceled my pre-order for the original BM for the BMPC 4k.

    You described in your post that the blackmagic will have less dynamic range, and probably will performe a bit worse in low light than the orginal BMCC. I also heard that it will be less sharp. I like the S35 sensor, to be able to get familiar lens behavior with my existing EF lenses. Do you think I made a good choice on sacrfising those specs for the new camera? I’m planning only to shoot full HD rather than 4K.

    • Trevor says:

      Hi Alexis,
      I’m thinking your original BMCC order is the go for what you are after – “I’m planning only to shoot full HD rather than 4K” . Save a thousand – spend it on a new voitlander – or a trip to bali and the 2.5K will give a sharper “better” image – more dynamic range they reckon. Check out what he CEO reckons. Think it covers what you are after. Bottom lime is the 2.5K is the better fit for a HD final product — (I don’t own either so talking only from you tube surfing – do have a BMPCC on order). Here’s the link to the best of the Grant Petty – CEO chats at NAB 13 – http://vimeo.com/64790837

  150. Hyman Braun says:

    Hello everyone. What is the crop factor for the Pocket Camera? I did the math and I got 2.9, roughly. Other sites say 2.0 and 2.4. Anyone know? Cheers.

  151. Coastline Editor says:

    John, can you tell me something about audio, will you be able to adjust levels as it is recording or only preset prior to hitting the rec button? And are the levels monitored in the finder?

    • johnbrawley says:

      You can adjust levels while recording like you can on the BMCC, but you have to go into the menu which means you leave the framing image. So you should have an external Monitor or EVF if possible.

      There is currently no way to monitor audio levels ! Something they will hopefully fix with future firmware.

      jb

  152. Sam says:

    Hello john!
    It seems all hullabaloo about 4k camera, but no real thing (Test Footage) is forthcoming from your magic bag! I m sure that this camera generating more anticipation than did 5d mark iii, and anticipation is killer sometimes especially for my kind of professionals whose projects getting delayed in hope to be able to acquire footage from an affordable 4k system.

    So can you please let us all know when you plan to release some test footage if not the camera? so to make some early decisions.

    thanx

  153. jackson says:

    With the introduction of the pocket camera and 4k production it seems blackmagic has got all the bases covered. Affordable and high production quality cameras. Definitely a fan!

  154. sam says:

    which camera is the best for film….7D or Blackmagic Pocket Cinema Camera..

  155. Sean Talbott says:

    Hello John, just a couple simple questions.

    1. Will the 4k production camera shoot 4k out of the box w/out firmware updates? If so, in what codecs?
    2. If not, when is that firmware expected to be released?
    3. Will the version of resolve that comes with the purchase of the 4k production camera allow 4k output?

    Thanks!

  156. Jake Druthers says:

    “Even though they actually make all the parts that go into the BMCC, they don’t make the sensor”. So the sensor doesn’t go in the BMCC, which seems an unusual arrangement. Is the sensor stored in an external box, and if so, why not put it in the BMCC where it could be situated behind the optical axis of the lens itself ??

  157. jvburnes says:

    It would be very nice if Blackmagic could do any of the following:
    (1) Increase frame rate @ 1080p to 48fps with a slight loss in ProRes quality (for overcranking)
    (2) Create a 4/3 capture mode so that 2x anamorphics would yield original Cinemascope 2.67:1 (or standard distribution 2.4:1 with a mere 10% crop)

  158. vaitahavya says:

    hi john , i am an independent film maker in INDIA. can i use pocket camera as my primary cam for theatrical projection (2k projectors) . i am in a dilemma with my production . please answer it

    • johnbrawley says:

      Of course you can, but it’s a personal choice.

      The pocket camera will make some lovely pictures, but the fact that it’s so tiny and small means you will have to make compromises in the way you shoot. It’s very difficult to get a viewfinder for example for this camera at the moment and the best ones are more expensive than the camera itself. I don’t doubt that someone will make a feature film using the camera. I hope it’s also because it’s the *right* camera not the cheapest. Personally, I’d want to have some good reasons to choose the pocket camera over the BMCC. If i was shooting something that required me to get the camera into small locations or shoot in public spaces in a discrete way then the pocket is perfect.

      jb

  159. Pingback: FilmProspective » John Brawley releases BPCC Test footage

  160. MBP says:

    Hey so how much footage will I get from a 32gb Sandisk extreme?
    Or do I really have to buy a 64gb Sandisk extreme pro?
    Great blog btw, and thanks for the article.

  161. Juhana says:

    Hi! I was wondering if you have some experience in how the new Olympus 12-40 f2.8 compares to the Panasonic Lumix 12-35 f2.8 you mention? I really like how the Panasonic looks in your videos and its my main candidate to buy. But then the guy at the shop mentioned the upcoming Olympus so I thought you of all the people in the world would know. :)

    • johnbrawley says:

      I don’t think that Olympus is even shipping yet ? I imagine it will be a fine lens, probably better built an require less post lens correction as well as being weatherproof. Main downside will be missing IS in-lens.

      JB

  162. Pingback: Blackmagic Design Cinema Cameras: Production Workflow Roundup | Premiumbeat.com

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