Blackmagic Pocket Cinema Camera 4K!!!

Like I said, no weight listed under Tech Specs. Finder can't even find anything with the word "Weight" or "Pound". LB didn't pull up anything either. Manual I can't seem to pull up anything either.

So unless there's something I'm missing, can someone please give me the weight of it?

What's the weight of the camera? Couldn't find it on the site anywhere.

About 750g.


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And 1700 kg if it sits in a car

Rakesh, my brain was thinking “analogue” but my fingers typed “audio” do I’ll fix the preceding post. No idea what Ambisonics is so I need to look that up. I had pretty much decided to go with the MixPre-3, but now I know you moved to MuxPre-6, I’ll rethink that.

No worries... I was just aiming to prevent confusion.

Ambisonics is an amazing recording technique that, in a nutshell, uses a mic-capsule array to capture x, y, z and sound-pressure signals of sound, capturing a true 3-dimensional image of sound, allowing for decoding to anything from mono to 7.1 and beyond...as a matter of fact, you can even *move* the microphone after the fact, since it is a true 3d image of the sound environment that was captured...I guess it's somewhat similar to lightfield recording, in photography, where you can re-focus the camera after the photo was taken.

Yeah, that's the general idea. First-order Ambisonics requires four microphones. Sennheiser gave me a demo using a headset with VR glasses and binarual audio, and it was quite impressive. They'd used their own Ambisonics mic (which is a 1st order mic), and the sound field was remarkably authentic, even as I turned around.

Rakesh, that is so cool that you're dealing with that eclectic artform! what microphone are you using, and what encoder/decoder? Any experience with any of the low-cost solutions that have hit the market and the indiegogo/kickstarter scene in the past few years? I remember that when I started to collect everything necessary to do ambisonics, I gave up when the only microphone at the time would have set me back over $3000...but with today's sub-$1000 mics it seems to get achievable again, and I even saw that one indiegogo project created a little $150 capsule that claims to be able to do it.

I'm not yet, it's just in planning right now. I'm hoping to do some VR stuff using Ambisonics in the next year, and leaning toward the Rode sound field mic, since it might actually have better sound quality than Sennheiser's yet it's also quite a bit less expensive. I've been pretty pleased with the sound quality of Rode mics in general (basically, the audio version of BMD, IMO) so that's where I'm leaning.

I'm actually in pretty much the same boat as you; I didn't buy the MixPre-D 6 just for Ambisonics, I bought because I needed quality audio and the 633 was just excessive for my needs (size, features)... USB recording will be more useful for my needs than XLR outputs, and I'll be ready for when I jump into VR and Ambisonics. Otherwise I'd have gone with the MixPre-D 3 instead. Other than Ambisonics, it would have served my needs just fine.

The F4 allows you to do that internally with no additional wiring, and that option beats ANY limiter as it maintains full dynamic range throughout. Overly "limited" audio sounds bad no matter how good the limiters are. If the SD equivalent is worth it to you, buy it, but mic technique is 90% of good sound. I would rather spend my sound dollars on good mics than expensive limiters.

That technique works fine, so this is not a criticism of it but rather a preference. I know a few people who've been using F4/8 on film sets, and the results have been fine -- as usual of course, that has a lot to do with the fact that the people using them knew what they were doing.

The SD recorders DO have a backup track in the form of dual gains (input + fader) on each track. I always configure mine to record a pre-fader isolation tracks along with mix tracks, and have yet to run into a case for dialog that lead to clipping on the isolation tracks.

Either way though, as long as the person operating the mixer isn't a bozo and the person operating the boom is paying attention, you can get excellent results with either Zoom's F-series or with SD mixers.

Just avoid the F-series' predecessors. The H-series are really only acceptable if you're feeding them inputs from professional mixers. The F's were a quite a surprise given the crappiness of the H4n and the mediocrity of the H6.

Rakesh.. I think you are too harsh on the H6. I mean, for what it was typically used for (that I saw) it worked great. I wouldnt look to use it on film/shorts/tv shows. But an indy film with a little control, or an interview.. it does just fine. I have not heard any problem with the audio from it. No extra hiss, etc. What am I missing that you are bagging on it so hard for (which is fine.. just wondering why you say it is so bad)?

Thanks for all the informative posts above. Just a note on syncing multiple tracks. I found a way to do this that works fine in Resolve:

1. Sync first track.
2. Make a compound clip
3. Sync next track.
4. Make a compound clip again. Repeat as needed.
5. When all tracks are synced, decompose the compound clip in place.

All tracks synced and available on separate audio tracks.

Thanks, nice tip.
Cheers

My BMPCC4K ordered 10 months ago has arrived at my dealer’s Vancouver site and I’ll likely have it tomorrow in Victoria BC.

Unfortunately they have none of the cable and storage accessories ordered last summer. So looks like I’ll learn all about the efficacy of those pair of genuine Canon batteries I bought ages ago. I hope I have the minimal bits and pieces to rig this up and might actually use it as I continue the narrative shoot the evening of July 1 if I trust it and myself. Will order the things I need ASAP (Wise and BMD). The cage and timecode sync order will go elsewhere.


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Great news Rick, it is about time it came in.
Cheers

Cables, Wise Portable SSD, Shape cage/handles/rigging ordered Friday. Other stuff can wait a bit.

I’ve shot lots of BRAW mostly Q0 and pixel peeking against ProRes 422 HQ it’s slightly better in areas that you might notice and might not in a motion picture.

One thing I learned about BRAW is that the most important exposure decision is whether you will be in the 400 band or the 3200 band. To illustrate why it’s really all about the band and not the ISO, here’s what I found, say if you’re in the 3200 band.

You can set the ISO anywhere that’s convenient such as 1250, 3200, 6400. If you do not touch any other setting such as T-stop, the recorded exposure is identical. So if you need to brighten the monitor to see the scene, turn it to 6400.

Now if you use False Colour to ensure you have no yellow but no red in a scene at ISO 3200, and then turn the ISO to 1250, your monitor is going to darken and your False Colour display may show you no yellow at all. However your recorded exposure is the same as the scopes will prove to you. But if you open the iris a stop or more to bring back that yellow at ISO 1250, you have a different exposure, one with more light and better shadows.

Edit
The description above applies to the behaviour shooting BRAW. The behaviour in Prores 422 HQ is quite different in that changes to the ISO do affect the recorded image as well as the monitor without the operator having to adjust the iris. WYSIWYG as a change to ISO only is baked into the recorded image. Of course you can still make changes to the iris if you want.





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