I've been able to get acceptable footage from the old Pocket using non-stabilized lenses if I can prop myself against something like a wall, a tree, a fence, a post, etc., but even with stabilized lenses I've never been able to do smooth pans or tilts without a tripod. With its larger sensor, the new Pocket Cinema 4K should be more usable handheld than the original Pocket (you might want to get at least one lens with OIS for handheld shots the Panasonic 12-35mm is the standard recommendation and is a very good lens, but there are a couple of threads in the forum here on lenses for the new 4K Pocket with lots of good ideas).
I resisted video for decades for this reason: I like simplicity and minimalism, and video is anything but simple or minimalist working with cinema cameras adds another layer of complexity and equipment. Paul Bissonnette wrote:By the time I buy all the equipment, should look into an 18 wheeler to transport it. You'll have to think about sound as well to do it right requires a good external mic, ideally off the camera but if you're doing run-and-gun you can get away with a high-quality shotgun mic on camera (the documentary Cartel Land was shot this way and the sound is quite good, although that was using a $2,500 Schoeps shotgun mic). Perhaps a bit less true with the BMPCC 4K since it has a better screen (on the old Pocket it's hard to get away without an external monitor unless you always shoot indoors or on cloudy days at dusk or dawn). The main lesson I've learned in coming to BMD cinema cameras from stills photography is that you should plan to spend 2 to 3 times as much as you spent on the camera on additional equipment to make it all work, or at least to optimize the experience. There are gimbals and steadicams as well check this section of the forum for the threads about gimbals and other stabilization options for the new Pocket 4K camera. If you're coming to this from stills photography, be aware that your regular ball-head photography tripod isn't going to cut it here - at the very least you need a fluid video head (one that can handle the weight of the camera plus your heaviest lens), and ideally you should get a video tripod as well for the increased stability. If you're planning to do a lot of street video, a monopod might be the cheapest option. Tripod and dolly system work for cinema-style work, and a tripod will work well for just about everything except run-and-gun. It depends on what you're planning to shoot.
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