{"id":107781,"date":"2018-12-28T06:00:50","date_gmt":"2018-12-28T12:00:50","guid":{"rendered":"https:\/\/www.premiumbeat.com\/blog\/?p=107781"},"modified":"2018-12-19T09:43:13","modified_gmt":"2018-12-19T15:43:13","slug":"tips-blackmagic-pocket-cinema-camera-4k","status":"publish","type":"post","link":"https:\/\/www.premiumbeat.com\/blog\/tips-blackmagic-pocket-cinema-camera-4k\/","title":{"rendered":"New Filmmaker Tips For Using The Blackmagic Pocket Cinema Camera 4K"},"content":{"rendered":"

If you’re a new filmmaker taking your new Blackmagic Pocket Cinema Camera 4K out on its first shoot, here are a few settings and tips you need to know.<\/h2>\n

The Blackmagic Pocket Cinema Camera 4K has begun finding its way to users who have been eagerly awaiting it. Our take on the camera was 50\/50<\/a> \u2014 gorgeous footage but with a few internal flaws. However, since the cost of admission for this camera is relatively low, it lends itself really well to those who’ve been waiting to dive into filmmaking. But as with any new camera, even if it’s as easy to use as the Pocket 4K, you can find yourself wishing you knew a few more things before you headed out to film.<\/p>\n

So what do you need to know?<\/p>\n

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Batteries and Storage<\/h3>\n

\"New<\/p>\n

As I mentioned in the review, the Pocket 4K eats battery power. With a fully charged LP-E6 battery, you’ll get just under an hour of on-time, but whether or not you’re actively recording during that hour will cause the overall battery span to vary. You’re going to need extra batteries. At least four to be safe. Thankfully, the LP-E6 is a low-cost battery, and there are plenty of third-party brands to choose from. I know it seems obvious to recommend batteries since most filmmakers carry an abundance of them anyway. However, I’m suggesting that you get even more than you think you’ll need.<\/p>\n

Media storage is a different beast altogether. Filming at 24fps at\u00a04K DCI with\u00a0CinemaDNG\u00a0RAW recording format, you will\u00a0only get 18 minutes of footage on a 256gb card \u2014 and that will vary depending on the card’s manufacturer. Like the Ursa, we do have the option of switching to lossy RAW (which is the 3:1 and 4:1 setting), which dramatically increases the available\u00a0recording time. Changing to cinemaDNG 3:1 will nearly double the available recording time from 18 minutes to 34 (from 18 to 43 minutes if switching to 4:1).<\/p>\n

I would argue until the sun comes up that 3:1 is a generous and mild compression \u2014 and it wouldn’t be a massive disservice to\u00a0the RAW data if you were to use 3:1 or 4:1. Ultimately, it will come down to the amount of storage on your card, but you don’t have to limit yourself to just a few minutes of recording time because you feel like you need to use RAW.<\/p>\n

It is important to note that, when recording in RAW, typically because of the fast data rate, Cfast 2.0 cards are a better idea than SD cards.<\/p>\n

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Dual Native ISO Settings<\/h3>\n

The Pocket 4K has dual native ISO: at 400 and 3600. If you’re unsure about what dual native ISO is, you can find a clear explanation\u00a0here<\/a>, but in short . . .<\/p>\n

. . . normal sensors have a circuit for each pixel, sensors in cameras with dual native have two.<\/em><\/p>\n

Let\u2019s say our imaginary camera now has a second ISO rating of 3200. As we gain up from 400 ISO, we see an expected increase in image noise. A strange thing happens once we pass 3200, however \u2014 the noise disappears. At 3200 ISO, the second circuit\u2019s native capacitor takes over, resetting the noise in the image (or the “noise floor”).<\/em><\/p><\/blockquote>\n

Some of the higher ISOs will appear less noisy in low-light situations than a lower ISO. In the case of the Pocket 4K,\u00a0the camera switches to the upper gain circuit at 1250. Therefore, you would receive a cleaner image using ISO 1250 in a situation when you might be using ISO 1000. Of course, when switching to 1250, you’re going to have that slight increment of exposure to account for.<\/p>\n

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Dynamic Range Settings<\/h3>\n

There are three settings on the Pocket 4K that will change how the camera interprets the dynamic range:\u00a0Video<\/strong>, Extended Video<\/strong>, and Film<\/strong>.<\/p>\n

\"New<\/p>\n

Video<\/strong> offers a baked-in look similar to REC 709’s color standard. This gives you a faster\u00a0turnaround when you need to capture\u00a0and deliver footage with little to no post-production processing. This is perfect if you’re using the camera just to record home footage.<\/p>\n

Extended Video<\/strong> is the in-between setting. It offers a wider dynamic range than the video setting, but it also applies a slight contrast. This setting is helpful when you would like to grade but not extensively (perhaps because you don’t feel confident grading such flat footage as you’ll find in the film setting).<\/p>\n

Film\u00a0<\/strong>is the setting you need to be working with if you want to capture filmic imagery. However, when using the dynamic range film setting, especially in RAW, you may find the image looking uninspired, which leads us to the next section.<\/p>\n

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Viewing Film and RAW<\/h3>\n

RAW is obviously one of the main selling points of the camera, and as I said above, it would be criminal not to use it. However, if the BMPCC4K is your first introduction to using the RAW format (along with the film setting), you may find yourself a little miffed seeing a lifeless image through the LCD screen. This is completely normal. The following video from\u00a0Learn Color Grading<\/a>\u00a0explains why.<\/p>\n