The benefit in image quality is a no-brainer. 4K footage downsampled to Full HD looks richer than native Full HD footage and the principle stands with 6K capture downsampled to 4K footage. Naturally, with 8K on the horizon and several TVs sporting the resolution expected in the near future, 6K capture will also look better than 4K capture when scaled up, so there’s an element of future-proofing involved as well. It’s easier to start with what the 6K G2 does not have relative to the 6K Pro than what it shares in common with that more powerful device. The 6K Pro has built-in neutral density (ND) filters, and the 6K G2 does not. From a filmmaking point-of-view that’s a great line-up compared to what you might expect on a video-centric mirrorless camera. There’s also a 12v power input for internal battery charging and external power supply. Two card slots are available for internal storage: one SD UHS-II slot, and one for CFast 2.0 cards. While the in-software stabilization of footage from the BMPCC is excellent, as with many of the top-end software-stabilized options out there, it’s impossible to know what the crop will look like until stabilization is complete. Mit nur einem TB kommt man bei RAW 3:1 6K allerdings nicht weit , insofern macht es vermutlich Sinn mehrere SSDs zu kaufen (und eine billigere 6+TB Festplatte zur Datensicherung an PC zuhause...). Oder eben eine teurere CFast 2.0 Karte. Wobei selbst die 8:1 oder 12:1 Raw Variante in den meisten Fällen ausreichen sollte und damit kann man schon ein paar Stunden filmen. Wer in erster Linie in ProRes-4K filmen möchte, der könnte auch mit etwas billigeren SD-Karten zurechtkommen.

Genial das Bedienungskonzeüt über den touchscreen mit sofortigem direkten Zugriff auf die wichtigen Einstellungsparameter Auch wenn die Kamera nicht in jeder Hinsicht perfekt ist und für den Preis auch nicht sein kann, ein unschlagbares PLV undeine sehr schöne Bildanmutung. Nach dem Ergebnis der von mir recherrierten youtube-eRezessionen liegt die Bildqualität nur hauch dünn hinter der in der Profi-Szene häufig verwendeten Profikamera, die an die 50.000,- € kostet. The highlight of the physical design is the massive LCD screen which provides enough size to evaluate footage without an external reader. This also showcases the company’s excellent menu system, a clean, well-organized, and easy-to-use layout that I wish every company in the photo and video industry would copy. Finally, there are some limitations as to what formats you can record specific resolutions at. For example, if you want to shoot 6K footage, you have to shoot in RAW. However, if you’re going to shoot 4K footage, you can’t shoot RAW, you have to shoot ProRes.Being able to perform stabilization in the editing suite instead of in a separate piece of software — as is the case with Sony’s cameras, where a dedicated app called Catalyst Browse must be used for stabilization — makes for a faster workflow. La 6K permet facilement de proposer deux valeurs de plans (cadrages) avec assez de différences pour que ca soit intéressant et donc simuler un "zoom". The 4K model suffered from the same issue when we reviewed it, so while we hoped it would be a software issue that would be fixed with an update, it wasn’t. The workaround is to carry about 10-15 LP-E6 batteries for a day of shooting, buy a power solution like the Core SWX Powerbase V-mount, or stay plugged in when possible. Onboard recording is to CFexpress Type B cards, which are fast, robust, and relatively capacious. I was sent a couple of 256GB cards with my review sample of the Cinema Camera 6K and found that I could fit roughly an hour of 6K footage on it. Interestingly (and quite annoyingly), I also found that I had to remove the card and insert it into a card reader to get the footage onto a computer, as the Cinema Camera 6K’s USB-C 3.1 port doesn’t support this type of direct connection. Its price made it an excellent choice for students, new cinematographers, and users of higher-end gear that needed a b-camera or crash camera. However, it was not known for its robust feature set or durability (and it would very easily overheat), but it did everything you could need at that price and did it with a fantastic menu system to boot.

The Cinema Camera 6K’s large sensor requires a suitable lens format, which it gets in the form of L-Mount, the 51.6mm-diameter bayonet system co-developed by Leica, Panasonic, and Sigma. Despite L-Mount only being introduced in 2018, there are currently over 50 full-frame lenses available from the three founding manufacturers, plus adapters that allow the fitting of hundreds, if not thousands, of third-party lenses. Users of this camera will enjoy plenty of choice when it comes to creating different looks and fields of view.The ND filters in the 6K Pro are motorized, although not variable. That’s not uncommon, and the ND filters in the Sony FX series of cameras function similarly. But the fact they exist is really nice, as the mechanized ND filter makes on-the-fly adjustments easy and having the filter in the body means you can adjust incoming light for any lens mounted to the camera. Recording 4K or lower in ProRes gives edit-ready files that are easier to handle, and usually save on space compared to Raw. But with a choice of different compression levels, some of the more robust 10-bit ProRes files are actually bigger than some of the 12-bit B-Raw files. Iris wheel and touchscreen slider for manual iris adjustment on electronically controllable lenses, irisbutton for instant auto iris settings on compatiblelenses. Screen Dimensions