Leaderboard

This isn't click-bait BS, let's actually talk about why 6K RAW cameras aren't really needed. I see two main reasons: Many cameras already shoot 6K downscaled to a 4K output (and the GH5 even has a lower-processed 5K anamorphic 4:3 mode) so the resolution benefits of 6K debayer resolution for a 4K delivery are already being enjoyed by many people For those who are claiming you need 6K to reframe for a 4K output, it is likely you don't know what reframing actually looks like There is a third reason - that resolution has absolutely nothing to do with how good your film is, but I'll just assume that people who are desperate to get more resolution are probably not yet ready to hear this and I'll move on and pretend it somehow matters. Much analysis has been done of the 6K -> 4K downsampling cameras, so I won't replicate those conversations, but instead let's look at the reframing argument. If you're shooting 6K to reframe and get a 100% 4K crop out, you can reframe into the image up to 150% . ie, if you want to match the same re-framing with only a 4K source, you must scale up that 4K source to 150%, effectively using a 2.5k source. It sounds terrible, and despite people repeatedly saying that ARRI cameras capture at 3.2k and upscale to 4K (a 125% upscale) people still dismiss upscaling out-of-hand without actually knowing what difference this scaling makes, and being too lazy to actually test it themselves. So I did it for you.... I look forward to people arguing their point in the face of overwhelming evidence.... ??? That is, unless you're delivering in 6K and also want to re-frame heavily in post, but seriously - who would be doing that?

Yeah, I was careful not to add the "but you probably wouldn't want to" so that I could retain the technical win

It still seems like you haven't fully understood. The Netflix 4K requirement is for productions made by Netflix. I can use whatever I want and if it's good enough they will accept. To this day almost half of all the movies at the Oscars etc are shot on film or HD. And they all go on Netflix. Netflix even still pick up TV shows shot on s16. This has been talked about to death on this forum in the past. So let's get back to the real subject.

I own a Canon EOS M6 with the EV-DC1 viewfinder and thought I would try shooting video with an old Canon FD-series 35mm lens and a EOS to FD adapter. Here is the result. It's not the greatest video ever, but it is what it is. I had no difficulty nailing focus because the focus peaking feature on the M6 is excellent and easy to use. Plus, when your subject is more than 6 metres (20ft) away, the focus ring on the lens will be (or should be) at infinity so that everything will be in sharp focus anyway. If there's anything I've learned from this experience, it's that auto focus is great, but it's an aid and not always a total replacement for good focussing skills. If the rumoured Canon EOS M6 Mark II does end up having uncropped 4K, I might pick up a Mark II body so I can shoot in 4K. If not, I'll get a M50 body and some C-mount lenses with an adapter so I can compensate for the extreme crop in 4K. in_wortley_village.mp4

It still useful for stabilising in post

The field of view will bit a bit wider with a P4K + Speedbooster. The crop with a P4K + Speedbooster = 1.28 (0.64x) or 1.42 (0.71x) vs. a standard super35 crop of 1.5-1.6. The P6K sensor is larger and is able to capture 6K raw images and some faster frame rates than the P4K. Most everything else is very similar / same. Also, I have seen comments to the effect that a 6K image downsampled to 4K makes up for the Bayer pattern and will produce a "true" 4K image. So, theoretically the P6K image may be a bit better than the P4K. Plus, you get bragging rights, since many people bash the P4K because it *only* has a M4/3 sensor. They won't be able to say that about the P6K (/sarc)

You'll want those Resolve CM settings at default; the entirety of the data is accessible. One can think of the input and output settings in Resolve CM as a 'global CST', so to speak. For 2020, one could then use Arri's 2020 from their generator after the converted LogC. Granted, accurate post monitoring workflows can be challenging to set up. https://www.arri.com/en/learn-help/learn-help-camera-system/tools/lut-generator

The HLG Pre maintains the entirety of the captured gamut, converted to VLog (and then to LogC; log profiles are wide gamut): Hlg Pre to VLog EC LogC

B. For sure. 18-35mm is too long for me, doesn't match my style at all. If you do the X1.55 or X1.6 maths then is almost a 29-30mm, not wide enough.. For the P4K the Olympus 12-100mm will be my run n gun. For C cameras I use a lot the 18-135mm EF-S for run n gun.

Don’t be too hard on yourself, sometimes a new lens can make all the difference or sometimes an Ursa, a GH5, a BMPCC 4K or maybe the P6K will “do the work?”

@mercer Here's everything Grant mentioned regarding the P4K update v6.6 expected 'in a month or two'. 1. Many more HUD languages 2. One screen level, using built in gyrochip. 3. Gimbal support to allow start stop and focus on popular gimbals. (No mention of what those are) 4. 4k 2.4:1 - s16 - 1.33x anamorphic desqueeze & 16x9 preview - 4:3 anamorphic 2x desqueeze preview 5. Hopefully a few other little surprises

Been a week now of doing my own vlog tests. For my kind of work this is all the DR I need. 1 stop over outside and 2 stop over when there's a good mix of shadow and highlight. Also setting my zebras to 95%. I'm actually quite satisfied with the eva1 rec 709 conversion LUT and just grade by look. Compared to XT3 and A7iii this is by far the most flexibility I have in post for color grading. I can push hue and saturation and even add color boost in resolve and I'm not seeing any banding or artifacts. I know RAW is still king but the convenience I'm getting with IBIS and decent AF is making my shooting that much easier. I wish they add more video assist features like false colors and vector scope.

There's no reason it won't. EFs are made for APSC sensors, which this is. The only reason they don't work on speed boosters is because the glass in the booster stops the lens from clicking into onto the mount. On the P6k, there's no glass between the mount and the sensor, so nothing to get in the way.

Oh yes, those ones I forgot about them. But they reduce the light transmission and have a "crop factor". They are reversed speedboosters. But technically you can, you're right

Aside from F mount, you can adapt PL, M42, Contax C/Y, Canon FD, Minolta MD, Leica R amongst others. The only ones that you are excluded from is Leica M, Sony E, L mount and of course m43.

I picked up a P6K (arrives Monday) to go along with my 3 P4Ks (and others). I guess I am a fan of Blackmagic (and Panasonic). I hadn't thought this through until after I purchased the P6K, but there are a couple of things with the P6K that I am going to have to consider: The P6K files are more than *double* the size of the P4K files, when recording BRAW. I wonder how well my existing systems (computers, storage, etc.) can handle this change. You can't record DCI4K or 4K on the P6K, unless you record ProRes. I will now be forced to transcode the files to resize them or I will lose the benefits of BRAW. The photosites are apparently smaller than on the P4K, so I wonder about the impact on low light performance. It seems like the P6K has a little more latitude in the highlight regions. I guess that I will have fun testing (avoiding work) next week

I'm not sure what you are talking about? Are you saying AF is not "Pro"? Honestly I could care less what is "Pro"... I use a gimbal and motion controllers and often times control multiple cameras at once. AF is a needed feature for these situations. I'm not talking about elaborate focus pulling... I'm taking about locking onto a subject and keeping it in focus. The primary reasons I do not buy Reds and Arri are: size, weight, lack of AF and convenience. If that changes I might have to rethink things. This new "pocket" camera is simply too large and bulky to be the kind of camera I would carry day to day. It's size and bulk relegate it to planned shoots. The kind of shoots my C200 is used for. The only thing this camera has going for it imo is price. But honestly, price is not a dominant factor in my purchasing decision. The more important factor for me is convenience of use... because if it is not convenient to use, well... I don't use it.

Works, I will throw off video later, so it was succeeded to start Hybride Log Gamma AVCHD 50P

I see GAS all over the place. Happens every time a new product is released. If anything it will help keep the companies afloat ? (this comment is brand agnostic). As long as BM releases better products at low prices (even if I don’t buy them) it’s a win down the road.

lumix gx9, at the moment I check formats

That will only be the brain. So maybe add another $5k to make it usable. If not more.

+1 ...and I hope they pick up my film which is being shot on a super 16 Arr sr 2

..or the ,almost, half price of the Z cameras? Also, don't you need a Hydrogen to make it operatable, or something?

The most intriguing part to me is the larger S35 sensor and EF mount. I hope they did something to improve battery life. 6k is cool. Lots of talk about “adapting to the future. ” It is an interesting time with a lot of commercial work literally being shot on 16mm and 35mm film right now. I am curious if the resolution war even as big of a deal as it was even a few years ago?

Face to face, if someone said that to me at a film festival, it would be terrible. I’d probably be gobsmacked and just say something like, “okaaay” and walk away thinking, “man, that guy was cruel.” I’m pretty sure I wouldn’t feel like talking about a short documentary dog movie at that point. And along those lines, asking for advice from some people that consider me condescending might not be the best bet either. Certainly apologies to you if you’ve felt condecendent or patronized by me. FWIW, your writings here offer some of the better insight I’ve read. Any slight by me to you would have been unintentional.

i'm going to play devils advocate momentarily, they may demand 4k but what do they deliver ? I live a long way from any broadband connection so my viewpoint is extremely biased, however you try pushing 4k down through the internet to everyone, that sucker is simply going to melt. i notice tv stations are falling over themselves to present us with hd content let alone 4k, where i am 38 channels of 576i compared to ( lets be optimistic and ) say 4 channels of hd hmm thats like an excellent ratio dont you think ? Australia at least, is a long way behind the eight ball where hd and 4k are concerned. How other countries have it sorted i have no idea. It maybe true you can easily buy a 4k tv but getting or steaming content to play on that beastie is another issue all together i feel. Unless you live in a city 500 meters from a broadband hub, lucky you. What sort of data plan would you require for 4k or 6k anyway ? HD can chew through the gigabytes, 4k or 6k will be epic and next level, and require superconductors and still probably melt both polar icecaps, but they were melting already so its no big deal. There is 29,614 people on this forum, 6 billion on this planet and counting. Where video is concerned, i think that makes us a bunch of elitists. Notice i include myself in this description as well. If you can afford 4k, 6k, 8k cameras and everything that equipment entails i say awesome. If you can send receive or stream all that then your doubly awesome and must be living in utopia. Planetary wide, i'd say hd is probably a drop of water in the bucket. Personally i love my tech when i can afford it and playing with it. If you get paid to play with video and can claim it on your tax thats also awesome. But if i think on it really deeply then there is a bunch of people out there that would say my 4k pictures taste like shit and a can of baked beans would taste better and they would be right.

We are talking productions shot in 4K not box office success. I'm sorry the tone of my comments offends you but it shouldn't. Pitching scripts to Hollywood has not changed and it's the same with Netflix

Wow! Who chooses those words "no argument because I'm right", to start a sentence on an internet forum, or any forum for that matter !! Indeed, Netflix requirements is a very popular topic, and not only in this forum. Funny thing is that people worry too much about the requirements, and not for the fact that they won't ever produce anything worthy of Netflix distribution, even though it seems like they are accepting almost anything these days. Netflix is just a bleep in the the whole industry worldwide. ..and this is a thread about a 6K camera by the way!

You are not right. The majority of Hollywood produced TV shows and films are shot on an Alexa Mini... which shoots 2.7K. Netflix Originals account for a very small percentage of Hollywood Productions and BTW... almost everybody on this site knows about Netflix’s requirements for their original productions because there are about a half a dozen threads about it over the past couple of years. But thanks for playing. Good Lord... how old are you? By your name, I would think you were born in 1977 but by your responses, it’s like talking to a teenager. I’m sure you’ll reply by cherry picking one of my sentences and distorting it but please don’t bother wasting your time... this is boring.

The small orange one (the PBC) which won't be orange has an expansion module with five buttons and a small wheel. It communicates to the PBC by bluetooth so you can split them if you want or attach into one controller. So you can have the PBC on top of the camera for example and the expander on a handle. Its a lot cooler than I'm making it sound. But of course. Probably

I almost wonder if BM functions day to day from the money they make from preorders... joking. I actually think this is a strange camera release and they’re banking on the desire of enthusiasts and up and coming filmmakers to drink the Kool Aid. If I’m being honest, I’m almost offended that less than 2 months ago, people were still waiting for their pre-ordered P4K and then they release this. Also, what does this camera do to Ursa sales? I’m sure a lot of folks were planning or considering a jump from the P4K to the Ursa and now don’t have to. Interesting.

This is dope. However, I think this is way too soon and I worry that they could make the 4k obsolete very soon. Even though I haven't owned it longer than 7 months. Is this the pattern they are rolling with. They are knocking cameras out way too soon for my liking. Bare in mind the 4k was suppose to be future proof. Anyhoo looking at the image I cant really see a significant improvement. I have fallen in love with the 4K and I think it's a gem as long as you shoot within it's sweet spot. Personally this is meh. I can't see the appeal for an upgrade but having an EF MOUNT is very ideal .

Marketing and movie making have one major thing in common which is why I enjoy it so much. It's all about human emotions. At the end of the day it's the only thing that's truly important. Budget, advertising space, cameras, actors, etc.. it's all just small cogs in a machine with one simple purpose. Affect human emotions in order to change a behavior or opinion. That's the reason for my fascination and why I early on jumped from crew to the production office and later Psyops, PR and marketing.

The 2.8K mode is windowed? What a waste. With this information and at this price, the P6K enters the rental category for me. $1299 for the P4K is a price that makes the headaches of BM cameras go away, $2499... ehh not so much.

i was out and about today, found out there was a road up to the radio tower thats on the eastern side of town from talk at the local mens shed. They have actually put in a lookout up near the top as well this may be my new favorite spot. Had the p4k with me so here's a still from it. The tokina at the 28mm end of things

Regarding the "pocket", Im still convinced the BMPCC4K was intended to be the BMCCii. They share much more similarities.

Isn't it pensive piano music and slow motion shots of your girlfriend walking through a park with a teal and orange LUT?

No, I have dual solid academic and professional backgrounds in film and law. For two and three decades now. I just don't buy your argument on distinct nationalities. Mere BS, call it poor narrative but never non-fiction as you wish. Borders don't break my heart at all. That wall the orange man wants to build is a shame and a civilization setback. Ends in those sad killings who make the news of "your country" nowadays...

I somehow miss the truth coming from your posting when you're not around, buddy : ) but don't put your high expectations so high on the other contenders especially those already established even before World War II ; -) I wouldn't buy the P4K with this one today, but once bought and a very capable CinemaDNG camera, who has balls to be able to stand happy to sell it?

I think that was a really great thing to do. Rainy day projects that I did with my Dad were exactly the same projects that we were supposed to have been doing that day but just done in the rain.

It was merely a comment on the way to common notion that a colored shadow isn't "real" or is in fact "wrong". When in fact, a grey or black shadow is more incorrect than a colored one. Orange/teal isn't an unnatural grade made up by computers, its how the world actually looks in certain hours of the day.

Don't forget there have been two firmware updates to the H-FS14140 since those forum threads started - and the Lumix cameras since the GX8 have IBIS/Dual IS/EIS support as well. (But I've no idea if the firmware updates have made any difference to the lens OIS performance when used on a non-IBIS camera)

Be careful about this lens, some have a lot of micro-jitter issue due to the optical stabilization. The problem is widely reported on several Pana lens. Some got fixed via a firmware update. Not sure about this version now but just double check.

Both of the 'F3.5-5.6' versions support both 'Dual I.S.' and 'Dual I.S.2' (with the latest firmware installed). But only the G80/G81/G85/G9/G90/G91/G95/GH5 cameras support Dual I.S.2 - the GX8/GX80/GX85/GX9 don't (only Dual I.S.) (Info from the official Panasonic lens/camera Dual I.S. compatibility list).

I believe the mark II also adds dual IS 2.0 or whatever. At least it shows up that way when I use it. It's a very convenient lens. I wish they made a constant aperture variant!

An XC10 with aps-c, 1.8 to 2.8 and uncrippled AF in 4k would be my dream camera.

They are more likely to do it the other way round just to spite everyone !

I find the color grading quite terrible. Look at the clouds and the magenta tint everywhere.

A friend of mine dropped his kowa 8z and although the optics seem intact, the focus barrel does not turn completely. In fact from infinity to 8 feet, it turns smoothly as before, but at the 8-foot mark it locks completely as if it were the end. (from 8 to 5feet marks it lacks of 90 degrees of turn) I have tried to disassemble until I access the helicoid, but I cannot remove the focus ring because of the mentioned lock. I can't remove the 3 tabs either because I only access 1 of the 2 screws each one has. Any ideas to repair it?