Django

I’m not considering it simply cuz it’s out of my price range. It’s in FX6 territory. Besides I already own a R6 that can do FF/S35 10-bit Clog/Clog3, uses RF mount, has DPAF, records to dual SD cards and has IBIS which the C70 doesn’t. With the vari-ND adapter R6 even gives you pre lens ND support for your EF glass. I just don’t see the point in investigating an extra 5.500€ just to gain extra battery life and a stop or two of DR. At least the P6K brings you BRAW/ProRes and 6K resolution.. for less than half the asking price. C70 should really be priced lower so it would actually compete with P6K, FX3 etc.. placing it above R5 which can do 8K RAW is nonsensical imo.

They did give it a rather nice follow-up: But I'm pretty sure that cam was also a flop at the $5K pricing with no internal 10-bit. That said, I find the DVX200 sexy as hell in a throwback MINIDV/3CCD cam way.. and I'm sure in the right hands this was/is a very capable and surely fun to shoot with cam..

Lens wise I’m all over the place: EF L series, Zeiss Bâtis E-mount, Leica M, Nikon AI-S etc.. As for manual focus, well I did an interview recently on the BM 6K with the Sigma 18-35. I’d say 80% shots were in focus but once you punch in there was at least a good 20% shots slightly OOF (as in focus on the nose instead of the eye). It’s actually lot more noticeable on 6K resolution were accurate focusing becomes real critical. Having your subject at +2m isn’t always optimal either especially on a medium wide like the 18-35. But yeah it’s not like the FS7’s AF was glorious like Canon DPAF or latest gen Sony’s. But it has saved my ass on more than a few one man run n gun situations.

As for FX6, not interested. I'm done paying full retail on "popular" cine cams. Too much investment lost already during pandemic. Not even ready to drop 4-5K on a R5/A7S3/FX3. It's either FS7 or 6K Pro I've decided.

@IronFilm I'm in both categories so the choice really isn't that easy. @seanzzxx I enjoy manual focusing as much as the other guy, and always had a follow focus rig on the BMPCC6K shoots with very pleasing results. That said there is no doubt AF can come in very handy for run n gun, gimbal or even solo interviews.. especially when shooting wide open on fast prime lens which is how I like to shoot most of the time.

Well fortunately I have hands-on experience with both cams and hence a well rounded idea of the pros & cons of each. It remains a tough choice as they excel in slightly different areas. The BM is closer to DSLR form-factor and the bright 5" touch screen is a major convenience. It has cheap modern storage options including straight to SSD USB-C recording. Main cons are no AF and EF mount. The FS7 is a much heavier cine cam but has shoulder mount rig capability. It has more pro I/Os: 2 SDI and 2 full XLR, audio level wheels, top handle with shotgun mic support etc. AF & E-mount are major pros for me. Main cons are small 3.5" display, slow clunky OS/menu (although dedicated buttons/switches mean less menu diving), no internal RAW/Pro Res, XQD media. IQ wise here is what I've rounded: FS7 : 4K DCI XAVC-I 10-bit 4 :2 :2 All-I (250mbps) CINE EI RS : 14ms DR : 12.1 @ 800ISO BMPCC 6K : 6K DCI BRAW & Prores RS : 19.8ms DR : 11.8 @ 400ISO / 10 @ 3200 In real use, a cleaner sharper more detailed IQ from the BM when shooting ISO400. 6K allows for greater punch-in capabilities. But with no AF, any focusing error and 6K RAW means nothing if your subject is OOF.

I actually love the FS7 ergos - VF loupe aside which I never use. Again its one of the rare modern budget cine cams you can shoulder mount ENG style. IQ wise, the BM has higher resolution and shoots Raw but on the highest DCI 4K XAVC-I Cine EI setting the FS7 is still capable of spitting out a really nice detailed filmic IQ imo with tons of headroom for grading. Also yeah the 3200 dual ISO setting on the BM is a bit meh, you definitely need to stick to 400 to get the highest IQ/DR. For the price new, the BM is definitely a no brainer but again the FS7 is still a workhorse in 2021 and E-mount is just so much more versatile than EF at this point imo.

Then again FS7 maybe not so obsolete when you consider this chart: surprisingly not a black magic cam in sight! here is the full article: https://ymcinema.com/2021/07/12/cannes-film-festival-2021s-cameras-diversity-is-the-key/ not just docus either.. this feature was shot on FS7 with Zeiss Super Speed primes: Gotta love how that camera balances for shoulder mounted shots..

I sold my C200/FS7 during down time of the pandemic. Work is picking up again now and I need a pro A-Cam for client work. I was sold on getting a BMPCC6K Pro after shooting with it for couple gigs but I'm actually hesitating to go back to the good old FS7. 6K & RAW is very nice but EF mount limits the lens possibilities so much. I still have my metabones EF speed booster which gives the FS7 pseudo FF. I also love the fat 250mbps XAVC-I codec in Cine EI mode and the FS7's AF is actually pretty smooth on native lenses. Price wise the FS7s are really cheap at the moment (maybe 800 more than a P6K Pro) but it feels kinda strange buying a used 2015 cine cam in 2021. The 5" touch screen and double ISO 6K sensor on the 6K Pro probably makes much better sense for future-proofing. Thoughts?

excellent, also looks like more natural skin tones with less saturated look than clog1:

Pretty excited about CLOG3 for R6. I'm away from home right now though. Did R5 users note an increase in DR with the Clog3 update (vs Clog)?

There is definitely something strange going on with Canons R5/R6 10-bit 4:2:2 Clog files. None of my Macs can even play them. At all. Including my iMac Pro. I have to transcode it all to ProRes with EditReady. It's definitely a giant PITA. Why is this so? is it because 10-bit 4:2:2 h265?? Do the new M1 Macs handle these files better? Might have to go to Apple store with a thumb drive and see for myself.

As an R6 user that upgraded from an EOS R, yes there are some strange missing things that make the upgrade kinda feel like a downgrade in some areas. But in the end, for my needs, its a very clear upgrade: oversampled 4K with no crop, IBIS, internal 10-bit 4:2:2, 120 fps FHD. If you add DPAF to the mix, well there really isn't much competition for those particular features at that price point. Of course if you can stretch your budget to an A7S3 you get a more reliable camera and 4K120p but on the stills side you're down to 12MP. Not that the R6 is a MP beast but 20MP is a decent balance. Biggest problem in the end with R6 is the overheating which limits it to only certain types of applications. I do use mine professionally as my C-cam for short product shots, BTS footage etc.. and as a stills camera (all my Canon DSLR flash accessories etc integrate perfectly). It's always a bit of a compromise though with Canon it feels. Sometimes I do regret not fully switching systems but I just don't gel with Sony mirrorless ergonomics and CS. Love the FX/FS cine line though. My next purchase will probably be BM 6K Pro, I'm kind of done with consumer hybrids as A-cams after shooting with one.

I've been doing some commercial shoots with the BM 6K's lately and the 6K PRO will probably be my next camera purchase. For the money it is kind of a no-brainer: 6K BRAW / ProRes, Dual ISO Super35 sensor, 5" bright LCD, best GUI, SD/CFAST/SSD storage options & internal NDs. That said, I do agree the biggest drawback is EF mount. While there are a large amount of EF cine lenses, they're on the bigger side and a lot of the more recent compact cine lenses including anamorphic lenses such as the SIRUI series are mirrorless mount exclusives. One of the big attractions of the 6K/6K Pro is 6K 2.4:1 ratio recording but I can't seem to find any affordable anamorphic EF lenses? But for client work, 6K RAW is really impressive and the cropping capability kind of a game changer as far as I'm concerned. Many of us had hoped the R5 would give you that in a hybrid but my experience with R6 is that its simply too unreliable to use on a commercial shoot. The Canons are good for b-cams / BTS purposes. As for ProRes vs H264/H265, while on many recent computers the processing difference may not be too obvious with 4K, I can assure you that with 6K its night & day as far as rendering, editing, playback. My iMac Pro struggles a bit with h264/h265 6K footage while ProRes cuts like cheese and renders 20x faster.

Yeah no 4K option. Only FHD doesn't overheat. Indoors. Average room temperature. I mean it's nothing new, overheating is well documented and I believe R6 actually has longer 4K recording time than R5's 4KHQ. Still obviously a concern for long applications. Can't find the video, you got a link? Only dedicated fan I remember and would consider was the Tilta cooling kit: But it looks like they abandoned the project..

Well I had my first overheat yesterday during an interview. I thought it was going to be a 15-30mn max job but it ended up dragging on over an hour. Overheat came on just at the end so I was saved but cool down time was about 30mn. I don't think I can recommend this camera for that type of application.

Yup, kind of disappointing they didn't think of making the 10-bit codec easier to edit. Would have been a safe way to make the R5/R6 more competitive with A7S3. Also let down with no Clog3 for R6/1DX3 owners even though it is rumoured to come later (i.e. another 6 months).

Is the new lower bitrate option in Clog h264 or 4:2:0 h265?

Probably price. The C70 will still be worthy for its DGO sensor which gives higher DR than R5. also internal NDs, XLRs, battery life, WFM etc..

Some exciting news for both R5 & R6 users! 🙂 New 4K codec could hopefully mean no more transcoding for 10-bit footage. R5C rumor is also interesting, looks like Canon's answer to FX3. And a worthy successor to 1DC (minus the price tag I hope!).

No ALL-I on the R6 though 😞

Good question, I also usually just follow 180 degree rule blindly and shoot 50p at 1/100 with slow-mo in mind. Maybe 50p at 1/50 makes more sense for non slomo on a 25p timeline..? Yes 4K50p is the same 5.5K oversampled quality 4K. 4K crop mode is a slightly upsampled sub-4K region (3414 x 1920 pixels). You'd have to pixel peep to notice the difference. I guess its worth noting 4K60p crop mode on the R6 gets you the lowest RS: 10.2ms. Manual WB with Clog in Neutral seems pretty good, I haven't done extensive tungsten tests though.

AWB-White works in Clog. I'm just saying if you have to use kelvin or custom you may wanna help skin tones by going Neutral in Clog.

The yellow cast thing only becomes a problem in mixed lighting, if you're using AWB you simply need to hit info inside the settings and select white priority as warm is the default. In custom or kelvin, switch to Clog and select Neutral color matrix. You can also further adjust WB tint in the RGB matrix. Concerning 4K rolling shutter on R6 you can half the RS from 30ms to 15ms just by shooting in 4K60p (and convert to 24/25p in post) and down to 20ms in 4K crop mode.

@ntblowz Nice! Interesting to see the photographer was on a R6. Looks like although its a Canon sponsored event, you were using your own gear? Was the R5/C70 footage shot in standard, log or RAW?