“Just Say No To Proprietary Media!” - This camera needs is a CF Express Type C 4.0 card slot. Type C offers a four-lane PCIe Gen4 interface with up to 8 GB/s data rate. This camera maxes out at 4 GB/s, a Type C exceeds this cameras needs.
I see a lot of weird claims about the rolling shutter that doesn't seem to be true, a lot of hatred, I guess canon and Sony fans into artifacts and shitty image quality for the culture, people who are not able to do manual focus for strange cultural reasons.
@@Angelo_Paduraru The limitaions on formats, no internal Raw, the menues, the layout of connectord etc., maybe a bit of an overstatement, but I feel like the fx6 is an absolutely overhyped camera
What would be the advantages of having a 16-bit codec? I've always heard that 16-bit linear codecs can be contained inside of a 12-bit log codec. I'm genuinely curious if the advantages of moving to 16-bit.
This is the same price as most 4k and some HD Broadcast cams, to show you how overpriced those are. The shame is this and the PYXIS cameras cant be used for 99 percent of work because of being stuck with blackmagic raw. Thats literally half od their cameras. Other NLE's needs to work with it and we need some prores or something. Cause otherwise we're gonna be stuck on old cameras for a long time lol. and 55k is nice but recording 4k and hd on any of these cams could unlock all kinda neat features through downsampling. Cause thats all any clients want.
It’s really disappointing that Blackmagic seems to have abandoned ProRes. Hopefully they will add it in via software updates. But 99% of work isn’t edited with FCP, which is the only major NLE that doesn’t support BRAW at all, or ARRI RAW, or CinemaDNG. Tho with an extension you can transcode those & still change raw settings in FCPX. If data rate is a concern, Q5 DCI 4K 30p BRAW maxs out under the target bitrate of 1080p 29.97 422HQ. If you really need ProRes just transcode. ProRes really should just be in camera but your usability point doesn’t stand.
Interesting camera. Saw it at NAB. Sadly, like all BMD cameras, the rolling shutter is not good. At 12K it's around 14ms. It's faster at lower resolutions. Honestly the 17K 65mm camera is the real interesting one. Trick with that one is finding glass that will cover such a big sensor
Can’t wait to see actually tests for noise and DR , that’s the key for me. If we are at the classic Arri Alexa noise and DR than this is a must
Thank You!
I would like to know more about the lens, and the two antennas please.
Will the Cine run at full capacity on 26V V mount or do we have to use B moun
Does it have pre-roll ?
Just emerged from my cave... and saw this... I have a birthday coming up.. if you all chip in $1.... we can make this happen!!
“Just Say No To Proprietary Media!” - This camera needs is a CF Express Type C 4.0 card slot. Type C offers a four-lane PCIe Gen4 interface with up to 8 GB/s data rate. This camera maxes out at 4 GB/s, a Type C exceeds this cameras needs.
They cant they release the apsc 12k sensor in the new box shape with cfast express b. Shame to see that sensor die
I see a lot of weird claims about the rolling shutter that doesn't seem to be true, a lot of hatred, I guess canon and Sony fans into artifacts and shitty image quality for the culture, people who are not able to do manual focus for strange cultural reasons.
The fx6 is the worst modern „cine“ camera I‘ve ever used
@@ulfpulf9667may I ask why? 😮
@@Angelo_Paduraru The limitaions on formats, no internal Raw, the menues, the layout of connectord etc., maybe a bit of an overstatement, but I feel like the fx6 is an absolutely overhyped camera
only miss is 16 bit codec
What would be the advantages of having a 16-bit codec? I've always heard that 16-bit linear codecs can be contained inside of a 12-bit log codec.
I'm genuinely curious if the advantages of moving to 16-bit.
Oh dang, ARRI is only 12bit or 14bit log encoded. I guess those are missing out on 16 bit as well.
This is the same price as most 4k and some HD Broadcast cams, to show you how overpriced those are.
The shame is this and the PYXIS cameras cant be used for 99 percent of work because of being stuck with blackmagic raw. Thats literally half od their cameras. Other NLE's needs to work with it and we need some prores or something. Cause otherwise we're gonna be stuck on old cameras for a long time lol. and 55k is nice but recording 4k and hd on any of these cams could unlock all kinda neat features through downsampling. Cause thats all any clients want.
It’s really disappointing that Blackmagic seems to have abandoned ProRes. Hopefully they will add it in via software updates. But 99% of work isn’t edited with FCP, which is the only major NLE that doesn’t support BRAW at all, or ARRI RAW, or CinemaDNG. Tho with an extension you can transcode those & still change raw settings in FCPX. If data rate is a concern, Q5 DCI 4K 30p BRAW maxs out under the target bitrate of 1080p 29.97 422HQ. If you really need ProRes just transcode. ProRes really should just be in camera but your usability point doesn’t stand.
You could just get an external monitor/recorder and go out of the 12G SDI and viola you get your ProRes option.
A question from everybody: what do you think will be the price of this 12k cine camera in january 2027???
Blackmagic review sponsored by Atomos is ironic...
Interesting camera. Saw it at NAB. Sadly, like all BMD cameras, the rolling shutter is not good. At 12K it's around 14ms. It's faster at lower resolutions. Honestly the 17K 65mm camera is the real interesting one. Trick with that one is finding glass that will cover such a big sensor
Its 12ms at 12k open gate and 6.5 in 8k no crop
@@Journeywiththehintis The Blackmagic rep told me 14ms, but it will get down around 4.5 mb in 4k
@@toddpeterson5904 you dont have to shoot 12k
it's 7 ms@8K with Ursa 12K, I think it's a pretty fast readout.