It's such a thrill to witness Irix lenses commanding attention on the latest Black Magic camera! A big thank you for your confidence in Irix's abilities and for acknowledging their unique contribution!
man, I never thought about using a speed booster on a full frame camera to take advantage of the faster readout times! The s35 mode on the 6kFF is BETTER than the 6k Pro with sensor readout times, too. Thanks for the great video
I should imagine that an after market maker will have a conversion plate with V mount, and a monitor for the front USB-C used by the EVF. Since the Menu of the Blackmagic Cameras is so quick and easy to use, it had to have a touch screen. It also being a monitor is just fine.
Not sure it’s a RUclipsr thing, probably the opposite as RUclipsrs are all about variable ND filters! I know with the work I do often shooting outside internal NDs are incredibly useful. It’s one less thing I need to list on a carnet as well.
@@JonathanPalfrey no most RUclipsrs complain about no internal NDs. No actual DP is crying that his or her camera doesn’t have internal NDs. You get a matte box or a variable ND filter.
@@yosoyalquan Every camera do need it. Can you live without, for sure. But this camera will be operated mostly by solo shooters, who don't have a first or second AC to put ND filters like on the bigger cinema cameras and crew.
One has to figure that Panasonic has a similar camera on the horizon, seeing that BMD and Panasonic are in "alliance" now. I am thinking Panasonic has this same camera coming with only a miniscule tradeoff -- like having a built in ND instead of on-board XLR for example. Or SD cards instead of CFX. Or EVF instead of monitor... Yeah it's almost like all the camera companies are in cahoots and clowning us, where no one of them actually gives us everything in one package.
I love the idea of this camera, but as with all first models, unless you have money to burn, it’s worth waiting a couple of years till demand requires BM to fix all the downs. They did with the BMPCC 6K Pro. It’s coming, but we’ll have to wait.
I think a lot of people are missing the point of this camera-- not only is it building upon the current infrastructure, but it's polishing a lot of the things that made the previous cameras hard to work with in a PROFESSIONAL setting. Things like no SDI or timecode lock, terrible battery life, extremely hard to rig and balance on gimbals, subpar build quality, and poor optimization for post production workflows are some of the little things this camera fixes that makes it much more suitable for PROFESSIONAL cinematographers & studios-- and for $3k?! It's a GOTDAM STEAL! To help everyone out there who don't get it, think of this camera as the only camera black magic makes and compare it to other cameras in the market at a similar price-- you won't find a better camera, period. If you see it and it doesn't fit your workflow, there is a plethora of other cameras out there that have exactly what you're looking for.
I think this is what makes it absolutely MADDENING for me. They've done a lot to help us pros out here. But then they have the typical Blackmagic misses. Like putting the screen on the wrong side of the camera. Not giving us wireless monitoring. Not giving us a port for lens metadata. An EVF that costs more than half the price of the camera (though I do get it). No HDMI port (which would let me put a secondary screen on for the focus puller since the on-board monitor is on the wrong side. Disappointing frame rates and dynamic range for this era. It's got a LOT going for it for sure. But it seems like Blackmagic just never quite get it right. It's always, "It's a great camera but...". The sad thing is they have all the time in the world to really nail this. They could have benchmarked everything from the Arri Alexa Mini, to the RED DSMC2, to the Kinefinity Mavo. It seems like they are taking design advice from people who don't actually shoot narrative work. I felt the same when I got my BMCC in early 2012, and 12 years on it still feels that way.
@@ChrisParayno by that logic, if you pay a 15 year old 10 bucks to record something with the cell phone, they are a professional cinematographer. Since obviously that's not the case, professional has to do with skill, craft, and experience. You don't necessarily have to get paid to be a professional, and you don't have to be a professional to get paid.
@@PerroneFord most professionals don't want to use HDMI. The evf is primarily for the Ursa cine, but they've allowed it to be cross-compatible with the pyxis. I do understand where you're coming from, however, their main company goal is to provide exceptional image quality at extremely budget prices. Everything else about the product including the bill quality and the selection of I/O come secondary. If you're really looking for that high level professional I/O that's what the Ursa Cine is for, but as you see, it costs significantly more. The Pyxis is made for solo operators primarily, so it wouldn't make sense to have a second screen for a first AC or have the screen on the AC side. It's made for solo operators, so it makes sense for the screen to be on the operator side. They took money out of the equation and made the perfect cinema camera which is the Ursa Cine. 16 stops of dynamic range, two screens, one for the operator one for the AC, professional-grade M.2 media that comes standard and 8 tb, shoots up to 12K 100 frames per second, wireless monitoring, etc.
@@MtZionMediaProwell yea, kind of. If this camera is truly aimed at a solo operator, why only give us 1 XLR input? I mean the main thing solo ops are going to do is interviews and the like. So give me audio for a boom and a lav. If I am a solo operator, why are you bothering to give me a timecode port for sync to a second device? If I'm a solo operator on a $3k camera, why are you giving me a dedicated PL mount where darn near every lens will cost as much as if not more than the camera? What it appears to me is that this camera is not necessarily designed for a solo operator. It appears more that BM split the difference between an inexpensive consumer camera, and a mid-level camera. Basically a Komodo lite. And that's OK, but it causes some really weird compromises. On the high end I see the same problems with the URSA I've always seen. BM can't seem to make up their mind if they want to offer a broadcast camera, or a film camera. They give us a $14k "cinema" camera, then talk about how you can link it to a switcher? Remote operation capability? Potentially a 17k sensor? More proprietary media? Imagine being on a set and the DIT having to wrangle what are essentially RAID arrays of SSDs on the portable cart. I bought my first BM camera in 2011/2012. That camera had 1/4" audio inputs instead of XLR. And a non-user replaceable internal battery. Massive missteps that I chalked up to them being a brand new company. But over the course of their history they have made these same maddening missteps with seemingly every release. Walking the line between a cinema camera and a broadcast camera. I just wish they'd go all in one way or the other. And you're right. Most pros don't want HDMI. What we DO want is TWO outputs. They can both be SDI or a mix of SDI/HDMI. I would absolutely LOVE to be on the BM design team for the followup to this camera. But honestly, all they need to do is copy REDs old DSMC2. But a BM spin on it, but just make that. They'll sell every one they make for $5k.
I'm glad I read the comments before commenting myself. I was about to mention that USB-C has video out functionality. That's how the viewfinder is getting the feed from the camera. Just need a USB-C to HDMI cable
It would be really cool if you could just use a usb c to hdmi cable. I still like the idea of a slim monitor from themselves which is connected by just usb c
Nice one, Palfers. Will probably get one of these to add to the fleet of cameras, although can't say I'm happy about lack of internal ND, only a single mini XLR, no V-Mount, and lack of a flip out screen.
The flip out screen is not important to me. I have two Small HD monitors and a Ninja. I dont even need a monitor. The screen works best as an AC monitor honestly, i work as a first a lot and i can definitely see me controlling the camera wit the side screen like i do with the Venice or any camera with an AC side screen. Black Magic has ACs in mind in this design.
Except the screen is on the wrong side of the camera for that. Good luck changing the settings when the cam is shoulder mounted. Or if the cam op is on the viewfinder while the camera is on sticks, slider, dolly, etc.
Everyone was crying for a Blackmagic Box Camera now everyone is crying about what’s in the box 😢if you’re a true creator then go out there and create some content regardless of what camera you have also it’s not like Blackmagic Design is breaking the bank💵 like some other camera manufacturers we know like Sony and RED.
i got ff 6k just 2 months ago. why release a camera when they already built box version. people who bought will be so pissed about it and i am one among them.
That’s true. I wish these companies, same goes for Sony and how they announced the FX line up, would announce related cameras at the same time so consumers can just pick the form factor they want.
Ok, I can get by with no internal ND filters and with that fixed screen. BUT SOME SERIOUS CONS: mini XLR? Why??? Also no HDMI out is pretty big con because some clients want HDMI exporting the feed to the projectors. And finally no ProRes??? Only BRAW??? Not interested.
Yeah mini XLR is annoying especially on that size of body. For some reason Blackmagic never put both HDMI and SDI on there cameras. There must be a reason. It is frustrating as it makes mixing and matching in a multicam very annoying. This camera would have actually been a great option for using with ATEM minis, probably is you won’t be able to mix them with pocket cameras without converters.
Blackmagic played us beautifully. They some how convinced many of us that just by changing the form factor to a box, and making a really good monitor now much let useful and awkward, and increasing the price, still got us praising just because box is easy to rig?
They still have their existing product line that you can choose from if it better fits your needs. Clearly, having a more rigable box style camera is something their customer base has been asking for for the past 4 years. The sensor that's in that camera is less than a year old and produces exceptionally beautiful images. Get off your high horse and actually shoot something instead of complaining. If it's not for you, don't buy it
most cams near this price bracket have to crop in to do 60, and they can’t even do raw. if you want high frame rates go fx3, but that’s not a proper cinema camera made for set use
First, it's only the first camera using that new form factor. Second it costs only $3k. Third, be grateful and learn more about cameras. You don't know what you're talking about!
Okay. It's too cheap, but where's the internal ND, the auto focus and stabilization technical details and information, and the compatibility with sd cards? In other words, it could cost 1k more and it would still be at a great price and have everything that was missing. Sure, it doesn't seem to be a bad camera, but we still have to understand the real dynamic range and how it handles dark environments. Because it's reported to have 13 stops on top of everything else.
The Pyxis is a cinema camera, stabilization and auto focus are not with cinematographers want-- internal NDs would be nice, but most productions run matte boxes even if internal NDs are in the camera.
Also, SD cards? Really? If you know anything about SD card she would know that even the best SD cards have a hard time running high data rates and raw codecs. CF Express-- it's the best option
@@MtZionMediaPro You have no idea how much I know about all this. But anyway, the SD card is important if you want to record in smaller resolutions to take up less space on hard drives, for example for documentaries or events. So much so that the Sony FX6 has this option. This camera is nowhere near a real movie camera. It doesn't come close to a venice, c500, the reds (excluding the komodo) and of course no arri, alexa. That doesn't mean you can't use it for shorts, documentaries and feature films. But if a person can choose between an alexa mini LF, venice, burano, fx9, or even komodo or this camera if he can afford it, he won't go with this camera. For the real use that this camera will have for a videomaker who has 3k to buy it, it will be used for documentaries and other videos by videomakers. And then you just have to compare it with the FX6, which is clearly what the guys at blackmagic wanted to get close to. With the FX6, if you've used it a lot, you'll notice that the internal ND is a lifesaver, as well as the dynamic range, stabilization and so on. Even more so when you think about the speed of use, of having to keep changing the ND on the mattebox (??? Only for specific studio jobs or very well planned films with a lot of shooting time!)
Summary of this video I’m want a profecional camera , I don’t want to pay the price , and I want features like a hmi that it’s not a profecional . And a tilting monitor that also it’s not profecional to add a zoom in a gimbal to shoot handheld ….please black magick do not hear “ Filnakers “ like this one. Do what u do that u do it perfect
Bad rolling shutter, bad in low light, who cares if it’s a beautiful box if the image quality is mediocre at best. Same price as the Sony a7S3 which is a way better camera and we are now waiting for the a7S4, which will blow this camera out of the water in every possible way!
@@MtZionMediaProyeah bad take for sure. dude has never played with 12bit and doesn’t know how to color grade. I bet he buys all of the influencer luts hoping his image looks like theirs 😅
I love the FX3, it has amazing features and an ideal size for travel however I’ve always preferred the image I can get out of Blackmagic cameras and especially the flexibility of Blackmagic raw. Don’t get me wrong I know as an all round camera, the A7s3 is probably better.
@@JonathanPalfrey potentially, but nowadays a camera's and the look is more about preference. The main thing that differentiates cameras now is the workflow that they provide. The faster readout speeds and low light of the mirrorless bodies lends themselves to fast-paced environments, however the lack of BNC connectors for time code and monitoring, lack of internal compressed raw, etc changes the workflow pre and post production.
True it’s how Blackmagic have always developed their cameras, reusing parts from the previous one. Hopefully this sets a good base for a future version though.
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It's such a thrill to witness Irix lenses commanding attention on the latest Black Magic camera! A big thank you for your confidence in Irix's abilities and for acknowledging their unique contribution!
man, I never thought about using a speed booster on a full frame camera to take advantage of the faster readout times! The s35 mode on the 6kFF is BETTER than the 6k Pro with sensor readout times, too. Thanks for the great video
I should imagine that an after market maker will have a conversion plate with V mount, and a monitor for the front USB-C used by the EVF. Since the Menu of the Blackmagic Cameras is so quick and easy to use, it had to have a touch screen. It also being a monitor is just fine.
Speedbooster on a fullframe?
The side screen is for the AC, and makes perfect sense.
My only gripe is no internal ND's. Maybe they'll make a PYXIS Pro version later.
Does the $10,000 Komodo X have Internal ND?
@@Sethmotleyexactly… it’s annoying that RUclipsrs have gotten people to think that every camera needs “internal nds”
Not sure it’s a RUclipsr thing, probably the opposite as RUclipsrs are all about variable ND filters!
I know with the work I do often shooting outside internal NDs are incredibly useful. It’s one less thing I need to list on a carnet as well.
@@JonathanPalfrey no most RUclipsrs complain about no internal NDs. No actual DP is crying that his or her camera doesn’t have internal NDs. You get a matte box or a variable ND filter.
@@yosoyalquan Every camera do need it. Can you live without, for sure. But this camera will be operated mostly by solo shooters, who don't have a first or second AC to put ND filters like on the bigger cinema cameras and crew.
Very good review of the camera features. I agree with all of your criticisms doubly so with having a V-lock battery as a standard going forward.
One has to figure that Panasonic has a similar camera on the horizon, seeing that BMD and Panasonic are in "alliance" now. I am thinking Panasonic has this same camera coming with only a miniscule tradeoff -- like having a built in ND instead of on-board XLR for example. Or SD cards instead of CFX. Or EVF instead of monitor... Yeah it's almost like all the camera companies are in cahoots and clowning us, where no one of them actually gives us everything in one package.
I love the idea of this camera, but as with all first models, unless you have money to burn, it’s worth waiting a couple of years till demand requires BM to fix all the downs. They did with the BMPCC 6K Pro. It’s coming, but we’ll have to wait.
meike has made drop in ND already it its also stackable
Great points, Jonathan. Thanks for your video!
I think a lot of people are missing the point of this camera-- not only is it building upon the current infrastructure, but it's polishing a lot of the things that made the previous cameras hard to work with in a PROFESSIONAL setting.
Things like no SDI or timecode lock, terrible battery life, extremely hard to rig and balance on gimbals, subpar build quality, and poor optimization for post production workflows are some of the little things this camera fixes that makes it much more suitable for PROFESSIONAL cinematographers & studios-- and for $3k?! It's a GOTDAM STEAL!
To help everyone out there who don't get it, think of this camera as the only camera black magic makes and compare it to other cameras in the market at a similar price-- you won't find a better camera, period.
If you see it and it doesn't fit your workflow, there is a plethora of other cameras out there that have exactly what you're looking for.
I think this is what makes it absolutely MADDENING for me. They've done a lot to help us pros out here. But then they have the typical Blackmagic misses. Like putting the screen on the wrong side of the camera. Not giving us wireless monitoring. Not giving us a port for lens metadata. An EVF that costs more than half the price of the camera (though I do get it). No HDMI port (which would let me put a secondary screen on for the focus puller since the on-board monitor is on the wrong side. Disappointing frame rates and dynamic range for this era.
It's got a LOT going for it for sure. But it seems like Blackmagic just never quite get it right. It's always, "It's a great camera but...". The sad thing is they have all the time in the world to really nail this. They could have benchmarked everything from the Arri Alexa Mini, to the RED DSMC2, to the Kinefinity Mavo. It seems like they are taking design advice from people who don't actually shoot narrative work. I felt the same when I got my BMCC in early 2012, and 12 years on it still feels that way.
Professional means just making money with what ever you're using
@@ChrisParayno by that logic, if you pay a 15 year old 10 bucks to record something with the cell phone, they are a professional cinematographer.
Since obviously that's not the case, professional has to do with skill, craft, and experience. You don't necessarily have to get paid to be a professional, and you don't have to be a professional to get paid.
@@PerroneFord most professionals don't want to use HDMI. The evf is primarily for the Ursa cine, but they've allowed it to be cross-compatible with the pyxis.
I do understand where you're coming from, however, their main company goal is to provide exceptional image quality at extremely budget prices. Everything else about the product including the bill quality and the selection of I/O come secondary.
If you're really looking for that high level professional I/O that's what the Ursa Cine is for, but as you see, it costs significantly more.
The Pyxis is made for solo operators primarily, so it wouldn't make sense to have a second screen for a first AC or have the screen on the AC side. It's made for solo operators, so it makes sense for the screen to be on the operator side.
They took money out of the equation and made the perfect cinema camera which is the Ursa Cine. 16 stops of dynamic range, two screens, one for the operator one for the AC, professional-grade M.2 media that comes standard and 8 tb, shoots up to 12K 100 frames per second, wireless monitoring, etc.
@@MtZionMediaProwell yea, kind of. If this camera is truly aimed at a solo operator, why only give us 1 XLR input? I mean the main thing solo ops are going to do is interviews and the like. So give me audio for a boom and a lav. If I am a solo operator, why are you bothering to give me a timecode port for sync to a second device? If I'm a solo operator on a $3k camera, why are you giving me a dedicated PL mount where darn near every lens will cost as much as if not more than the camera?
What it appears to me is that this camera is not necessarily designed for a solo operator. It appears more that BM split the difference between an inexpensive consumer camera, and a mid-level camera. Basically a Komodo lite. And that's OK, but it causes some really weird compromises. On the high end I see the same problems with the URSA I've always seen. BM can't seem to make up their mind if they want to offer a broadcast camera, or a film camera. They give us a $14k "cinema" camera, then talk about how you can link it to a switcher? Remote operation capability? Potentially a 17k sensor? More proprietary media? Imagine being on a set and the DIT having to wrangle what are essentially RAID arrays of SSDs on the portable cart.
I bought my first BM camera in 2011/2012. That camera had 1/4" audio inputs instead of XLR. And a non-user replaceable internal battery. Massive missteps that I chalked up to them being a brand new company. But over the course of their history they have made these same maddening missteps with seemingly every release. Walking the line between a cinema camera and a broadcast camera. I just wish they'd go all in one way or the other.
And you're right. Most pros don't want HDMI. What we DO want is TWO outputs. They can both be SDI or a mix of SDI/HDMI. I would absolutely LOVE to be on the BM design team for the followup to this camera. But honestly, all they need to do is copy REDs old DSMC2. But a BM spin on it, but just make that. They'll sell every one they make for $5k.
But you do know that you can monitor the image with the Blackmagic+ App on a Phone with like any Blackmagic camera - its worth the 20 bucks for sure
Never heard of a blackmagic+ app. There’s a Bluetooth+ app but it only lets you remotely change settings, there’s no video monitoring.
On HDMI - maybe the Type-C can support HDMI alternate mode, and if so would just need a special cable.
I'm glad I read the comments before commenting myself. I was about to mention that USB-C has video out functionality. That's how the viewfinder is getting the feed from the camera. Just need a USB-C to HDMI cable
It would be really cool if you could just use a usb c to hdmi cable. I still like the idea of a slim monitor from themselves which is connected by just usb c
@@JonathanPalfrey Yes I’d love that too
Bigeest gripe for me is no pro res idk why they ditchdd it
Yeah for certain deliverables ProRes is important still, Especially if you only want to shoot in HD.
Grant is being clever with the spelling. Pyxis is Greek or Latin for a small box (although strictly speaking it is plural).
I haven't seen tally lights, but I'm quite sure there are a few hidden ones that I didn't see.
Would love to know the camera you are using in this video‼️
Believe it or not its the Pocket 6K Pro in ProRes LT HD.
Why not a V or Gold mount 😑
The camera mount looks like it would be easily user replaceable?
apparently its not according to one of the NAB interviews I saw.
Nice one, Palfers. Will probably get one of these to add to the fleet of cameras, although can't say I'm happy about lack of internal ND, only a single mini XLR, no V-Mount, and lack of a flip out screen.
The flip out screen is not important to me. I have two Small HD monitors and a Ninja. I dont even need a monitor. The screen works best as an AC monitor honestly, i work as a first a lot and i can definitely see me controlling the camera wit the side screen like i do with the Venice or any camera with an AC side screen. Black Magic has ACs in mind in this design.
Except the screen is on the wrong side of the camera for that. Good luck changing the settings when the cam is shoulder mounted. Or if the cam op is on the viewfinder while the camera is on sticks, slider, dolly, etc.
Who needs a flip out screen. When it can be on the side of the camera ! Brilliant
Does the USB’c read SSDs
Yes
@@MtZionMediaPro it’s still very ugly designed
@@WalterTheBalter well if you're worried about the way camera looks and not the picture quality, you're clearly looking into the wrong industry
@@MtZionMediaPro its the same sensor man come on
@@MtZionMediaPro ergonomics matter
I had long hoped for a BM box camera and this almost had me. Looking closer: No swappable mount. No Internal ND. No ProRes. Only one XLR input.
Yes we should
13 stops of dynamic range... lol, FX3 is 15!
Everyone was crying for a Blackmagic Box Camera now everyone is crying about what’s in the box 😢if you’re a true creator then go out there and create some content regardless of what camera you have also it’s not like Blackmagic Design is breaking the bank💵 like some other camera manufacturers we know like Sony and RED.
i got ff 6k just 2 months ago. why release a camera when they already built box version. people who bought will be so pissed about it and i am one among them.
They serve different yet overlapping markets.
who cares if youre pissed about it? do you think blackmagic thought "I wonder if @pavans9981 is gonna be pissed?...we should wait a bit"
I kind of like the 6k my than the pyx tbh. Requires no rigging and the image is amazing
That’s true. I wish these companies, same goes for Sony and how they announced the FX line up, would announce related cameras at the same time so consumers can just pick the form factor they want.
Much heavier. No monitor on the back. You should be happy to have the og 6k cinema
Ok, I can get by with no internal ND filters and with that fixed screen. BUT SOME SERIOUS CONS: mini XLR? Why??? Also no HDMI out is pretty big con because some clients want HDMI exporting the feed to the projectors. And finally no ProRes??? Only BRAW???
Not interested.
Yeah mini XLR is annoying especially on that size of body.
For some reason Blackmagic never put both HDMI and SDI on there cameras. There must be a reason. It is frustrating as it makes mixing and matching in a multicam very annoying. This camera would have actually been a great option for using with ATEM minis, probably is you won’t be able to mix them with pocket cameras without converters.
G2 will have an HDMI
Why no v-lock????? Holy shiaaaat the insdustry never wants to do the best with the first design
Blackmagic played us beautifully. They some how convinced many of us that just by changing the form factor to a box, and making a really good monitor now much let useful and awkward, and increasing the price, still got us praising just because box is easy to rig?
They still have their existing product line that you can choose from if it better fits your needs. Clearly, having a more rigable box style camera is something their customer base has been asking for for the past 4 years. The sensor that's in that camera is less than a year old and produces exceptionally beautiful images.
Get off your high horse and actually shoot something instead of complaining. If it's not for you, don't buy it
You mean FX6
No ND Filters - No 16:9 FF - 17:9 FF 48fps max WTF
most cams near this price bracket have to crop in to do 60, and they can’t even do raw.
if you want high frame rates go fx3, but that’s not a proper cinema camera made for set use
You clearly aren't in the world of cinematography.
Some people are never satisfied 😏
This isn’t for weddings dingbat
First, it's only the first camera using that new form factor. Second it costs only $3k. Third, be grateful and learn more about cameras. You don't know what you're talking about!
Blk magic dropped the ball on this one. Ursa g2 is still king 🤦
That camera was really ahead of its time when it came out.
I’d actually love to see that camera in this body and with better power consumption.
Okay. It's too cheap, but where's the internal ND, the auto focus and stabilization technical details and information, and the compatibility with sd cards? In other words, it could cost 1k more and it would still be at a great price and have everything that was missing. Sure, it doesn't seem to be a bad camera, but we still have to understand the real dynamic range and how it handles dark environments. Because it's reported to have 13 stops on top of everything else.
The Pyxis is a cinema camera, stabilization and auto focus are not with cinematographers want-- internal NDs would be nice, but most productions run matte boxes even if internal NDs are in the camera.
Also, SD cards? Really? If you know anything about SD card she would know that even the best SD cards have a hard time running high data rates and raw codecs. CF Express-- it's the best option
@@MtZionMediaPro You have no idea how much I know about all this. But anyway, the SD card is important if you want to record in smaller resolutions to take up less space on hard drives, for example for documentaries or events. So much so that the Sony FX6 has this option. This camera is nowhere near a real movie camera. It doesn't come close to a venice, c500, the reds (excluding the komodo) and of course no arri, alexa. That doesn't mean you can't use it for shorts, documentaries and feature films. But if a person can choose between an alexa mini LF, venice, burano, fx9, or even komodo or this camera if he can afford it, he won't go with this camera. For the real use that this camera will have for a videomaker who has 3k to buy it, it will be used for documentaries and other videos by videomakers. And then you just have to compare it with the FX6, which is clearly what the guys at blackmagic wanted to get close to. With the FX6, if you've used it a lot, you'll notice that the internal ND is a lifesaver, as well as the dynamic range, stabilization and so on. Even more so when you think about the speed of use, of having to keep changing the ND on the mattebox (??? Only for specific studio jobs or very well planned films with a lot of shooting time!)
Summary of this video I’m want a profecional camera , I don’t want to pay the price , and I want features like a hmi that it’s not a profecional . And a tilting monitor that also it’s not profecional to add a zoom in a gimbal to shoot handheld ….please black magick do not hear “ Filnakers “ like this one. Do what u do that u do it perfect
you work a lot in the sun? Then why do I have to look at this video you sitting in the dark? You got allergic for light?
Sounds like they took a page from RED. Look at where that led them, being bought out😆😆
Well red lost the law suit lol, that's true story behind it
19 minute commercial
You have the Sony FX 3 and you’re thinking about getting this camera instead… You don’t need this camera you need a psychiatrist.
Bad rolling shutter, bad in low light, who cares if it’s a beautiful box if the image quality is mediocre at best. Same price as the Sony a7S3 which is a way better camera and we are now waiting for the a7S4, which will blow this camera out of the water in every possible way!
Terrible take. These are two different cameras for two different styles of shooting 🤦🏾♂️
@@MtZionMediaProyeah bad take for sure. dude has never played with 12bit and doesn’t know how to color grade. I bet he buys all of the influencer luts hoping his image looks like theirs 😅
I love the FX3, it has amazing features and an ideal size for travel however I’ve always preferred the image I can get out of Blackmagic cameras and especially the flexibility of Blackmagic raw.
Don’t get me wrong I know as an all round camera, the A7s3 is probably better.
@@JonathanPalfrey potentially, but nowadays a camera's and the look is more about preference.
The main thing that differentiates cameras now is the workflow that they provide. The faster readout speeds and low light of the mirrorless bodies lends themselves to fast-paced environments, however the lack of BNC connectors for time code and monitoring, lack of internal compressed raw, etc changes the workflow pre and post production.
Says the amateur that makes tic toks
I'm gonna call mine the Big Sis
no IBIS, no AF. rubbish!
Its the same 6k sensor in a different form factor, and BRAW only ... nothing revolutionary
True it’s how Blackmagic have always developed their cameras, reusing parts from the previous one.
Hopefully this sets a good base for a future version though.