The Camera I ended up buying that checked all or most of the boxes for me in 2023

thefilmaddict

thefilmaddict

New member
As some of you know, I was looking for a good camera that I could travel with to shoot parts of a documentary with (and to also use as a b cam for interviews). I struggled and looked at a lot of different cameras. In the end, the Pocket 6K Pro turned out to be the camera I chose. As usual, I documented why I purchased the camera (pros and cons). I'm curious if you guys agree with my decision based on the strengths that I saw in this camera. This documentary is a labor of love (it's what I work on during my off time). I needed an affordable camera, that still delivers a really nice image. I think this was a good choice...

https://youtu.be/6CAPSEP4GyY
 
Last edited:
I used the 6k pro on a shoot. While I loved many things, ultimately it didn't fit my needs.

Pros:
- The large lcd screen is fantastic and the menu is to die for.
- Image quality and codecs are fantastic
- internal NDs

Cons:
- The battery life is bad. You'll either need to rig it or buy a battery grip.
- The ergonomics are unpleasant to say the least. The size and heavy weight makes hard to hold or put on a gimbal. The weight is distributed forward you have hold it by the lens or again rig it. For me a deal breaker.
- No viewfinder (you can buy one but it's expensive.)
- The raw while nice, you have to want to deal with the file sizes. You can add a portable drive but again that leads to more rigging
- It's not versatile as mirrorless cameras that can take photos.
- No continue AF. You'll need to pull focus manually which will lead to more rigging. This doesn't work well for gimbal or even interviews if you're shooting solo.

For me the cons out weighed the pros for my work. It would make more work for me increase the time and complexity of setup, and wouldn't be very versatile.
 
Peter C. said:
I used the 6k pro on a shoot. While I loved many things, ultimately it didn't fit my needs.

Pros:
- The large lcd screen is fantastic and the menu is to die for.
- Image quality and codecs are fantastic
- internal NDs

Cons:
- The battery life is bad. You'll either need to rig it or buy a battery grip.
- The ergonomics are unpleasant to say the least. The size and heavy weight makes hard to hold or put on a gimbal. The weight is distributed forward you have hold it by the lens or again rig it. For me a deal breaker.
- No viewfinder (you can buy one but it's expensive.)
- The raw while nice, you have to want to deal with the file sizes. You can add a portable drive but again that leads to more rigging
- It's not versatile as mirrorless cameras that can take photos.
- No continue AF. You'll need to pull focus manually which will lead to more rigging. This doesn't work well for gimbal or even interviews if you're shooting solo.

For me the cons out weighed the pros for my work. It would make more work for me increase the time and complexity of setup, and wouldn't be very versatile.
Click to expand...

I did address these issues in my video. I ended up with more positives than negatives, but I totally see where you are coming from.
 
One quick thought I forgot to mention yesterday about your video - and it doesn't matter at all and it's more of a FYI, I guess - is that you would only need several ND filters if you wanted one for each lens, but people also get one big filter (like a 82mm or 86mm) and use step-down rings for a few dollars with that one filter on multiple lenses (which is even a more PITA and goes along with the general PITA concept of screw-on circular ND filters as you mentioned).
 
thefilmaddict said:
I did address these issues in my video. I ended up with more positives than negatives, but I totally see where you are coming from.
Click to expand...
As long as it works for you is all that matters.

Until you hold it in the hand you don't full appreciate the odd form factor. I don't like how it tips forward on to the lens when it's put down. In combination with Sigma Art lenses it gets even more front heavy to the point where you hold the camera by the lens, putting stress on the mount.
 
As Peter said, the most important thing is that the camera works for you and your workflow. If you're happy youv'e chosen the right tool for your job, then other people's opinions don't matter. What kind of documentary are you shooting? Observational? A series of posed, lit interviews? You'll prioritise different attributes for different situations.

I started my career out of film school as a DP shooting commercials on 35mm film with a full crew where image quality was everything. When I got a chance to produce and shoot my own observational documentaries at the BBC I realised very quickly that image quality was WAY down the list of priorities for a doc camera. Ergonomics are crucial to capturing the right shots to tell your story and should not be underestimated.

If your film has any observational element to it where the unexpected might happen (and these always end up being the most important scenes in the film), I'd also suggest you reconsider the use of auto focus. When your subject is in a highly stressful, dramatic situation and it's all kicking off, your right brain is working overtime to get exactly the right shots. If your left brain is having to concentrate on the technical details of shooting, you're less likely to get the very best coverage. Auto focus now is so good there's no excuse for not using it in these situations to help you do your best work. For me in my workflow, no autofocus would be a deal breaker for a doc camera.
 
jvc said:
As Peter said, the most important thing is that the camera works for you and your workflow. If you're happy youv'e chosen the right tool for your job, then other people's opinions don't matter. What kind of documentary are you shooting? Observational? A series of posed, lit interviews? You'll prioritise different attributes for different situations.

I started my career out of film school as a DP shooting commercials on 35mm film with a full crew where image quality was everything. When I got a chance to produce and shoot my own observational documentaries at the BBC I realised very quickly that image quality was WAY down the list of priorities for a doc camera. Ergonomics are crucial to capturing the right shots to tell your story and should not be underestimated.

If your film has any observational element to it where the unexpected might happen (and these always end up being the most important scenes in the film), I'd also suggest you reconsider the use of auto focus. When your subject is in a highly stressful, dramatic situation and it's all kicking off, your right brain is working overtime to get exactly the right shots. If your left brain is having to concentrate on the technical details of shooting, you're less likely to get the very best coverage. Auto focus now is so good there's no excuse for not using it in these situations to help you do your best work. For me in my workflow, no autofocus would be a deal breaker for a doc camera.
Click to expand...

so true getting the shot and ergonomics are underrated
 
Tom Roper said:
A cameraman does not need an excuse to use manual focus.
Click to expand...

I feel strongly that this is blolox

I appreciate a puller with a wcu5 on a 23in in monitor in a black tent can do a rehearsed drama in a lovely way.

For the rest of us working on tiny evf or flippy sreen, with no 3 a/c doing a courtesey 18x36 flag over the operator in the sun that AF, and even MF focus confirm absolutely have an impportant place

Anyone who disagrees iss just passing pain to the editor. Or keepng the shoot in the slow lane while the camera department plays dick.

Ive been filming some food and my r6 is on the table behind the chopping board, just twizzle the focus until the box goes green - pin sharp. Sure get a wireless, get a remote monitor, get a rig, get a rod, calibrate the motor rig the wireles transmitter and receiver, make sure everything is charged you will do a nice job, drop any of those elements and you are better with a green square :)
 
morgan_moore said:
I feel strongly that this is blolox

I appreciate a puller with a wcu5 on a 23in in monitor in a black tent can do a rehearsed drama in a lovely way.

For the rest of us working on tiny evf or flippy sreen, with no 3 a/c doing a courtesey 18x36 flag over the operator in the sun that AF, and even MF focus confirm absolutely have an impportant place

Anyone who disagrees iss just passing pain to the editor. Or keepng the shoot in the slow lane while the camera department plays dick.

Ive been filming some food and my r6 is on the table behind the chopping board, just twizzle the focus until the box goes green - pin sharp. Sure get a wireless, get a remote monitor, get a rig, get a rod, calibrate the motor rig the wireles transmitter and receiver, make sure everything is charged you will do a nice job, drop any of those elements and you are better with a green square :)
Click to expand...

Facts. It's a misguided notion that practices on a movie set should be applied to all video work
 
Tom Roper said:
A cameraman does not need an excuse to use manual focus.
Click to expand...

I don't think this is a useful comment in this context My point is that when shooting observational docs during clutch moments when, for example, the police barge through the front door and unenxpectedly arrest your subject, you need to think like producer/director not as a camerman. Even the best operator and focus puller in the world doesn't have the mental bandwidth to pull perfect focus and make the optimal shot selection. What's the point of getting into the edit to find all your shots are perfectly in focus but you've missed the story? Are you going to ask the police to re-arrest your subject so you can get it second time around? The golden rule in observational documentary filming is that story is everything.
 
In my opinion at this moment the Canon C70 and Sony FX6 represent the pinnacle of best bang for the buck on the market. fx6 more into live, events, tv etc...and C70 for docos, commercials.
 
jvc said:
I don't think this is a useful comment in this context My point is that when shooting observational docs during clutch moments when, for example, the police barge through the front door and unenxpectedly arrest your subject, you need to think like producer/director not as a camerman. Even the best operator and focus puller in the world doesn't have the mental bandwidth to pull perfect focus and make the optimal shot selection. What's the point of getting into the edit to find all your shots are perfectly in focus but you've missed the story? Are you going to ask the police to re-arrest your subject so you can get it second time around? The golden rule in observational documentary filming is that story is everything.
Click to expand...

Nor do I think your comment is useful even in the hypothetical sense that you used it of a clutch moment. For example, there is allegedly video of Alec Baldwin's finger on the trigger that he claims not to have pulled in the accidental shooting of Halyna Hutchins. Would a green box on his eyeball have resulted in a more salient image capture of his trigger finger than a more general scene focus? I doubt it. I understand well the need to be rolling footage, and that an out of focus image is more important than a missed shot and that making the good shot with manual focus is not mutually exclusive in contrast to the impossibility that you imply. Maybe you can't.
 
You must log in or register to reply here.
Back
Top