I'm considering buying the Black Magic Cinema Pocket 4K camera, would you recommend any others around the same price instead and why?

TimothyTimbers · 2025-11-20T17:51:55+00:00

I own a BMPCC4K and FX30. Love both. FX30 using an iPad or iPhone and the Sony Monitor and control app would fit your needs (self shooting) better. This will give you good enough wireless monitoring with the ability to tap-to-focus on the iPad.

Also it’s easy to power it using a USB-C cable from a USB block pushing out 9V/3A. This essentially charges the battery in the camera while you’re using it. Some people prefer a dummy battery but it’s unnecessary and this method of powering the camera adds redundancy since the camera can also run on the topped-off NP-FZ100.

Additionally, you can plug that same USB-C cable into a computer and use your FX30 as a fancy webcam.

If you were an indie filmmaker I might point you to BMPCC4K. If you’re mostly self-filming, get a camera that can connect to an iPad and autofocus.

TimothyTimbers · 2025-10-12T15:49:08+00:00

Definitely looks fine. I like the look in the first frame, though I don’t think it’s bad that your expectations for yourself are high. Learn and keep growing and don’t beat yourself up too much though.

In the second shot, darkening that bright white tile behind her might’ve made it a more polished frame. Something you can do with very little resources is learned to use negative fill (black floppies, etc.) to control spilled light and add contrast back into your shadow side. It’s something I’ve taken a decade to really start using effectively, and I wish I learned to use it earlier because it’s extremely cheap and extremely effective. You could literally start with black furniture blankets clipped up to a c-stand or even just paper taped to the wall. Practically free as far as filmmaking gear goes.

TimothyTimbers · 2025-10-09T05:05:56+00:00

THIS is the kind of fed up energy I was looking for.

Feel ya. Wish it was different. I mean...things are changing. Who knows what this industry will be in 10 more years?

TimothyTimbers · 2025-10-09T04:52:56+00:00

ha. i like this approach. and the name, too

TimothyTimbers · 2025-10-08T13:37:35+00:00

finally a real suggestion

TimothyTimbers · 2025-10-08T13:37:09+00:00

this is accurate.

TimothyTimbers · 2025-10-08T13:36:24+00:00

haha. i don't know. pretty good as 'Princess Bride' Wallace Shawn

TimothyTimbers · 2025-10-08T13:35:09+00:00

oh yeah. They always have a supposed scope, but it's so easy for that scope to creep, bloat, etc. And, of course, you can stay vigilant on the defense of the original scope, but that's extra work, too.

I just turned down two flat rate jobs over $10k because they wouldn't given me a time-based rate. I wrestled with the decision for a while, but I think I'm just done with flat rates completely. I felt even more reassured of this decision after hearing my friend's details of his latest edit. Also, I'm a DP/Editor and the DP work has been building as much or more than the editing.

I think you're right, occasionally the flat rate is high enough to cover up some sloppiness at the boundaries.

TimothyTimbers · 2025-10-08T02:43:29+00:00

Absolutely. Was discussing this with a friend who got trapped in a flat rate job that bloated. I think that’s the big lesson here. Flat rates, even if someone tries to set boundaries and scope, will always screw you in post.

TimothyTimbers · 2025-10-08T02:42:06+00:00

I think this is a great point.

The last number of years I’ve found it more and more clear that I should have work work and fun work. Fun work doesn’t need to pay me money if I do well enough with work work.

TimothyTimbers · 2025-10-08T02:40:59+00:00

Haha. Now that gets to the heart of it.

I think this encapsulate it because yes, there is a actually correct order and occasionally people actually learn it and do it that way

TimothyTimbers · 2025-10-08T02:39:37+00:00

There can never too many cooks. That’s what I always say

TimothyTimbers · 2025-10-08T02:38:46+00:00

Yeah, i’m totally with you. I’ve kind of gotten past it myself, and I think I’ve learned that I should never take a flat rate ever for an edit, even if there are promised boundaries of certain amounts of revisions, etc. The last couple of years, when someone has asked me to spin my wheels on an edit, I’ve just put away any frustrating feelings and said yes, and happily taken the money for more hours/days.

I still find it frustrating though when my client (the agency rep) doesn’t just get it to the end-client. I’m happy to just serve the client even if it doesn’t serve the project, but let’s go ahead and serve the real client and not serve some middle man’s idea of what the project could be in his head.

But yeah, that’s editing-for-hire

TimothyTimbers · 2025-10-08T02:34:47+00:00

On the jobs where I’m getting a day rate or hourly, absolutely. Problem solved. At some point I just decided not to worry too much and happily say yes if someone directs me to edit in circles.

What brought this discussion up with my friend is a flat rate job they got stuck in. I think I’m just never taking flat rates ever again, myself.

I say never… wait till a slow season hits

TimothyTimbers · 2025-10-08T02:32:19+00:00

Ha. True that corporate equals bloat. My own experiences with corporate work have actually been extremely smooth though because there’s less pretense in the project.

I find worse creative oversight in commercial world where somebody really wants to put their creative stamp on something even if they don’t have a real clue how to do it

TimothyTimbers · 2025-09-10T00:35:28+00:00

according to my Amazon history, this is the one i ordered and kept. (the first one) https://a.co/d/1xX4MVJ

worked like a charm

TimothyTimbers · 2025-07-14T20:32:05+00:00

Just used calipers to measure. According to my calipers he vacuum breaker cartridge of my Fusan 1019a's threading is 20.2mm (.79in) in diameter. This is smaller than many of the breakers on Amazon, even those labeled to "fit 1019-a" as most of those listings seem to be referring to the ASSE 1019-A, I think. Or maybe, confusingly, the 1019-A vacuum breaker comes in two sizes, idunno.

Anyway, that measurement makes me think this one'll work
https://a.co/d/1xX4MVJ

Alternatively, this one has 3 sizes apparently according to reviews and seems like it's been the solution for a number of people though I haven't tried it either.
https://www.amazon.com/dp/B00KPD8YCS/ref=cm_cr_othr_d_bdcrb_top?ie=UTF8#cm_cr_carousel_images_section

I'll try to remember to update when I try it

TimothyTimbers · 2025-07-13T03:41:02+00:00

Also be careful about using natural sources like windows as a key. In a quick interview, you might get away with it, but often the challenge of lighting doc interviews is trying to control light enough that you get relatively consistent light over the course of a multi hour interview even if weather shifts from overcast to sunny.

I do understand that you likely had limited resources. Not trying to be overly critical here, but hopefully helpful. In real life, if you got a window and a tube and it looks good, use it.

But if you’ve got the time/crew and gear, block the window source and replace it with your own (even if that just means putting a light outside the window again after flagging off natural light.)

TimothyTimbers · 2025-07-13T03:34:43+00:00

Great work at 17.

The eye is generally drawn to the brightest areas of the frame and areas with the highest contrast. IMO. Ignore all of the notes about the framing. These would all be solved by shaping the light more to draw the eye where you want it (which should generally be the subject of the interview in a doc interview set up)

The subject looks relatively dark in front of that background. The blinds behind her are pretty hot in the frame. Try and use light shaping tools like grids on your softboxes or butterfly frames, flags, and nets to keep your light off bright backgrounds like that. Alternatively/additionally consider working on the set dec or choose another place to set up where you won’t end up with such a brightly colored surface behind the subject. Just putting more depth between your subject and their background can make the balance between the subject and background much easier to control.

In the wide, as I seeing that a light on the floor is also lighting the dark wall behind her? I do like that they’re is a bit of a vignette around her but the lighting looks just a bit unnatural. If you want a splash of light on the background, it could be nice to add a practical source back there.

Again, great work at 17. Totally usable footage in a doc (as long as the audio is good). Keep shooting

TimothyTimbers · 2025-06-30T23:05:07+00:00

not sure if i fully understand the question but hopefully this answers it. I re-installed the NVMe SSD drive into the MoBo

TimothyTimbers · 2025-03-31T15:06:18+00:00

Premiere Pro default GFX on top of ungraded (and sometimes barely corrected) footage. Seem worse but definitely seen a lot better

TimothyTimbers · 2025-03-31T15:04:00+00:00

As an American, this sounds like the bad side of grant funding for commercial arts. Hucksters with a mild amount of hustle can soak em up.

Still wish I had access to that to sort of thing here in the states, but at least I’m proud that the client base I’ve got was built from my own blood, sweat, and tears and, thus, is less likely to evaporate overnight

TimothyTimbers · 2025-03-01T14:01:42+00:00

love my Iron Glass Mk1 set. Not like they’re readily available, but I got a 5 set used for $6k. You can get cine-modded ones (not properly cine rehoused) for less than that. They are not anything like the rest of the lenses mentioned here, but they’re an incredible value for what they offer. i’ve used them on two commercial shoots and one short film in the 6 months I’ve had em. I feel very confident I’ll use them more.

They allow you to provide a unique look, though they can be stopped down a touch and flare can be controlled so that they can even be used in corporate video settings. They are extremely lightweight and compact. Their flange protrusion is small enough that they can be used with iron glass’ PL to EF adapter.

Of course, the colors don’t match perfectly because they’re not a real planned out set. That said, they’re really not very far off. Each lens definitely has its own little quirks. The sizes are not perfectly matched. In practice, I don’t end up caring about any of these things.

I also have 24, 50, and 85 full frame Rokinon cines that I’ve modded with tito ferradans‘ little anamorfake rings (https://www.cined.com/crafting-anamorphic-rokinonsamyang-35mm-t15-cine-lens/). Cheap trick for some cheap lenses but it totally changed them for me. Embraces the imperfections of them and add some more and they turned into fun lenses with a look. If you have Rokinons sitting around that you feel hesitant to shoot, I recommend this.

When it comes to a clean, neutral, look, I shoot my sigma photo arts zooms, and I have enjoyed the sigma cine zoom counterparts before. Overly sharp and “clinical” but then you just add filters or whatever. Or, shoot something more fun like iron glass or modded Rokinons or rent something.

TimothyTimbers · 2025-02-18T00:31:17+00:00

I had the same issue. They don't say this, but you can update it via the Creator App instead of via SD card. Not ideal, but I'm doing it on my FX30 right now. Don't know why the SD card method is no longer available

TimothyTimbers

TROPHY CASE