GEAR
BLACKMAGIC CINEMA CAMERA 6K
metadata to reduce skewed vertical line effects in fast pans. This works very well, but there is a small crop. The same tech also reduces the shakes, which makes up for the lack of image stabilisation. Again, there is a small crop. This adds further emphasis to the fact that this is a cinema camera meant to be on a tripod or gimbal. Featuring a large, five-inch HDR touchscreen, the camera provides a bright interface for adjusting settings and navigating simple menus. There are dedicated buttons for ISO and white-balance, along with three customisable function buttons to enhance user control. Although the screen tilts, it lacks a swivel function. The camera’s rear has buttons for quick autoexposure and autofocus, employing the slow contrast detection AF system only in single-shot mode, unlike Blackmagic’s competitors. While Sony, Panasonic, Fujifilm, Canon and more now use hybrid phase detection AF systems in most high-end mirrorless and cinema cameras, this Blackmagic model has a one-shot AF that often hunts before locking on. There’s no continuous AF at all – and certainly none of the modern subject tracking or face detection modes. Although some may swear by manual focus, many filmmakers do rely on autofocus in certain situations. Manual focus with the Blackmagic camera is still a good experience, thanks to the punch- in focus button for zooming and generous screen size. Also gone from the 6K Pro are the twin card
preamps. This is useful for run- and-gun documentary work but the poor autofocus and Raw-only workflow doesn’t fit into this use case. It’s built for creating high- quality cinematic films at a more considered pace. Put the time into creating well-lit scenes, record them in open gate 6K and grade the high-quality Raw files in DaVinci Resolve: the results will be impressive and truly cinematic.
slots – one for CFast and one for SD. These are replaced by a single CFexpress Type B, although you can record to an external SSD via the USB-C port. This port can also be used as a trickle charger, but obviously not at the same time. The camera has a full-size HDMI socket, a mini XLR audio input with phantom power, plus false colour and zebra patterns. There are also good-quality internal mics and
SUPERSIZE 6K With the optional battery grip and EVF fitted, the camera is a large unit. For scale, the flip-out monitor is a five-inch touchscreen
THE VERDICT
MAKING THE GRADE The BRAW files are just made for pulling and pushing around in the colour grading process, so you can get the look you really want
The new 6K Blackmagic is a very affordable full-frame cinema camera that offers incredible, filmic footage from its 6K Raw files. Little comes close to the look this camera will bring to your movies, if you know how to get the best out of them and are prepared to put in the work. Opting for the enormous BRAW files will entail higher memory usage in your camera and any external hard drives. Subsequently, more time will be needed colour correcting, grading and reducing noise. It’s not great that there is no IBIS, continuous AF or internal ND filters, as these are common on almost all other cameras now. Plus, the bulbous body is an unusual beast that isn’t great for rigging up as it doesn’t have the typical modular design of a proper cinema camera. But considering its cost, the camera produces filmic movies
of incredible quality all while remaining affordable.
More information blackmagicdesign.com
HOW IT RATES
Features: 8 Shoots Raw internally, but no IS or continuous AF Performance: 8 Raw files in 6K, but needs work Handling: 8 Large tilting screen but bulky with grip, no NDs Value for money: 9 6K open gate Raw from a full- frame sensor; say no more OVERALL RATING: 8/10 A Raw-shooting 6K camera but a big unit and no NDs Pros: 6K Raw open gate, value for money Cons: Single autofocus, physical size
52
PRO MOVIEMAKER
Powered by FlippingBook