GEAR BLACKMAGIC CINEMA CAMERA 6K
become a 990mm equivalent. For other applications, though, this presents a challenge that requires management. Additionally, since these settings involve cropping out portions of the full image, there is an adverse impact on overall image quality. Clearly, the Blackmagic 6K isn’t the ideal tool for extensive slow-motion needs, standing in stark contrast to options like the new Sony A9 III, which effortlessly achieves full-frame 4K at 120fps with no crop. The Blackmagic sensor has dual native ISO, which bases at 400 and 3200, although this can be extended from ISO 100 to 25,600. Either way, it’s not the best low- light sensor. For the ultimate in quality, you need to stick to ISO 3200 or below. That’s why it can be officially branded as a cinema camera, where lighting is often more controlled. The footage requires noise reduction because the camera doesn’t add any of its own, since it only shoots in Blackmagic’s Raw format except for a 1080p proxy. There are no camera- ready formats like ProRes, but an advantage of Raw is the ease of aligning the footage with other cinema cameras, extending beyond Blackmagic cameras using the Generation 5 colour science. Nevertheless, Raw files tend to be large, prompting the option to strike a balance between image quality and file size. This is done by setting different Raw compression levels ranging from 3:1 to 12:1 while maintaining a constant bit rate. Alternatively, four quality levels from Q0 to Q4 offer consistent quality at varying bit rates. We found even the most compressed files yield stunning results, featuring highly detailed images rich in colour information, allowing easy colour correction and the wildest of extreme grading. The natural colours persist, even in the video setting, which
a large stock of L-Mount glass, but with a short flange distance of only 20mm and a large diameter of 51.6mm, L-Mount works with adapters for EF or PL lenses. However, all is not quite as it seems with the headline figures of 6K open gate, DCI 6K and 4K as well as 120fps in 1080p. This needs careful investigating as there are lots of caveats – mainly around frame rates and crop factors. The real star quality is the full- frame 6K CMOS sensor that shoots in 3:2 format open gate in 12-bit Blackmagic Raw. Shooting in full 6K maxes out the frame rate at 36fps. The camera excels when shot this way, while all other size and shape formats are in-camera crops of the sensor. Open-gate shooting allows flexibility in post-production cropping, catering to formats such as anamorphic, 17:9 or 9:16 for social media. However, the frame rate is limited to 36fps. In-camera overlays assist during shooting, and the ample image size aids in determining the optimal crop during post-processing. Opting for internal options like DCI 6K, DCI 4K, Super 35 4:3 or 1080p results in a windowed sensor during shooting, introducing a crop factor. Yet, as the camera doesn’t need to scan the entire sensor, it allows for a notable increase in frame rates as a bonus. In full-frame 6K, the maximum frame rate caps at 36fps. Opting for DCI 6K widescreen allows shooting at 48fps with a 1.06x crop, enabling half-speed slow motion on a 24p timeline. Stepping down to DCI 4K increases the speed to 60fps, but introduces a more noticeable 1.57x crop, potentially influencing lens choices, especially for wide- angle shots. If you scale down to 1920x1080, the frame rate can rise to 120fps,
LET ME HEAR YOU SAY I/O Mini XLR jacks feature, as well as a DC power jack to keep it juiced up
but it comes at a sizeable
3.3x crop. This may
suit wildlife filmmakers, as a 300mm lens will
“Go for DCI 6K widescreen and you can shoot at 48fps with a 1.06x crop, enabling half-speed slow motion”
SINGLE MINDED There is only one
memory card slot, but it is for the fast – and now more affordable – CFexpress Type B media
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