Samuel Berger

The C300 Mark II setup for a feature looks very simple. Look at these guys: No Frankenstein rig full of weird parts coming out everywhere. Even the lens looks like a simple Canon 70-200. I don't know what tripod that is, but looks like overkill for such a small, lightweight camera. I wonder what external recorder they're using. And of course, why they'd replace the factory top-handle with that.

I love the image from that camera. I actually like a lot of things better in the Ursa Mini Pro, but there's two things... First, the Canon form factor is much more ergonomic for me. Second....well....I own an Ursa Mini 4K and I would feel like I'm buying the same thing again just for the EF mount and internal ND....So it's either the C300 Mark II or the C200. I placed a bid on a C200. It's out of my hands now. If I win, I can finally stop obsessing over "which camera should I get".

Really? I edit 12-bit DNG from the Mini 4K in real time all the time...maybe the Canon Raw Light is different since it's not an image sequence... EDIT: Wait, actually I don't, I use the "generate optimised media" thing...doh.

I put a bid on a C200. If I win this, the drama is over.

It captures 12-bit raw. But, it doesn't have 10-bit anything. It's like they forgot to put something between the 12-bit Raw light and the 8-bit Mp4. Here's an interesting camera test. What makes it hard to judge the quality is that they put this truly beautiful woman in it, so it automatically makes the footage beautiful, hehe.

I'm interested in this subject. I always automatically assumed everybody was shooting 4K Raw 12-bit because that is how I shoot on the Ursa Mini 4K. But when Tyler posted he shot that Bailee Madison thing in XAVC iframe 410Mbps 4k with REC709 LUT, it got me thinking, "that's not Raw". So I looked deeper into the C300 Mark II and saw that it's not 12-bit, either. So, something is wrong here. A number of cameras are considered more professional than the Ursa Mini Pro. But they don't even shoot 12 -bit Raw? So people must be shooting in a different digital format. But why would they? Don't they care about 12-bit?

You can always ask Mark Molloy, he directed it for Smuggler.

Leica Summilux-C Lenses.

I know very little about codecs, but was it XF-AVC? 10 bit? The C200 just had a firmware update that added XF-AVC to it but it's like 8-bit or some nonsense.

Was it shot in 4K Raw?

I do find it interesting that reviewers are in awe that the C200 records Raw internally. The Blackmagic cameras have been doing that for some time. I wanted to point out, in case other people in the same situation as mine are googling this, that the truth is that the Ursa Mini Pro sort of requires that EVF. It costs around $1500 in addition to the $5995 for the Ursa Mini Pro. So in the end you're paying the same amount for the UMP as you would for the C200.

So far the Ursa Mini 4K has been great. But, I only own one PL lens for it. An Angenieux 25-250 which weighs 16 pounds. If it had an EF mount, it's very likely I would not be looking for another camera. Today is the last day that B&H will be selling the C200 at a NAB discount price. Sigh.

Okay, so that's two "frankly" and one "honestly", so it must be true.

I think the filmstock worked well, just not the in-viewfinder camera focusing ring. It was really hard to see.

Thank you very much for this, Adrian!

So it seems the Cinematography.com forum has unequivocably rejected the Canon EOS C200. This is very telling. Professionals and hobbyists over here are ignoring a camera that was fairly hyped up on Youtube. It's considered not as good as the C300 Mark II for the price, not professional enough, not even on the level of the FS7, overpriced due to costing more than the Ursa Mini Pro, and laughed at because of its codec or lack thereof. If I buy this thing i'm going to be all alone in the forum Universe.

Canon's return policy on this camera is that there is no return policy. Interesting, it makes me think they have no confidence in their product.

I'd pre-order it, but I have no idea where I will be on September 3rd.

The First Look videos are coming in. This thing is definitely the big hit of the year at NAB.

Whoa, B&H has opened up pre-orders! https://www.bhphotovideo.com/c/product/1401512-REG/blackmagic_design_pocket_cinema_camera_4k.html Does BMD have a history of delaying their releases?

The video has finished streaming. He starts talking about the BMPCC2 at 45 minutes in: https://www.youtube.com/watch?v=uV_A5cutyKk With FREE Resolve Studio 15 at $1295 this has far exceeded any of my expectations and I will 100% be buying it. Grant said it is "basically the Ursa Mini Pro" in different form/sensor. This camera will kill all other cameras in its class. My only complaint is the lack of a flipscreen. That's all. I see what you did there. ;-) Just remember, it won't be out until September. It's a LONG wait. If the Canon C300 Mark II or the C200 go down in price I'lll be buying one of those.

More pics!

I knew there was a catch! September release date! Crap. Here's an interview that just came out. I'm imagining the reporter is wrong about M4/3. The sign says full 4/3. by Graham Sheldon | 9th April 2018 No longer only a mysterious billboard outside NAB 2018, the Blackmagic Pocket Cinema 4K camera is here and it shoots 12-bit RAW cinema 4K 60fps and full HD at up to 120fps — all at an impressive price point. The specs, pricing and more are below including an interview with Blackmagic Design CEO, Grant Petty: Unlike its HD-only predecessor, the Blackmagic Design Pocket Cinema Camera, the new 4K version shoots full cinema 4K (4096 x 2160 pixels) at up-to 60fps with a newly designed M4/3 (21.60 x 17.30mm) sensor. You’ll also be able to capture full HD 120 fps cropped (no info on how much of a crop) slow motion in both 12-bit CinemaDNG RAW and 10-bit Apple ProRes 422 (HQ) varieties. Unfortunately you won’t be able to shoot in the newly announced Pro Res RAW — at least not yet. The company promises a significant performance increase when it comes to low light capabilities and the camera tops out at 25,600 ISO, though time will tell how high you’ll be able to crank the cameras dual native ISO and still achieve “pro-level” shots. You can record to two slots using SD/UHS-II and CFast cards (they’ll switch over mid-recording if the second slot is fast enough) or record directly to an external drive through USB-C. The camera features a 5-inch LCD touchscreen (see above photo) that takes up nearly all of the real estate on the back of the body. URSA owners will find the menu system familiar as the pocket 4K runs on the URSA operating system. The camera uses the same lens mount as the original pocket allowing for EF, PL or C mounts to be used with an adapter. It may no longer truly be “pocket sized”, but the carbon fiber polycarbonate composite body feels solid to the touch. “Function” buttons on the upper right of the body are all customizable and you’ll be able to map your favorite tools (such as peaking, waveform etc.) to these keys. A high frame rate button on the back also lets you jump right to high speed modes quickly. 1/4″-20 holes are available on the top and bottom of the camera for accessory and tripod mounting. “If URSA is the camera you go and shoot other people with, this is the camera you shoot yourself with.” – Grant Petty, CEO of Blackmagic Design Notably, the camera is powered through the popular Canon LP-E6N batteries and not the Blackmagic lithium ion branded batteries of yesteryear. Another interesting power feature: when you remove the battery the camera will automatically safely power down and will power itself up once a new battery is inserted in the battery compartment. No intimidating warning message. The camera has four internal microphones and a mini xlr audio port for using your favorite external microphone system. You can also power that external mic through provided phantom power. This isn’t the only NAB 2018 news out of Blackmagic Design — the company has announced a significant update to Da Vinci Resolve which we’ll cover in a separate article and video interview with Grant Petty. Technical Highlights: Shoots Cinema 4K at up-to 60fps, Full HD at 120fps Dynamic Range: 13-stops Ports: USB-C and standard sized HDMI Power: Canon LP-E6N or locking DC12 volt power connection Media: SD/UHS-II and CFast Bluetooth wireless camera control 3.5mm audio jack+mini XLR and headphone jack The camera is priced at $1,295.00 and includes a copy of DaVinci Resolve Studio normally priced at $299.00., While it is unfortunately not shipping until September the price point of $1,295.00 keeps the pocket 4K camera in a category of its own and being able to shoot RAW 4K potentially makes the camera an excellent successor to its HD little cousin. We’ll reserve judgement until we are able to do a full field review, but on paper the camera shows a great deal of potential. Price Point: $1,295.00 Shipping: September, 2018

Look at this pic for facts and price! Hand held digital film camera with full 4/3 HDR sensor, dual native ISO up to 25600. MFT lens mount and 13 stops of dynamic range. Features 5 inch touch screen, internal SD/UHS II and CFast 2.0 card recorders plus also records directly to any external USB-C disk. $1295

The BMD press conference is starting up. Live, on YT. https://www.youtube.com/watch?v=uV_A5cutyKk