Blackmagic Pocket Update

[Kum Verna]

Bothcameras have a rolling shutter sensor. The URSA Mini Pro has a Super 35 sensor and can shoot in 4.6K up to 60fps whereas the Pocket 4K has a smaller 4/3 sensor and can shoot Ultra HD up to 60fps. The URSA Mini Pro has 15 stops of dynamic range versus 13 stops for the Pocket 4K.

I took both cameras side by side in multiple environments. I only had one lens of each type so in order to compare both cameras with the very same lens I shot a video with the URSA Mini first and then shot the same video with the Pocket + a Metabones Speedbooster ULTRA with the same lens, matching the frame as best as I could. I shot at the exact same settings on both cameras, except for the aperture which was sometimes slightly adjusted since the Pocket looks a tad brighter.

11.14.18 update : BM has updated Ursa Mini Pro firmware adding ISO 3200 and after some testing I think it handles low light better ! Also after this video I did a black shading calibration on my camera which removed these bluish tones in the shadow.

One interesting thing to note is than when shooting UHD with EF mount lenses, the frame size or crop factor at a given focal length is almost the same on the URSA Mini Pro and the Pocket 4K + Speedbooster Ultra , which is quite practical.

When it comes to media & codecs, the URSA mini pro wins. It can record on two CFast cards one after the other or two SD cards one after the others. One the pocket it can record on one sd card and one CFast card, one after the other. Both cameras do not feature simultaneous recording on two cards at the same time.

Concerning AP1, this is not the full ACES gamut but more or less rec2020, the way I get it. The grading will be done on AP1 in ACEScc/cct, which is a log version more suitable for this. The math, however should be done using the AP0 gamut.

From my perspective I would say that ACES grading is less forgiving than Log grading since the tone mapping has to be done manually. I would say that you have to work harder to get the desired results. I really prefer working in ACES though as this is a scene referred color space which brings more opportunities.

All the best and get back to me for a discussion. I think ACES needs to be discussed back and forth. Its a simple theory but when it comes to implementation it becomes more tricky and its easy to do things wrong.

Thanks for the responses everyone, I will try some different tone mapping methods as well applying the CLF>LMT Neon Suppression, and post the results I get here for comparison, I really appreciate the advice!

Something that has worked for me is using ACES transform in a yrgb timeline. I have the pocket and ave been setting colorspace and gamma to ACES in the raw tab - then in the first transform I just set it to acescct to acescct to get into the pipeline and an output transform set to acescct to rec709. It really seems to help with the oversaturation issues on the Pocket.

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