Copy of Pro Moviemaker January/February 2022 - Web


KIND OF MAGIC The Blackmagic Pocket Cinema Camera 6K Pro won the best mirrorless class

It’s been an incredible year for camera launches, with a glut of full-frames hitting the market, or getting a real foothold with filmmakers. From the Sony A1, FX3, FX6 and continued success of the A7S III, to Canon EOS R5 and C500 Mark II, and Panasonic S5 and BS1H. But sensor size isn’t everything, and the winners of our two most prestigious awards – for mirrorless and cinema – are both Super 35 cameras. One from California and one from Australia! Our mirrorless award goes to what is actually called a ‘Pocket Cinema Camera’, despite its size dwarfing anything else in the mirrorless category – including those with a much larger sensor.

The Blackmagic 6K Pro is a Super 35 mirrorless, with an optional EVF that makes it even bigger. And with the battery grip, it looks more like a medium format stills camera or large-bodied pro DSLR. The new Pro takes the older 6K camera and – for the same asking price – adds a tilting screen, longer-life battery, built-in ND filters, Blackmagic’s latest Generation 5 colour science, and a port to take the optional EVF. It’s not for run-and-gun documentary users, but is a very capable camera for more considered working, when it’s all about image quality. Spend time processing those Blackmagic Raw files in DaVinci Resolve and nothing comes close to this resolution, at anywhere near the price. And, obviously, readers of Pro Moviemaker love it. In the cinema camera category, the Red Komodo is the clear winner.

Mirrorless Blackmagic Pocket Cinema Camera 6K Pro Editor’s choice: Sony A7S III DSLR Canon EOS-1D X Mark III Camcorder JVC GY-HC900 Cinema camera Red Komodo 6K Editor’s choice: Sony FX6 Originally built for big-budget productions as a B or C cam, it’s opened up the boutique US brand to independent filmmakers who can finally afford a Red as a main camera. It focuses on image quality and a rugged, modular build above all else. This is the first Red with a grown-up AF system, enabled by


The Sony A7S III has been a sales smash, as it’s a huge leap forward from the legendary A7S II. That’s why it’s the Editor’s Choice in the mirrorless camera of the year category. It goes to prove that incredible 4K spec in a low- resolution body – that’s ideal for low-light work – is what many independent filmmakers reallywant and need. There’s quick frame rates and internal 10-bit 4:2:2 recording in a range of codecs up to 4K/120p, in a redesigned bodywith flip-out screen. In-body image stabilisation is incredible, while the AF is impressive and works at all frame rates, right up to the maximum 240fps slow-motion in HD. It’s capable of shooting 10fps stills, so is an ideal hybrid. It might not have the high resolution and super-high frame rates of the flagship Sony A1, but it doesn’t have the steep asking price, either.



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