GEAR
BLACKMAGIC PCC 6K G2
Once recording starts, all the main info is around the outside of the screen – or swipe to turn it off for a clear view. However, waveforms aren’t present – and only a small RGB histogram. A graphic shows how much space you have left on your CFast card, SD card or external SSD, and there are audio meters – everything you need at a glance. To change most settings, just touch the screen and make adjustments. Or dig into the menus, if you wish. The CMOS sensor has dual native ISO, with one at a base setting of ISO 400 and the other around 3200 ISO, prioritising low noise. For the most intensive codecs, you will need a high-capacity CFast card. The camera shoots Blackmagic’s own Raw format in 6K open gate and 6K 2.4:1, 5.7K in 17:9, C4K, 4K, 3.7K anamorphic and 2.8K in 17:9. Or you can record 10-bit 4:2:2 in a range of ProRes settings, C4K, 4K or FHD. The fastest frame rate is 60fps, but precise, off-speed frame rates are allowed. There’s 120fps slow motion in 2.8K 17:9 Raw or HD ProRes scaled from 2.7K. But the crop in 120fps is a huge 3.388x – not especially useful, unless you’re shooting wildlife. Behind solidly fitting rubber doors on the left-hand side of the camera is a full-size HDMI socket to output clean 10-bit ProRes, mini XLR input with phantom power for professional mics, plus 12v DC input socket, as well as headphone socket and mini XLR jack. The internal mics and preamps are good quality, with on-screen audio monitoring.
FINGERTIP CONTROL The large touchscreen (above) allows for easy, obvious menu settings. Plus, find slots for CFast and SD cards (right)
for a consistent standard. Recording in 6K, even the most compressed files give amazing quality and detail. You can get around an hour of 6K recording on a 256GB card. Recording 4K or lower in ProRes creates edit-ready files that are easier to use, and can save on space compared to Raw. With a choice of compression levels, some of the 10-bit ProRes files are larger than certain 12-bit BRAWs. For higher resolution than C4K, you have to shoot Raw, but 10-bit ProRes HQ and 422 files are very rich and detailed. Shooting 4K ProRes is much easier to handle in terms of file size and workflow.
provides lots of options for post- production, too. BRAWs have to be processed in Blackmagic’s DaVinci Resolve, but you get a free, full Studio version with the camera. For cutting in Resolve, it’s easy, but if you want to edit in your usual NLE, you have to process it in Resolve and export, adding another stage to the workflow – not to mention creating loads more data. Data could be an issue, especially if you shoot Raw, which generates very large files. The camera allows you to select different compression levels for its Raw files – from 3:1 to 12:1 if you keep the bit rate constant, or four quality levels from Q0 to Q4
Believe in the science The real raisons d’être of this new camera are image quality and colour science, which are beautifully filmic. And Raw
LET ME HEAR YOU SAY I/O A new rear screen tilts out, but doesn’t swivel sideways. In/out connections are behind rubber covers
“Recording 4K or lower in ProRes creates edit-ready files that are easier to use, and can save on space”
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PRO MOVIEMAKER
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