Description image

It's Official: Introducing Blackmagic 4K & Pocket Cinema Cameras for $4K and $1K

04.8.13 @ 12:48PM Tags : , , ,

Official word has just dropped from last night’s exciting announcement leak of two new cameras from Blackmagic Design: The 4k Production Camera and the Pocket Cinema Camera. Any skepticism on its legitimacy is now put to rest — it’s real alright. Read on for the full details and more info about the cameras from John Brawley.

Updating this post regularly. Thanks to John Brawley for the heads up.

Blackmagic Production Camera 4k

  • Super 35 size sensor with a global shutter
  • Native 3840 x 2160 resolution, optional 1920 x 1080 (via downsampling)
  • 12 Stops Of Dynamic Range
  • Shoots 23.98/24/25fps, 29.97/30fps, 50i and 59.94i in 1920 x 1080
  • EF Mount
  • Visually lossless compressed CinemaDNG RAW and ProRes 422 (HQ)
  • 21.12 x 11.88mm active sensor area
  • 2.5″ SSD
  • Thunderbolt and 6G-SDI output
  • Built-in touchscreen
  • Available in July for $3,995
  • LANC

Blackmagic Pocket Cinema Camera

  • Super 16 1080 HD Sensor
  • 13 Stops of Dynamic Range
  • Shoots 23.98/24 and 29.97/30 fps
  • Active m4/3 mount
  • Visually lossless compressed CinemaDNG RAW and ProRes 422 (HQ) to SD cards
  • 12.48 x 7.02mm active sensor area
  • Shipping in July for $995
  • 3.5″ LCD touchscreen
  • Removable Battery
  • Built in Stereo Mics
  • LANC, micro HDMI with overlays

John Brawley speaks to the sensor size of the 4K model:


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.

On global shutter and dynamic range of the 4K camera:

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.

On the Pocket Cinema’s recording capabilities:

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.

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.

Well, what a pleasant surprise from Blackmagic. It’s already proving to be an exciting NAB! Share your thoughts about these announcements in the comments!

Links:

COMMENT POLICY

We’re all here for the same reason: to better ourselves as writers, directors, cinematographers, producers, photographers... whatever our creative pursuit. Criticism is valuable as long as it is constructive, but personal attacks are grounds for deletion; you don't have to agree with us to learn something. We’re all here to help each other, so thank you for adding to the conversation!

Description image 293 COMMENTS

  • Chris Lambert on 04.8.13 @ 12:52PM

    BY THE BEARD OF ZEUS!

  • Amazing! I can’t wait for the frame rate info! Any chance we will see 60/120fps?

  • Ryan O'Rourke on 04.8.13 @ 12:54PM

    The way John is talking about how Black Magic is still trying to optimize the sensor really makes me think there is no way they will be shipping in 3 months.

    • My guess is BMD will ship a couple of units in July and gradually ship globally in double digits by 2016 Olympic Games in Rio.

      • +2 — at this point, anyone who takes their word for shipping deserves to be disappointed. B&H Photo told me last week they have “no idea” when they will have enough cameras to even cover their own back orders. And another major L.A. reseller told me the same thing, saying “Good luck if you buy a BMCC…” On paper, the concept was brilliant and the early tests looked great. BUT…

        • -2

          You both have no idea what the production chain is like for either of these two models.

          • Hummer: I think it’s you who have no idea. I am a journalist who covers the film production industry for a living. I just got off the phone with the head of pro video at B&H. He said they now have NO IDEA when they will even get enough BMCC’s to fill their BACK ORDERS. He said they can no longer even guarantee that they will be able to catch up on back orders by END OF THE SUMMER. “We just have no idea at this point,” he said. “BM has told us so many different stories and come up short on so many promises that we’ve decided not to give any assurances at all.” A major reseller in L.A. told me the same thing last week. Do you dispute that they know what the[‘re talking about? As I said earlier, let the buyer beware…

          • john jeffreys on 04.8.13 @ 4:34PM

            You’re just talking to customer service reps who are trained to be ambiguous when it comes to hot items. Unless you have insider information or actually work for Blackmagic, shut up.

  • I got on blackmagic’s site earlier but got booted off when I hit the refresh… couldn’t find a pre-order option for the pocket camera. If anyone finds a pre-order option for the pocket cam please post a link.

    • marklondon on 04.8.13 @ 1:14PM

      You can pre-order at CVP out of the UK with a small deposit.

      • Fresno Bob on 04.8.13 @ 3:19PM

        You git!

        I just got my order in 30 mins ago at CVP, and thought I’d be one of the first.
        Your comment right at the top of this article probably just cost me 300 places in line!
        Haha

  • Let me preface this by saying I love this and am probably in for at least the pocket camera.

    Is there a distinct difference to making the larger sensor an EF mount and the smaller sensor an m4/3 mount? I know the specifications of it all but I guess it wasn’t worth making them both EF mounts or trying to engineer the larger sensor to be compatible with the m4/3 lenses?

    • The S16 sensor size makes it compatible with a ton of current and vintage glass, but the EF mount would put too much distance between the lenses and the sensor to be usable. That’s why the original BMCC also had an m4/3 mount version announced late last year.

  • I’ve been bouncing around their site with updated content for both cameras – they list the usual places for preordering but I haven’t seen sites offering a preorder yet (aside from CVP in the UK).

  • I just got my 2.5K RAW BMCC this week. Sitting here wondering if I should return it and wait.. probably going to keep it and work with it, it’s taken me almost a year to get it in my hands.

    If promised me I could get a new 4K camera in July, I might change my thinking, but it’s likely to be another long wait.

    • ebay it. Someone will buy since nothing is out there like it…until there is.

      • agree Ebay it not only will it sell but you could easily make a $1000 profit, a week ago i was searching for black magic cameras and was willing to pay 4k just to have one, but now this news, the pocket cam seems like a new nice toy , it will be the NEW GOPRO of cinema since it does not rely on the faulty ssd problems of its bigger brother or sister , 10 bit 422 in daylight makes it a nice attractive camera real world camera.

        My question is what type of current micro 4/3′s glass would be available with the pocket cam or better yet how about nikon glass with meta bone speed booster, would that work, can somebody help or chime in on lens option/solutions.

    • marklondon on 04.8.13 @ 1:30PM

      Just use it? Make a ton of great stuff? Get more work? Buy the 4K later?

    • Well… With the original BMCC you get an extra stop of DR… So go shoot. It’s a great cam!

  • Looks to me that they weren’t making good of delivery times due to having other plans – of which I am most happy with !
    Get in x

  • Now this is a mini red, not alexa cause the less dynamic range and upper output resolution canvas

  • I’m a canon fan, and this is great news for me. Hopefully Canon will react to this by dropping the price of the C100 and C300 at NAB.

    • Don’t think so.
      They seem to live in an alternate universe.

    • There are still Canon fans out there? Remarkable.

      • Canon NEEDS to get in the compressed RAW game. (Sony should, too) Even professional productions usually prefer ProRes over uncompressed RAW just because it’s usually not worth the immense space it needs. With reasonably compressed files like the r3d codec it is affordable for most indie filmers to shoot RAW. Up until now that was the number one reason to go with RED, but with the 4k BMCC on the way I don’t see any reason to go with RED, Canon or Sony in the near future until they catch up and drop prices. I really hope the BMCC will be a huge success so other companies will be forced to react.

      • They were resurrected from DNA found trapped in amber.

    • VINCEGORTHO on 04.8.13 @ 2:39PM

      You’re still holding on to Canon?
      F them.

  • Luis Fernando Soní on 04.8.13 @ 12:57PM

    MOTHER OF GOD!

  • Daniel Austin on 04.8.13 @ 12:57PM

    GOD, i’m so excited! I hope this means they’ll release more of the 2.5K camera and get it off of back-order. I want one of them so bad. I feel like we are getting a peak at an ever-lasting gobstopper.

  • Tremendous. This is just straight indie/amateur-filmmaker fantasty fulfilment – It’s what everyone’s been dreaming of.

    The only bitter tinge in all this sweetness, is the DR of the new sensor, with even the modest, reported 12 stop rating being a bit generous it seems (reading between the lines in John Brawley’s report). I sure do hope that 4K is not the only good thing about the sensor that might turn out to be too much of a bargain.

    • Daniel Austin on 04.8.13 @ 1:25PM

      35mm also helps too, correct me if i’m wrong but the original BMCC doesn’t have that.

      • s35 is the #1 selling point imho. I wouldn’t mind if it just was HD I’d still be ready to pay 1k more than for the original one with MFT-sensor. Global Shutter is a good thing to, I have mixed feelings about wether it’s worth sacraficing one stop of DR though (probably more than that after all, I guess)

        • Yes, indeed the (almost) s35 size of the sensor is the biggest selling point, and I too would trade the 4K resolution for a S35 chip in a heartbeat. And that is precisely what I meant to impart: I hope the droning marketing buzz around 4K hasn’t made Black Magic sacrifice color rendition, freedom from moiré and other image faults, Dynamic Range and the feel/look of the image on the altar of resolution. A S35 size sensor at 2.5K with a 13+ (actual) stop DR would have been even better than what they have announced, in my mind.

          But I’m exited to see their 4K image for sure.

  • I gotta say the timing could not have been more perfect, just as the shortcomings of the BMC started to surface, they will surely be drowned out by the new product release, hopefully then can fix some of the significant problems so everybody will be happy.

  • I guess I can live with 12 stops. Hopefully BM will add some of the missing crucial features into the firmware. 4K with BM color science should be jaw dropping.

  • Just awesome.
    I still have my jaw on the floor since this morning (a few hours ago here).

    I hope this time they won’t have delivery problems.

    • I need an edit button.

      The Pocket is amazing. I would have preferred another design for the body (more akin to the older brother), but that’s nothing.

      And talking about design, I love they sticked to the BMCC design for the new 4K.
      That’s personality, and I like it.

  • marklondon on 04.8.13 @ 1:20PM

    There should be fewer delivery issues – please note the ‘different sensor family’ part of the statement. That’s crucial. My info out of Oz is that the 4K does look a bit different to the 2.5k, but still very very good.
    To the guy with the 2.5k cam above: your camera is uncompressed, has max dynamic range and is field tested. I’d use the hell out of it for a year, and then see how the 4K is sitting.
    Plus, there’s a few interesting firmware things on the board for it.

    Personally, can’t wait to get my hands on the Pocket Cinema Cam. S16? 13 stops? I need to see this!

  • The real devil here is this :

    “The spec allows for this be lossless (not lossy) and at 1.5:1 – 1.2-:1″

    4K RAW, even at 1.5:1, is gonna be almost unmanageable for all but the biggest indy productions. Ditto 4K ProRes

    So close, but still not close enough.

    • marklondon on 04.8.13 @ 1:25PM

      Close enough for what? It also shoots HD if your current edit rig can’t cope. However, within a year you’ll be able to handle that just fine at a reasonable price.
      Ask the hundreds of Scarlet/EPIC users who routinely edit in 4K now.

      • Well, the Scarlet and Epic are much more usable because the REDCODE codec allows lossy compression, which is very useable up to 10:1, so less than a 6th the file sizes. Also the on-the-fly debayering built into redcode make on-line workflows possible on relatively low-powered machines. Try editing ProRes 4K on a macbook and you’ll find it challenging. Now if Blackmagic can get native support for Cinema DNG into NLE’s, with the same fast performance as REDCODE this could be very interesting.

      • From the site:
        Record Times for 4K Resolution using ProRes™
        240Gb 36 Mins
        480Gb 72 Mins

        So about 5-7 times the size of the same REDCODE files, depending on compression.

        • Nearly every REDuser/owner actually earning money with their camera’s clamoring for ProRes… now they have to pay some thousands to FINALLY get it. There really isn’t a comparison here, as far as acquisition formats go, the camera is set.

          • Daniel Mimura on 04.12.13 @ 10:31PM

            I’m making my money with RED and no one I know is clamoring for ProRes. B/c Premiere Pro and Resolve and FXPX all are using RAW natively, no one wants to shoot prores anymore. (Most people I shoot for are using Premiere, but I don’t care whatsoever what people edit with b/c I don’t have any involvement in post.)

            I’m not paying for equipment for clients to have something that’s worse quality with less flexibility. If anyone wants to go old school and is still editing on something like FCP7 (which is all I have, personally), let ‘em transcode to get prores.

  • Ashley Hakker on 04.8.13 @ 1:22PM

    I wonder if this compression and new features will mitigate the dropped frame issue from the 2.5k model. I’d strongly consider the S35 4k model if they’ve worked out the kinks from the 2.5k model.

  • marklondon on 04.8.13 @ 1:22PM

    Strongly recommend you check out the DSLRnewshooter live interview with BM at 12PST.

  • 12 stops is not enough when Alexa is 15+ and Red is going 16+. Hell even the F3 has a lot more DR than this. Unusable. Global shutter is a nice touch though.

    • Yes, for all of the indie films where people feel the need to rent out Alexas and REDs and get that extra DR, or for universities that hate teaching students and letting them check out equipment on anything less than $15k, 12-stops of dynamic range is real garbage…

      • Look, if you want to use it fine. I’m just saying I wouldn’t. I’d be missing too much of whats in front of the camera.

    • Yeah, and the cost the same.

    • marklondon on 04.8.13 @ 1:33PM

      That is a nice try at serious trolling. DR has become like the megapixel race in stills. 12 stops is plenty. The two cameras you’re comparing it to cost serious factors more.

      • Sure, its plenty if you don’t mind all your skies being blown out.

        Look, for most people 12 stops is fine. But if you actually give a shit what your image looks like, its not even close to acceptable.

        • Ok… True story: We shot an add with a Alexa, the C300 as B cam along the MKIII for some interior shots (car).

          Well, the client loved it… bla bla. the best shots for them used on the 10 seconds spot, the MKIII shots! All treated on Resolve…

          How about that? 12 stops is plenty for most scenes if you know what you doing and without a fat budget, but now we need 13 stops AND 4K for $4000… That’s what we need… Ok.

          Well, you can buy an EPIC dragon on a near future I guess with 16 stops or rent it, but won’t be that much cheap as you stated to rent one.

          And compare the BMCC with 14 stops+ cameras that costs thousands more is just silly…

          It’s just awesome if they can deliver this camera for that price!!

  • In our culture, we call Canon and Sony’s reaction to this “freaking out”.

    In their culture, they call it “seppuku”.

  • would it be possible to get faster frame rates at lower resolution? or will the firmware only permit these specs?

    very interested in this.

  • Does the Pocket cam have at least one 1/4″ audio port?

  • Well, I ordered my BMCC last July and still haven’t recieved it yet. Maybe I should be more patient and order the 4k BMCC but its clear that it could be a long way out compared to how the BMCC 001 turned out.

    I’m not sure if I should be angry or over joyed but I feel a bit funny about all of this. Only because I’ve been on backorder for almost a year!

  • David J. Fulde on 04.8.13 @ 1:33PM

    Way more excited for the Pocket Cinema camera than the 4K

  • Interesting note!

    Apple ProRes 422 (HQ) at 3840 x 2160 and 1920 x 1080

  • marklondon on 04.8.13 @ 1:37PM

    Also – don’t underestimate having the single 6G SDI built in on the 4K cam. That’s a very sexy element. :-)
    After 4+ years of struggling with 4K since the first RED ONE, viable 4K workflow just inched a touch closer for the majority.

  • Does anyone know – will this actually resolve at 4k, or is it going to downscale better to 3k instead?

    • marklondon on 04.8.13 @ 1:49PM

      You mean will it look sharper at 3k? Yes. Will it look good at 4K? Yes. Will it look gorgeous at 1080? Yes.

      • Oh I was just wondering if 4K for this camera will actually mean 4K – I know the images will be stunning regardless, but am curious of how well this will be able to mix with other 4K cameras without some sort of quality compromise if your output is the max resolution.

    • 3840 x 2160 = 16:9 QFHD also 4K HD

      • 4096 x 2160 = 1.89:1 Standard 4K movie theater projector
        4096 x 2304 = 16:9 True 4K resolution

  • I just shit a little.

  • Just bought a D5200 and love it compared to the T2I for the small increase in video and the nice increase in photo but man now do I want to sell it and get the pocket cam for video…still would leave me with no photo camera hm…

    • Keep the D5200 still is a nice stills camera, best dslr bang for buck on the market, would make a great B cam, it has the best in camera SELECTIVE 3 COLOR Available (sin city effect) of any camera available, and hdmi out, bigger sensor and close to a medium format camera for photography, better lowlight eslewell.

      However i feel your pain because that mini black magic camera is looking very sexy with a 4/3 voit 0.95 lens on it , its looking very sexy indeed.

      • Good news is the pocket cam uses Nikon batteries, so getting both has an advantage…

        • Do you think that could be more than a co-incidence? I mean the nikon batteries it uses are from the 1 series- a 1″ chip camera…

  • ok, do you guys think by the year 2040, some company will give us 120fps@720p? I m not asking for a 4000$ camera who will shoot raw at 2000 fps! I mean c’mon!! it s 2013 and we re still stuck with 60p@1080, best case scenario!! which is slowmotion for porn..
    in the case of the BMCC, we re stuck with the AMAZING 30fps.. I don t know… am i the only one here who desperately needs higher frame rates? They give us raw at an affordable price which is amazing indeed, and i love the idea of being able to shoot RAW for less than 1K!! and i m probably going to buy the mini BMCC.. if someone would have told me two years ago, that you ll be able to shoot raw for less than 1K, i would have laughed..
    On the other hand, i m sure we will soon be able to shoot 4K,8K, 16K, even 32K!! for less than 4000$ and won t be able to do a proper slowmotion.. which is really important for editing, and for narrative purpose.
    I think the industry has grabbed us by the balls, and i m really pist.. I m sorry about my rant here, but i had high expectations for NAB 2013, and hoped that if a BMCC super 35 camera was announced it would at LEAST have 60fps( or higher), but no.

    My rant is over, goodnight

    • marklondon on 04.8.13 @ 2:05PM

      Hi – we just shot a music video with a 5 figure budget, where we shot at 120@720 on a GoPro 3. Cut right in.

      • Hi Mark, it s true that Gopro 3 shoots 120fps but you are still limited with the lens, don t you think ? I hate whining.. but Gopro is not good enough.. and i imagine you re not thrilled shooting slowmotion with a Gopro.. then correcting the fish-eye effect later on post..

        • marklondon on 04.8.13 @ 2:15PM

          You can shoot Narrow at 720, so no fish eye. Sure I’ll take 720 at the speed from someone else, but I was just pointing out that there are ‘emergency’ options if you don’t want to hire an FS700 or EPIC for just one shot.

        • FS700?

        • Looking at the stats it looks like the pocket cam doesn’t have a global shutter so most likely the same sensor thats in the 2.5K version. Does that mean that they’ve created this to use up all the old sensors as they think most people that haven’t got their BMCC yet will switch to the 4K? Will that mean these people will forever be stuck in a camera-less purgatory waiting for the next thing to be released or will they be able to get this thing out reasonably quickly? Oh the questions.

          • marklondon on 04.8.13 @ 2:39PM

            see below. Its not the same sensor. The 2.5k sensor was slightly larger than S16 – you couldn’t use S16 lenses on it. These true S16 and S35 sensors are from a new supplier.

        • I’m gonna cry : ‘ )

          • Soooo a new supplier. So isnt the old sensor the main reason why production went so slowly? I mean the old supplier can’t keep production on high enough levels? Can it be that with a new supplier, the production could get into international levels at a faster rate?! And that we could see this camera ship at a much larger rate? (excuse my english).

        • They use GoPros all the time on ‘The Walking Dead’, I would say that production is pretty large – it’s all about content.

  • Love the pocket camera. No hot shoe?

  • What blows me away more than a camera doing 4K for $4K is that a manufacturer that can’t deliver a 2.5K camera a year after it’s announcement, announces another camera doing 4K for a thousand dollars more and all you guys are acting like this is reality! Based on BM’s history of order fulfillment, do you really expect this thing to be available anytime in the near future? If this were any other manufacturer, you people would be tearing them apart like hyenas on an antelope.

    • marklondon on 04.8.13 @ 2:26PM

      …and you didn’t read the announcement closely, or this comments section. The sensors for the two new cameras are coming from a different supplier. This means the primary source of the delay with the first cam has been removed.
      CVP, Europe’s largest camera distributor have already ordered in the high hundreds on these cams. They don’t feel worried for exactly the reason I mention above. The negotiations on this camera release have been ongoing for over 6 months. Barring force majuere, you shouldn’t see anything like the same holdup.

      • Yea, I read every comment before I posted mine. We’re to believe there will be no issues with the new sensor from the new supplier? Just like everybody assumed there would be no issues with the original supplier. I like BM and all their products but, it’s just weird that they can’t deliver on their last big announcement and they make a new one… and very few people view this with skepticism. Strange.

        • marklondon on 04.8.13 @ 2:42PM

          Not strange. At these price points people (and large companies) are willing to take the qualified risk. You seem to have issues with it – fine, don’t buy one.
          RED used to ask people the same question at 10 times the price. Still found plenty of happy customers.
          If the BMDCC isn’t right for you, just wait – there are a ton of other cameras coming.

          • You just admitted my point, in a roundabout way… “willing to take a qualified risk”. I’d say it is a definite risk. I’m just struck by the ability of some people (a lot of people) to ignore the inability of a company to make good on a promise then, accept as fact, yet another promise. As a photographer, if, for whatever reason, I botch a shoot with an important client but, I promise them I’ll do better next time and my client is OK with it, that would be awesome. But, that rarely happens in the real world, if ever.

          • marklondon on 04.8.13 @ 4:05PM

            I didn’t prove your point at all. A qualified risk is very different than just plain risk. Every purchase you ever make, no matter how well respected the product, is a ‘qualified risk’. That’s rather different than buying totally blind.
            And your analogy makes no sense. I hope your better at photography than logic.

          • Well sir, if giving $ to a company, who hasn’t delivered on a previous product, for another new product, isn’t a risk for you then, I guess we don’t have much else to chat about. And sorry you failed to grasp my point.

          • dixter. Let us revisit your analogy of the wedding photography situation. You can’t say “if, for whatever reason, I botch a shot” In this situation we know why the shot was botched. It was botched because the individual you were working with interfered with the shot. You and the client are both aware of this. You tell the client that in future endeavors you will no longer be working with that individual. Now you have effectively removed the root cause of the issue. If the client (you in this case) is unwilling to accept this then you move on and work with more reasonable people. However, you shouldn’t be surprised that after a company did exactly what was needed to do to rectify the situation that people are reasonably forgiving. I guess if you had your way any company that ever made a mistake would just go out of business because they are unworthy forgiveness.

    • You realize Blackmagic makes a ton of other products besides the BMCC, right? You realize they’ve been around for ages? They have a great history of order fulfillment. The BMCC is an outlier.

    • hyenas usually just scavenge, so many on a dead antelope

    • Funny… It’s hard to find people in North America that don’t have their EF pre-order fulfilled. I ordered March 4th and got it it April 3rd- I waited less than a month for mine.

  • The Official website does say:
    “3840 x 2160p23.98,
    3840 x 2160p24,
    3840 x 2160p25,
    3840 x 2160p29.97,
    3840 x 2160p30,
    1920 x 1080p23.98,
    1920 x 1080p24,
    1920 x 1080p25,
    1920 x 1080p29.97,
    1920 x 1080p30,
    1920 x 1080p50i,
    1920 x 1080p59.94i.”

    So there’s a 60i or 60p (not clear as of now) option!

    • Hell yes!! ;) now give us 120fps@720p with firmware/upgrd and i ll be happy to say that this camera is a game changer!!

    • Its not true 4k, for 16:9 only
      4K Ultra high definition television 3840 × 2160 1.78:1 8,294,400
      Digital Cinema Initiatives 4k (native resolution) 4096 × 2160 1.90:1 8,847,360
      DCI 4K (CinemaScope cropped) 4096 × 1714 2.39:1 7,020,544
      DCI 4K (flat cropped) 3996 × 2160 1.85:1 8,631,360
      Academy 4K (storage format) 3656 × 2664 1.37:1 9,739,584
      Full aperture 4K (storage format) 4096 × 3112 1.32:1 12,746,752
      Its not true Super 35 format. Effective Sensor Size is
      21.12mm x 11.88mm
      S 35 size is 24,89mm x 18,66 or minimum 22mm x 9,47 (techniscope)

  • i own the glidecam and im thinking how cool and less strenuous would the s16 camera be on a steadycam with say the 12mm slr magic lens? Get the quality of the 2 larger cameras without all the weight and fatigue.

  • marklondon on 04.8.13 @ 3:05PM

    Dan Chung “blown away” with the image.

    • Even with 12 stops this camera will blow the competition? But wait… What competition? lol

      We’re talking about a $4000 4K S35 global shutter camera! lol

      If you can’t do something good with that, sure is not the camera the source of the problem… But well… 13 stops… 12 just can’t do it…

      Just lol!

  • BlackMagic Pocket Camera is gonna sell like crazy! #BMPC

  • The first bmcc is cool, but the form factor is awful! Who is the designer?! I want to punch his nose!
    Now 4k, global shutter and compressed raw, amazing, but the same form factor: why?!

    What really kill me is to now if it will have the same problems of the first camera: frame dropped even with faster SSD, issue with the tokina zoom, no menu bottoms, only tounch screen, etc…

    • I had the same infinity focus problem with my t2i. At 11mm the tokina lens didn’t quite focus to infinity. At 16mm though it was ok. So I guess the lens is the problem in this case, too.

  • I’ve been saving up for the GH3 as well as the 12-35mm & 35-100mm and the Blackmagic Pocket Cinema Camera will definitely affect my decision-making on what camera body to pick up.

    I gotta admit though, when I heard about the news this visual came into my head: http://i46.tinypic.com/acbott.jpg

    • I’m in the same situation. To tell you the truth, the GH3 never did manage to excite me, although I waited eagerly for its announcement. Now, the Pocket Camera did shook me up and got me scratching my head. I wonder just how reliable can it be as a system in real life. I will need to do event videography, so that’s probably not going to work for me… but for planned shooting, I guess it’s unbeatable at its price. Hopefully, the GH5 will have some form of 12bit RAW, and high dynamic range… And not too crazy price.

    • Yeah I was thinking about upgrading to a gh3 from my gh2 but this PE is going to get my money lol

    • I preordered the Pocket Camera (BMPCC?) yesterday – I’d also been debating about the upgrade to the GH3, but at the end of the day even with improved dynamic range, better low light performance, and 60fps, it’s still an 8-bit color DSLR. Might still get one when the price comes down for budget slow motion shooting, but to get the image quality of the orginal BMCC in a $1k package was too good to pass up.

    • I too, saved up for, and (back) ordered the GH3. When this announcement was made, I briefly considered changing my order to that pocket cam. But you know what? I just don’t know when it really comes out. I decided to keep my GH3 preorder, and also order the pocket cam. I mean at $1000, there’s no way I can’t come up with that by July, through my GH3 music video jobs. Raw for 1K?? Didn’t think to see this for years. Just can’t wait! Hope that July date is firm.

  • Ok, I’m confused. I was under the impression the pocket camera did both ProRes and RAW. I just watched the Dan Chung interview with BM and the guy said it’s not a RAW camera as the data rate would just be too much for the SD media to handle (which totally makes sense). Which one is it?

    Honestly I’m cool with just ProRes, but would like to know either way.

    • Ruslan Randzhabar on 04.8.13 @ 3:59PM

      That’s what I’ve found on the official website:
      “Shooting Resolutions
      Lossless CinemaDNG RAW and Apple ProRes 422 (HQ) at 1920 x 1080″

      • Yeah, seems clear except for the contradictory statement made by the BM rep on the NAB floor!

        • It clearly says lossless cinemaDNG RAW on the specs on the Blackmagic website, and John Brawley said it was as well. The guy in the interview seemed unsure about a few things, maybe even he only found out about it at 9.00am that morning. Conflicting information is frustrating, it would be great to get that cleared up.

          • The guy on the shop floor must have got it wrong, even the NAB email from Grant Petty says it records cinemaDNG RAW

      • Right, it will record cinemaDNG RAW but not until a firmware upgrade later in the year. It will ship with only prores recording initially. Sounds a bit like how long’s a piece of string like the release date of the original BMCC. I would have thought that the same compressed cinemaDNG will also be implemented in the BMCC as well making that camera’s RAW more manageable.

  • THIS MINI CAM is and will be what the iphone was for cellphones, not that innovative because honestly any major camera factor could have “beeeeeeeen” made this camera, but a nice package indeed, definitely in line with this nice lil professional toy and should hold alot of us over until they fix the SSD KINKS and problems of the brother and sister bigger cams.

  • POCKET CAM AND EVF SOLUTIONS, ANYBODY ?

  • Would this lens “Panasonic 14-140mm f/4.0-5.8 OIS Video Optimized Micro Four Thirds” look any good on the Pocket cam? Im looking for a good budget set up with a camera like this pocket cam on a super low budget for great looking web series delivery. I love primes but the reviews seemed pretty good, if the camera can actually drive the autofocus etc.

    • The active mount means you’ll be able to control the focus, aperture, etc from the camera. The sensor is a S16 size so less sensitive to light than you may be used to with a APS-C or full frame DSLR. Depending on your needs and intended setup you may want to opt for a faster lens to compensate for the lower light sensitivity/deeper DOF.

      • Awesome, thanks a lot, Im leaning towards the shorter Panasonic Lumix G X Vario 12-35mm f/2.8 now that Ive been looking because I cant imagine ever needing the 140mm with the s16 crop factor anyway, that kind of zoom seems kind of ridiculous for narrative work. This one looks pretty fast and steady and wont be so long on the baby sized body of the pocket cam.

        • Yeah I have the 12-35, it’s a great all-rounder lens and the IS will come in handy for handheld shooting. 35mm will equate to about a 94-95mm full frame equivalent. I fast prime like a 1.2 or 1.4 would be a nice addition for lower light situations.

    • marklondon on 04.8.13 @ 4:09PM

      Sure. Its an active mount.

    • Personally, I don’t like using that lens for anything other than ENG style run and gun shooting, especially with the aperture flux as you change focal lengths. I agree with Scott – pick up something faster.

      • Ive got the legendary Tokina 11 to 16 on a nikon mount. Is that still a good lens on an adapter to Micro four thirds or does it lose something in the adaptor?

  • tears are falling down my face

  • john jeffreys on 04.8.13 @ 4:38PM

    RIP Canon
    RIP Digital Bolex

    • Yeah, poor Digital Bolex guys.

      • I think there is room in the marketplace for what digital bolex are putting out. Also given the custom build, form factor, and direct to manufacturer communication with Joe and Elle I think they’re going to be fine. I personally would still prefer a digital bolex to the Black Magic cameras for the C mount and the form factor. Not to say I’m not impressed with Black Magic, just my personal preference. I want to use my Switars! I don’t think that just because one kind of camera exists it means another has to die. If that were true Nikon and Canon wouldn’t share 50% of the market.

        • You can use c-mount lenses on MFT via an adapter.

        • Sure, the Pocket camera doesn’t mean the D16 can’t exist, but personally I was considering it and now that Blackmagic made this announcement I’m no longer interested. The only reason I’d consider it again is the lack of rolling shutter, but on the other hand I wouldn’t want to return to vertical light smearing…

  • vinceGortho on 04.8.13 @ 5:05PM

    So pocket cinema will only be M4/3 mount?

  • Who else would love to see a super 35, EF mount version of the pocket cinema camera in the future? I know I would!

  • Did I miss this? What’s the native ISO?

  • Good grief. I’m amazed at how many of NFS readers are:

    a) fickle
    b) fair weather
    c) mean
    d) spoiled
    d) ungrateful

    • Then you must be new here :-)

    • marklondon on 04.8.13 @ 5:57PM

      d. Especially d.

    • That last “d)” should’ve been an “e)”, obviously.

    • New to the Internet, perhaps?

      • You mean Malcontent Central? No, I’m all too familiar. Sometimes, a fit of hope for humanity washes over me and I forget where I am. I understand this type of free discourse between both the deliverers of information and its recipients and among the recipients themselves is relatively brand new to the human experience. The people finally have a voice that can be heard by the masses and a say on EVERY…SINGLE…THING.

        I’ll just be glad when the novelty wears off and people realize that not every thought is a revelation or worth mentioning and that things they don’t personally care for may still hold merit for others.

  • i wonder how many frames it drops at 4k??

  • It would be nice to get 1080p 60fps. With plugs like Twixtor, all you really need is 60fps to get sick slow mo. I just don’t understand why its so difficult to implement in something in this price range.

    • marklondon on 04.8.13 @ 5:56PM

      Heat. Heat is the reason. Its like overclocking a computer (well, EXACTLY like). Everything has to work at higher tolerances. Its why the FS700 limits the time. No-one else seems keen to go that route.
      You could engineer it from Day 1 to do it, but then the camera would cost (much) more. So, cheap you can do at minimum speeds. You want faster – you pay.
      In a year or two this will be solved with the new cooler chips coming out.

  • Back-ordered BMCC MFT at B&H now cancelled.

  • c.d.embrey on 04.8.13 @ 6:09PM

    WTF is wrong with these people. Another effing video camera without an EVF. They could have given us an EVF like a Sony NEX-6. Now, putting an EVF on this POS we’ll have to double/triple the size of the camera … WTF were they thinking..

    This could have been the ultimate “Guerilla” camera …

    • Stu Mannion on 04.8.13 @ 6:11PM

      Yeah fuck them. Nobody buy one! Especially don’t put one on per-order right now. Ok?

      • c.d.embrey on 04.8.13 @ 7:06PM

        My problem is that as a professional, I’m always looking for professional tools to make my job easier. This doesn’t meet my high standards … YMMV.

        • If you decide to buy this camera, which nobody is forcing you to, then just use the large amount of money that you saved on this incredibly well priced camera to buy a professional EVF of your choice.

  • Stu Mannion on 04.8.13 @ 6:09PM

    I wonder if the old 60i to slow-mo trick will look ok on this thing.. ? It might be not far from 720p…

    Also I kind of wish they’ed gone for rolling shutter and 13 stops. I don’t care about the VFX folks obviously.

    Still a great DP once told me however he didn’t need a large dynamic range because he had control of it, he wanted to let things to go to black. 12 stops is still more than my trusty 5D…

    • marklondon on 04.8.13 @ 6:18PM

      That is so true. I can understand people who run and gun wanting the protection from blown highlights, or having zero light, but this is very much seen by BM as a ‘production’ camera. Dark? Put up a light. Too much sun? Hang a butterfly.
      And global shutter will change how you use this camera. You could even put one on Laforet’s ‘game changer’. :-)

      • I don’t see how this can be seen as a ‘production’ camera. No real viewfinder (on-board screen impossible to use in daylight), poor form-factor, battery issues, etc. No hi-end production will ever use this camera for anything except a crash cam, maybe. Not to mention, it won’t be available for almost 2 more years. If a 2.5K camera takes a year to be available, that’s 1K for every 146 days. If you do the math, that puts a 4K camera at 584 days for actual delivery.

        • john jeffreys on 04.8.13 @ 9:46PM

          Well, a “real” production would:
          “no real viewfinder” – use a monitor with sunshade or an SDI EVF or something.
          “poor form factor” – rigs are your friend.
          “battery issues” – real productions dont use internal batteries. everything is rigged externally

          also your days/k’s analogy is retarded

          go shoot with an iphone

  • Considering all the delays and issues that BM have had with supply of the original cinema cam surely they wouldnt be stupid enough to announce a mid year release of these cams unless they were absolutely sure they could deliver on time. Another muck up like the original BMCC would be detrimental to their reputation and relationship with customers.

    • marklondon on 04.8.13 @ 6:28PM

      Please read this thread and watch all the BM interviews that have popped up today. Different sensors=no external delay.

      • Peter Kelly on 04.8.13 @ 7:25PM

        i’ll believe it when i see it

      • What makes you so sure about the new sensors? I don’t remember BM, in the early stages, saying anything about the sensor in the BMCC possibly being problematic.

        +1 with Peter Kelly.

        • I have had good reports so far out of Oz and the UK. There’s real positivity in the air from people with rather more than you or I have riding on it.
          For example – BM already have a good stock of the S35 sensor. They already had the other parts for them ready to go. I understand your skepticism – but so far all signs point to them having learnt a painful and expensive lesson in the last year.

          • I think it’s pretty likely they’ll get both cameras out on time but then they’ll be a good wait for the compressed cinemaDNG RAW firmware update.

  • Blackmagic Production Camera 4K Question: What is the crop factor on this particular Large Super 35mm Sensor? I am having a hard time finding the right crop number from multiple websites giving me different numbers.

  • Chris Lambert on 04.8.13 @ 7:10PM

    Is there any footage of either of these cameras yet? We have all this pics of people shooting surfers, beaches, skateboarders etc but where is the stuff that is really going to sell these cameras? The image.

    I find the talk of this new sensor with not one frame of an example a little bit odd

    • Will be out publicly after NAB. There’s plenty of it being displayed here. On 4K monitors. Looks bloody good.

  • hey everyone not sure if you have seen yet but BH Photo has the pocket cameras on pre-order now.

    http://www.bhphotovideo.com/bnh/controller/home?O=cart&A=continueShopping&Q=

  • Is odd the Pocket Cinema Camera has a second tripod mount on the top instead of a standard hot shoe mount?? Very odd it seems to me.

    • john jeffreys on 04.8.13 @ 9:43PM

      it’s not a stills camera, so the screw hole is more suited for video accessories like monitors, noga arms, etc. and you can get an adapter anyway if you really like hotshoes

      • But if the pocket camera is aimed at the HDSLR shooter then having a hotshoe would make sense as that is what they’d be used to and already have? Anyway, like you pointed out, isn’t a terrible big deal. Just seemed “odd” to me.

    • What’s odd is that you want a photo accessory on a dedicated video camera. But I guess some always have to find something to complain about.

      If you must have a cold shoe, just add it. But if another user wanted to add a Noga arm, they’d be out of luck. So a tripod socket is much more versatile than a hot-shoe.

    • It has both up now.

    • Tyrannosaur on 04.9.13 @ 12:41AM

      I pitty the fool who pre-orders these!

      • Yes since b&h STILL doesn’t even have the bmcc available yet 8 months after me asking them when availability would be and they said Dec 31, 2012.

        I don’t think we will get these cameras for 1.5 years more.

  • Can someone please verify that the crop factor for the BMC Pocket Camera is 2.88x since it’s using a Super 16 sensor..

    Also does anyone know what the clean HDMI specs are? 10 bit 4:2:2 ?

    • Sensor size is 12.48mm x 7.02mm, diagonal is 14.32mm, therefore if I’m right crop should be 3.03 Someone correct me if I’m wrong.

    • Chris Lambert on 04.9.13 @ 5:09AM

      Don’t think there is an HDMI we have SDI out.

      I personally Intend to use the the SDI to go to a Hyperdeck Shuttle as a backup emergency and eliminate any potential dropped frames (I don’t trust SSD’s!! even before the dropped frames) and then run the HDMI out of the Shuttle into a monitor.

      • The pocket cam has mini-HDMI, it’s the bigger cams that have HD-SDI.

      • Doesn’t the Hyperdeck Shuttle take…….. SSD’s

        • Chris Lambert on 04.9.13 @ 4:45PM

          yeah but the chances of two drives simultaneously dying and loosing an entire days shoot is significantly smaller than 1 going which from what I have seen of SSD’s will happen a LOT more than sd /cf cards

      • john jeffreys on 04.9.13 @ 1:08PM

        you can always run the micro-hdmi to a converter and have sdi. but you’d have to rig it because the adapters are huge

    • according to the spoke person from BMD at the NAB video I saw, he said the pocket cinema camera has a crop of 1.3-1.4

    • Sorry if this is a newbie question about the crop factor: I get it that a crop factor of 2 means that a 25mm lens is effectively 50mm in terms of field of view, but does that mean the *depth perception* is also the same when compared with an actual 50mm lens on a full sized sensor?

      I heard that 50mm lenses are most similar to the human eye in terms of depth perception… is that true for both cases above or will one appear ‘flatter’ than the other?

      Links to aid understanding particularly useful. I tried google but was perhaps unlucky in my results :-)

      PS nice prequal, Ryan!

  • I can hear the Digital Bolex’s death rattle. It’s really too bad, because I loved the concept of the camera and the spirit of entrepreneurship and love for the camera the founders have shown. But how can it compete with a camera that’s just $700 more that the Digital Bolex and offers a 4K S35mm sensor compared to it’s 2K S16mm sensor? (Global shutter, RAW DNG and 12 stop DR they both share) To the independent filmmaker (with little money) $700 is not to be spent unwisely, but for a sensor that is twice the size with double the resolution? In my opinion, it’s worth finding the extra money. Unless of course your already have a lot of 16mm glass, then maybe it makes sense to go for the Digital Bolex, but then there’s the Blackmagic Pocket Cinema Camera for $995. BMD has the Digital Bolex surrounded!

    • Honestly, the whole Digital Bolex project reeked of vaporware from the very beginning. I still don’t see what was exciting about it, apart from the whole “we’re entrepreneurs!” angle and hipster appeal.

      • Someone who was considering the 4k BMD would be stupid to consider the digital bolex and vice versa. Someone who was considering the digital bolex would be far more stupid to consider the pocket cam. Their capabilities outside of imaging specifications are completely different. Also the realities of shooting 4k raw and even just using a super 35 sensor are for a different level of film. Read the post on this very blog about what it was like using a S16 BMD on a feature! He couldn’t afford to shoot it in raw, and if you’re talking 4k then it’s exponentially worse.

        Also people are rushing into this 4k thing… Only projected films take advantage of this resolution, and that’s like what? 5% of films made? Less?

        The digital bolex team do not intend to sell their cameras in large numbers by the way. They’re fullfilling their kickstarter pre-orders and then moving onto the next production run. You’re not going to see them at B&H or Adorama. Plus compitition in this market place is actually a good thing, so negative comments like “hipster,” are a pretty stupid attitude to have about a couple of film makers who are only offering an alternative to the marketplace.

        • People are only making hipster comments due to the wasted time/effort on making the Digital Bolex look like an actual Bolex. The image looks very old and dated so far coming out of that camera. I wish they would have just made it a damn s16mm box and spend more R&D on the color science. It’ll always have that “hipster” stigma to it, due to the insane amount of emphasis on nostalgia and appearance…

          • Corruptframe on 04.12.13 @ 10:00PM

            The footage looks old because of the way it was lit and color corrected. It’s also supposed to take place in the 1960′s so it’s appropriate that it looks “dated”…

            I don’t care much for Hipsters, but I care even less for people who bash small American independent start up companies with big ideas, and the balls to commit to a dream and take a risk in putting out a product that is better than the trash companies like Canon have been drip-feeding us…

            Odds are that the people who hate on and trash digital Bolex are just one of a million shallow DOF obsessing, camera-testing, Vimeo-screen-saver producing Philip Bloom wannabe nobodies anyway. No real filmmaker with any talent and heart would be so insecure and weak minded to get a thrill out of trashing someones hard work and creativity.

        • 2 things:

          1. 4K is good for other things than 4K projection – oversampling for example. 4K footage downsampled to 2K will look better than 2K original footage (all else being equal). Processing and storage are another matter.

          2. “Someone who was considering the digital bolex would be far more stupid to consider the pocket cam.” > People consider cameras for different reasons. People who are looking for fantastic image quality, raw recording capability, small size, reasonable price, can totally prefer BMPCC to DBolex. Global shutter and CCD look is not everyone’s reason for considering DBolex.

    • Don’t forget that the DigiBolex is a CCD sensor. That has a different feel some will like (see the Aaton Penelope & Ikonoskope). I don’t think they will sell as many as hoped, but given the tidal wave of 4K cameras coming, that was always going to be tough.

  • I like what Digital Bolex are doing, I worry for them that the delays are going to hurt them. That said, no one has been as open as they have with their customers and incorporating direct feedback into the D16. They deserve major cred for that. They’ve spoken about a 4K D35 in the future, hopefully that happens. The CCD image is lovely.

  • Tyrannosaur on 04.9.13 @ 12:56AM

    Am I the only one curioous about shooting RAW video to SD cards? 1440 files per minute 86,400 files per hour = around 400GB per hour assuming the files are only 5MB each? Or would they be smaller?

    • marklondon on 04.9.13 @ 1:03AM

      Its compressed RAW.

    • If fastest SanDisk is 95BM/s, then at 24fps one frame must be smaller than 3.96MB. No idea how much is 1080p raw image. Someone in the comments said the compression ration will be 1.2-1.5.

    • On BM forum I read that one 2.4K frame is 5MB. That should be uncompressed. So 1080p compressed frame (even if only at 1.2 ratio) should be safely under 3.96MB. With good hardware this rate should be possible to record to top SD cards.

      • Tyrannosaur on 04.9.13 @ 3:27AM

        Thanks for that Peter!

        95MB fastest Sandisk, is that actual write speeds though? I’m pretty sure when manufacturers claim their speeds they go by which ever is faster out of read and write. Obviously BM would have tested and will release recommended cards listings.

        I just sincerely hope this thing is good, I was just about to jump on a GH2, but not with this thing on the horizon!

        • Not sure about real speed of 95MB SanDisk. But that 64GB version is probably the highest regarded card around. (Also it is necessary for clip spanning on hacked GH2 with very high bitrate settings, due to not only high perforamnce but also different file strecture allowing large files.)

          • Oohhh, I’m really close to getting a GH2. Do you mind if I ask which card it is? The Extreme 64gb, or the Extreme Pro 64gb. I read somewhere for the hacked GH2 you need some ultra fast and expensive Toshiba (I think it was) card. I would like to experiment with the highest bitrates possible (up to 270 I think?)

          • Well I am not an expert (I shoot GH2 but not interested in super-high bitrates), but on personal-view forums people recommend SanDisk Extreme Pro 95MB/s 64GB http://goo.gl/7CfOi. Main point is 95MB/s and 64GB. Smaller capacity cards have problems with clip spanning. No idea about Toshiba card..

          • Also my understanding is that +200Mb/s data rates were explored mainly in the early stages of hacking. Nowadays people seemed to have settled on certain advanced optimized settings with much lower bitrates. Also stability seems to differ model by model of GH2 camera (probably due to slight manufacturing differences – just like in desktop CPU overclocking realm).

    • Earnest reply on 04.10.13 @ 1:38AM

      What about shooting prores? I looked up a chart and Pro Res HQ is about 1.6gb per minute or 100gb per hour. Does that sound right?

  • Got to love UK tax. US: $995… UK: £800

    Liking the pocket…but 3X crop factor means it will be a must to get
    the metabones speed booster, making it just over X2 (compared with full frame). Shame metabones can’t make a 4/3 to 4/3 booster.

    • ohhhhh!!! Now there is a potential future product for them :-D

      We can only hope.

    • john jeffreys on 04.9.13 @ 1:14PM

      there is an entire universe of super 16 lenses for you to choose from

      • I see you can pick up a few S16 10mm but isn’t that still x3? so equivalent of 30mm viewing angle?

        I’m not sure if DX lenses work for the metabones or if they produce a black ring, but lets just say they work ok on a 4/3, if you got a Nikon Mount of the Tokina 11-16 and used it with metabones that would be around 24-34mm (compared with full frame) so my point being its going to better for wide angles.

        That said, you can pick up those S16 lenses pretty cheap and they go down to more than F1.6.

        The ultimate question would be if you can mount a C-Mount lens on a Nikon adapter then use it on a metabones??

  • Only one problem: July 2013… What happened with BMCC? Well, it’s still in bavk order… So according to what I see, BMPC will be in the market by the end of 2014. I hope to be wrong.

  • The weird thing about this announcement is that BMC are completely undercutting the people who have stood in line for a year for their previous camera.

    Maybe that is on purpose though! What if they know that the company shipping the sensors to the original BMCC will not be able to increase volume? Or what if they found this new 4k sensor from a much cheaper supplier? It would make sense then to go this route, announce early and flood the market with the better successors to your beta camera that will never stop being preordered and hope people just change their orders.

    Its that, or they are lying about the shipping times again and these will be on shelves first in ’15.

    • If anybody is upset that they bought a 2.5k S16 camera becasue a 4K S35 camera came out then they clearly didn’t understand what they were buying in the first place.

      I don’t understand why people keep commenting like it’s exactly the same to go from 2.5k to 4k and from S16 to S35…like you should obviously shoot 4k S35. It’s a totally different work load! You shoot a S16 camera becasue you understand the format, the same for S35. And you shoot 4k if you’re…wait for it…PROJECTING in theaters!!!

  • about blackmagic pocket cinema camera : With that sensor size, will it be possible to use old c-mount super16 lenses without vignetting ? We can still find some old angenieux lenses like the 10mm f.1.8 that will fit perfectly for that kind of camera I suppose.

  • earnest reply on 04.9.13 @ 4:04PM

    Could the Pocket Cinema Cam be used with a Atomos Ninja or the new Samurai Blade? Will it have clean HDMI out? I think Philip Bloom is right. Companies need to stop putting out new cameras and refine the ones they’ve debuted. These new cameras are cool but riduculous. An embarrassment of riches.

    • Internal ProRes & raw recording not enough?

    • Why would you want an external recorder to record the very same thing the internal recording does. In fact, possibly less considering it also records in RAW. That’s just nonsensical. Are you just asking for bullet point features you see everyone else was asking for on other cameras now?

      • its about storage capacity, I already have an atomos field recorder and ide love to know if I could use it with the bmpcc, + the atomos gives you a lot of other tools the BM doesnt give you, check it out.

  • spending 6.5k on canon c100 may seem ridiculous at this point I guess

  • First impression – HOLY SHIT…. I want both
    but then again you have a 4K camera with a global shutter but no slow motion ….

  • Can’t stop celebrating being broke for once. It helped me knot buy the 5D MK 3, and now I’m over the moon Woohoo!

  • I think native iso is less than on the 2.5K vesion. In the other way, bm would aware us.

  • Does anyone know if the active m4/3 mount supports image stabilization? If so, imagine the possibilities….

    http://www.dji-innovations.com/products/zenmuse-z15/overview/

  • The BMPC 4K Super 35 sensor looks very likely to be the CMV 12000 from CMOSIS. http://www.eoshd.com/content/10086/is-this-the-blackmagic-4k-sensor-same-supplier-as-leica-m-cmos

  • Does anyone have any info on Canadian pre-orders? I could pre-order from BH but they are going to charge me $650 or something ridiculous for duties and brokerage fees on top of shipping.

    • check out on BM website and list canadian resellers…most of them can pre order directly from there website or via email

      • I’ve checked out both retailers listed and so far neither have had any idea there was even a new camera!

  • Checked out the 4k BMC at NAB. Had such high expectations but was completely disappointed. Still no way to monitor media usage, format drive in camera, accurately monitor battery level, no audio meters. It’s pretty retarded actually and who knows how long it will be until it gets implemented. Could not use this on a professional job. The image quality is excellent but the functionally is not there.

  • where is 60 fps common guys

  • Not true 4k, for 16:9 only
    4K Ultra high definition television 3840 × 2160 1.78:1 8,294,400
    Digital Cinema Initiatives 4k (native resolution) 4096 × 2160 1.90:1 8,847,360
    DCI 4K (CinemaScope cropped) 4096 × 1714 2.39:1 7,020,544
    DCI 4K (flat cropped) 3996 × 2160 1.85:1 8,631,360
    Academy 4K (storage format) 3656 × 2664 1.37:1 9,739,584
    Full aperture 4K (storage format) 4096 × 3112 1.32:1 12,746,752
    Its not true Super 35 format. Effective Sensor Size is
    21.12mm x 11.88mm
    S 35 size is 24,89mm x 18,66 or minimum 22mm x 9,47

  • Is it normal for a company to not have any demo footage available for a camera they have already presented to the public? I understand not having any footage available for a camera that has not been officially presented publicly (such as when info is only leaked or rumored), but it’s strange that at this stage they still don’t have any sample footage, especially since they are already out on pre-sale

  • roraigh price on 07.20.13 @ 8:08AM

    so the main thing i have been troubling to work out is the Super 35mm, the old BMCC had a 4/3 so normal lenses had a crop. therefore had to get an adapter like a metabone to use normal lenses.

    Cinema cameras traditionally shot at 35mm (35mm and 4/3 being the same) therefore 4/3 is full frame for a film camera
    yet lenses have been built for full frame DSLR’s. as i understand it super 35 is bigger than 4/3 with i think something similar to 28 by 31.

    if i were to buy this camera what if any is the crop. the old had a 4/3 with a 1.6

    50×1.6= 80
    To get as close to 50mm as possible on a 1.6x crop frame sensor I want to buy a 30mm lens.
    30×1.6=48

    if i were to buy this camera i would get a set of lenses, i would not want my lenses to be weird sizes or to have to buy weird lenses for it just to get the right size.

    what lenses do you get a super 35 the EF mount would be redundant if you had to get specialist lenses anyway. what lenses do you get to get the most out of a BLCC4K

  • roraigh price on 07.20.13 @ 9:18AM

    i would like to see how the BLCC stacks up against the Sony Fs100/700 and the Cannon C100/300
    in theory this camera the BMCC4K has everything you want out of a 5d that you don’t get
    except 60 and 90 frames, XLR Inputs, Nd Filters and maybe a removable battery

  • Hello, i feel that i noticed you visited my blog thus i came to go back the desire?.I am
    attempting to in finding things to enhance my web site!I assume its adequate
    to use a few of your ideas!!

  • Usually I don’t read post on blogs, but I wish to say that this write-up very compelled me to
    try and do it! Your writing style has been surprised me.

    Thank you, quite great article.

  • obviously like your web site but you need to take a look at the spelling
    on several of your posts. Many of them are rife with
    spelling problems and I in finding it very bothersome to tell the truth nevertheless I will
    definitely come back again.

Description image15 pingbacks

LEAVE A COMMENT