The new Blackmagic Pocket Cinema Camera 6K has landed. It offers (up to) 6K resolution, a Super 35 sensor, and a Canon EF mount. Aside from those changes, what are the main differences (or similarities) between this one and the older Pocket Cinema 4K? In case you are already a proud owner of the 4K version, will it make sense to upgrade? In the above video and in this article I’ve tried to answer this question.  BMPCC 6K (Left) VS BMPCC 4K (Right) Blackmagic Design, the company who engraved on its flag to cater us, the filmmakers, with high quality “on the budget” tools for filming/editing and postproduction, has done it again by delivering a camera that obviously managed to stir our swamp. Personally, in all my cinema5D years, I haven’t seen such a phenomenon where people endorse a camera so fast. Probably Blackmagic Design did something right. Apparently, when it comes to “value for money”, people are more forgiving when some (important) features are missing. But for now, let’s leave usability aside as this is not the essence of this article. 8Sinn cage. Perfect fit Stay Tune – Three Parts Continues Coverage As this camera proved to be of great interest for many, we’ve decided to dedicate the extra time to review it inside out. Here in part one, I’m talking about how the new camera compares to the older BMPCC 4K. The second part, which I took the new BMPCC 6K for a short spin and shot a short documentary with it, will see the day of light early next week.  The third part is a bit more technical. Gunther, my colleague, will conduct aDynamic Range, Latitude and Rolling shutter tests during next week. Of course, we will share our results with you guys as soon as we have them ready. EF Mount VS Micro Forth Third Mount BMPCC 6K vs. BMPCC 4K – The Differences 6K Resolution: Let me start from the obvious… Unlike its 4K brother (or is it sister?), the new 6K camera can be used for filming in up to 6K resolution in different frame rates. The nice thing is, that even when filming in the highest resolution and codec, a fast SD card can still be used for convenient internal recording. (BM RAW 3:1, 6144 x 3456. We heartily recommend using Angelbird V90 cards. They are fast and reliable). Mind you that this will work when filming in 24/25p. If your wish is to film in 50/60p, CFast 2.0 cards will become your best friend. Both cards options are rather limited when it comes to capacity, so a feasible solution will be to use an external SSD. Again, I can recommend using Angelbird as I’m yet to be disappointed with their media quality or, customer service. (Wish the same could have been said about Lexar. What a horrible customer service experience. NEVER again!). By the way, speaking of resolution, mind you that recording in 6K is available in Blackmagic RAW codec only. (4K can be recorded in ProRes). I guess Blackmagic design wanting people to convert and use their DaVinci resolve platform for the purpose of editing. S35 sensor: Unlike its sister (or is it brother?), the sensor inside this camera is larger than the one found inside its 4K sibling. (Super 35 vs. Micro Four Third). In fact, it is a little bit smaller than other S35 sensors, especially those made by Canon, but who are we be too so picky… In general, the advantages of having a larger sensor are a wider field of view, easily manipulating depth of filed and, depending on the sensor pixel count (and pixels size), better lowlight capability. Active Canon EF Mount: BMPCC 4K has a Micro Four Third lens mount. The new BMPCC 6K is now equipped with an EF lens mount. It’s absolutely legit to ask if Blackmagic did the right choice here, but in all honesty, I do understand why they went this way. The good thing, it’s time to air brush some dusty EF mount lenses. I thought I’ll never use them again… The less good thing, any other modern mount could have taken this camera to a different level when it comes to lens usage flexibility (shorter flange, bigger chance for adaptivity). In a way, that’s where the older BMPCC 4K shines. The MFT mount is very adaptable. Throw a Metabones Speed Booster EF to MFT ULTRA  0.71X on it and bang, your field of view becomes wider (even more than the one found in the new camera), and on top, you gain one stop of light. As a result of using the EF mount on the new BMPCC 6K camera, NOT all cages suited to the 4K model will fit. We can confirm that 8Sin and SmallRig cages will. In regards to Tilta’s cage, “as is”, the cage WILL NOT fit. With a little adjustment that forces one to move the front nose part (“Tilta’s logo”) and the very small rubber band under it, it will fit, BUT it will also be VERY tight and can cause some scratches to the camera body itself. Photo capabilities:  Up to 21.2MP still image capture. This is an improvement over the 8MP the BMPCC 4K offered. Will test this feature when in the field. Price:  BMPCC 6K is $2,495 and the BMPCC 4K is $1,295. No doubt that both camera prices are fair, yet, it is a difference that should be mentioned. Same Inputs and Outputs BMPCC 6K vs. BMPCC 4K – The Similarities Where to start. Both cameras share so much together. Excellent OS (The best in the industry to my taste), color science, 1920 x 1080 touchscreen 5″ LCD, buttons layout, general camera body structure (but the upper EF mount and lower ventilation ribs). Inputs/outputs, power options. Even the battery life is almost the same. The advantage goes to the new 6K camera as it was running about 6 minutes longer… (Yehhh). When it comes to autofocus performance, both cameras showed inconsistency, so each did a bit better on a different round (long story short, both behaved the same). Weight-wise, the BMCC 6K is 168g heavier. I guess I can live with this… When it comes to low light, I’ll try and take a closer look, but for now, it looks as if both are performing in a similar way. Dual native ISO values are the same, the cleanest image should be obtained when using ISO 400 and ISO 3200. Last but not least, even the rolling shutter effect seems to be visually similar. As I wrote before, we will test and come up with a number soon. BMPCC 6K Conclusion: Both, the old BMPCC 4K and new BMPCC 6K are very efficient filming devices. At the end of the day, it really depends on your needs and budget. I guess if I was a BMPCC 4K owner, I wouldn’t rush to replace my camera, while if I was in the market for purchasing a new capable device, the BMPCC 6K would certainly be a candidate to capture the top of my list. Music for the above video is courtesy of MusicVine. Get 25% off your next music license with code C5D25 (valid for one use per customer). If you are an owner of the BMPCC 4K, please share with us your thoughts. Did it cross your mind to change your beloved 4K camera? If yes, did you pull the trigger? I’m genuinely interested to know why. 

Edit: Adding the Panasonic GH5s to our list. Simply left it out by mistake as I was already testing it during 2017…. Here at cinema5D we feel lucky enough to test, review and share our unbiased honest professional opinion with our filmmaking community. The reward is the trust we get from our audience. This leads me to our “Best Mirrorless Camera for 2018” list. EVERY camera in this list was tested by us inside-out and in regards to the winner, we welcome you to comment below. Rest assured that 2019 will be EVEN MORE exciting, but for now, let’s say goodbye to 2018….  2018 is slowly but surely fading out and I hope you will agree that this year was one of the best for the aspiring (independent) filmmaker when it comes to the choice of production equipment and especially high quality mirrorless cameras. During this year, almost every major camera manufacturer released shiny new toys, but for the sake of this article, we will only concentrate on large sensor mirrorless cameras ranging from micro 4/3 inch to full frame sensor sizes. We are also fully aware that at times we will be comparing “apples to oranges” as some of our final candidates were simply designed to win the hearts of different users, yet as independent (and at times “on the budget”) filmmakers we at cinema5D tend to believe that one will be investing his/her hard earned cash on only a single camera that might serve him/her best. Full Frame Category Winner – Sony a7 III It’s funny to think how February 2018 looks so far away, but that was the time when I first saw the camera and had a chance to play with it a bit. Already then it was clear that Sony had created something unique when it comes to sensor size, performance and price point. My assumption was reassured after reviewing the camera a month later. The new Sony a7 III turned out to be a camera that redefines the word “basic model” (This is how Sony referred to it), and if this is what Sony puts in a basic camera (features and quality/performance wise), then there is certainly something to look for during 2019. (cough cough, Sony a7S III)… Here is how I concluded my opinion about the camera after reviewing it: Sony a7 III Conclusion: The key element for me is the right balance between its price and specifications. Sony did a really good job in packing a lot of technology into a well-priced full frame mirrorless camera body. In my opinion, this is a great all-round shooting device with a good level of video performance and a nice stills functionality (at least this is what I heard from colleagues who have tried the camera and are shooting photos professionally). Our desires for 4K higher frame rates like 50/60p, higher bit rate,  colour depth and maybe even a built-in ND filter will have to wait for the next round of announcements. Full Frame Running Candidate – Canon EOS R: I recently reviewed the new Canon mirrorless camera and while technically it is being regarded as a full frame camera, when it comes to shooting video, the image is heavily cropped but for the sake of order let’s leave it here, in the full frame category…. All in all it performed well but I’d be curious to see what Canon has under its sleeve for 2019. The people from Canon we talked to emphasized the fact that this is a “first generation” mirrorless camera so hopefully, some of its shortcomings can be fixed on the next model to come. Missing from our list – Nikon Z6 and Z7: We simply haven’t had a chance to test those cameras yet but as good as they might be for shooting video, when looking at recent mirrorless cameras sales figures coming out of Japan and the declining shares of Nikon, I have to have my doubts if any of those new cameras will really be a turnaround for Nikon in the ever-evolving mirrorless video shooting market. APS-C Category Winner – FUJIFILM X-T3 FUJIFILM was very busy bringing nice well-budgeted filming tools for the independent filmmaker during 2018. In February they introduced the X-H1 which combined high-quality video performance and in-body stabilization system. Later in September, the X-T3 was released. While the X-H1 is a good camera, the X-T3 has managed to become one of my favorite working tools for the following reasons: Ease of handling, picture quality and autofocus performance (just to name a few). In general, this camera feels like a “Swiss Army Knife” when it comes to flexibility and choice of resolution/frame rates and such. Last but not least: the price. This camera gives competitors a run for the money when it comes to video and photo performance. FUJIFILM really managed to create and deliver an affordable high-quality working tool. What is really missing in order to make this little camera even more capable is an internal body stabilization system but even without it, with the right choice of lenses, (Especially for run&gun situations), this camera really shines! Here is how I concluded my opinion about the camera after reviewing it: FUJIFILM X-T3 Conclusion  It is no secret that FUJIFILM is heavily invested in making affordable cinema lenses for E (Sony) and X (FUJIFILM) mounts (MK and MKX series of lenses). In my opinion, this is guaranteeing us that FUJIFILM will not stop here. Furthermore, by introducing the first ever APS-C sensor size camera that can shoot 10-Bit video internally, FUJIFILM is positioning itself at the forefront and becoming a serious candidate to consider when thinking of shooting video on a mirrorless camera. It is one of those companies that have no higher video market share to protect and as such, they are free to move forward as fast as their R&D capabilities and budget allows. This particular camera should get some love and attention from the filmmaking community. For users who are heavily invested in lenses from other brands, I can only hope that some sort of a program can be established by FUJIFILM or alternatively, some other solution can be found in order to make people actually try it. We hear a lot about the love for a particular  “colour science”. This camera can easily produce “analogue looking” images and furthermore, if you take photos with it, in my opinion, it is the one that looks the least digital. APS- C Running Candidate – FUJIFILM X-H1 As I wrote above, this is a very nice camera with the advantage of having an internal body stabilisation system but other than that,  it can not compete in terms of picture quality and autofocus performance with the newer X-T3. Micro 4/3 Category Winner – Blackmagic Design Pocket Cinema Camera 4K Announced during April this year, this much anticipated new Pocket Cinema Camera has already been shipping since October and with no doubt, it managed to capture the attention of many, mostly because of its capabilities in shooting RAW and ProRes in a small package, exceptionally nice images, and a very attractive price.  When I mentioned “comparing apples to oranges”, I was referring to this camera. Some of its shortcomings like the absence of an in-body stabilization system and the absence of a continuous autofocus function are regarded by some as “not needed” as the word “Cinema” should already indicate to what target users Blackmagic design aimed when designing the camera. This might be true, but when looking at a saturated competitive market, I think it will be wise to look beyond the “Cinema” badge and evaluate the camera and what it can do opposed the other alternatives out there. I’m fully aware that the last sentence alone might cause some people to respond and question if the BMPCC 4K and the FUJIFILM X-T3 (for example) can be even compared. Again, as I see most of the people spending their money and buying ONE production tool, my clear answer is YES! Here is how Nino concluded his opinion about the camera after reviewing it: BMPCC 4K Conclusion There are many more things to say about the Blackmagic Pocket Cinema Camera 4K, but please do watch the video if you haven’t seen it yet, as many things are covered there in more detail. Blackmagic really did their homework with this one and listened to as many customers as possible when designing the successor to their original Pocket Camera. The image out of it is beautiful and “cinematic”, the dynamic range is better than the one of similar cameras in the market right now, and it’s just very enjoyable shooting with it. It’s not a perfect camera of course, but it has a lot to offer. Micro 4/3 Running Candidate – Panasonic GH5s Amazing how time is flying. I tested the GH5s at the end of 2017 and published our review at the beginning of January 2018….All in all, it is a very solid camera with a much enhanced lowlight performance over the original GH5. The questionable autofocus system was greatly improved later this year when the latest firmware was introduced. Another thing that bothered some users was the absence of IBIS. As the GH5 has it, many were hoping to see this feature being implemented in this camera also but for different reasons that never happened. Here is how I concluded my opinion about the camera after reviewing it: In my opinion, the new Panasonic GH5S is a very capable camera and a more versatile shooting tool than the original GH5 – unless you are a photographer. The lacking IBIS is a let-down. FUJIFILM X-T3 is our winner for best large sensor mirrorless camera for 2018 Best Mirrorless Camera for 2018 – FUJIFILM X-T3 is the Overall Winner! All the mentioned cameras above are extremely capable filming devices so coming to a final conclusion was not an easy thing to do, BUT, when combining our actual shooting experience, general performance and price point, then the FUJIFILM X-T3 comes up as the best large sensor mirrorless camera for 2018. On a personal note: Since its introduction, I’ve shot several projects with it around the world and was not let down even once. I LOVE its small size, I love having an EVF and I love its versatility. It allows me, as an independent freelance filmmaker, to fulfill (almost) any request coming from a producer/director, be it concerning a resolution/frame rate/color depth and such. Sure it is not perfect but for the cost it is doing a great job for what it is. Last but not least: This article is all about different shooting tools. One should not forget that at the end of the day it is the storytelling that will win over an audience. Happy shooting and a happy new year (almost!) from the cinema5D team What is your favorite large sensor mirrorless camera for 2018? Please share with us your thoughts in the comment section below.

At this year’s Inter Bee show in Tokyo, our own Johnnie Behiri met with Blackmagic Design in order to discuss their latest updates for both DaVinci Resolve 15.2 and firmware version 6.0 for URSA Mini Pro cameras. We already reported about the updates to DaVinci Resolve 15.2 and Camera 6.0 in detail here. Here’s a round-up including the interview with Blackmagic Design. With version 15 of their popular editing/grading/audio mastering/delivery suite Blackmagic Design added a new tab to their one-app-for-all approach: Fusion FX. Now, just a few months later, Resolve 15.2 hits the streets and it comes with a lot of improvements to almost every aspect of this software. One part of Resolve to which special attention has been paid is the Edit tab. DaVinci Resolve 15.2 Improvements Blackmagic Design really pushes hard in order to get the editing part of their software right. In Resolve 15.2 the editing timeline renders much faster, resulting in a smoother look and feel. Also, a lot of animations within the UI have been improved. As a general improvement the part of DaVinci you are currently working in is being highlighted which makes it easier to keep track of what’s going on. Speaking of visual feedback: You now can easy track down bits of the timeline which contain duplicate frames (pieces of footage you actually have used before within the same timeline). Furthermore clips in the media pool show a visual indication if (and which parts) are being used in the current timeline. You now can load a second timeline or compound clip into the source viewer and send clips straight to the active timeline. This should increase the speed of your workflow! Two bins now can be viewed and accessed at the same time as well. Another nice improvement is the freshly implemented keyboard shortcut manager which is now a visual tool just like in Premiere Pro or Final Cut Pro X. You even can emulate keyboard settings to the aforementioned NLE’s. Furthermore you now can assign items from contextual popup menus to keyboard shortcuts. New FX Plugins & Audio Tools Additionally DaVinci Resolve 15.2 features new FX plugins such as Beauty (Studio version only) or Blanking Fill. More advanced plugins for the color page include ACES transform and Gamut Limiter. Edits and transitions applied to audio clips on the Edit page now can be further tweaked on the Fairlight tab of Resolve 15.2. Furthermore you now can edit multiple audio clip at the same time. A cool new feature is called Stereo Fixer. It helps you map your audio to the appropriate channels in order to avoid bad audio mixing. Common mappings such as stereo, reverse-stereo, mono and others are built right in. There are really a whole bunch of new features and a lot has already been covered by Nino in this article. If you want to dive deeper in all the new features make sure to watch the following intro video by Blackmagic: It’s Still Free Although Blackmagic tries hard to convince users to buy the Studio version by limiting certain features such as noise reduction or the new Beauty FX plugin, you must not forget that DaVinci Resolve 15.2 is still free to download. This is actually pretty incredible. You get a full-fledged piece of post-production software which gets frequent updates for no money at all. If Blackmagic maintain their current development speed, this suite of tools might get pretty dangerous for a lot of other (paid) NLE’s out there pretty soon. While it might not be the first choice for serious editing work right now, let’s wait and see how Resolve 15.2 will impact the market. I’m really curious what future versions of Resolve will bring. How about you? URSA Mini Firmware 6.0 This new firmware adds two important new features to the URSA Mini Pro camera: Blackmagic RAW and ISO 3200. Read all about this new RAW format in our initial coverage here. The new ISO doubles the current limit of ISO 1600 and should be a useful tool when shooting in difficult lighting conditions. When does the new Blackmagic RAW codec hit the popular Blackmagic Pocket Cinema Camera 4K (BMPCC4K) you ask? The answer is: It will but it’s not yet certain when. That’s not exactly what we wanted to hear but at least it’s coming! Need a refresher on this new RAW format? Watch Blackmagic Design CEO Grant Petty’s introduction here: CinemaDNG might be cool but you’ll end up with lots of GB worth of data and it really demands for a mighty powerful computer to cope with it so Blackmagic RAW might be the better choice offering a very good balance between quality and size. Plus it offers a much more modern approach to metadata handling. Links: Blackmagicdesign.com (DaVinci) | URSA Mini Pro | Blackmagic RAW Are you digging the all-in-one approach of Resolve? Or do you prefer Adobe’s take of individual software tool working together? What do you think about v6.0 for URSA Mini Pro? Share your thoughts in the comments below!