Audio, Gimbals & Stills – Blackmagic Pocket Cinema Camera 4K – Q&A Part 2

Audio, Gimbals & Stills – Blackmagic Pocket Cinema Camera 4K – Q&A Part 2


hi Carl here for ProAV TV and welcome to
part 2 of our series of tests on the Blackmagic pocket Cinema Camera 4k now
before we get started as you wanted to say welcome to all the new subscribers
because the first part of this did fantastically well it was really great
to see so many of you commenting and being active and subscribing to the
channel it’s really great to hear what you guys are all thinking of this camera
so far to see how excited you all are and to see just how many things you want
us to test so in this video we’re going to finally address some of the most
asked things about in this camera primarily the audio a lot of people are
asking about the audio a lot of people asking about internal microphones the
XLR the 3.5 milk an you hear the fan noise all of this sort of stuff so I’m
going to try and cover all of those in this video
we’re also going to do some stuff on the stills and the time-lapse and a few
little bits and bobs of interesting questions that I’ve spotted from down in
the comments and I’ve had sent in so let’s get started so first up we’ve got
the good old rolling shutter test this is the the aged year old very
unscientific just simply will wave the camera from side to side crazily to see
how much the image skews we’ve used the model here in the show room this time
and we’ve gone from nice telephoto macro shot on their fences we’ve done this for
a number of reasons firstly the longer you zoom in the more noticeable any
wrong shot artifacts are so with a telephoto lens you normally see any
jello more than you would on a wider one and also the fence gives us a series of
nice straight lines so that we can see whether those straight lines are bending
at all either way as we pound the camera so as we can see here as we play back
real-time there is a slight rolling shutter effect
it’s nothing crazy-bad certainly I mean obviously this is someone realistic
you’re never going to be shooting like this in the real world situation and as
we slow it down here you can just how much is impacting on these
reasonable slow speeds you only really notice it at the start of the speed once
you get going those lines are looking pretty straight to me you just notice a
little bit of a warp straightaway as the camera thought very quickly starts to
move so there is some but it’s nothing that I’m going to be too worried about
so that’s rolling shutter let’s move on to the main bulk of this video which is
going to be the audio comparisons so this is our simple audio comparison all
this footage has been recorded straight into the Blackmagic camera and we’ve got
a variety of different microphone methods to get the sound from this
simple piece to camera I’m wearing a lav mic this is the Sennheiser AVX unit
which we use for this channel and it’s their me2 microphone again the one that
we normally use and at the moment it’s going into the mini XLR port but we can
also plug into the 3.5 million I cloned and we’ve got a zoom h6 as well which
we’re going to record with this AVX in to sort of use that as a bit of a
reference to see how good the preamps in camera are versus ones on external
recorders like that so what we’re going to do is I’m going to read a passage
from black magics website and then we’re just going to cycle through each of the
recording methods and see how the quality changes so first up this is the
AVX unit with the me2 microphone going into the mini XLR port with their
adapter cable from black magic so this is the AV X plugged into the 3.5
millimeter jack on the camera rather than the XLR and interestingly we’ve had
to boost up the gain quite a bit get the same sound levels so we interesting to
see if you can tell any difference between the last take and this and now
we’ve got the rode videomic pro attached to the top of the camera itself again
going into that 3.5 millimeter jack I’m going to leave a bit of a pause now just
so that we can see if we can hear the fans from the actual camera we’ve now swapped over to the internal
microphones I mean I’m a good metre and a half away from the camera here but it
is pretty quiet in here and we have turned the levels on the camera right up
to 100% but then is still saying that my levels are a little bit low so this
might not be quite a fair test but it’s interesting that we can’t get the levels
quite high enough for this situation and finally we’re going to record onto the
zoom h6 as a bit of a reference if you like to judge the preamp quality between
the camera and the zoom so this is the AVX unit again into the zoom h6 the
Blackmagic pocket Cinema Camera 4k gives you the professional features you need
all in a portable and affordable design that can be used anywhere it’s perfect
for shooting independent films and documentaries fashion shows travel blogs
web videos weddings corporate video sports and more the incredible image
quality advanced Blackmagic Design color science and raw recording let you shoot
images that rival professional digital film cameras custom tens of thousands
more that means you get the image quality you need to seamlessly mix
footage from the Blackmagic pocket Cinema Camera 4k with other types of
cameras used on high-end Hollywood feature films and episodic television
shows so I don’t think there was too many nasty hidden surprises there I had
a lot of customers asking is there a bit of a background hiss or something like
that and not really trusting the inputs on the Blackmagic and actually I thought
that was perfectly fine I couldn’t hear much of an audio quality difference at
all between the zoom and the Blackmagic ones when used with the AV X obviously
when you use the rode videomic pro or the internal microphones and sound goes
down a lot that’s not really down to the camera that’s down to the style of
microphone being used of course I mean a lav mic like this is always going to
sound way better and that’s why we always encourage our customers to invest
properly in sound equipments it’s also very interesting that the the internal
microphones are so much quieter now obviously you’d expect them to be
quieter the microphone is much much further away than is
on when I’m using a lav mic for example with a lav mic it’s right here next to
my mouth with an internal microphone or camera it’s right over there by the
camera it’s obviously going to be recording the sound quieter but we
didn’t just have to bump up the levels a little bit we had to button them all the
way up and then even then when I was only a a meter and a half speaking
relatively loudly in a quiet room it still wasn’t loud enough and we had to
boost it further in post so they sound okay quality but they are
going to be a little bit on the quiet side those internal microphones a lot of
you been asking about the stills performance which is perhaps unusual for
a Blackmagic camera because just like all their other cameras this is
definitely marketed and aimed at the video audience
it’s a cinema camera it’s marketed as a cinema camera it’s got law it’s got sit
it’s got dingy it’s got pro res this is definitely a video camera through and
through but they made a very interesting decision to add a stills button next to
the video record button on the top and that’s got a lot of us thinking is this
perhaps intended to be slightly more of a hybrid camera like we’ve seen on the
panasonic gh4 the sony a7 or Karan’s dslr’s
cameras like that which are just as good as stills camera as they are a video
camera in fact in many cases are better stills camera than a video camera and to
be honest no I don’t think that is the case I think what this is mainly going
to be used for is reference stills so you can take one frame grab so that you
can use it as reference for what that video shot is going to look like for
framing for sharing with other people for something like that or maybe even
for color great there’s so many useful cases for doing that I think that’s what
this is for really rather than actually taking it as a stills photograph and I
say that for several reasons firstly is the how it actually physically works is
this little button here next to the record button but it’s not the same as
it is on a stills camera on a stills camera it’s a very nice tactile button
which you can harvest to focus full press
to take the photo and you get a lot of feedback from that button this is a
little bit fiddly and you sort of have to push it right down to make sure that
it presses it’s not quite as simple and as easy although it’s just a button it
does actually make a big big difference and also the only way that you’re going
to be able to tell that you’ve taken a still is this tiny little icon that’s
going to appear in the top right of the screen and also where the media is it’s
going to physically say still rather than show how many minutes of video
you’ve got remaining now on a stills camera you’d be used to having an
audible sound of some kind or maybe a bit of a blackout in the viewfinder
something like that to give you a bit of feedback to say to you as the operator
yes I’ve taken that photo now you’re not going to get any of that on here all
that you’ll get is those tiny little icons to go off and then in terms of the
actual file this isn’t a high resolution still or anything like that it is simply
a 4k video grab in DNG so there’s no JPEGs or anything like that it’s purely
DNG and it’s going to be exactly the same image quality its sharpness
everything the same as that as if it was a long video in cinema DNG format we’ve
got some side-by-side comparisons here where you can see there’s no difference
in terms of colorant and sharpness in terms of anything we’ve literally
plucked one frame from a cinema DNG sequence and put it next to that DNG
file that’s created by our stills button and they are identical in every single
way a couple of interesting things the 1080p performance is interesting when
it’s in windowed and you’re using a windowed crop of the sensor that stills
button is going to keep in that crop and it is going to give you a 1080p DNG file
whereas when you’re using the full width of the sensor but down sampling to 1080p
in camera it’s going to give you a 4k raw and this is because it’s using the
same engine as the cinema D&G side of the camera it can only down sample to
1080p using the full sensor when it’s in a compressed format like Pro res it
can’t do that in cinema D and G for video and that’s why it can’t do that
for the DNG stills images as another interesting addition is
time-lapse so I don’t think Blackmagic again are intending this to fully
replace a time-lapse setup for time lapse professionals for that you’re
definitely still going to want a stills camera and an intervalometer something
that gives you the control over your exposure length and your intervals
everything that in ramping you know time lapse professionals need a lot of
control this though is perhaps one of the simplest and easiest to use time
lapse solutions I’ve actually played with it’s just very easily enabled in
the menus it’s on the third page of the record settings there’s one switch to
turn on time lapse and then one simple slider to say how often you want to
capture a frame now for those of you new to time-lapse what this simply is going
to do is the further along you put that the more sped up your time-lapse is
going to be in the final thing and the longer it’s going to take you to film
the same amount basically rather than taking 25 frames a second for example
it’s going to spread those frames out over a longer amount of time and then
squash them together to speed up your action and that’s just going to do that
really simply in camera for you so the the further apart you have each frame
being captured so whether it’s five seconds or every five frames or
something like that the more sped up your final video is going to be and the
longer you’re going to have to stand there and actually film for the same
length of final video so Dan went down to our local park just to get a quick
example of this and as you can see it’s very similar to the normal video quality
it looks just a sharp of the same sort of colors as the video it’s just sped up
and a really nice touches that you can play it backing camera that’s because
the camera is building this into eight video time-lapse for you one of the most
difficult bits about working with time-lapse is actually constructing it
once you’re done that post-production workflow when you end up with say 500
still images you’ve then got to edit them all you’ve then got to rebuild that
into one video file and that’s intensive that takes time to do it’s worth it for
the control when you’re a professional time-lapse for just those of us that
just want to insert one super fast little tone elapsing
to say a corporate video something like that this is going to be a much easier
way to do it because the cameras going to do all of the work for you one of the
most asked about topics in the comment section was definitely how well it works
with different gimbals so we took the three gimbals that we had access to here
in the showroom and tried it on each of them first up we got the loan in s now
this balanced absolutely fine the main difficulty as it was to be
honest with every single gimble was the physical width of the camera and because
the majority of the weight is offset here on the left where the lens is the
main bit on the right is just a battery compartment and so it’s a lot lighter
than the left of the camera so it’s a bit of an unbalanced camera that’s
physically wider on the right-hand side so it’s a little bit difficult to get
balanced so we found we needed a little bit of an extra an extra part on each
one of the gimbals to make it work the nice thing about the rodent s though
was that this was included with the actual gimbal in the box when you buy
the gimbal you get a little riser plate which not only lets you the cameras it
higher up but it also let allows you to offset it to the side a little bit and
this is what we found helped us balance it because it can offset over to the
side it meant it gave you more space for the handle and then you could just slide
the game well and balance it as normal and it would physically fit on without
that we just simply couldn’t physically fit it onto the gimbal then with design
crane 2 we found we needed it basically the same thing but the Zion crane 2
doesn’t come with a rice plate like that so we use the arca-swiss tripod plate
from small rig this is a really useful piece of kit anyway there’s so many uses
for anarchist our Swiss plate we use it all the time here on in the show room
mainly to quickly go from one tripod to another onto the autocue system onto a
tripod onto a slider is absolutely brilliant but what we used it for here
specifically was to basically do the same job as that riser it lets the
camera sit that a little bit higher up and it gives you if you mount it on
sideways gives you control for sliding the camera from the left and to the
right so we slide it a little bit to the left gives us more space for the hand
grip and lets us balance the camera properly so
Zion crane – you needed something like the tripod plate from small rig an ARCA
Swiss style one to let you slide the camera backwards and forwards and then
with the original Ronin we found that we had the most problems now this was
mainly because of physically trying to fit it between the two sides of the
gimbal here as you can see that isn’t that much clearance the other big issue
that we were finding is because the camera is a little bit unbalanced the
right-hand side of it is a little bit lighter than the left-hand side of it
because the lens is closer to the left-hand side
so we used this arc a Swiss style plate from small rig in order to counter
balance a little bit that’s why it’s so offset to the right here interestingly
though if you put a larger lens on you didn’t need that and the reason being is
because the Glenn the camera was then more front heavy you could just slide
the entire camera unit back clearing the handle away from the physical
construction of the actual gimbal meaning that it could sit behind the
edge of the gimbals cage there so you didn’t need anything extra if you were
using a bigger lens but with this little 12 to 35 lumix lens that we’ve been
using throughout the other gimble’s for this shoot we did find that we had to
use the arca-swiss plate from small rig and that was mainly used as a
counterbalance of course you can use other things to counterbalance this like
maybe the official ones from DJI or I’m sure there’s lots of other methods as
well but this was the solution that we had ready to hand and said this was the
most convenient for us and this is what we found worked for us overall though it
did balance and albeit with a little bit of help but it did balance on every
single gimbal we tried it with and it’s actually quite a nice gimbal – nice
camera to use with those gimbals because of that large screen on the back and
because the actual camera itself is so lightweight it really is an enjoyable
experience using it particularly with those little one-handed gimbals I’m seeing a lot of people ask in the
comments section about different law formats and what might potentially be
coming to this in the future now I’ve got no firm answers here all I know for
certain is what’s in it now which is cinema D and G this is the same as we’ve
seen on pretty much every Blackmagic camera to date but at IBC this year they
did announce their own RAW format so Blackmagic law at the moment this is
only available on the Ursa mini Pro they’re larger more professional film
camera they have said though that they really want to bring it to this they’ve
not said that it’s definitely coming they’ve said that it’s probably coming
and that they really want to put it on this and that’s a bit interesting there
they’re sort of not committing to bringing it to this I wonder if that’s
maybe because of some technical limitations I imagine this has a lot
less processing power and particularly cooling capability compared to their
larger camera for obvious reasons this is a lot smaller it’s a lot harder to
get everything going on in here but they have said very publicly that they really
really want to put it in here and for good reason it would be fantastic in
here it’s a much better raw format from the surface I’m properly used it yet in
much in depth but on the surface it looks much more convenient and just as
good a quality as cinema D&G so it’s a very welcome addition and I think it
would be a real asset to this camera if it was added some people are also asking
about pro res raw and will that come to it this is apples and you RAW format
that we’ve seen on things like atlases new devices now because Blackmagic have
introduced their own raw format you’ve got to sit back and think about it from
a business point of view are they going to introduce somebody else’s wolf format
onto it as well as this now I’d imagine probably not it would be fantastic if it
did get added I was really hopeful with pro res law that it was going to become
this industry standard that it would be a RAW format that was picked up by
everyone but because of apples mentality and keeping it closed into just Final
Cut Pro X at the moment and Blackmagic being so open to other things they’ve
he said that they’re already working with other software manufacturers to try
and get it into everything in from a software point of view and they’ve also
said that they’d be willing to open it up to other camera manufacturers for
them to put it in their cameras none of this is something which Apple have
talked about with ProRes raw yet so even though this is Blackmagic raw this
potentially could have that same idea that same potential of becoming an
industry standard war format I don’t know if it will just purely because it’s
called black magic law I can’t see other people liking that too much but
potentially it does have the potential to become that RAW format and it does
take a lot of the same boxes than prayers orders I’m sure they’ve each got
their if you get down to the nitty-gritty of each format so I’m sure
they’ve got their pros and cons for each one and some people will argue one is
better than the other and I’m sure you get people arguing on both sides of that
but I think if they added Blackmagic law to this I think it’s unlikely that
they’ll add pro res wall to this and I think for the average end-user I think
it doesn’t really matter too much either one is going to fulfill the same box and
be a a compressed RAW format that it’s going to take the deburring away from
the camera and into post-production to give you that law flexibility in post
but in an easier workflow than we used to with cinema D and G so either would
be a fantastic addition to this camera and very welcome indeed now this is going to be a very quick one
some people have been asking does it have UHS – technology for the SD cards
that’s the second row of pins that enables more modern faster UHS –
compatible SD cards to read and write data of much faster speeds and yes this
camera does have it that means that with more and more modern SD cards as the
future goes on as well we don’t know what’s going to come out in the future
that could be an even faster standard that’s coming this camera should be
future proofed little and should make you help you get the most out of that SD
card slot lots of people have also been talking
about proxy recording this would be fantastic imagine shooting on the C fast
in law cinema a and G or Blackmagic swirl once it comes to it and then onto
the SD card recording Pro s proxy files ready just take away straight away
forever that would be amazing it doesn’t do it I
mean that is very intensive that’s lots of processing needs to go on in there
and you’ve got to remember the price of this camera the size of this camera is
just not physically able to do it there aren’t any options for it in the menu
that I can see no I don’t think this camera is gonna have any form of proxy
recording even in future updates right so that was our part two of our
technical tests on the Blackmagic pocket Cinema Camera 4k so stay tuned for part
three and potentially even part four as well because I’ve got so many things I
want to do with this camera main thing now from here onwards is comparisons I
really want to lock myself in a way in a room with this for a while and do
side-by-side comparisons to all sorts of different other cameras on the market I
want to test things like dynamic range color performance shadow retention
highlight retention all of this sorts of stuff I’m gonna do side by side split
screen comparisons with there’s many different cameras as I can get my hands
on so make sure you keep an eye on a channel for those hopefully they’ll be
up within a week or so thank you very much for watching if you’ve got anything
else you want me to test on this leave it in the comment section down below and
make sure to check out the rest of the channel for all our other coverage on
other cameras as well we put two videos up on here a week and so we do an awful
lot of videos like this on all sorts of different video cameras in the
professional video world thank you so much for watching the links to buy one
of these cameras if you want to is down in the description below and any of the
accessories we talked about in any of these videos I will always put the links
down in the description to our website down below thank you so much for
watching and I’ll see in the next one you

Only registered users can comment.

  1. I've done similar audio tests and found the 3.5mm port very noisy with a lot of hiss noise. I was hoping for interviews that I could run a shotgun powered by camera through the mini XLR and then run a wireless lapel through the 3.5mm port – however the quality I get with the lapel through the 3.5mm is very poor.
    Any tips on how you got a clean result with wireless lapel through the 3.5mm port?? What cable did you use from receiver to port?

  2. Hey ProAV. Any chance you can do a video diving into the comparisons of the metabones XL v the Ultra with looks at the standard v the Cine locks for this camera? Would be informative in helping shooters decide on which to buy based on their shooting styles and work.

  3. What about external power and most suitable SSD’s? Surprisingly nobody has yet done a review (on the power side at least) on this! Review something we don’t know please!

  4. Hey, quick question – what are the dimensions of the mounting area of the ronin? Is it the same width as the Ronin M?

  5. You say you managed to balance all the gimbals, but the question is, how well? Does it hold position, with the motors off, as you angle it, move it up, down, etc.? I ask, because it looks like you'd need a counterweight, in addition to whatever the Arca plate adds on the left.

  6. I going to by this amazing camera , but I'm still confused with witch mount should I buy with , all my liens that I have is EF canon liens like ( 70- 200 , 85 , 50 , 16-35 ) , I found three option but I didn't know witch one it the more computable with my liens
    this
    Metabones EF to MFT T Speed Booster ULTRA 0.71x (Black Matt)

    or this
    Metabones EF to MFT T Speed Booster XL 0.64x (Black Matt), 0.64x

    or this
    Metabones Canon EF Lens to Micro Four Thirds T Smart Adapter

    thank you 🙂

  7. Hi bro how are u ? I have a question, will the adapter
    Metabones Canon EF to MicroFourThirds T CINE Speed Booster XL 0.64x work with the new Blackmagic pocket cinema camera 4k ?

  8. Eyo. Love the vids following the BMPCC 4k! But you might wanna take a look at the youtube subtitles. It says "Hi Carl here from pervy tv" xD

  9. A big issue ive been seeing in the bmpcc 4k is banding at low light. YouTube has a big part in the compression and causing this banding especially when comparing the raw footage that looks great. If there is a way to show compare the two somehow and offer solutions to fix this or give a reason why this issue occurs itd be a great video to watch!

  10. Nice video. I notice that when using the bmpcc4k on the ronin s using the riser plate that there seems to be a small gap that makes the camera sit at an angle rather than flush. Have you noticed it and if so were you able to overcome it?

  11. Pocket Cinema Camera 4K

    External Recording

    Video Output 4:2:2 10-Bit via HDMI: 1920 x 1080p at 23.98/24/25/29.97/30/50/59.94/60 fps
    Raw Output USB:
    4096 x 2160 12-Bit at 23.98/24/25/29.97/30/50/59.94/60 fps
    3840 x 2160 12-Bit at 23.98/24/25/29.97/30/50/59.94/60 fps
    1920 x 1080 12-Bit at 23.98/24/25/29.97/30/50/59.94/60 fps

    Video Output 4:2:2 10-Bit via HDMI means, should we use external monitor link ninja atoms?
    Raw Output Via USB means, should we use external SSD?

  12. Hei, great video man! I have the Ronins S and I'm considering buying this camera. Will the focusing dile from the Ronin S work on this camera?

  13. Works with MOZA air 2. Also various cage set ups to achieve at least the stabilisation. Video and film quality better than the gh5s or equivalent Sony. Also with post processing grading with various software like da Vinci and film convert.

  14. Can this camera be balanced on a RONIN M the same way it was balanced on the original Ronin in this video?
    (I don't know if this has been asked I couldn't find it in the flood of comments)

  15. do you think by buying bmpc4k i can connect my sennheiser phantom power to it and i'm good to go? or you think i'm gonna need a zoom h6 or h5 to run that mic noiseless??please answer i need help to save a bit money

  16. Can you split the audio inputs? For example, use a Rode VideoMic Pro with a 3.5mm input in one channel then a lav receiver with XLR in the other?

  17. Hi Carl! Thank you and your team at ProAV TV. Your reviews on this BMPCC 4K are the best. I just received mine in the mail and was running some tests of my own. I was wondering if you could tell me what settings you had on the camera and Rode Videomic Pro + during your audio test. Your audio sounded much cleaner than mine! I used the Rode Videomic Pro + into the 3.5 mm port and have the settings on the camera set to mono for both the right and left side. I have the 75 dB low cut filter turned on for the microphone (no 20 dB boost or -10 dB cut). With these settings I have a very audible hiss. You don't have that on your test. Thank you for your time and the great quality of your reviews!

  18. Man, this series is a great breakdown. Greatly presented, thorough, serious but not dull and without stupid gags. Thanks for this, helped me decide.

  19. Thank you for the information, i have a problem with my stills, i can take stills, but i can not see it, i tried using premiere pro and Photoshop.., please let me know if theres something that i can do…

  20. The best solution I have found for gimbals like Ronin s and Crane 2 is using a half cage (not the full cage) to offset the camera on them. Tryd everything like offset plates but the half cage were the one I ended up as my best solution.

  21. its a m43 mount. Why are people in the comments asking if you can use a speedbooster or not. You can use anything that fits on a m43 mount.

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