Camera by camera
Blackmagic Pocket Cinema Camera 4K export settings.
BRAW for the grade, HEVC for the client.
The Pocket 4K records Blackmagic RAW, ProRes RAW or ProRes 422 to CFast, SD or a USB-C drive. None of them plays in a web browser through us. Here is what to record for the grade, what to export for a client link, and where the originals go.
Video hosting for filmmakers · 5 GB free · Paid plans from USD 9/month
By uncompressed.io · Updated September 2026
What the camera records
Three families on the card
BRAW, ProRes RAW or ProRes 422.
The Pocket Cinema Camera 4K has a Four Thirds sensor (18.96mm x 10mm) at 4096 x 2160, with 13 stops of dynamic range and dual native ISO 400 and 3200, recording to one CFast 2.0 slot, one SD UHS-II slot or a USB-C expansion port for external media.
Settings from the Blackmagic Pocket Cinema Camera 4K tech specs; the 12-bit encoding is Blackmagic's description of the Blackmagic RAW format. Both read 19 September 2026. Blackmagic does not list data rates per setting on the spec page, so none are quoted here.
Frame rates from the Blackmagic Pocket Cinema Camera 4K tech specs, read 19 September 2026. Export rows refer to the bitrate table further down.
For the grading master, record Blackmagic RAW. It is the camera’s RAW option, encoded in a custom non-linear 12-bit space, and DaVinci Resolve includes support for it, according to Blackmagic. The choice inside BRAW is about data, not look: Blackmagic describes constant bitrate as similar to codecs set to never exceed a specific data rate, which makes card use predictable, while constant quality removes the upper data limit and lets a busy frame take what it needs. ProRes 422 HQ is the pick when your edit pipeline expects ProRes and you want to skip RAW processing; 422, LT and Proxy trade detail for smaller files. The spec page also lists ProRes RAW HQ and ProRes RAW; they are RAW too, but neither a browser nor the uncompressed.io macOS app plays them, so a ProRes RAW shoot always reaches the client as an export.
Who can play what
Two files for the Mac,
and one file for the browser.
The camera originals and the client link are different files with different jobs. Knowing which viewer opens which file saves a round of “it won’t play” emails.
Supported camera originals and Vault playback use the compatible macOS app; they are not universally playable in web browsers. Playback of BRAW and ProRes in the app is hardware-dependent, so test a short clip on the recipient’s Mac before a full review. Everyone else, on Windows, a phone or a tablet, gets the browser link and your export.
Browser playback uses your uploaded export without another platform re-encode. Codec, device and connection requirements still apply. Each film plays from one file with no lower-quality rendition, so a slow connection buffers rather than dropping resolution. That makes the export settings below the whole story of what the client sees. The BRAW client review guide covers the RAW side in more depth.
The client export
HEVC 10-bit,
sized to what the Pocket 4K shot.
H.265 Main10 (10-bit), MP4 or MOV, constant frame rate, 2-pass VBR, AAC audio at 320 kbps. Pick the bitrate row that matches your timeline.
uncompressed.io recommended review export ranges. One starting number: 80 Mbps HEVC 10-bit covers 1080p through 4K. Calm frames such as interviews sit at 40 to 50; busy frames such as rain, water, foliage, heavy grain or fast pans at 100 to 120.
The 4K 60 row applies only when you shot at 60 fps and the timeline runs at 60. A Pocket 4K job cut at 24 or 25 fps lands in the 4K 24/30 row, and HD shot at up to 120 fps for slow motion follows the slower timeline it was conformed to. Export at a constant frame rate either way.
Grade before you export. A 3D LUT on the camera shaped what you saw on set, but a browser shows the file exactly as encoded. The grade, or at minimum a transform to Rec.709, happens in the timeline, then the export. Free presets with these values for DaVinci Resolve, Premiere Pro, Media Encoder and Compressor are on the NLE tools page.
Card to client
From the CFast card
to a client link.
Four steps. The originals and the review export travel side by side, each to the viewer who can play it.
Offload the card
Copy the BRAW or ProRes clips from the CFast or SD card into your project structure as usual. Keep the originals untouched.
Grade, then export
Grade or apply a Rec.709 transform, then export HEVC 10-bit at the timeline resolution and frame rate, using the row that matches.
Upload and share
Upload the export for the browser link, and the originals too if a Mac user needs them. Uploads are resumable, up to 5 TB per file. The share link is the access; clients need no account.
Pull notes into the NLE
Comments carry author and timecode with red or green status. They return as markers through a Resolve script, a Premiere Pro panel or a one-drag Final Cut Pro bundle.
A new cut replaces the file behind the same link and keeps its views, settings, notes and approvals. Downloads of the original file stay off until you switch them on for that video, so uploading the BRAW for a colorist does not hand it to every viewer of the link.
When this is the wrong tool
Questions
Frequently asked
Can my client play Pocket 4K BRAW files in a web browser?
Not through us. No RAW format and no ProRes plays in a web browser here. Send the browser link a graded HEVC 10-bit export. If the client needs the BRAW itself, the compatible macOS app plays it natively; test a short clip on their Mac first, because playback is hardware-dependent.
I shot 1080p at 120 fps for slow motion. What frame rate is the review export?
The export follows the timeline, not the camera. HD shot at up to 120 fps is usually conformed to a slower timeline, so a 24 or 30 fps timeline exports at 24 or 30 fps and uses the 1080p 24/30 or 4K 24/30 bitrate row, depending on the export resolution. Export at a constant frame rate.
4K DCI or UHD: does it change the export settings?
The Pocket 4K records 4096 x 2160 and 3840 x 2160, both up to 60 fps. Both sit in the 4K rows of the bitrate table: 40 to 80 Mbps HEVC at 24 or 30 fps, 50 to 100 Mbps HEVC at 60 fps. Export at your timeline resolution rather than converting between the two for review.
Does the Pocket 4K's ProRes play in the macOS app?
Yes. The camera records ProRes 422 HQ, 422, 422 LT and 422 Proxy, and the macOS app's stated ProRes ceiling is 4:2:2 HQ, so all four are inside it on compatible Macs. None of them plays in a web browser through us. The camera's ProRes RAW options are a different case: the macOS app does not support ProRes RAW.
Send the Pocket 4K grade, not a guess
Upload a short HEVC 10-bit export, share one link, and collect notes at the timecode. The client needs no account. Choose a paid plan when you need room for the BRAW originals.
Sources
- 1.Blackmagic Pocket Cinema Camera 4K, Tech Specs (Blackmagic Design) (sensor, Blackmagic RAW, ProRes RAW and ProRes recording formats, frame rates, media, read 19 September 2026)
- 2.Blackmagic RAW (Blackmagic Design) (12-bit non-linear encoding, constant bitrate and constant quality modes, DaVinci Resolve support, read 19 September 2026)