BMPCC4K: Hot or Hype? | Blackmagic Pocket 4K Review and Footage! 

Yeah, to be honest when I heard that a lack of articulating screen for selfie mode was a major point of contention on RU-vid I pretty much had to voice a cinematographer's opinion. And in response to all of the "But MY DSLR goes to a bajillion ISO! How could I walk away from that and downgrade to a measly 800 or 3200 max iso camera??" I always say "High ISO does not make good cinematography. Buy a light." =)

Right? The "hate videos" trend is starting to wear on me a little lol.

Thank you! The music is by my friend Brodacious. You should check out his stuff (I'm sure he'd love to hear the positive feedback) ru-vid.com/show-UCG52v_2Pxlsx9Ll-eLBX9EA Yeah, even with a G2 on hand, I'm definitely going to pick up a 2nd Pocket 4K (going to be a great high-mobile 3-cam setup). And that's a great idea! I can't tell you how often we end up on a shoot where having one URSA Mini on sticks and the other on Steadicam / Movi totally saves the day in terms of staying on schedule. Rebalancing is no joke!

Haha, I know right? Found myself more and more reaching for the Pocket 4K, unless a set really called for URSA Mini features / form factor! At least, until I got my hands on the G2. :D Just you wait until I get my review of the URSA Mini Pro G2 up (spoiler alert: I'm one super happy DP)

Thanks Aaron! I try to be patient with everyone, and feedback like this make it much easier to stay patient with people. =) Thanks for the subscribe! I'm very excited about the next few videos I have planned for everyone.

That's super nice of you to say! I'm confident (or hopeful!) that as long as my stuff is worth watching / contains info people find useful, more subscribers will come. Feedback like this definitely inspires me to crank out more stuff! I've gotten some great suggestions from the community as to the next 3 or 4 videos I'm putting together! The Pocket 4K really is somethin' else! And I'm crazy excited to share some of the stuff I've been shooting on the Pro G2, along with thoughts on the camera itself. Of course, I kind of want to make a second Pocket 4K video now that really digs into the super geeky technical stuff for the users who want to get a little more into the nuts and bolts of the machine; there are only so many hours in the day between client projects though!

I've got a trip coming up to NYC later this year.... I'm looking into getting this camera or a LeIca.... I love gadgets and gizmos and when someone explains what they can do well it really helps in making informed decisions on purchases

Hey again, Random Life Productions! Out here re-reading reviews, following up with people who I may have missed; and still loving this discussion. As if the other features on BMD's new Pocket cams wasn't enough, I've shown how to make use of the timecode tool as well (a feature the also sets a cinema/broadcast camera above and beyond any DSLR out there): ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-jaHwSLdyizw.html

Thank you Danny; really appreciate the vote of confidence! :D

Actually we have shot quite a bit with those two together! The primary example I'd love to share is a 10 minute music video, but it does not appear to be live yet! Let me follow up with the director and see when that's supposed to come out.

Haha, yeah. Between the Pocket 4K and the G2, it's super nice having a low light workhorse (that happens to be a run and gun dream cam) and a slow-motion workhorse (that also happens to be more big-set friendly).

Thank you for the positive feedback! There is more to come, too!

And now that the timecode video is live (ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-jaHwSLdyizw.html) you should definitely school me on even better / more effective uses of the tool!

Thank you!

Veydra and Voigtlander Nokton (f/0.95). I have nearly purchased a set of Voigtlanders so many times for the original Pocket, but there just weren't enough gigs (guerrilla or otherwise) that justified the buy over a metabones - the original pocket just looked too much like a point-and-shoot for many of my clients and the URSA / URSA Mini always drew a lot of attention on set (which clients love). Now that my company is getting a lot more heavily into developing original content, the Pocket 4K is making me consider the investment again. Having the pocket 4K and a set of Voitlanders or Veydras would have made the shoot in Iceland last September SO much smoother!

Agreed, I think that DSLR video shooters (who aren't using their cameras for photography anyway), should take a very serious look at the Pocket 4K. It's crazy how many check boxes it hit for me. And I love those Russian lenses! Helios, Mir, and Jupiters are crazy little lenses that produce a really nice look. You should definitely share some of the stuff you've shot with your setup!

Oh, man I am so excited for you! Do hang into your DSLR once you upgrade, if you can afford to (it may become your behind-the-scenes workhorse, and having a backup body is a must). If you're coming from DSLR video, I think you're going to love working with this camera! Definitely check back in once you're up and running with your new rig; I'd love to hear how someone coming fresh from the DSLR space feels about the move these days (I'm a little far removed from it at this point; I officially made the leap from DSLRs to cinema cameras with the original URSA Mini 4 years ago - and if I had to do it over, I'd do it just the same!)

Clifton Stommel oh for sure keeping the DSLR (still need something for photography) yes, I’m super excited about it. I like your rig too and the ext. battery tip you gave as well, when I start the rig process, I’ll make sure to hit your links for everything. All stuff I was going to buy anyway, but figured may as well send some support your way!

@@SpencerHarrisPortfolio Much appreciated!

Rented it for a project after growing tired of using DSLRs for almost a decade. I’m now salivating to buy it once it’s no longer on back order. Amazingly user friendly, especially the menu system which makes setting up a breeze.

Shane Ramirez Just bought mine yesterday from Adorama! No longer on back order!

Truth! Unless you want to shoot 120fps, then you must crop. It's a really solid little camera. And it comes out to a lot of sets that the URSA Mini Pro was a little cumbersome for. But the G2 has me rethinking that, lol.

@@starsieve you are completely right 😀

Thank you Daniel! I'll definitely do some more reviews. =D

Yep! It is coming video after next!

@@starsieve any progress with this video, I am interested in how your syncing timecode:)

@@mariotriforce Yep! It's coming very soon!

Hey Daniel! A little slow coming (been super swamped this last quarter), but the timecode video is live now: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-jaHwSLdyizw.html Let me know what you think!

Glad it helped! And a lot more videos are coming soon (like a few about the Pocket 6K)

I do not. Note that this is specific to shooting in raw (cDNG or BRAW): When you shoot at ISO 100 in-camera it is the same as shooting at 400 (or up to 1000) and adjusting it down to 100 in Resolve later. It may help to think of ISO on Blackmagic cameras as more of a metadata reference point for mapping shadows and midtones, rather than adjusting base sensitivity of the sensor. With the exception of the Pocket 4K of course, which does actually adjust base sensitivity up to 3200 once your'e shooting 1250 or higher. It's an extremely useful feature, if you wield it properly. This is something I intend to do an entire video on, as I find myself explaining this to a lot of clients on set as well!

Yeah, it's a little rigging I set up with velcro, a metal ring, and a carabiner clip. Going to make a whole video showcasing my preferred / recommended accessories and configurations for the Pocket 4K

@@starsieve looking forward to it man, very glad I found your channel and I appreciate the content!

Hey, thank you for the kind feedback! Yeah, you can use a single tentacle sync as a master jam unit. Just plug it into the camera to have the timecode on the camera set to the tentacle sync's timecode, then unplug it. Your camera's internal clock will now run like normal, using the new timecode as it's starting point. The benefit of having a tentacle sync per device is: #1: No need to rejam timecode every battery swap (hugely reduces user error on set!) #2: Zero risk of devices with different internal clock mechanisms having their timecode drift away from one another But a lot of people have great success quick-jamming all cameras (especially if all your cameras are by the same manufacturer) and then letting the tentacle sync live on the audio recorder for safety (since camera manufacturers dont also make audio devices, think will be a different brand!)

@@starsieve This is exactly what I was hoping for! This makes work flow seems like it would save me so much time and head aches in the editing suite. Game Changer! Much appreciated Clifton, I would love to work on something creative with you whenever I make it out to Los Angeles(that's if you located in SoCal). Take care!

@@Guyver11688 Glad I could help! Yep, I am located in LA, and I'm always down to meet up with other filmmakers. Definitely hit me up whenever you are in town, and we'll see what's goin on!

Hey again, Guyver! Just released a more in-depth video showcasing my timecode workflow. Hope it helps: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-jaHwSLdyizw.html

Yep! It will be part of my configurations video going live in the coming days!

Thank you, Brick Bruce!

Hey Daniel, ProRes 422LT 4K50p... likely a little too high of datarate for SD cards. Maybe with a Lexar 2000x or similar speed card you could pull it off? But at that price, you may as well just grab a USB-C SSD. I think (as of this comment) a 500GB SSD that is absolutely more than fast enough to record your setting described is around $100 or less. I think I have a link to it in the video description.

@@starsieve Awesome, thanks for the insight! Appreciate it!

@@mr_danwalsh Any time!

Hey, great music! :D

Thank you!

Yes, that is exactly what it means! Basically, ISO 1000 is like shoot at ISO 400 with a lot of "fill light" digitally added, so there is not much room to recover shadow information (since it is shooting already maxed out in terms of shadow information). Whereas ISO 1250 looks much higher contrast (because you are perceptually lowering your mid tones and shadows in-camera), but the data being captured is actually what you see at ISO 3200. Same goes for shooting at ISO 100 (contains clean shadow data from ISO 400).

@@starsieve fascinating! Thank you!

@@EasyButtonFTW Anytime! I'll be putting together a video soon showing the ISO thing in great detail, in case you are interested and want to check back in later. :)

@@starsieve will do!

This is a great question! And there are a lot of reasons for my setup (jump to the bottom for the TL;DR version): 1) The Panasonic 12-35mm is an f2.8 lens, like the Sigma 24-70mm, but once you add the XL speedbooster, the 24-70mm becomes f/1.8 2) When scaling an image down (let's say digitally for now), you're increasing perceptual sharpness in the process, because you're squeezing down edge detail into a smaller area. The same thing happens physically when you use a focal reducer to shrink down a projected image onto a smaller surface, so it effectively makes the Sigma 24-70mm Art lens even sharper than it already appears to be on full-frame or s35/aps-c sensors! 3) While shooting wider angle on a smaller sensor, you can capture the same field of view, but you lose a sense of "depth" within your image. You'll notice the 24-70mm Sigma on a Canon 5D series body has much more perceptual dimension to it than say the 12-35mm Panasonic would look on a Panasonic GH series body. Another way to look at what a focal reducer (like the metabones does) is effectively "enlarge" the sensor it's being put in front of (based on how the lens optics work even after being shrunk down). TL;DR: Makes the lens brighter, sharper, and the sensor seem bigger. I can make a video explaining this more clearly (with props and footage), if folks would like!

Clifton Stommel i would like to see the comparison!

@@biharjafarian Sure thing! I'll make a MFT / Focal Reducer video showing the differences between using a metabones and just using a wider angle lens (among other things!)

@@starsieve Thanks!

@@starsieve Sound great. I'd like to see that video.Thanks for the reply.

Yeah it really is a super solid little machine. And though it looks like a DSLR in form factor, it IS a cinema camera (and deserves a little rigging). Cages for the win, for sure; in which case the lighter the body the better! How are you liking the Tilta cage? It looks super nice!

@@starsieve The Tilta is great! Very solid construction. Everything fits... no mismatched holes/threads like I've seen with other brands.

Their build quality is rock-solid. And I know it doesn't really affect anything, but I gotta admit I love the color of metals they use lol

@@starsieve Yep... it sure looks pretty awesome and tactical! Bonus!

Thanks!

Hey Rudy! Just dropped the timecode video a lot of people were asking about. Have quite a list of videos to make from new gear acquisitions AND video requests lol; if you could give it a gander and let me know your thoughts I'd appreciate it! ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-jaHwSLdyizw.html

Absolutely!

Oh, I definitely recommend keeping the battery inside! The camera recognizes that external power is plugged in via the side port and switches over to using that external power to run the camera while also charging the internal battery. It does not combine the voltage of the external source and the internal battery. Just do NOT use one of those dummy LPE6 batteries (for wall-powering a 5D3) to try and feed 12V+ directly into the battery port! That may damage the camera.

@@starsieve As I think is exactly what you said no Dummy battery but Canon Battery and power on 12 volts. That is correct?Wich external power are u using?

​@@9MAR63 Yes, if you're going to use external power, stick to the 12V input on the side of the camera for that. I'm using this cable: amzn.to/2XZdKNY and this battery: amzn.to/2Y1E89S (that's the waist-clip battery I use, and I'll show my exact configuration in the next Pocket 4K video I make!)

@@starsieve please could u answer also to my second questions?

@@9MAR63 My apologies for any lack of clarity on my end. Which question has gone unanswered?

Thanks for the recommendation; I intend to make a handful of walkthroughs (timecode, lighting, file management, etc). It's good to know there is already an interest in seeing that! I'll start with timecode for you. =)

Seriously appreciate that. Subscribing now.

Aand it's live! Totally practical workflow walkthrough on using timcode on pretty much any camera: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-jaHwSLdyizw.html

Unfortunately the flange distance for Sony mount is shorter than that of the MFT mount. You could adapt a MFT lens onto a Sony camera, but not the other way around.

@@starsieve well fuck more lens to buy. I should just leave sony 🤣

Same here! Since its release, they've already improved the battery life to what it is now (somehow) via a firmware update, and they updated the Pocket 4K with the Blackmagic Raw codec. Kind of crazy how much they can change / add remotely through firmware updates.

I'm hearing a lot of rumors about a Pocket 4K update soon, namely something along the lines of a2.8K anamorphic mode? Quoting a 4KShooters article here, so don't hold it against me if it turns out differently! In the meantime, I've released the timecode video I've been promising (heavily featuring using timecode on the new Pocket Cinema Cameras): ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-jaHwSLdyizw.html If you have a minute to give it a watch, I'd love your feedback!

I'll do a full accessories / configurations video soon and show it! Getting asked this one quite a bit, actually.

I use a small fanny pack. Very small, just big enough for the battery... worn to the side of my waist like John Wayne of course.

@@jamesmathews243 Fanny pack is also a great solution!

Absolutely! It's worth looking into. There is a product called "Tentacle Sync" that is very user friendly (app driven) and Resolve has a feature called "Auto-sync Audio Based on Timecode". With those two as a starting point for your research, you'll be a timecode pro in no time! All you need cable-wise is a 3.5mm stereo cable female-to-female (like a headphone jack on both ends).

Thanks for the reply Clifton. I will have a look at "Tentacle Sync".

Hey DutchAussieProductions! Just released the timecode video for everyone: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-jaHwSLdyizw.html hope this helps!

The GH5s is a solid camera! Super glad to see Panasonic pushing to get higher bit-depth and chroma subsampling recording internally on a DSLR. And if you're already set up for MFT, you'll have a pretty smooth time working with the Pocket 4K. And thank you! That feedback is really appreciated. Already working on the next full camera review, and people's support on this one really helps (knowing which parts resonate with which people).

Feels. Not is! It is indeed a carbon fiber reinforced composite body (though we do not know if that means the whole thing is carbon fiber, or if that means it has carbon fiber reinforcement sections / chassis under a plastic external housing made of a multi-plastic composite...). It's not a negative statement, just fact about the feel. When touched or picked up, it feels like plastic. Which is something we'll all have to get used to as we embrace new strong, lightweight composite materials, and carbon fiber being more readily available on products! I dealt with the same issue when I released the Atoch C2S. It was made of a chemically welded collection of plastics with ABS safety runners around the impact-potential areas (same plastic used in bike helments and car batteries), but plastic is plastic, even if it's nice plastic. And people want to know that before making an investment decision! To answer your question: yes, when I carry a carbon fiber tripod, it feels like it couldn't possibly hold the weight that it actually can. Always gets inside my head a little (which is a good thing, as it means advancements in technology are making us question what "robust" means, exactly)! It will be interesting to see if we, the human animal, ever get past the feeling that dense/heavy objects seem more durable than sparse/light objects! =)

Honestly, I felt the same way about MFT for the longest time. But after running tests on various MFT sensors with focal reducers and large-frame lenses, I can honestly say I don't think I'm missing anything that a s35 would give me in this camera (and there a LOT of benefits, through the use of adapters, that the MFT setup presents). Of course, this is ONLY possible because this little camara packs such a punch in terms of color science, bit depth, and ISO performance. The bit that locks it in for me is the speedbooster, effectively giving me a s35 to FF look on such a small area. I explained this more geekily in response to Richard's comment, and I would be happy to do a video on this, if there's interest in such a thing!

Clifton Stommel yes, I’m interested in seeing that video if you care to make it!! Thanks!!

@@starsieve yes please - also would you be willing to discuss the gh5 (not s) vs bmpcc. I'm considering both since costs are so similar, but do like the IS element of GH5. Thanks

@@johnblystone2936 The GH5 is a DSLR that has a nice collection of video features, but it is not a cinema camera. For one, you only get 4K 10-bit 4:2:2 recording in 24/30fps modes. When you move up to 60fps in 4K or high frame rate modes in HD, you are forced to record in 8-bit color, which will introduce banding during color grades (especially with broad areas of subtle gradation like clear skies). The Pocket 4K's lowest quality recording in terms of bit depth / chroma subsampling is 10 bit 4:2:2 (ProRes), and all of the highest frame rates available at all resolutions are available in the Pocket 4K's 12 bit codec. And it is an active MFT mount on both cameras, so with a metabones or active electronics focal reducer you can use lenses with stabilization. But you cannot increase bit depth where the camera wont let you record it. If you need an all-in-one machine that does photo and video, I'd say take your pick on the Panasonic / Sony / Canon DSLR of your choice, based on preferred features. But if you are doing pretty much all video, I dont know that sacrificing consistent color depth through record options, the 5 inch 1080p screen, and features like easy-input timecode and easy-adaptable power is worth gaining in-body stabilization.

Hey Nomadic Native! Was looking back through my comments for those looking for my timecode walkthrough (just dropped it here: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-jaHwSLdyizw.html), and I noticed this comment. You pick up a Pocket 6K yet? I've been using mine a TON and am going to make a few videos about it, aside from a review I'm going to make a "best settings" / "best practices" video for getting really good stuff out of the Pocket series cameras (and BMD cameras in general). Let me know if you'd be interested in that and I'll bump it up on the list of videos to make next!

The 2.5K is a great camera; I still have mine and I have no intentions of getting rid of it! Personally, I think everyone who skipped the original 4K sensor made the right call (URSA / Production Camera 4K - though I did get some really good results from the URSA Mini 4K when I shot "Ede"), and while the original pocket had a great, filmic 16mm-feeling feel to it's footage, the sensor size being THAT small definitely caused some headaches in terms of getting wide field of view or that rich spacial depth feel you get from larger sensors. Honestly, I think that the 4.6K sensor accomplishes a very successful upgrade to the 2.5K image quality. And the pocket 4K's sensor is an even more impressive upgrade to what the 4K sensor was (and there just isn't another BMD cam with dual-native, so it's worth having one on hand in my opinion)! And the new 4.6K sensor in the URSA Mini G2 is crazy impressive (from what I've experienced so far). Of course, if you and/or your clients are happy with what you are producing with your camera, then hold off until you need the upgrade! There will always be a better camera, so there is no rush. But if you're hurtin' for good slow-mo, or 4K+ resolution, remember that there will ALWAYS be a better camera announced and on the horizon, so you may as well just get the best machine you can afford and start shooting your next masterpiece right away.

@@starsieve Thanks for your answer , 14 + stops of dynamic range would be an upgrade for me. Unfortunately it's not the case with BMPCC4K.

@@_arturjutkowiak_film Yeah, that's why I refer to the 4.6K as an upgrade over the 2.5K and the 4K pocket as an upgrade over the original 4K sensor (which had less dynamic range than the original 2.5K as well). Keep doing what you do and making good work with whatever tools are best for your process! It sounds like you know exactly the features that are best for you.

One thought : Ursa mini or.... BMCC + BMPC for 4k and global shutter and BMMCC for 60 p ...:p

@@_arturjutkowiak_film That's a great kit! I was really heavily coveting the BMMCC for access to cDNG at 60fps. I may still end up getting one, since BMD is eliminating cDNG (and I don't want to lose access to that codec, so now's a good time for me to lock in my ideal kit that can do it). I like the way you think!

Happy to! A full timecode breakdown is gonna be the next video.

Cool. I have a c100 Mk 2 , 5d4 and Tascam DR-40. Hoping to get a BMPCC4k soon. Any sync advice and using with FCPX would be so helpful.

@@shawnwright240 Tascam makes great stuff! You'll definitely want to look into a recording device that has a dedicated timecode input (and/or output) at some point; it will save you a ton of time! If the DR-40 has timecode please ignore my nonsense remark lol. I have had a Tascam 70D, 701D, and a Zoom F8. The F8 ended up being a little too much recorder for my needs (at that stage I hire a sound guy lol). The 701D is right at the sweet spot for me in terms of quality, usability, and of course timecode input for the win!

Well shoot - My Tascam DR 40 does not have time code. Now I have to find a inexpensive one that does. Those ones you mentioned seem like a lot more and complicated. Got to be something cheaper with timecode. It’s just clock option for goodness sake.

Hey Shawn! Just released the timecode walkthrough video: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-jaHwSLdyizw.html

Kind of crazy to see just how much power can fit inside a camera this size.

Clifton provided the exact word I was looking for when I eyed the packaging and read through the manual on mine: Disruptive

Which Blackmagic video converter box?

Clifton Stommel : Utrastudio mini recorder

Whoa, interesting! I did not know that little device gets hot like that. So you are recording from camera straight to computer?

Carbon fiber ~reinforced~ composite. Not "made of carbon fiber." www.blackmagicdesign.com/products/blackmagicpocketcinemacamera

Thank you!

Comin' up next! Literally working on this as we speak.

Whew, I should have given this link directly here when I released the video (I imagine you've discovered it by now): ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-wsZcEgMvT7o.html Also, I've released the timecode video showing the SUPER easy audio syncing tools in Resolve, in case you're interested: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-jaHwSLdyizw.html

Lol, you know I thought of that when reviewing it before posting and was kind of surprised no one else mentioned it! When recording, I looked up at my intern and followed that statement with "Imagine if I just shattered the camera mid-video" (clearly my soft soft creative-professional hands are in no danger of harming a carbon fiber camera though =P )

Hey Dean! You are not the first person to bring this up, actually, and to be clear and I am not confused about the differences between plastic and carbon fiber lol. To quote Blackmagic's site, the camera has a "carbon fiber reinforced composite body." This does not mean that it is 100% carbon fiber, or that any part of what you're actually touching is carbon fiber. This could mean that there are sections under the plastic composite shell that are carbon fiber to give additional support, or it could mean that there is a percentage of the plastic composite body that has some carbon fiber woven into it. It is indeed a very rigid build and I never said that it flexes or is likely to break during normal use, just that is FEELS plasticy (which it objectively does). It feels like a plastic product! And that's something that people are going to want to know, even if some percentage of it is carbon fiber somewhere in there. On a separate note: carbon fiber is stronger than steel... that depends on what it is that you are using it for! If you flex or impact the two with proper force, you will shatter carbon fiber whereas steel will bend and can be bent / hammered back into shape (up to a point, when it eventually gives way to metal fatigue). There really is no 100% perfect solution, and I do think that plastic was a great call for this camera! Keeps it nice and light. =)

​@@starsieve I made Carbon fiber skateboards back in the day. Epoxy or polyester layered with carbon fiber is actually what gives it strength. Without the composite it would just be a fabric.

That's great insight! And honestly I'm surprised how many people took offense to my "feels like plastuc" statement. I do think it's worth noting the touch-sensory experience when handling the camera. And these comments are great, so no one will be confused by what it is they are holding! Thank you for following up.

Do they make a version of this that's USB? I'm dying to use one that's not just for Mac! (thunderbolt 2 is kind of phasing out anyway)

Haha, I spent quite some time racking my brain trying to remember having done the thumbs-pointing-at-self gesture.

Where are you located? If you are in the U.S. amzn.to/2o4QORd

Hey Picto Films! Thanks for the response; that's great feedback. I do not necessarily feel that a camera being lightweight is a flaw! Just stating how it feels in my hand (an honest and subjective statement). Technically my opening statement about the camera is that it "has blown my mind" and when speaking about it feeling like plastic I specifically state "it's good for rigging, because it keeps it light." Additionally, near the end "Go watch some other reviews. Do additional research. Don't take my word for it." Anything less would be disingenuous, in my opinion. If you disagree with my opinions, I would love to hear more about your experiences and how they differ. We filmmakers are part of a collaborative community; I love the way we work together to hold each other up and increase collective understanding of our industry and available tools. You deserve to find a reviewer you can trust, and if there is something that I've said that has made you unable to trust me, then I totally understand that I am not your guy. I'm going to keep being open and honest, based on my research and on set experiences.

@@starsieve You sound like a stand up guy and I respect anyone who takes the time to produce content like you have. I don't think the issue is whether or not you used an "honest and subjective statement," but rather in your choice of words and explanation. In hindsight, perhaps mentioning that it is manufactured with a carbon reinforced composite body which is extremely light and feels similar to plastic, might have been more objective. As far as my personal opinion on the camera, I am totally blown away with it, especially considering its price. My only personal annoyance, has been the rubber caps over the ports which make it close to impossible to cable up the camera without being a professional contortionist. I solved that problem by pulling them out and snipping off the little dicks from them, so that I can simply pop them off and then pop them back on at the end of a shoot. Battery life doesn't bother me. I was always going to add a battery solution. A SmallRig battery plate ($24.99) and cable ($14.99) solved that problem and an NP-F970 will run the camera for around 3 -4 hours. That solution is cheaper than the average camera battery. On a Moza Air 2, a simple 12v cable ($14.99) solved the battery issue, and the Moza will power itself and the camera for around 2 hours. Replacement batteries for the Moza are $49. The lack of articulating screen doesn't bother me either, as I was always going to use an external monitor. When people consider this camera, they need to make a decision on whether things like battery life are going to be a concern for them or not. For me, there is no better cinema camera on the market not just at its price, but anywhere near it.

​@@ShotbyPicto That's very kind of you to say; I definitely am not trying to mislead anyone here, and I of course appreciate any and all feedback on my content. Getting this thing fired up again takes some doing, and I want to ensure that I'm doing right by the community. Of course, it is impossible to speak with 100% objectively without just being a carbon copy of the spec sheet, and once you introduce subjective opinion it is impossible to keep from offending somebody out there! In terms of power solutions, that's a great way to go! When I'm not using an external monitor, I run my external NP plate to the DC input directly, and when I rock an external monitor, I do the belt-clip battery thing. Haha, I love the connector-flap solution (also your choice of descriptors lol)! Literally just walked over and popped those little suckers out of their ports after reading your response. Not sure why I didn't think of that sooner, since I already took all the flaps off of my URSA Mini handles (they would get damaged / go missing from rentals all the time). I'll be sure to go over this in my configurations video; you're absolutely right, those little flaps are a huge pain to deal with! In terms of articulating screen, I agree whole-heartedly! It's not a vlogging camera or a hobbyist DSLR. I'm not stressin the lack of articulating screen, since most of my productions at least call for a 7" monitor I can work with and have a potential director look over my shoulder, or pop on a wireless kit for someone to view nearby (no strings attached). Heck yeah glad to hear someone else out there is finding good power solutions as well. Kind of crazy how simple things get when you just adapt the right power pinset to a more universal one eh? =D

​@@starsieve Thanks for you response and open-mindedness. You're right, it's impossible to please everyone and you if can put your hand on your heart and say "I've done my research" (or had enough experience to be qualified to talk on this subject), then you've earned the right to provide both objective and subjective commentary. I'm glad you liked the caps solution. I took a chance pulling them out, but by that point, I had tried to cable the camera with a power cable, HDMI, headphones and mic and I felt like I was undertaking the most complex challenge of dexterity ever conducted by man. It was just impossible! The feeling of relief once I pulled those suckers out was close to orgasmic. I felt nervous snipping the little dicks, but once I realized after doing that, those caps are now made awesome, and just pop on and off, I was a happy camper! Glad I could share my life changing experience with you ;-) Thanks for stand up way of engaging with me on this content. You just earned yourself another subscriber ;-)

Also, I tried to find an actual Gorilla into film making but they just don't exist. Sorry.

I did have a stocking cap that was actually "one size fits all" and it was a true statement. I tested it.

These are fun! Thank you, GoZIpper!

@@starsieve Thanks! That's what happens when your at work trying to escape reality. Plan to buy the BMPCC4K at some point in the future. Already have the BMMCC and love it.

Hey GoZipper! Any chance I can get some feedback on my new timecode video? Could use a unique perspective from a lively fellow such as yourself! ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-jaHwSLdyizw.html

Hey Blender! What information would you like to see? This video just serves as an overview of the camera and features. If there is a specific tool that you are curious or confused about, I would be happy to explain how it works in a real world environment for you! And I'd be happy to include more on-set / production-specific anecdotes in future reviews if you think that would be helpful.

Personally I don't need anything special because I already own two BMPCC 4k and I use it, almost daily, in a cinema setup. But your explanations are for people don't know anything about pro camera and shooting, professional people who are interested on this camera know already all the things you mentioned. Maybe saying that the DC input socket voltage is 12V(and not 7.4v) and you can powerrit with a D-Tap cable adapter from a standard V-mount battery is useful for a professional. Explaining that the camera have Bluetooth capabilities and can be remoted controlled is an important thing for a DP. Explaining how LUT you can load to the camera work on the different set up(internal or external monitoring) is very important for a pro. FAQ by pro that are interested on this camera are: Do the Focus peaking work on an external monitor? How the drop frame function work? How drop frame are managed with the time code? Tap focus work during recording? On camera Monitor FOV and luminosity? Camera boot time? Is possible to save camera present? Real world workflow situation and not just a the list of coolestawesomespectacular specs. Regards.

​@@blender_wiki Well I must say I'm flattered you took the time to watch my review on a camera you already own two of! In my experience, professionals operating at the level you seem to be referencing don't need to pour over reviews to make a decision on whether or not to invest in a camera. Just rent one (or buy it), use for a few projects, and resell if it isn't a good fit? Don't know where you're based out of, man... but that's how most of the folks I know in each city I've operated out of do it. And those are great tools to feature, but many of them are going to be a little too technical for a 9-minute review video to cover properly. And I'd hate to skim over something that would only leaving a viewer scratching their heads! Also, many of your suggestions for features to showcase can also be found in the spec sheet / user manual (a place we geekypro types are more likely to look than RU-vid for answers). Honestly, it sounds like you're ready for a big boy camera like the URSA Mini Pro. You'll probably find a lot more of your needs met with multiple monitor feeds (complete with totally adjustable per-feed settings - including LUTs, Zebras, focus peaking, status text, frame guides, etc), V-Mount / Gold-Mount friendly design, and many more features for professional filmmakers like yourself! I just purchased my 5th URSA Mini body myself (the G2), but I'll not bore you by rattling off the camera bodies I own lol. I'm putting together my URSA Mini Pro G2 review right now, if you'd like to subscribe and check back later. =)

Hey again Blender, if you want to see how the RU-vid is coming along I just dropped my Timecode walkthrough video. May have some valuable stuff for you (but I imagine it's stuff you know already)! ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-jaHwSLdyizw.html