Do you miss an articulating screen with the BMPCC 4K? There now is a possibility to have the camera’s screen modified in China and get a tilting screen. The modification is non-destructive (reversible) and also adds a USB-C port at the back, between the backside of the camera and the screen. BMPCC 4K Screen Modification. Source: power_cheung The Blackmagic Pocket Cinema Camera 4K (further only BMPCC 4K) has been a popular camera amongst (not only) indie filmmakers since its announcement. It offers great image quality for a really low price. If you want to know more about the BMPCC 4K, make sure to check out Nino’s hands-on review. Aside from great image quality with high-bitrate codecs, this camera also introduced an unusually large screen. It features a 5-inch touchscreen with 1080p resolution. However, one of the downsides of the screen is that it is fixed on the back of the camera. No tilting, no flipping out, nothing. It seems like there is an unofficial solution for this downside now. BMPCC 4K Tilting Screen Hack BMPCC 4K Screen Modification – First Prototype. Source: power_cheung A user named power_cheung modified his BMPCC 4K screen by adding a tilting mechanism and posted a couple of photos on a Chinese filmmaking forum, filmaker.cn. In fact, he posted photos of the first prototype already in May 2019. That first prototype seemed to be working, but the design wasn’t so neat. That’s how it is with prototypes. BMPCC 4K Screen Modification. Source: power_cheung Now it seems like he managed to improve the mechanics and design of the modification. He posted new photos of the latest version, which actually looks pretty good. The important fact about this modification, as power_cheung claims, is that it is non-destructive. This means that, if needed, the BMPCC 4K can be assembled back to its original shape with the built-in screen. BMPCC 4K Screen Modification. Source: power_cheung His solution looks very interesting. The screen can be tilted 180° up and serve as a selfie screen for vloggers. The only downside of this is that the image cannot be flipped. There is no such option in the menu, as Blackmagic never counted on using the camera upside down. The screen can also be tilted to face down up to 90°. This certainly makes shooting from very low or very high perspectives much easier, as there is no need for an external monitor. The GH-style flip-out mechanism would have probably been better, but I guess it would have led to a more problematic cable management. BMPCC 4K Screen Modification. Source: power_cheung Another advantage of this modification is that there is now additional space available between the backside of the camera and the screen. Power_cheung even put one USB-C connector to this space to connect an SSD for high-speed recording. From what I understood, he will offer the special chassis for the SSD to fit perfectly in that space. BMPCC 4K Screen Modification with USB-C port for SSD. Source: power_cheung Price and Availability The price of the BMPCC 4K tilting screen modification is between ¥ 1500 and 2050 (chinese juan), depending on the version. This translates to roughly $220 to $300. The two versions are both with an SSD box with an M.2 slot, either with SATA or NVMe protocol. The modification can be purchased here on taobao.com. After purchasing, users need to send their BMPCC 4K to China and let the store perform the modification. They claim the modding will take up to three business days. For non-Chinese residents, there are certain risks of sending the camera to China, for sure – the shipping alone is kind of risky. I don’t know if there is any kind of warranty provided by the modders. They do offer a free replacement service for the life of the flexible cable though. I also believe that such a modification will probably lead to a warranty void with Blackmagic (I don’t know if there is a way to tell the camera has been modified, even after being assembled back to its original shape). Considering the relatively low price of the camera, I think it would still be interesting to have it modded. What do you think about this modification? Do you miss an articulating screen with the BMPCC 4K? Would you consider having something like this done? Let us know in the comments underneath the article.

A few days after the announcement of the Apple Mac Pro and Pro Display XDR, Blackmagic announced the new Teranex Mini SDI to DisplayPort 8K HDR. This new Teranex Mini monitoring solution is compatible with the Apple Pro Display XDR and can transform any monitor into an accurate professional reference monitor. Let’s take a closer look. Teranex Mini SDI to DisplayPort 8K HDR Features The Teranex Mini SDI to DisplayPort 8K HDR is a little additional box that is used for 8K DisplayPort monitoring. It features several professional tools such as dual on-screen scope overlays, HDR compatibility, the possibility to display 33 points 3D LUTs and monitor calibration tools. The dual on-screen scopes can be switched between WFM, Vectorscope, RGB and YUV Parade, and Histogram. But, the Apple Pro Display XDR is only 6K, right? Yes, if you don’t have an 8K display, you can still use the Teranex Mini SDI to HDMI 8K HDR, though. There is a built-in scaler that will ensure the video input standard is scaled to the native resolution of the connected DisplayPort monitor. The front panel is quite cool looking. It includes a USB port on the left to connect a calibration probe of your choice. At the moment, it supports the SpectraCal C6, X-Rite i1 Display Pro and the Klein K10-A probes. This is useful to precisely calibrate the monitor you are working on, without having to play with CalMan or other third-party software. In the middle, there are six buttons to quickly control the Teranex Mini and navigate within the menus with the clickable wheel on the right. Those physical controls are an excellent addition if you have quick adjustments to make and don’t want to launch the included utility software (Mac and Windows compatible). Finally, there is a color screen that displays the input video, the video settings, and an audiometer. The rear of the Teranex Mini SDI to DisplayPort 8K HDR features Quad Link 12G-SDI input. They are compatible with HD, Ultra HD and 8K signals. You can even loop out the input signal. Once your signal is in, there are 2 DisplayPort connectors – a full-size and a USB-C style DisplayPort – for connection to your monitor. There is an Ethernet port to control the unit. Plus, if you need a stereo out, there are two RCA connectors. HDR Workflow and Formats As its name suggests, the Teranex Mini SDI to DisplayPort 8K HDR has everything you need for the latest HDR workflows. If your DisplayPort monitor is HDR compatible, it will allow for HDR SDI monitoring. Many HDR standards are supported, including ST2108-1, ST2084, and ST425 standards. Of course, if you are not working with HDR colorspaces, it supports Rec.2020 and Rec.709 colorspaces, as well as 100% of the DCI-P3 format. In terms of formats, the Teranex Mini SDI to DisplayPort 8K HDR supports every HD, Ultra HD and 8K standards. In 720p resolution, you get support for 50p, 59.94p up to 60p. For 1080i formats, you get 50i, 59.94i up to 60i. For 1080p, 1080PsF, 2160p, 2K and 4K DCI film formats you get support from 23.98 to 60 fps. Finally, for 8K formats, you get support from 23.98 up to 59.94p. Pricing and Availability The Teranex Mini SDI to DisplayPort 8K HDR will be available in October this year. It will retail for $1,295. Another Teranex non-HDR version will also be available for the same price. What do you think of this new Teranex Mini SDI to DisplayPort 8K HDR? Do you consider buying it next to an Apple Pro Display XDR? Let us know in the comments!

The BMPCC4K Controller app is available for Android devices and it enables controlling of almost all aspects of the camera. It is very quick and responsive without any noticeable delay and it offers customizable minibar for quick settings. BMPCC4K Controller App from SayEffect The Blackmagic Pocket Cinema Camera 4K (or shortly BMPCC4K) was introduced last year. Despite not being as portable as the first generation, the camera brings high image quality with internal recording for an unprecedented price tag. Watch and read our detailed assessment of the camera in our hands-on review. The BMPCC4K features a Bluetooth wireless communication module, which can also be used to control various functions of the camera. Since Blackmagic Design does not supply any remote control app on their own, there is a place on the market for apps from third-party developers. One of those apps is the BMPCC4K Controller from SayEffect Tech Solutions. Firstly, the app is only available on Google Play for Android devices. It’s not for free – the app costs €6.99. I downloaded the app and briefly tested it on my Samsung Galaxy S9 (SM-G960F) phone with Android 9 installed. BMPCC4K Controller App from SayEffect To my surprise, the app needs location service to be turned on to connect to the camera. I don’t like that, because turning on the GPS location on the phone just drains the battery faster. This has, however, something to do with the Bluetooth communication and would probably be the case for any app which uses Bluetooth. Controlling the camera with the app is really responsive. There is no noticeable delay whatsoever. When adjusting the functions through the dials and buttons, everything worked instantly. BMPCC4K Controller App from SayEffect The app provides fast access to recording, setting up exposure, white balance, lens focus and more. Based on the information from the app developers, the features include: start/stop recording choose recording codec/formats – ProRes and BRAW choose the resolution, frame-rate (off-speed framerates toggle with a single click), dynamic range, detail sharpening (in ProRes) manage Iris, shutter and ISO and auto exposure (if your lens supports it) manage white balance and tint lens control – focus and zoom (if your lens supports it) play last clip manage camera LCD frame guides manage clip/slate + project and lens information I can confirm, that all of the functions were really available and quite intuitive to control. I tested the app with the BMPCC4K with the Olympus M.ZUIKO 25mm f/1.2 lens. When adjusting the IRIS of the lens through the app, it works well and the aperture changes instantly. The app, however, does not know what is the minimum and maximum aperture of the lens, so I could move the sliding controller in the app all the way from f/1.0 to f/22 although the lens of course only goes between f/1.2 and f/16. The camera itself has this data, so the app could also have it in my opinion. That is, however, only a minor issue and does not affect the actual usage. BMPCC4K Controller App from SayEffect One important thing to mention – the app does not have a live preview. It can trigger a review of the last filmed clip, but that will only be played on the camera’s display. The app also offers Slate mode only. There is a customizable minibar to view and speed click to a particular setting. The bar can be positioned on the left side of the phone screen, on the right side, or turned off. BMPCC4K Controller App from SayEffect The BMPCC4K controller app requires the camera to be updated with the latest firmware version 6.2. As I mentioned earlier, the app is only available on the Google Play store (link here) and it costs €6.99. There are more BMPCC4K control apps in Play store with different ratings, but they are all paid apps. I only found one free app, which can only start/stop the recording with the camera though. What do you think of this BMPCC4K controller app? Have you tried some app to control your Pocket 4K? Let us know in the comments underneath the article.

The video sharing-, review- and collaboration service frame.io is now supported in Blackmagic’s latest iteration of its humongous video and audio post-production application DaVinci Resolve 16  (currently in beta) — let’s have a quick look. After the recent rollout of a massive update to their service, I thought it only a matter of time until frame.io would start supporting Resolve in addition to existing integrations into for example Adobe Premiere and Final Cut Pro X. What they did deliver though goes deeper than any of the previous integrations — much deeper! They did not just write a plugin or external app that “talks” to Resolve but worked with Blackmagic Designs developers to build frame.io integration right into Resolve — no installation of any kind needed. All you have to do is sign into your frame.io account from within Resolves preferences and you’re set. This opens up very exciting workflow options indeed: Access footage stored on frame.io directly from Resolve’s Media page and work with proxies while the original files are downloaded in the background. Deliver from the Timeline (full length or just sections) directly to frame.io — no exporting and juggling of files needed. Comments from the frame.io web app and mobile apps get synched directly into Resolve’s timeline. access frame.io media from within Resolves Media page Why frame.io and the Integration with DaVinci Resolve Makes Sense I don’t usually get excited about online services easily. That said, I have been a frame.io customer for a couple of weeks, carefully trying to steer my clients and collaborators away from using a combination of Dropbox, WeTransfer, mindbogglingly long e-mail threads and desperate phone calls as our means of collaboration. Because I do most of my finishing work inside Resolve this integration actually has me excited because it does look like something that can potentially make my life a lot easier. I have been playing around with the integration for a couple of hours and so far it does what it’s supposed to do and that’s great. Open API for frame.io Frame.io has also opened up there API allowing developers of other software tools to hook into the service. Imagine the DIT on a set offloading camera cards using ShotPutPro or Hedge directly to frame.io, where an editor on the other side of the world can start editing, before the set is wrapped. Slowly but surely the 21st century does feel like the future. Note: Please be advised that Davinci Resolve 16 is currently in beta (and is thus not suited for production work). It will upgrade your disk database, when you install it. This disk database can not be opened by previous versions of DaVinci Resolve! Do yourself a favour and backup your database before you try it, promise? Do you already use frame.io and/or DaVinci Resolve? Do you plan to? Let us know in the comments if you share my excitement about this integration. Or why not.

Just 6 weeks ago, Blackmagic Design’s CEO Grant Petty introduced a bunch of updates to their lineup including a new generation of the popular URSA Mini Pro camera, called G2 (read: generation 2). As you can tell from its name this is not a completely new camera but an update to the existing URSA Mini Pro, which will be replaced by the URSA Mini Pro G2. Watch our interview with Blackmagic’s Craig Heffernan for all the details. Blackmagic URSA Mini Pro G2 This camera is labeled G2, so what’s new here? Well, sometimes when it’s about updating software features, the hardware needs to be upgraded as well to do justice to these improvements and that’s exactly the case with the URSA Mini Pro G2. In order to enable higher fps recording Blackmagic engineers have deployed an updated 4.6K sensor (a different build of the same sensor, as Craig Heffernan puts it). It comes with advanced processing and a streamlined image pipeline throughout the camera. This enables for higher frame rates and faster sensor read-out (less rolling shutter). Furthermore the camera now supports Blackmagic Color Science 4 and it also can handle 3D LUTs now. All the accessories of the original URSA Mini Pro will fit the G2 model, it simply replaces the original model in that respect. Same goes for pricing, the G2 comes in at exactly the same price as the original URSA Mini Pro. Improved High-Speed Recording The new high frame rates include the following modes, depending on which format you’re recording to: Frame rates in Blackmagic RAW: 120 fps in 4.6K in Blackmagic RAW 150 fps in 4K DCI in Blackmagic RAW (windowed) 150 fps in UHD 4K in Blackmagic RAW (windowed) 300 fps in HD in Blackmagic RAW (windowed) Frame rates in ProRes: 80 fps in 4.6K in ProRes 120 fps in UHD in ProRes (windowed) 240fps in HD in ProRes (windowed) There’s already some sample footage to see for yourself, hop over to our article here. Audio Enhancements Blackmagic also worked on the audio section of the camera. The URSA Mini Pro G2 now offers an enhanced audio processing and hopefully the dreaded (and audible) delay when monitoring the audio through the camera is now a thing of the past. Blackmagic RAW vs ProRes RAW Yes, the URSA Mini Pro can record straight to ProRes. But no, it can’t do ProRes RAW. That’s the way things stand at the moment. Blackmagic are quite happy with their own RAW format since it integrates seamlessly with their cameras and their post production tools, namely DaVinci Resolve 16. So there are no current plans to implement ProRes RAW but of course that could change any minute, who knows what the future holds. If you’re in the market for a new camera, this might be worth a ver close look. The URSA Mini Pro G2 is a significant update to the original camera and establishes a base for further firmware updates in the future. Link: Blackmagic Design What do you think about the URSA Mini Pro G2? Share your thoughts in the comment section below!

The Blackmagic URSA Mini Pro 4.6K G2 is the new version of the popular URSA Mini Pro. The camera was announced earlier this month, and the first footage was recently released. Let’s take a quick look at it! Wildlife Footage The Blackmagic URSA Mini Pro 4.6K G2 is a brand new camera and is still in the preorder stage. However, it looks like Blackmagic already sent some early units to a bunch of select filmmakers. Wildlife cinematographer Garth De Bruno Austin is one of them, and he just posted a video showing the camera’s slow-motion capabilities. The video is entirely shot using Blackmagic RAW 4.6K/2K, using Sigma 18-35mm and 70-200mm lenses. The footage was shot in 120 (4.6K) and 300 (2K cropped sensor) frames per second. The first footage looks very promising. Of course, Garth is a very talented filmmaker, plus the locations and animals are gorgeous. Indeed, there is a lot of details in the footage, and the image doesn’t look “soft” in the slow-motion mode like other cinema cameras. To me, there is no moiré or other artifacts visible, even though the scenes featuring the elephant and the fine grass detail are usually really complex to render for a camera sensor. Also, Blackmagic Color Science 4 looks like a significant step-up in color rendition; the skin tones look very appealing. I can’t wait to see more footage from the URSA Mini Pro 4.6K G2 to appear. Image courtesy of Blackmagic Design URSA Mini Pro 4.6K G2 Specs The original URSA Mini Pro was already a powerful camera with built-in ND-filters, XLR audio, and plenty of recording formats available. The URSA Mini Pro 4.6K G2 brings some new features like: Super 35mm 4.6K sensor with Blackmagic Design Generation 4 Color Science. Project frame rates up to 60 fps and off-speed slow motion recording up to 120 fps in 4.6K, 150 fps in 4K DCI and 300 fps in HD Blackmagic RAW. Support for Blackmagic RAW files in Constant Bitrate 3:1, 5:1, 8:1 and 12:1 or Constant Quality Q0 and Q5 as well as ProRes 4444 XQ, ProRes 4444, ProRes 422 HQ, ProRes 422, ProRes 422 LT, ProRes 422 Proxy recording at 4.6K, 4K, Ultra HD and HD resolutions. Fifteen stops of dynamic range. 2, 4 and 6 stop neutral density (ND) filters with IR compensation. Interchangeable lens mount with EF mount included as standard. Optional PL, B4 and F lens mounts available separately. Built-in dual C-Fast 2.0 recorders and dual SD/UHS-II card recorders allow unlimited duration recording in high quality. High-speed USB-C expansion port for recording directly to an external SSD or flash disk. Standard connections, including dual XLR mic/line audio inputs with phantom power, 12G-SDI output for monitoring with camera status graphic overlay and separate XLR 4 pin power output for viewfinder power, headphone jack, LANC remote control, and standard four pins 12V DC power connection. 4-inch foldout touchscreen for on-set monitoring and menu settings. Includes a full copy of DaVinci Resolve software color grading and editing software. What do you think of the first footage from the Blackmagic URSA Mini Pro 4.6K G2? Do you consider buying the camera? Let us know in the comments below!

Blackmagic Design just announced the URSA Mini Pro G2, the second generation of its flagship shoulder camera, plus the long sought-after Blackmagic RAW update to the Blackmagic Pocket Cinema Camera 4K. To get an extensive run-down of all the new products and features that Blackmagic Design introduced today, watch CEO Grant Petty in this 35 minute video below: But if you want to save some time, you can also read my summary here: Blackmagic URSA Mini Pro G2 This is the new second generation of the popular URSA Mini Pro. It replaces the previous model and while it looks similar, Blackmagic have redesigned all the electronics inside the camera and it includes a new generation 4.6K sensor. Blackmagic claims that this camera has 15 stops of dynamic range. (Here’s our dynamic range test of Blackmagic RAW on the original URSA Mini Pro in case you missed it.) The new electronics allowed them to ramp up the camera frame rates. They have doubled the frame rate in Blackmagic RAW and in ProRes. Frame rates in Blackmagic RAW: 120 fps in 4.6K in Blackmagic RAW 150 fps in 4K DCI in Blackmagic RAW (windowed) 150 fps in UHD 4K in Blackmagic RAW (windowed) 300 fps in HD in Blackmagic RAW (windowed) For the higher frame rates, you will need 12:1 compression. Frame rates in ProRes: 80 fps in 4.6K in ProRes 120 fps in UHD in ProRes (windowed) 240fps in HD in ProRes (windowed) The read-out from the sensor is faster which results in less rolling shutter. Image calibration on the camera was upgraded: new black calibration, improvement to the Version 4 Color Science and 3D LUTs are now integrated. The camera already runs Blackmagic RAW 1.3. This version integrated 3D LUTs into the Blackmagic RAW footage itself, which can be read out by the latest version of DaVinci Resolve. It’s in the file, but it’s not burned in, it can be switched on and off. This feature can be accessed by any software that uses the Blackmagic RAW SDK 1.3. Blackmagic have also improved the audio circuitry for quad-XLR audio inputs. I really hope that means that also audio monitoring will be improved with this new camera because I think one of the biggest downsides of the original URSA Mini Pro was the noticeable lag in audio monitoring through the mini jack, which made monitoring audio on this camera (while recording) a quite jarring experience. The URSA Mini Pro G2 can also do USB-C recoding to flash disks now, just like the Pocket Cinema Camera 4K. With regards to lenses, the EF Mount is interchangeable to PL (optional purchase mount) and even B4 broadcast lenses. In addition to the improvements above, Blackmagic has enhanced the displayed information on heads-up display (like for example ND status), and it’s now also easier to format media. Here’s my review of the original Blackmagic URSA Mini Pro, in case you missed it: Blackmagic Pocket Cinema Camera 4K goes Blackmagic RAW When first introduced in September last year, Blackmagic RAW was only made available for the URSA Mini Pro. It’s a compressed 12-bit RAW format that’s easier to use than traditional RAW formats – footage comes in a single file and it uses about as much (constant) data as a ProRes 422 HQ file (which is only 10-bit and a much older format). Of course, everyone wanted to see Blackmagic RAW on the long-anticipated Pocket Cinema Camera 4K as well, and now is the time that Blackmagic is introducing it to that camera. The Blackmagic RAW update for the Pocket 4K comes as part of the Blackmagic Camera 6.2 update which is freely available from their website. The new format means that you can record the highest available quality and resolution on that camera at a lower data rate – for example, you can fit 2 hours of Blackmagic RAW footage in 4K on one 256GB SD UHS-II card. Blackmagic RAW 12:1 makes it even possible to record 4K DCI images to an SD card, which wasn’t possible before. The RAW compression rates that are available in the camera are 3:1, 5:1, 8:1 and 12:1 in constant bit rates, or alternatively you chose constant quality between “Q0” and “Q5” settings. That means that you can prioritize either image quality or file size by choosing one of the two options to set your quality – essentially toggling between a constant and a variable bitrate mode, while still remaining in the (supposedly) superior Blackmagic RAW codec. Here’s our initial video about Blackmagic RAW from IBC 2018: Blackmagic Design Generation 4 Color Science The update also introduces Blackmagic Design Generation 4 Color Science into the camera, which, according to the company, “is used for superior imaging that results in extremely accurate skin tones and gorgeous, lifelike colors”. We’ll take a look at how it compares to prior versions, but I personally was pretty happy about Blackmagic skin tones all along. If you haven’t seen our full extensive Blackmagic Pocket Cinema Camera 4K video review before, please watch it below! No More DNG RAW on URSA Mini Pro G2 and Pocket 4K What comes as a bit of a surprise is that Blackmagic will no longer offer cinema DNG recording on the new URSA Mini Pro G2, the Pocket 4K or the original URSA Mini Pro, with the new camera update. Grant Petty mentions some patent issues in the video above, but quickly moves on to say that cDNG is an obsolete format anyway, considering the file size of the individual DNG files that are generated. While he might be right (DNG is eating up storage in no time which makes it really hard to shoot even for a lot of professional productions), there certainly will be a considerable disappointment by many users who have had to rely on this feature in the past. After all, the USP of Blackmagic cameras has been their ability to record RAW footage at a very low hardware cost … and while it’s true that now we have Blackmagic RAW as the new codec, some people might still prefer the individual still photo file structure of DNG files for their workflow, especially when we are talking about CGI intense post-production workflows. We’ll see how the market and the communities react to this announcement. Are you a Blackmagic camera user? Do you have or plan to own a Pocket 4K or URSA Mini Pro G2 in the future? What do you think about their discontinuation of DNG in their cameras? Let us know in the comments below!

The BMPCC4K is a popular camera, no doubt about it. And a popular camera builds a market for third-party accessories. Just like many other manufacturers before them, Zacuto has just released their version of a dedicated cage for the Blackmagic Pocket Cinema Camera 4K. The Zacuto cage features a comfortable strap which keeps your hand snug to the camera. The trick is the “no-cage” design, you shouldn’t even notice that there’s a cage at all while holding the camera. Multiple 1/4 20″ threaded mounting holes can be found all over the cage for mounting additional accessories. The top plate incorporates a Z-Rail (read: NATO rail) which can be used for balancing a top handle for example. As a nice touch, the rail is embedded (but can be moved back and forth) in the cage so the top plate is completely flat. On the other side of this BMPCC4K cage there is another NATO rail that stabilizes the cage itself and allows a second handle to be fitted. The cage also comes with strain relief clamps and right angle adapters for both the USB and HDMI connectors. Please note: The images in this article show a 3D-printed prototype of the actual cage. The real cage will be made out of anodized aluminum. Zacuto BMPCC4K Cage For mounting this BMPCC4K cage to a tripod or rig the bottom of the cage offers two ¼” 20 threads and one 3/8″ 16 thread. This opens the door for either a third party tripod plate to be mounted but you also can use the built-in Arca Swiss plate to mount the cage to any Arca Swiss compatible quick release mounting base. The cage comes with a left wooden handgrip but you can mount any grip you like via the NATO rail on the left hand side of the cage – or no grip at all. An optional accessory for the BMPCC4K cage is the dedicated SSD holder which mounts to the top plate via two allen screws and holds a Samsung T5 SSD securely in place. Additionally the SSD holder offers a coldshoe for mounting more accessories. Another (future) optional accessory will be a rod support for attaching 15mm rods to the cage and build a fully-fledged rig from there. Other Options Zacuto is a bit late to the party here. Other companies already have their BMPCC4K cage offerings ready. Click on one of the following links for our corresponding article: 8Sinn (link) LockCircle HiPock (link) Tilta modular cage (link) Shape / Wooden Camera / SmallRig (link) Vocas C-Cage (link) As stated above, the popular BMPCC4K creates quite a market for dedicated camera cages and accessories. Which one is the best? I don’t know but I can tell from personal experience that Zacuto gear is well-build, rugged cleverly thought out. I like the “no-cage” approach but in order to really pick the best cage you have to try them all, which is not always an easy thing to do, obviously. Link: Zacuto Do you have any experiences with one of the above (or any other) cages for the BMPCC4K? Share your experiences in the comments below!