Some of these issues are avoidable easily. You can avoid the issues that come with a speedbooster by using native lenses - like the Meike Cine lenses. given the sheer amount of native glass at low T/F stops available, I'd never even consider tossing a speedbooster on the camera. You can avoid the issues with the HDMI and USB-C ports being damaged by using a cage solution - like the Tilta - that has attachments that secure these connections to the cage via new adapters. Color issues can all be corrected by a simple color match in Resolve. As for the accessories being expensive … I mean, yeah - but that is the same for any camera. You are still going to need battery solutions, rigging solution, etc. for your new camera system, and I doubt it will be any cheaper - especially if you intend to go with something like a RED - where a single SSD drive can cost as much as an entire Pocket 6k camera. I outfitted a Pocket 4K complete rig for around $3,600, including the camera. Tilta cage, Nucleus Nano follow focus, Matte Box, V-mount battery solution, 7" monitor, and a set of Meike Cine Primes (16, 25, 50). It still cost me about 1/3 of what the cheapest RED body would cost.
Great points Carlos. It goes to show that there’s no perfect camera out there. These cameras definitely have their place in the market, but they are definitely not for everyone. Thanks for the shoutout man!
Thanks for stoping by the channel Tyler, I really do think that these cameras are helping the market as a whole move forward and they are great for what they are and have to offer.
1. Body ergonomics - Agree 100% 2. Cage etc - correct too 3. Speedbooster is always a bad idea. No glass should come in between your lenses, they're just very high quality optics and no third party can give that kind of quality. Smart adapter without speedbooster might be the way to go 4. 6K50 - Agreed 5. Color variation is a valid issue, but not such a challenge for single cam shooters.. Although, using color chart might help?
biggest mistake, these cameras are amazing for the money. they updated all the issues and Samsung just released the t7 ssd which should be able handle the write speeds. where you gonna get raw 6k super 35 footage for less 2500? blackmagic should be charging at least double asking price for this system and you get there studio software free.
I think they are great cameras. I made and make my decisions based on real time as they happen. If I wait long enough, I am sure that everything that I had an issue with would disappear, but that also means slowing down my productions which would make it difficult for me to keep my crew of 13 employed. I have seen what these cameras are able to deliver and I am impressed. I look forward to the future where Blackmagic continues to evolve their camera systems and ecosystems while driving more competition into the market as that will allow everyone to benefit.
David it’s not a mistake. As much as I love my pocket 4K and 6K, they do have limitations like all cameras. However at the end of the day the business needs have to be addressed. If they aren’t the business suffers. Let’s focus less on the gear and more on the quality of work we can provide our clients.
This was the best 15 minutes of any video I have watched on youtube for the bmpcc 4k and 6k cameras - an eye opener. Thank you for keeping it real and us informed.
What happens with timecode without the new ATEM? I assume timecode is to keep them all in sync? Do they end up not synced so switching in editing doesn’t line up?
Can’t you sync via audio? That’s what I was doing with my Sony cameras in FCPx. I’d be interested to know what problems you had? I have one BMPCC 6k and I want two more. Please convince me why that’s a bad idea.
Although I work in television, I've never believed in timecode sync... always used clapper board, not in the studio, though... And, I don't understand the point of using sync and swicher (timecode, that is)... unless You would shoot to edit but that is also easily fixed with clapper. Btw, if you record in all cameras and edit... why do you need switcher?
“The cameras screen is fixed and doesn’t rotate” - yep, it’s a $2,000 cinema camera - nobody complains when their red or Sony doesn’t have a screen but when BLackmagic does it to offer the camera for less (because this camera is made to use with an external monitor) everyone is upset..... let’s be honest, the pocket 4k and 6K have some of the best camera value of all time
the fact is that the price of a camera is and should be irrelevant it either fits the work I'm doing or it doesn't. Lenses, Light, and Sound is WAAAY More Important.
On the 6k at 50p I had that issue where I couldn't record for more then a few seconds. It was making me super frustrated that I couldn't use what the camera was made for. I ended up figuring out that it was my samsung t5 struggling to keep up, it was my usb-c cord that was bottle necking. Ever since I switched it out to a more premiem cord (the one that comes with the t5) I haven't had that issue again, and have been able to record 6k 50p without any weird time caps
That is good to know it is a cable issue. I’d love to shoot 6k 50 without the cost of an approved cfast. UPDATE: I just checked my cable and it is a 3.1 gen 2. It will actually record 6k 50 at 5:1 but not 3:1. I can get about 6 seconds of recording at 3:1. 5:1 seems to be able to record continually.
We spent thousands on gear and little to none on learning to master our craft and equipment ins and outs! The best equipment is the equipment you have and know how to use. Thanks
love your take on the BMPCC4k/6k system. I am a new film maker and am encouraged with my purchase for the 4k. I realize if things take I may need to upgrade, but for now this is a perfect fit for me. thanks again!
they are good cameras with a few quirks but there is no denying the value...and like I often say, what are we delivering to, because that is what matters most.
I came into this video expecting to see a review I often see, a videographer not understanding BMPCC is a cinema camera. But this was essentially the opposite. This was a filmmakers review that works several nudges above the BMPCC intended demographic. Gonna get the BMPCC and hope to eventually be at the level where I have outgrown it.
Agree. This review was a good intention for filmmakers working at a higher level where efficiency is the key. Gear like cameras are just tools. But I also understand other people being attached to these tools, whereas the priority should be the business and art.. I am a person trying to get into filmmaking, so this review has a frrsh outlook and has helped me to delay buying a cinema camera for some time until I research this lot more. The Speedbustet accessory still bugs me, but cost and interface with Davinci software is a big plus. Thank hou Carlos.
Why, I'm so surprise as a colorist that your cameras from a company that sells color grading as one their main souls has a big fail on a big quality issue like this. I have the Pocket4k, I totally can understand your frustration but still the camera delivers the quality I wanted for the price. Gracias Carlos!
I’m rocking 3 Sony 6300’s and your comment about each camera having it’s own unique color / tint issues is the exact same problem I’m having with my Sony’s! I think I have it whipped though... with the Sony’s I was recording internal 4k with the highest bit rate BUT it’s still 4.2.0 [I believe?] and 8bit.... the combination of the two became a huge problem in the Color correction side of Post Production! Resulting in an impossible situation where I could get the skin tones to match [fairly well] but then some other color like a pastel suit or some other color would be grossly off [between cameras]. The solution became a little more manageable when I started doing LIVE switching with the ATEM mini Pro and having each camera available on the switch to the same monitor allowed me to see what I was doing and using the custom white balance page in each camera got me a lot closer... but the best solution has been to add the use of the Atomos Ninja V HDMI recorders to each camera. The Pro-Res 4.2.2 10 bit recording is way more manageable [combined with the fine adjustments at each camera BEFORE I hit the record buttons LOL]. Sorry to write a book here, but I LOVE your video, and I LOVE that you aren’t watering things down but getting into the nitty-gritty of things...that’s where I live too! Also I get that you want to be “positive”, but the “truth is the truth”, so I wouldn’t worry about that a whole lot? Still overall, it’s appreciated.
Some of these points aren’t very fair. One: the speedbooster issue has nothing to do with the bmpcc. You can get 4/3 lenses. This downside is a result of using lenses that weren’t designed for the camera. Two: rigging cost really is not that much. Besides that weird DJI cam, no camera comes rigged. You can rig out a 6k for less than the cost of a Komodo which is a comparable (though likely better) cam. You can shoot with the bmpcc straight out of the box. Three: a down was that 6k 50 braw won’t record. That’s because you’re using an unsupported storage. BM is very clear about what drives are capable of recording that bitrate and the T5 definitely is not. That has nothing to do with the cam. 100% user error. Now here are MY reasons for considering giving up my bmpcc: 1) Form factor. The shape is terrible. It is too bulky to be a dslr but is shaped like one. It barely fits on all but the largest gimbals. I really wish BM would listen to us yelling that we want a cube with a global shutter (basically a Komodo.) 2) Noise. Even at either native ISO and with adequate lighting, the BM cams have a LOT of luminance noise. This requires NR which is of course very processor heavy even on the fastest editing machines. 3) Poor still support. It has a stills button and records RAW-ish dng files. But there is no shutter sound. You can’t review your stills on the cam at all. Worst of all: no auto focus. These are all features that are archaic compared to the rest of the cam’s tech so it makes no sense why these are still missing. 4) Okay, it’s on the pro but I’m adding a negative for no internal ND filters. These have been on other cams since way before even the BM 4k came out. It’s sad that you have to pay 500 extra to get the pro for only (for me) one small feature (there are more but I find them to be irrelevant.) 5) Limited ports. These are cinema cameras yet they have 1 mic port. You’d need a 2nd one for jamming timecode. The usb-c port has many uses but there is only 1. As a cinema camera it should have too many ports. Heck, maybe even an sdi. 6) No wifi. My friend’s old C100 has wifi so you can monitor your shots without the bulk and expense of a transmitter. This is old tech so it would cost nothing to add it but they don’t. 7) No IBIS. Come on, BM. Not all lenses have IS. The new gyro stabilization is nice but it is still digital stabilization. OK, that was a bit of a bagging. I do love so much about this cam. The braw codec is fantastic and it plays very well with Resolve. The cam is super affordable for what it is. BM very actively supports their cams through firmware and is making amazing, rapid progress with Resolve. The cam’s menu system and touch screen are by far the best I’ve seen on any camera ever. The internal mics are amazingly good and have saved me more than once. I think several of my negatives could easily be addressed through firmware but there are enough on the hardware side that I’m considering possibly maybe moving on.
Thank you for being honest. Your points made a lot of sense and I understand where you’re coming from. I’m starting to get into film and was eyeing the 4K but the speedboster problem and the fact the price difference between the 6k becomes mute when you add the booster. I’d love the battery to last longer and it to be less noisy which did push me more to the 4K but the ability to take the 6k and then crop it down to 4K if needed does give you a nice bit of flexibility.
personally, adapting lenses isn't for me because I've had bad experiences with Sony and Blackmagic at this point...it isn't worth the risk. So I would say that your choice might become easier if you look at your own lens collection.
@@carlosq00 WAAAAAYYYY better in dynamic range...The detail and color grading is soooo much better....I don't need an Arri anymore.....Well....The 6k does the cinema work...such as true 24 and 180 shutter angle....Goodbye dslr... :)
I had pre-ordered the Pocket 4K and 6K, and both times something just felt wrong, and I cancelled the pre-orders. I can see they are great tools for filmmakers, but they wouldn't have been good for me. I really appreciate hearing your thoughts about it.
Back in the bunker? Love that set. I discovered you when you were doing long form lives from down there!!! Love the BMPCC6K. Keep up great the content.
Yes! Thank you! This is where it all started. This time, I've decided to leave it in place permanently as a backup kind of does a better job at fitting my channel. haha
Colour variation for cameras can be sorted by using the x-rite colour checker passport video. During the edit, in Resolve, it is miraculous how it can correct the colour for all cameras. (Super simple)
in the end it came down to trusting my gear...cinematography is all about being able to repeat and recreate with precision not having to fix things in post or wonder if shots will match while on the project. This is why for me, it was the best possible decision in this very specific use case.
i was just thinking this same thing. I liked this video but there def are work arounds for everything listed. That said. Everyone should make their own decision about what works best for them. In my opinion, the BMD ecosystem is the best there is for filmmakers on budgets up to 8-10k
1 form factor, not valid, cheap external monitor $100 2 cost rigging, not valid, a lots of cheap workarounds 3 speed booster - adapters, VALID,quality of image decreased, but you can get used one $150 4 6k not really need it, not valid , with creativity you can make miracles 5 time code and color matching, not valid, with good planing (matching techniques today are excellent) How last 50 years Hollywood filmed??? no 4k(not even 1080, DVD where 720), even not digital cameras BUT I LIKE YOUR VIDEO AND YOUR POSITIVITY
Woah... This is the first time I’m hearing about color variation and timecode issues!!! Thank you for this amazing review!!! It seems like you really really really wanted to love the bmpccs and get them to work so hopefully bmd takes your feedback to heart!
Sounds like you were attempting very high end production setups with a mid level budget camera's. I think the problem was choosing the right tool for the job. I don't think these camera are optimized for multicam environment whereas if you were to choose a blackmagic option you should have went with the Ursa mini pro. I'm glad you realized but sad that it took you down a 3 camera rabbit hole. ultimately the problem sounds like the operator and not the camera.
@@carlosq00 Yeah, this guys comment makes little to no sense. The part about the camera being a lower budget camera, made sense [and you can only expect so much?], but how that is your fault makes no sense at all. I guess he’s faulting you for asking too much from a budget camera? But I agree that the color inconsistency should NOT be an issue...even for a budget camera of this grade, and at the very least there should be a way [provided] [even if you need to be an expert] to fix this issue! Especially from BMD!, so I think you were right to try! And I appreciate that you shared this!
I'm used to shoot video with 5DmkII, so I don't mind BMPCC 6K having the same footprint. Also I already have plenty of Canon L glass, which makes it a no brainer. Of course you can upgrade it with rigs, cine glass etc... but the fact is you don't need to. It is designed to work out of the box as well.
It's a good starting point to get good image. Not really comfortable to use, but it's a great little thing. My BMPCC6K lets me work, acquire good EF lens and also provided me with DaVinci Resolve. I intend to keep it, but to evolve into Komodo or C300
Carlos. This is great. Thank you so much for your forthright presentations. These were and are great cameras---just not for me and the kind of hand held shooting I want to do, and too awkward in my studio---but I'm sure they'll be perfect for some folks. I've been loving your C-log LUTS---with minor adjustments they work great for the C-log on my XC-15. I've got it all set up with a couple of lovely ribbon microphones---super easy, with very good sound for the kind of presentations I do. XC-15--pretty awesome. I'd use the EOS R, but the audio is so much better on the XC-15. Hang in there and stay well. We'll all get through this!
Thanks for sharing your experience using the BMPCC 4K and 6K. I have the 6K as an A Cam and I’m interested in getting a 4K as a B Cam. Have you ever used the 4K and 6K together on a project? If so, were you able to match the footage from both? Is there a noticeable difference in the finish product?
Kasaun Henry I have both and used them to shoot a web series and the director was super pleased with the color and quality. The colors don’t vary between the two bodies however there have been reports of bodies leaving the factory with color issues. BM has released updates to fix those issues. The 6K is a bit sharper has a slight advantage with dynamic range and you don’t lose quality as quickly when reframing.
I baught the Tilta Flipscreen Kit (300 bugs), a Smallrig Cage (60 bugs) and a NPF battery-mount (40 bugs). I use native MFT lenses and some creative vintage lenses, and that`s it. All other rigging is hardware, I would use with other cameras anyway (follow focus, mattebox etc.). For all in all 1600 bugs, i couldn`t find any better camera so far. By the way, sharpness is not the point in filmmaking, but details are. For the BMPCC 6K I recommend the Angelbird -Match-Pack, wich can handle the data rate, if you really need 6K at 60p. I don`t need that so far. Colour matching is always a point. I use two of the BMBCC 4k, problem solved. If you need professional timecode, this is definately the wrong kind of camera.
Carlos, I was just considering upgrading from my GH4 to either the 4k (which is most likely considering my budget) or the 6k. I feel the GH5 is too much of a lateral move. Would the 4k or 6k still be my best option in this price range, or based on your experiences do you have a better recommendation?
If I had to make your decision, I would 1st upgrade to the GH5s or jump into the C200 or C70. I would skip the hassle of the pocket cameras. If going the Blackmagic route is better for you, I couldn't recommend anything other than the G2.
@@carlosq00 I did want the GH5s, and the SH1. And, the G2 was definitely on my list, but too far out of range for a beginner like me. So, basically, I should reasonable sacrifice whatever gains I would get with BRAW (used with DR Studio) and picture quality for something more streamlined and efficient until my budget changes? Thanks for the reply.
@@carlosq00 I disagree with you on this one, bud. Pocket 4K and 6K are CLEARLY the best bang for the buck in the camera world. Most of your gripes, well, the important ones anyway, revolved around workflow in a multi cam setup. If @craig snider has the budget for a Pocket 4K and already owns micro 4/3 lenses from his GH4, I see the Pocket as the obvious choice. If he isn't trying to match footage or jam synch, can rig it cheaply (which you can) and uses CFast cards, that's pretty much all of your complaints addressed, yeah?
Hey. About that temperature problem. Have you actually tried to use same lenses? Like... place all 3 cameras in 1 place, record 5s. And compare that way?
Thank you so much Carlos! I had the BMCC 4k in the past and when I had to buy a new set of cameras last year, thinking about speed, versatility and quality, I considered for a while the pocket 4k, but finally, I decided to give a shot a sony camcorder over the pocket, because... you guessed it all the reasons you mentioned on this video. Actually, I need now another camera and again I was thinking about the pockets, but financially (workflow, speed, rigging, portability and features vs. quality) it seems to make more sense to continue in the sony environment for now. I don't know if you speaks Spanish but ... gracias!
Thanks for the video. After just using camcorders like Canon GL2, XL2, XH-A1 and several DSLRs, I felt I needed to move to a better world. I bought the bmpcc 6k and I learn one thing. It’s a real cine camera! Yes, it can be expensive to rig it. I combined elements from eBay, Amazon, B&H etc. I got a 1k tripod from B&H at 1/2 price by checking their Deal Zone. Over all, I was patient and saved at least 1/2. Smallrig has an adapter for any kind of SSD. As soon as I can I want to move to the newest ursa mini. (You can use any lens’ mount) I doubt I would get rid of the 6k. It’s has it uses. Specially if one day you need to shoot somewhere with no permit.
Thankyou. Very honest opinion. I hate speedboosters. So with Canon lenses in the kit, choices are limited. Don't really want to buy a whole new kit of lenses to head over to another brand. Blackmagic 6k solves this with the EF mount. I own a 6D, but technology has leaped ahead.
Wondering what you meant by not being sure if you had timecode? Was it not showing TC moving numbers? Perhaps you tried it but the display will show the TC EXT counting, but you might have to tap it -- the numbers on the screen that is, which might be sitting in a blank stare of 00:00:00:00 if it's not in the correct mode.
Not me, I mean I will say I get triggered when people complain about flipping screens because Red and Arri don’t and nobody complains. Since its marketed as a cinema camera you’d have to get a monitor. Anyway, for the reasons mentioned in this video I found them to valid for him and his own experience
Color problem??? First - different lens have different tints. Second - color chart should solve everything in couple of click. Yes it's a time, but anyway it willn't be faster with any other camera. Sad about speedbooster, but I hadn't such problem and never heard that from another cinematographers. Timecode is fixed now, and yes - blackmagic hears you, it's not a canon or whatever, that just doing their marketing staff.
@Carlos - Great video. Glad you eventually got things sorted with your new gear and rigs. Looks like now some of those things got sorted, but let me ask, right now with your multiple Canon camera set up, how do you manage sync when running more than one camera at the same time? Are you using something like Ambient Recording Lockit Box or just using timecode and re-jam-syncing if and even necessary? thanks!!
As good as the tute was, I would have liked the direction you took after you sold your BM6K's that DID work for your workflow. What cameras were YOUR solution?
Which is better for intense colors: 4k or 6K or which other camera to keep in line with the cinema quality? The same question for sounds: 4K or 6K, or better another camera (but which, that keeps all the good qualities of the BM?)
if you are sticking with Blackmagic as the camera company of choice, I would always go with the newest offering or their highest tier (not the 12K) it is the safe bet.
I really dig your style and the videos' quality and calm tone. Most CZcamsrs speak in the viewer's face super fast and with bad sound quality. And are often out of focus... You, on the other hand, do the complete opposite. Obviously, I subscribed. Yet I wonder if you got the Mac Pro. Or you'll use the new 16 Macbook Pro?
What camera(s) are you going to go with now? I bought a BMPCC 6k, great camera, but now I wish I would’ve saved more money and then bought the Ursa mini 4.6k G2. Doesn’t need all the rigging and meets Netflix specs!
it is interesting to see people moving away from the Ursa Mini Pro G2 and why they are moving away...these videos are popping up on YT every other day it feels like.
Carlos Quintero I’d like to push it to its limits and see what I can accomplish with it. I really want to see if BlackMagic is going to make a full frame URSA. I have a feeling once this covid stuff is over, they’ve got something big up their sleeve.
I’m late to the game here. My concerns about BM go way back since there’s only support in North America in Vegas. Don’t get me wrong, do love everything Grant has done to make things more accessible... really it’s too much democratization. But I go back to using Decklink SP ... one of their first products... did need to replace and warranty went ok but awkward. Plus I did hear that their cameras tended to be hit and miss but my biggest issue was battery and screen ... no one clamored for 6 k too. It had its market but I never felt it was pro enough but certainly cheap for what u got. Oddly enough the only camera I ever heard having major color matching issues was the first / second red cameras. A TD I knew was doing a huge commercial with virtually every red available in North America(very limited). and he remarked the only thing Red about the cameras were the names. The post houses fixed the issue but it was big bucks ... obviously all that has changed. I am guessing BM is still dealing with production issues ... sometimes never perfecting a camera b4 the next one is introduced. It’s impressive to do a project from scratch to delivery in one day. I could never do that and probably wouldn’t. It sets to big a precedent and means expediency /price over quality. Too difficult
Greetings Carlos, great contribution from you and CZcams recently showed me your great content. Please could you show me links to the lenses you mention? Thank you!
Carlos Quintero sounds good man. That’s what I have used for multi cams before and their color is always on point. More expensive and other limitations, but for what you need that 3 can set up that series is great.
Did you ask Blackmagic about the cameras not matching? If so, what did they say? I’m curious to know if they may have switched part vendors mid production.
Your image looks absolutely incredible here... I assume this is the C500 mkII? And lens? And I agree the speedbooster craze is a little bit cringe... adding another piece of glass between an expensive lens and nice sensor seems ridiculous.
This video has had me thinking the past few months, do I either buy a new mft lens or sell my camera and go Z Cam. Been wanting to create the sharpest image possible but hate using the speedbooster at this point. I totally understand what you are talking about, even my Canon L lenses were sharper on my old Canon cameras. great points thank you!
@@carlosq00 Aside from the color issue, which is an enormous problem in your situation, would you have kept one of them now that Tilta is offering the display modification? Did you ever look into the Zcam or Kinefinity lines? The size of those look great for gimbal work where the P4k is just ridiculous on a Ronin S. I continue to also look at the fact that all of the manufacturers of products (like the Ronin S, Crane, Rhino, etc) all have connectivity and instant feature sets for Canon, Sony, etc. where every other camera has to have some super weird work around to make them work.
you are a super dupa genuine sincere man.....this is great down to earth working knowledge.....we thank you....your keeping real film making real......thats what its all bout......good man...
Hi Carlos, I know you have done videos on the Canon XC10 but I see you use the XC15 and would love to see a video on this camera. Any chance during lockdown?
maybe, but probably not. The differences between the two are minimal. XLR module being the biggest difference and the CLog doesn't match between the two but does a better job at matching with the WideDR CLog3 that is in the Cinema line. If you need XLR Audio (which you don't thanks to systems like the Sennheiser AVX, unless you need two channels of audio) then the XC15 is a better option. Personally, I prefer the way the image looks out of the XC10 it feels much more like a super16 film camera to me.
@@carlosq00 Thanks for getting back.I am a Sony person and have been all my life. I started with the Sony U-Matic when it first came out and since then used Sony for both my broadcast and non broadcast productions. Recently though I bought a XC15 (for travel work) and I must admit I love the picture compared to my Z90 which does not have the warmth of the Canon. I looked at you kit and it said you used it for live streaming. Are you using it for your CZcams studio filming as well?
Some of these issues are avoidable easily.
You can avoid the issues that come with a speedbooster by using native lenses - like the Meike Cine lenses. given the sheer amount of native glass at low T/F stops available, I'd never even consider tossing a speedbooster on the camera.
You can avoid the issues with the HDMI and USB-C ports being damaged by using a cage solution - like the Tilta - that has attachments that secure these connections to the cage via new adapters.
Color issues can all be corrected by a simple color match in Resolve.
As for the accessories being expensive … I mean, yeah - but that is the same for any camera. You are still going to need battery solutions, rigging solution, etc. for your new camera system, and I doubt it will be any cheaper - especially if you intend to go with something like a RED - where a single SSD drive can cost as much as an entire Pocket 6k camera.
I outfitted a Pocket 4K complete rig for around $3,600, including the camera. Tilta cage, Nucleus Nano follow focus, Matte Box, V-mount battery solution, 7" monitor, and a set of Meike Cine Primes (16, 25, 50). It still cost me about 1/3 of what the cheapest RED body would cost.
Great points Carlos. It goes to show that there’s no perfect camera out there. These cameras definitely have their place in the market, but they are definitely not for everyone. Thanks for the shoutout man!
Thanks for stoping by the channel Tyler, I really do think that these cameras are helping the market as a whole move forward and they are great for what they are and have to offer.
1. Body ergonomics - Agree 100%
2. Cage etc - correct too
3. Speedbooster is always a bad idea. No glass should come in between your lenses, they're just very high quality optics and no third party can give that kind of quality. Smart adapter without speedbooster might be the way to go
4. 6K50 - Agreed
5. Color variation is a valid issue, but not such a challenge for single cam shooters.. Although, using color chart might help?
biggest mistake, these cameras are amazing for the money. they updated all the issues and Samsung just released the t7 ssd which should be able handle the write speeds. where you gonna get raw 6k super 35 footage for less 2500? blackmagic should be charging at least double asking price for this system and you get there studio software free.
I think they are great cameras. I made and make my decisions based on real time as they happen. If I wait long enough, I am sure that everything that I had an issue with would disappear, but that also means slowing down my productions which would make it difficult for me to keep my crew of 13 employed. I have seen what these cameras are able to deliver and I am impressed. I look forward to the future where Blackmagic continues to evolve their camera systems and ecosystems while driving more competition into the market as that will allow everyone to benefit.
David i agree. And the compression is phenomenal. Compared to my 1st gen pocket camera it is tiny!
totally agreed.
David it’s not a mistake. As much as I love my pocket 4K and 6K, they do have limitations like all cameras. However at the end of the day the business needs have to be addressed. If they aren’t the business suffers. Let’s focus less on the gear and more on the quality of work we can provide our clients.
Thanks for the heads up with the T7!
This was the best 15 minutes of any video I have watched on youtube for the bmpcc 4k and 6k cameras - an eye opener. Thank you for keeping it real and us informed.
Glad it was helpful!
Your timecode issue has just been solved by the new update and the new ATEM Mini Pro. This just made these cameras the perfect studio cameras!
yeah, that is what I was thinking today, as I was watching the Blackmagic Design press release live stream...too bad I already sold the cameras!
What happens with timecode without the new ATEM? I assume timecode is to keep them all in sync? Do they end up not synced so switching in editing doesn’t line up?
Can’t you sync via audio? That’s what I was doing with my Sony cameras in FCPx. I’d be interested to know what problems you had? I have one BMPCC 6k and I want two more. Please convince me why that’s a bad idea.
Although I work in television, I've never believed in timecode sync... always used clapper board, not in the studio, though... And, I don't understand the point of using sync and swicher (timecode, that is)... unless You would shoot to edit but that is also easily fixed with clapper. Btw, if you record in all cameras and edit... why do you need switcher?
@@carlosq00 well now all the 6k are 1,999 lol
“The cameras screen is fixed and doesn’t rotate” - yep, it’s a $2,000 cinema camera - nobody complains when their red or Sony doesn’t have a screen but when BLackmagic does it to offer the camera for less (because this camera is made to use with an external monitor) everyone is upset..... let’s be honest, the pocket 4k and 6K have some of the best camera value of all time
the fact is that the price of a camera is and should be irrelevant it either fits the work I'm doing or it doesn't. Lenses, Light, and Sound is WAAAY More Important.
I quit the 4K and now have two 6k's with Zeiss Milvus 50mm and 85mm.
I like your delivery CQ. I'll be tuning in. I'm new at video, but I've been in airbrush murals for a long time it's been a fun transition.
On the 6k at 50p I had that issue where I couldn't record for more then a few seconds. It was making me super frustrated that I couldn't use what the camera was made for. I ended up figuring out that it was my samsung t5 struggling to keep up, it was my usb-c cord that was bottle necking. Ever since I switched it out to a more premiem cord (the one that comes with the t5) I haven't had that issue again, and have been able to record 6k 50p without any weird time caps
Yep, there are different kinds of USB - C and I believe its the USB - C 3.1 Gen 2 cable that you want
That is good to know it is a cable issue. I’d love to shoot 6k 50 without the cost of an approved cfast.
UPDATE: I just checked my cable and it is a 3.1 gen 2. It will actually record 6k 50 at 5:1 but not 3:1. I can get about 6 seconds of recording at 3:1. 5:1 seems to be able to record continually.
We spent thousands on gear and little to none on learning to master our craft and equipment ins and outs! The best equipment is the equipment you have and know how to use. Thanks
The last issue about colour matching, is really something we have difficulty solving. We think its due to IR contamination.
love your take on the BMPCC4k/6k system. I am a new film maker and am encouraged with my purchase for the 4k. I realize if things take I may need to upgrade, but for now this is a perfect fit for me. thanks again!
they are good cameras with a few quirks but there is no denying the value...and like I often say, what are we delivering to, because that is what matters most.
I came into this video expecting to see a review I often see, a videographer not understanding BMPCC is a cinema camera. But this was essentially the opposite. This was a filmmakers review that works several nudges above the BMPCC intended demographic. Gonna get the BMPCC and hope to eventually be at the level where I have outgrown it.
thank you
Agree. This review was a good intention for filmmakers working at a higher level where efficiency is the key. Gear like cameras are just tools.
But I also understand other people being attached to these tools, whereas the priority should be the business and art..
I am a person trying to get into filmmaking, so this review has a frrsh outlook and has helped me to delay buying a cinema camera for some time until I research this lot more.
The Speedbustet accessory still bugs me, but cost and interface with Davinci software is a big plus.
Thank hou Carlos.
I will keep my BMPCC 4Ks but I do feel ya. :) Cheers!
great camera no doubt there.
My guy, tilta just dropped the flip screen mod...
Did they actually?
Louqe yes, Just sent in my 6k.
@@joshsikkema8337 That's lit, I was actually waiting for that. Are there any videos on it?
@@joshsikkema8337 will you make a video review of it, please? :)
that's great news
Why, I'm so surprise as a colorist that your cameras from a company that sells color grading as one their main souls has a big fail on a big quality issue like this.
I have the Pocket4k, I totally can understand your frustration but still the camera delivers the quality I wanted for the price.
Gracias Carlos!
I’m rocking 3 Sony 6300’s and your comment about each camera having it’s own unique color / tint issues is the exact same problem I’m having with my Sony’s! I think I have it whipped though... with the Sony’s I was recording internal 4k with the highest bit rate BUT it’s still 4.2.0 [I believe?] and 8bit.... the combination of the two became a huge problem in the Color correction side of Post Production! Resulting in an impossible situation where I could get the skin tones to match [fairly well] but then some other color like a pastel suit or some other color would be grossly off [between cameras]. The solution became a little more manageable when I started doing LIVE switching with the ATEM mini Pro and having each camera available on the switch to the same monitor allowed me to see what I was doing and using the custom white balance page in each camera got me a lot closer... but the best solution has been to add the use of the Atomos Ninja V HDMI recorders to each camera. The Pro-Res 4.2.2 10 bit recording is way more manageable [combined with the fine adjustments at each camera BEFORE I hit the record buttons LOL]. Sorry to write a book here, but I LOVE your video, and I LOVE that you aren’t watering things down but getting into the nitty-gritty of things...that’s where I live too! Also I get that you want to be “positive”, but the “truth is the truth”, so I wouldn’t worry about that a whole lot? Still overall, it’s appreciated.
Damn Carlos, best quality on youtube.
thanks Jimmy
"A bowl of clam chowder" 😂😃😃😂😃😂😃😁😃😁😃😂😃😂
haha
Some of these points aren’t very fair. One: the speedbooster issue has nothing to do with the bmpcc. You can get 4/3 lenses. This downside is a result of using lenses that weren’t designed for the camera. Two: rigging cost really is not that much. Besides that weird DJI cam, no camera comes rigged. You can rig out a 6k for less than the cost of a Komodo which is a comparable (though likely better) cam. You can shoot with the bmpcc straight out of the box. Three: a down was that 6k 50 braw won’t record. That’s because you’re using an unsupported storage. BM is very clear about what drives are capable of recording that bitrate and the T5 definitely is not. That has nothing to do with the cam. 100% user error.
Now here are MY reasons for considering giving up my bmpcc:
1) Form factor. The shape is terrible. It is too bulky to be a dslr but is shaped like one. It barely fits on all but the largest gimbals. I really wish BM would listen to us yelling that we want a cube with a global shutter (basically a Komodo.)
2) Noise. Even at either native ISO and with adequate lighting, the BM cams have a LOT of luminance noise. This requires NR which is of course very processor heavy even on the fastest editing machines.
3) Poor still support. It has a stills button and records RAW-ish dng files. But there is no shutter sound. You can’t review your stills on the cam at all. Worst of all: no auto focus. These are all features that are archaic compared to the rest of the cam’s tech so it makes no sense why these are still missing.
4) Okay, it’s on the pro but I’m adding a negative for no internal ND filters. These have been on other cams since way before even the BM 4k came out. It’s sad that you have to pay 500 extra to get the pro for only (for me) one small feature (there are more but I find them to be irrelevant.)
5) Limited ports. These are cinema cameras yet they have 1 mic port. You’d need a 2nd one for jamming timecode. The usb-c port has many uses but there is only 1. As a cinema camera it should have too many ports. Heck, maybe even an sdi.
6) No wifi. My friend’s old C100 has wifi so you can monitor your shots without the bulk and expense of a transmitter. This is old tech so it would cost nothing to add it but they don’t.
7) No IBIS. Come on, BM. Not all lenses have IS. The new gyro stabilization is nice but it is still digital stabilization.
OK, that was a bit of a bagging. I do love so much about this cam. The braw codec is fantastic and it plays very well with Resolve. The cam is super affordable for what it is. BM very actively supports their cams through firmware and is making amazing, rapid progress with Resolve. The cam’s menu system and touch screen are by far the best I’ve seen on any camera ever. The internal mics are amazingly good and have saved me more than once.
I think several of my negatives could easily be addressed through firmware but there are enough on the hardware side that I’m considering possibly maybe moving on.
This was fantastic! Well done like always.
Thank you very much Levi!
i love this kind of review. a lot of the times some negative points for some people will be positives for others. great stuff!!
Thanks for watching!
Thank you for being honest. Your points made a lot of sense and I understand where you’re coming from. I’m starting to get into film and was eyeing the 4K but the speedboster problem and the fact the price difference between the 6k becomes mute when you add the booster. I’d love the battery to last longer and it to be less noisy which did push me more to the 4K but the ability to take the 6k and then crop it down to 4K if needed does give you a nice bit of flexibility.
personally, adapting lenses isn't for me because I've had bad experiences with Sony and Blackmagic at this point...it isn't worth the risk. So I would say that your choice might become easier if you look at your own lens collection.
@@carlosq00 Agree, thanks Carlos
just buy a v mount will fix that
i'm Irish so if you're ever over post COVID, let me know and I can show you around or something like that :D
definately!
I finally switched from my Canon 5D Mark IV to the BMPCC 6k
How do you like it thus far?
@@carlosq00 WAAAAAYYYY better in dynamic range...The detail and color grading is soooo much better....I don't need an Arri anymore.....Well....The 6k does the cinema work...such as true 24 and 180 shutter angle....Goodbye dslr... :)
I won't be changing. These cameras are amazing. What film cameras can be used out of the box.
Yes they are, great cameras
I had pre-ordered the Pocket 4K and 6K, and both times something just felt wrong, and I cancelled the pre-orders. I can see they are great tools for filmmakers, but they wouldn't have been good for me. I really appreciate hearing your thoughts about it.
thanks
I love this camera and wouldn’t sell it for anything
It is a good camera
Thank you for being honest but balanced and talking about the practical issues that really matter. Subscribed.
Thanks for the sub!
never quitting blackmagic pocket 4k run around and you will come back to blackmagic, that’s the magic.
Haha
Great video as always. Your C-Log luts for EOS R saved my life!
thanks George
Thanks for keeping it positive! Love the lighting and look of this video!
Thanks for watching!
Back in the bunker? Love that set. I discovered you when you were doing long form lives from down there!!! Love the BMPCC6K. Keep up great the content.
Yes! Thank you! This is where it all started. This time, I've decided to leave it in place permanently as a backup kind of does a better job at fitting my channel. haha
Who has a black magic 6k camera that needs to be sold? I need one
Colour variation for cameras can be sorted by using the x-rite colour checker passport video. During the edit, in Resolve, it is miraculous how it can correct the colour for all cameras. (Super simple)
in the end it came down to trusting my gear...cinematography is all about being able to repeat and recreate with precision not having to fix things in post or wonder if shots will match while on the project. This is why for me, it was the best possible decision in this very specific use case.
i was just thinking this same thing. I liked this video but there def are work arounds for everything listed. That said. Everyone should make their own decision about what works best for them. In my opinion, the BMD ecosystem is the best there is for filmmakers on budgets up to 8-10k
1 form factor, not valid, cheap external monitor $100
2 cost rigging, not valid, a lots of cheap workarounds
3 speed booster - adapters, VALID,quality of image decreased, but you can get used one $150
4 6k not really need it, not valid , with creativity you can make miracles
5 time code and color matching, not valid, with good planing (matching techniques today are excellent)
How last 50 years Hollywood filmed??? no 4k(not even 1080, DVD where 720), even not digital cameras
BUT I LIKE YOUR VIDEO AND YOUR POSITIVITY
Woah... This is the first time I’m hearing about color variation and timecode issues!!! Thank you for this amazing review!!!
It seems like you really really really wanted to love the bmpccs and get them to work so hopefully bmd takes your feedback to heart!
Glad it was helpful!
Maybe the speedbooster can not handle that wide open apertures and that light coming from the shallow angles. Did you tested it stopped down a bit?
Tilta cage cable solutions solve the cable issue you mentioned.
cool
tilta is the truth still
Sounds like you were attempting very high end production setups with a mid level budget camera's. I think the problem was choosing the right tool for the job. I don't think these camera are optimized for multicam environment whereas if you were to choose a blackmagic option you should have went with the Ursa mini pro. I'm glad you realized but sad that it took you down a 3 camera rabbit hole. ultimately the problem sounds like the operator and not the camera.
so the technical flaws of the camera = operator error?
@@carlosq00 well said!
@@carlosq00
Yeah, this guys comment makes little to no sense. The part about the camera being a lower budget camera, made sense [and you can only expect so much?], but how that is your fault makes no sense at all. I guess he’s faulting you for asking too much from a budget camera? But I agree that the color inconsistency should NOT be an issue...even for a budget camera of this grade, and at the very least there should be a way [provided] [even if you need to be an expert] to fix this issue! Especially from BMD!, so I think you were right to try! And I appreciate that you shared this!
This was awesome. You like the camera but it changed your work flow. Stability in your work is everything!!
yes, thank you!
I'm used to shoot video with 5DmkII, so I don't mind BMPCC 6K having the same footprint. Also I already have plenty of Canon L glass, which makes it a no brainer.
Of course you can upgrade it with rigs, cine glass etc... but the fact is you don't need to. It is designed to work out of the box as well.
It's a good starting point to get good image. Not really comfortable to use, but it's a great little thing. My BMPCC6K lets me work, acquire good EF lens and also provided me with DaVinci Resolve. I intend to keep it, but to evolve into Komodo or C300
both of those would be nice upgrades. The speed of BRAW is the saving grace for cameras like the BMPCC6K imo
Carlos. This is great. Thank you so much for your forthright presentations. These were and are great cameras---just not for me and the kind of hand held shooting I want to do, and too awkward in my studio---but I'm sure they'll be perfect for some folks.
I've been loving your C-log LUTS---with minor adjustments they work great for the C-log on my XC-15.
I've got it all set up with a couple of lovely ribbon microphones---super easy, with very good sound for the kind of presentations I do.
XC-15--pretty awesome. I'd use the EOS R, but the audio is so much better on the XC-15.
Hang in there and stay well. We'll all get through this!
Kudos for making this a positive video! That content is a slippery slope
yeah it is...
Thanks for sharing your experience using the BMPCC 4K and 6K. I have the 6K as an A Cam and I’m interested in getting a 4K as a B Cam. Have you ever used the 4K and 6K together on a project? If so, were you able to match the footage from both? Is there a noticeable difference in the finish product?
Kasaun Henry I have both and used them to shoot a web series and the director was super pleased with the color and quality. The colors don’t vary between the two bodies however there have been reports of bodies leaving the factory with color issues. BM has released updates to fix those issues. The 6K is a bit sharper has a slight advantage with dynamic range and you don’t lose quality as quickly when reframing.
is it noticeable? Yes and the better your monitor the more noticeably different it is. Can you match the two? Yes. Is it easy? kind of.
I baught the Tilta Flipscreen Kit (300 bugs), a Smallrig Cage (60 bugs) and a NPF battery-mount (40 bugs). I use native MFT lenses and some creative vintage lenses, and that`s it. All other rigging is hardware, I would use with other cameras anyway (follow focus, mattebox etc.). For all in all 1600 bugs, i couldn`t find any better camera so far. By the way, sharpness is not the point in filmmaking, but details are. For the BMPCC 6K I recommend the Angelbird -Match-Pack, wich can handle the data rate, if you really need 6K at 60p. I don`t need that so far. Colour matching is always a point. I use two of the BMBCC 4k, problem solved. If you need professional timecode, this is definately the wrong kind of camera.
I continue to build and rebuild and rebuild trying to make it work better as well and have come up with a similar conclusion.
I spent a few weekends on those types of tasks...
Carlos, I was just considering upgrading from my GH4 to either the 4k (which is most likely considering my budget) or the 6k. I feel the GH5 is too much of a lateral move.
Would the 4k or 6k still be my best option in this price range, or based on your experiences do you have a better recommendation?
If I had to make your decision, I would 1st upgrade to the GH5s or jump into the C200 or C70. I would skip the hassle of the pocket cameras. If going the Blackmagic route is better for you, I couldn't recommend anything other than the G2.
@@carlosq00 I did want the GH5s, and the SH1. And, the G2 was definitely on my list, but too far out of range for a beginner like me.
So, basically, I should reasonable sacrifice whatever gains I would get with BRAW (used with DR Studio) and picture quality for something more streamlined and efficient until my budget changes?
Thanks for the reply.
@@carlosq00 I disagree with you on this one, bud. Pocket 4K and 6K are CLEARLY the best bang for the buck in the camera world. Most of your gripes, well, the important ones anyway, revolved around workflow in a multi cam setup. If @craig snider has the budget for a Pocket 4K and already owns micro 4/3 lenses from his GH4, I see the Pocket as the obvious choice. If he isn't trying to match footage or jam synch, can rig it cheaply (which you can) and uses CFast cards, that's pretty much all of your complaints addressed, yeah?
Wow just wow ! Amazing video and the sound is ridiculously good ! Thank you for sharing
Glad you enjoyed it!
Hey. About that temperature problem. Have you actually tried to use same lenses? Like... place all 3 cameras in 1 place, record 5s. And compare that way?
it wasn't worth me continuing to waste my time, i switched brands and that solved the problem immediately.
Really liked your energy, keeping it positive, and giving constructive criticisms
thanks
First video of yours I've seen... Subbed for the Hollywood voice and the level up reference!
Welcome aboard! Thank you!
Thank you so much Carlos! I had the BMCC 4k in the past and when I had to buy a new set of cameras last year, thinking about speed, versatility and quality, I considered for a while the pocket 4k, but finally, I decided to give a shot a sony camcorder over the pocket, because... you guessed it all the reasons you mentioned on this video. Actually, I need now another camera and again I was thinking about the pockets, but financially (workflow, speed, rigging, portability and features vs. quality) it seems to make more sense to continue in the sony environment for now. I don't know if you speaks Spanish but ... gracias!
Gracias Fabio!
Thanks for the video. After just using camcorders like Canon GL2, XL2, XH-A1 and several DSLRs, I felt I needed to move to a better world. I bought the bmpcc 6k and I learn one thing. It’s a real cine camera! Yes, it can be expensive to rig it. I combined elements from eBay, Amazon, B&H etc. I got a 1k tripod from B&H at 1/2 price by checking their Deal Zone. Over all, I was patient and saved at least 1/2. Smallrig has an adapter for any kind of SSD. As soon as I can I want to move to the newest ursa mini. (You can use any lens’ mount) I doubt I would get rid of the 6k. It’s has it uses. Specially if one day you need to shoot somewhere with no permit.
On the cable management issue, Tilta is hands down the best company Cage wise when it comes to the cable management.
cool
Thankyou. Very honest opinion. I hate speedboosters. So with Canon lenses in the kit, choices are limited. Don't really want to buy a whole new kit of lenses to head over to another brand. Blackmagic 6k solves this with the EF mount. I own a 6D, but technology has leaped ahead.
So would you recommend the bmpcc6k or the c200 & why ?
I think I need to make a video responding to this question so that I don't write a book here...
@@carlosq00 please do bro! I’ll be waiting 👍🏾
If you didn't like the sppedbooster Carlos, maybe you should try a non speed booster adaptor with electronics so you don't have glass in between.
That would have been a smart idea!
you use the M.2 ssd, is batter choice for T5 drive cage
Too much rigging to make the camera functional. Lumix S1H is a better choice for me, personally.
totally agree
A very thoughtful and professional review. Thanks.
thanks
Did you calibrate your SpeedBooster's optical element for infinity focus? If you didn't, that would explain why your shots weren't sharp.
That is possible as I did not do any form of calibration other than ensure that the firmware was up to date.
Wondering what you meant by not being sure if you had timecode? Was it not showing TC moving numbers? Perhaps you tried it but the display will show the TC EXT counting, but you might have to tap it -- the numbers on the screen that is, which might be sitting in a blank stare of 00:00:00:00 if it's not in the correct mode.
Older video firmware updates help a lot
Love the honesty! Black Magic Pocket owners get pissy anytime someone says anything negative about the camera. Never understood why...
I never understood that either.
Not me, I mean I will say I get triggered when people complain about flipping screens because Red and Arri don’t and nobody complains. Since its marketed as a cinema camera you’d have to get a monitor. Anyway, for the reasons mentioned in this video I found them to valid for him and his own experience
Colour variation is not an issue anymore. Now we have cinematch. The thing im still curious is the storage.. 6k50
Color problem??? First - different lens have different tints. Second - color chart should solve everything in couple of click. Yes it's a time, but anyway it willn't be faster with any other camera. Sad about speedbooster, but I hadn't such problem and never heard that from another cinematographers. Timecode is fixed now, and yes - blackmagic hears you, it's not a canon or whatever, that just doing their marketing staff.
I'm into that type of thing ... Subscribed
haha thanks!
@Carlos - Great video. Glad you eventually got things sorted with your new gear and rigs. Looks like now some of those things got sorted, but let me ask, right now with your multiple Canon camera set up, how do you manage sync when running more than one camera at the same time? Are you using something like Ambient Recording Lockit Box or just using timecode and re-jam-syncing if and even necessary? thanks!!
tentacle sync
so what your saying is there good for run and gun rigs, not studio rigs. thankyou its helpful to know the downsides
As good as the tute was, I would have liked the direction you took after you sold your BM6K's that DID work for your workflow. What cameras were YOUR solution?
I replaced my multi cam studio cameras with EOS R cameras
Which speed booster did you use that makes the video look like clam chowder? And what speed booster is best if I want to get one?
Lool considering buying a BMPCC4K myself and live in Ireland 😅 your welcome here any time man! Let me know can show you around ✌️
Good advice but why the unnecessary zooms
Which is better for intense colors: 4k or 6K or which other camera to keep in line with the cinema quality? The same question for sounds: 4K or 6K, or better another camera (but which, that keeps all the good qualities of the BM?)
if you are sticking with Blackmagic as the camera company of choice, I would always go with the newest offering or their highest tier (not the 12K) it is the safe bet.
@@carlosq00 Makes sense. Thank you, Carlos!! God bless.
I really dig your style and the videos' quality and calm tone. Most CZcamsrs speak in the viewer's face super fast and with bad sound quality. And are often out of focus... You, on the other hand, do the complete opposite. Obviously, I subscribed. Yet I wonder if you got the Mac Pro. Or you'll use the new 16 Macbook Pro?
Thank you! I am still using the MacBook Pro and iMac Pro.
@@carlosq00 Nice.
What camera(s) are you going to go with now? I bought a BMPCC 6k, great camera, but now I wish I would’ve saved more money and then bought the Ursa mini 4.6k G2. Doesn’t need all the rigging and meets Netflix specs!
it is interesting to see people moving away from the Ursa Mini Pro G2 and why they are moving away...these videos are popping up on YT every other day it feels like.
I wish I knew you were selling, I would’ve bought a 6k from you
what is crazy is that they went up for sale and sold within a few hours all at once...pocket cameras are good cameras, no doubt.
Carlos Quintero I’d like to push it to its limits and see what I can accomplish with it. I really want to see if BlackMagic is going to make a full frame URSA. I have a feeling once this covid stuff is over, they’ve got something big up their sleeve.
I’m selling mine
@@BrittneyJanae yo, I remember you. You’ve got a pretty dope channel. Since watching this I’ve bought, sold and bought a p6k again lol.
@@DapperDop haha nice!! thank you!
I love this video, and the in depth information. what i also love, is this setup. please do a video on your video setup.
haha, one light...
Clear, well motivated video ... so what did you end up with? Or is that an upcoming video? :)
I went with canon cameras
I’m late to the game here. My concerns about BM go way back since there’s only support in North America in Vegas. Don’t get me wrong, do love everything Grant has done to make things more accessible... really it’s too much democratization. But I go back to using Decklink SP ... one of their first products... did need to replace and warranty went ok but awkward. Plus I did hear that their cameras tended to be hit and miss but my biggest issue was battery and screen ... no one clamored for 6 k too. It had its market but I never felt it was pro enough but certainly cheap for what u got.
Oddly enough the only camera I ever heard having major color matching issues was the first / second red cameras. A TD I knew was doing a huge commercial with virtually every red available in North America(very limited). and he remarked the only thing Red about the cameras were the names. The post houses fixed the issue but it was big bucks ... obviously all that has changed. I am guessing BM is still dealing with production issues ... sometimes never perfecting a camera b4 the next one is introduced. It’s impressive to do a project from scratch to delivery in one day. I could never do that and probably wouldn’t. It sets to big a precedent and means expediency /price over quality. Too difficult
Greetings Carlos, great contribution from you and CZcams recently showed me your great content. Please could you show me links to the lenses you mention? Thank you!
I mean the 6K also did just drop to under $2000 so, there's that
And I need 1
yep that was a good thing for all of us
so... what are you using now for your Multicam set up?????
canon C series
Carlos Quintero sounds good man. That’s what I have used for multi cams before and their color is always on point. More expensive and other limitations, but for what you need that 3 can set up that series is great.
Did you ask Blackmagic about the cameras not matching? If so, what did they say? I’m curious to know if they may have switched part vendors mid production.
yes and we never got to the bottom of it.
Your image looks absolutely incredible here... I assume this is the C500 mkII? And lens?
And I agree the speedbooster craze is a little bit cringe... adding another piece of glass between an expensive lens and nice sensor seems ridiculous.
I like the idea of a speed booster, but after using them on Sony, Panasonic, and Blackmagic cameras...I just don't know.
probably the best option, going native removes a lot of issues.
This video has had me thinking the past few months, do I either buy a new mft lens or sell my camera and go Z Cam. Been wanting to create the sharpest image possible but hate using the speedbooster at this point. I totally understand what you are talking about, even my Canon L lenses were sharper on my old Canon cameras. great points thank you!
Thanks David
Hi @David - what did you end up deciding? I'm contimplating the BMPCC6K but only because it will take longer to save for the Z Cam
@@yoplug_toon I am actually on the Komodo wait list right now!
So what did you finally switch to? I see lots of canons in your list. Would you have the same color issues with all Blackmagic cameras?
That is what I was trying to do. So I’ve now settled into Canon or RED workflows.
@@carlosq00 Aside from the color issue, which is an enormous problem in your situation, would you have kept one of them now that Tilta is offering the display modification? Did you ever look into the Zcam or Kinefinity lines? The size of those look great for gimbal work where the P4k is just ridiculous on a Ronin S. I continue to also look at the fact that all of the manufacturers of products (like the Ronin S, Crane, Rhino, etc) all have connectivity and instant feature sets for Canon, Sony, etc. where every other camera has to have some super weird work around to make them work.
Question, were you calibrating black levels before attaching your lenses?
Hello. Do you use Resolve or premiere? Also, did you fall below 0 IRE in the production of this video? Thank you.
Both! i did push down to zero IRE
you are a super dupa genuine sincere man.....this is great down to earth working knowledge.....we thank you....your keeping real film making real......thats what its all bout......good man...
Thanks a ton
7.9.1 update bricked my magic 4k!! Any suggestions?
Real talk did you have any color issues with other brands in your studio?
No, the Canon cameras are back pulling that weight.
Great video man, maybe have a soft background music playing the whole way through since you have a more monotone sounding way of speaking.
Noted!
@@carlosq00 I prefer it without music and like your voice being calmer. Too many people are loud and hyped up on CZcams... haha.
Thank you so much for sharing this I was thinking about getting this camera ❤️
buy it. you won't be disappointed!
it's not a bad camera...just didn't work out for me in what I hoped to do.
I’m wondering what type of speedbooster you had a bad experience with
the most expensive and most popular one on the market.
Appreciate 👍
Hi Carlos, I know you have done videos on the Canon XC10 but I see you use the XC15 and would love to see a video on this camera. Any chance during lockdown?
maybe, but probably not. The differences between the two are minimal. XLR module being the biggest difference and the CLog doesn't match between the two but does a better job at matching with the WideDR CLog3 that is in the Cinema line. If you need XLR Audio (which you don't thanks to systems like the Sennheiser AVX, unless you need two channels of audio) then the XC15 is a better option. Personally, I prefer the way the image looks out of the XC10 it feels much more like a super16 film camera to me.
@@carlosq00 Thanks for getting back.I am a Sony person and have been all my life. I started with the Sony U-Matic when it first came out and since then used Sony for both my broadcast and non broadcast productions. Recently though I bought a XC15 (for travel work) and I must admit I love the picture compared to my Z90 which does not have the warmth of the Canon. I looked at you kit and it said you used it for live streaming. Are you using it for your CZcams studio filming as well?
I love my XC10. Auto Exposure in C-log works great. I disappointed my EOS R can’t/won’t do auto exposure in C-log.