GEAR REVIEW. BLACKMAGIC POCKET CINEMA CAMERA 6K G2
There are controls for ISO and white-balance, plus three customisable function buttons which can be set to toggle features including false colour, display LUT and frame guidelines. On the back-plate are buttons for instant autoexposure, high frame rate, menu access, playback and autofocus. The latter works OK on an AF lens, as long as you understand the slow and unsophisticated nature of one- shot, old-school autofocus. It’s like going back in time, if you’re used to modern mirrorless or even cinema cams. AF tracking does not feature at all. To help nail manual focus, the punch-in focus button helps “The real raisons d’être of this new camera are image quality and colour science, which are beautifully filmic. And Raw provides plenty of options for post, too”
enormously, especially in tandem with the large screen and focus peaking function. Navigate to and change settings with large, touch-screen menus. These are a joy. And to prove this is a camera for serious filmmakers, you can select shutter speed or angle. 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. For the most intensive codecs, you’ll need a high-capacity CFast. 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. There’s also 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. 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.
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 provides plenty of options for post, too. BRAWs have to be processed in Blackmagic’s DaVinci Resolve, but you get a free, full Studio version with the camera. If you cut 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
COOL CAM Slots for CFast and SD cards are featured (top). Plus, a new rear screen tilts out, but doesn’t swivel sideways (above)
FINGERTIP CONTROL The large touchscreen (left) allows for easy, obvious menu settings
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