And1

@PPNSI'd take any older cinema camera, eg Arri Alexa Classic, Red Epic, Sony F55, Ursa etc, as well as the BMMCC (which, for whoever has used it extensively, is a cinema camera, regardless the initial 'crash camera' marketing) over any newer Mirrorless (Lumix (I love their cameras by the way), Sony (haven't used the A7s III so I can't comment), Canon, Fuji, etc), at any type of work (of course not necessarily Instagram run and gun etc) But that's just me, based on years of testing. Every other opinion is welcomed of course. But since we're talking about the BMMCC here, yes it's a perfectly cinema camera for me. @kye& @TomTheDPcool posts!

To be honest, it's a bit naive at this point to just say I'll put a lut on it and make it look like I want it. No offence. Plus, it's a whole different story to try and match cameras and something else to speak of the quality of the image. The same way, you can match Arri Alexa Mini and Bmpcc 6k footage, but what would you choose to shoot on if you could? (I love the Bmpcc 6k quality as well) (by the way, the 12k sensor is made in house) These all are different cameras, and that's the beauty of it. But as far as my previous post, as far as color science and color depth goes, I've made my tests in different circumstances, and I can honestly say there is a big difference between the HD footage from the BMMCC (in Prores no less) and the one coming from these mirrorless cameras I mentioned above. That is not to say they are not good. Different tools for different jobs.

Tested it again in Prores 422, against GH5, G9 (which I love), A7iii, Eos R, all in Log 4k, and it's night and day. I only tested it against those cameras because these are the ones I've had available. I really wouldn't believe the difference if someone would have told me without seeing it with my own two eyes. Tested it against Bmpcc6k (in Braw) as well, and just loved the character it had once again and if exposed well (because I shoot in Prores), many of the times I prefer it. Bmpcc6k is easier to use though, in Braw, with built in false colors as well, but I love the sensor on the BMMCC. They did an excellent job on that sensor.

Thank you, unfortunately I already own the Zoom F2's (non BT). I guess my best bet would be getting a Rode wireless go II or something similar, work like @BTM_Pixsuggested. Great advice, again

I used to be in love, and still am, with the mini dv cameras of the 90's. The practicality of it made me looking for that breeze of use in many newer cameras but have yet to find it. I don't speak about mirrorless cameras or dslrs, but camcorders with great usability and image quality. One that probably come to mind is the hated Canon XC10/15. Of course, I understand that a Sony Fx3 with a zoom lens could potentially be something similar, and better, but again, I'm talking about a camcorder with great image quality, small form factor, great usability.

That's a great idea actually, thank you. Isn't there a way either through connecting the Bmpcc 6k to the F2 or via an app or something like that?

Here is a topic for timecode hacks. The reason I've decided to start it is to shoot my question as well: I'll be shooting a short with a Blackmagic 6k, and two zoom f2's with lavs (non bt version both), with two actors - and was wondering if I can output the timecode from the 6k to sync both lavs or alternatively using another solution (I know tentacle isn't working with the F2, so maybe atomos ultrasync or deity tc1?)

Thank you for your response, I've thought of putting some smallrig counterweights below the camera - and adding a Peak Design neck strap, but haven't seen anyone trying it. Do you believe that would make a big difference? Has anyone tried that?

I'll be shooting several walk and talk scenes on the Blackmagic Pocket 6k (not great on the rolling shutter side) - the director wants it to be handheld, so I wanted to ask if you have any ideas on how to go about it. I'm thinking of an easyrig but looking for more ideas. Using an even wider lens would be a good idea as well, but our first choice is to keep it at 28mm (Leica). We need to keep the handheld look but not for the viewer to become too dizzy.

Made tests and thinking of shooting on the BMMCC (maybe with Zeiss 16s lenses) on a low budget feature film instead of the Bmpcc6k/4k or Red Epic MX/Scarlet MX. Do you consider it to be crazy in 2023?

What is your opinion about newer "budget" cinema cameras (C70/R5c, Fx3/30, Bmpcc 6k, Ursa, Fuji H2s etc) versus the Red MX sensor? For example, the Epic MX which is the best of the MX cameras in my opinion. Many people prefer the modern ones, many still believe the MX sensor still holds up better - of course Alexa Mini/LF/Monstro etc excluded. Is the gap shorter? are modern budget sensors equivalent or even better? I'm still debating, still not sure.

I've been hearing about it, as a part of GH6's specs and was wondering how much better is it, rather than shooting normal 16:9. I know the Alexa and Red cameras have it as well. What are your thoughts? How much do you use it? Also, what other cameras have it?

As years go by, I seriously seem to love this camera even more. I've worked with plenty of cameras over the years, like many Gh5, A7iii, Bmpcc 6k, Ursa Mini, Eos R, etc and despite it's difficulties, at the end of the day, I always come back to it. The quality of the images, and the ease of use - in terms of editing - in Prores 422 (as I prefer to use it), is just magical. Newer entries like GH6, make me curious, but I still believe the BMMCC can easily be an a cam for narrative work. And this topic makes me realize it even more.

I know there are differences on the two versions, but what are these optically? I have the chance to buy a V1 on a price below 1600$ was wondering if it is worth it, for filmmaking (on the Bmpcc 6k). I already have the Summicron R 35mm. Also, how would you think they compare versus Sigma 18-35mm 1.8?

Because I already have been using a Variable ND, V mount which I also planned to use with the Pro and external monitor, also never use evf - and was thinking of putting the extra money on a Leica R 19mm that I ve found. Also in a very attractive price. I thought it would be good to sacrifice the Pro for that (can't buy both the Pro and the lens due to budget restrictions)

I guess Ill be getting the Pocket 6k, and save up (instead of going for the Pro), with an extra lens or equipment (extra lights, better mics, etc). Thank you for your replies

Now, in 2021, that Pocket 6k/4k/6k Pro are out and in smaller prices than bigger cinema cameras, does cameras like Ursa Mini 4.6k (have a chance to buy it fully rigged for the same cost as a Pocket 6k) worth it as an a-cam for Narratives and Commercial work? Or could it be more of a hassle due to size, file sizes and low light performance? I can't shake the feeling that it is more Alexa like, regarding image quality, but modern sensors might worth it more nowadays. What's your take?

Great, thanks for your input. I appreciate it. You have some really valid points there and have given me a lot to think about.

Thank you for the reply, I'm mostly one man crew. Never use gimbal, rarely a tripod and much more prefer handheld. I never shoot interviews or events, just narrative and fashion. Low light is something I also think about, but a Sigma 18-35mm I thought would be enough in decent light (if I were to go with the 4.6k). To me, size, low light performance and B-Raw are the pros of the bmpcc4k, but for narratives especially, having not used either, I believe the Ursa could be better suited (maybe)

Any advice?

I have found a good deal, to buy the original Ursa Mini 4.6k (non-pro), with Ursa shoulder mount, ssd mount, battery, etc for 1700$. Everything barely used. I already have a BMMCC and consider keeping it as a B-cam. My question is, does it worth it to buy the Ursa Mini 4.6k package or go for a used Pocket 6k (will cost a bit more)? What are your opinions? I mainly use my gear for narratives and fashion films. All this modern gear acquisition syndrome thing has me thinking a lot.

I was wondering if I could use the Blackmagic Micro Cinema or Pocket with the Atomos Ninja 2 - only as monitor (with focus peaking, etc) - not as an external recorder, so I could film in raw.