A Quick Look At The New Blackmagic Pocket Cinema Camera 4k

A Quick Look At The New Blackmagic Pocket Cinema Camera 4k


I had a chance to get my hands on the new Blackmagic Pocket Cinema Camera 4k. The pocket aspect of it is a bit misleading, but certainly not a deal breaker in any way. Think of it as a marriage between a large mirrorless camera and the original Blackmagic Cinema Camera.

The new Pocket 4K spots an MFT lens mount and sensor.  This is an all-new sensor with an ISO range of 200 – 25600.  That’s unheard of in a BMC camera. From what I could see, those higher ISOs might even be usable.

On the back is a very high-quality LCD touchscreen. Sadly, it does not articulate in any way. I ‘m also unclear of the brightness and how well this highly reflective screen will fare outdoors.

The Blackmagic Pocket Cinema Camera 4k is running the same URSA software, so navigating the menus is a breeze. There are also quite a few dedicated buttons on the body that should reduce the number of trips into the software.


I just had a few minutes with this very popular new camera. It seems to be an ideal choice for URSA shooters looking for a second camera to add to their kit. It would be quiet at home on any mid-large gimbal rig. According to Blackmagic Designs, the Blackmagic Pocket Cinema Camera 4k should be shipping in Sept. for about $1300.  Find more details at https://goo.gl/uNxzNh


RED Gemini 5K S35 Dual ISO Low light Sensor Announced

RED Gemini 5K S35 Dual ISO Low light Sensor Announced

There’s lots to celebrate about the various sensor options offer from RED, but low light performance has never been a touted feature. Well, with the help of a well-known space pioneer, RED has a new box to tick with its recently announces GEMINI 5K S35 sensor for the RED EPIC-W camera.

Following a trend from camera makers like Panasonic and Kinefinity, the new sensor features a dual base ISO sensitivity (800 & 3200). When in low light mode, RED promises images at 3200 that are as clean as its 800 ISO base. You can also expect to see about 2 more stops of detail in the shadows at the price of highlights clipping about 2 stops early.  This really isn’t an issue, considering that maintaining super bright highlight detail is not typically the challenge of low light photography. In standard mode, the retention of highlight detail is better than some of RED earlier sensors. In low light mode, you do lose a bit of dynamic range, but according to RED, Its only about 1/2 a stop.

All in all, I happy to see RED tackle the low light issue. The Gemini 5K S35 version of the EPIC-W promises to a popular tool among commercial and indpendent filmmakers.



Today, RED introduced the new GEMINI™ 5K S35 sensor for the RED EPIC-W camera. GEMINI 5K S35 leverages dual sensitivity modes to provide creators with greater flexibility for a variety of shooting environments. Whether capturing with GEMINI’s Standard Mode for well-lit conditions or its Low Light Mode for darker environments, RED EPIC-W 5K S35 delivers incredible dynamic range and produces cinema-quality images.

The GEMINI 5K S35 sensor provides exceptional low-light performance, allowing for cleaner imagery with less noise and better shadow detail. Operators can easily switch between modes through the camera’s on-screen menu with no down time and experience an increased field of view at 2K and 4K resolutions compared to the higher resolution HELIUM sensor. In addition, the sensor’s 30.72 mm x 18 mm dimensions allow for greater anamorphic lens coverage than with the HELIUM or RED DRAGON sensor.

Built on the compact DSMC2 form factor, the RED EPIC-W 5K camera and sensor combination captures 5K full format motion at up to 96 fps, boasts incredibly fast data speeds of up to 275 MB/s, and provides in-camera support of RED’s enhanced image processing pipeline, IPP2. Like all cameras in the DSMC2 line up, EPIC-W 5K is able to shoot simultaneous REDCODE RAW and Apple ProRes or Avid DNxHD/HR recording and adheres to RED’s dedication to OBSOLESCENCE OBSOLETE—a core operating principle that allows current RED owners to upgrade their technology as innovations are unveiled without having to purchase all new gear.

“While the GEMINI sensor was developed for low-light conditions in outer space, we quickly saw there was so much more to this sensor,” says Jarred Land, President of RED Digital Cinema. “In fact, we loved the potential of this sensor so much, we wanted to evolve it to make it have a broader appeal. As a result, the EPIC-W GEMINI now sports dual-sensitivity modes. It still has the low-light performance mode, but also has a default, standard mode that allows you to shoot in brighter conditions.”

Beginning at $24,500, the new RED EPIC-W with GEMINI 5K S35 sensor is available for purchase online and through select worldwide RED Authorized Dealers. Alternatively, WEAPON Carbon Fiber and RED EPIC-W 8K customers will have the option to upgrade to the GEMINI sensor at a later date.

Gemini 5K senosr performance comparison


  • Low Light Optimized 15.4 Megapixel 5K S35 sensor
  • Dual sensitivity sensor
  • Seamless switching between Standard and Low Light modes
  • Same RED Cinematic image
  • 16.5 stops Dynamic Range
  • 5K up to 96 fps Full Format
  • 4K up to 120 fps and 2K up to 240 fps Full Format (no crop)
  • Simultaneously record REDCODE plus ProRes or Avid
  • Up to 275 MB/s write speeds
  • Interchangeable lens mount
  • Full modularity and a small, lightweight design
Is Kinefinity the Next Big Name in Cinema?

Is Kinefinity the Next Big Name in Cinema?

Kinefinity Cinema Cameras

As we all know, there’s no shortage of quality cinema cameras, at every price point.  While Kinefinity isn’t a new name in the field, It hasn’t had much of presence in the US market until recently. The Terra 4K and 6Ks have been showing up more and more. With the announcement MAVO and MAVO LF, plus a set of affordable Cine Primes, with help from NiSi, we’re likely to be hearing a lot more about Kinefinity is the coming day.

Philip Bloom has spent quite a bit of time with the Terra 4k. His lengthy and informative review is enough to make you want to take a closer look. Like many camera makers not called Arri, Canon, Panasonic or Sony, the big questions will be timely delivery and reliability over time.  The lack of a North American service center will like give many pro shooters reason to be wary. Will see if Kinefinity is able the address some of those concerns. I’m looking forward to visiting with them at NAB this year.

Cinematic Camera Movement Using the Segway miniPRO and a Gimbal Rig

Cinematic Camera Movement Using the Segway miniPRO and a Gimbal Rig

Black Magic Tim, Derek Allen and Chris Downing talk bout the benefits of adding the Segway miniPRO to your arsenal of camera movement tools.

Looking for your own Segway miniPro?


Need a gimbal rig? Check out some of these.

DJI Ronin M

Freefly Movi M5

Gudsen Mosa Air

Gudsen Moza Lite 2

Zhiyun Crane

Fujinon MK 18-55 f2.8 E-mount cine zoom first look

Fujinon MK 18-55 f2.8 E-mount cine zoom first look

Dan Chung, editor as Newsshooter.com takes at deep dive into the new affordable, light-weight 18-55mm cine zoom lens from the Optical Imaging Division of Fujifilm. The new cine zoom is full of features that cinematographers will come – over the commonly used stills lens. Parfocal, Long focus throw, dampened and geared focus, zoom and iris rings, adjustable back-focus are just a few highlights offered by the 18-55mm zoom.

Newsshooter.com editor Dan Chung takes a first look at the Fujinon MK 18-55 T2.9 cine zoom lens. It is designed for E-mount cameras like the FS7, FS5, FS700 and a7R II and a6500. Read the full review at Newsshooter.com – http://www.newsshooter.com/2017/02/22…