Pro Moviemaker May-June 2021 - Web



some of the larger 10-bit ProRes files are actually bigger than some of the 12-bit Raw files. You have a choice, but if you have the time to really work on the colours, then Raw is the way to go, as you can change white-balance and recover shadow and highlight details more easily. If you want higher resolution than C4K, you have to shoot Raw, but 10-bit ProRes HQ and 422 files are also incredibly detailed. Shooting 4K in ProRes is easier to handle in terms of post workflow– just import it to your NLE and it’s ready to go. The Promodel now has the Generation 5 colour science, like the high-end Blackmagic cameras, delivering realistic colours. The camera offers three basic colour settings, and you can upload your own LUTs, too. There is Video (a standard, high-definition, Rec. 709 punchy look), Extended Video (which has a wide dynamic range) and Film (for a more cinematic feel). Standard LUTs included changing the Gen 5 Film setting to Extended Video, Rec. 2020 Hybrid Log Gamma and Rec. 2020 PQ Gamma for HDR. These LUTs can be used to normalise the monitor image while recording Log. We liked the film settings best, choosing Gen 5 Film to Extended Video LUT. This gave a subtle cinematic feel and low noise, thanks to the dual native ISO sensor. Overall, image quality is excellent, especially if you shoot Raw. The footage shot in Raw at 6K or 5.7K is incredible, with lots of detail, natural colours, neutral skin tones, dynamic range, virtually nomoiré and very little rolling shutter. Noise only starts to become noticeable at 6400 ISO or above. You can record with a LUT, then just select a Blackmagic LUT in your NLE, but it’s far better to spend some time on colour correction yourself. With such flexible files of such high quality, you can dial in the precise look you really want.

“Shooting 4K in ProRes is easier to handle in terms of post workflow- just import it and it’s ready to go”

OLD SCHOOL If you have always used a viewfinder, the 6K Pro now has one as an optional extra. Though

THE VERDICT The Blackmagic Design Pocket Cinema Camera 6K has been a success. The new Pro version adds a lot and takes nothing away, all for the same price. The built-in NDs, bigger battery and tilting screen are big plusses, as is the new colour science. And the EVF is there, if you want it. However, there is still no in-body image stabilisation, autoexposure or AF tracking. And the 120fps is hugely cropped. It’s not ideal for run-and-gun documentary shooters. But it’s a very capable cinema camera for more considered, slower working when it’s all about image quality. Spend some time processing those burly Blackmagic Raw files in Da Vinci Resolve and nothing comes close to this quality and resolution, at anywhere near the price.

HOW IT RATES Features: 8 Shoots Raw to a CFast card, but no IS or continuous AF Performance: 9 Raw files in 6K are incredible and 4K ProRes is stunning, too Handling: 9 Easy menus, large tilting screen, but still no AE, IS or decent AF Value formoney: 9 At the same price as the non-Pro model, it’s a bit of a steal There is nomore affordable 6K camera that shoots Raw and ProRes Pros: 6K Raw recorded internally, image quality Cons: Old-school autofocus, physical size PROMOVIEMAKER OVERALL RATING: 9/10

it’s not the most impressive EVF

SCREEN TEST The five-inch screen is the biggest of its type and tilts, but doesn’t fully articulate

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