Ssd For Blackmagic Pocket 6k Pro
Jacquelyne Betance
Both cameras have a rolling shutter sensor. The URSA Mini Pro has a Super 35 sensor and can shoot in 4.6K up to 60fps whereas the Pocket 4K has a smaller 4/3 sensor and can shoot Ultra HD up to 60fps. The URSA Mini Pro has 15 stops of dynamic range versus 13 stops for the Pocket 4K.
I took both cameras side by side in multiple environments. I only had one lens of each type so in order to compare both cameras with the very same lens I shot a video with the URSA Mini first and then shot the same video with the Pocket + a Metabones Speedbooster ULTRA with the same lens, matching the frame as best as I could. I shot at the exact same settings on both cameras, except for the aperture which was sometimes slightly adjusted since the Pocket looks a tad brighter.
11.14.18 update : BM has updated Ursa Mini Pro firmware adding ISO 3200 and after some testing I think it handles low light better ! Also after this video I did a black shading calibration on my camera which removed these bluish tones in the shadow.
One interesting thing to note is than when shooting UHD with EF mount lenses, the frame size or crop factor at a given focal length is almost the same on the URSA Mini Pro and the Pocket 4K + Speedbooster Ultra , which is quite practical.
When it comes to media & codecs, the URSA mini pro wins. It can record on two CFast cards one after the other or two SD cards one after the others. One the pocket it can record on one sd card and one CFast card, one after the other. Both cameras do not feature simultaneous recording on two cards at the same time.
Concerning AP1, this is not the full ACES gamut but more or less rec2020, the way I get it. The grading will be done on AP1 in ACEScc/cct, which is a log version more suitable for this. The math, however should be done using the AP0 gamut.
From my perspective I would say that ACES grading is less forgiving than Log grading since the tone mapping has to be done manually. I would say that you have to work harder to get the desired results. I really prefer working in ACES though as this is a scene referred color space which brings more opportunities.
All the best and get back to me for a discussion. I think ACES needs to be discussed back and forth. Its a simple theory but when it comes to implementation it becomes more tricky and its easy to do things wrong.
Thanks for the responses everyone, I will try some different tone mapping methods as well applying the CLF>LMT Neon Suppression, and post the results I get here for comparison, I really appreciate the advice!
Something that has worked for me is using ACES transform in a yrgb timeline. I have the pocket and ave been setting colorspace and gamma to ACES in the raw tab - then in the first transform I just set it to acescct to acescct to get into the pipeline and an output transform set to acescct to rec709. It really seems to help with the oversaturation issues on the Pocket.
I still use this setup in some cases when I want to be discrete and keep the camera in my pocket. The setup is really lightweight, the focal length is pretty universal (around 60mm on FF format equivalent) and the aperture makes it usable in nonperfect light conditions.
To fully utilize the battery solution from the previous section I bought the Cheese Plate which allowed me to mount Anker directly to the rods in the back. This makes the whole configuration solid and allows shooting for hours.
Metabones Canon EF to BMPCC Speed Booster converted the camera to almost Super 35mm sensor almost low-light monster. Almost. But the difference was huge. Now, I could utilize my existing lenses much better and the camera got 1 2/3 extra stops of light. This is a real deal especially in the camera that is technically limited to ISO 800 (native). Another benefit of using the speed-booster was that the stabilization in my EF lenses worked like a charm.
Metabones adapter paired with Sigma 18-35 f/1.8 is a wonderful combo. Crisp, sharp image and aperture of f/1.0 give lots of flexibility and make the camera perform well even in really bad lighting conditions.
The Blackmagic Pocket Cinema Camera has a built-in microphone, but its quality is really bad. Anything external connected to the mic port will give better results than the on-board solution. Here, as an example, I plugged Rode VideoMic Pro which works pretty well as an on-camera mic.
Anything better has no point as the in-camera pre-amps will ruin the signal anyway so for a serious audio recording we have to use external recorders and use in-camera recording only as a reference to sync it in post.
This website uses cookies so that we can provide you with the best user experience possible. Cookie information is stored in your browser and performs functions such as recognising you when you return to our website and helping our team to understand which sections of the website you find most interesting and useful.
The initial version of the Blackmagic Pocket Cinema Camera was announced in April 2013. It featured a Super 16 1080p sensor and a Micro Four Thirds mount. It was initially only capable of recording in Apple ProRes, though a later updated allowed recording of CinemaDNG Raw.[1]
In April of 2018, Blackmagic Design announced an updated model, the Pocket Cinema Camera 4K, at a launch price of US$1,295. The first in the Pocket Cinema Camera line with the ability to shoot 4K video, this model included a 4/3 image sensor and mount, and is capable of both ProRes and Blackmagic Raw.[2]
In February 2021, Blackmagic Design released the Blackmagic Pocket Cinema Camera 6K Pro, an updated version of the Pocket Cinema Camera 6K, which features internal ND filters, additional EVF port, and a 5" high brightness flip-out screen.[4]
In June 2022, Blackmagic Design announced the second generation of the 6K model - the Pocket Cinema Camera 6K G2, featuring a redesigned body which now resembles the 6K Pro's and utilizes many features found on the 6K Pro, but was designed without built in ND filters.[5]
In September 2023, Blackmagic Design released the Blackmagic Cinema Camera 6K, which is Blackmagic Design's first full frame cinema camera.[6] Despite no longer including "pocket" in the name, it is sold alongside the rest of the "pocket" series, and is compatible with the Pocket Cinema Camera Pro EVF.
The Blackmagic Pocket Cinema Cameras come with Canon EF, MFT, or L-Mount lens mounts, depending on the model. Most of the lineup supports recording in both Apple ProRes and Blackmagic Raw (Blackmagic Design's proprietary compressed raw codec), often simultaneously - though the original Pocket Cinema Camera was only capable of ProRes recording, and the Cinema Camera 6K is only capable of Blackmagic Raw. The current lineup is designed to be comfortably hand held, and are compatible with accessories like an external battery grip and EVF. The entire line Pocket Cinema Cameras are advertised to offer up to 13 stops of dynamic range, and is capable of recording to removable flash media or external SSDs.[13][14]
Last week I was very fortunate to be able to borrow a Blackmagic Pocket Cinema Camera for the afternoon. I was meeting my daughter in Camden Market so I took the camera along and shot some bits and pieces. I have uploaded the footage to Vimeo
When I was asked if I would like to borrow the Blackmagic Pocket Cinema Camera for the afternoon I couldn't believe my luck, I had experimented with the original Blackmagic Cinema Camera last year and could not wait to see how the pocket version compared to it.
First impressions on taking it out of the box were very good, the camera is small but fits comfortably in your hands, it is solid and has a nice weight to it. It certainly looks and feels very well engineered, even the buttons are solid and have a positive action, they feel like they will last.
The screen is crisp and bright and does not suffer as much from reflections as the Cinema Camera screen. It is not a touch screen like the larger Cinema Cameras but the navigation buttons make it very simple to operate.
The menus are the same as the Cinema Camera, with four screens covering Camera settings, Audio settings, Recorder settings and Display settings. Unfortunately the version of firmware on the camera did not allow me to shoot in RAW so I had to shoot in ProRes.
On the left hand side of the camera are connections for Lanc remote control, a 3.5mm Headphone jack, a 3.5mm audio input jack, micro HDMI out and 12v power input. I was a little surprised to see that the camera does not come with a micro HDMI cable or a micro USB cable which you will need for firmware upgrades but I suppose they are easy enough to pick up.
On the bottom of the camera is a standard 1/4" thread mounting hole and a small door that opens to reveal the removable battery, SD card slot and a micro USB port for firmware upgrades. The SD slot supports SDHC and SDXC cards for recording which can be formatted HFS+ for Mac or ExFat for Mac or Windows. At the moment the only cards which are recommended by Blackmagic are the SanDisk Extreme and Extreme Pro in 64GB and 128GB sizes. To transfer footage from the card you will need to remove it from the camera and plug it in to your computer so make sure you have a fast SD card dock.
On the back of the camera as well as the display and navigation controls are buttons for focus, Iris, Menu and Power. If you have a lens with Autofocus pressing the focus button once will trigger Autofocus, pressing it twice will switch on "peaking" on the display which highlights crisp edges in green. If your lens does not support Autofocus pressing once switches on peaking.
The Iris button has two modes depending on whether you have chosen "Film" or "Video" range for your material. In Film range the Iris button will set your exposure to the brightest highlight in the shot, in Video range it will set an average exposure for the shot.
The camera came with a Panasonic Lumix 12-35mm Lens, which is a Micro Four Thirds lens with Autofocus and Optical Image Stabilisation. I was impressed with the images from this lens but I did have some problems with focussing. This might have been the early firmware in the camera or it might just have been me. Pressing focus would usually focus the lens far too close so I was forced to manually focus the lens. The focus ring on the lens is a continous travel model, with no end stops, so it was sometimes difficult to find the correct focus. I'm sure if I had more time with it I could get used to it but I found it a little awkward.
c80f0f1006