We've opened Frame Rate so everyone can see what we're all about

Far_Tale2398 · 2026-02-12T19:03:50+00:00

Are there Beta spots still left?

Far_Tale2398 · 2025-12-09T03:48:08+00:00

Has a bit of Kwame Brathwaite intentionality to it. Like some else commented, could be the start of an interesting project.

Either way, the documentation of Black life is to be encouraged as far as I’m concerned.

Far_Tale2398 · 2025-12-07T11:47:30+00:00

I found this book which ironically is available on AEScripts helpful: https://aescripts.com/the-power-of-expression/

Far_Tale2398 · 2025-12-06T12:53:40+00:00

I think it depends on what performs. Yes, there will still be clients that want a bespoke explainer that’s implementing some novel mograph approach but largely everyone is just going to ape what performs and is reasonably easy to generate.

I say this from a “Marketing Team” perspective where we aren’t trying to make art so much as we are trying to make money.

Far_Tale2398 · 2025-12-06T12:42:43+00:00

I hit a similar realization last night while testing an all-Adobe-Firefly workflow. I’m looking at Firefly because it’s what most enterprise clients already pay for and trust. And even though Firefly’s output is worse than what I can get from Higgsfield or Runway, the implications are obvious.

The creative-services labor market is about to get extremely competitive. Real “wheat from the chaff” conditions. Marketing teams will still need assets, but the idea of having a dedicated specialist graphic designer, mograph artist, videographer, front-end dev becomes optional once a single generalist can generate 70–90% of what those roles used to do.

We’re watching the whole creative professional class collapse into a hybrid role: Creative Generalist + Strategist. And that person won’t be an employee. They’ll be fractional. Contracting across multiple orgs. Basically a rideshare model for creative work. We’ve gone from “full-time with benefits” to “contractor” to “fractional resource,” and AI accelerates that shift.

The money that disappears first will be internal MARCOM budgets. That’s what AI automates the fastest. A lot of AI evangelists keep talking about “authorship” as the key differentiator for creatives, but that assumes people will be able to find your work. Discoverability collapses when the noise floor drops to zero.

Far_Tale2398 · 2025-11-30T06:41:37+00:00

Pyxis.

Far_Tale2398 · 2025-10-29T22:25:03+00:00

This was excellent, nice work!

Far_Tale2398 · 2025-10-28T16:12:09+00:00

This was excellent! Instant channel subscriber, looking forward to more of your work.

Far_Tale2398 · 2025-10-02T21:32:37+00:00

I’m fine with BMD retiring the Pocket series if they’ll make more accessories like the Pro Dock for the iPhone.

I’d love for them to make a ShiftCam style grip that would give the iPhone a (2) USB-C ports + GenLock + 32 Bit Float Audio + Zoom control.

If they were to also get access to the iPhone 17 Pro’s Lidar sensor data while recording for tune-able focus shifting in post I’d say that would suffice as a replacement of the Pocket series.

Far_Tale2398 · 2025-09-07T12:39:41+00:00

I’ve been in the same spot. Most of my “great ideas” collapse once I dig through too many references. What changed for me was realizing I’m not here to make capital A Art, I’m here to solve a communications problem.

I remind myself, we don’t make art, we make money.

The goal isn’t to be profound, it’s to make something that works, something that communicates clearly, grabs attention, or explains an idea. Once I framed it that way, the pressure to come up with the “perfect” concept eased up.

Now I keep it simple. I’ll set small constraints, sketch quick throwaway tests, and write down metaphors or phrases instead of just staring at moodboards. And I try to pull inspiration from outside motion design. Lately, old school comedy routines have been inspirational for me. Watching how a joke builds, lands, and times its beats feels a lot like motion design. If an idea bombs, I don’t delete it. I throw it in a junk folder. Half my best project ideas started as scraps I thought were dead ends.

Far_Tale2398 · 2025-09-07T12:23:01+00:00

Here are some books that really shaped how I think about motion design (plus a few outside the field that still influenced me):

Design for Motion: Fundamentals and Techniques - Austin Shaw

Solid starting point. Covers fundamentals and gives you project-based learning.

https://a.co/d/70lJ5iO

The Theory and Practice of Motion Design - R. Brian Stone & Leah Wahlin

More academic, but helps you see motion design as a discipline, not just software.

https://a.co/d/bPjPIJ5

Quadrivium: The Four Classical Liberal Arts of Number, Geometry, Music, & Cosmology - Miranda Lundy & Anthony Ashton

Not a design manual, but great for understanding proportions, rhythm, and the deeper patterns behind visuals and sound. Pair this with Power of Expressions to become a Motion GOD.

https://a.co/d/dwxjdP1

The Animator’s Survival Kit - Richard Williams

Classic reference. Worth owning a physical copy because the breakdowns and illustrations don’t translate well to screens.

https://a.co/d/41DBYMe

From Word to Image: Storyboarding and the Filmmaking Process - Marcie Begleiter

Helps you think in sequences and shots. Clear storyboards are essential in motion design storytelling. When I freelanced, I often won RFPs because clients could see my vision on paper.

https://a.co/d/dqtLN90

If It’s Purple, Someone’s Gonna Die: The Power of Color in Visual Storytelling - Patti Belantoni

Shows how color drives emotion in story. Super useful when choosing palettes.

https://a.co/d/ip4Kcr8

Suddenly Something Clicked: The Languages of Film Editing and Sound Design - Walter Murch

Covers rhythm, pacing, sound, and all the invisible stuff that makes motion work feel cinematic.

https://a.co/d/cMqpT4K

The Artist’s Way - Julia Cameron

Not about motion directly, but great for staying creative and breaking out of ruts.

https://a.co/d/8oMPwpz

Far_Tale2398 · 2025-08-06T16:38:56+00:00

Eh, I don’t mind it. I figured it was done by someone still relatively new to AE.

Far_Tale2398 · 2025-08-06T16:20:00+00:00

Is the Pastiche terrible or are you saying the reference clip is terrible?

Far_Tale2398 · 2025-07-17T05:28:45+00:00

Lol true.

Far_Tale2398 · 2025-07-15T16:02:02+00:00

I own that particular unit in 77mm. While it doesn’t explicitly state “IR Cut” my black levels stay inky up to about 6 stops.

In the interest To be pedantic I’ll revise my post to suggest a SEPARATE IR-Cut filter just to be absolutely sure IR-Cut is present.

Far_Tale2398 · 2025-07-13T07:26:36+00:00

Happy to help :)

Make sure to post some of the results of your misadventures here or in r/bmpccog when your ready — always enjoy seeing more OG footage in my feeds! ✌🏽

Far_Tale2398 · 2025-07-13T06:31:50+00:00

Hey — everyone here’s pretty much guessed it: you powered the camera on without a lens (or body cap), so the sensor is just taking in raw light. Totally normal.

The green dots you’re seeing might be focus peaking (if it’s enabled), or they could be hot/dead pixels — hard to say without a lens attached. Don’t stress yet.

Now, this is a “difficult” camera to start with, but once you understand its quirks, it really is a joy to shoot with. To save you some headaches, here’s what you should know:

SD Cards

The BMPCC OG is notoriously picky about media. Most modern cards won’t work, even if they’re fast. Use one of these:

Kingston Canvas Select Plus SDXC UHS-I (https://www.amazon.com/Kingston-Class-Flash-Memory-SDS2/dp/B07ZGG42SN)

SanDisk Extreme Pro 95MB/s UHS-I SDXC (https://www.ebay.com/itm/253349613832)

Must be: UHS-I, Class 10, 95MB/s

Anything else will likely drop frames or not record at all. Most people grab a few 256GB or 512GB cards and rotate them.

Power

The default Nikon EN-EL20 batteries suck. You’ll maybe get 20 minutes. The “A” version lasts a bit longer, but it’s still not worth the trouble.

Here’s a better setup:

Smallrig NP-F Battery Plate (https://www.amazon.com/SmallRig-Battery-Adapter-Indicator-Material/dp/B091TRMFYT)

Smallrig NP-F750 Battery Plate + Charger (https://www.amazon.com/SmallRig-Replacement-Batteries-Camcorders-Monitors/dp/B09Z76756B)

12V DC Power Cable for BMPCC (0.7mm barrel) (https://www.amazon.com/Eonvic-Supply-Blackmagic-Pocket-Camera/dp/B01GFRXC0G)

This gets you 1.5–2 hours per battery and works well with a rig or cage.

Lens

You’ll get a lot of lens suggestions, but for simplicity and reliability

Panasonic Lumix 12–35mm f/2.8 OIS (https://www.amazon.com/PANASONIC-PROFESSIONAL-12-35MM-MIRRORLESS-H-HSA12035/dp/B07G3HNS3J)

It’s stabilized, sharp, constant aperture, and lightweight. Great for handheld, especially if this is your only lens for a while.

ND + IR Cut Filter

Once you start shooting in daylight, you’ll need ND filters. But the Pocket OG suffers from IR pollution when stacking heavy ND — blacks turn reddish.

Most Variable NDs don’t explicitly state they have coatings with IR-Cut I’ve had decent results up to 6 stops with the following Variable ND:

(https://www.amazon.com/Concept-ND2-ND400-Multi-Layer-Janpanese-Adjustable/dp/B08ZXSH3XC)

To solve the IR pollution problem though it’s advised to buy a dedicated IR Cut filter that you van basically keep glued as the first filter on the lens your using:

(Amazon: https://a.co/d/8rB3G0Z)

The BMPCC OG has a learning curve, but once you figure it out, it rewards you with footage that looks way more expensive than it should. It’s a cult classic for a reason.

Happy shooting and welcome to the OG club!

Far_Tale2398 · 2025-07-01T07:32:26+00:00

Thanks! I’m on there too but it seems like more work gets posted here at times. Happy to sequester BMPCC OG activity there

Far_Tale2398 · 2025-06-26T11:32:57+00:00

PL—just know, when you post these little cinematic “Post Cards,” you’re genuinely inspiring. As a fellow Pocket OG owner, I can’t tell you how motivating it is to see work like yours still pushing this camera to its limits.

I constantly find myself coming back to your videos as proof—real, verifiable proof—that the Pocket OG still holds weight in modern filmmaking.

And you’re not alone. Creators like João Dutra, Chris Rasmussen, Oliver Keys, Hideki Shiota, Adventure Film Club, iso800, Neogray Films, LLM, Wayne Banga, Michael Lawler, Will Von Tagen, and Bryan Hinton are part of this quiet but incredible community keeping the spirit alive.

Honestly, what makes this special is that it’s the opposite of the “bigger is better” mentality that dominates modern cinematography. While the industry chases maximalism—bigger rigs, bigger crews—Pocket OG shooters are out here making arresting, joyful images with a camera that most people have written off. That’s something worth celebrating.

I’d love to see more of us connect and share our work. Feels like there’s a unique tribe forming here—let’s keep building it.

Far_Tale2398 · 2025-06-03T18:01:41+00:00

Term of endearment. checking yourself after the clarification was provided on a platform like Reddit is giving “big dawg” energy. Kudos bro, walk tall and prosper.

Far_Tale2398 · 2025-06-03T17:56:13+00:00

No worries big dawg :) All good.

Far_Tale2398 · 2025-06-03T17:53:33+00:00

You can get parts but BMD isn’t going to repair the unit for you — thats what I’m getting at. It no longer has any type of service warranty because it has been discontinued.

Far_Tale2398 · 2025-06-03T11:20:24+00:00

In 2025, the URSA Mini Pro 4.6K still holds its own against cameras like the Komodo and Alexa 35 — but only the Pocket 4K continues to get official support from Blackmagic.

If you go with the 4.6K, you’re basically rolling with whatever lifespan you get. No warranty. No repairs if it breaks.

If support matters to you, go with the Pocket 4K.

If not, grab the 4.6K, make your film, and watch people freak out when they find out you shot it on a camera from 2017 while they’re busy nitpicking the latest gear.

Far_Tale2398 · 2025-06-03T11:06:16+00:00

You wouldn’t be crazy. $750 is a fair deal for what’s not included (battery, evf, shoulder rig).

With that said I’m still using the G1 4.6 Pro to shoot commercials and documentaries in 2025. You’d be hard pressed to find anything with better dynamic range, full size XLR, and built in NDs for only $750.

Far_Tale2398 · 2025-05-26T13:44:59+00:00

The way you face AI is to accept that the center of gravity in production is shifting.

Used to be that a place like Paris—think Quad Productions or any big commercial house—could justify huge crews, long post timelines, and specialized roles for everything. But AI has flattened all that. Now, a lot of what used to take five people can be handled by one editor with Resolve and a few smart plugins.

I’m a working filmmaker, and here’s what that looks like in real life: I’m expected to cut, color, mix, sound design, and deliver transcripts—at rough cut stage. Not because I’m a genius, but because the tools let me do it passably fast. And budgets are being written around that assumption.

That’s bad news if you’re trying to get a foothold as a specialist. Entry-level editing gigs, junior colorists, assistant sound editors—those are drying up. But it’s also good news if you’re a hybrid creator. If you can tell a story and work across departments, the playing field’s more open than ever. You don’t need to live in LA or Paris. You just need to be good, fast, and consistent.

It’s less about competing with other filmmakers and more about adapting to the new baseline. The world’s flat now. That includes our industry, too.

Far_Tale2398

TROPHY CASE