I use the BMPCC 6K Pro and found this video with all the tips that have been learnt, very helpful. I thought a lot was shared in a irrelatively short space of time but not rushed, which I find important. Nice.
Thank you for this amazing summary. Working with this on my next project and you just gave an awesome overview on the key features I wanted to catch sure about.
Really good video. Thanks for taking the time to put it up for me and everyone else. It's always nice to find videos and information that help us solve problems.
Been fighting against getting a camera as the newest anything always makes yours obsolete and I usually hire a cinematographer with the latest toy anyway. But I have been tinkering with different camera ideas and you convinced me to strongly consider this gizmo right here. Nice work Corry, straightforward and clear information.
Thanks for the Tips I just ordered a 6K pro cant wait to get my hands on it. Also thank you for the EVF tip! It looked kinda useless to me and wasn't planning on getting one but now that i seen how could be use i'll surely invest in one in the future! thanks again.
ProRes may be sharper and less noisy than BRAW out of the box, but that's because ProRes has some built in sharpening and Noise Reduction versus RAW. Raw or BRAW gives you much more flexibility in post to sharpen to your taste and also perform noise reduction that will yield just as good results or better than ProRes. BRAW via Resolve is much more flexible and forgiving than ProRes as well, with raw controls for WB and exposure that you don't get with ProRes (at least not at the RAW level). If you screw up your white balance in BRAW, you can change that in post as if it were originally shot in whatever WB you choose to select. You can also change your ISO within the range of either ISO sensor level. If all your work happens to be done in Resolve, then BRAW is a no brainer in my opinion. If using FCP, then ProRes might be the better option to avoid a conversion via Resolve after grade. Nice video and thanks for sharing.
How this is so satisfying to be your 1k subscriber 😂😆 btw plss make more video on bmpcc6kpro . if you could also make post production in resolve cuz I kinda like to use this toll rather than fcp or premier
Thank you for this wonderful video. I've been looking for something like this for a long time and have only been able to find videos recapping the camera's specs. This video, however, was extremely helpful and helped me get a better idea of things to think about before I make this purchase.
thanks for the great video, subscribed for sure ! if I mind asking about the sound tips lower to 10% does it works the same for Ursa G2 ? never heard about this before
Thank you! Yes of course; it's fine if you can get a hot signal into the camera. The best I've ever got it to sound is when I had a 4 channel analogue preamp sending a sound output to the camera and it sounded unreal! If your mic is at a low signal (and boom mics for instance generally are) then when you boost it via the camera sound setting you will be left with some unfortunate noise. So my rule of thumb is keep that noise low at 10% and find alternate means to make the signal louder, such as a preamp. I don't know if it applies to the G2 however- worth experimenting
thanks for the reply ! been heard about this several times actually but im not really get into that yet, do you have any plan to make an audio editing tips in davinci ? would really appreciate it, love your detail explaination tips and tricks where there's no one mention about it out there
You are so right about the audio into the 6K (I have the non-pro version). Investing in the Mini-XLR to XLR for my microphones was a waste of money. From now on I record out of the camera.
Why does a white dot appear as if it were from the sensor when I use it in 6k 2.4, it cannot be seen on the monitor or finder but it appears in the development... what could it be?
I would recommend always put it on film dyamic range - you can load the footage into Davinci resolve and add the exact video lut. You can’t do it the other way round though!
Enjoyed your video. Regarding compression, I've been shooting at 12/1 and the image to my eyes looks amazing. I've measured 9 stops above middle gray when grading with wide gamut + HDR + highlight recovery. Have you noticed anything that I haven't? Is there a stark contrast between 5/1 and the higher compressions? Edit** also, regarding F stops. Something you said doesn't quite jive. The industry standard is T2.8, and also keep in mind that the industry standard size for film sensors is S35mm, not full frame. So why go lower on your F stop?
Thanks Lee. Compression. The purpose of this video is to hopefully give some definitive instruction to people who haven’t done tests and need a quick answer before they shoot something important. Looking back (and references in this video haha) I’ve actually shot a lot on 12:1 and 8:1, and it’s looked amazing. The test I am referring to was before a vital shoot last year, and as I generally prefer low key images, I shot a dark image to see how much detail I lost in the shadows. I zoomed in as close as possible to see the digital noise, and in the slightest way, there is a difference between 5:1 to 8:1. This is in terms of potential detail I was loosing. Lower bitrates do start to get noticeable across any cameras, and when I started shooting, there was always a big debate around it that doesn’t seem to happen as much now. It depends on what you’re shooting. On UA-cam, the bitrate is going to get compressed anyway. If you wanted to shoot something that was potentially going to be on a major streaming platform for instance, you would be required to shoot at the highest possible. 5:1 isn’t my go to every time, but certainly if it is a piece such as a film, a pilot or something that will be broadcast, it’s very reliable. F stop. Yes that’s true, a super 35mm is a common sensor size. If you read interviews with Jeff Cronenweth, or the documentary Side by Side discussing filming on digital vs film, there is a lot of discussion around whether with digital, if there is inherently a noticeable loss of depth of field between the two formats. Cronenweth shot at 1.3 because as far as he was concerned, that was how to make the image look like it was shot on film. So he is running on the assumption there is a loss of depth of field on digital. The high end pictures shot on digital are also commonly not shooting super 35mm these days. There are some large films that were shot on full frame Reds, Sonys, or the advanced full frame Arri Alexas. So perhaps what I could have said was to compete with that look, f2.0 is a good sweet spot. Thanks Lee, I hope that is some food for thought!
@@corryraymondfilms We're going to have to slightly disagree on one end. There's still plenty of high end productions that still use S35mm, if not the majority. Though full frame is more commonly used compared to years past. I guess it also comes down to defining what a high end production is? A lot of the bigger budget movies have used full frame, but not all. Thanks for the info on compression. I'll be shooting some feature films using this camera also in low key, so I'll most likely use lower compression. Regarding the EVF, do you find it difficult to find proper focus since the resolution is only 1280 x 960? Cheers
@@leebrandt8597 that’s absolutely fine Lee, whatever works for you. I’m inclined to agree with Jeff Cronenweth and that’s worked out for my cinematography 🙌🏻 Re EVF. Yes, I have the peaking at it’s highest and the zoom button on the right side zooms into the image when looking through the EVF as well
@@corryraymondfilms Thanks man. Don't get me wrong, F 2.0 looks great. I guess certain shots could use different apertures. Any issues doing rack focusing during a shot with the EVF?
I have never heard such nonsense in my life. There is no such thing as industry standard F or T stop, most films are shot with a variety of F or T stops depending on what the cinematographer and director are trying to convey in the images they produce. Yes smaller number apertures give you a shallower depth of field but look at most films they aren't shooting wide open all the time cause focus pullers would be utterly pissed off. I mean Deep focus is used a lot more the whole shoot wide open at all times craze came from DSLR's when people thought cinematic means blown out background and bokeh makes digital look more cinematic.
Hey Corry, great video! We have the exact same setup, for the most part, but we have a lot of squeaking when attaching a follow focus. Did you experience this issue and how did you fix it?
When recording in prores, does the camera downsample the 6k image into 4K? I’m a fcpx user and would rather shoot prores instead of learning a new software but if the quality is worse then I’d probably pass. Thanks.
I need your help to use my camera in the best possible way to shoot a good 3 minute short film. My client is asking for high quality content. And I'm thinking of shooting it with a SETTING like this : 1 ) RECORD BLACKMAGIC RAW / CONSTANT BIRATE / 5:1 WITH RESOLUTION 6K 6144Xx3456 / setup F2 2) BLACKMAGIC RAW / CONSTANT QUALITY / Q0 / 4 DCI 4096X2160 SETUP F1 I USE BLACMAGIC6KG2 What king of advice you can give me? please
I would recommend either f1.8-f2. That’s going to be the equivalent of f2.8 and f2.4. That will give you a nice shallow depth of field that is an industry standard f stop as well
A question for you. I have a BMPCC 6KG2. i got the titler small rig cage and handle.I am unable to fit the handle as you do because you need to put the screw in to secure the cage at the top, you look like you've done something else. I have had to fit mine sideways which is less than ideal for shooting. Can i ask you pleas what is your set up on the top with that cage and handle?
Hey Steve, I’ve got a quick release top handle which attaches to a NATO RAIL, which sounds like what you need. I have a slim version that is the perfect size for the smallrig cage to fit on top. You will notice two screws evenly separated for a nato rail.
@@corryraymondfilms perfect thanks for that. Sadly they Diane have the kondor blue at my local the other day, I will look online. The two screw holes are there. Thanks for your reply.
There's two in the video: 1. Manfrotto MT290XTA3 2. Manfrotto 509HD The Manfrotto 509HD is the larger one and the other I use for quick setups or second camera
I didn't actually use any tricks, the f. was f.4, all natural light, shot it in prores. I think slow motion and shooting telephoto goes a long way for looking cinematic
The quality of this video just shows that you love doing this! Great infos too.
I use the BMPCC 6K Pro and found this video with all the tips that have been learnt, very helpful. I thought a lot was shared in a irrelatively short space of time but not rushed, which I find important. Nice.
Excellent content. I appreciate the calm tone without stridency, it makes it easier for the message to get through.
Thank you !!!
Thank you for this amazing summary. Working with this on my next project and you just gave an awesome overview on the key features I wanted to catch sure about.
Really good video. Thanks for taking the time to put it up for me and everyone else. It's always nice to find videos and information that help us solve problems.
Been fighting against getting a camera as the newest anything always makes yours obsolete and I usually hire a cinematographer with the latest toy anyway. But I have been tinkering with different camera ideas and you convinced me to strongly consider this gizmo right here. Nice work Corry, straightforward and clear information.
Thanks a lot for all the tips and info! Great video. Happy toe be part of your community. Cheers from Italy
This is a very good and useful information for BMPCC. Thank you for sharing
This is fantastic, thank you!
Thanks man, really helpful tips!
Great work mate!
Great tips! Subscribed. Thank you!
I came away with a few tips after watching this. Thanks for the insight
Insightful. Thanks so much!
this is so great, thank you!!
Thanks for the Tips I just ordered a 6K pro cant wait to get my hands on it.
Also thank you for the EVF tip! It looked kinda useless to me and wasn't planning on getting one but now that i seen how could be use i'll surely invest in one in the future!
thanks again.
hows your experience with it so far?
Great tips 👏🏼👏🏼
Thanks for the tips!
Thanks for making this
I love this camera, shot my last 3 feature films with this as a B-cam to my Ursa Broadcast 6k
Very good narration love to hear
thanks for sharing... nice tips
These videos are essential. BM should be paying you!
Amazing informative video Corry 👌🤝
Thank you!
ProRes may be sharper and less noisy than BRAW out of the box, but that's because ProRes has some built in sharpening and Noise Reduction versus RAW. Raw or BRAW gives you much more flexibility in post to sharpen to your taste and also perform noise reduction that will yield just as good results or better than ProRes. BRAW via Resolve is much more flexible and forgiving than ProRes as well, with raw controls for WB and exposure that you don't get with ProRes (at least not at the RAW level). If you screw up your white balance in BRAW, you can change that in post as if it were originally shot in whatever WB you choose to select. You can also change your ISO within the range of either ISO sensor level. If all your work happens to be done in Resolve, then BRAW is a no brainer in my opinion. If using FCP, then ProRes might be the better option to avoid a conversion via Resolve after grade. Nice video and thanks for sharing.
Some great points, thank you 🙌🏻
I couldn’t have said it better myself! BRAW is the only way to go with this camera.
Can someone shoot raw or flat on proRes?
Great Content! Liked&Subcribed. Thank you.
How this is so satisfying to be your 1k subscriber 😂😆 btw plss make more video on bmpcc6kpro . if you could also make post production in resolve cuz I kinda like to use this toll rather than fcp or premier
excellent video. i subbed
amazing video (: I love your first yt video
Thank you John!
I dug it man
my next camera!
No-Nonsense tips. Subbed.
Thank you for this wonderful video. I've been looking for something like this for a long time and have only been able to find videos recapping the camera's specs. This video, however, was extremely helpful and helped me get a better idea of things to think about before I make this purchase.
Thank you Joshua!
Thanks for the tips. I’am thinking of buying one. My main camera now is a GH5
My pleasure. I would definitely recommend one 👍🏻
thanks!
Great video . Liked and Subbed. Please please can you drop a link for all parts of the Title arm and cable setup for the EVF??
Make sure you use an external device to record the audio as the internal recording picks up the noise of the cooling fan
Great tips! Which tripod would you recommend?
thanks
Awesome video just picked this camera up, can you link the items you suggested especially the shoulder rig attachment thanks! and grey card
No problem, check back on the video shortly, I will have the links added
Could you do a video about your rig for this camera? I have no idea where to get started on that
Please do a video on only quick setup and avoiding noise please
thanks for the great video, subscribed for sure !
if I mind asking about the sound tips lower to 10%
does it works the same for Ursa G2 ?
never heard about this before
Thank you! Yes of course; it's fine if you can get a hot signal into the camera. The best I've ever got it to sound is when I had a 4 channel analogue preamp sending a sound output to the camera and it sounded unreal! If your mic is at a low signal (and boom mics for instance generally are) then when you boost it via the camera sound setting you will be left with some unfortunate noise. So my rule of thumb is keep that noise low at 10% and find alternate means to make the signal louder, such as a preamp. I don't know if it applies to the G2 however- worth experimenting
thanks for the reply ! been heard about this several times actually but im not really get into that yet, do you have any plan to make an audio editing tips in davinci ?
would really appreciate it,
love your detail explaination tips and tricks where there's no one mention about it out there
@@cinemavius Thank you! Yes I will make a guide for audio editing on davinci, no problem ✌🏻
What LUT and ISO setting would you recommend for indoor interview style shooting on the BMPCC?
Can you shoot a flat image with pro res?
You are so right about the audio into the 6K (I have the non-pro version). Investing in the Mini-XLR to XLR for my microphones was a waste of money. From now on I record out of the camera.
Do black magic pocket 6k have auto focus just like 5d mark4 while using a gimbal with a rokino lens ??
Have you had any issues with not being able to import braw files into resolve or an applicable NLE?
Why does a white dot appear as if it were from the sensor when I use it in 6k 2.4, it cannot be seen on the monitor or finder but it appears in the development... what could it be?
Thanks man, what about Film & Video mode what do recommend?
I would recommend always put it on film dyamic range - you can load the footage into Davinci resolve and add the exact video lut. You can’t do it the other way round though!
Enjoyed your video. Regarding compression, I've been shooting at 12/1 and the image to my eyes looks amazing. I've measured 9 stops above middle gray when grading with wide gamut + HDR + highlight recovery. Have you noticed anything that I haven't? Is there a stark contrast between 5/1 and the higher compressions? Edit** also, regarding F stops. Something you said doesn't quite jive. The industry standard is T2.8, and also keep in mind that the industry standard size for film sensors is S35mm, not full frame. So why go lower on your F stop?
Thanks Lee.
Compression. The purpose of this video is to hopefully give some definitive instruction to people who haven’t done tests and need a quick answer before they shoot something important. Looking back (and references in this video haha) I’ve actually shot a lot on 12:1 and 8:1, and it’s looked amazing. The test I am referring to was before a vital shoot last year, and as I generally prefer low key images, I shot a dark image to see how much detail I lost in the shadows. I zoomed in as close as possible to see the digital noise, and in the slightest way, there is a difference between 5:1 to 8:1. This is in terms of potential detail I was loosing. Lower bitrates do start to get noticeable across any cameras, and when I started shooting, there was always a big debate around it that doesn’t seem to happen as much now. It depends on what you’re shooting. On UA-cam, the bitrate is going to get compressed anyway. If you wanted to shoot something that was potentially going to be on a major streaming platform for instance, you would be required to shoot at the highest possible. 5:1 isn’t my go to every time, but certainly if it is a piece such as a film, a pilot or something that will be broadcast, it’s very reliable.
F stop. Yes that’s true, a super 35mm is a common sensor size. If you read interviews with Jeff Cronenweth, or the documentary Side by Side discussing filming on digital vs film, there is a lot of discussion around whether with digital, if there is inherently a noticeable loss of depth of field between the two formats. Cronenweth shot at 1.3 because as far as he was concerned, that was how to make the image look like it was shot on film. So he is running on the assumption there is a loss of depth of field on digital. The high end pictures shot on digital are also commonly not shooting super 35mm these days. There are some large films that were shot on full frame Reds, Sonys, or the advanced full frame Arri Alexas. So perhaps what I could have said was to compete with that look, f2.0 is a good sweet spot. Thanks Lee, I hope that is some food for thought!
@@corryraymondfilms We're going to have to slightly disagree on one end. There's still plenty of high end productions that still use S35mm, if not the majority. Though full frame is more commonly used compared to years past. I guess it also comes down to defining what a high end production is? A lot of the bigger budget movies have used full frame, but not all.
Thanks for the info on compression. I'll be shooting some feature films using this camera also in low key, so I'll most likely use lower compression. Regarding the EVF, do you find it difficult to find proper focus since the resolution is only 1280 x 960? Cheers
@@leebrandt8597 that’s absolutely fine Lee, whatever works for you. I’m inclined to agree with Jeff Cronenweth and that’s worked out for my cinematography 🙌🏻
Re EVF. Yes, I have the peaking at it’s highest and the zoom button on the right side zooms into the image when looking through the EVF as well
@@corryraymondfilms Thanks man. Don't get me wrong, F 2.0 looks great. I guess certain shots could use different apertures. Any issues doing rack focusing during a shot with the EVF?
I have never heard such nonsense in my life. There is no such thing as industry standard F or T stop, most films are shot with a variety of F or T stops depending on what the cinematographer and director are trying to convey in the images they produce. Yes smaller number apertures give you a shallower depth of field but look at most films they aren't shooting wide open all the time cause focus pullers would be utterly pissed off. I mean Deep focus is used a lot more the whole shoot wide open at all times craze came from DSLR's when people thought cinematic means blown out background and bokeh makes digital look more cinematic.
Hey Corry, great video! We have the exact same setup, for the most part, but we have a lot of squeaking when attaching a follow focus. Did you experience this issue and how did you fix it?
Hey Michael, that's awful- I haven't experienced that- have you been able to work out what part is exactly making the squeaking noise?
@@corryraymondfilms Its the whole body of the camera that squeaks. We decided to just reach out to black magic and maybe they can help us out
@@aziantoast That sounds like a faulty camera for sure, Blackmagic have repaired my camera on two occasions so don't worry, they will sort it!
What's the name of the battery and cable you used in the camera?
Thank you
Just a standard V mount lithium battery and the D-Tap to Blackmagic Pocket 6k adaptor
ONE THING TO NOTE: If you shoot in ProRes you will not have the embedded Gyro data for stabilization in DaVinci Resolve
When recording in prores, does the camera downsample the 6k image into 4K? I’m a fcpx user and would rather shoot prores instead of learning a new software but if the quality is worse then I’d probably pass. Thanks.
If you shoot 4K UHD in prores, yes it downsamples from the full 6K sensor. If you shoot 4K DCI there's a 33% crop.
I need your help to use my camera in the best possible way to shoot a good 3 minute short film. My client is asking for high quality content. And I'm thinking of shooting it with a SETTING like this :
1 ) RECORD BLACKMAGIC RAW / CONSTANT BIRATE / 5:1 WITH RESOLUTION 6K 6144Xx3456 / setup F2
2) BLACKMAGIC RAW / CONSTANT QUALITY / Q0 / 4 DCI 4096X2160 SETUP F1
I USE BLACMAGIC6KG2
What king of advice you can give me? please
Brother what about bmd 4k cinema camera the same thing will suits
Yes for sure, some of these apply to the 4K as well!
What F stop do you use with the bmpcc4k and sigma 18-35 with a 0.71x speedbooster? Thank you!
I would recommend either f1.8-f2. That’s going to be the equivalent of f2.8 and f2.4. That will give you a nice shallow depth of field that is an industry standard f stop as well
@@corryraymondfilms is that 1.8 with the speedbooster already? Or do I set the f stop to 1.3? Thank you very much sir!
@@JirehTorres no worries. I’ve done the conversion already, so with the speedbooster on, set it to f1.8 or f2
A question for you. I have a BMPCC 6KG2. i got the titler small rig cage and handle.I am unable to fit the handle as you do because you need to put the screw in to secure the cage at the top, you look like you've done something else. I have had to fit mine sideways which is less than ideal for shooting. Can i ask you pleas what is your set up on the top with that cage and handle?
Hey Steve, I’ve got a quick release top handle which attaches to a NATO RAIL, which sounds like what you need. I have a slim version that is the perfect size for the smallrig cage to fit on top. You will notice two screws evenly separated for a nato rail.
@@corryraymondfilms perfect thanks for that. Sadly they Diane have the kondor blue at my local the other day, I will look online. The two screw holes are there. Thanks for your reply.
M1 Mac Mini 16gb .
For editing is it comfortable with Bmpcc 6k pro BRAW ???
ive got an m1 Mac mini and it works beautifully for BRAW. but you can make proxies and optimized media if not. but mines like butter
Most of this goes for the original Pocket 6K as well. (If anyone wasn't aware...)
what's that tripod?
There's two in the video:
1. Manfrotto MT290XTA3
2. Manfrotto 509HD
The Manfrotto 509HD is the larger one and the other I use for quick setups or second camera
What did you use to get the lady with the clown face to look so cinematic ?
I didn't actually use any tricks, the f. was f.4, all natural light, shot it in prores. I think slow motion and shooting telephoto goes a long way for looking cinematic
@@corryraymondfilms which lense ?
@@PIPERBOYWILLIAMS The Canon 24-70mm F4
Killing content
Or just get the full ursa lol
The full Ursa?