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

[rand thompson]

First look at the Blackmagic full-frame, 6K cinema camera


By DIYPhotography

 

[rand thompson]

One Indie Filmmaker's reasons for switching back to the new Blackmagic Cinema 6K Full Frame Camera from the Red Komodo, In his honest Opinion.

Why I’m selling my Red Komodo for the new Black Magic Cinema Camera 6K


By
Hypatude

Why The New Black Magic Cinema Camera 6K Full Frame Is A Must Have For This Feature Film Director




By
Hypatude

 

[Jon Pais]

One Indie Filmmaker's reasons for switching back to the new Blackmagic Cinema 6K Full Frame Camera from the Red Komodo, In his honest Opinion.

Why I’m selling my Red Komodo for the new Black Magic Cinema Camera 6K


By
Hypatude

Why The New Black Magic Cinema Camera 6K Full Frame Is A Must Have For This Feature Film Director




By
Hypatude

I could only get to the 10-minute mark of the video Why The BMCC 6K Is A Must-Have before I had to switch it off bcz no reason given.

 

[rand thompson]

I could only get to the 10-minute mark of the video Why The BMCC 6K Is A Must-Have before I had to switch it off bcz no reason given.

I think he probably could have chosen a better title that more closely related to what he actual said in the video. However I got what he was trying to say, it was more a "Must" for himself.

 

[Han Vogen]

I think he probably could have chosen a better title that more closely related to what he actual said in the video. However I got what he was trying to say, it was more a "Must" for himself.

I don’t think he out grow the original 6K camera. He just didn’t have as much experience back when he owned that camera. It is way more capable than his sample footage would suggest. That said the Komodo is superior. I’m not sure how things will pan out when comparing to the brand new full frame model.

 

[rand thompson]

I don’t think he out grow the original 6K camera. He just didn’t have as much experience back when he owned that camera. It is way more capable than his sample footage would suggest. That said the Komodo is superior. I’m not sure how things will pan out when comparing to the brand new full frame model.

Han,

I think you're right. I think he even said that looking back on the footage and films he did in the past, that he could've done better. However Hindsight is always 20/20. I mean I cringe at some of my old grades and grading practices from the past as well. Yeah, I would also like to see a comparison of the Full-Frame Blackmagic Cinema Camera 6K and the Red Komodo/X seeing how they are in a similar price range, well at least for the OG Komodo. But I think a more fair comparison would be with the RED V-raptor also with a Full-Frame sensor although slightly larger.

 

[Han Vogen]

rand thompson I recently preordered a couple of new cameras at launch… the Fujifilm GFX100 II and the Blackmagic Cinema Camera 6K L-Mount. The GFX will be my first large format body. I’ve seen some footage shot with it, and think it looks pretty good. The GFX100 II features a multi-format sensor, which is intriguing. It’s a chunky monkey. If the build of the EVF tilt adapter is any indication, then this camera can stop bullets. That adapter feels like solid metal. Anywho, the GFX should arrive within the next couple of days.
For video I’d describe the look as “commercial”. It’s a big sensor, so I don’t feel it’s well suited for fast action, but it has it’s place. Plus it’s a glorious stills camera.

That Old Blackmagic: No word on when the BMD camera will ship. I purchased the CC6K because of the organic image, and that footage worked very well in Resolve. I especially like the natural appearance of the stabilization when utilizing the built in gyro data. No warpiness… at all. From my limited testing with the sample footage, it’s very effective; On par with… or maybe slightly better than Sony’s Catalyst Browse… But with the benefit of all being built into DaVinci Resolve. You still need a lower shutter angle, but I believe BMD captures this data and correct for it by adding in motion blur in post. Because to my eyes, it looks the same as the non-stabilized 180° shutter angle footage. I need to play with it more to understand what’s going on, but so far, I like what I see.

Sony Burano: I have mixed feelings about the Sony. I’m not digging the plastic build at this price point. I do like the built-in EVNDs and IBIS… which is a more thoughtful implementation, from what I can see thus far; Less prone to IBIS wobble. But the camera is on the larger side of what I like to shoot with. Which is also why I skipped the Komodo X.

You better believe I’ll be testing all of these cameras versus the Komodo to understand how they compare. Komodo will clearly have the edge with rolling shutter… but everything else is on the table; including the overall workflow: shooting experience… handling… setup time… flexibility… overall image quality… latitude and post processing.

 

[rand thompson]

rand thompson I recently preordered a couple of new cameras at launch… the Fujifilm GFX100 II and the Blackmagic Cinema Camera 6K L-Mount. The GFX will be my first large format body. I’ve seen some footage shot with it, and think it looks pretty good. The GFX100 II features a multi-format sensor, which is intriguing. It’s a chunky monkey. If the build of the EVF tilt adapter is any indication, then this camera can stop bullets. That adapter feels like solid metal. Anywho, the GFX should arrive within the next couple of days.
For video I’d describe the look as “commercial”. It’s a big sensor, so I don’t feel it’s well suited for fast action, but it has it’s place. Plus it’s a glorious stills camera.

That Old Blackmagic: No word on when the BMD camera will ship. I purchased the CC6K because of the organic image, and that footage worked very well in Resolve. I especially like the natural appearance of the stabilization when utilizing the built in gyro data. No warpiness… at all. From my limited testing with the sample footage, it’s very effective; On par with… or maybe slightly better than Sony’s Catalyst Browse… But with the benefit of all being built into DaVinci Resolve. You still need a lower shutter angle, but I believe BMD captures this data and correct for it by adding in motion blur in post. Because to my eyes, it looks the same as the non-stabilized 180° shutter angle footage. I need to play with it more to understand what’s going on, but so far, I like what I see.

Sony Burano: I have mixed feelings about the Sony. I’m not digging the plastic build at this price point. I do like the built-in EVNDs and IBIS… which is a more thoughtful implementation, from what I can see thus far; Less prone to IBIS wobble. But the camera is on the larger side of what I like to shoot with. Which is also why I skipped the Komodo X.

You better believe I’ll be testing all of these cameras versus the Komodo to understand how they compare. Komodo will clearly have the edge with rolling shutter… but everything else is on the table; including the overall workflow: shooting experience… handling… setup time… flexibility… overall image quality… latitude and post processing.

Hans,


Thanks for your thoughts on all of these. I'm still researching more on the Rolling Shutter of the BMCC6K to see what the best practices are for negating it and how well using a stabilizer like the Dji Rs3 Pro will work to alleviate it as well. Maybe when you do start your tests you can upload your results and some footage as well.

 

[rand thompson]

BMCC6K Full Frame + ALL my LEICA R | 6K Open Gate, 6K DCI, 6K 2:4:1 and 6K vs S35 4K!


By
Matteo Bertoli

 

[rand thompson]

I lifted the Mid-Shadows to Lower-Mids in Matteos image above.

 

[shashbugu]

rand thompson - The BRAW from the CC6K work in 18.6.




Not to provide too much a grounded perspective on all of this, but there's a great deal of crossed wired conversations regarding all cameras. Moderately why I test so thoroughly is to have a firm grasp and understanding of each system. I'm rarely very surprised and when I am it's usually pleasant or disturbing.

But to hit it a bit squarely on the head, the Cinema Camera 6K is not playing in the same category that more premium priced systems are. It exists in a segment and pricing tier to be approachable by a very large market. And to that point, I do give Grant and the BMD crew credit. In this case the CC6K is really going up hard against other mirrorless bodies in nearby pricing tiers.

Providing some more favorable thoughts, there are things that are good here. BMD is shipping this camera with a Low Pass filter, which solves many headaches. And L-Mount is a very good choice given that RF and E are in play by other manufacturers. And L-Mount has primarily existed in the bottom < 8% of global camera sales. This expands that market and will boost optics sales for Panasonic, Leica, and Sigma by a noticeable margin. Bare in mind Canon and Sony own about 72% of the market share with Canon taking up 2/3rds of that slice of the pie. I'm talking cameras here, but it's important to identify that Sony makes so many of the off the shelf or OEM sensors found in other mirrorless cameras and it's utterly impressive that Canon is such a giant in this space grasping to their own tech without providing it to others. Digital cinema manufactures like RED and Arri globally make up for far less sales and exist in their own realm with their own sensor design and fabrication strategies, which is a good thing to separate from the herd. There needs to be diversity because if everything is the same it will be a far less vibrant landscape of creative choice.

To that point, what often happens is we have the same sensors in various cameras or newer takes on those sensors. Which in the case of the new Cinema Camera 6K is certainly true, but also a reason that they can make this camera so affordable. And more interesting there are other sensors I can imagine existing in future models for them that a few others are currently using.

Tracking discussion abroad across the web I see those who are very interested in the new camera, same for Sony's Burano, but also a great deal of strong criticism. Par for the course. In the case of the new BMD, mainly it seems lack of internal ND, IS, etc. But for that market the users are largely unaware that mount adapters exist with ND solutions and such. That was shown today in a few threads of discussion. For instance, I pointed out that L-Mount to EF-Mount adapters exist with electronics to a longtime Pocket shooter today. He had no idea and thought he'd need to start with new glass. And that was covered on the livestream even.

I think the overreaching thing BMD is really trying to promote is a total workflow solution. It was on full display in the keynote/announcement. Some of those things I feel are very, very interesting and cool. Other, I fear will contaminate other's workflows with some frustrations. Which I suspect is a very, very hard line to straddle with software like DaVinci Resolve which has become such a global standard for so many workflows. This does raise a moderate concern long term, but thus far BMD has done right with Resolve overall. Though I'd eat my own toenails if they were able to figure out how to have a paid license for ProRes export on the Windows version of Resolve. It is just wacky haven't software work different across different operating systems in 2023.

On the flipside, we have a lot of powerful cameras these days at every pricing tier. There's a lot of tit for tat, this is better than that, or this isn't worth this if this can do this. Nearly every single one of those conversations avoids looking at the totality of an imaging system when having those simplistic comparisons. And in a few instances, those comparisons certainly a tickle of merit. But even things like body construction and materials are often overlooked as a having an impact on camera cost, which certainly having a great deal to do with durability. Different chat for a different day.

Now a quick more pointed thought. CC6K's form factor, as many of the general DSLR/mirrorless designs, remain highly unattractive for production cameras. And we've seen a lot of shake up here recently aiming at more compact cubic solutions across other manufacturers. I think BMD would be well suited to explore a new design as a great deal of discussion I read today is squarely aimed at the form factor and difficulties tied to powering and rigging this camera for various professional filming scenarios. And we do indeed need very small cameras as people do desire them. It's a damned if you do and damned if you don't scenario. In this case, I can see 5 or 6 designs that would be worth exploring.

But I'll wrap this spillage of words with something more interesting to ponder. None of the new cameras announced step on any other existing product pricing tiers squarely. This is interesting and I suspect a strategy to maximize profits in specific tiers as there isn't truly competition at each step of the ladder when you really look at it. And there's certainly some discussion of value of each system and what you get as you start exploring 1-3 steps up and down. That's looking primarily at motion picture cameras. It is a vicious tide in the mirrorless waters however and there is much overlap, but that is indeed mass market swimming.

I love this, but you avoided answering the million dollar questions. Can this camera be used to shoot a feature film for 2k projection?
is the codec robust enough to stand the rigors of post production?

Overall that’s what up and coming filmmakers want to know.

 

[Alex Zeder]

You can use almost any modern camera for shooting a feature with 2k output, the question is more What and How. For example, if it involves ambitiously lighted scenes, speedy VFX, or other scenes that can take a camera to its extremes, it is an important decision which one you pick. But if the requirements aren't that high, other aspects besides the camera might be more important (budget, lens choice and availability etc.) From what I've seen here, this camera can certainly tackle a good part of the not too challenging situations - but there are several other ones in this range, too. A plus for the BM is certainly its first-hand integration with Resolve for post.

 

[rand thompson]

BMCC6K VS BMPCC 6K PRO | Comparison between the new Blackmagic Cinema Camera 6K and 6K Pro



By Of Two Lands

 

[rand thompson]

Blackmagic Cinema Camera 6K FULLFRAME test footage


By Slay Pixels

 

[rand thompson]

BMCC6K Full Frame Camera Test | SUNSET and LOW LIGHT footage | Blackmagic Cinema Camera 6K


By
Matteo Bertoli

 

[rand thompson]

Here are a couple of older BMPCC 6K PRO vs Arri Alex Mini videos from Blake Ridder, Matteo Bertoli and Film Jams



Can You See The Difference | BMPCC 6K PRO vs Arri Alex Mini (Real Film Comparison)


By Blake Ridder

BMPCC 6K vs ARRI Alexa Mini Camera (Blackmagic Pocket Cinema 6K Footage Comparison to Alexa Mini)


By Film Jams

Arri Alexa Mini vs BMPCC6K | Is the Alexa worth $56,000 more?


By Matteo Bertoli

Camera A is BMPCC6K (BRAW 3:1) - BUTTERY Natural Rec709

Camera B is Arri Alexa Mini (ProRes 4444XQ) - Arri Rec709

 

[rand thompson]

Here's just a regrade to "counteract" Matteo's "Buttery Natural REC709" Lut and to remove some of the Blueish/Green from the video images above from the BMPCC6K (A footage).

 

[rand thompson]

New BLACKMAGIC CINEMA CAMERA 6K FULL FRAME | OPEN GATE 3:2 Footage


By
Michał Palikot

 

[rand thompson]

Don't underestimate this camera! - Blackmagic Cinema Camera 6K


By
ProAV TV

Chapters:

00:00 Intro
01:06 Footage
01:53 Sensor
04:10 L Mount
05:45 Physical Design
08:32 Conclusion

 

[rand thompson]

This is a great video of what the Blackmagic 6K camera can look like. The video below is from the prior generation S-35BMPCC 6K (Black Magic Pocket Cinema Camera 6K)and not the newer BMCC6K FF (Black Magic Cinema Camera 6K Full-Frame) camera. I think different "TONE-Mapping", Color and Contrast ( Based on 18% Gray for the workflow that you are in) would go a long way for making the images looking less like images from a cheaper camera to images from a more expensive camera. I think the "Tone Curve" provided by most manufacturers for most lower budget cameras is one of the reason some people shy away from them along with Color and Dynamic Range. Examples of what I mean below the video below. As always graded in ACES and I kept the original "Greenish" theme of the original grade.


ANGELA - Fashion Editorial Film | BMPCC 6K


By ARCHIE