electricjib
Active member
It wasn't that hard for me. I'm patient though and just did some light reading and had mine within a week from Kellards.
BMD 6K Pocket Cinema Camera
- Thread starter Teddy_Dem
- Start date
It wasn't that hard for me. I'm patient though and just did some light reading and had mine within a week from Kellards.
NorBro
Major Contributor
Indeed...plus there were many on eBay for a few hundred more, which personally would have been worth it to me if I needed a new camera ASAP. If I could have waited and was not planning on renting then the decision would have been more difficult "wasting" that extra money on the overpriced availability.
P.S. scorsesefan and I have some history as I beat him (and the rest of the world) to purchasing a used Pocket at B&H at a time when it was very difficult to find.
(They put it up during their closing and it was sold to the fastest "clicker" once they reopened. It wasn't the first time I have done that. lol)
P.S. scorsesefan and I have some history as I beat him (and the rest of the world) to purchasing a used Pocket at B&H at a time when it was very difficult to find.
(They put it up during their closing and it was sold to the fastest "clicker" once they reopened. It wasn't the first time I have done that. lol)
puredrifting
Major Contributor
My only question is, will the BMD PCC 6K break? A lot? Repeatedly? BMD cameras are still haunted by poor QC and a poor record of repairs and exchanges needed.
Some YouTuber got his hands on one already. No non-BMD footage yet.
A British channel (CVP?) says that it's next to impossible to record the highest fps in 6K Raw because CFast 2.0 is too slow for the internal recording and they chose an outgoing (i.e, kind of obsolete) USB connection (5 Gbps) for their 800 MB/s 3:1 6K Raw.
File sizes be damned.
A few folks graded and posted the footage BMD provided. The footage didn't break.
A British channel (CVP?) says that it's next to impossible to record the highest fps in 6K Raw because CFast 2.0 is too slow for the internal recording and they chose an outgoing (i.e, kind of obsolete) USB connection (5 Gbps) for their 800 MB/s 3:1 6K Raw.
File sizes be damned.
A few folks graded and posted the footage BMD provided. The footage didn't break.
NorBro
Major Contributor
That's what happened with the first big URSA in 2014. The CFast cards were too slow then to record 4K/60p/80p/120p ProRes 444/422HQ, but Blackmagic thought of that and had created a "dual-card mode", but it was only for CDNG.
Each card would record every other DNG frame and then you'd dump both cards to your computer and copy and paste the files from one folder into the other.
Dangerous as heck to lose track if you're not a good data manager. It worked though.
Each card would record every other DNG frame and then you'd dump both cards to your computer and copy and paste the files from one folder into the other.
Dangerous as heck to lose track if you're not a good data manager. It worked though.
Sony Alpha Rumors are passing along a few tidbits about a new APS-C - and maybe more than one - Sony models. Supposedly one would be the replacement for A6500, the other for the lower tier (A6000?).
A6400 is selling at $900, so a more affordable entry level ($500-$600) offering is a possibility.
On the high end, Sony may want to smash the XT-3 specs. Or it could make an XT-3 clone for $1,200 or so. A riskier move would be to make a fully-loaded video monster for about $1,400. That would be of interest on DVXU.
A6400 is selling at $900, so a more affordable entry level ($500-$600) offering is a possibility.
On the high end, Sony may want to smash the XT-3 specs. Or it could make an XT-3 clone for $1,200 or so. A riskier move would be to make a fully-loaded video monster for about $1,400. That would be of interest on DVXU.
Yeah, I think the S1H looks to be a killer camera, especially if Panasonic decides to work with Atomos to enable Pro RAW recording. The S1 footage with the Vlog update has made me even more excited to see what the S1H has to offer.
This isn't try to take anything from the BMD 6K Pocket. It offers a tremendous amount of functionality for less than the price of a good stills lens. This is a great time to be looking for a new camera!
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Hehe (thanks)
Anyway, every rumor site is reporting a slew of new models coming out at IBC (announced late August, presented in September). There's a Nikon Z APS-C, a Canon 90D APS-C and two APS-C Sony models mentioned a few posts above. All are supposed to have 4K but no exact specs are currently known. Any sort of Raw is unlikely but, with the native glass and the auto focus, they could be reasonable quality 4K units in the low to mid $1,000 range (90D is supposed to be last DSLR for Canon at $1,300). In other words, that territory is getting very congested and BMD is trying to diversify a tad. IMO, a good move.
They'll need a sensor first. The one inside GH-5 could possibly be used as a base. Or they could partner up with someone.
Panasonic, of course, has been the driving force behind the MFT but, with their own line of full frame cameras, they will probaly push MFT way down in the pecking order. Otherwise, they'd have GH-5S selling for almost the same price as S1. Which is full frame V-Log. And Nikon Z6 is even less.
Beside that, the whole photo-video product map looks very murky at the moment. The Japanese Big Four have been holding their prices and features for a long time and now, all of sudden, the floodgates opened for all sorts of high pixel count stills and 4K/6K video at a very affordable price range. The industry revenues and profits have been shrinking at a rapid pace (Canon's down 56% Year-to-year, Nikon's 72%, Olympus is swimming in red ink) and the latest generation of smartphones are using the periscope zooms to deliver a level of performance deemed unattainable until only a couple of years ago. And this week, Xiaomi announced that they're working on a new phone with a 108 MPX Isocell sensor from Samsung. That's right. 108 megapixels. And so the spoils, for the time being, go to the smartphone makers while the photo-video industry is fighting for the high end crumbs.
Thomas Smet
Veteran
While the prospect of stills kind of sucks on the BMD cameras my mind was just blown when I thought of what 4x3 now means on the 6k camera. 6144x3456 crops to 4x3 for 4608x3456 or the exact same 4x3 sensor resolution of the Panasonic GH4. Woah!
4x3 was abysmal on the P4k due to the 16x9 sensor cropping to such a dinky size but stills resolution for many print sizes is no longer an issue on the 6k camera.
Too bad it lacks a ton of stills features or it may have been my dream hybrid camera.
4x3 was abysmal on the P4k due to the 16x9 sensor cropping to such a dinky size but stills resolution for many print sizes is no longer an issue on the 6k camera.
Too bad it lacks a ton of stills features or it may have been my dream hybrid camera.
I believe EF-S lenses worked on the Ursa Mini 4K EF mount. On the Ursa Mini 4.6K EF (which had a larger sensor), some EF-S lenses would vignette if using the full sensor area since the 4.6K sensor (29.1mm diagonal) is a bit larger than the Canon APS-C image circle (26.82mm diagonal)
The Pocket Cinema Camera 6K has a slightly smaller sensor than the Ursa Mini 4.6K. The diagonal on the Pocket 6K sensor is 26.5mm which just fits within the standard Canon APS-C image circle of 26.82mm
So I'd expect that EF-S lenses likely will work on the Pocket 6K (without vignetting), although we might need to wait from actual user reports to be 100% sure.
puredrifting
Major Contributor
With the trend toward larger and larger sensors, I predict M43 will just fade from view. Wonder if and when they'll have a GH6? People are generally convinced that mirrorless cameras are subpar if they aren't FF. I think this is driven more by the still shooters than the video users but it has an affect on design. I have rarely heard of anyone who shoots stills with the GH5. For the XT-3, it seems as if the stills users about 80% versus 20% who use it for video.
From a marketing and cost perspectives, prices would cluster around sensor sizes, which would then accommodate larger bodies and larger feature sets. It'd start with P&S with 1/2.3" types, then with 1" and MFT next, APS-C third, full frame fourth and medium format fifth and last. There's some overlap, where an entry level model of a tier above can be more affordable than a fully featured model of the tier below. But too much overlap screws up the overall product map.
With the above in mind, let's look at currently available models.
A6400 is $900, AF, 4K, flippy screen, SLog2. The Potato Jet (YouTube channel host) shot some footage on it in Slog and then graded it against his Red (something Dragon'ish, not Monstro) and achieved pretty similar results. Which makes it good enough for most projects, let alone consumer tech.
Darryl Carey (an Aussie bloke) did a video on a Dragon-X 5K that was shot on his own $2,500 S1. In a studio with controlled lighting, the video - though not necessarily Darryl, who had a scruffy baseball hat on - looked gorgeous. He's a Panny "ambassador", who said that he needed Dragon-X's higher frame rates for a (wild life?) project.
So, would a G6 fit above A6400? Possibly. But it'll need 6K, higher DR, full V-Log, CFexpress, high bit rate codec, etc. What about a rumored A6700? If it's feature packed, then highly unlikely. And I don't see A6700 going much higher than $1,300 of XT-3 either.
And then no one knows how much quicker the lower end will crash with the new smartphone models having both optical and digital zooms.
Side story - after the rains in SoFla, we have had some "minor" flooding. A friend takes a shot of an Elantra being stuck in a deserted parking lot, with its owner having to leave it there with the passenger door open while waiting for the water level to subside. The driver side would probably remain without access for some time. My friend has an X S and, without a zoom, he basically took a wide shot of the whole parking lot. Within a year, he should have the ability for a totally different composition.