New from Black Magic Design - 4K Cinema Camera

[Jase Tanner]

No audio metering in the pocket cam. Looks like one will need 2 pockets somewhat defeating the purpose. Not that that will stop me but I have to say, what are they thinking?

[Glen Vandermolen]

I'm thinking I'm going to use my Pocket Cam as a b-cam or MOS cam.
For $1,000 it has a heck of a lot of features. I just want that 13 stops of dynamic range and the pro res codec.

[Jase Tanner]

That may well be how I use it some of the time but if they're marketing it as a discreet cam for documentary which is how I'd like to use it primarily, it doesn't quite add up. That said, I just pre ordered although there's a part of me that thinks I shouldn't say that. Black Magic needs to think they'll lose orders if they don't address this.

So Black Magic, I'm placing some faith that you'll come through.

[Panagiotis Raris]

RE pocket cinema camera... I am not understanding exactly where this fits in; IQ great, 4k awesome, discrete form factor, but limited framerates, and again ergonomics and ease of use with accessories.

Like dslr use, would require more hardware, cabling, etc. On the other hand, I can think of a hundred moments I wish I had something like this for random 'life' moments. If I go for one, it will likely be a personal camera.

[Troy Lamont]

Nevermind.

[Brian Rhodes]

I went by the Blackmajic booth today at NAB,I talked to Dan from Blackmajic about the 4K Production Camera

Blackmagic Production Camera 4K NAB 2013 - YouTube

[Troy Moss]

Good job Brian on the interview (on the fly). However, I don't know how confident I am, that Dan is confident about July delivery. Keeping our fingers crossed that their production team has it right!

[Thomas Smet]

And if it is delayed a little while what's the big deal? It isn't like any of you are going to run out and buy the other alternative 4k camera for $4000.00.

I understand the frustration but if you already have a good camera then just shoot with it until the BM does come out and don't worry about it. It will get here when it gets here. I would also like to it released on time but it will not bother me if it doesn't and life will go on.

[Glen Vandermolen]

I agree, I'm not concerned about BM making the July delivery date. I pre-ordered the Pocket Cam. If it gets to me in July, that'd be great. If it doesn't get to me until months later, that's OK, too. I'll keep shooting with my current camera.

[Brett Sherman]

I'm very interested in the Pocket Cam as a B-Camera I can just throw in my camera bag if I need it. But what to do about lenses? How does the Super 16mm sensor size translate to 4/3? Is there a crop factor?

[Thomas Smet]

Yeah it will be harder to get super wide. Cannot recall the exact extra crop factor but there is one for sure. You will need to get as wide of lenses as possible. 12-35mm f2.8 should be a killer lens as well as the pancakes the 14mm f2.5 and the beauty 20mm f1.7. The 20mm will be a bit longer than usual but should still be usable for most walk around situations. There is also a very nice 7-14mm Panasonic lens. Not super bright but very wide even on the BMPC. The pancakes should even still allow it to slip in some pockets making it one heck of a functional portable camera. I sometimes shoot exclusively with my 20mm.

SLR Magic 12mm f1.6 will be another killer lens although full manual only. If you are cool with no auto control at all should be about the best option for wide and bright at the same time. Next up would be Nokton 17.5mm f0.95 which of course will be not as wide but much brighter.

[Thomas Smet]

Don't quote me on this but I believe the extra crop factor is 1.38 or somewhere around there. That means the 20mm on the BMPC will look like a 28mm on the GH3. Still usable but a bit tight. The 12mm however would give you roughly the look of 17mm on the GH3 which is still rather wide for normal shots or standard walk around shooting. That is wider than what I usually get using my 20mm on the GH2 so not bad at all.

But yeah it is not going to be cheap or easy to get wide shots with this camera. It can be done but it will not be easy. Considering some shooters already have issues with the crop factor of the GH3 this could be a major concern. I think shallow DOF shots will be harder to get as well. So yeah the camera isn't for everybody. One has to decide if the super high quality footage with little compression is worth losing some wide lens options and creative control. Outside of darn awesome color correction and FX work I still see a place for DSLR cameras which may prove to be better to actually shoot with and give the user more options of how they shoot.

With that said telephoto should be awesome with this camera. A 50mm f0.95 SLR Magic or Nokton will give you a look of 70mm on the GH3. Not that you get a lot of extra reach there but it is a bonus if you felt 50mm just wasn't tight enough on a GH3.

[Darren Levine]

im wondering again about the choice of the EF mount, while it does make much more sense now, im wondering why they didn't opt for the EOS M mount. My guess is just simplicity to not have to retool, but for those with PL glass, the issue still remains, i imagine they might do an MFT mount for this as well, maybe not....

[Emmanuel Plakiotis]

Most probable they will make a PL mount. On The 4K camera the MFT doesn't make sense.

[Tom Roper]

My feeling is that there will be several 4k cameras before the end of the year, at considerably less than $4k but that they will be consumer handy cams, reflecting the arrival of ultra HD televisions, and that except for those on the leading edge of home entertainment, the demand will be low for 4k productions outside of large cinema. If so, the demand for the BMPC has to be weighed against the relevant HD alternatives like C100, FS100, GH3 etc. which themselves could be under market pressure to lower prices before the BM has arrived.

For the professional, he should take notice of the growth of cinema class lenses in dslr formats, and why it's not viable forever to rest on Canon L series glass as an example, as there will be pro requirements for lenses that can refocus without breathing.

So once again, as with 1080/p60 and 3D, the demand for 4k content outside of cinema productions will be home theater enthusiasts who could accept as little as being able to plug his handy cam into the tv and a modicum of cinema content. And if that doesn't translate into the expected wow factor, which by some accounts ultra HD already doesn't have with the smaller screen sizes or except by uncomfortably close viewing, the uptake could be very slow. Would we be having this discussion if 3D had taken off the way the mfrs had hoped? And with no optical format, not even agreement on a transmission standard or bitrate, I don't foresee a vast uptake for 4k for at least a year to merit plunging into it, with uncertain targets, unfinished workflows, and not too many asking for it. The future proofing that needs to happen is to have working workflows ready when called upon, experience with raw, 10-12 bit and uncompressed. All that can start now without rushing to buy the first 4k cameras, which will only improve and become more affordable down the line.