Wow, that was some beautiful footage. It's interesting to have seen you're footage over the years. That 4k just makes those wet stones pop! Great work.
4:11, 0:46 Pure Gold! Love long lens shots Conrad Hall's work was always my holy grail. ("Butch Cassidy and the Sundance Kid", "Electraglide in Blue", "Road to Perdition") A beautifully Directed sequence with such classical compositions and "classical film music" ! So refreshing to watch after watching hours of whiplash neck twisting optical gymnastics of the current Gimbal Cult, which I was exposed to in the past week in the process of researching my first gimbal, ha! the irony! Thank you, nice work Mr. Bloom 👍
@@TheSolfilm Conrad Hall received his Oscar for "Road to Perdition" posthumously. He was scheduled to do a workshop at AFTRS when I was working there in Post Production. Sadly his failing health at that time prevented him from coming to Sydney. I met a lot of my DP heroes during my 15 years there between 1990 - 2005 (Australian Film Television and Radio School). The prospect of meeting him in person was a cherished dream.
@@SergeGolikov Too bad you couldn't meet him. Man, I just realize that you worked where the Kodak Master Class Series have been shot. Lucky b___ ! So you must have met a looot of good DP's down under (sorry, I always dreamt so say that). Were you there when Denis Lenoir came to make his masterclass ? And what a studio !! That place is a dream to learn cinematography. I whish my school had something to care about its students. When I watch those DVD's, I'm quite jaleous. But I least I managed to buy them. It was not that easy.
@@TheSolfilm Yes, I worked on that whole series; Denis Lenoir, Don McAlpine, John Seale, Dean Semler ... It was an incredible time, watching the Masters doing the ultimate Master Class. I was usually spinning tapes and doing Telecine transfers but asked my supervisor to jump on studio camera for a couple of days during Dean Semler's workshop. He's a very humble and approachable guy and brought in his Oscar ("Dances with Wolves") to show the crew on the last day while we were all having beers after the wrap. Can't believe that was 27 years ago now! Brings back many fond memories 👍
To me, this camera is a game-changer for the industry... if you can't make a cinematic film with a $1,295 camera, then it's on us. This little camera is amazing, not just for the price. I own a RED but I find myself drifting more and more to this camera because I'm not so limited. RED is going to have to come way down in price now, since they're going for the same indie-film market.
Yes an no. RED is not that much going after the indie market anymore.The number one appeal of their cameras is that they are modular, which means that in the long run, if you work in the commercial market a lot, you will save money because you only have to change the brain every couple of years. And if you switch lenses, you buy the right mount. If you go from cinema to live production, you get the production module, and so on. So yes the initial investment might be huge for most, but in the long run for commercial DPs you're winning because one camera and the set of accessories can cover jobs that would need 2 or 3 different high-end cameras. You can rent a brain with an EF mount if you're a DSLR shooter, eventually buy it, then one day switch to PL mount while keeping the same camera - keeping in mind that brains like Scarlett or Dragon still hold their own. This appeal to freelance DPs in the commercial world because the system can evolve with you. However, of course they abuse it. They know that some productions requires official accessories, hence 550 bucks for a fucking handle... Arri is the same... But definitely Black Magic is the way to go for indie those days. I never liked RED Color-science anyway, and I find it oh so ironic that RED camera's colours are... greenish... lol
@@jas_bataille I honestly do still LOVE RED's color science, especially the Gemini. It's still better than this but not by 'that' much, honestly. I've gotten pretty decent with the color on it and when I'd shot B-cam with the BMPCC4K, rarely can anyone tell. Like, even a used Dragon package is still around $15K-20K and the base Geminis are still around $20K plus the add-ons. Like, how we all pixel peep Alexa vs. RED all the time... honestly, the person at home doesn't know the difference if there's even CA in a shot. That's kinda what I'm getting at with the BMPCC4K... where it's not that far behind RED but it's 1/10th the price for maybe 85% of the same look... plus I love that I can 'sneak' it into places where I don't have permits.
That's an expensive feature that you won't find on budget priced cinema cameras like the BMPCC4K unfortunately. BMD can only pack so many features into their cameras ;)
Images are insane Philip. I love that telephoto of her walking toward the boat and that scene of her descending down toward the ocean. I have to own that 50-135mm. Oh btw, At 3:30 look to the right of the screen. Right on camera. Cat's have no shame.
Philip, love you man! You are an institution, I have learned much from you. And wow, the end footage was like watching a big budget cinema feature! My only issue is, I'm not certain of my commitment to MFT to make such an investment. Guess we'll see, timing is everything! Thanks Philip!
I have always liked these kinds of lenses. They perform so well, even though they are manual focus. Using some older glass from Minolta that wasn't Auto-Focus has taught me a lot. I'll definitely keep shooting with different kinds of lenses.
i have a random question: i switched from the sony a6300 to the bmpcc4k. i've got the sigma 30mm and 16mm 1.4 and the 10-18mm sony lens (which is e-mount i guess). is there any adapter for the blackmagic, so i can use the e mount lenses on my blackmagic? would be amazing if you guys can help me out!
Bassistent unfortunately no. The laws of physics make it impossible. I explained in this that the MFT flange is bigger than e mount. Plus you need power anyway. It’s impossible.
I thought that boat (Fair Chance) looked familiar. I was seaching for reviews on the Sachtler Ace M tripod and watched a review of yours on Vimeo then watched "Terminus." Then researching some camera stuff on TH-cam came across this video. Totally by chance! lol
Hi Phillip, awesome video. Are you in any shape or form compensated from the lens manufacturer or any Affiliates or distributors in relation to this video? Answer to that would round up an already quite rounded and lovely video. Thank you.
I also did 15 years with ENG lenses and sorely miss them in today’s modern camera systems. I also worked in film cameras like Panavision’s Panaflex Gold II and Platinum series cameras and Panavision Prime lenses all super 35mm cine. So these new Fujinon’s only cost about a weeks rental fee for the Panavision Prime lenses 25 years ago... so they are frankly a steal at this price. Now it looks as though Fujinon is shipping these lenses in a MFT combination as well! I may have to get the 18-55 I I 2019/2020 if the need arises. Now if only they where powered zoom like an ENG over the shoulder lens. :)
I keep hoping Fujinon will come out with a super wide the zoom in this series, like a 12-24 or something. Do you know if that company is doing conversions of the MKX lenses, to keep the lens data intact? That would be lovely.
sorry, but it is completely impossible. The EF flange is way greater than the flange on these lenses. If you want to understand more do a google on flange distances to see the physics.
The mini-film at the end is very good. Tbh, at that interesting location, with the meticulous shot composition and the little story with a twister at the end, you could have shot it with pretty much anything and it still would have been good :)
We've made some experimental short films using this camera, honestly, it does gives you the pure digital film results. Specially, when you finish grading your footages, you basically get the looks you always wanted. So, for the price, what else you want! Best brand for all kind of experiments, but if you're after Hollywood release, then go for RED or ARRI (or consider URSA mini PRO G2).
I utterly love this footage! Thank you for sharing it with us! My favorite shot is the profile of the main character skipping stones. May I ask, which lens are you using for that particular shot? Stunning!
Great video Phillip. These are some beautiful lenses. Way out of my budget for now but they'll be worth it in the long run. Have you ever used Pentacon Praktica vintage lenses?
I'm sure you worked out that if you have the MFT mounts fitted, you can get an MFT to e-mount adapter so you can use them on your sonys with the MFT mounts. These looks great, and from a workflow point of view, they tick all the right boxes. I'm not a fan of the bokeh, it's quite harsh...
@@philipbloom Do you mean the MFT to e-mount adapters? If that's what you mean, no, the one I got is fine. I bought a cheap one from Amazon to adapt my Meike MFT cine lenses to my Sony APSC bodies. There's a slight vignette on the 12mm which is dealt with in post with a small crop, but the rest adapt perfectly (I also have the 25mm, 50mm, 85mm). I'm currently moving up to Zeiss Milvus ZF.2 superspeeds as they're optically stunning, super fast, don't breath, have a de-click function on the aperture and a nice long focus throw. They can also be adapted to just about any mount so nice and future proof for me. No zooms though and the barrels extend slightly with focus....
Since you got a chance to play with both terra 4K and the new pocket, how do you think the pocket compares to the terra , is it worth the extra cash? I know frame rate comparison isn’t fair to judge but let’s say low light , and dynamic range, and workflow . I have a gh5 and 2 pocket4k cameras but after I heard about the new update terra is coming out with I’m thinking of selling one of my pockets to get the terra, This to me would give me more flexibility, Having the gh5 for its higher megapixel and ibis, and the pocket as a B cam and the terra for its crazy frame rates
Hey Philip! It's maybe a weird question, but where were you taking that little film at the end of this video in the world? It's pretty much looks like Dungeness in the UK. Am I any close with this guess?
@@philipbloom I haven't done it yet - looking at getting a filter, deciding between screw-on and the matte box route, but NDs will need to work with same system. I suppose that's how they keep the cost of the camera down, by excluding things like that.
I would say get a screw on because you will always need the IR removal filter on anyway, it really doesn't alter the image just remove some of the reds in the shadows for finer grading work. So I would say screw-on for IR, ideally, matte-box route with everything else. You keep the IR on like you would a protective filter.
Just bought a P4K - haven’t taken possession yet so good time to ask. Is it a must to use the IR filters? I’ve seen a bit here and there on it but nobody seems to have the definitive answer.
What are your thoughts on the Black Magic Pocket 6k camera? Would you prefer the 4k over the 6k? You can now buy the 6k version brand new for $2,000. I'm torn. I don't know which one to buy.
Great vid Philip! I recently saw your slow motion video using the Z-Cam e2 and it is beautiful. My question is for under 2k would you say the Z-Cam e2 or the BMPCC 4K is the better purchase. Sure it depends on ones needs but I’m less familiar with the z-cam e2 since it is a newer co. and therefore I’m less inclined to take it serious. BM been around for many more years... IDK. What is your opinion or take on the proper cinema camera for under 2k. (Not the GH5 as I’ve hand it for years already and although I love it...)
HI Phillip really nice review. I still have my ENG CineAlta cameras and I am wondering if I can adapt the Canon HD-EC HJ11x4.7B-III KLL-SC T2.1 I have on the CineAlta to work on the Pocket4K I just got? I have been trying to find this info and posted on blackmagic forum but no one is answering :) I think you might be the guy to ask!
Would you rather take the pair of Fuji's or go with the Sigma Cine 18-35 and 50-100? One would need an adapter for the Sigma's but you wouldn't loose the wide end by doing so
Jona Schmidt absolutely. They are very heavy. Have a too big focus throw of 300 degrees and breathe a lot. Plus the range isn’t as good. They are faster of course
Phillip. Thank you for your amazing work as always. You're an inspiration! Do you think the screws and the mount will wear out when constantly changing the mount? I'd love to use the Fujinon on the Pocket Cam as well as on oter E-mount cameras.
This is not a troll comment, not intended as one at least, but if the "Pocket 4K" is so great with the 1.9x crop, why is the EOS R beaten up so much with its 1.7x crop? After all, it can output 10 bit 4:2:2 over hdmi. Just curious...
Because they are wasting the full frame sensor! It’s a stills camera that shoots video but switching between the two is awful. I know. I have one. Plus your numbers are out. Blackmagic is 1.85x and Eos R is 1.8x.
@@GeorgeLoch another reason it's a problem is because the RF lenses are designed for full frame or "no crop" so it means you lose the wide end of your lenses. For example a 24 to 105 which is a versatile zoom range, becomes 43.2 to 189. So a lens that should have a good wide option because useless for any shot that you need a wide focal length for. This isn't an issue on MFT because the lenses take the crop into account. So instead of a 24 to 105 the lens is a 12 to 60. I hope this makes sense.
Hi Philip, is it possible to use the BC4k with fujinon 18-55 w/ slr animorphot 65 along with a speed booster to achieve super35 to leverage the whole range??
Location looks familiar, where was it? I've been playing around with my own pocket 4k, have done a couple jobs with it so far but I find the footage a bit dull and its tough to get super clean crisp footage. Maybe down to the glass im using, I got a viltrox EF adapter but it just doesnt work at all so i'm using tiny little olympus lenses from my Pen-F
Eric Knorpp it’s just resolve isn’t it? If you are just going to do a quick transcode without any colour correction in resolve why bother shooting it? Stick with Prores.
Interesting setup with amazing results! Question: have you ever tried these lenses with the anamorphic adapter that was made specifically for them by slr magic?
I am in confusion about the difference of projections of the footage between super35 sensor and MFT on a bigger cinema screen. Can one shoot a footage on a MFT sensor and project it on the cinema screen without loosing any quality? Is it possible? Or there is some other technicality in play?
Ricky Bhat you are thinking in completely the wrong way. The size of the sensor affects the depth of field properties only really. Absolutely nothing to do with its display possibilities.
Can we all also appreciate Mr. Bloom’s foley skills. Those pebbles and walking through them at the beach was some great sound fx work. Bravo 👏
Rehan Rajput thank you :)
That was my thought as well! Would love to see a tutorial on that
The Bloomenator is still the authoritative voice on all things indie for me. I've learnt sooo much from you over the years. Thank you sir!
The variety of the shot in the short is just incredible Phillip. Love it.
Utterly gorgeous images on those lenses and the Black Magic. What a world we're living in!
You have no idea how happy I am to hear about the mount!
Exciting crossover. Watching immediately!
Very informative Philip. The short is engaging - Bravo. You have skills sir.
William Israelson thanks William
Just picked up this camera. Love your films! They relax me.
The way you create something out of nothing is remarkable, as well as the way you use the music and sound design to transmit an emotion!. Loved it
Wow, that was some beautiful footage. It's interesting to have seen you're footage over the years. That 4k just makes those wet stones pop! Great work.
4:11, 0:46 Pure Gold!
Love long lens shots
Conrad Hall's work was always my holy grail.
("Butch Cassidy and the Sundance Kid", "Electraglide in Blue", "Road to Perdition")
A beautifully Directed sequence with such classical compositions and "classical film music" !
So refreshing to watch after watching hours of whiplash neck twisting optical gymnastics
of the current Gimbal Cult, which I was exposed to in the past week in the process of researching
my first gimbal, ha! the irony!
Thank you, nice work Mr. Bloom 👍
I love this DP ! The light on "Road to Perdition" is wonderful !
@@TheSolfilm Conrad Hall received his Oscar for "Road to Perdition" posthumously.
He was scheduled to do a workshop at AFTRS when I was working there in Post Production.
Sadly his failing health at that time prevented him from coming to Sydney.
I met a lot of my DP heroes during my 15 years there between 1990 - 2005 (Australian Film Television and Radio School).
The prospect of meeting him in person was a cherished dream.
@@SergeGolikov Too bad you couldn't meet him. Man, I just realize that you worked where the Kodak Master Class Series have been shot. Lucky b___ ! So you must have met a looot of good DP's down under (sorry, I always dreamt so say that). Were you there when Denis Lenoir came to make his masterclass ? And what a studio !! That place is a dream to learn cinematography. I whish my school had something to care about its students. When I watch those DVD's, I'm quite jaleous. But I least I managed to buy them. It was not that easy.
@@TheSolfilm Yes, I worked on that whole series; Denis Lenoir, Don McAlpine, John Seale, Dean Semler ...
It was an incredible time, watching the Masters doing the ultimate Master Class.
I was usually spinning tapes and doing Telecine transfers but asked my supervisor to jump on studio camera
for a couple of days during Dean Semler's workshop. He's a very humble and approachable guy and brought in his Oscar ("Dances with Wolves")
to show the crew on the last day while we were all having beers after the wrap.
Can't believe that was 27 years ago now!
Brings back many fond memories 👍
I don't know, Philip... once you go Mouse on a camera, it's really hard to go back to anything else.. ;)
I personally only use a camera if it supports a force feedback steering wheel.
If it ain't PS/2 compatible, I ain't filming on it.
@@krazyfrog looooool
To me, this camera is a game-changer for the industry... if you can't make a cinematic film with a $1,295 camera, then it's on us. This little camera is amazing, not just for the price. I own a RED but I find myself drifting more and more to this camera because I'm not so limited. RED is going to have to come way down in price now, since they're going for the same indie-film market.
Yes an no. RED is not that much going after the indie market anymore.The number one appeal of their cameras is that they are modular, which means that in the long run, if you work in the commercial market a lot, you will save money because you only have to change the brain every couple of years. And if you switch lenses, you buy the right mount. If you go from cinema to live production, you get the production module, and so on.
So yes the initial investment might be huge for most, but in the long run for commercial DPs you're winning because one camera and the set of accessories can cover jobs that would need 2 or 3 different high-end cameras. You can rent a brain with an EF mount if you're a DSLR shooter, eventually buy it, then one day switch to PL mount while keeping the same camera - keeping in mind that brains like Scarlett or Dragon still hold their own.
This appeal to freelance DPs in the commercial world because the system can evolve with you. However, of course they abuse it. They know that some productions requires official accessories, hence 550 bucks for a fucking handle... Arri is the same...
But definitely Black Magic is the way to go for indie those days. I never liked RED Color-science anyway, and I find it oh so ironic that RED camera's colours are... greenish... lol
I'm already seeing RED Monstro and RED Scarlet-W on both E-bay and Craigslist.
@@jas_bataille Z CAM will finish RED
@@zinekaizerzen-pokemonunite1390 this!
@@jas_bataille I honestly do still LOVE RED's color science, especially the Gemini. It's still better than this but not by 'that' much, honestly. I've gotten pretty decent with the color on it and when I'd shot B-cam with the BMPCC4K, rarely can anyone tell. Like, even a used Dragon package is still around $15K-20K and the base Geminis are still around $20K plus the add-ons. Like, how we all pixel peep Alexa vs. RED all the time... honestly, the person at home doesn't know the difference if there's even CA in a shot. That's kinda what I'm getting at with the BMPCC4K... where it's not that far behind RED but it's 1/10th the price for maybe 85% of the same look... plus I love that I can 'sneak' it into places where I don't have permits.
The Pocket 4K is great and all but does it even have the vignette feature like Fran?! 😜
That's an expensive feature that you won't find on budget priced cinema cameras like the BMPCC4K unfortunately. BMD can only pack so many features into their cameras ;)
That's the only problem. It doesn't. The only reason why I hesitate a bit as to buying this camera. :-P
...but will it also run Internet Explorer? That's the real question.
Lovely work Phillip - as always! And a great location.
yeahhh totally!!!!
BEST ENDING EVER HAHA, but on a serious note very, very informative and exquisite video as always Philip
Purrrr...inhales....Purrrr...inhales....Purrrr...inhales....Purrrr...inhales....Purrrr...inhales....Purrrr...inhales....Purrrr...
In the end, alone with your cats. Gold. Pure gold!
Wow! Some of the best BM Pocket footage I have ever seen!!! And the story of the short!! Genius😂‼️
Nice combo !! Been waiting for use these lenses for a while.
Bro.. ur everywhere...😂.. i've seen u everywhere in all bmpcc youtube video comment section...! BTW..ur videos also ossm..
Perfect video to watch with my morning tea! Great content :)
LOVED IT....... (Did you foley the sounds? or capture live? Sounds great!)
MAKE. ART. NOW. Cheers Josh. All foley
@@philipbloomBloom that is some elbow grease you put in!
@@4seeableTV I assume Josh is talking about the actual edit at the end
@@4seeableTV Generally Philip does the purring himself!
Anybody else expecting David Attenborough to come in with a voiceover about how majestic the horses are on the beach @0:29 ?
I love that 9:39 shot! shows that the boat is where the "imaginary answer" lies. Definitely engages the audience.
ooh, sweet kitty in the end. my Renji does this all the time, when i try to work on my PC XD
Images are insane Philip. I love that telephoto of her walking toward the boat and that scene of her descending down toward the ocean. I have to own that 50-135mm.
Oh btw, At 3:30 look to the right of the screen. Right on camera. Cat's have no shame.
Gearie NoXcuses that’s why I put it in there. :)
Your model is lovely. Great points all around. Thank you.
I know this video is not about the beach, but that is one very awesome looking place to shoot just about anything!
Philip, love you man! You are an institution, I have learned much from you. And wow, the end footage was like watching a big budget cinema feature! My only issue is, I'm not certain of my commitment to MFT to make such an investment. Guess we'll see, timing is everything! Thanks Philip!
You have many choices right now: GH5S, BMPCC4K, ZCAM E2, and the ZCAM S35 MFT is comming!
I have always liked these kinds of lenses. They perform so well, even though they are manual focus. Using some older glass from Minolta that wasn't Auto-Focus has taught me a lot. I'll definitely keep shooting with different kinds of lenses.
i have a random question: i switched from the sony a6300 to the bmpcc4k. i've got the sigma 30mm and 16mm 1.4 and the 10-18mm sony lens (which is e-mount i guess). is there any adapter for the blackmagic, so i can use the e mount lenses on my blackmagic? would be amazing if you guys can help me out!
Bassistent unfortunately no. The laws of physics make it impossible. I explained in this that the MFT flange is bigger than e mount. Plus you need power anyway. It’s impossible.
Philip Bloom okay, thanks for the reply!👍🏼
Keep up the good work Philip! Looking forward seeing more content!
I thought that boat (Fair Chance) looked familiar. I was seaching for reviews on the Sachtler Ace M tripod and watched a review of yours on Vimeo then watched "Terminus." Then researching some camera stuff on TH-cam came across this video. Totally by chance! lol
Hi Phillip, awesome video. Are you in any shape or form compensated from the lens manufacturer or any Affiliates or distributors in relation to this video? Answer to that would round up an already quite rounded and lovely video. Thank you.
ra yes. I said in the video that I have made 3 videos now for Fuji. All the gear is my own.
@@philipbloom great, thank you.
Did you swop the mount at home or did you have to ship the lenses to fujinon ?
holsteincowboy I did it. 4 screws on each mount
ufff,.. image quality looked so much like top hollywood films
That's an awesome location, so much atmosphere.
Lovely smooth tripod moves. What tripod would you recommend for this setup?
I also did 15 years with ENG lenses and sorely miss them in today’s modern camera systems. I also worked in film cameras like Panavision’s Panaflex Gold II and Platinum series cameras and Panavision Prime lenses all super 35mm cine. So these new Fujinon’s only cost about a weeks rental fee for the Panavision Prime lenses 25 years ago... so they are frankly a steal at this price. Now it looks as though Fujinon is shipping these lenses in a MFT combination as well! I may have to get the 18-55 I I 2019/2020 if the need arises. Now if only they where powered zoom like an ENG over the shoulder lens. :)
cvp.com/product/chrosziel_cdm-mk-z_lens_zoom?gclid=CjwKCAjw-ZvlBRBbEiwANw9UWpSk_t-s_w8WJC4OLrh0xyeCx8yU4WPJl84hFXTi2aUbrOEmboqwARoCDDUQAvD_BwE
I keep hoping Fujinon will come out with a super wide the zoom in this series, like a 12-24 or something.
Do you know if that company is doing conversions of the MKX lenses, to keep the lens data intact? That would be lovely.
Starry Dynamo the adaptor is passive only. There won’t be an X mount version.
Wow. That sequence was incredible. How to film a walking sequence 101 🔥😩
Thank you for adding all the info to buy this lens adapter Mr Bloom - also as always beautiful work!!
The story at the end - wonderful. You really know how to tell a story! Nice review too:-)
What adapter is needed to use this lens on the Black Magic 6k? This video was very informative..thank you!
sorry, but it is completely impossible. The EF flange is way greater than the flange on these lenses. If you want to understand more do a google on flange distances to see the physics.
Throughout the video: “wow this lens looks amazing!”
Me: checks price***
“Nevermind”
Nooo, you cut the best part at the end! In all seriousness, I really love how much your cats show their affection for you...
which bit did I cut out?
@@philipbloomlittle Lollipop in your arms!
Akshay Anand vimeo.com/307865468 for you!
Love the photography on the video - question - would you go with the Black Magic 4k with these Fuji lenses - or go with the X-t3 - which are super 35?
The mini-film at the end is very good. Tbh, at that interesting location, with the meticulous
shot composition and the little story with a twister at the end, you could have shot it with pretty much anything and it still would have been good :)
we need an EF mount for this lens.
Agree
@@NebulousFilms this lens is made to screw up Sony and Cannon also nikon
Chad Lau it’s e mount mate. So Made for Sony cameras.
@@darrencoates i bought both mk 50-135 e-mount and mk 50- 135 x-mount, and just added mk 18-55 x-mount, e-mount for FS5, x-mount for XT3,
We've made some experimental short films using this camera, honestly, it does gives you the pure digital film results. Specially, when you finish grading your footages, you basically get the looks you always wanted. So, for the price, what else you want! Best brand for all kind of experiments, but if you're after Hollywood release, then go for RED or ARRI (or consider URSA mini PRO G2).
Very nice, your work is inspiring as always.
I utterly love this footage! Thank you for sharing it with us! My favorite shot is the profile of the main character skipping stones. May I ask, which lens are you using for that particular shot? Stunning!
Greta Taxis thank you! One of the two zooms! If it’s right then the longer one. Wide then the wider one :)
@@philipbloom Thank you, thank you!
Great video Phillip. These are some beautiful lenses. Way out of my budget for now but they'll be worth it in the long run.
Have you ever used Pentacon Praktica vintage lenses?
The way you picked up the cat at the end really strikes me as professional.
rampagetv yep. I am
Love the colors. :) Running a Fujinon B4 lens on my BM Mini Pro. Adjusting back focus was some sort of hassle but once done its great working.
Your videos are just amazing! Thank you for the quality!!!!
I'm sure you worked out that if you have the MFT mounts fitted, you can get an MFT to e-mount adapter so you can use them on your sonys with the MFT mounts.
These looks great, and from a workflow point of view, they tick all the right boxes. I'm not a fan of the bokeh, it's quite harsh...
Are those not horrible tight?
@@philipbloom Do you mean the MFT to e-mount adapters? If that's what you mean, no, the one I got is fine. I bought a cheap one from Amazon to adapt my Meike MFT cine lenses to my Sony APSC bodies. There's a slight vignette on the 12mm which is dealt with in post with a small crop, but the rest adapt perfectly (I also have the 25mm, 50mm, 85mm). I'm currently moving up to Zeiss Milvus ZF.2 superspeeds as they're optically stunning, super fast, don't breath, have a de-click function on the aperture and a nice long focus throw. They can also be adapted to just about any mount so nice and future proof for me. No zooms though and the barrels extend slightly with focus....
I love this lenses too and also with X Mount with xt3 !
Beautiful little film there Philip. And WOW! Incredible image quality. Like Arri Alexa with Panavision or something...
Since you got a chance to play with both terra 4K and the new pocket, how do you think the pocket compares to the terra , is it worth the extra cash? I know frame rate comparison isn’t fair to judge but let’s say low light , and dynamic range, and workflow .
I have a gh5 and 2 pocket4k cameras but after I heard about the new update terra is coming out with I’m thinking of selling one of my pockets to get the terra,
This to me would give me more flexibility,
Having the gh5 for its higher megapixel and ibis, and the pocket as a B cam and the terra for its crazy frame rates
Shot beautifully, nice gravel...😊👍
idk why but i loved the "hello, burt"
3:08 I pretty much freaked out when the pillow to his left moved all by itself.
herranton1979 you mean my cat?
@@philipbloom Yeah, lol, It scared the bejezuz out of me...
Oh yes, maybe one day. For now I’ll use the bmpcc4k with a some Panasonic Lumix G X Vario lenses.
But I’ll keep watching this video till that day.
Lumix Lens rock!! IF you can afford a 4k lens you can afford a 20k body.
Lovely film! Thanks for posting.
Love everything you do. Take care.
Hi Philip, I love you advise on the BMPCC 4k. what camera and lens do you use to record your youtube videos? Thanks for your help.
Hey Philip! It's maybe a weird question, but where were you taking that little film at the end of this video in the world? It's pretty much looks like Dungeness in the UK. Am I any close with this guess?
Yup. th-cam.com/video/tRgPl98UWlo/w-d-xo.html
4k is the price too, well out of my price range sadly, I can but dream :D Gorgeous footage. :)
Thanks Philip. As always - great content, and love the cats. Question: How do you deal with IR pollution on this camera?
I haven’t yet. How you dealing with it?
@@philipbloom I haven't done it yet - looking at getting a filter, deciding between screw-on and the matte box route, but NDs will need to work with same system. I suppose that's how they keep the cost of the camera down, by excluding things like that.
@@makeperceive I use an IR removal filter for Black Magic cameras. Shame I don't remember which brand. Anyway it works well.
I would say get a screw on because you will always need the IR removal filter on anyway, it really doesn't alter the image just remove some of the reds in the shadows for finer grading work. So I would say screw-on for IR, ideally, matte-box route with everything else. You keep the IR on like you would a protective filter.
Just bought a P4K - haven’t taken possession yet so good time to ask. Is it a must to use the IR filters? I’ve seen a bit here and there on it but nobody seems to have the definitive answer.
What are your thoughts on the Black Magic Pocket 6k camera? Would you prefer the 4k over the 6k? You can now buy the 6k version brand new for $2,000. I'm torn. I don't know which one to buy.
Everyone likes you sir you explain very nice sir
thanks
The ending was epic! Quality Filmmaking
Lollipop or the skimming stones bit?
@@philipbloom Both :)
@@philipbloom I think we all know it's Lollipop.
@@philipbloom Skimming stones bit but lollipop a very close second
Jermaine Grant she just blew a raspberry at ya!
Great vid Philip! I recently saw your slow motion video using the Z-Cam e2 and it is beautiful. My question is for under 2k would you say the Z-Cam e2 or the BMPCC 4K is the better purchase. Sure it depends on ones needs but I’m less familiar with the z-cam e2 since it is a newer co. and therefore I’m less inclined to take it serious. BM been around for many more years... IDK. What is your opinion or take on the proper cinema camera for under 2k. (Not the GH5 as I’ve hand it for years already and although I love it...)
Gerry Landy E2 is really really good. I need to do a review of it
Interesting info, stunning images. Thank you.
HI Phillip really nice review. I still have my ENG CineAlta cameras and I am wondering if I can adapt the Canon HD-EC HJ11x4.7B-III KLL-SC T2.1 I have on the CineAlta to work on the Pocket4K I just got? I have been trying to find this info and posted on blackmagic forum but no one is answering :) I think you might be the guy to ask!
Would you rather take the pair of Fuji's or go with the Sigma Cine 18-35 and 50-100? One would need an adapter for the Sigma's but you wouldn't loose the wide end by doing so
Jona Schmidt absolutely. They are very heavy. Have a too big focus throw of 300 degrees and breathe a lot. Plus the range isn’t as good. They are faster of course
nicely done
Phillip. Thank you for your amazing work as always. You're an inspiration! Do you think the screws and the mount will wear out when constantly changing the mount? I'd love to use the Fujinon on the Pocket Cam as well as on oter E-mount cameras.
E mount to MFT !
Great video. Is there a work around for the X-mount version? I have an xt3 but I want to get the BMPC 4k next. I would love to know how to adapt it.
Hi Philip, congrats for your footage!
I heard about some BMPCC4K failures. Do you know something about? Is it a reliable camera?
Absolutely amazing MR. Bloom, what an amazing sound as well, it was recorded on camera or it is Foley?
Great Job Again!!
Guillermo Castellanos thank you. Was foley
@@philipbloom woow great great work. And thanks for answering, very appreciated!!
Awesome!! will I get some of the crop back if i slapped a Speedbooster on my bmpcc 4?
thank you. You can put a speed booster on your camera but then you won't be micro four thirds anymore so the lenses won't go on! One or the other!
@@philipbloom Ah okay got it! so this lens go right onto the bmpcc 4k! thank you!
@@vizualizefilmsllc6225 yep. Speed boosters are for canon ef lenses.
@@philipbloom Awesome! oh and thanks for sharing your amazing knowledge, appreciate!
Hi Philip, do you think/know the X-mount version’s end is also repalceable? I could by them cheaper than E-mount...
... Ready purrrring - GO !!
** PURRRING INTENSIFIES **
...aaaaaaand, Fade to Black ;)
This is not a troll comment, not intended as one at least, but if the "Pocket 4K" is so great with the 1.9x crop, why is the EOS R beaten up so much with its 1.7x crop? After all, it can output 10 bit 4:2:2 over hdmi. Just curious...
Because people buy the EOS R for the full frame sensor. Also this camera records RAW
Because they are wasting the full frame sensor! It’s a stills camera that shoots video but switching between the two is awful. I know. I have one. Plus your numbers are out. Blackmagic is 1.85x and Eos R is 1.8x.
Philip Bloom So, it’s the principle of wasting rather than quality? Is the image quality of the Pocket 4K better than the EOS R?
George Loch yes but that’s not the point. The point is this is supposed to be a full frame camera
@@GeorgeLoch another reason it's a problem is because the RF lenses are designed for full frame or "no crop" so it means you lose the wide end of your lenses. For example a 24 to 105 which is a versatile zoom range, becomes 43.2 to 189. So a lens that should have a good wide option because useless for any shot that you need a wide focal length for.
This isn't an issue on MFT because the lenses take the crop into account. So instead of a 24 to 105 the lens is a 12 to 60.
I hope this makes sense.
That pillow! I want
Hi Philip, is it possible to use the BC4k with fujinon 18-55 w/ slr animorphot 65 along with a speed booster to achieve super35 to leverage the whole range??
B&H has micro four thirds version for pre order
Larry Zapata it’s the e-mount lenses already fitted with the same MTF adaptor which means they can switched to E mount at some point if needed
I'm getting tired of my a6500 I was thinking of a GH5s or BMPCC4K the images just seem heavenly and I can't afford an FS5
Stunning when is the movie coming out?
Just starting watching the video and already it's a big plus it's got a basset in it..
And fuji just announced the MFT mount! 😁
Paulo Carvalho it’s this with the mount already done by them
Location looks familiar, where was it?
I've been playing around with my own pocket 4k, have done a couple jobs with it so far but I find the footage a bit dull and its tough to get super clean crisp footage. Maybe down to the glass im using, I got a viltrox EF adapter but it just doesnt work at all so i'm using tiny little olympus lenses from my Pen-F
hey, witch mic did u use to record the food steps? is it the original one from the camera?
weird update all foley
@@philipbloom oh, then its pretty realistic!
8:30 ahahaha, thaaat PAIN :)))) Thanks for your video. The first frame of the sea is filmed with what lens/camera?
Not sure if I missed this: what converter did you use to plug your e-mount lenses onto the BM?
Bobby Miklausic if you didn’t read the detailed description then yes, you missed it!
@@philipbloom Ahaaa. Very good. Thanks for the swift (and slightly sarcastic) reply :) Have they done a similar thing for the BM 6K do you know?
Does anybody know if it is possible transcode Braw to Prores on the fly or quickly so I can edit BRAW in FCPX?
Eric Knorpp it’s just resolve isn’t it? If you are just going to do a quick transcode without any colour correction in resolve why bother shooting it? Stick with Prores.
@@philipbloom To get the "Benefits" of Raw. I was just wondering. Thought raw was "better".
Interesting setup with amazing results! Question: have you ever tried these lenses with the anamorphic adapter that was made specifically for them by slr magic?
Seb Hazel yep it works. Best from f4/ f5.6
Philip Bloom Thank you! 🙂👍
Love these lenses ever since I heard of them I wanted them so much shame they're not for canon though the kinefinity looks awesome too
I am in confusion about the difference of projections of the footage between super35 sensor and MFT on a bigger cinema screen.
Can one shoot a footage on a MFT sensor and project it on the cinema screen without loosing any quality? Is it possible? Or there is some other technicality in play?
Ricky Bhat you are thinking in completely the wrong way. The size of the sensor affects the depth of field properties only really. Absolutely nothing to do with its display possibilities.
@@philipbloom Thank so much you philip.. you are awesome!