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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 :)

New Blackmagic Pocket Cinema Camera 6K

rand thompson said:
Misha,



I don't like how the footage blows out the highlights in some instances. However, from the comparisons against the 4K version, I think it does a better job of retaining more highlight detail. The "highlight recovery" function in the Blackmagic Raw tab in Resolve, IMHO, seems to be not that useful. The skin tones and some lighting scenarios seem to push more toward green but can be as easily corrected as the greenish bias in the red Helium, Monstro or Gemini. Also, I like the Raw controls for Blackmagic Raw(.Braw) and their effectiveness on the .Braw files.


The colors seem okay for coming from a 12-bit Raw file but I think the 'Komodo" will hopefully have atleast some form of 16-bit or maybe a 14-bit Redcode Raw capabilities.



Still playing around with some sample footage , so still just examining things.
Click to expand...

I think that all Raw files from current cinema camera's are logged to 12 bits with X-OCN being the exeption(they claim it's 16 bit linear).
It's not the file, so it must be the sensor which is probably 12 bits.
It's hard to beat ARRI on color, with it's dual 14 bits sensor output(delivering 16 bit ARRIRAW logged to 12 bits).
BRAW on the UMP G2 comes from a dual 11 bits sensor and is pretty good(not ARRI good, but who is?) and easy to match with ARRI except on the highlighs(but who is?).
To bad the best grading panels in the world that are commercially available only have 10 bit panels to judge a 12..16 bit file output.
 
Misha,


You're more technically astute than I am in these matters, so I'll have to take you at your word about the bit depth properties. But, as I believe you or your company owns other Blackmagic Design Cameras, how do you feel this Pocket 6k camera stacks up against those? And I have been playing around with ArriRaw footage from the Arri Site and have to admit that I love those colors. But I believe I'm able to get fairly close to it with red footage.
 
Misha Engel said:
To bad the best grading panels in the world that are commercially available only have 10 bit panels to judge a 12..16 bit file output.
Click to expand...

:)

For now, the golden standard is going to be 10-bit. 12-bit however, is coming though a bit further down the line. But first an expanded library of quality 10-bit panels at a broad variety of price points and some of the new stuff coming is actually remarkable when it comes to price/performance. I've been testing them all year.

Beyond 12-bit, truly unknown. Sort of like beyond 8K display tech at the moment. The "world" is trying to adapt to a 4K and ideally 10-bit HDR ecosystem for the broad market at the moment. Baby steps. It will move from there to 8K 10-bit, then so on and so forth.

By the time we get to 12-bit however, HDR finishing will likely evolve to a slightly different level.
 
AWA ODORI - BMPCC6K





By 木下陽介







Shimokitazawa Awa Odori Festival is also known as “Shimokitazawa's specialty Awa Odori” and will start in 1966 and will be the 54th in 2019.

Camera ：Blackmagic Pocket Cinema 6K
Codec ： braw 8:1
Frame ： Rate 23.98 fps, 120 fps
 
This is a quote about post production ..on 6k cam

“Just got mine today. Haven't done too much. But initial thoughts - Battery life still sucks and sensor has bad jello across all resolutions. QC not great, seal and assembly around grip card slot area is loose. Gigantic files even at 12:1. B-Raw won't even import into Resolve on a MacBook Pro 2017. Researching. “
 
dio Zafi said:
This is a quote about post production ..on 6k cam

“Just got mine today. Haven't done too much. But initial thoughts - Battery life still sucks and sensor has bad jello across all resolutions. QC not great, seal and assembly around grip card slot area is loose. Gigantic files even at 12:1. B-Raw won't even import into Resolve on a MacBook Pro 2017. Researching. “
Click to expand...


Dio,


I don't know if this is a mac problem or not. But I know on windows the latest bmpcc 6k .braw files work great with Davinci Resolve version 16.1 beta 1. I don't know how well it works with the final release version of Resolve 16 however, I know it doesn't work with any of the pre- release Resolve 16 betas
 
Black Magic Pocket Cinema Camera 6K



By videoplusfrance




Translated...
The Blackmagic Pocket Cinema Camera 6K features a larger Super 35 6144 x 3456 sensor and an EF lens mount. This allows you to capture cinematographic images with a shallower depth of field and create unmatched backgrounds with beautiful bokeh effects.
 
Sunset Beach shoot with BMPCC6k and BMPCC4k


By Jon Almas




Shot this with the BMPCC6k and Canon 24-105 handheld blackmagic raw 6k 50fps and the BMPCC4k and Sigma art 18-35 on the Crane 2 4k60 black magic raw
 
Exploring New York | BMPCC6K Put To The Test



By TECH Rehab





I took the new Blackmagic Pocket Cinema Camera 6K (BMPCC6K) out for a spin in beautiful New York. I just moved here so being able to capture some of my favorite spots was kind of therapeutic.

With these shots I wanted to test out the dynamic range by filming shots with difficult contrast ratios and in low light scenarios all in uncontrolled environments.

It is also worth mentioning that this was edited on a little Intel NUC 8 VR NUC8I7HVK so you don't need the most expensive computer out there to handle the 6K raw footage.

Resolution and FPS:
6144 x 3456 BRAW Q5 | 24FPS and 48 FPS
2868 x 1512 BRAW Q5| 120FPS (0:30-0:39; 0:49-0:51)

Gear Used:
Blackmagic Pocket Cinema Camera 6K
Sigma Art 14-24mm
Sigma Art 24-70mm
Canon 24mm STM
DJI Ronin S (No Warp Stabilization)
 
Bmpcc 6K my first touch with KII MA - AFRIKA



By TONY RAKEL




My first test with new Black Magic pocket cinema camera 6K.

And my second work with camera. ( i make only postprodukction... til now )

Only one hour shoot near my house in openair market Miletičova XD

Camera: Bmpcc 6K
Optic: Sigma art 50mm 1,4 HSM
 
BMPCC6K | Stockton Sand Dunes, NSW | Blackmagic Pocket Cinema Camera 6K



By Eric Ung






Shot in BRAW - Q0 6K
Lens - Samyang 24 t1.5

All Handheld shots.
 
BMPCC 6k Anamorphic




By JSFILMZ






BMPCC 6k Anamorphic
blackmagic pocket cinema camera 6k Anamorphic
Pocket Cinema Camera 6k Anamorphic
 
Color and Rolling Shutter Test of BMPCC 6K in 4K HDR




By Sittipong Kongtong






Thailand MRT puple line was one of the most intersting MRT in Bangkok. It connect east to west and to the center of Bangkok.

Technical
Camera : Blackmagic Pocket Cinema Camera 6K
Lens : Sigma 17-70 F2.8-4
ND : KANI Variable ND
Project Frame Rate : 25P
Shooting Frame Rate : 25P
Shooting File Format : 6K BRAW Q5
Shutter Angle : 180
ISO : 800
 
Blackmagic Pocket Cinema Camera 6K - Depth of Field Test




By ILLUMIIN






In this test, I wanted to see how much depth of field there was with the larger sensor than that of the Pocket 4K.

I own the GH5, and I know how the MFT sensor has less depth of field. I figured since the sensor of the GH5 is similar to the Pocket 4K, this test should show you how much more DOF there is in the Pocket 6K.

I was also going for a high contrast look to really push the shadows and see how much detail I can still maintain. So far, color grading the P6K footage has been very pleasing.

Filmed in 4K, ProRes HQ, 24P

SETTINGS USED IN THIS SCENE:
-Shutter Angle: 180
-Aperture: F1.8 - F2.8
-ISO: 400-1250
-Denoiser was NOT used
 
BMPCC 6K 4K DCI 60p ProRes 422HQ


By Newsshooter




A quick test to look at the BMPCC 6K when shooting 4K DCI 60p (23.98p project rate) in ProRes 422HQ.


BMPCC 6K HD 120p ProRes 422 HQ 800 ISO

By Newsshooter





Quick test shot showing HD 120p (23.98 project rate) footage from the BMPCC 6K when shooting at 800 ISO in ProRes 422HQ.



BMPCC 6K HD ProRes 422HQ ISO Test



By Newsshooter






Quick ISO test with the BMPCC 6K shooting in HD ProRes 422HQ.





BMPCC 6K UHD ProRes 422HQ ISO Test


By Newsshooter





A test to see noise levels when shooting UHD in ProRes 422HQ on the BMPCC 6K.



BMPCC 6K UHD ProRes 422HQ ISO Test (no light)



By Newsshooter






A test of various ISO levels when shooting on the BMPCC 6K in UHD ProRes 422HQ with no light other than a candle.
 
Last edited:
BMPCC 6K HD, UHD and 4K DCI all on an HD timeline




By Newsshooter





A quick test to see how an HD image from the BMPCC 6K compares to a UHD and 4K DCI image when they are all used in an HD timeline.



BMPCC 6K HD ProRes 422HQ


By Newsshooter





A clip of the BMPCC 6K shooting UHD and 4K DCI in ProRes 422HQ at 400 ISO.

This was shot at 24p in the Blackmagic Film Profile.



BMPCC 6K UHD & 4K DCI ProRes 422HQ



By Newsshooter





A clip of the BMPCC 6K shooting UHD and 4K DCI in ProRes 422HQ at 400 ISO.

This was shot at 24p in the Blackmagic Film Profile.
 
Blackmagic Pocket Cinema Camera 6K Samples



By MediaFuzeBox






A few quick samples from the BMPCC6K as they were shot in 6K BRAW edited in Davinci Resolve 16 and uploaded in 4K to YouTube for some quick samples of footage from this camera.
https://www.blackmagicdesign.com/prod...
 
rand thompson said:


In this test, I wanted to see how much depth of field there was with the larger sensor than that of the Pocket 4K.

I own the GH5, and I know how the MFT sensor has less depth of field. I figured since the sensor of the GH5 is similar to the Pocket 4K, this test should show you how much more DOF there is in the Pocket 6K.
Click to expand...


The size of the sensor has nothing to do with the depth of field. That is determined by the lens, its circle of confusion, and the stop. It is true that you will get different depth of field with different sensor sizes given the same lens and stop, but the sensor size is not the determining factor.

And BTW, you seem to be confusing your terminology. Sounds like you're looking for less depth of field (i.e., a very limited distance from the lens being in focus with everything outside that out of focus), not more. Because what you're describing (i.e., Micro 4/3 lens using the same lens and stop as a larger format camera) would give you more DOF (i.e., more of the image in focus), not less.
 
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