Slowly but surely, the year 2019 is fading out, and there is no better time to conclude and see if there is a camera we can declare as the clear winner of this year. Blackmagic Design, Panasonic, Leica, SIGMA, FUJIFILM and Sony – all those respected manufacturers worked hard to satisfy our (production) video needs. Did any of them do exceptionally well, catching our attention?  Let’s dive in and see.  Large sensor photo cameras that can shoot high quality video? Touchy subject… Remember all those who predicted that VDSLRs or mirrorless cameras will be abandoned by users  the moment “true” large sensor video cameras will appear? Well, the truth is quite the opposite. We’ve never seen such a wide selection of offerings fuelled by massive competition between camera manufacturers – in our hearts, as well as pockets. As active content creators who value the “tools”, of course we should be happy. Technical progress is being made year after year, picture quality is getting better, functionality is being enhanced and prices, in general, are becoming comfortable. But is there a good reason for joy? The Future – Will Mobile Phones Eat Everybody’s Lunch? I’m actually choosing to continue my article with a melancholic perspective. It is no secret that the traditional camera market is rapidly shrinking and sales are dropping sharply. Is there any single reason to take the blame? Is the giant quantum leap that mobile phone manufacturers have made, when it comes to capturing images, the reason? – Maybe. Reading the market, respected traditional camera manufacturers find themselves having to look for alternative sources of income. Even the ones who have never believed that video in stills cameras is valuable had to go along with the trend. But, is this move enough to survive in this market? Is there a way to “combat” the increasing dominance of mobile phones for anyone but professional photographers and video shooters? In my opinion, these are relevant questions – especially as smartphones have reached a level of functionality and speed where average users are content with the phone they have, the manufacturers’ way to show progress is by enhancing the photo and video capabilities of their devices. The amount of money being poured into the development of smartphone cameras can’t be matched by the investment of any traditional camera manufacturer! Now, if you’ve been asking yourself why am I drilling your brain instead of getting to the point (this article is about the best camera of the year, after all), it is because this may be the last year where our list consists of traditional cameras. I bet that 2020 or 2021 will look completely different, unless we as users will show responsibility and try to support those companies who are doing so much for us by planning, developing, manufacturing and selling their cameras. (And for complete transparency, we at cinema5D will cover, report and test upcoming mobile phone cameras too, yet at the same time, of course, without compromising the attention we give to more “traditional” filmmaking tools, too). OK, now that this is off my chest (not really, but as Elsa from Frozen said “let it go”), let’s be reminded of what we’ve covered this year and believe me, it was an extremely busy one! Instead of going the “usual way” and divide entries by sensor sizes, I’ve decided on two strengths. Picture Quality and Technical Achievements are the sub categories I chose to go with. If you guys feels like I’ve missed or neglected anything, please don’t hesitate to jump in. Please join the conversation and add your comment in the section down below. Camera of the Year 2019 – Technical Achievements Hope you guys will agree with me. There are NO bad cameras anymore. Some filming devices which do the job better than others, but all in all, we could have just dreamed about such performance and quality (especially for the price) a few years back. In fact, the best camera of the year 2018, the FUJIFILM X-T3 is still serving me very well. At times, I even wonder if any of the 2019 offerings really surpasses it, to the point where it’s worth considering exchanging… Anyways. For me personally, three cameras stood out of the crowd when it comes to technical achievements. FUJIFILM with their GFX 100, SIGMA with their fp camera, and Panasonic with their S1H. Each one for very different reasons. The forth candidate is Sony with their advanced autofocus system that can be found in the new a6600 and a7R IV. (Animal lovers can surly appreciate the new Animal AF technology). FUJIFILM GFX 100 – Defining Large Sensor Video Recording ($9,999) During this year, I was lucky enough to document the birth of FUJIFILM’s GFX 100 (please watch our BTS videos below and witness how magic happens). What really caught my attention during filming, was seeing how dedicated and committed the people behind the project are! For us the filmmaker crowd, 100 million pixels might prove to be not so relevant, but the large stabilized sensor size is of course revolutionary. Never before was it possible or so easy to pick up such a camera and shoot handheld video, with such clarity and quality. True, the price is not for everyone, but now that FUJIFILM have declared the medium format sensor format to be their “full frame device”, I wish they will consider going the same path for a fully video orientated camera at a more affordable price. FUJIFILM GFX 100 Main Advantages: Large format sensor 4K (DCI), All Intra, 10-bit, up to 400 Mbps internal recording Excellent Internal Body Stabilisation System Eterna Picture Profile built in Good built-in audio I also want to encourage you guys to take a look at Philip Bloom’s full length documentary,“Charmolipi: joy making sorrow”. It was shot with the GFX 100 and is a great example of deploying it in the field! Below: Our 2 part documentary. How the FUJIFILM GFX 100 is being made: SIGMA fp – When Small Form Factor becomes Beautiful and Capable ($1,899) SIGMA have caught the filmmaking community by surprise. No one really expected the successful lens manufacturer to come up with a revolutionary filmmaking device. We were lucky enough to witness and document the process of manufacturing the camera and also given the opportunity to test and review one of the first units before it was commercially available. As an advocate of compact and capable filming cameras, I think that SIGMA brought some playful fresh wind into our traditional (ageing?) industry. Backed by its own supporting accessories, this “joyful to use” fp camera has the true potential to shake things up and pave its way to glory. It is the smallest full frame camera out there that supports internal and external Cinema DNG RAW recording, (external compressed RAW recording via HDMI will be available soon too). Of course, there are some shortcomings (no camera is perfect), and I would have loved seeing better autofocus and an internal body stabilisation system included, for example, but in this particular “Best Camera of the Year ” article, seeing the full half of the cup is shading the empty part. SIGMA fp Main Advantages: Full frame TRUE pocket camera Uncompressed RAW recording (internal up to 8 bit and externally up to 12 bit) Lots of technology is packed into this little marvel, but what I like best is the support SIGMA is offering with their own custom made accessories. Additional SIGMA fp information – including our lab test – can be obtained by clicking here. Panasonic S1H – Feature-Packed and Ready for (Netflix) Show Time ($3,999) Waiting for the Sony a7S III? Well, the wait is over. The Panasonic S1H is here. (My humour has to be taken lightly…) This very capable, packed-with-features camera was introduced in segments, just a little at a time. Panasonic managed to equip the camera with an endless list of resolutions, bit and frame rates to choose from, all the way up to 6K. While the video quality this camera can produce is nice, I’ll repeat mentioning its Achilles heel. The internal noise reduction being implemented within is simply too strong, up to the point of the image becoming too clean. Panasonic S1H Main Advantages: Internal high quality recording Very flexible camera. Choosing the desired recording mode/frame rate/resolution/bit rate is a breeze Excellent In Body Stabilisation System Excellent EVF Very good lowlight capability 3:2 sensor. A good match to anamorphic lenses Dual ISO sensor Additional Panasonic S1H information – including our lab test – can be obtained by clicking here. Sony – Taking Autofocus to the Next Possible Level Sony was very active this year by offering a variety of 1”, APS-C and full frame mirrorless cameras but at the end of the day, the video functionality of all those cameras is rather equal. (Limited to 100 Mbps data rate, Long GOP encoding, up to 30 fps and more). The only noticeable field where Sony has shown advanced operation with their current offerings is the autofocus functionality. All of their newer cameras can autofocus nicely, but as a “proof of concept”, I chose to include the following a6400 video: What’s noteworthy about the current top-model of their APS-C cameras, the Sony a6600, it now has image stabilization built in, and uses the larger, MUCH better batteries now. In fact, I was so impressed with the autofocus performance of the a6400 when I tested it that I publicly (half-jokingly) asked our audience if the “End of manual focus lenses is near“. This is yet to be seen, but for now, as we are under the Technical Achievements section, I feel this is where Sony should be placed. Camera of the Year 2019 – Picture Quality The more I review stuff, I think its fair to say, the more subjective I see and define things – and “picture quality” is indeed one of those things where subjectivity is important to remember. Having said that, with so many cameras going in an out of our hands, I think we have developed a certain sense for it. Blackmagic Design Pocket Cinema Camera 6K – Mojo, High Quality Internal Recording, APS-C sensor ($2,495) Let me start with sharing a small “behind the scenes” detail. It is no secret that we are proud to be affiliated with B&H and CVP. The affiliate income helps us move our boat forward (at no additional cost for you guys if you buy through any of our links). It also allows us to see what sells well, almost in real-time, and let me tell you, never in our cinema5D history, have we seen so many cameras being sold right after the official announcement. Obviously, from the filmmaking community’s perspective, Blackmagic did something right! We can debate on which camera is more functional and attractive to buy, the BMPCC 4K or BMPCC 6K, but with no doubt, this family of cameras can produce amazing, high-quality footage “out of the box”. In this regard, “mojo” (or texture of image) is very appealing, simply because it is very organic. BMPCC 6K Main Advantages: Small camera Excellent picture quality (very organic look) Robust recording codecs, including compressed RAW recording (BMRAW) and ProRes Dual ISO sensor Choice of recording media Additional Blackmagic Pocket Cinema Camera 6K information – including our lab test – can be obtained by clicking here. For the full camera review, please click here. Leica SL2 – Such an Appeal, If Only I had the Funds, Then…($5,995) As always, I’ll be completely open and transparent with you guy and say that the Leica SL2 is the camera that excites me most (Alongside to the FUJIFILM GFX 100), when it comes to video footage aesthetics. True, I had a very short encounter with it and also true that if you look carefully, you will notice how the ugly head of Moiré is rising, BUT, a few things to remember: The original SL has already shown a very interesting organic look. In addition, Leica was kind enough to shed some light on and explain why the Moiré is happening. As a result of their explanation, I’m very eager to conduct a full camera review and see how the camera behaves while filming in full frame again, but this time together with less sharp lenses, or, in APS-C mode where the camera is supposed to deliver even cleaner video images. Seeing how closely Leica and Panasonic cooperate, even more so with the Leica SL2 (Panasonic S1R, anybody?), it is truly fascinating to witness the differences between those two cameras – especially when it comes to processing the video image. As mentioned before, while Panasonic is trying to keep it “super clean”, the Leica SL2 is quite the opposite. No noise reduction is applied to the images and the result is very pleasing! Leica SL2 Main Advantages: Very organic filmic images Excellent IBIS (In Body Stabilisation System) Excellent EVF Minimalistic button layout yet easy to operate Well controlled rolling shutter effect For our first impression review, please click here. Mirrorless Camera of the Year 2019 – Panasonic S1 ($2,498) OK, time to reveal our choice and yes, this is correct, no mistake in writing was made here (just in case you thought we meant “S1H”). This year, it was not easy AT ALL to choose a winner. There are A LOT of good cameras out there, yet none that really shine in a way of completely shadowing others. Saying that, after lots of sleepless nights and miles and miles of walking up and down inside the office, we have made the decision of nominating the Panasonic S1 as our winner! (Congratulations, Panasonic.) At the end of the day, the included camera features backed by a relatively affordable price led us to the conclusion above. It can be that Panasonic took the S1 a bit too far, offering a set of video features that makes their own S1H camera a questionable buy for a lot more money. For us, this is the case. All in all the two cameras (S1H and S1) do share a lot, and depending on your usage, the S1 offers the better price/performance ratio. If you are serious about video making, pay the extra and get yourself the S1 upgrade that unlocks V-Log. Greater Dynamic Range, flexibility when coloring (As you can shoot in V-Log), 10-bit internal and external recoding, and even manual control when shooting high frame rate when downloading the latest firmware, all there! Panasonic S1 Main Advantages: Shares many of the video capabilities of its higher spec and more expensive sibling, the S1H Full frame camera Excellent In Body Stabilisation System Great EVF Flexibility of choosing from a wide range of recording codecs, frame and data rates Great lowlight capability Additional Panasonic S1 information – including our Rolling Shutter test – can be obtained by clicking here. For our complete Panasonic S1 review, please click here. That’s it guys, here you go. We would love to hear your opinion on our decision. Now, we are looking forward to what 2020 will bring, and there is a lot to look forward to. All I can say is, the Tokyo Olympic games are happening in Japan next year and there is no better opportunity for Japanese manufacturers to show leadership and dominance. Stay tuned! 

PortKeys, a company specialized in HDMI and SDI field monitors, has just announced a new Bluetooth Module for their PortKeys BM5 field monitors. This add-on accessory screws directly to the back of the BM5 and allows you to control your BMPCC 4K/6K cameras wirelessly. Let’s take a closer look at it! PortKeys BM5 and BM5 II Earlier this year, PortKeys introduced the BM5 field monitor, an impressive little display that can control your camera. If you never heard of the PortKeys BM5 before, it is a 5-inch 1080P WLED touchscreen display that features an HDMI and SDI input, and an SDI output with cross-conversion. It is powered via a single Sony NP-F style battery, and you can use the power output of the BM5 to feed your camera via a dummy battery. Also, you can power it with an external battery by using the Lemo port on the monitor. The PortKeys BM5 is daylight-viewable with a maximum brightness of 2000nit – the newest BM5 II monitor is 2200nit – and it is entirely made out of aluminum for a total weight of 350 grams. The list of built-in monitoring tools is quite impressive and includes 3D LUT monitoring, waveform/false color/zebra, peaking and zooming, HDR support, and framing guides/grids/aspects. But, the real advantage of the BM5 over its competitors – other than the incredible $499 price – is the control port at the back of the monitor. By connecting the monitor to your camera, you can control various functions like start/stop the recording, change your ISO settings, adjust the focus settings… etc. It is already compatible with the Z Cam E2, Sony/Canon/Panasonic cameras. But, PortKeys just introduced a new Bluetooth Module that pushes the capabilities of the BM5 a little further. Image credit: PortKeys PortKeys Bluetooth Module for BM5 Monitors The new PortKeys Bluetooth Module for BM5/BM5 II monitors screws directly to the back of the monitor. This update is especially exciting for BMPCC 4K/6K users. First, you will have access to the daylight/tiltable screen of the BM5. Second, you will be able to control your camera via the monitor wirelessly. The number of settings you can adjust via the BM5 is imposing; please see the full list below. Image credit: PortKeys Also, the PortKeys Bluetooth Module adds support for Sony a7II/a7III/a7RIV/a9 cameras, and Tilta Nucleus-N/M follow focuses. Unfortunately, you will have to plug a cable from the monitor to your camera/follow focus to have access to these functions. Image credit: PortKeys Pricing and Availability The PortKeys Bluetooth Module for BM5 monitors retails for $119/99€, and you can pre-order it directly on PortKeys’ website. It should ship from the 30th of November. What do you think of the PortKeys Bluetooth Module? Do you think it is useful for the BMPCC 4K/6K cameras? Do you already have the PortKeys BM5 monitor? Let us know in the comments!

Kinotehnik just introduced their new LCDVF BM5 viewfinder for Blackmagic Pocket Cinema Camera 4K and 6K. It features 200% magnification, AR coated and optically corrected lens, magnetic frame, and 46mm threading to attach diopter correction lenses. LCDVF BM5 viewfinder for BMPCC 4K and 6K. Image credit: Kinotehnik Blackmagic Pocket Cinema Cameras 4K (our review) and 6K  (our review) have gotten very popular among filmmakers. They offer great image quality with solid codecs for a very affordable price. Numerous third-party accessories for this camera have already been released to compensate for these cameras’ downsides – particularly battery life and support for SSD media. When it comes to ergonomy, another downside of BMPCC 4K and 6K is the absence of a viewfinder. Kinotehnik is a camera accessories manufacturer based in Estonia. They are known mostly for their LCDVF viewfinders and Practilite series of lights. The company just introduced LCDVF BM5 – their new viewfinder for Blackmagic Pocket Cinema Cameras 4K & 6K. While Kinotehnik claims their LCDVF BM5 is a world’s first viewfinder for the BMPCC 4K and 6K, I personally know filmmakers who have been using viewfinder from a Brazilian company GRID with their BMPCC 4K. To be fair, GRID 5.0 viewfinder is quite expensive at $241 and the distribution might be a bit problematic. My point is, that Kinotehnik LCDVF BM5 certainly isn’t the world’s first in this regard. Kinotehnik LCDVF BM5 Viewfinder The new viewfinder is a loupe only, so it uses Blackmagic’s own display. It features magnification of 200% specially tailored for BMPCC 4K and 6K 5” LCD screens with AR coated and optically corrected lens with 50mm clear aperture. It blocks all ambient light and lets users shoot in direct sunlight. It will also have 46mm threading to attach diopter correction lenses. LCDVF BM5 viewfinder for BMPCC 4K and 6K. Image credit: Kinotehnik Another advantage of a viewfinder is the additional stabilization it provides to the camera when shooting handheld – the eye acts as another “anchor point” and helps to get more stable footage. Thanks to the magnification it also helps with manual focusing.   The LCDVF BM5 is robust and durable with no moving parts. It is splash and dustproof and the eyecup can be flipped 180 degrees, which allows either left or right eye usage. A strong magnetic quick release frame adheres to the perimeter of the LCD screen and makes sure the viewfinder holds well in place. The achromatic lens pair included in the LCDVF BM5 consists of two vacuum-cemented optical components to form an achromatic doublet which is computer optimized to correct for on-axis spherical and chromatic aberrations. LCDVF BM5 viewfinder for BMPCC 4K and 6K. Image credit: Kinotehnik Price and Availability There is no official information from Kinotehnik about the price and availability of the LCDVF BM5 yet. I expect the price, however, to be similar to other viewfinders from this manufacturer, which are priced slightly under $100. What do you think of the Kinotehnik LCDVF BM5 viewfinder? Have you been looking for a solution like this for your BMPCC 4K or 6K camera? Let us know in the comments underneath the article.

During IBC 2019, we met Dimitar from CINE-X to talk about their new battery grip solution for the BMPCC 4K and 6K cameras. This CINE-X battery grip can be an excellent alternative to the official Blackmagic Design Pocket Cinema Camera 4K Battery Grip that was announced a couple of months ago. Indeed, the CINE-X version features additional D-taps and USB ports. Let’s take a closer look at it! The back of the CINE-X battery grip features two Sony NP-F slots. Image credit: cinema5D CINE-X Battery Grip The team at CINE-X developed their battery grip solution for the BMPCC4K and 6K cameras. The CINE-X battery grips get attached to the bottom of the camera, and you can put two Sony NP-F batteries in it. To power the camera, there is a dummy battery that goes inside the BMPCC 4K/6K. This dummy battery is then attached via a cable to the inside of the battery grip. Also, the Sony NP-F batteries on the back are hot-swappable, which means you don’t have to shut your camera off. Image credit: cinema5D On the back of the CINE-X battery grip, there is a little LCD. It shows you the state of each NP-F battery as well as how much remaining battery life you have. The left side of the CINE-X battery grip features one 12-V D-Tap output and two 5V USB outlets. Image credit: cinema5D On the left side of the CINE-X battery grip, there is one 12V D-Tap port as well as two 5V USB ports. You can use these ports to power accessories or charge your smartphone. Image credit: cinema5D On the front, there are some small wooden handles that give you additional grip, as the BMPCC 4K and 6K are relatively small cameras. Also, there is another 12V D-Tap port to power wireless follow focus motor, for example. Pricing and Availability The CINE-X battery grip is still in the prototype stage and the guys at CINE-X are looking at the possibility of starting a crowdfunding campaign soon. In terms of design, I think that the CINE-X battery grip is pretty similar looking to the Atomos power station. Also, you usually grab your camera with your left hand touching the bottom left, where the D-Tap/USB ports are located. Hope that won’t be an issue while filming. For more information, please head to CINE-X website. What do you think about the CINE-X battery grip? Do you consider getting it for your BMPCC 4K or 6K? Let us know in the comments!

In somewhat of a surprise move, Tilta showed off a kit that will allow you to modify the screen of your Blackmagic Pocket Cinema Camera 4K and 6K, to flip 180° up and 90° down. In addition to that the modification kit comes with a housing for an M.2 SSD drive that will bridge over to the cameras internal USB-C port and thus enable recording directly onto it. Furthermore the kit contains what Tilta considers an enhancement to the housing of the camera’s ports. Do-It-Yourself BMPCC 4K and BMPCC 6K Modification According to Tilta representative Jay Kaufman, the kit shown to us at the Tilta booth at IBC 2019 is still a prototype that arrived only yesterday, so there will still be a few modifications to it before sales start in November. The modifications kit for the Pocket 4K’s and 6K’s screen will come with all tools necessary to make the modifications, as well as video tutorials that will guide customers through the whole process. The modification is supposed to be fully reversable, although its influence on your camera’s warranty might be detremental. The kit works with the camera’s own screen and does not inhibit any camera functionality. So what is in store here? What can it do? The tilting mechanism strongly resembles that of the recently released Sony A6100 and 6400, tilting upwards up to 180° but also up to 90° downwards. The modified screen will still work with all of the accessories for Tilta’s cages for the BMPCC 4K and 6K, except for the sunhood – the new screen however has screwholes for a new to be released sunhood that will support the flipping screen. The mechanism itself looks sturdy and begs the question why Blackmagic didn’t implement something like this themselves. In addition to the modification of the screen, there is also a housing for an M.2 SSD drive that comes with the kit. Somewhat similarly to the Atomos SSD caddies, this will enable you to insert your own SSD and use it with the male USB-C plug, that will sit flush right behind the newly modified screen. For now this USB-C plug is just bridging over from the BMPCC’s internal plug, but Tilta has plans to enhance this, so that the camera’s USB-C will remain usable. What that will mean for the total bandwidth of the port remains to be seen. The third part of the modifications kit deals with the BMPCC’s ports. Assuming that user feedback for those might have been less than stellar, Tilta has implemented string-secured, carbon-fibre-styled plugs to close up and protect unused ports instead. Where did this come from and when will it be available? Modifications like this have been showing up in user forums and around the internet practically since the BMPCC 4K came out. This particular modification is actually a result of Tilta’s Tiltaing project cooperation with Mr Zhang – we reported about his BMPCC 4K modification back in June 2019. Tiltaing is Tilta’s initiative to fund interesting ideas and share profits with its inventors. We reported about Tiltaing from NAB in April 2018. Anyway, the large number of kits surrounding the BMPCC 4K and BMPCC 6K cameras without a shadow of a doubt speaks to their popularity. According to Tilta the modifications kit for the BMPCC will already be available in November for $329.00. We will keep you posted on any new developments and when it becomes available. Are you excited about these modifications to the BMPCC 4K and 6K? Would you actually buy this and install it in your camera? Let us know in the comments!

After part 1 and part 2 of our coverage of the new Blackmagic Pocket Cinema Camera 6K we finally can bring the cinema5D Lab results to you. Interested to see how it fares? Will the lab reveal differences to the Pocket 4K? Well – let’s get started … Being a long time owner & user of the original Blackmagic Pocket Cinema Camera for 6 years now, and having tested the BMPCC 4K already in our lab a while ago, I was now really curious to get my hands on the new BMPCC 6K. The spec’s on Blackmagic Design’s website would list no difference to the Pocket 4K in terms of dynamic range – both cameras are listed with 13 stops dynamic range. So we decided to do our new latitude test in addition to the standard dynamic range and rolling shutter test with the BMPCC 6K and BMPCC 4K in order to see if we can find differences. And yes, as you will see below there are differences. But let’s start first with the rolling shutter measurements. BMPCC 6K Rolling Shutter Test We are using a new test method based on a high frequency, quartz & micro controller based strobe light at 300Hz. As the sensor readout happens from the top to the bottom, we are getting a sequence of black and white bars from the strobe. The strobe test reveals a rolling shutter of 19.8 [ms] – now we know why it cannot do full sensor readout in 6K faster than 50 frames per second (60fps at 1:2.4 aspect ratio) – there is simply not enough time for a higher frame rate in full sensor mode. This rolling shutter value is significantly higher than the BMPCC 4K which has a rolling shutter of 16 [ms]. BMPCC 6K rolling shutter result: 19.8 [ms] Dynamic Range of the BMPCC 6K Like always, we use our DSC Labs Xyla 21 Stepchart in conjunction with the IMATEST software to derive our results (see how we test here). The BMPCC 6K uses a dual ISO sensor with 400 and 3200 as base values, hence both will be shown below. Dynamic Range at full sensor readout, ISO400, 6K BRAW 25p Using the full sensor readout at the maximum resolution of 6K (6144×3456) with BRAW 3:1 constant bitrate settings, the waveform plot of the stepchart visually reveals about 12 stops of dynamic range. BMPCC 6K waveform plot of the stepchart. About 12 stops can be identified above the noise floor. Developing the raw files via DaVinci Resolve and exporting high quality tiff’s to IMATEST a dynamic range of 11.8 stops at a signal to noise ratio of 2 is calculated (12.9 stops for SNR = 1). BMPCC 6K IMATEST result of 6K BRAW ISO400. 11.8 stops are calculated for a signal to noise ratio of 2. This is 0.2 stops better than the result we got for the BMPCC 4K. Dynamic Range at full sensor readout, UHD ProRes HQ ISO400 Quite interestingly, using the ProRes HQ full sensor readout at Ultra HD, the dynamic range increases slightly from 11.8 stops to 11.9 stops at a signal to noise ratio of 2 (13 stops for SNR = 1). As mentioned by Blackmagic Design, the full sensor 6K resolution is scaled to Ultra HD, thereby reducing the noise hence increasing slightly the dynamic range – quite nice! Dynamic Range at full sensor readout, ISO3200, 6K BRAW 25p At ISO3200 the dynamic range drops quite significantly to 10.0 stops (SNR = 2, medium value in the upper right hand table below) according to the IMATEST calculations, see the result below.  BMPCC 6K IMATEST result of 6K BRAW ISO3200. 10 stops are calculated for a signal to noise ratio of 2. This is less than the BMPCC 4K which shows a corresponding value of 10.5 stops at the higher ISO setting of the dual gain circuit. But as mentioned many times before, while transmissive tests using stepcharts are the simplest/most accurate/comparable tests of dynamic range – they also give us very little information regarding how the camera responds to colors and detail across that range. That is why we are introducing an additional lab test, the latitude test. The cinema5D latitude test First results of this new test have been shown already in the Panasonic S1 VLOG article of my colleague Johnnie, but let me briefly explain again what it is. Latitude basically shows the capability of a camera to retain color and detail while over- or underexposing the image and normalizing it thereafter. In our latitude test, we have a standard scene where either Johnnie or Nino are sitting next to a Color Checker. Standard studio test scene showing Nino’s face at 60% luma value, the white sheet of paper at 65% luma. The face is exposed at max. 60% luma value, the white sheet of paper at 65%. From there on in a succession of tests we always double the shutter value from scene to scene, hence underexposing the scene by 1 stop from the previous one until we have reached 5 stops of underexposure. BMPCC 6K 5 stops underexposed Hence, we brutally underexpose the studio scene – and then normalize it back to 0 stops to reveal the color, detail  and noise. This is really a torture test and the images of most cameras with less sophisticated codecs break down already at 2-3 stops underexposure. Both the Pocket 4K (using 3840×2160 resolution) and 6K (6144×3456 resolution) were setup with BRAW 3:1 constant bitrate, ISO400 25p. The shots from both cams were graded in DaVinci Resolve using a Blackmagic film to video LUT, and then I tried to match both cams as closely as possible by some smallish tweaks. BMPCC 6K 5 stops underexposed – pushed back to 0 via the camera raw tab in DaVinci Resolve And above you can already see the result – the BMPCC 6K camera fares very very well in this test. It starts to show horizontal stripes (which cannot be removed by noise reduction as you will see further down) and the noise becomes excessive, but color information is retained very well. See below the same scene, shot with the BMPCC 4K, also 5 stops underexposed and brought back to 0: BMPCC 4K 5 stops underexposed, brought back to 0 using the camera raw tab in DaVinci Resolve Clearly, color information deteriorates with the BMPCC 4K and the image becomes pink. Let’s remember that both cams started like this: BMPCC 4K vs 6K at the zero underexposure studio scene setting. Here are both cams again side by side at 5 stops underexposure, brought back to zero: BMPCC 4K vs. BMPCC 6K at 5 stops underexposure, brought back to 0 Hence, in this test it becomes clear that the BMPCC 6K retains the color surprisingly well, whereas the BMPCC 4K image starts to become pink already at 3 stops under, and larger patches of pink noise appears – which is difficult to remove as you will see below. What I found interesting though, while the waveforms at zero underexposure look completely identical on both cams (after grading), the more we underexpose and bring it back by adjusting the exposure (by the exact amount of stops) in the camera raw tab in Resolve, the brighter the BMPCC 4K image appears. The BMPCC 6K image stays the same across the exposure range. BMPCC 4K vs. BMPCC 6K side by side at 3 stops underexposure, brought back to 0 using the camera raw tab in DaVinci Resolve – the limit of underexposure is reached with the BMPCC 4K whereas the Pocket 6K is still fine Now, as we shot in BRAW with both cams, the big question is whether using noise reduction in DaVinci Resolve can save some of the underexposed shots (temporal NR: 3 frames, threshold:30, spatial threshold: 10). Yes, it can, but only on to a certain point – as soon as the horizontal stripes start to appear in the image, noise reduction cannot get rid of those and I found that the pink chroma noise is not removed any longer at 4 stops underexposure with the BMPCC 4K. On the BMPCC 6K, noise reduction helps to get an almost stripe and noise free image up until 4 stops under – impressive! The 2x higher resolution of the BMPCC 6K along with noise reduction certainly helps to achieve this result. And this brings us also to the clear, final result, using noise reduction: BMPCC 4K is very clean until 3 stops under, BMPCC 6K until 4 stops under! (Note: this result is clear during playback of the video files – the static, scaled images in this article tend to look much better than the moving images). BMPCC 4K vs BMPCC 6K at 4 stops underexposure, brought back via the camera raw tab in Resolve, temporal and spatial noise reduction applied Conclusion The lab results obtained with the new BMPCC 6K are impressive to say the least. The combination of a very good dynamic range with a superb codec (Blackmagic RAW) leads to superb images. At a time where brand new much more expensive “cinema” camera’s are released with H.265 / H.264 as the only codec options, Blackmagic Design once more shows us all what is possible at this price point.  The only little drawback with the Pocket 6K that I see from the lab test is the rolling shutter value which is a bit on the higher side – given the lack of internal stabilization handheld shots are risky business with this camera. Have you made your first experiences with the new BMPCC 6K? What do you think? Let us know in the comments below.

Tilta redesigned the front logo piece on their BMPCC 4K camera cage to fit the new BMPCC 6K as well. All new orders from Tilta directly (with other resellers please check the exact version) are going to include the new logo piece. For previously ordered BMPCC 4K cages Tilta is offering a free (customers only pay for shipping) redesigned logo piece to replace it. Tilta BMPCC 4K Cage now fits the BMPCC 6K. As you probably already know, Blackmagic Design recently released (quite unexpectedly) their new Blackmagic Pocket Cinema Camera 6K (BMPCC 6K). We already compared the new camera with the older BMPCC 4K and Johnnie also shot a short documentary with the BMPCC 6K to review how it performs in the real world. Right now, we are working on a Lab test (dynamic range, rolling shutter, etc.), which is going to round up our BMPCC 6K review articles. Stay tuned for that. When I was testing the cages for our Ultimate BMPCC 4K cage review and shootout, of course I didn’t know that there is a new camera coming. When we received the BMPCC 6K I immediately re-tested all the cages we had available with the new camera and found out that only 8Sinn BMPCC 4K cage fits the 6K camera without any problems. The Smallrig cage was not in house anymore, but we received information that it also fits. The Tilta cage, our shootout winner, seemed not to fit the BMPCC 6K at first, but then I removed the front piece with the Tilta logo and the small rubber piece on the inside of that cage and it actually did fit. Very tight, but it did. Tilta Redesigned Logo Attachment for BMPCC 6K Camera Cage It looks like Tilta was listening to all the user rquests about their BMPCC cage compatibility and they now introduced a redesigned Tilta logo front piece, which is a tiny bit smaller and can accomodate the slightly larger BMPCC 6K body. Tilta promises that all new cage orders placed on their website after August 23rd will be compatible with the BMPCC 4K and 6K. That means all the BMPCC 4K cages now include the new redesigned logo piece. When it comes to resellers, like B&H for example, they might still have older versions of the BMPCC 4K cage in stock, so it might be better to ask your reseller before ordering. The replacement front logo part. Source: Tilta However, even if you receive the older version of the cage and you want to use it for the BMPCC 6K as well, the redesigned Front logo piece can be ordered directly from Tilta for free. You only need to pay the shipping costs. Shipping is a flat rate of $8 in the US (exc. AK/HI) and $20 internationally for this item. It includes the necessary driver and screws to switch out the logo plate on the older cages. This seems like a smart move from Tilta and I think many users like the Tilta cage and they will appreciate the flexibility of having one cage suitable for both BMPCC cameras. Do you own a Tilta BMPCC 4K cage? Are you going to order this modification? Let us know in the comments underneath the article.

The Blackmagic Pocket Cinema Camera 6K is out for a few weeks now – you can take a look at our full review here – and as you probably know it features a Canon EF lens mount. If you want to shoot with PL lenses on the BMPCC 6K, a new product just launched on Kickstarter: the Bezamod P6K. This product is not a simple “snap-in” PL to EF adapter. It is a modification kit that eliminates the flange depth limitation imposed by the native Canon EF mount. Let’s take a closer look. PL Lenses on Canon EF Cameras Adapting PL lenses to Canon EF cameras – or cameras with a Canon EF mount – is not something new. The flange focal distance of a PL lens is 52mm, and the flange focal distance of a Canon EF lens is 44mm. So a bit of simple maths later, if you want to mount a PL lens to a Canon EF camera, you need a simple mechanical lens adapter that corrects this 8mm difference. Indeed, you will still be able to focus to infinity with this type of “snap-in” adapter. Image credit: ShareGrid Some companies already manufacture such adapters like Fotodiox, MTF, and so on. What’s different between a standard snap-in adapter and the Bezamod P6K? Bezamod P6K The Bezamod P6K is a complete modification kit by cinematographer and colorist Clifton Stommel. A few years ago, Clifton already launched the Atoch C2S, an SSD recording option for the Blackmagic URSA Mini that we previously featured on cinema5D. Now, back to the adapter/modification itself, Clifton came out with this idea back in the days of the original URSA Mini and has been using it successfully on his productions. The Bezamod P6K is different from a snap-in adapter. Usually, according to Clifton: Snap-in type adapters are excruciatingly limited in their flange depth. What this means is that you cannot put any lenses in that have normal PL mounts! Personally, I’ve yet to work with a lens that is compatible with the snap-in kinds of adapters. Although not visible in the presentation video, the Bezamod P6K is a modification kit, which means you will have to remove the native Canon EF mount to mount the Bezamod. Otherwise, the installation of the package does not require breaking or removing any warranty stickers on your camera. Also, it is a user-friendly modification which is fully reversible, so you can return your Pocket 6K to EF mount if you want (or for warranty purposes). Clifton already successfully tested the Bezamod P6K with a considerable number of lenses, the full list is on the Kickstarter page. A couple of PL lenses that Clifton already successfully tried on the Blackmagic URSA Mini. Pricing and Availability The Bezamod P6K comes with a 1 Year manufacturer’s warranty and support. It retails for $225 as an early-bird pledge. The expected shipping date is set for February 2020, and the campaign ends on September 20th. For more information and back the project, please visit the Bezamod P6K Kickstarter page. Please be aware that this is a crowdfunding project and not a retail shop so do your research accordingly. cinema5D does its best to share only the projects that look legitimate, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition. What do you think of the Bezamod P6K? Do you consider backing it for your BMPCC 6K? Let us know in the comment section!