This might be the most thoughtful discussion on the pros and cons for this camera. Thanks for sharing. I am also in the target demo for this product and it appeals to me in much the same ways. That said, your discussion about PL mount is almost exactly one I was having with a friend. Glad to hear we are not alone! Happy shooting!
This was such a great chat. I felt like I was in the room (but gagged so unable to chime in - which I wanted to do constantly). Definitely do the follow-up chat!
Great video Cory, was enjoyable listening to you and Toby chat. I think you're spot on about being used to BRAW and I love the image it produces in my 6K Pro too, I'm excited at the prospect of adapting photography lenses like the Helios 44 to a full frame version. The only reason I'm hesitant to buy yet is because I'm keen to see if an S1H II is coming. It'll be more expensive, and will require a Video Assist. But the form factor will probably be nicer and who knows what else it could do?
The form factor-before you bolt on a Video Assist-will be a bit smaller with an S1H II, but with the CC you have a 5” monitor and internal BRAW in one package, which the Lumix won’t be able to match. And once rigged out the Lumix will be bulkier, heavier, will have a worse menu system, be dependent on USB-C for power, no internal XLR, etc. Granted, the CC is not sexy on the outside but apart from auto focus it will be a more capable video device for many situations.
@@waveland IBIS too, don't forget. I'm keeping my 6K Pro but there's no doubt it's bulky, despite the shape. S1H II could be 'un-bulked' when travelling, even without BRAW it'll still be beyond what I need for quality.
With the price of R5C going down in second hand, this 6KFF camera makes me wonder if it's worth it. Especially if you don't have any L-Mount camera or lenses to start of with.
The lack of ProRes and the fact that it's can't output beyond 1080pHD are the biggest bummers, and the reason I wouldn't pick this up. In fact, I am very confused as to why the (Pocket) Cinema cameras don't have a way to output at a higher resolution. It's very frustrating.
Blackmagic has indicated you can still do that with Blackmagic Video Assist or Atomos Ninja external recording with Pro Res BUT with a full frame sensor with the camera. I'm all cool with it as BRaw is beautiful. If not into that, just stick to the 6k pro. But Full Frame is the future. Loving it. Can't wait to get my hands on 6k full frame and start shooting!
I edit my own material so I don’t understand the issue. If a client needs a ProRes deliverable, then I record in BRAW, edit and color correct in Resolve and then render their preferred flavor of ProRes. And most of the time that works even when I’m not editing. I would still prefer to capture in 12-bit and use the Resolve color managed workflow to process files out to 10-bit. That way if I missed a shift in the white balance, or realized too late I was getting a green caste from fluorescent lights or ended up a little off on exposure because clouds rolled in and I didn’t have time to reset, then I can still deliver top grade color in my files. Certainly there are a few situations where you have to turn over ProRes immediately before leaving the shoot. In those cases, this isn’t the right camera.
Great discussion. BMD doesn't listen to their consumers. I own an Ursa Mini pro 12k, and I've been waiting for a smaller body B cam to it. I do not plan on purchasing the CC 6k. I've been waiting on an updated camera with the same sensor as the Ursa 12k (it could be full frame also). I dont believe they will even change the Ursa Mini pro body; so as of right now I will hold off on any BMD cameras until they make the changes ask for.
What does “I won’t be able to deliver in ProRes any more” actually mean??? Resolve can output to two flavors of ProRes 4:4:4:4 and four flavors of ProRes 4:2:2. If you edit in Windows, then pick up a MacMini or Studio as a stand alone render machine. This might be an issue when you have to hand over files on set, but then I would shoot with a 6k Pro. But for the most part I want 12-bit RAW in camera with the flexibility to review white balance, tint, etc. before I process and deliver. What you can say to the client is that you can save them a lot of time in post because color correction is a lot easier than with ProRes as the initial codec.
When you shoot for broadcast news they want to take the CF card away with them straight away to transfer the data. They won’t let you take it back with you to transcode and they don’t have time to transcode. They understand what RAW is, they just have a set workflow and you can miss out on work for not fitting that workflow. I as a freelancer am not going to try and convince a massive institution to change the whole workflow, they’re just going to think I’m difficult. And I’ve tried this in the past to transcode myself before delivery to client and they want control over the cards as soon as the shoot is over 🤷🏻♂️
@@corryraymondfilms News is a different story (so to say), and not the kind of work I ever tackle. But if I were to run a round doing freelance broadcast work, then the new CC 6K is one of the last cameras I would consider for my kit.
I love this format "podcast" style - just shooting the sh*t talking about cameras, gear, techniques etc. Would love to see you do more like this.
Thank you, working on more!
This might be the most thoughtful discussion on the pros and cons for this camera. Thanks for sharing. I am also in the target demo for this product and it appeals to me in much the same ways. That said, your discussion about PL mount is almost exactly one I was having with a friend. Glad to hear we are not alone!
Happy shooting!
This was such a great chat. I felt like I was in the room (but gagged so unable to chime in - which I wanted to do constantly). Definitely do the follow-up chat!
i just bought the 6k pro woooo
Great video Cory, was enjoyable listening to you and Toby chat. I think you're spot on about being used to BRAW and I love the image it produces in my 6K Pro too, I'm excited at the prospect of adapting photography lenses like the Helios 44 to a full frame version. The only reason I'm hesitant to buy yet is because I'm keen to see if an S1H II is coming. It'll be more expensive, and will require a Video Assist. But the form factor will probably be nicer and who knows what else it could do?
The form factor-before you bolt on a Video Assist-will be a bit smaller with an S1H II, but with the CC you have a 5” monitor and internal BRAW in one package, which the Lumix won’t be able to match. And once rigged out the Lumix will be bulkier, heavier, will have a worse menu system, be dependent on USB-C for power, no internal XLR, etc. Granted, the CC is not sexy on the outside but apart from auto focus it will be a more capable video device for many situations.
@@waveland IBIS too, don't forget. I'm keeping my 6K Pro but there's no doubt it's bulky, despite the shape. S1H II could be 'un-bulked' when travelling, even without BRAW it'll still be beyond what I need for quality.
Great job. I really hope you guys do a follow up after you’ve spent some time with the camera.
With the price of R5C going down in second hand, this 6KFF camera makes me wonder if it's worth it. Especially if you don't have any L-Mount camera or lenses to start of with.
The lack of ProRes and the fact that it's can't output beyond 1080pHD are the biggest bummers, and the reason I wouldn't pick this up. In fact, I am very confused as to why the (Pocket) Cinema cameras don't have a way to output at a higher resolution. It's very frustrating.
Blackmagic has indicated you can still do that with Blackmagic Video Assist or Atomos Ninja external recording with Pro Res BUT with a full frame sensor with the camera. I'm all cool with it as BRaw is beautiful. If not into that, just stick to the 6k pro. But Full Frame is the future. Loving it. Can't wait to get my hands on 6k full frame and start shooting!
price
I edit my own material so I don’t understand the issue. If a client needs a ProRes deliverable, then I record in BRAW, edit and color correct in Resolve and then render their preferred flavor of ProRes. And most of the time that works even when I’m not editing. I would still prefer to capture in 12-bit and use the Resolve color managed workflow to process files out to 10-bit. That way if I missed a shift in the white balance, or realized too late I was getting a green caste from fluorescent lights or ended up a little off on exposure because clouds rolled in and I didn’t have time to reset, then I can still deliver top grade color in my files. Certainly there are a few situations where you have to turn over ProRes immediately before leaving the shoot. In those cases, this isn’t the right camera.
Great discussion.
BMD doesn't listen to their consumers. I own an Ursa Mini pro 12k, and I've been waiting for a smaller body B cam to it. I do not plan on purchasing the CC 6k.
I've been waiting on an updated camera with the same sensor as the Ursa 12k (it could be full frame also). I dont believe they will even change the Ursa Mini pro body; so as of right now I will hold off on any BMD cameras until they make the changes ask for.
What does “I won’t be able to deliver in ProRes any more” actually mean??? Resolve can output to two flavors of ProRes 4:4:4:4 and four flavors of ProRes 4:2:2. If you edit in Windows, then pick up a MacMini or Studio as a stand alone render machine. This might be an issue when you have to hand over files on set, but then I would shoot with a 6k Pro. But for the most part I want 12-bit RAW in camera with the flexibility to review white balance, tint, etc. before I process and deliver. What you can say to the client is that you can save them a lot of time in post because color correction is a lot easier than with ProRes as the initial codec.
When you shoot for broadcast news they want to take the CF card away with them straight away to transfer the data. They won’t let you take it back with you to transcode and they don’t have time to transcode. They understand what RAW is, they just have a set workflow and you can miss out on work for not fitting that workflow. I as a freelancer am not going to try and convince a massive institution to change the whole workflow, they’re just going to think I’m difficult. And I’ve tried this in the past to transcode myself before delivery to client and they want control over the cards as soon as the shoot is over 🤷🏻♂️
@@corryraymondfilms News is a different story (so to say), and not the kind of work I ever tackle. But if I were to run a round doing freelance broadcast work, then the new CC 6K is one of the last cameras I would consider for my kit.
Great thanks for that
ive had 2 of those tilta usb-c cables and they both died on me, went to kondor blue and i cant look back!