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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Blackmagic Design is rumored to announce a new L-mount cinema camera on September 14

rand thompson

rand thompson

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BY Leica Rumors


Article
https://leicarumors.com/2023/09/12/blackmagic-design-is-rumored-to-announce-a-new-l-mount-cinema-camera-on-september-14.aspx/amp/




Large OLED touchscreen
Super35 6K sensor
No IBIS
Improved gyro stabilization
6K at 75fps and 4K at 140fps video
OLED screen and
CFExpress Type B memory card
 
I don't know where they got the info but even so, if priced like the current Pocket 6K then a mirrorless version becomes very enticing to add to the kit, although 8K would have been a nice upgrade. A mirrorless version of the URSA 12K would have been nice but may be a bit early with the OLPF having just come out and of course a Pocket 12K could be a surprise too. We'll see soon!
 
they put all that r&d into the 12k sensor, IMO the only reasonable thing to do would be a P12k with L mount and Cfexpress B. The p6k is their best-selling camera... the P12k would offer a P12K, P8K and P4K all in one and still leave the 6k option for those that would rather have that sensor. Add a pro version with ND and SDI.
 
Hands on the new BLACKMAGIC CINEMA CAMERA 6K | Full Frame L Mount (first impressions, test footage)


By Of Two Lands




 
BLACKMAGIC CINEMA CAMERA 6K FULL FRAME (BMCC6K) | UNBOXING, FIRST IMPRESSIONS and FIRST FOOTAGE!


By Matteo Bertoli



 
Alright, full frame! That was a surprise! Also being mirrorless with L mount effectively kills the resale value of Epic Dragon 6K and probably Gemini 5K as well and many other legacy 4K options on top of that. This clearly indicates an L mount and full frame 12K+ update for the URSA 12K at some point. Also having an OLPF to help with virtual production use gives it a great edge as well.

Now the shootouts with Nikon Z8/Z9 and Canon R5C should help make the final decision but it may be worth it to start building up a collection of adapters for L mount now since Blackmagic has finally made their mirrorless mount decision. The only downside is that the camera is only 6K but they talked about post-pandemic part shortages at NAB holding things up so I guess it’s still taking a toll. In any case, a very exciting development if nothing else than for the signs of what’s to come!

EDIT: About a full frame Komodo, yes that would be a very nice upgrade but then you basically bash the Raptor sales. BMD has got RED on price and now full frame capability so RED could strategically change their pricing strategy or they’ll have to change their lineup with whatever they have coming up next and hopefully it will be big. I’ve said it before but RED could release their new camera and drop the Raptor down to $15K or even go drastic and knock out Komodo and replace it with the Komodo X at the budget level and then place Raptor as their $10K option but to even make that work whatever they have back in the $20K+ level would have to be a significant upgrade over Raptor. Then again, who knows what RED could do at this point, there are many ways they could go to tackle the competition so we’ll have to wait and see.
 
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It would have also been nice to have ProRes recording options as well.
 
Zack Birlew said:
Alright
Click to expand...

These cameras don't exactly have an impact on DSMC or DSMC2 resale value, newer cameras in those categories/classes do however.

The extremely real comparison will be against the Z-Cam Z CAM E2-F6 and/or Z CAM E2-F6 Pro.

L-Mount is the best feature on the new camera as well as the impressive workflow related things laid out. I'll also highlight that this camera has a built in Low Pass filter, which is very good news from the start for them.

This also provides a somewhat clear path to an 8K model using this sensor mentality if that's desired. I wouldn't expect two models announced today, but there are two options to get to that from here and the platform they are on can likely handle it. I personally don't think they will be building on the 12K sensor platform moving forward, but that's just my personal take. I would recommend the Cinema Camera 6K over that most days of the week as an acquisition option in the BMD workflow.

Agree with Rand on having ProRes internally, but that would make the camera more expensive.
 
Is there no ND? That'd be a bummer (and would be worth waiting for the "Pro" version... which would hopefully be 8K as well).
 
Mike P. said:
Is there no ND? That'd be a bummer (and would be worth waiting for the "Pro" version... which would hopefully be 8K as well).
Click to expand...

That could be because of the short L-Mount Flange distance. The Other cameras had a longer EF Flange distance which could probably accommodate and internal ND system. Think of it this way, you lost Internal NDs for the ability to mount a shitload of more lenses.

Ultimate Guide to Flange Focal Distance
Ultimate Guide to Flange Focal Distance (briansmith.com)


 
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Am I the only one in the world that has absolutely no ongoing interest in BMD cameras even at those prices?

Of all the BMD products I’ve ever tried I can’t say I’ve ever been impressed by any of them.
 
rand thompson said:
Blackmagic Design Website for the Camera

Blackmagic Cinema Camera | Blackmagic Design


Download Page for sample footage
Blackmagic Cinema Camera – Gallery | Blackmagic Design


Big Thanks to REDUSER member JOHN BRAWLEY for the sample download clips.!!
Click to expand...

Four of the five graded sample files I downloaded from the Palmdale Diner collection are HDR10, only they were mastered with DCI P3 Primaries rather than BT2020 (P3-D65 Limited), so the footage will not play properly in QuickTime; it is extremely dim and shadows are appallingly crushed when using the IINA player for macOS; and I'm told the clips also look over-saturated and dark with crushed shadows when viewing the clips on an LG C9 OLED with a Dune Real Vision media player.
 
Jon Pais said:
Four of the five graded sample files I downloaded from the Palmdale Diner collection are HDR10, only they were mastered with DCI P3 Primaries rather than BT2020 (P3-D65 Limited), so the footage will not play properly in QuickTime; it is extremely dim and shadows are appallingly crushed when using the IINA player for macOS; and I'm told the clips also look over-saturated and dark with crushed shadows when viewing the clips on an LG C9 OLED with a Dune Real Vision media player.
Click to expand...

Jon,

I could only download the ProRes and H.265 files. In Davinci 18.5.1 on my PC, the Braw files from the new 6k full frame camera aren`t even viewable in the " Media Storage" Area. The Braw files that I have from their 12K camera are. I installed their new Raw update but still no luck. I then installed the newest version of Resolve 18.6 but it keeps crashing at " LOADING VIDEO PLUGINS" which Resolve version 18.5.1 didn't. I went online to try to find a remedy for it possibly crashing at "LOADING VIDEO PLUGINS" on 18.6 and not 18.5.1 and got the info to Rename the " PLUGINS" folder to either "PLUGIN.ORIG" or "PLUGIN.OLD" however 18.6 still crashes at "LOADING VIDEO PLUGINS" . So I reverted back to 18.5.1 and again have no problems with Resolve but I still can't see the new camera's braw files in version 18.5.1.

I have the latest updates for Windows 10 and my Nvidia drivers are updated as well so I don't know what's going on. I can see the Log Braw files from the new 6k full frame camera with the New Raw player but no where else.
 
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