Every camera has its trade offs but I love the ideology of this camera. Full frame, 6K open gate, internal raw recording for $2500 is insane. Even just a few years ago this would’ve been a pipe dream! While I don’t love the design, I’m okay with the other compromises. However what these comments show is BM has an opportunity to deliver more features at a higher price - and I believe they eventually will. People will pay more for internal ND’s and an updated design. But for now, we have their first full frame sensor in a very affordable camera which is great.
A few years ago the sigma fp did that, but it came with other limitations, just like this one, I'm a bit underwhelmed, I like b raw and the value of black magic camera but there's no offer for a good versatile does everything fx6 competitor
What a time to be alive as a film maker. if I was starting my career, this camera would be a no brainer. It's incredible everything you get at that price point
I think an optical low pass filter is vital for anything calling itself a 'cinema' camera. The amount of times moiré (from a range of different cameras) has undermined some of my shots, without me noticing it till post processing(!), is too much to mention. It would be great if all cameras had them installed. I also agree about 'feel' of the image as a priority. For me it is about feel and resolution. Shame about no internal NDs.. understandable given the reduction of space available.
I'm so glad they didn't put it. Most cameras footage alread get degraded and softened by internal noise reduction and over processing. Cinema cameras should never have low pass filter especially ones that record using 1:1 pixel readout.
@@smalldeekgeorge ...but the video states the low-pass filter is "standard" in this camera, and that in their opinion a cine camera *should* have a low pass filter to remove moiré (and maybe other artefacts?). It might be nice to have the OLPF as an option though for those that don't like the look of it.
For someone like me, upgrading from a $400 Nikon, the Cinema Camera 6k full frame offers significant bounds forward, and peaks my interest with fullframe and opengate, because I do have a big interest in anamorphic optics and low light. As a VFX/Motion Designer diving into live-action cinematography, I'm aiming for a $2-5k budget idealy with some room leftover to build a rig beyond the body and lenses. Relatably so, Veteran BMPCC owners disatisfacition with the lack of upgrades makes sense. L-mount choice to me seems an unusual choice for consumer markets. Would you recommend the FX3 full-frame vs the CC 6k full-frame vs 6k Pro? Open to other suggestions too!
I can't believe they kept the body. Im stunned. As someone who owns 5 BM cameras and have been a supporter of this company since day one, they simply stopped listening to their consumers on their camera ergonomics. Their biggest fans are using their products DESPITE the poor ergonomics not FOR them.
Great coverage! Although I noticed you were trying to bring up the subject of body form factor, but didn’t dive into it. I could be curious about his answer, but at the same time you were having a good time with him and he might not have answered all other questions as thoroughly if he felt he was being interrogated about the body shape.
The “cine means no need for continuous autofocus” trope has outlived its usefulness. There’s all kinds of documentary uses as well as short-staffed quick turn around cine projects where C-AF is a lifesaver. Sony keeps adding the feature to their cine line and soon I will need the same from Blackmagic or my purchase decisions will start to change.
I mean yea that is the point. One company cannot do everything. I want recording over ssd, raw recording and xlr plugs in my camera for less than 3k. I don't care about autofocus, which is why I'll get BM. If you like AF then Sony is probably better for you. Idk why people get so hung up over AF. It's a tool. Not everyone needs it, therefore a select few manufacturers will not implement it in their cameras.
Well, AF is a tool like you said, but when we do a music video in movement hyper scenes in my case, the Sony AF resolves a lot more easily without paying a focus puller and the footages very sharp in focus. So BM needs to release a camera with that kind of tool because MF is the best for movie film or documentary, but music video AF is our best friend.
@@JoeVazquezProductorMusical Even in documentary these days, C-AF makes life a lot easier. If you’re on sticks or a dolly and want to have precise focus pulls, great, hire a puller if you can afford it. But take a look at the focus preset mode in the Lumix S5IIx cameras and it really makes you wonder. With that system you can dial in three specific focus distances and then activate with a tap on the screen. Precise, preset focus pulling in a $2,000 camera with no add ons or external controls. Kinda nuts actually. But internal BRAW will keep me coming back to Blackmagic for now. The file size and color grade flexibility are still a big deal to me. Though with the Burano now offering an internal RAW codec to CFExpress B, I’m now very curious about the next gen FX6.
@@JoeVazquezProductorMusical I understand your point, but one can't just release a AF into the camera like you release false colour or a waveform through an update. AF is very complex and takes a lot of time to code. And pdaf takes up physical hardware to implement, both of which increase cost and complexity. So I'm sure they technically can, but why should they, they are a small company who already have customer base who by and large doesn't care about autofocus. They spend time and money on R&D for autofocus and end up with a more expensive camera that their customers don't want to buy. Plus they will now be fighting with Canon and Sony, two massive companies. This is not a good spot to be in, unless ofcourse they already have a fantastic autofocus algorithm and hardware ready (which is extremely unlikely)
Sony launched a VND IBIS camera a few days ago and that's 2mm thinner than L mount. And the FX6 has existed for a long time. But I understand that it takes years to develop that, and Sony are experts miniaturization. But they still don't have SSD recording or shutter angle or open gate
@@hbp_its mostly sony who tried to miniaturize their ibis to such a degree , some other models also do the same but for now its been safe. Prolly just bad luck and the amount of people buying sony cams with ibis.
The camera can only send proxies to the cloud via ethernet adapter? or are they just not spilling the beans yet that the ios app will be a external monitor for the camera to send proxies?
Bro you’re right but think this : The Sony’s cameras and other brands are two or three times more expensive than this camera. Tell me another camera in this price range (2,595) that has 6K Full Frame, Open gate and this color science
What he was saying is that the current system they are using in the 6k pro wont fit...so they would have to develop a new system (also i think the body shape as it is makes it kind of impossible because of the extruding "snout" )
I feel like it must have... footage doesn't look the same as the 6k pro. I'll wait for the tests... noise will be much much better which will effect practical dynamic range.
Seems like they’re vastly underestimating how much ppl value internal NDs. When he says they’re unable to fit NDs behind the L mount, I hope he only means the current ND mechanism. It would be amazing if they could eventually put an electronic vND in their cameras. If they can’t then joining the L mount alliance was probably a huge mistake
They are vastly underestimating our desire for forms factor (WHERE IS THE BOX’d CAMERA), higher frame rates, ND’s, and phase detection af. I’m more excited about their new studio micro G2, lol.
I dont think its the L-mount specifically thats the limitation. Its a fairly large mount, larger than Sony E mount with a 2mm larger flange distance. The Flange distance of Sony E is 18mm and Lecia L is 20mm. I think the real limitation is the size of the sensor. Think about the space that would be needed to house multiple 35mm sized NDs at a 2 stop difference from what 2-10 stops? I suspect a Electronic VND may be the only possible way and who knows if Sony has a patent on that or not?
@@Meatyowlleg The C70 is a Super35 or APSC sensor and BM's own Super35 PCC6kPro had internal NDs. This is a full frame camera and as far as I know the only FF camera with internal NDs is the Sony Fx6 with is E-VND.
Good upgrade, but seriously many of us would rather pay 2-3k more for better rolling shutter, a internal ND(like the one from the canon c70) and a box style form factor. It would be still much cheaper than the Komodo while having BRAW.
I would probably jump to BM if they had a camera that could properly compete with the c70. As it stands, I’d be giving up too much for what still is a great sensor!
5:57 "The compromise is with L mount, you just don't have the capabilities to put the same mechanism in". This does not seem to be true. The flange distance of L mount is 20mm. RF-mount is also 20mm, and C70 still has internal ND-filters. For it to work Blackmagic would have had to redesign the body, but the lack of ND is not due to L-mount, but due to Blackmagic keeping their old body.
Cine / High End but: same odd boddy, HDMI, low sensor readout, no mounting screw holes. I love everything else about that camera. Change that damn body, sdi, faster readout and get the NDs back guys ;) Even if it's more expensive. !!!! AND KEEP THE PRORES !!!!! Otherwise 70% of the post house / production that I work with won't want me to bring that camera.
Entry level bro. I care more about image quality anyway 😂 if you want all that pro I/O you are going to pay WAYYYYY MORE. why not just buy a Canon c500mkii if you need all that? (Ohhh it's 11k after the recent price drop this cost $2500),.................. let's keep reasonable and REALISTIC expectations please 😂
I've never met anyone that has ever said they preferred the form factor of the pocket series. Bang for buck it is the best camera by far at that price range. However, not a single person wants this form over a box body design...
It's a Pocket 6K G2 with L Mount, Full Frame Sensor, and an OLPF. People complaining about NDs can buy the Pro version when it comes out. (The NDs that came with the PRO had a color cast anyway.)
They are smoking something nice when it comes to the form factor. Whoever is in house convincing them that this inconvenient body is a good thing needs to have their head examined. Guys it's simple shrink the sides, make it longer, and put the LCD on the top. This shouldn't be rocket science. Had they made the camera long instead of wide, they probably could have kept the internal ND's but priorities.
BMCC 6K + Lidar auto focus + DJI ronin RS3 pro = $400 more than FX3. There you go, stabilization + autofocus + 6k open gate recording. Talk about a great budget. Only thing I want to see is low light tests to make this a must buy.
If they can work with DJI the same way Panasonic has done so that LiDAR focus information can pass through to autofocus L-mount lenses without needing rig up follow focus gearing, then that would be a nice bonus, but I’m not holding my breath.
I have been a BM user for a long time, I still have and love my pocket 4k (colors are grear) and was really ready for a replacement, my work now its a little bit more documentary oriented now and clients want fast and smaller crews now for the type of gigs that this camera its aim for... if the gig its high end they want to see an arri or red, the fact that its difficult to balance this form factor on a gymbal or that they get rid of the ND filter and most tragic pro res... so sad if they dont release very soon a camera with ND and a better form factor they will be done soon, now I will have to wait what Panasonic brings to the table, s5iix looks very tempting but a new H1S mark ii looks promising also, Im even tempting to go to Sony... damn! for the price im sure the camera it's amazing, but if they give us more for 3000 - 3500 ND autofocus and a gymbal friendly shape you can get the market share that Sony is eating, im so sad i can wait some months to update to a new camera so hopefully they have a crazy ursa after the end of the year.
I have a similar set of concerns. And I have even tried the S5IIx as an alternative, though the only advantage I find there is the small size and the autofocus. In every other area the new CC 6K has advantages. At the same time, the SLR design does not “look” professional by modern standards (not even close), and let’s face it, the uninitiated customer want’s to see the kit and “feel” like they’ve hired someone who knows their stuff. And though for the money a CC6K can out record a lot of alternatives for half the money, it still makes you look like a noob. And when you want to bill at higher rates, you have to look the part as well as produce the part. Anyway, I will make do for now. The look doesn’t much matter for my own filmmaking as long as the image capture gets the job done, but I will be watching for the FX6II updated which will probably arrive in the next 6 months, and if it has CFExpress B and a version of internal RAW like the new Burano (along with internal ND and *autofocus*, I might just make the jump to E-mount. There’s certainly *way* more lens options there than with L-mount.
@@wavelandI agree some clients have this idea that the on set look of the cameras matters, as I said BM image of amazing for the price, but some people that bought their cameras years ago as an entry level starting point now we are a little bit on the professional side, the ursas looks professional and the features are great but as social media gigs are raising we have to find a better hybrid camera, let's see what comes next, about L Mount really see a great difference in price with e mount lenses, so I'm really would like to stay in the L mount, but well let's see what happens in some months
Hearing him talk about the form factor and why they kept the body makes him sound like a politician and makes me want to puke… He want us to save money on accessories and then later goes on to say that you can’t use most cages on the new body 😂
This is close enough to my dream camera. I pre-ordered the BMCC and it's been my main camera for 11 years. BMCC6k can be my new main camera. Need a new lens. I'd like a 50mm anamorphic.🤩 A standard lens on this sensor is 43mm.
I've shot with RED DSMC2 and DSMC3, Ursa 12k's etc... I still love my pocket 6k more than any of those cameras, regardless of price. For my one man band shooting, its simply close to the perfect form factor.@@vladimirtalijan
Please explain why, in the case of the EF-mount, it was possible to enlarge the body of the 6K Pro camera to insert filters, but this is not possible with the L-mount?
Miniaturizing costs more, and they would probably have to make the ND system much slimmer to fit within the shorter flange distance. On the other hand, they could've stayed with EF mount and left the ND system untouched - short term solution, but then again this camera does feel like a short term solution in some aspects anyway :D
Lens flange distance (distance from the rear element of the lens to the sensor) for EF is 44mm. For L-mount, it is only 20mm. There is 24mm less space between lens and sensor in this camera.
I think I can talk for most people who were waiting for BM to release a new "cine" camera that this has been a massive disappointment. Especially when you have Kinefinity releasing the Mavo mark II at the 5000 price point and the Komoodo being around that too. The image coming out of it is good, and the flexibility of FF is great both of which are important and might be the only reason I stick with BM but the rest is just not at all what the community wanted. I know very few people that want this in that body. Even if they'd put in the possibility to get an image out over wifi to a phone, or made the screen easier to position so a Vmount doesnt block it I would have been happier.
@@waleezaThe Formfactor is just not useful at all for "cine" purposes. u cant really rig this thing up in a practical professional way. There isn't even a bnc port still. So the name is just misleading at this point...
@@joellouisfire It’s typically because most studios and producers want you to give them the raw footage at the end of the shoot. If you edit and shoot your own stuff then Braw isn’t that big of a deal. But when you hand footage off to a producer or editor is where things can get tricky. Maybe the proxy h.264 option could work? But yeah omitting Prores kind of sucks flexibility wise.
The announcement of full frame is exciting and the inclusion of an OLPF is cool... but there seems to be a lot more losses vs advancements... you lose high frame rates... the ProRes codec... internal ND Filters... while dragging over the same body-style, dynamic range and color science... all with only increasing the price by $60 USD... I think they should've worked on all the lost elements and how to include them even if it would have raised the price closer to $3k as that would've brought over features we've already been introduced to and truly been an upgrade/advancement
I am sad that no internal ND but I guess I understand it's absence due to flange depth.. Also would have loved to see increased dynamic range and low light performance. As of right now, it looks like a full fame P6kG2.
@@playmaka2007 it's RAW. That means anything smaller than the full sensor readout is going to be cropped. That's the nature of RAW. Oversampled or line skipped read out is generally only available in processed footage like ProRes or H264.
When a camera of this form factor is this huge and also compromises the fitting of built-in ND filters, I personally think it would be better to create it in a traditional cine-camera body. Moreover, it has departed from its 'pocket camera' roots and I see little point in continuing with this style. By now, Joe Public and security guards and the like are more than familiar with the fact that these 'mirrorless/DSLR' shaped cameras are also capable of video capture and so they don't lend themselves much to stealth shooting either.
Problem is Canon is discontinuing production of EF lenses. Which isn't a huge issue due to the size of the used market, but I wouldn't be surprised if Canon wont allow them to release a new EF camera. I dont know how the licenses work for lens mounts but if Canon is dropping EF and pushing RF, with Red joining RF as well, I cant imagine they would allow a new EF camera to enter the market.
@@jockslifeatliftvideoproduc8528 Ah Ok, didn't know that, I knew Canon were pushing the RF mount, but didn't know they were altogether thinking about discounting production for the EF. I imagine the L Mount gives them flexibility for the years to come, and won't need to change it every time a manufacturer like Canon changes their mind about their mounts.
I think BMD is playing a long game. They’re trying to balance what consumers want with the vision they’re building. They might fail, or they might succeed-50% chance. I’m of the view that they’ll succeed by continuing to innovate over time. They’re currently innovating and building an ecosystem (software, sensor, codec, and now cloud). Once this system is complete, I think we’ll see more innovative cameras that work within their ecosystem. That is my speculative opinion.
Waiting so long for this....... But I'm disappointed. Now im waiting for ursa mini 3g FF 16 DYNAMIC RANGE Sdi Autofocus Box Style Build in nd. All this what im missing here.
Oh God....... I remember the whole full frame nonsense with photography years ago, now we're back to the same thing with video where BM tells us it's a step up. Let me tell you something, removing Prores and internal ND filters is a step down, much like reducing framerate / resolution performance. There's a reason Grant spent 30 seconds covering the features last night.....
It hurts my ears to hear this interviewee continue to say, "we think this will be cine oriented" I am sure people will use it, but man did they not miss a chance to improve the quality of life with this product, the same NPF batteries, removing the internal ND, still no SDI or TC, the LCD articulation is still super limited, yes L mount and full frame a two monumental steps forward but its the steps backwards that hurt.
Interesting, but if they want to hit the serious cine narrative side more they need to drop this form factor. Make it a cube for modularity and rigging. There's a reason cinema cameras aren't shaped like a dslr. Drop the mini xlrs that take up too much real estate, get at least one sdi out. No one on a narrative set will be asking why the camera doesn't have mini xlr inputs
What makes this camera more "cinema" than the pocket 6k Pro? that is full frame? lol he keeps talking that this is more cinema than Porcket pro lol it seems to me is the same camera with a full frame sensor and no NDs lol
Probably a current or future Panasonic sensor. Just wait for next gen S1 unless you really need/want BM Cloud integration or BMPCC form factor. ProRes, IBIS, RAW out, Phase AF, swivel out screen, weather seal and much more on Panasonic
I dont understand marketing and manufacturing so take my comment witb a pinch of salt. That black magic spoke person said they stayed witn the same body ( not exactly the same as its a bit different) to save money and make it easier for their costumers (us) to upgrade or make it work within out workflow. Instead of giving us a box camera which is id believe easier to make in production as its just a box and no weird angles. Thats fine get rid of the big screen we can add our own. Eitherway they said it was so that we had an easier time upgrading and keeping our workflow, the only thing that youd need to upgrade now is to change the cage , which would be the same thing if theh created a box which is what everyone wants. We are okay buying a new cage for our box cameras we can still use the older things we used withe the previous blackagics so dont use " making it cheaper for our costumer to upgrade" as an excuse. Just give us a box camera , cheaper to manufacture i think and also if you say the jnternals are totally different inside then just create a new camera. You say our workflows and camera set ups got used to the old blackagic bodies , its dumb we can get used to a normal boxed camera. Sorry for repeating myself just ramble too much Also last one if it was a camera 100% they could have included an nd unlessssss its because of the olpf then id understand, which in that case id get rid of the olpf and keep the nd personally
"High end film productions" and it doens't even come with SDI 3g. Don't know what to say. Do they know what do they say? Another pocket camera despite BM users have been asking to stop with this form factor since years. Surely I am excited for full frame, L mount and CFExpress card, really good stuff. I own 5 BM cameras right now and these would be nice new things to have, really. But without SDI, with this form factor again and with such bad rolling shutter values, I think I will pass. Waiting on some Ursa Mini version. Pocket form factor is horrible because with cage, v-mount battery, power distribution plate and hdmi converter on 15mm rods it becomes longer and heavier than the Ursa Mini. I love BM, I know this will be a camera with amazing performances, beating much more expensive cameras. But don't tell me it is for high end film productions, please.
I sold my pocket 4k hoping their new camera coming would have a better looking design..they didn't, so I got a ZCam I prefer the box design instead if this weird and awkward to hold design.
As a massive Da Vinci Resolve fan I really wish they made better cameras. The form factor is awful they should have ditched this design and gone with a box. NDs are essential. L mount seems to have really hindered their design ambitions, perhaps an odd choice. I'd have preferred E mount and good luck trying to balance this on a gimbal. Wonder how fast it chews through batteries. 🙈 Stunning image and UI but work to be done before I could consider investing in the future.
3:15 Youre cheating - you could make universal mount, that fits EF, L and Nikon mounts all together, but you choose most expensive 1 mount, probably for treatment with Canon.
"we cant put ND because the form factor" , the main question is - why just dont they use BOX factor ? put full frame, put ND, put BIG battery, better to balance on gimble.... just go to BOX form and problems are solved.... why they still sitting on this Brick form? everybody calling them more than 1 year - to do BOX BM camera)) and they still do Brick form variants....
this is sad and I feel they drop the ball, because Blackmagic was doing thing that was unheard of, like giving us affordable cameras that had the quilt to produce high end film and easy to use, for a fraction of what you would pay for a red or ...... I was expecting them to be the leader again by adding to there line up not adding and taking away, because they couldn't figure it out, smh this could have been a great 6k pro 2 gen if it had all the thing the 6k pro have +
Why on Earth does Blackmagic Design not allow comments on their channel? I don't know about ANY company that is worse at communication with customers and fans than BMD. Have anyone ever gottena word in response form them anywhere??? The new camera looks very good But if you want to take on RED, you need to make your full frame camera: BOX CAMERA GLOBAL SHUTTER
"We know that customers have invested in the workflows and ergonomics and accessories" WTF? Invested in what? A cage? We'll buy new cages/accessories. Just give us a different body. They literally refuse to listen to us. I don't mean a cube/square form, just something that isn't shaped like a fisher price toddler cam. Geez!!!!!!
Would have much rathered a super 35 box camera. This is kind of a let down. Moved from blackmagic to Sony and would love to go back, but these form factors are just awful. Never understood the obsession with full frame.
Super 35 is the standard for cinema. What is this guy going on about. There are more important features that should make something a cinema camera, like 15 stops dynamic range… I’d much prefer a s35 with better native iso, dynamic range, then simply slapping a full frame on it (while also removing internal ND filters).
as a lumix users it's great I can now use all my lenses and kit on this :)
Every camera has its trade offs but I love the ideology of this camera. Full frame, 6K open gate, internal raw recording for $2500 is insane. Even just a few years ago this would’ve been a pipe dream! While I don’t love the design, I’m okay with the other compromises.
However what these comments show is BM has an opportunity to deliver more features at a higher price - and I believe they eventually will. People will pay more for internal ND’s and an updated design. But for now, we have their first full frame sensor in a very affordable camera which is great.
Good points
A few years ago the sigma fp did that, but it came with other limitations, just like this one, I'm a bit underwhelmed, I like b raw and the value of black magic camera but there's no offer for a good versatile does everything fx6 competitor
What a time to be alive as a film maker. if I was starting my career, this camera would be a no brainer. It's incredible everything you get at that price point
I hope you also do a short video on the new micro. Because it can record directly to a usb-c drive, it’s not only a broadcast camera.
I love BM, was holding out, but now I’ll just get the Komodo x
I wished the rolling shutter performance was a bit faster but I loved the way he talked about the feel of the images
I think an optical low pass filter is vital for anything calling itself a 'cinema' camera. The amount of times moiré (from a range of different cameras) has undermined some of my shots, without me noticing it till post processing(!), is too much to mention. It would be great if all cameras had them installed. I also agree about 'feel' of the image as a priority. For me it is about feel and resolution. Shame about no internal NDs.. understandable given the reduction of space available.
I'm so glad they didn't put it. Most cameras footage alread get degraded and softened by internal noise reduction and over processing. Cinema cameras should never have low pass filter especially ones that record using 1:1 pixel readout.
no they actually have it
@@smalldeekgeorge
@@smalldeekgeorge ...but the video states the low-pass filter is "standard" in this camera, and that in their opinion a cine camera *should* have a low pass filter to remove moiré (and maybe other artefacts?). It might be nice to have the OLPF as an option though for those that don't like the look of it.
I thought he said no low pass filter 🤔 damn it
Great interview. Looking forward to getting one soon.
For someone like me, upgrading from a $400 Nikon, the Cinema Camera 6k full frame offers significant bounds forward, and peaks my interest with fullframe and opengate, because I do have a big interest in anamorphic optics and low light. As a VFX/Motion Designer diving into live-action cinematography, I'm aiming for a $2-5k budget idealy with some room leftover to build a rig beyond the body and lenses. Relatably so, Veteran BMPCC owners disatisfacition with the lack of upgrades makes sense. L-mount choice to me seems an unusual choice for consumer markets. Would you recommend the FX3 full-frame vs the CC 6k full-frame vs 6k Pro? Open to other suggestions too!
Amazing for the price. What I want though is better rolling shutter and an SDI port. Let’s hope they’ve got a pro model in the works.
I can't believe they kept the body. Im stunned. As someone who owns 5 BM cameras and have been a supporter of this company since day one, they simply stopped listening to their consumers on their camera ergonomics. Their biggest fans are using their products DESPITE the poor ergonomics not FOR them.
Great coverage! Although I noticed you were trying to bring up the subject of body form factor, but didn’t dive into it. I could be curious about his answer, but at the same time you were having a good time with him and he might not have answered all other questions as thoroughly if he felt he was being interrogated about the body shape.
The “cine means no need for continuous autofocus” trope has outlived its usefulness. There’s all kinds of documentary uses as well as short-staffed quick turn around cine projects where C-AF is a lifesaver. Sony keeps adding the feature to their cine line and soon I will need the same from Blackmagic or my purchase decisions will start to change.
I mean yea that is the point. One company cannot do everything.
I want recording over ssd, raw recording and xlr plugs in my camera for less than 3k. I don't care about autofocus, which is why I'll get BM.
If you like AF then Sony is probably better for you.
Idk why people get so hung up over AF. It's a tool. Not everyone needs it, therefore a select few manufacturers will not implement it in their cameras.
Well, AF is a tool like you said, but when we do a music video in movement hyper scenes in my case, the Sony AF resolves a lot more easily without paying a focus puller and the footages very sharp in focus. So BM needs to release a camera with that kind of tool because MF is the best for movie film or documentary, but music video AF is our best friend.
@@JoeVazquezProductorMusical Even in documentary these days, C-AF makes life a lot easier. If you’re on sticks or a dolly and want to have precise focus pulls, great, hire a puller if you can afford it. But take a look at the focus preset mode in the Lumix S5IIx cameras and it really makes you wonder. With that system you can dial in three specific focus distances and then activate with a tap on the screen. Precise, preset focus pulling in a $2,000 camera with no add ons or external controls. Kinda nuts actually. But internal BRAW will keep me coming back to Blackmagic for now. The file size and color grade flexibility are still a big deal to me. Though with the Burano now offering an internal RAW codec to CFExpress B, I’m now very curious about the next gen FX6.
@@JoeVazquezProductorMusical I understand your point, but one can't just release a AF into the camera like you release false colour or a waveform through an update. AF is very complex and takes a lot of time to code. And pdaf takes up physical hardware to implement, both of which increase cost and complexity.
So I'm sure they technically can, but why should they, they are a small company who already have customer base who by and large doesn't care about autofocus. They spend time and money on R&D for autofocus and end up with a more expensive camera that their customers don't want to buy.
Plus they will now be fighting with Canon and Sony, two massive companies. This is not a good spot to be in, unless ofcourse they already have a fantastic autofocus algorithm and hardware ready (which is extremely unlikely)
Don't forget about panasonic with their new dpaf for the S5II and the m43 G9ii @@8lec_R
Sony launched a VND IBIS camera a few days ago and that's 2mm thinner than L mount. And the FX6 has existed for a long time. But I understand that it takes years to develop that, and Sony are experts miniaturization. But they still don't have SSD recording or shutter angle or open gate
The shutter angle is missing so that those people who can't do 2x but have deep pockets can buy a more expensive model. Otherwise I agree.
Sony's IBIS hinges are also so flimsy, that broken IBIS hinges are not uncommon.
@@EmeraldAudiovisual Jesus :o well, I'm not surprised, it's a complex moving part.
@@hbp_its mostly sony who tried to miniaturize their ibis to such a degree , some other models also do the same but for now its been safe.
Prolly just bad luck and the amount of people buying sony cams with ibis.
The camera can only send proxies to the cloud via ethernet adapter? or are they just not spilling the beans yet that the ios app will be a external monitor for the camera to send proxies?
I like the new micro 4k. But why remove the sd card slot. Now you can not record internally at all.
😂😂😂😂😂😂
The old Micro Studio Camera didn't have internal recording either. The Micro Cinema Camera did but that was a different model.
sony e has a 18mm flange distance and some of their cameras have internal nd´s, l mount has a 20mm flange, so why doent it fit??
Bro you’re right but think this : The Sony’s cameras and other brands are two or three times more expensive than this camera. Tell me another camera in this price range (2,595) that has 6K Full Frame, Open gate and this color science
What he was saying is that the current system they are using in the 6k pro wont fit...so they would have to develop a new system (also i think the body shape as it is makes it kind of impossible because of the extruding "snout" )
You would need a completely different body style.
Awesome & Thanks :)
It has a mirrorless mount. Thank goodness!
Great interview. But what mic di you use for that 🤔
Internal ND is a must have. L mount seems like a mistake.
That bothers me is that a sensor with bigger pixels doesn't get more dr and/or sensitivity.
I feel like it must have... footage doesn't look the same as the 6k pro. I'll wait for the tests... noise will be much much better which will effect practical dynamic range.
Seems like they’re vastly underestimating how much ppl value internal NDs. When he says they’re unable to fit NDs behind the L mount, I hope he only means the current ND mechanism. It would be amazing if they could eventually put an electronic vND in their cameras. If they can’t then joining the L mount alliance was probably a huge mistake
I'm betting in 6 months or a year, there will be a "pro" version of this camera with internal NDs.
They are vastly underestimating our desire for forms factor (WHERE IS THE BOX’d CAMERA), higher frame rates, ND’s, and phase detection af. I’m more excited about their new studio micro G2, lol.
I dont think its the L-mount specifically thats the limitation. Its a fairly large mount, larger than Sony E mount with a 2mm larger flange distance. The Flange distance of Sony E is 18mm and Lecia L is 20mm. I think the real limitation is the size of the sensor. Think about the space that would be needed to house multiple 35mm sized NDs at a 2 stop difference from what 2-10 stops? I suspect a Electronic VND may be the only possible way and who knows if Sony has a patent on that or not?
C70 has a internal ND in the censor so its possible, but prolly to expensive for BM's philosophy😂
@@Meatyowlleg The C70 is a Super35 or APSC sensor and BM's own Super35 PCC6kPro had internal NDs. This is a full frame camera and as far as I know the only FF camera with internal NDs is the Sony Fx6 with is E-VND.
Blackmagic Design is kinda like the opposite of Apple when it comes to new stuff and thinking of the customer
lol. Apple is thinking of their pockets.
@@mrshaheedmaliklol. Apple’s got hjack to do with the video presentation. Blackmagic LITERALLY thinks about their POCKETS.
Good upgrade, but seriously many of us would rather pay 2-3k more for better rolling shutter, a internal ND(like the one from the canon c70) and a box style form factor. It would be still much cheaper than the Komodo while having BRAW.
I would probably jump to BM if they had a camera that could properly compete with the c70. As it stands, I’d be giving up too much for what still is a great sensor!
No thanks
2-3K more puts it exactly where the Komodo is?
@@RubenStuvelingnot really. the komodo starts at 6k without a usable screen, nor nds. so rather 7-8k
The legendary IMX410 sensor is found in so many camera brands.
You think this is an IMX410 sensor? The stated pixel size is the same ;)
If so it would be like the sensor in the Sigma FP and A7 III.
Would have preferred e mount. There are so many lens options for e mount compared to the other mirrorless mounts out there.
Would mean BM would be competing directly with FX3 and FX6 though. By going L mount it gives them a niche
Who knows , the L alliance might bring a bunch of cheap good primes or a holy grail ( like the 18-35 or the 35-150 ) into an even lower price
What an amazing camera , i believe they will include the ND filters in the Pro version 😅
I’m buying one or two
5:57 "The compromise is with L mount, you just don't have the capabilities to put the same mechanism in". This does not seem to be true. The flange distance of L mount is 20mm. RF-mount is also 20mm, and C70 still has internal ND-filters. For it to work Blackmagic would have had to redesign the body, but the lack of ND is not due to L-mount, but due to Blackmagic keeping their old body.
No EF mount?
Cine / High End but: same odd boddy, HDMI, low sensor readout, no mounting screw holes.
I love everything else about that camera.
Change that damn body, sdi, faster readout and get the NDs back guys ;)
Even if it's more expensive.
!!!! AND KEEP THE PRORES !!!!! Otherwise 70% of the post house / production that I work with won't want me to bring that camera.
Entry level bro. I care more about image quality anyway 😂 if you want all that pro I/O you are going to pay WAYYYYY MORE. why not just buy a Canon c500mkii if you need all that? (Ohhh it's 11k after the recent price drop this cost $2500),.................. let's keep reasonable and REALISTIC expectations please 😂
The most intelligent comment i read for this camera🏆
@@brettalexander.studiohe’s not asking for much at all. Unless sdi is super expensive. Other than that they already have pro res in other cameras
I've never met anyone that has ever said they preferred the form factor of the pocket series. Bang for buck it is the best camera by far at that price range. However, not a single person wants this form over a box body design...
Black Magic using L Mount for this camera will encourage manufacturers to make lenses for my S5II
So its the original 6k pocket but with a full frame sensor, L mount and flip screen
In terms of the body, yes. But the guts are very different.
no
And no Nd
@@stuartswindell2835 yea the original 6k pocket has no NDs
It's a Pocket 6K G2 with L Mount, Full Frame Sensor, and an OLPF. People complaining about NDs can buy the Pro version when it comes out. (The NDs that came with the PRO had a color cast anyway.)
They are smoking something nice when it comes to the form factor. Whoever is in house convincing them that this inconvenient body is a good thing needs to have their head examined. Guys it's simple shrink the sides, make it longer, and put the LCD on the top. This shouldn't be rocket science.
Had they made the camera long instead of wide, they probably could have kept the internal ND's but priorities.
I came up with the design for the body and let me tell you something, it's perfect. Don't you ever disrespect all the hard work we put into it.😂😂😂
@@KallusGarnet I am deeply sorry, meant no disrespect but also can you give the name of that ill joint you smoking😉😉
With a low pass filter this camera will likely become Netflix approved.
can I mount my Canon EF
😂😂😂 No
Yes you can use your EF glass with an adapter. You can also use PL mount lenses with an adaptor.
Beast Look 👋
BMCC 6K + Lidar auto focus + DJI ronin RS3 pro = $400 more than FX3. There you go, stabilization + autofocus + 6k open gate recording. Talk about a great budget. Only thing I want to see is low light tests to make this a must buy.
Lol and a much larger rig
If they can work with DJI the same way Panasonic has done so that LiDAR focus information can pass through to autofocus L-mount lenses without needing rig up follow focus gearing, then that would be a nice bonus, but I’m not holding my breath.
I have been a BM user for a long time, I still have and love my pocket 4k (colors are grear) and was really ready for a replacement, my work now its a little bit more documentary oriented now and clients want fast and smaller crews now for the type of gigs that this camera its aim for... if the gig its high end they want to see an arri or red, the fact that its difficult to balance this form factor on a gymbal or that they get rid of the ND filter and most tragic pro res... so sad if they dont release very soon a camera with ND and a better form factor they will be done soon, now I will have to wait what Panasonic brings to the table, s5iix looks very tempting but a new H1S mark ii looks promising also, Im even tempting to go to Sony... damn! for the price im sure the camera it's amazing, but if they give us more for 3000 - 3500 ND autofocus and a gymbal friendly shape you can get the market share that Sony is eating, im so sad i can wait some months to update to a new camera so hopefully they have a crazy ursa after the end of the year.
I have a similar set of concerns. And I have even tried the S5IIx as an alternative, though the only advantage I find there is the small size and the autofocus. In every other area the new CC 6K has advantages. At the same time, the SLR design does not “look” professional by modern standards (not even close), and let’s face it, the uninitiated customer want’s to see the kit and “feel” like they’ve hired someone who knows their stuff. And though for the money a CC6K can out record a lot of alternatives for half the money, it still makes you look like a noob. And when you want to bill at higher rates, you have to look the part as well as produce the part. Anyway, I will make do for now. The look doesn’t much matter for my own filmmaking as long as the image capture gets the job done, but I will be watching for the FX6II updated which will probably arrive in the next 6 months, and if it has CFExpress B and a version of internal RAW like the new Burano (along with internal ND and *autofocus*, I might just make the jump to E-mount. There’s certainly *way* more lens options there than with L-mount.
@@wavelandI agree some clients have this idea that the on set look of the cameras matters, as I said BM image of amazing for the price, but some people that bought their cameras years ago as an entry level starting point now we are a little bit on the professional side, the ursas looks professional and the features are great but as social media gigs are raising we have to find a better hybrid camera, let's see what comes next, about L Mount really see a great difference in price with e mount lenses, so I'm really would like to stay in the L mount, but well let's see what happens in some months
This is what shitting the bed looks like. What 4 years we've been saying we hate the body design and now this. This was their chance to pivot.
Hearing him talk about the form factor and why they kept the body makes him sound like a politician and makes me want to puke…
He want us to save money on accessories and then later goes on to say that you can’t use most cages on the new body 😂
Mindblown! I love the politician analogy. Perfect!
Then he later says they had limitations with the body... so why did they decide to use that body?! Lol
This is close enough to my dream camera. I pre-ordered the BMCC and it's been my main camera for 11 years. BMCC6k can be my new main camera. Need a new lens. I'd like a 50mm anamorphic.🤩 A standard lens on this sensor is 43mm.
Do you realize that you can dream anything, not just the cheapest stuff? :)
@@vladimirtalijan who are you to tell someone what their dreams are? Let people live lol
I've shot with RED DSMC2 and DSMC3, Ursa 12k's etc... I still love my pocket 6k more than any of those cameras, regardless of price. For my one man band shooting, its simply close to the perfect form factor.@@vladimirtalijan
🔥🔥
see us in 2024 bm6kfullframe pro version with build in ND xD
Please explain why, in the case of the EF-mount, it was possible to enlarge the body of the 6K Pro camera to insert filters, but this is not possible with the L-mount?
Miniaturizing costs more, and they would probably have to make the ND system much slimmer to fit within the shorter flange distance. On the other hand, they could've stayed with EF mount and left the ND system untouched - short term solution, but then again this camera does feel like a short term solution in some aspects anyway :D
Lens flange distance (distance from the rear element of the lens to the sensor) for EF is 44mm. For L-mount, it is only 20mm. There is 24mm less space between lens and sensor in this camera.
Hello Black Magic We wish to open your showroom directly in Hyderabad India
Didn't like that all the options beside open gate are cropped 😢
It's RAW. Of course they are. It's the nature of how RAW works.
You had me at L Mount
I wish they add h265 to it
Friends, will there be PRORES in 6K FF?
Seems kind of like a lot of things are missing here for being a 2023 release. Kind of strange honestly but call me crazy
I wish they let you use Sony NPF in their micro camera
Wished the form factor didn’t mimic a stills camera. Would have preferred a modular box like a Komodo.
I think I can talk for most people who were waiting for BM to release a new "cine" camera that this has been a massive disappointment. Especially when you have Kinefinity releasing the Mavo mark II at the 5000 price point and the Komoodo being around that too. The image coming out of it is good, and the flexibility of FF is great both of which are important and might be the only reason I stick with BM but the rest is just not at all what the community wanted. I know very few people that want this in that body. Even if they'd put in the possibility to get an image out over wifi to a phone, or made the screen easier to position so a Vmount doesnt block it I would have been happier.
I think i can talk for most people when i say, we don’t care about a box shape camera 😂
@@waleezaThe Formfactor is just not useful at all for "cine" purposes. u cant really rig this thing up in a practical professional way. There isn't even a bnc port still. So the name is just misleading at this point...
@@rfs_dpfacts
@@waleeza You don't know what you're talking about.
why are you comparing this camera to a $5k Kinefinity? The Ursa 12K wipes the floor with that Mavo.
Whooo 120 fps in HD😏
So basically its a bigger version of the BMPCC OG. No IBIS with some bomb ass color. Looking forward for a BMMCC Pro with built in ND and IBIS
I really hate that it doesn’t shoot Pro Res
BMRaw is better.
You can Deliver in pro res.
Never used this Hype codec
Why though? BM Raw is more efficient and flexible. ProRes files were usually bigger than BMR anyway
@@joellouisfire
It’s typically because most studios and producers want you to give them the raw footage at the end of the shoot. If you edit and shoot your own stuff then Braw isn’t that big of a deal. But when you hand footage off to a producer or editor is where things can get tricky. Maybe the proxy h.264 option could work? But yeah omitting Prores kind of sucks flexibility wise.
@@joellouisfire Many clients want the footage in prores, it's not as bad now as about 5 years ago but it still happens.
When is CineD going to test this with Gunther testing the true usable dynamic range.😁
🔥🔥🔥
The announcement of full frame is exciting and the inclusion of an OLPF is cool... but there seems to be a lot more losses vs advancements... you lose high frame rates... the ProRes codec... internal ND Filters... while dragging over the same body-style, dynamic range and color science... all with only increasing the price by $60 USD... I think they should've worked on all the lost elements and how to include them even if it would have raised the price closer to $3k as that would've brought over features we've already been introduced to and truly been an upgrade/advancement
Why does it have to look like a Canon t3i
I am sad that no internal ND but I guess I understand it's absence due to flange depth.. Also would have loved to see increased dynamic range and low light performance. As of right now, it looks like a full fame P6kG2.
Also seems like the 4k and other res are cropped, kind of defeats the purpose of a full frame if you don't want 6k.
its a full frame sensor, the low light perfornace is ofcourse going to be better@@playmaka2007
@@playmaka2007 it's RAW. That means anything smaller than the full sensor readout is going to be cropped. That's the nature of RAW. Oversampled or line skipped read out is generally only available in processed footage like ProRes or H264.
When a camera of this form factor is this huge and also compromises the fitting of built-in ND filters, I personally think it would be better to create it in a traditional cine-camera body. Moreover, it has departed from its 'pocket camera' roots and I see little point in continuing with this style. By now, Joe Public and security guards and the like are more than familiar with the fact that these 'mirrorless/DSLR' shaped cameras are also capable of video capture and so they don't lend themselves much to stealth shooting either.
It's basically the like the BMPCC 6K pro but not as good! But hey, full frame!!
And it doesn’t shoot Pro Res
@@Aceofthedynasty wait what… it can’t do pro-res?????
@@LukeBroadhurstfilm that’s right lol. BlackMagic hasn’t advertised that on purpose cause they know people won’t be happy but yeah no Pro Res
It would have made much more sense to give the 6k EF mount an IBIS and maybe global shutter, that would have been the perfect camera.
Problem is Canon is discontinuing production of EF lenses. Which isn't a huge issue due to the size of the used market, but I wouldn't be surprised if Canon wont allow them to release a new EF camera. I dont know how the licenses work for lens mounts but if Canon is dropping EF and pushing RF, with Red joining RF as well, I cant imagine they would allow a new EF camera to enter the market.
@@jockslifeatliftvideoproduc8528 Ah Ok, didn't know that, I knew Canon were pushing the RF mount, but didn't know they were altogether thinking about discounting production for the EF. I imagine the L Mount gives them flexibility for the years to come, and won't need to change it every time a manufacturer like Canon changes their mind about their mounts.
I think BMD is playing a long game.
They’re trying to balance what consumers want with the vision they’re building.
They might fail, or they might succeed-50% chance. I’m of the view that they’ll succeed by continuing to innovate over time.
They’re currently innovating and building an ecosystem (software, sensor, codec, and now cloud).
Once this system is complete, I think we’ll see more innovative cameras that work within their ecosystem.
That is my speculative opinion.
I agree...its slowly coming together
@@AndrewLXiong😂😂 yes they aren't there yet.
we cared more about the shape of the camera than we cared about full frame
What’s the point of L mount lenses on a camera that cannot be depended on for AF? We could have lived with EF
Long winded answers summed up:
Why'd you drop the pocket?
- what pocket does this fit in?
Why L mount?
- they stopped making EF lenses...
EF can be easily adapted to L, won't be too big of a deal
Waiting so long for this.......
But I'm disappointed.
Now im waiting for ursa mini 3g
FF
16 DYNAMIC RANGE
Sdi
Autofocus
Box Style
Build in nd.
All this what im missing here.
It looks like a very early digital camera. But ultimately it's the inner values that count…
Oh God....... I remember the whole full frame nonsense with photography years ago, now we're back to the same thing with video where BM tells us it's a step up. Let me tell you something, removing Prores and internal ND filters is a step down, much like reducing framerate / resolution performance. There's a reason Grant spent 30 seconds covering the features last night.....
Exactly right.
It hurts my ears to hear this interviewee continue to say, "we think this will be cine oriented" I am sure people will use it, but man did they not miss a chance to improve the quality of life with this product, the same NPF batteries, removing the internal ND, still no SDI or TC, the LCD articulation is still super limited, yes L mount and full frame a two monumental steps forward but its the steps backwards that hurt.
Interesting, but if they want to hit the serious cine narrative side more they need to drop this form factor. Make it a cube for modularity and rigging. There's a reason cinema cameras aren't shaped like a dslr. Drop the mini xlrs that take up too much real estate, get at least one sdi out. No one on a narrative set will be asking why the camera doesn't have mini xlr inputs
No ProRes, no ND and a new mount. idk, makes me glad the 6k pro might come down in price at least after market. Maybe this is not for me.
W in the chat if you remember the original brick 2.5k bmcc 🎉
If they built this in a more 'brain' format like a Komodo, I'd be all over it. I just cant stand the form factor and plastic casing of this camera.
What makes this camera more "cinema" than the pocket 6k Pro? that is full frame? lol he keeps talking that this is more cinema than Porcket pro lol it seems to me is the same camera with a full frame sensor and no NDs lol
Blackmagic could have sold millions of BRAW recorders without a screen. The LUMIX S5IIX is a better value.
super
Probably a current or future Panasonic sensor. Just wait for next gen S1 unless you really need/want BM Cloud integration or BMPCC form factor. ProRes, IBIS, RAW out, Phase AF, swivel out screen, weather seal and much more on Panasonic
You mean Sony sensor Panasonic is using
@@AllisonRoadWest IMX410 Sony sensor, most likely. Same as the Sigma FP, A7 III, and Panasonic S1
Everyone is using Resolve voice isolation now😂
Blackmagic finnaly understood that their "pocket" cameras don't fit into the pocket.
What?! They took away another feature!
I dont understand marketing and manufacturing so take my comment witb a pinch of salt.
That black magic spoke person said they stayed witn the same body ( not exactly the same as its a bit different) to save money and make it easier for their costumers (us) to upgrade or make it work within out workflow. Instead of giving us a box camera which is id believe easier to make in production as its just a box and no weird angles. Thats fine get rid of the big screen we can add our own. Eitherway they said it was so that we had an easier time upgrading and keeping our workflow, the only thing that youd need to upgrade now is to change the cage , which would be the same thing if theh created a box which is what everyone wants. We are okay buying a new cage for our box cameras we can still use the older things we used withe the previous blackagics so dont use " making it cheaper for our costumer to upgrade" as an excuse. Just give us a box camera , cheaper to manufacture i think and also if you say the jnternals are totally different inside then just create a new camera. You say our workflows and camera set ups got used to the old blackagic bodies , its dumb we can get used to a normal boxed camera. Sorry for repeating myself just ramble too much
Also last one if it was a camera 100% they could have included an nd unlessssss its because of the olpf then id understand, which in that case id get rid of the olpf and keep the nd personally
Too bad the 4k is 15 ms.. but seems like full frame even from Arri still struggles with this.
"High end film productions" and it doens't even come with SDI 3g.
Don't know what to say. Do they know what do they say?
Another pocket camera despite BM users have been asking to stop with this form factor since years.
Surely I am excited for full frame, L mount and CFExpress card, really good stuff. I own 5 BM cameras right now and these would be nice new things to have, really.
But without SDI, with this form factor again and with such bad rolling shutter values, I think I will pass. Waiting on some Ursa Mini version.
Pocket form factor is horrible because with cage, v-mount battery, power distribution plate and hdmi converter on 15mm rods it becomes longer and heavier than the Ursa Mini.
I love BM, I know this will be a camera with amazing performances, beating much more expensive cameras. But don't tell me it is for high end film productions, please.
I sold my pocket 4k hoping their new camera coming would have a better looking design..they didn't, so I got a ZCam I prefer the box design instead if this weird and awkward to hold design.
Everyone: the 2008 design of the pocket is horrible
BM: To make it cost effective for everyone we kept the pocket design 😅
As a massive Da Vinci Resolve fan I really wish they made better cameras.
The form factor is awful they should have ditched this design and gone with a box. NDs are essential.
L mount seems to have really hindered their design ambitions, perhaps an odd choice.
I'd have preferred E mount and good luck trying to balance this on a gimbal.
Wonder how fast it chews through batteries. 🙈
Stunning image and UI but work to be done before I could consider investing in the future.
E mount would have limited it even more.
@@geoffreybassett6741 In what sense?
3:15 Youre cheating - you could make universal mount, that fits EF, L and Nikon mounts all together, but you choose most expensive 1 mount, probably for treatment with Canon.
"we cant put ND because the form factor" , the main question is - why just dont they use BOX factor ? put full frame, put ND, put BIG battery, better to balance on gimble.... just go to BOX form and problems are solved.... why they still sitting on this Brick form? everybody calling them more than 1 year - to do BOX BM camera)) and they still do Brick form variants....
this is sad and I feel they drop the ball, because Blackmagic was doing thing that was unheard of, like giving us affordable cameras that had the quilt to produce high end film and easy to use, for a fraction of what you would pay for a red or ...... I was expecting them to be the leader again by adding to there line up not adding and taking away, because they couldn't figure it out, smh this could have been a great 6k pro 2 gen if it had all the thing the 6k pro have +
I have black magic production 4k and 6k but not I am switching to either Fujifilm or Sony.. no good autofocus
Why on Earth does Blackmagic Design not allow comments on their channel? I don't know about ANY company that is worse at communication with customers and fans than BMD. Have anyone ever gottena word in response form them anywhere???
The new camera looks very good But if you want to take on RED, you need to make your full frame camera:
BOX CAMERA
GLOBAL SHUTTER
There are literally two RED cameras with global shutter. The rest of their camera's all have rolling shutter, including the raptors.
@@RubenStuvelingRed is pretty shit blackmagic is better😂😂😂
Because they know majority of the people want a box camera and they didn't delivered lol
@@jfilmzstudio3470 Totally right. I'm looking at the BS1H now. I'll tell my collaborators it won't be a Blackmagic camera after all.
"We know that customers have invested in the workflows and ergonomics and accessories" WTF? Invested in what? A cage? We'll buy new cages/accessories. Just give us a different body. They literally refuse to listen to us. I don't mean a cube/square form, just something that isn't shaped like a fisher price toddler cam. Geez!!!!!!
Yes, keep your cheap cage but now go out an buy a completely new set of lenses or be forced to use adapters that may or may not hold.
@@Justin_Allen exactly 💯
Would have much rathered a super 35 box camera. This is kind of a let down. Moved from blackmagic to Sony and would love to go back, but these form factors are just awful. Never understood the obsession with full frame.
It is over rated.
Super 35 is the standard for cinema.
What is this guy going on about.
There are more important features that should make something a cinema camera, like 15 stops dynamic range…
I’d much prefer a s35 with better native iso, dynamic range, then simply slapping a full frame on it (while also removing internal ND filters).
Overshooting but I guess next pro cinema camera will have some advanced features. It is not the right step by the way. It is a step back.