The Blackmagic Pocket Cinema Camera 4K has been a massive hit ever since its initial announcement. Such a big hit that if you order one today, you still might not actually get it for at least a couple of months. But one of the biggest complaints I hear about it is that it doesn’t have continuous autofocus. Well, Ian at CDA-TEK seems to have figured out a way to give Time of Flight (ToF) continuous autofocus to the Pocket 4K.
I bet you are dying to know more about the Sigma FP that was announced today. A monster capable of shooting 4K 24fps 12bit CinemaDNG. And it does that in a tiny 422g (battery included) 112.6×69.9×45.3mm form factor… That has to be something. One interesting question is how will handling the camera be like?
Whether stills or video, one of the items many photographers and filmmakers often need is remote control over their cameras. The Blackmagic Pocket Cinema Camera 4K already has one option in the form of a smartphone app, but now we have another option, the tiny Pocket Bluetooth Controller (PBC) from CDA-Tek.
With all of the rampant excitement around the Blackmagic Pocket Cinema Camera 4k (BMPCC4k as if that’s easier). The one question on everyone’s mind is: Can the BMPCC4K replace cinema cameras? Can it REALLY be compared to an Arri Alexa or cameras of that caliber?
To which the answer is obviously: No.
However, it’s not that simple, there are so many complex questions and answers which put this (not really pocket-sized) tiny cinema camera back on the table for discussion. Especially when talking about high-end/cinema productions.
The phrase “dual native ISO” seems to be coming to more and more cameras these days. Certainly not to all of them, but to many, especially when it comes to video. Panasonic’s done it with the GH5S, Blackmagic’s done it with the Pocket Cinema Camera 4K, and it’s out there on a few more, too.
But what exactly is it? I mean, we get what the end result is, but how does it work? What is this voodoo? And how does it really affect how we shoot? John Hess from Filmmaker IQ dives deep into dual ISO and the effect it has on dynamic range with the BMPCC4K in this video, and it’s probably the best explanation I’ve seen so far on how it all works.
The Panasonic GH5 has been a favourite of many video shooters since its launch early last year. Offering 10Bit 4:2:2 video, 5-axis stabilisation, decent stills quality and a whole bunch of other features, it was an instant hit. Earlier this year, Blackmagic announced the Pocket Cinema Camera 4K. Offering 4K DCI 12Bit RAW video and the same sensor as the Panasonic GH5S.
The Blackmagic Pocket Cinema Camera 4K seems to be all people have been talking about since its announcement a few days ago. A 4K raw cinema camera capable of shooting ProRes and CinemaDNG RAW video for under $1300. And while the design might have suggested it, did you know that it’s also a stills camera, too?
YouTuber Kinotika had a quiock play with one during NAB recently and put together this list of the most important things you need to know about this camera.
The original Blackmagic Pocket Cinema Camera was wildly popular when it was released. A Super 16mm sensor HD camera capable of shooting RAW video at consumer level prices. What’s not to love? It was a great little camera, but it’s not without its issues. Many of the problems with the BMPCC were updated with firmware, but in 2018, such a camera needs more to compete.
And more is what Blackmagic have given us, by announcing the new Blackmagic Pocket Cinema Camera 4K (BMPCC 4K). The sensor size has gone from Super 16mm to a full-size Micro Four Thirds, it’s had an obvious bump up to 4K resolution, and it’s capable of shooting both 4K UHD (3840×2160) 10-Bit ProRes 422 and 4K DCI (4096 x 2160) 12-Bit CinemaDNG RAW.