10Bit Slog3 | 12Bit Braw | 16Bit RED - Can you really see the difference?
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- Опубликовано: 18 мар 2024
- #filmmaking #cinematography #colorgrading
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Sony FX3 vs Blackmagic Design Cinema Camera 6K Full Frame (BMCC 6K) vs RED Komodo 
Хобби
DId you get it right?!
I’m looking at how robust they are and how far we can push the image without introducing artifacts or noise rather than the sharpness and color science of each camera:) Hope you enjoyed it😊
안녕하세요~ 선생님 덕분에 a7m4 질른 구독자입니다 ㅋㅋ
I just wanted to ask you! Which computer do you use to edit your 4k videos??
I filmed with XVAC S-I 4K??
And then brought the videos to my gaming laptop and it still lags OMG
Is it because I'm using Capcut and it's not powerful enough to run the video or is it the computer's problem?
Even when I try to play the video on my computer it lag and buffers soooo much XD
I have a gaming laptop which is MSI GE72 Raider
I7-4710HQ
32GB GDDR3 Ram
RTX 2070
HDD 1TB
NVME SSD 2TB
I cannot run the video smoothly nor edit the videos.. and I am just soooo upset that I bought and invested such an expensive and nice camera but cannot edit it like you!!
제발 도와주세요 형님 부탁드립니다!!! 영상 찍으시는것처럼 예쁘게 찍고 편집하고 싶은데 어떻게해야될지 잘 몰라서 속상해요 ㅠㅠ
도와주십쇼 !!
no, i got wrong, I was shure about the fx3, at least. kkk, fx3 look so sharpier than the others that made me be shure about it. But the bmcc 6k vs the red, I realy couldnt saw.
@@user-lt9gt7dk7lUse Davinci Resolve
What lenses did you use on each camera?
@@cagatota he used the Sirui anamorphic 1.33 on the Sony and the new Blazar Remus anamorphic 1.5x on the BlackMagic. The Remus gives more character, thats why the Sony looked more sharper.
Fuck I thought C would be The Komodo because that felt the most gorgeous consistently to my eyes!!! Surprised to see it's the 6kFF!! That definitely has some secret sauce in it
Me too
because of the new anamorphic he used
Absolutely the same thing! Sony is too obvious, but BM was BEST here!
@@MrPashee Sony is too obvious for its super sharp images which is not always a good thing specially in cinema
Me too!
The truth is your average viewers won't notice a drastic difference between cameras nowadays. It's all about lighting, lens choice, and color grading. I once shot 2 student thesis film with a Panasonic S1h 10-bit, while my other peers shot with REDs and Alexas. No one was able to tell the difference between the short films that were shot on a cinema camera and the one that was shot on a prosumer camera.
Yeah alot of people want expensive cameras but are unaware of how to utilize it’s features. Even just not being able to color grade well immedietly brings it’s quality way down compared to a cheap one with a good grade
8-bit cam and 10-bit cam feels like has the most difference in terms of flexibility on post. 10-bit above for me sometimes feels like OP.
💯
People don’t shoot 12 bit or 16 bit because they think it looks better or the audience will like it more. They shoot it for the flexibility of advanced color and vfx workloads. If you’ve ever had to luma key, you’d know that 8-bit is difficult and doesn’t look good but 12 bit can pick up the subtle differences and key out cleaner. And just changing the white balance is not an advanced color workflow.
Heavy on the lights
I have a lot of respect for all these cameras, but this is why I enjoy using the FX3 the most; it gets you 90% of the way there in terms of image, but with half the effort.
Amen!
Couldn't have said it better. I've been using it for a couple months now and it is by far the best camera I've ever used. Very straight-forward to use if you know your way around a camera, incredible compactness, jaw-dropping image quality, I mean list goes on. I probs won't switch cams for at least the next 3-5 years
series?? Tell me a little more about this, I'm interested in buying an FX3
totally agree, since I got the fx3 my ursa mini is in gathering gust, I still prefer the quality and raw of the Blackmagics but the FX3 allows me to capture twice as much footage in the same amount of time
Bro the black magic looks so fucking good ngl
No way bro, Camera B was the finest of those
Really not a super-sharp, not a super-smooth picture, just acceptable one
an image being sharp doesn't make it good. Its off context, you get a camera based off of your needs@@nikostalk5730
It's an amazing camera. The type of image it can produce is worth WAY more than what the camera body costs.
Took one lesson home from this video “I bought the Red Komodo because I WANTED it, and not because I NEEDED it”.
Following your channel had made me to know that’s you can create magic with the gear you own and don’t need a more fancier or expensive camera.
Thank you 🥹🥹
Whoa the Blackmagic is KILLING IT
BMCC 6K is a monster for $2,500!!!
i got my bmpcc 6k pro today finally and out from eos R
Only it's not a cinema camera. Cinema cameras can capture > 12 stops of dynamic range and have rolling shutter in the single digits. You're welcome to disagree, but those are my own criteria.
@@JonPais Sony burano has bad rolling shutters, canon c500 c300 have around 15ms, Kinefinitys have also maybe 15-20ms. Not cinema cameras but just say arris, high end reds and venices have great rolling shutter. rolling shutter problem is overrated.
@@itgeltdash8467 I think you answered the question yourself. The cameras you mentioned - Canon, Kinefinity- aren’t used to make feature films or episodic television for the major studios, any more than are Z Cam or Blackmagic. Preferred cameras are Panavision, ARRI, Sony Venice and RED. The Burano, like the Komodo, will be used as a B-cam on those productions.
@@itgeltdash8467 Canon and Kinefinty are not used as A cams on feature films and episodic TV for the major studios. The Burano will be used as a B-cam to the Venice.
to me B looked the best, then C, then A. after knowing which is which, and reading comments, i get why many prefer C. the highlights are much smoother. Red also does well with highlights and maybe even clips them. but i still prefer B, and im not a sony user. i liked the sharpness and overall pop. good video.
I thought that B had the most crushed blacks. I guess it’s preference
The Sony stuck out like a sore thumb on my projector in a bad way. I knew right away it was a mirrorless style camera with too much processing done in camera. A byproduct of in camera digital sharpening can also be seen in the blacks like mentioned in the comment above mine.
As a sony shooter (A1) I actually saw it as the least sharp of the three. It was pretty soft in a lot of the shots. IDK if it was the glass or lack of focus (could be user error) but compared to the two 6K sensors it was pretty lackluster IMO. I mean I don't have an issue on my sony because mine is 8K downsampled from 8.6 and the 4K is downsampled as well. But owning an A7sIII before I always thought the image was a tad soft since it is almost native UHD with like a 4.3K downsample to UHD.
It has less actual detail but harsh edge sharpening. So the edges look sharp and processed compared to the more detailed 6K images. The actual details appear softer though on the 4K image in many shots despite the sharpening artifacts.@@RiceCubeTech
The image for the blackmagic is amazing ¡¡
New Blackmagics are perfecto in handy hands:)
Yup that's why I bought one, lol
The difference is apparent when you try to push the footage further and further.
If the bmcc still had cinemadng instead of braw i guarantee you it would match the red when pushed except in latitude
True.
True especially in some harsh situations
How far though? The Creator was on the FX3 and it looks better than 90% of movies?
@@CompositingAcademy you forget that it was shot with the atomos ninja meaning it was prores raw. Prores raw is quite close to red raw meaning it's compressed raw bayer data. It also decodes from 16bit linear hdmi raw output -> 12bit log (atomos) -> 16bit linear in the NLE. You can then turn it back to slog3 in the NLE if you want.
So no, the internal 10bit slog3 and the 16bit linear prores raw are not even close in terms of how much you can push the footage.
I knew right from the start that the camera C was Blackmagic. But I made a bad assumption about Red and Sony. Sony and BM6k I liked the most. Good job!
Some of these shots are your best yet, in my opinion. I consistently chose camera C, once or twice B, and I think one time for camera A. So BMPCC for me I guess. Thanks for this video!
keep in mind he used a new character anamorphic lens on the BMPCC which added much of that image
Thank you so much!
Love the look and color on C. Definitely had something special going on. Softens up the edges in all the right ways. Hard to tell how much the lenses are playing a roll though. The lenses on the 6k and Komodo definitely have a lot more character (aberration) and have a shallower depth of field compared to the FX3. All look stunning to be honest, and the FX3 has so many addition benefits it's hard to pass up.
thats cause the Blackmagic had a nice new character anamorphic lens on it. that lens will make anything more soft cinematic looking
Fantastically made!! This is the best video I've found for telling the difference. Boring shots aren't useful, since any camera can make a shot look boring. These shots are great for comparison because they're well shot/edited. I've compared raw photos on my R6 to the 10bit video and once other variables are controlled for (eg. well made preset to standardise colours and tones) there is not much difference surprisingly.
Thank you!!
Your outro , with the cool, jazz song was just as awesome as the comparison!
Thanks a lot! 🙏
This makes a point I've been holding in contention for a while now: Unless footage is put side by side, and NOBODY WATCHES A MOVIE THIS WAY, no one in the movie audience is going to see a difference, or CARE. They won't know what the 16 bit footage would have looked like compared to the 10 bit footage they are watching. They just know this is a great story (if well written and there's good acting) and the shots absorb them into the film, if well lit and edited. No one will know or be able to tell if you tightened the screws with a $7 screwdriver or a $21 screwdriver.
*I actually got it spot on , not from a difference in colours but in dynamic range and field of view.* The three shots starting at 00:21 were the giveaway.
Cam A and C retained details in the highlights out the window while B was blown out. So I knew B was the Sony camera being 10 bit (but remember that’s the codec not the sensor as it can output much higher RAW out via HDMI). B also had a wider FOV than the first so again I knew it was likely the FX3 which is full frame vs the Komodo S35, so another clue. To me C had less of a field of view and slightly less detail than A so I imagined that was the Blackmagic cam. That was a fun experiment. Thanks for posting. 👍🏿👍🏾
Yeah, except that sony had wider lens and got a bright corner in frame which others omitted. Sony has same dynamic range
I had a project recently where i changed the color of the lights from deep blue to green and it worked perfectly on that 16bit footage. One slider, My mind was blown.
The client loved it, it was awesome to have that opportunity to get creative in post.
As a Komodo owner, I think what I learned much too late is that REDRAW is an amazing codec if you’re planning to heavily process your image. The sheer depth of information within the files is impressive. I’ve recovered some insanely blown highlights. That said, if you’re shooting everything like an experienced DP would, you will rarely need to access that information in most instances. If I could go back, I might’ve just gone with an FX3/FX6, but I’m not upset about my purchase. I’ve rented my Komodo kit out for $4000 before, so it’s paid for itself at this point.
Felt, I’m in the same boat. The red always pays for itself but I wish I’d gotten an fx3 and spent more money on grip and lighting gear.
Why would someone rent it for $4000 when it can be had to own for like $4500 used LOL. i swear some people be crazy.
@@RiceCubeTech productions rent cameras all the time. I’m sure there are tons of agencies who could own way more than just Komodo’s lol. Just how the industry works I guess.
@@RiceCubeTech depends on funding stipulations, I know a lot of indie funding opportunities require you to rent not own. Larger productions will rent as well as it makes tax management easier for the production company.
Thank you so much for the detailed illustration!!
Excellent comparison!! Thank you!
Hah i recognized RED as more "reach" and sony as yellowish skintone (i didn't know what cameras were in test). Great job. You're have the tallent!! Love the vibe of your shots. Can't wait for feature film with you as DOP.
I saw that you have the Atlus Orion and the Blazar Remus lenses, how do you feel they compare? I'm looking into the Remus and would love your thoughts!
I'm a Sony guy (I have a ZV-E1 aka mini fx3) but damn that BMCC 6k FF is a beast! that highlight rolloff makes such a big difference in my eyes :o
also Suyorukun got a quick question.. do you also get ugly color noise in the shadows or dark area's in general on your fx3? for some reason my low light footage (even though in native iso) I still get that ugly colored noise :(
Man that's some wonderful cinematography!!! Camera B seems to grab my attention, then Camera C. But all three look AMAZING!
B is BMCC6K, C is FX3 and A is RED
A red comodo b sony fx3 c blackmagic
Thank you!!
“B” is FX3 😜
Ohhh . That's why I love camera A&C. The color saturation on A and the highlights on C, or maybe because they have different lenses.
The only big difference you'll see in the color correction session is how far you can push the limits of the picture without destroying it.
It's crazy to think that the cost of the BM6K body plus lens is about $3600 while the RED is $24,000. From what I can see in the video, the Orion lens on the RED is about $10K (great lens). The Blazar Remus on the BM6k is about $1k and the Sirui in the Sony is about $1200.
I was gonna say that Camera A was the FX3 because it isn't as sharp as the other cameras! I was surprised because footage from the Komodo tends to have an amazing level of detail. I'm guessing that has more to do with the lens than the sensor. But you did a great job of matching them up. Footage looks amazing. For me, what sets the Komodo apart is the natural level of image detail but also the global shutter. Even the FX3's fast sensor readout can't compete with a rock-solid moving image. It brings me back to shooting on film!
Very strange decision. For me "A" - is way too blurred one, B - nice balanced, C is oversharped with less motion blur
@@nikostalk5730 what decision are you talking about? To use a less sharp lens on the Komodo? I was wondering that too.
@@rizzo-films there is a point of "proper" picture to make it better in post. Too sharp picture - is bad, too blurred also bad
Go check difference between Canon Cxxx cameras and old Arri, the final image is more pleasant at Arri, but not because it is expensive lens, it produces balanced image just from the sensor
Beautifully done! You got my respect
Fantastic comparison. Thanks for doing this. They all look amazing in their own way. Camera A fooled me. I guessed Sony because the highlights were brighter and the cream handrail color leaned more towards white. Sonys capture so much light. They all still great.
Thanks for watching!
Thanks for the bit rate comparison. Honestly, watched the whole thing because the cinema was intense. Great stuff. Who else geeking out about the image (*noise this and that, color looks better on this, sensor difference on this cam and that ) before the results displayed. LOL.
Camera c was my pick of the bunch &
watching this after the new blackmagic pyxis announcement just confirmed it for me
I love watching your videos..I learn a lot from them🙌🏽🔥
On RUclips, a lot gets hidden as well. Use case and viewing environment will have a big impact on things, so will mastering format/resolution. Even in situations where the difference is easier to see while viewing it at full-resolution on a nice computer monitor... if you master at 2K/1080p, or if you like adding grain to your images or other post/dirty fx, the differences disappear even more... entirely in most cases. Ultimately that bit-depth difference does stick out in the right situations, so when someone says "there's something about it" on the RED end, I think they're noticing smaller differences in color, but mostly a better/smoother tonality in things, skin, skies, falloff, etc. but again, if you're someone who is intentionally downsampling, adding grain/noise/grit, etc. then you help hide issues or introduce additional dithering to the image. It all just depends. Good/bad are the wrong words really. Use case and what you need or like should take priority. I tried the C70 and A7sIII and the cams had so many benefits but in the end I found their internal recording, even RAW on the C70, to be pretty muddy/blotchy feeling and too low of a bitrate. In some context this would be fine but it bugged me more than I thought it would. All of these cameras are amazing though and I'm so glad we have something we didn't really have years ago... OPTIONS. :)
I liked A and C the best, but B surprised me on one of the shots with the detail in the hair. Wild.
Nice vid, thanks for making it and sharing :) You're right in that if your image is set on set, then any modern camera these days will be fine. I find however, that the best test of colour is white balance and saturation adjustments. I picked the Sony straight away based on saturation of lower midtones. That is where the Sony will fall massively...especially when underexposed. BRAW on the other hand, keeps colour rich and full, with flawless WB corrections in post. I rely on that a lot, especially when I'm using LUTs that respond well when changing WB and exposure settings in raw.
I early guessed which one was the FX3.
I own a BMPCC6K and owned a Red before. But I inverted BMP6K and Komodo !
Thanks for this relevant comparison.
You’re absolutely correct. The industry utilizes 16-bit mainly for post processing
A looks the best to me when it comes to dynamic range, I 'll take that one thank You
当たりました。
でもそれよりも何よりも映像が素敵すきます！
thank you for this great comparision!!!!
What are your thoughts about the Canon C500 mk2? Or the C70?
A>C>Bだったな
現実的に買えそうなのはBMCC6KFFだね
ダビンチもついてるし
良い比較動画ありがたい
@Suyorukun what would you suggest for a cinema camera for beginners?
Awesome video. Thank You! How did the BM stand up against the FX3? And have you filmed with the FX3 on the Atomos Ninja V to get better quality files?
I haven’t but they both are great!
very good video, what computer do you use to process all the videos, thank you👍
terrific video! I've been looking at a direct comparison between the Blackmagic 6k (in lieu of the coming Pyxis) and komodo. Glad to see they are close. The problem for me with the Blackmagic is the form factor and the lack of SDI. Do you see much difference between the RAW files?
The main difference can only be noticed in outdoor where the background is blasting light andyou still be able to see the character,
also the gradients of color is vast in outdoor locations .
Blackmagic looked the best most of the scenes.
I got em right, what lenses did you use? or was it same on every camera?
Amazing video and cinematography.
They are definitely hard to tell apart after RUclips compression but surely on your computer you will see the difference of the fx3 vs the other two, right?
The FX3 looked the most digital and less filmic out of the 3.
Fantastic test, thanks for the effort.
pls what lens did they use in each camera, cos it gifts another character to it.., there are different chromatic aberration and etc..
wow i love B so much. not too sharp and stiff like c and not too blurry like a.
This was a fun challenge for testing the eyes! My guesses were right, but they all do a phenomenal job! The slight blue streak 1:18 gave away the Komodo for me, they tend to give off that distinct flare with anamorphic lenses. The sony has the most Flat matte like finish, which is great for skin tones & naturally looks a lil warmer then the others. It also seemed to retain a little more detail in the darker shots. The bmcc always has the most rich clinically crisp imagery, especially with color for me, but it was a hard distinction between it & the Komodo for many shots. GREAT STUFF! By far one of the best camera test I've seen, especially with true cinematic style lighting and camera set-ups!
I’m so glad you liked it! Thanks so much😊
I have to pause right here and thank you...this was an incredible job!!! Thank you veryyyyyyyyyyyyyyyyyyy much! = )~
Thank YOU!😊
Great video. The C camera has a most rich colors in the skin tone. Can you speak about the remus lenses vs the Altas?, please 🙏
Was very easy to tell from first few shots. I wished 1 and 3 was swapped but it is what it is )) Looking really good! Sony … well, of course is closest to cellphone-ish feeling.
First of all - I loved your filming. So cool.😊 Second, I had no idea what was what, but I was really satisfied when camera B turned out to be a FX3, since that was the picture I liked the most😊
That Atlas Lens! mmmmmm Love it! I love my Komodo and I use my pictor lenses. One of these Orions would be amazing! Keep making magic bro!
open in 1080p then see the black or shadow part you will see the pixel color bending blow that is why camera A is powerful
Nice test. The only problem is that the use of different lenses makes it hard to compare the results. The footage is awesome and well shot, but the the 2 flavours of CA in cameras A and, especially, C, make it very hard to have an unbiased opinion. Also, it's possible that the lens also have different sharpness (that can be noticed on the actress' skin), render colours and produce flares in different colours, so, as good as the color grading is, it's possible to see some differences between the lenses that make it harder to evaluate the different formats. The video is looking amazing and the idea is amazing. If you could do something similar using the same lens, it would be perfect. I get that your point is to show how you can push all 3 images to match them before they break, I'm just saying I got curious to see something similar shot in equal conditions. Congratulations for the great video!
black magic's color science has gotten really good
OMG! Congrats on your new body extension HAHAHA; (camera), can't wait to see more of what you want to share with us :)
Thank you!!
i couldnt guess which was which honestly but liked A consistenly more than the others. And it was the Komodo... but then again, theres always the difference in sensor size which kinda gives it away, but noticed that on later shots.
The XH2s’ 14bit Flog2 would be an awesome gap filler between the BM and Red, if you ever get your hands on one in the future :)
A felt the most cinematic consistently to me
My favourite was definitely camera A, with B in second place and C in third.
crazy reading everyones preferences. I felt like C had a much more "film" look to it. It had a much better "looking" dynamic range and a nicer highlight roll-off. It REALLY IS just down to your preference and this proves it
Worth noting that I absolutely have run into issues with 250Mb/s SLog3- not due to the bit depth, entirely due to the data rate. Took my FX6 out into a national park in Wales in the UK for a documentary shoot during January and I shot using XAVC-I in 25FPS. In overcast weather with lots of moving foliage of a similar colour the footage really broke apart even with only a basic grade. My mid 50s mother described it as 'mushy' when I showed her. There was visible macro blocking even on only a 24 inch display at normal viewing distance. If that project had been a doc shot for cinema it would have been a serious concern.
Also, I have done objective image quality analysis on BRAW v ProRes using scientific software and BRAW absolutely has a better image quality at a comparable file size, plus it runs better on my system and is easier to grade due to raw controls so I always shoot it when using a BMD camera. I suspect the same is true for ProResRAW as well even though I do not have access to the tools anymore so cannot test.
For me though once you're at 10 bit you don't really need to worry at all about bit depth. For a typical All-I codec bitrate and compression efficiency are much more significant unless you're doing crazy colour grades or heavy VFX stuff.
hi guys! help! for wedding video camera, what would you pick up? SONY A7S3 or SONY FX3?
amazing... hope you release the lighting breakdown soon.. what brand lens you are using on fx3?
it was Sirui, don't know which one, but it was the cleanest without any fringing
Sirui!
@@Suyorukun hello, between blazar and sirui which one would you recommend ?
Good test! I own the BM6K Super 35, and I love it. I can't imagine the FF. I might try to get that as my next camera.
i love C camera (BMCC 6K) Incredible colors.
One thing here that's not being addressed, Red's codec captures at 16 bit linear, but must be converted to 12 bit log to edit. Blackmagic raw also has the same bucket. 16 bit linear on capture and 12 bit log in debayer.
Uhm you do a bit of confusion, both sensors capture in 16bit, encoded raw in 12bit log for braw I don’t sure for red, but when you are edited in good software like resolve, both of files are decoded again in the original 16bit linear space.
encoding in 12bit log is only data space compression to optimize disk/card space but this happed at separated sensor matrix (raw), and this procedure keep original quality, is not comparable with 10 bit log of Sony which is a process on a debayered signal.
Anyway in the both situation (Sony and red/bmd) there are a lots of data’s and if you do wrong exposure you can do a tons of corrections.
R3D is a 16 bit format. The software development kit (SDK), which is the portion of the imaging process we control in all non-linear editing systems (NLEs), has the ability to deliver 16 bit image data from the R3D to the NLE, regardless of if it’s Log or Linear. It is up to the individual NLE’s to define what level of footage they want to work in.
- RED -
@@Suyorukun ...and they won't be able to color grade unless it's debayered to 12 bit log. That is unavoidable
Hope you're thinking about create a "cinematography, lighting & color grading course "
Please i really hope so 🙏
As a Komodo x owner, I can happly to say that the BM6k looks on par.
Yes, i can tell the difference. Yes, you can get pretty close to the look of something like a BM or RED or even Arri and for most productions the better image quality isn't worth losing all the convenience features like auto focus, small form factor, etc. Especially if you're a one man band... But I personally would pick a Blackmagic over a Sony anytime I can. The difference in image quality shows especially in uncontrolled lighting conditions. My BM tends to get me to the desired look 80% of the time and Sony footage often needs a lot more attention and tweeking, especially in the skin tones. But great comparison!! I confused the Sony footage with the RED at first.
Exactly when i come back home with Sony it was always meh always something off and it couldnt be repaired with temp or tint, whilst in blackmagic you just tweak temp slider and it’s so east to bring it to good place and it’s so inspiring to shoot
Yes, had similar issues. I shoot Sony a lot and i like it for what it does. But BM is just a whole different level @@RafalGendarz
How wow. I wasn't trying to guess which was which, just which I liked most based on image quality (Dynamic range, Sharpness on in focus objects, Highlight fringing, etc.)
My rating was: FX3 > BMCC 6K FF > Red Komodo.
This is a perfect way to demonstrate how most of the difference comes from how you set up the shot and lighting, not from the camera that you use.
Just a little note: red container is 16bit, sensor data are 12bit, the same is for braw, take a look at specs of the file inside Resolve. They probably made it ready for future cameras but on this stage all cameras are 12bit data from sensor with very few exceptions.
I knew immediately B was the Sony, just didn't look right. I'm REALLY shocked how close C and A were. Sometimes I thought C was the Komodo. Great video.
Which microphone holder on your komodo are you using?
The only reason why you need these is to be able to push your picture in post especially change white balance, but the footage is going to be very similar in itself
What lens was on the FX3?
Thank you!
The FX3 turned out to be 80% of my choices, it looks a little better than both and more detailed despite being the only one that records in 4k, I am surprised by the treatment of Sony's sensors and their ability to take advantage of the entire image, I am surprised how a 4k camera looks more detailed than two 6k cameras.
Amazing camera for sure!
I mostly picked camera C and a few times cam B. I've been a fan of Blackmagic for years. They're innovative and "affordable" and have the best color science neck and neck with Arri imo and that's the most important aspect when I choose a camera. I have an Ursa which I love and might have to add the 6K to the arsenal. 😍
Amazing camera for sure!
Awesome Video, Great Job 👍
Thanks for Sharing!
In 2024 wedding filmmakers definitely need more than billions of colors
If a camera can gather enough data, it doesn’t matter which camera you use. You can get the same look. RUclips videos often seem to be about consumerism/brand obsession (not so much in this video, thankfully). The cinematography in this is great tho! great work.
Great video, what lenses were used on the black magic, they look great.
Blazar remus!
You cant tell based on colors etc. It is a slight give away when it comes to sensor size (you can tell ff sensor look)
0:54 here I thought A was FX3 because of the chromatic aberration, and B I thought it was the RED because it is the most cinematic and correct and it was the opposite woww!!!
Chromatic aberration has nothing to do with the camera, is the lens
@@gianlucazanga8432correct 😅👍🏿
Wow. I thought A was Fx3. I’m even more happy with my A7siii
BMD needs to sponsor you. This is great.
I loved camera c look
I’d be interested if you have a workflow for normalising Sony footage and the slightly red/pink skintones
The 6K FF looks best
Definitely.