While more recent Blackmagic cameras like the URSA Mini 4.6K or even the Micro Cinema Camera have largely stolen the spotlight, the Pocket Camera has some unique advantages of it’s own that are hard to deny even today.įor one, the image quality off of this camera is absolutely incredible, and it’s color science is amongst the best of any camera on the market under $10,000. Who says a camera needs to be brand new to make it on this list? The Pocket Cam from Blackmagic was originally announced 4 years ago, but it’s still as relevant as ever – especially for guerrilla filmmakers. So with that in mind, I’ve decided to put together a list of my top 3 cameras for guerrilla filmmaking. In other words, they need a tool that will make their lives easier when shooting guerrilla style. They’re looking for something affordable that can deliver beautiful image quality, will be easy to operate in run and gun environments, and won’t draw too much attention. More often than not, many indie filmmakers (especially those working on micro-budget productions) have similar needs. I’ll ask – What types of projects are you shooting? What specialty features are important to you? Do you plan to operate the camera yourself, or will you have a focus puller? What’s your target budget range? Etc, etc, etc. Typically when I’m asked for camera recommendations I’ll throw the question right back at the filmmaker. This of course is an impossible question to answer from such a broad perspective, since everyone’s needs, budgets, and creative intentions are vastly different. 4k using a professional editing codec can be little no issue at all.Since launching my blog over 5 years ago, there’s been one question I’ve been asked more than any other over and over again: “Which is the best camera to buy for filmmaking?” 4k clips in consumer cameras does indeed suck to edit with. Now in many professional editing software you can transcode your clips before editing into a smoother performing codec, but that still costs you more storage so.there you go. And these codecs have additional license fees, and manufacturers trying to save money knowing they need sell sub $1000 cameras to people who will just slap in some 64GB SD card, why pay for the licensing fees these consumers don’t want because filling up their 64GB card with 12 mins of video wouldn’t fly. Trade off is the file sizes are much larger so you need a lot more storage. Plenty of people can edit 4k clips with easy, buttery smooth performance without a badass Hollywood level workstation. In order to achieve their heavily compressed and small file size, they use complex algorithms and lossy encoding, this is fine for simple playback, but it’s awful to try to edit when you want to scrub, fast forward, reverse, or go frame by frame.all that complexity is stressful for any system, top of the line stuff may just be annoying but not totally terrible, with mid tier or worse computers being brought to their knees. The type of codecs these cheap consumer cameras, typically using SD cards, are going to be the cheap to license and heavily compressed to save space codecs: h.264 and h.265. What makes some types of clips harder to edit with over others is largely the codec.
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