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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

Steve Sherrick said:
Where are people getting these cameras so quickly?
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There was a early run at BH and Adorama etc. Basically all the YouTube click bait folk snagged them up as fast as humanly possible to get up their 5 videos in 3 days.

I got the 4K pretty quickly from going through Kellards. Some may be getting them that way too. I just called them when no one else could really get them and ended up having it within a couple of days. I think the 6K looks like a stellar camera. I'll probably grab one down the line a bit. The value of the 4K and 6K is just unbeatable all things considered.
 
Steve Sherrick said:
Where are people getting these cameras so quickly?
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Blackmagic seems to evenly distribute cameras among camera retailers, so often times most of the people order from B&H and they end up waiting for months. After a few months, the Pocket 4K had become readily available if you shopped around, and most of the people stuck waiting are ones that ordered from large retailers. Pocket 6K didn't really have many problems with shipping and they delivered that one pretty quickly.
 
Steve Sherrick said:
Where are people getting these cameras so quickly?
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Some resellers got a pallet of them, when they looked again half and hour later, they where all gone and ready for shipping or already shipped.
AMD broke a lot of records with the new EPYC ROME, the BMPCC 6k got the record for most delivered cinema camera in 3 days.
 
Yung H - Poison (Official Video)



By Yung H



Info about camera used below

https://www.instagram.com/p/B1PUpTXHgLE/

BMPCC 6K


Yung H Is Back Wiith ANother One This One For The Visual Of His Latest Single " Poison " Hope Yall Enjoy The Video Leave Feedback Thank You
 
I think BMD did a pretty neat publicity stunt with this launch. They had made sure to sneak the first batch of cameras out to retailers so that when Grant made the presentation he could say "and it's available TODAY", which it was for the quick ones.

The problem is of course that the first run was limited enough so that if you didn't order within the first hour or so, it was already sold out. And I don't think we got a single camera to Switzerland, for example. I just hope that that the next run of cameras is being built and shipped as I write this.

I wish BMD lots of success with the P4K, P6K and UMP G2.
 
AndreeMarkefors said:
I think BMD did a pretty neat publicity stunt with this launch. They had made sure to sneak the first batch of cameras out to retailers so that when Grant made the presentation he could say "and it's available TODAY", which it was for the quick ones.

The problem is of course that the first run was limited enough so that if you didn't order within the first hour or so, it was already sold out. And I don't think we got a single camera to Switzerland, for example. I just hope that that the next run of cameras is being built and shipped as I write this.

I wish BMD lots of success with the P4K, P6K and UMP G2.
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The 8k BRAW camera is comming soon...
 
I sold my 4K and picked up a 6K today. I'll post my thoughts soon. I like this camera with the Ronin S for really light gimble stuff. Don't like the battery life, but there are other solutions and more coming. First quick shot I did looked pretty nice. I shoot a lot of stock so I have to ask, "will this cut it in 4K" yes it will. I still have my REDs and will use them mostly but traveling with the MoVi Pro is a pain, that's where this little guy comes in.
 
BMPCC_Test



By Uriah Herr






Handheld camera test, Blackmagic Pocket Cinema 6k with Rokinon Cine-Prime 24mm T-1.8 3200 ISO
 
Blackmagic Design Pocket Cinema Camera 6K Anamorphic Test




By Fanciful Fox








Blackmagic Pocket 6k BMPCC 6K
BRAW 1:8 compression
6k & 3.7K Anamorphic Windowed
Hypergonar HiFi 2 + Rokinon Cine 85mm T1.5
Shot and Edited by:
Dick Duncan Downie
Dancer // Aaron Doucette @aarondoucette
Model // Seth Reger @darksideoftheseth
 
rand thompson said:
Blackmagic Design Pocket Cinema Camera 6K Anamorphic Test




By Fanciful Fox








Blackmagic Pocket 6k BMPCC 6K
BRAW 1:8 compression
6k & 3.7K Anamorphic Windowed
Hypergonar HiFi 2 + Rokinon Cine 85mm T1.5
Shot and Edited by:
Dick Duncan Downie
Dancer // Aaron Doucette @aarondoucette
Model // Seth Reger @darksideoftheseth
Click to expand...
I like this! Very vintage styled lenses with a modern ora ge real color grade!
 
BMPCC 6K vs 4K Low Light Test: Blackmagic Pocket Cinema Camera ISO Comparison Footage



By Film Jams






Today we have our Blackmagic Pocket Cinema Camera Low Light test with the 6k going up against the 4k at ISO 400, 3200, and 6400. We have side-by-side comparisons of the BMPCC 6K vs 4K.

If you're looking at the best BMPCC 6k low light settings our comparison has test footage of a variety of ISO's and f-stops so you can see how they perform. The Blackmagic Pocket Cinema Camera 4K is pretty good in low light footage with its dual ISOs, but the new 6K may have an edge at some high ISOs. What do you think?

If you have any questions on the techniques used in this review video, please send a note in the comments. Thanks for watching BMPCC 6K vs 4K Low Light Test: Blackmagic Pocket Cinema Camera ISO Comparison Footage, in our Film Jams series!
 
Blackmagic Pocket Cinema Camera 6K - Deerfield Beach, FL




By Beachcomber Films





My first camera test of the BMPCC 6K camera out in the field.

Specs:

• All Handheld [30 years experience]
• Shot in 6K 12:1 BRAW
• No Color Correction or Grading
• Adjusted ISO from 100 to 200 on 3 Shots
• Applied "The One LUT" [ARRI Alexa look] from James Ballard
• Final Image Stabilization in DaVinci Resolve
• Export downsampled to 4K
• Lenses: Rokinon Cine DS 10mm, 24mm, 35mm
• Lenses Adjusted for Crop Factor: 16mm, 39mm, 58mm
 
Carlos Garcia-Diaz said:
Misha: How do you know this and what do you mean by soon?

Thanks
Click to expand...

I think he suggested IBC, which is less than a month away... but no source, so whose to say.

Personally, an 8k FF35 (aka 8192x5461 ~45mp) with a s35 6k crop and s16 3k crop would be really awesome, even if it was more or less then same as the p4k/p6k sensor (granted with that much extra resolution, maybe the low-end can be pushed more, so it might get up to the ~14 DR range?)

I'm not holding my breath... But shit, p4k $1250, p6k $2500, and FF35 8k for $5k would be pretty badass.
 
Misha Engel said:
The 8k BRAW camera is comming soon...
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Misha is an avid googler from previous experience and I hopefully don't think he's breaking some sort of NDA, but if I had to guess, he's probably discovered the BRAW Disk Speed Tool profiles 8K BRAW.

Likely a more expensive camera of course than the P6K, likely also a "not this year camera", but I could be wrong. If I was BMD, that would be perfect for NAB 2020. I betcha you're gonna see a few 8K 30p cameras around that time at various sensor sizes and form factors. Certainly by the end of 2020 at that point.

We're now getting into the weird space where cameras designed for a 4K finish are now pretty much essential tools, and 8K is sort of where 4K was in 2010-2016-ish. Not many companies are marketing 1080p/2K cameras at this point, or even making them for the professional market at all at this point.

It's all coming either way. The future is actually 4K and 8K with 4K being the golden standard for pretty much every originally produced content in the streaming world. 8K delivery is still pretty new, despite my booty doing it for a few years now.
 
NEW BMPCC 6K Low Light Test Footage.




By Sam and Dan








Black Magic Pocket Cinema Camera 6k low light test.
Sigma 18-35 f/1.8.
Blackmagic Raw 8:1 Compression. Blackmagic film to extended video lut, no other color correction or noise reduction.

Let me know what else you would like to see with this camera!
 
Phil Holland said:
[...]

We're now getting into the weird space where cameras designed for a 4K finish are now pretty much essential tools, and 8K is sort of where 4K was in 2010-2016-ish. Not many companies are marketing 1080p/2K cameras at this point, or even making them for the professional market at all at this point.

It's all coming either way. The future is actually 4K and 8K with 4K being the golden standard for pretty much every originally produced content in the streaming world. 8K delivery is still pretty new, despite my booty doing it for a few years now.
Click to expand...

Not weird at all. And actually just a logical step in the evolution of DSMC (even if manufactured by another company and branded in a completely different way). To wit: once upon a time, photographers shot images with room to crop. Such croppings transformed good images to great works, and great images into iconic ones. There were notable exceptions: H Cartier-Bresson (HCB) famously did not crop his photographs. And from a practical perspective, the 35mm film negative gives much less cropping opportunity compared to 220 roll film, 4x5 Speed Graphic images, etc. As an extreme, the pathetic resolution of video cameras was such that cropping was an absurd proposition. Relatively early in the DSMC world, David Fincher famously let the excess resolution of the Dragon sensor provide a generous area for cropping so as to make better cinemagraphic images that work across time, unlike the "decisive moments" of HCB. And I for one have really come to appreciate that extra framing window.

To me, it's just common sense to shoot at 8K with a 6K window for a 4K finish. From time to time you might want to widen the view to a full 8K. From time to time you might want to punch in beyond 6K. But the power of having flexibility while shooting in motion is undeniable. 8K is not just for 8K. And as you yourself have proved with your arial work, sometimes it takes 3x 8K cameras to create a final 8K image.

I think that as more and more people begin to appreciate the benefits of a flexible capture resolution, they will produce better and better products when rendered at the market's preferred final resolution.
 
Google is sometimes very helpful and I use it when looking for white papers, scientific papers, wiki articles, patents, legal publications, etc.., I just love factual information.
Opinions are just fun discussion points.

BMD have introduced everything they need for 8k in the past couple of months(just look at their website), except the camera (8k.BRAW 3:1, 24 fps at 436 MB/s sounds pretty good on cheap of the shelf SATA SSD's).

I stick with Michael Cioni's point of view when it comes to 8k delivery from a bayer-pattern sensor (you need around 11k).
 
Michael Tiemann said:
Not weird at all. And actually just a logical step in the evolution of DSMC (even if manufactured by another company and branded in a completely different way). To wit: once upon a time, photographers shot images with room to crop. Such croppings transformed good images to great works, and great images into iconic ones. There were notable exceptions: H Cartier-Bresson (HCB) famously did not crop his photographs. And from a practical perspective, the 35mm film negative gives much less cropping opportunity compared to 220 roll film, 4x5 Speed Graphic images, etc. As an extreme, the pathetic resolution of video cameras was such that cropping was an absurd proposition. Relatively early in the DSMC world, David Fincher famously let the excess resolution of the Dragon sensor provide a generous area for cropping so as to make better cinemagraphic images that work across time, unlike the "decisive moments" of HCB. And I for one have really come to appreciate that extra framing window.

To me, it's just common sense to shoot at 8K with a 6K window for a 4K finish. From time to time you might want to widen the view to a full 8K. From time to time you might want to punch in beyond 6K. But the power of having flexibility while shooting in motion is undeniable. 8K is not just for 8K. And as you yourself have proved with your arial work, sometimes it takes 3x 8K cameras to create a final 8K image.

I think that as more and more people begin to appreciate the benefits of a flexible capture resolution, they will produce better and better products when rendered at the market's preferred final resolution.
Click to expand...

I'm not so sure about that. It may also create a generation of lazy film makers the lack the vision and discipline to create great stories. Since everything can be reframed and fixed in post... We have already seen that with the insane amount of data generated by production due to perceived cheap storage. Many jobs don't even stop recording between takes. As shocking as it sounds ... The perceived value of production for some is reflected by the number of terrabytes they turn in. Just like it seemed few years ago that lenses were selling by pound (or kilo) and they got huge... Thankfully that silliness is over with lenses....I don't see that happening with data based on what you are saying...
 
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