After waiting for long time for the BM Pocket to be available, I was a bit frustrated for the short time you can get (20 minutes) for RAW DNG video.

This limitation makes the camera not very useful for documentary stuff, particularly long interviews and similar.

There doesn't seem to be a way yet to output RAW stream and record on an external recorder.

So I went back to the BM 2.5K, which does record a lot longer. But... (there has to be a but) I am not sure the 2.5K can pass as a photographic camera for Brazilian customs. You see: we pay no taxes if we enter with a photo camera, any type, but you do pay (50% tax) for a video camera. By the way: the BM Pocket does resemble a photo camera, and would be fine, that's why I'm frustrated with it.

The question is which other photo camera presently equals the image quality, price and else of the BMCC. Any suggestions? .

My personal opinion but people overestimate the importance of RAW over ProRes. Shoot ProRes on 128GB Sandisk Extreme Card. ProRes already has much more flexibility in post than AVCHD/H.264. You'd have to be doing some serious grading and compositing to shot RAW especially for a documentary. People shoot broadcast work on Alexa in ProRes.

You might be right, particularly on shooting a documentary on RAW.

It still I don't think quite qualifies the Pocket as a main camera on the recording time issue.

But one thing is clear: I do have to know well what I'm buying and where the compromises are.

About the differences between Prores and RAW, I'm not so sure if they are overestimated in favor of RAW. But you have to pay a high price for it, both during shooting and on post-production.

I still would like to have a RAW video out on the Pocket, to record on an external recorder. If they provide that I might consider it again.

If a $995 camera shooting to $120 SDXC cards is a "high price?" You can get about 77 minutes of ProRes on a 128GB card. That's more than I got on miniDV or BetaSP tapes and a major improvement in quality due to the codec and the camera.

You could buy an Alexa. You could buy a Sony FS700 with its External RAW Recorder for around $12,000.

Please let's away from comments such as "you could buy XXX for these high dollars" or similar. I'm sure they don't serve me or any other who had doubts similar to mine.

The option I'm considering is the BMCC 2.5K, as I think it improves on the Pocket. And you don't have to pay a lot of cash more for it.

I'm still recording on HDV, so my comparisons are not with SD quality anymore, and I do want to make a step towards a card or SSD based system. So I do expect at least one hour recording time.

If I understand you right you are mainly going to do documentary and long interviews? Is there a reason why you want a Black magic camera beside the look for custom tax reasons?
There are several other options available that might be better suitable for your purposes.

Here's a example of a great looking docu that contains a bit of everything you mentioned (docu/interviews), it's in French but it shows that a gh3 coupled with some fast all manual glass (you need to get extra lenses for a bmc camera as well) you can get great looking and sounding footage. The panasonic gh3 has a great codec to work with and better possibilities to monitor your audio compared to a pocketcam and batterylife is also much longer. Don't underestimate the impact of raw on your workflow, it would mean upgrading your pc and having tons of harddrive space. There's no denying raw has better grading possibilities and wider latitude but you have to ask yourself if that is the right tool for documentaries.

Panasonic GH3 : documentary (french film) on Vimeo

I'm already shooting a documentary in HDV, where I would make the new camera the main one. But this is not my first or will be my last production.

These are theater feature documentaries we are talking about, so the image quality needs to allow an 8-meter wide screen at least. HDV can do that up to a point, but not on wide scenes.

OTOS, on medium size shots you still get no differential focus, which now demands some post masking and all that. The known 1/3" sensor problem.

Until recently, my favorite camera was the Sony FS100. Which as I mentioned would require high customs taxes to be paid, as any video camera. There's the Canon C100 too, which does look a bit like a photo camera, and I believe is a serious contender for the FS100. Unfortunately support for other cameras than Sony in this region is none, and that should be valid for the Blackmagic too.

So looking for more affordable options are a must.

The Panasonic GH2 (hacked) was an option I did look into, and I might have got one if I could. But it was replaced with the GH3, which is not NTSC & PAL, and that is a must for me. The Panasonics have a problematic AVCHD codec for Avid and Windows though, and that was something I investigated very much.

When the Pocket was announced in Vegas, I thought it would be the answer to this, as it very much resembled the GH models, with a much better codec.

But, as on the Panasonic, there's still the question if the Pocket can stand blowing up to film theater screen.

RAW recording, now available on several Canon cameras and on the Pocket, thrilled me as a fantastic way to improve resolution. But the Pocket's time constraints were a cold shower to that. I don't know how that works on the Canon 5D with the internal card, but you can use an external recorder.

That's why I reconsidered the BMCC or maybe some other photo cameras that might get 4:2:2 higher bit resolution.

The Panasonics have a problematic AVCHD codec for Avid and Windows though

They have a 50mbs ipb and a 72mbs all intra codec as well.

so the image quality needs to allow an 8-meter wide screen at least

That I don't understand? with any dslr type of camera you add a lens wide enough for the occasion so there is hardly any limit in how wide you can go.

You also might consider the new sony rx10, it is pal/ntsc switchable, has many features much more expensive camera's have and as a bonus, it looks like a photocamera :).

RAW recording, now available on several Canon cameras and on the Pocket, thrilled me as a fantastic way to improve resolution

Raw doesn't improve on resolution, a 8 bit avchd c100 image can look just as sharp as a pocketcam, the main differences is that there is much more colourinformation in raw allowing you to push it much further then you could with compressed 8bit avchd which falls apart much quicker, the question is do you need to colourcorrect or prefer to have it right from the start?

They have a 50mbs ipb and a 72mbs all intra codec as well.

I am not sure if we are talking about the same thing. At the time I was seriously considering the GH2 and almost bought one, a friend of mine warned about the Avid problems in Windows with Panasonic's AVHCD codec when capturing, and it was confirmed on several forums I raised this question at. Apparently Macs and/or Adobe Premiere were the ones for that codec, and neither is my editing choice.

That I don't understand? with any dslr type of camera you add a lens wide enough for the occasion so there is hardly any limit in how wide you can go.

I am talking about projection screen size for the video I will be showing, not the lens of the camera.

You also might consider the new sony rx10, it is pal/ntsc switchable, has many features much more expensive camera's have and as a bonus, it looks like a photocamera :).

I am looking forward seeing some comparison tests, both with Canon 5Ds and BMs. Also including moire and rolling shutter issues.

Raw doesn't improve on resolution, a 8 bit avchd c100 image can look just as sharp as a pocketcam, the main differences is that there is much more colourinformation in raw allowing you to push it much further then you could with compressed 8bit avchd which falls apart much quicker, the question is do you need to colourcorrect or prefer to have it right from the start?

For me the color information and the quantity of gray grades IS part of the resolution, particularly on the high and low knees. That was natural in film and I have been looking for ways to get that in video. The way I work, mainly alone and using as few light as possible, I do need to colour correct indeed. Though of course, I always try to get it right from the start.

Until now I have compromised to the limitations I have had, first in DV, then in HDV, particularly with DOF, resolution and dynamic range. I can't afford high-grade Sonys or Alexas or Reds. But I want to get as much as possible from you can get now.

The gh3 has 2 codecs which are not avchd, just google the camera specs and I still don't understand what you mean with "so the image quality needs to allow an 8-meter wide screen at least"?

The rx10 doesn't have any moire issues and is much sharper then a 5dIII, it only can't beat it's high iso performance and ofcourse it's full frame lens changeability but it has a very wide to full tele constant f2.8 stabilised lens, there are many pro's and con's depending on what you expect from a camera. Maybe you can get a 5dIII and shoot raw with it using the ml hack? I would never use a hacked camera on a paid shoot but if you want a versatile camera and are willing to take some risk that seems like a very useful camera as well.

At the time, mostly in 2012, I did Google and research about the Panasonic codec issues, which it is a type of AVCHD. In any case, I found only one person that was using the hacked GH2 and he told me the path I would have to go to capture them with Media Composer.

What I mean is I need a resolution and image quality that will hold when it's projected on an 8-meter wide theater screen.

The problem with the Canon 5D Mk III is that I think is overpriced and apparently compromised on some issues. I think Canon puts limitations to their lowest priced products so they can sell their higher priced ones. They increased 50% the price when going from Mk II to Mark III, mostly adding things that were useful in photography, not in video.

Panasonic is even worst on their policies, killing products that turn out to be better than expected. Like their DVC80 that at the moment was a better deal than their highly priced DVX100. They did that several times.

My problem is not paid shoots, as I will be shooting stuff for myself and maybe some others indies with similar needs.

As I said, I'm looking forward to see what the RX10 can do, particularly if it can improve on the Canon 5d Mk III.

Wait a minute: I've just seen that the Sony RX10 is a fixed lens camera.

That might work for a second camera, like the one I have now, but now for camera A.

As documentary images on interviews are usually static, the question is how to smooth things out. Particularly when lighting is not as sophisticated as it could be.

Most of us know here about raw, the question is, are you ready for a raw workflow, if you get the pocketcam and shoot raw you would need tons of harddrive space, probably a new computer, a lot of large cards for the camera, a bunch of batteries, a lot of time grading the footage etc...Even for it's larger brother you need to add at least the double it's price on accessories to make it production ready, and don't forget the cost of lenses. Don't expect that getting a black magic camera will give you instant high quality cinematic like footage, there are a lot of examples online proving otherwise and in many cases looking worse then what an 8 bit camera can do. Raw camera's require a lot of expertise to get the most from it.

I don't want to discourage you but based on your reactions I can see you have not been up to date about the latest camera technology and what camera are able to do, you might be surprised if you compare to a HDV camera.

Well, I may not have been up to the date on using post-HDV technologies, but I have been following what was being released. There has been plenty on-line tests to view things.

That's how I had picked the Sony FS100 as a much better deal than a Canon 5D Mk II or III, and checking with a friend of mine working a big production company, whose programs are broadcasted world around.

My comparison of technologies has always been to film, which is where I come from, not to other video cameras. And my quest is to find what approaches more to film, be it in 16mm or 35mm. We all have our "trade views", and mine was probably super-16 film, that I found was the highest quality you could get for affordable budgets. I'm probably doing the same in video.

Yes, HDD space is the issue for post-production, and you certainly have to consider that as a MAJOR issue. But an even major problem is how many cards you would need with a Pocket camera.

I'm not sure what you mean by "getting instant high quality cinematic like footage". Neither am I sure on what reactions have I had to your concepts.

OK, I have reconsidered, and maybe I might be able to live with the Pocket, recording ProRes, for some time.

It would be essential to add an external cage, like the Contineo, to hold at least an external battery, a 7" monitor and an audio recorder.

http://max-aperture.com/wp-content/uploads/2013/10/P1100095.jpg

What basic zoom should I pack it with for a starting kit? Besides that, just one more fixed lens for now.

Later on I would try recording RAW and see what happens.

Just to be clear one reason the Pocket is important for Doc work, which you've sort of alluded to, is that it's discrete. You can get into places with a camera that looks like a consumer point and shoot, that you couldn't even with the BMCC.

For hand held work the Panasonic 12-35 f2.8 is good because of the OIS.
For night work and interviews, etc. would be the Sigma 18-35 f1.8 Nikon Mount with new Metabones Pocket SpeedBooster. This will be excellent low light performance.
For wide work the Tokina 11-16 f2.8 Nikon Mount with Metabones Pocket SpeedBooster.
Note that the NEW Pocket SpeedBooster gets you very close to typical APS-C Super35 Field of View.

Batteries get the Blackmagic ones for $15 US. They last over 50 minutes for me. If you can get the Nikons they last over 60 minutes for me but they cost around $45 US (price fluctuates).

For ProRes recording get 128GBSandisk Extreme or Extreme Plus (will give you faster offload) and you'll get about 77 minutes per card.
For those occasions were you must shot RAW (that really should be rare and extreme fix in post circumstances) you can get one or two 64GB Extreme Pro cards.

The above gives you a good kit that fits in a small bag. You'll look like a very non threatening consumer photo enthusiast.

There's nothing else on the market that really comes close to this kind of flexibility and quality in a small package.

Thanks, Craig. Your suggestions are absolutely logical.

There are two things that I find too fragile on the Pocket that I think need adapter protection, like it was done with 1/8" mini-plug connector: the micro-HDMI interface and the DC socket.

My idea is to put the Pocket on a cage, like Contineo's, and put at least 1-ft cabled adapters to something more solid. On the battery case, I think it's a great idea to plug in a Sony L-Battery adapter, which should hold a long time. The photo I put above has such an adapter.

There's a chance a friend of mine brings the camera to me from NY, so I will have to keep things as minimum as possible. Like just one lens, at most two. So I would have to choose between the Pana zoom or the Sigma, perhaps with the Metabones.

Mem cards would be alright, and I will probably get a few. like four Extreme Plus and two Extreme Pro.

Yes, HDD space is the issue for post-production, and you certainly have to consider that as a MAJOR issue. But an even major problem is how many cards you would need with a Pocket camera.


If you are shooting ProRes, you can probably get by with a pair of 64 GB cards if you dump the cards as you fill them up. If you won't have the time or ability to dump the cards while shooting, then plan on 37 minutes per 64 GB card. I would go with Sandisk Extreme for ProRes on a budget. Of course, these will not work with raw, although I was able to get a short test shot at 24 fps. A longer test failed miserably, dropping probably 25% of the frames.



It would be essential to add an external cage, like the Contineo, to hold at least an external battery, a 7" monitor and an audio recorder.

http://max-aperture.com/wp-content/uploads/2013/10/P1100095.jpg

What basic zoom should I pack it with for a starting kit? Besides that, just one more fixed lens for now.

Later on I would try recording RAW and see what happens.

Many field monitors will not work with the BMPCC due to the progressive output. I believe the Sony in that photo is one of them. I returned 3 different monitors (2 Ikans and a Marshall) before finding one that would work with the pocket cam and cost less than $400. I settled on the Lilliput 663, which is actually pretty nice for the price. I do wish it was 2" smaller though. It comes in a nice looking (but kind of cheap feeling) case, which is great for keeping it from getting scratched up while it is packed away.

External batteries. I have an Anker Pro battery pack - 10,000 mAh, switchable 9 and 12 volt out, plus 2 USB taps that output 5 volts, and can be adapted to a normal power plug. I can power my camera with it, or I can power both my external audio (5 volt) and my monitor (12 volt) with it. A second pack lets me power all 3, and should get me through a whole day of shooting (have not tested duration yet, but a couple of hours is no problem). There are other battery options too, but I think these "smart" packs like the Anker are the best bet. You will have to buy or build your own plug for the camera if you go this route - the Anker comes with some 18 adapters, but none fit the pocket cam. The only other downside is that you have to roll your own mount - there are no mount points on the battery.

Zoom lens - I have an Angenieux 12-120 which is actually a nice lens, but vignetting is an issue under certain conditions. I also have an old Canon 16-100 video lens. It covers the frame, but image quality is poor until it is stopped down a bit. The cheap Panasonic and Olympus kit zooms are actually decent, if not a bit slow. Just be aware that the OIS on the Panny 14-42 will not work with BMPCC, as there is no way to activate it in-camera.

If I could start over, I would go straight for the Panasonic 12-35 - it seems to be a very good match for the pocket cam. There are a *lot* of options out there though. The c-mount stuff is the most interesting, but also the most risky, as many vignette, or will not mount on a MFT adapter without modification to the lens. There is a good group on Facebook for discussing c-mount on MFT and super 16 - lots of information to be had there if c-mount is appealing...

Thanks, Jay. Good tip about the monitors, as I didn't know there might be a problem with them. Particularly if I'm not buying it myself.

I'm looking for something a bit more complete, like this Ikan:

D7w: 7" 3G-SDI LCD Monitor w/ IPS Panel (Waveform) | ikan (http://ikancorp.com/productdetail.php?id=497)

I think an on-monitor waveform might improve my capacity to use the whole dynamic range the Pocket allows.

I haven't yet looked at the battery adapter options that can plug on the Pocket, but I would like something that may allow me to use the Sony L-batteries, which I already use on my Sony Z1.

I'm sorry to disagree on the C-mount options. I suffered C-mounts on Bolex years, and they are a real pain. Give me a good bayonet type and off I go. Though I would love an Angenieux 9.5-57 if it can be adapted so as not to vignette. Apparently my options are between the Pana 12-35 and the Sigma 18-35.

I would like something a bit longer at the end, like 12-50 or 12-75, if there's such a thing.

These are some of the Micro Four Thirds zooms I could find at B&H:

1) Tamron 14-150mm f/3.5-5.8 (no price yet)
2) Olympus M.Zuiko Digital ED 14-42mm f/3.5-5.6 ($299)
3) Olympus 12-50mm f/3.5-6.3 ($499)
4) Panasonic LUMIX G VARIO 14-140mm f/3.5-5.6 ($698)
5) Olympus M.Zuiko Digital ED 9-18mm f/4.0-5.6 ($699)
6) Olympus M. Zuiko Digital ED 12-40mm f/2.8 ($999)
7) Panasonic Lumix G Vario 14-45mm f/3.5-5.6 (299)

My bets would be on the Olympus lenses, as I'm not sure about the quality of the others.

Now, if I get a Speedbooster that allows me to use Nikon G lenses, there are more options. But I'm not sure what's the crop factor for Micro Four Thirds.

If you're looking at external batter options that are still compact there's the Switronix PocketBase.
PocketBase (http://www.switronix.com/products?page=shop.product_details&flypage=flypage.tpl&product_id=209&category_id=50)

While the camera isn't quite as discreet with it as you can see it doesn't need to be on a rig so you still have good portability. I've heard 5 hour runtime. It'll justify getting the 128GB Extreme Plus cards for ProRes recording. That means you can go straight through a 77 minutes interview without changing a thing. That battery and four of those cards can get you the through the better part of a day's shoot.

Already mentioned the lenses and why for each.


For hand held work the Panasonic 12-35 f2.8 is good because of the OIS.
For night work and interviews, etc. would be the Sigma 18-35 f1.8 Nikon Mount with new Metabones Pocket SpeedBooster. This will be excellent low light performance.
For wide work the Tokina 11-16 f2.8 Nikon Mount with Metabones Pocket SpeedBooster.
Note that the NEW Pocket SpeedBooster gets you very close to typical APS-C Super35 Field of View.


The new Pocket Speed Booster is 0.58x. The Pocket itself is 2.88x crop factor. That gives you a crop factor of 1.67 which is just about APS-C which is about 1.6.
It'll also make lenses 1 2/3 stops faster.

I'm not sure why you're looking at all those lenses. If you want OIS your options are limited to Panasonic with the OIS Switch.
The 12-35 f2.8 is the all around best. It's the equivalent of about 35-100mm Full Frame.
The Tokina with Speed Booster is equivalent to 18-27mm at about f1.6 I believe
The Sigma with Speed Booster is equivalent to 30-58 at about f1 (!!!) I think.
So with those three lenses you're covered from about 18 - 100mm Full Frame and pretty good low light.

Of course getting a good long lens to go beyond 100mm Full Frame might be good though.
Keep in mind these are Full Frame lengths so APS-C equivalents (S35) are actually longer and what people are used to (unless shooting with a Canon 5D).

I'm mentioning all this because if you're traveling and shooting a doc, a box full of lenses and having to change them often, will both weigh you down and slow you down IMHO. Of course it's good to have a bunch of lenses, especially primes, if you're shooting narrative.

Hi Craig,

If you're looking at external batter options that are still compact there's the Switronix PocketBase.

I've seen a YouTube review of the Switronix, and I found it rather rough. Maybe there are other better options using the Sony L battery.

About the lenses, I generally tend to agree with you on what you say, but with a few maybes.

To start with, I don't have such a problem with non-OIS lenses, if that means adjusting the stop by hand. That's why I want a monitor that shows me the scene waveform.

Perhaps it's a preconception, but I'm not sure about the Panasonic lenses quality once the image is blown to typical theater screen sizes. I'm planning to shoot theater features with this camera, so the quality has to stand being blown up. Not IMAX sizes, of course, but I'm imagining something 8 or 10 meter wide.

As this would be my first lens, I'm not yet sure what to start from.

Prime lenses are out at this stage, at least for this doc feature I'm shooting now, but they might be a necessity if I can go forward with some of my projects.

I think of the Pocket as a Super-16 film camera, where the image can be transferred to 35mm film and shown on theaters.

OIS is image stabilization. Nothing to do with adjusting aperture. Small cameras tend to be hard to hold steady. OIS is built in lens stabilization to lessen the shakes.

AbelCine tested the Switronix and like it a lot. It keeps the camera compact. Obviously there are better options for rigs but if you want to keep it "Pocket" portable the Switronix is it. Bescor may have a similar option soon.

The Panasonic 12-35 is an EXCELLENT lens. REALLY.
There are nominally better lenses. It's just whether OIS is important and IMHO you MUST have at least ONE good OIS lens. Otherwise if you're only going to be on a rig, the BMCC might be a better choice.

As mentioned the Sigma 18-35 f1.8 with Pocket SpeedBoost is a good option but that's not going to be great for hand held.

Of course you're right, Craig. I mixed the terms up.

OIS seems like a debatable question to some. Some claim that if the camera is fixed and OIS is on, there might some problems with micro-movements of the objects on screen.

But of course I should have one lens that is OIS, and maybe that's the one you mention.

Don't worry too much about hand held work: I abhor camera hand-holding.

But movement of any kind is good, as long as on wheels or pretty steady steady-cam.

If you're not going to be handheld the Sigma 18-35 with Speed Booster would be the better lens in some respects.

Of course you'll probably want to get a longer lens as well. You'd probably be better off with a Nikon mount lens in that regard as well. Since you can have both Speed Booster and "standard" Nikon to MFT adaptor one lens can be either 1.67 and faster or 2.88, which will be longer but slower.

You did not comment on the issues that might be involved in my blowing up what I shot with the lens onto a large projection screen, and how the Panasonics would hold.

On Super 16 you needed the lens to be very top quality to endure that. But I can't afford the Zeiss lenses that should be the answer to my demands.

So maybe second or third best. I heard about the Voightlander primes quality, and Olimpus lenses, particularly the expensive ones, when I was looking into that for the Panasonic GH2 and GH3.

What can you say about the Nikon lenses? What will a Nikon lens become once it's on an MFT to Nikon adapter + Speedbooster?

Going wider to 12mm instead of 18mm is also a plus, as well as having another lens that can get longer, perhaps up to 100mm.

I know this type of information, on what you get when you blow up every lens image, is not easy to get.

Panasonic lens should be fine. It's a very sharp lens. While features are often shot on s35 there have been features and independent films shot on s16 that look fine on theatrical screens.

I already explained Nikon on Speed Booster. The Sigma 18-35 is a very good sharp lens.

The most famous feature shot in Super16 was Leaving Las Vegas. If I'm not wrong it was shot with Panavision cameras and Canon zoom. Things are very critical when using such a small size sensor, and lenses have to be very well designed.

Please allow me to ask further more about the Speed Booster adapter: how does it work, what it does, how it manages to change cropping ratio and reduce minimum stop.

BTW, I found what seems to be an interesting wide angle lenses comparison for the BMCC, which I find could be applied on the Pocket too:

Wide Angle Lenses Compared on the Blackmagic Cinema Camera No Film School (http://nofilmschool.com/2012/09/wide-angle-lenses-compared-blackmagic-cinema-camera/)

[QUOTE=Carlos E. Martinez;1825405]
I've seen a YouTube review of the Switronix, and I found it rather rough. Maybe there are other better options using the Sony L battery.
/QUOTE]

I have the ikan battery adaptor using Sony L Battery. I found it soso, I am going to return to B&H and get a switronix one.

I am using NP-F970 6300mAh, it gives me about 2 hours of recording time. And it doesn't seem to charge the internal battery because the icon doesn't show charging, but 100% all the time.

The battery plate is very tight, it is very hard to eject or insert a battery

According to the Switronix review, the batteries do not lock on the adapter, and they might unplug from their position.

For now it seems that Pocket accessories are rarely mentioned as a type in B&H and others. Lenses, for instance, which have long list on Canon or Panasonic, are not even mentioned. Maybe because it's still a new product?

Cages for the Pocket there are several apparently, at least 4 that I saw.

Going back to the Switronix, I wonder if the height it adds is the same as the spacers most matte-box need above them for the Pocket. The battery adapter also blocks release of the batteries and mem cards.

the switronix battery i mention is for BMCC, not the pocket camera

Switronix Powerbase-70 Battery Pack & Charger B&H Photo

Oh, that's very nice and very expensive too!

A more affordable option, when back in stock, might be this one, by IndiPRO:

IndiPRO Tools Power Grid System Dual Sony-L Type IPGRID-PKSONY


It holds two L-batteries and clamps to the support rods.

I'm discussing cage options on Blackmagic's forum:

Blackmagic Forum • View topic - Pocket Cam - To cage or not to cage (http://forum.blackmagicdesign.com/viewtopic.php?f=2&t=16007&p=105627#p105627)

i wonder if this indiPro will work in BMCC 2.5k

I think the BMCC needs 12v instead of the Pocket's 7.2v.

To use 7.2v batteries on the BMCC you would need a DC-DC converter.

Edit: OK, I'm confused. To write above I looked at B&H's Pocket specs, and it said to use EN-EL20 type batteries, which are 7.2v. But now I perceived the Pocket needs 12-20 VDC.

The Pocket boosts the voltage internally, and that's why the run out so fast. That's why the external Pocket battery adapters use two batteries: then regulate it down.

Then, yes, you can use the IndiPRO on the BMCC.

I found myself thinking that using an external battery, and no battery inside the camera, the Pocket might work cooler than what it does with the internal battery.

As the external voltage has to be more than 12v, then the camera does not have to boost the voltage.

Am I right?