BLACKMAG I C POCKET 6K | USER REVI EW
COMPARE AND CONTRAST An interesting comparison is that with the sensor size of the Kinefinity Terra 4k which is smaller than S35 but bigger than MFT and measures in at 19.5x13.3mm. This should give you a decent idea about where the two sensors measure up in comparison to other cameras on the market. Now in terms of rolling shutter, the Pocket 6K has a readout of 19.8ms and the 4K is a little lower at 16ms. But both sit quite far from the 2ms of the Arri Alexa. But not as bad as the 24ms of the Sony A7S. Both cameras can record in Blackmagic Raw as I’ve mentioned earlier and it’s a fantastic codec that works seamlessly with Davinci Resolve. The Pocket 6K does have better highlight roll-off than the 4K, giving it the impression of more dynamic range. One thing I’ve noticed in all my tests and from the footage I’ve seen comparing the two cameras online is that the Pocket 6K in my opinion has nicer colours! The 4K has a clear green shift, more noticeable than the slight magenta of the 6K. This is something that can easily be corrected either way but I’d say the 6K certainly has nicer colours out of the box. DUAL ISO So what about ISO and noise performance? Both cameras share the Dual Native ISO feature of 400 and 3200 ISO with a max ISO of 25,600, although the 400 ISO option maintains the most ISO FEATURE OF 400 AND 32000” “BOTH CAMERAS SHARE THE DUAL NATIVE
ABOVE The Pocket 6K has the same large rear touchscreen as the 4K
dynamic range. The 3200 ISO is very usable, and especially with the noise reduction feature in Resolve it works fantastically. One thing to note is that with the 6K, if you export 4K in post it will look cleaner than the 4K to the resizing of the pixels, effectively shrinking the noisy parts of the image; worth bearing in mind should you want to export 4K. I personally chose the 6K for its larger sensor and native EF mount as well as options for resolution, such as the 120fps in 2.8K over the 120fps in 1080 on the Pocket 4K and better colours and highlight roll-off. I would however love 4K Braw in the 6K camera, but it would come with a heavy crop unless Blackmagic Design decided to implement pixel binning into their Raw codec, something of which they are not a fan. Pixel binning does have its issues like moiré and other artefacts but it would be nice to be given the option! To sum up, you can’t really go wrong with either camera. Both offer a fantastic image for the price. The two cameras are very similar with subtle differences making them quite hard to choose between, with no clear better option as both have different limitations and features. You have to consider carefully which features matter to you.
in 1080p but at a similar crop to the 2.8K Braw Mode. With the Pocket 4K both 120fps 1080p and 4K 60fps are available in Prores and Braw. The Pocket 6K comes with a Canon EF mount, meaning there is a very wide range of glass available to use. The downside to this over the Pocket 4K is that with an MFT mount you can adapt pretty much any lens to the system, including PL. The EF mount on the 6K just isn’t as friendly in terms of adapting lenses. Some PL lenses will work with an adapter, others won’t but with a very wide range of EF glass on the market there are plenty of options for lenses. Next up is sensor size. The Pocket 6K has a Super 35 sensor measuring at 23.10mmx12.99 against the Pocket 4K’s Four Thirds sensor which measures at 18.96mmx10mm. The Pocket 6K is on the smaller side for a Super 35 sensor when compared to cameras like the RED Dragon X (25.6x13.5 mm) but it’s larger than the URSA Mini 4K which has a sensor size of 22mmx11.88mm.
OCTOBER 20 1 9 | DEF I N I T ION 57
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