What I love about Blackmagic is that they cause disruption within the industry. Both cameras can shoot ProRes currently, but in future firmware updates will be able to shoot a new compressed version of Cinema DNG which will be a huge relief for those of us that want to keep file sizes down without losing the flexibility of a raw workflow. The Production Camera 4K shoots at 4K resolution onto SSD’s from a near Super 35mm sensor and has an EF mount (PL to come in the future). The specs for both cameras are readily available on but in a nutshell, the Pocket Camera shoots a maximum resolution of 1080p onto SD cards from a S16mm sensor and uses a MFT mount. I can only assume that the same DNA will be present in these new cameras and that they too will continue to dazzle indie film makers around the globe. It’s far from perfect, and I’m working around it’s limitations as I do with any camera I own, but the results are truly remarkable. Currently, I own the original EF model and am extremely happy with it. Neither of these two new cameras are set out to replace the current Blackmagic Digital Cinema Camera, but rather round off their lineup – presumably in hopes to satisfy a wider demographic after having some backlash over choices they have made with the original version in regards to sensor size and mount. The two new cameras that came out were the Blackmagic Pocket Cinema Camera and the Blackmagic Production Camera 4K. But at NAB today, Blackmagic Design dropped two new bombshells on the film making community that warranted an immediate post.įor those of you that don’t know yet. I haven’t had a chance to post a new blog for quite some time as I’ve spent the last month moving to Los Angeles.
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