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2K BlackMagic Pocket Cinema Camera, active m43, $995
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  • Ok just posted it to my google+ I think the jello effect is exaggerated by the gh3 I shot it on.

  • Anybody heard something about release in Europe?

  • yeah, the jello wasn't nearly that bad

  • Well, I wouldn't shoot architecture with that, but distortion looks acceptable to me.

  • This isn't a camera to get super wide, why the obsession with it? It wont make you a good filmmaker. The lumix zooms around 12,14 are plenty wide.

    I'm a big fan of the 14-42mm MK2 it's the perfect walkaround handheld zoom for the camera IMHO.

  • @nomad I must of watched a different clip cause that distortion looks horrible.

    Which I'm honestly surprised at cause it looks reasonable on the GH cameras.

  • @jimmykorea Well, GH cameras correct for it. But are we really talking distortion here or RS? I admit distortion is hard to tell apart at that size.

    But regarding wide angle I share your opinion. Even a 12mm would look like a 35mm on full frame (photo), and anything wider is more of an effect than general filmmaking. 18mm is the widest they use on S-35, close to 10mm on the BMPCC, and that's rarely used in feature films or documentary. You can find nice primes in C-mount for that with much better speed and less distortion than the 7-14 for less money.

  • Well when I mean distortion I don't just mean straight lines but more the inbuilt distortion you get too wide, almost fisheye.

    This comes with a disclaimer that's its just an opinion. But over the years I've seen a few things thrown around as what makes an image look like a movie. The one in this case is the dreaded wide shot. I think what happens is people go see a movie and see these widescreen IMAX movies and think wow movies should be wide and letter boxed not recognising that many of the these movies are shot with anamorphic lenses or even IMAX cameras, etc. So you get these extreme wide angle letter boxed clips on Vimeo. The problem for me is this which tends to pass most people who produce these clips cause they are so happy to get such a wide shot. It's the fact creatively you only want to have a really distorted wide on people unless you want them to look drunk, on drugs or some surreal crazed paranoid look. that's the effect it has on the audience and I'm pretty sure that's not the effect people originally wanted to produce.

  • I just want a wide angle lens. Not worried about being a better filmmaker or whatever that means. I shoot mostly normal, but I like to have a wide and telephoto as well.

    I use the 25mm Nokton on my gh2 as a normal. I'm thinking 17.5 would be a better choice as my normal on the pocket.

    I haven't found a wide angle S16 glass that is affordable yet. Saw a few CCTV lenses but I'm not really sure about them.

  • If you have to then I recommend the 9-18mm Olympus? If 12mm is enough obviously the 12mm SLR magic is going to match your Nokton. Or you better learn to walk backwards.

  • What about the Panny 14mm + the DMW-GWC1, thats pretty wide, good and cheap, you get quite close to a 28mm full frame

  • I agree 100%. Too much wide makes people look like caricatures. Plus, it distorts perspective when you move around, since our eyes/brain system just doesn't see things like this (even if we have nearly 180 degrees of view horizontally). No, I don't mean lens distortion here, just wrong perspective.

    If you really need a 10mm covering the BMPCC (not the GH2, for sure), get the Zeiss Tevidon in C-mount. It still can be found under 200,- € and just needs minor lathe work to fit an adapter.

  • I still can't understand why nobody mentions the Olympus 11-22 f/2.8-3.5 lens for Four Thirds, this lens is my go to wide on my GH1/GH2. It's VERY sharp and it distorts VERY little, it's not a under designed lens like the m4/3 lenses that relies too much on auto corrections.

    But I think the 11-22 will not be wide enough on the BMPCC, and it's hard to find a wide lens that does not distort like hell.... guys, lens distortion is UGLY, I hate it! this just doesn't exist on cine lenses!

  • @ivanlee I dont disagree but to be honest there are quite a few great lenses for m4/3. People probably if they want the convience of a zoom are probably also thinking about IS which the Oly doesnt have. If you dont want IS then you have some great primes like the Lumix 25mm which is basically a leica for peanuts. SLR magic primes and yeah some great OLY options including the 12mm f2.

    Also in fairness the Oly 11-22 isnt exactly compact but if it had IS I would put up with the bulk.

  • I' ve said it before but got a lot of criticism but if you really want wide shots why not get the 4K or at least the BMCC. Now everyone screams they cant afford those that I say if you are that limited by budget then be creative and work around the limitations of shooting a bit tighter, the producers of CSI have been doing it for years, cant you?

    Some younger people have nooo idea the limitations a wannabe budget filmaker had a decade or two ago. People would sell a kidney (some times literally) to buy a few rolls of film and hire a camera to make something. You got the cinema tools now for peanuts, if you make rubbish now, maybe you are a rubbish filmaker.

  • Looks like at least one BMPCC got shipped (I'd guess?), the image looks beautiful:

  • @jimmykorea moderate your words man, I agree with you totally, but you cannot say, people are rubbish, only because they want a very wide lens

  • @gameb I didn't, I said people can be rubbish at something. If you disagree then basically your saying everyone in the world is a brilliant filmmaker.

  • At 3X crop a 8mm is a 24mm equivalent. I don't see how that is super wide, or crazy to want to have in your kit.

    I like to have the equivalent of 24mm, 35mm, 50mm and 85mm. Sure most of the time I won't use all those lenses, but it would be handy to have. It actually might be cheaper to get the Bmmc Mft when you factor in buying a bunch lenses.

  • @Chaos123x Who said its crazy to want to have a wide lens?

    As the discussion was around getting wide I just suggested that IF people were struggling with getting a decent wide on the Pocket for whatever reason including budget then maybe a different camera might be a better option, or work with the limitation you got. Look if I saw someone trying to open a can of beans with a spoon I might suggest to them a can opener, that's all.

  • People just act like it's a bizzaro request.

  • "It actually might be cheaper to get the Bmmc Mft when you factor in buying a bunch lenses."


    Even the Production Cam! I bet you could have a decent 3 lens kit from vintage primes for under even $500. Don't forget with a global shutter you can more easily do without a rig too. Once the dust settles many might gravitate toward the Production camera in the end.

  • I agree again. First decide what is your typical style of filmmaking, then add up all parts you'll need and check if you can afford them. It makes absolutely no sense to buy the small BMPCC for cheap, only to find out later that the lenses you need for your style are Arri/Zeiss Superspeeds for S-16. They'll neither be compact nor cheap.

    If the C-mount lenses I suggested for BMPCC are not for you, and if you can live with manual lenses only, why not get the BMCC MFT instead? It's available, street price is already dropping and you can get wonderful manual glass from many sources for decent prices (if you not have them already for the GH2).

    Or wait forever for the perfect camera for all styles at a the lowest price ever …

  • @jimmykorea again, your right, but take it easy mun

  • Conspiracy Theory: The Pocket was created to have a place for defective bmmc sensors.