I was never interested in Black Magic cameras but when I saw this release I immediately purchased it. I've transitioned to Lumix so I have a dozen or so L-mount lenses and I have a set of Irix EF mount cinema glass. The main reason for the purchase is I want to shoot more anamorphic and I have a set of Sirui 1.6 squeeze lenses that work perfectly on this camera. I only shoot 6k open gate and the image is really nice. I wish it had a dedicated time code port but for the price I'll live without it. I've been shooting 640 ISO and it's been ok so I'll take your advise and try 800 for a while. I agree with others that it doesn't seem to have a true dual iso as I've tried the upper base and it had a lot of noise. Hopefully they'll address this in a firmware update. I only shoot with v-mount batteries and record to SSD although I still have a couple of 2TB CFExpress cards from my R5.
i didn't get a notice that this dropped... youtube messages are killing me ... if i ever stop using the S1H, which may be never because the thing is built like a B2 bomber, this is definitely the camera I'd move to. It has everything you need. Like you said, if they add SDI and built in ND's it would probably tear a hole in the market... :)
Hey, great review!! I want to make a short, but I'm still hesitating : a BMPCC or an C70 Canon. Both raw recording, but with great IS and Eye focus. Question, is there that much difference in image and can it be solved in Davincie to look the same as a BMPCC? thanks!!
Each camera has their own distinct look. C70 tends to be more warm while the pocket cameras schew towards yellow/green. You can take the image from either one and match it in resolve it just takes just a little understanding on the look you going for and how each camera can be worked towards that look.
C70 is a higher quality product but it's an all around video camera, where as the 6K is an open gate full frame cinema camera...just cheap and bare bones.
Fantastic review James. Thanks for the breakdown and the focus on open gate & image quality. Looks like a great overall option that isn't 25K+ for filmmakers.
I have to say the image looks consistently better than your c70 footage. I think its the camera and your just getting better and better at lighting. Your ready for a feature!
You might want to check with BMD about that power issue. I'm using dtap to 2 pin and it charges the internal battery - some have said to remove the internal battery to avoid issues...? Mine's been great. I see a lot of complaints about form factor - yup, legit concern. No ProRes - not a concern for me but I get it. Limited frame rates - yes, this is a concern but I am betting there may be adjustments with firmware updates. Low light is fine - no light is a HUGE issue. Push your exposure via tstop first and try to stay under 500iso and it makes yummy pics. Resolve studio included - yes please!
Again just to clarify, there’s a difference in “open gate” and 3:2 sensor readout. The C70 has open gate at 17:9 4K and can do that up to 120 FPS. The Komodo has open gate in 17:9 In the case of 3:2 open gate (or 4:3) the most affordable options to shoot 48 FPS or higher is the Kinefinity Mavo Cameras with the LF mark II being the cheapest full frame option at 6K body only.
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@@JamesJacksonFilmz true but you got what i meant ^^ thanks for the answer
@@JamesJacksonFilmz No, it's not, dropping a line the product, 3x2 sensors are dope for OG in non- cine 17x9 sensor packages like you mentioned. Sony needs to hurry, does Panasonic is cooking as well? And they oversample like on infinity's models. My dream is to get DCI Cinema 4K over sampled from 3:2 OG like on MAVO models, that way I can go to other recorders that are not happy with 6.2k necessarily, but still get the full gate for longer form recording either in long field recording situations or broadcast
@@haloboy456 Yeah that would be nice. While Panasonic does offer 3x2 Open gate, it is limited to only 10 bit 420 H.265 and you can’t record 3:2 to an external recorder like an atoms or Blackmagic video assist. The Kinefinity Mavos are the model to go by. Offering the 3:2 option but also offering over sample options for smaller resolutions. I get why Blackmagic can’t do this with BRaw because this isn’t a quad bayer sensor like the Ursa 12K. But I do wish/hope for a ProRes option in the future.
@@JamesJacksonFilmz on the money with this analysis. Thanks for the reply, I know we're not the only ones out here looking for this exact cross section features. Curious, the recent Panasonic S5 2X, does that now 422 at some point? Or am I making a mistake regarding it's like 4.7k mode that serves more of a cropping than an actual oversampling mode?
@@JamesJacksonFilmz URSA 12K is a killer cam when light is super controlled? Yeah, I was originally flummoxed why that oversampling potential wasn't strewn across the entire camera line, now I can't help but clamor for the options.
What are your thoughts on the blackmagic full frame camera?
I was never interested in Black Magic cameras but when I saw this release I immediately purchased it. I've transitioned to Lumix so I have a dozen or so L-mount lenses and I have a set of Irix EF mount cinema glass. The main reason for the purchase is I want to shoot more anamorphic and I have a set of Sirui 1.6 squeeze lenses that work perfectly on this camera. I only shoot 6k open gate and the image is really nice. I wish it had a dedicated time code port but for the price I'll live without it. I've been shooting 640 ISO and it's been ok so I'll take your advise and try 800 for a while. I agree with others that it doesn't seem to have a true dual iso as I've tried the upper base and it had a lot of noise. Hopefully they'll address this in a firmware update. I only shoot with v-mount batteries and record to SSD although I still have a couple of 2TB CFExpress cards from my R5.
i didn't get a notice that this dropped... youtube messages are killing me ... if i ever stop using the S1H, which may be never because the thing is built like a B2 bomber, this is definitely the camera I'd move to. It has everything you need. Like you said, if they add SDI and built in ND's it would probably tear a hole in the market... :)
It would rip open the camera multiverse lol
Hey, great review!! I want to make a short, but I'm still hesitating : a BMPCC or an C70 Canon. Both raw recording, but with great IS and Eye focus. Question, is there that much difference in image and can it be solved in Davincie to look the same as a BMPCC? thanks!!
Each camera has their own distinct look. C70 tends to be more warm while the pocket cameras schew towards yellow/green.
You can take the image from either one and match it in resolve it just takes just a little understanding on the look you going for and how each camera can be worked towards that look.
Awesome review!! I stuck between getting this camera for my 1st cinema camera or the c70, which do you recommend for a beginner cinematographer?
This
C70 is a higher quality product but it's an all around video camera, where as the 6K is an open gate full frame cinema camera...just cheap and bare bones.
@@errol3184 thanks I'll keep that in mind, where I live the c70 has come down drastically in price and the 6k opengate option is very tempting
Sorry for the late reply, putting together a video to answer this very question for you ;-)
Fantastic review James. Thanks for the breakdown and the focus on open gate & image quality. Looks like a great overall option that isn't 25K+ for filmmakers.
Thank you so much for your comments. Yeah it’s a great time to be a filmmaker.
I have to say the image looks consistently better than your c70 footage. I think its the camera and your just getting better and better at lighting. Your ready for a feature!
Thank you. I really appreciate the comments on my growth. I’m continuing to try.
YES! Blackmagic, give us SDI on the Cinema Cam! 6K out is needed to make it near perfect. (internal NDs back again would be nice too)
You might want to check with BMD about that power issue. I'm using dtap to 2 pin and it charges the internal battery - some have said to remove the internal battery to avoid issues...?
Mine's been great. I see a lot of complaints about form factor - yup, legit concern. No ProRes - not a concern for me but I get it. Limited frame rates - yes, this is a concern but I am betting there may be adjustments with firmware updates.
Low light is fine - no light is a HUGE issue. Push your exposure via tstop first and try to stay under 500iso and it makes yummy pics.
Resolve studio included - yes please!
Appreciate the comments! I’ll definitely check in with them to see.
I’d get it if it had better frame rate options but I’m happy that other creators consider it a vibe. That’s awesome.
Totally understand mate! You get the camera that works best for you.
Awesome, do u also hear fan noise?
James I got that Meike mtf lens from you...Great..Thanks!
Hope you are enjoying it
there is no opengate 50fps or 48 or 60 right? ... That is all i want for my next camera right now
Again just to clarify, there’s a difference in “open gate” and 3:2 sensor readout. The C70 has open gate at 17:9 4K and can do that up to 120 FPS. The Komodo has open gate in 17:9
In the case of 3:2 open gate (or 4:3) the most affordable options to shoot 48 FPS or higher is the Kinefinity Mavo Cameras with the LF mark II being the cheapest full frame option at 6K body only.
@@JamesJacksonFilmz true but you got what i meant ^^ thanks for the answer
Yeah on the BMCC6K it's 36fps in 6K 3:2. In 6K 17/9 it's 48 fps and in 6K 2.40-1 it's 60 fps.
Fuji has 3:2 open gate , get u the video assist and a speed booster…..gets u close to having a bmcc 6k
While closer to an extent but it won’t be the same and you’re paying a lot more to get what the BMCC 6K offers on its own with even more limitations.
A Fugifilm XH2s with a speed booster but still capped at 6.2K 30p........"Am I a joke to you"?!?!?!?😂😂😂
Not exactly sure what you’re getting at. But a Fujifilm XH2S with a speed booster it’s not exactly the same as the Blackmagic full frame.
@@JamesJacksonFilmz No, it's not, dropping a line the product, 3x2 sensors are dope for OG in non- cine 17x9 sensor packages like you mentioned. Sony needs to hurry, does Panasonic is cooking as well? And they oversample like on infinity's models. My dream is to get DCI Cinema 4K over sampled from 3:2 OG like on MAVO models, that way I can go to other recorders that are not happy with 6.2k necessarily, but still get the full gate for longer form recording either in long field recording situations or broadcast
@@haloboy456 Yeah that would be nice. While Panasonic does offer 3x2 Open gate, it is limited to only 10 bit 420 H.265 and you can’t record 3:2 to an external recorder like an atoms or Blackmagic video assist.
The Kinefinity Mavos are the model to go by. Offering the 3:2 option but also offering over sample options for smaller resolutions. I get why Blackmagic can’t do this with BRaw because this isn’t a quad bayer sensor like the Ursa 12K. But I do wish/hope for a ProRes option in the future.
@@JamesJacksonFilmz on the money with this analysis. Thanks for the reply, I know we're not the only ones out here looking for this exact cross section features. Curious, the recent Panasonic S5 2X, does that now 422 at some point? Or am I making a mistake regarding it's like 4.7k mode that serves more of a cropping than an actual oversampling mode?
@@JamesJacksonFilmz URSA 12K is a killer cam when light is super controlled? Yeah, I was originally flummoxed why that oversampling potential wasn't strewn across the entire camera line, now I can't help but clamor for the options.