As a long-time user of Blackmagic cameras (started way back with the first Ursa Mini). I recently transitioned from the Ursa Mini Pro and Pocket 6K, to Sony's FX6 and FX3. Despite this switch, I still have a preference for Blackmagic's image. My main reason for leaving Blackmagic, after years of dedication, was their significant lack of customer support. It's unfortunate, but their cameras tend to fail eventually. They love to add the "Pro" descriptor to their camera names, but in my experience, there's nothing truly professional about Blackmagic's support. Sony cameras are simply more reliable and they actually provide "Pro" support. I'd be more than willing to return to Blackmagic if they ever address quality control and customer support issues.
interesting perspective, luckily I have never had to deal with Blackmagic support . but it defiantly good to hear from someone who has delt with both support for the cameras. thanks for the comment!
I got the 6k Pro The next day it wouldn’t turn on Returned it got a new one A few months later In the middle of a shoot the ND filter stuck. I fixed it and sold it. Now i have the FX3 Not one single issue I’ll never buy black magic again ever
Took out a 3 year warranty on my Bmpcc4k. 4 months after the warranty ran out, the touchscreen stopped working .Emailed Black Magic, they said.."No repair depot in. Canada
@@robertwmoore My experience was very similar. Spent around $10k CAD on an Ursa Mini Pro and viewfinder. Got less than three years out of it before the XLR inputs stopped working. I was told by Blackmagic Support that my camera was a "legacy" product and no longer supported. I literally begged them and offered to pay. They showed ZERO empathy, and did not help. I take meticulous care of my gear and that camera was still like new. Despite that, I still used Blackmagic cameras for years. In that time, I experienced cameras randomly turning off and not turning back on, touchscreens becoming unresponsive, dead pixels, fixed pattern noise, timecode syncing issues, and one even bricked after a firmware updated. Meanwhile, every year they continue to push out newer models of the same buggy cameras so they can justify calling the previous ones legacy. I just can't support that.
That's completely true. Although featurewise and imagewise Blackmagic's camera tends to be better than others, their cameras really tends to fail and they do not offer viable user support. I have a G2 that recently died during a production. Having confidence on your equipments and proper support is definitely more important than a little margin in other areas. I am really considering going back to Sony ecosystem.
Looking at the roll off of the black case and background on the color charts the Ursa is handling it in a much nicer way. To me the only real win for the FX6 was in the low light. The Dehancer comparison, at least on my screen, turned the FX6 into a total mess, and the skin tones were muted to the point of almost non existence where as the Ursa retained far more colors on the skin tones, but I really can't say why. To me, if the goal was color look, I would 100% go with the Ursa; however, all the other features for a run and gun purposes are very compelling features. So I think it comes down to situation one is shooting. If one needs the run and gun features more than the better color I would go with the FX6; however, if I were shooting a story driven piece where the look matters I would choose the Ursa.
I thought this as well, but I was reading that the same can be done when graded S-log3 adding the desired roll off. To be fair if you use resolve the Blackmagic will win in grading for sure.
I own both and use the fx6 when autofocus is needed or when I'm not lighting shots and ursa whenever I can physically or when I know stills and grading is needed. I put the Lucadapters focalreducer in the Greenwich makes it much closer to FF but also reduces that outdoor ir magenta cast
As far as I know Cine EI isn't specifically meant for you to be over exposing the image or 'exposing to the right' like you used to have to do with older sony slog cameras, it's simply the mode for using slog and the highest quality and most dynamic range possible out of the sensor in a compressed format by keeping it to the native ISO and slog. Either way, the FX6 just got a firmware update to allow for flexible ISO in the EI mode just like the fx3 so it's not much of an issue if what you're shooting allows for you to sacrifice dynamic range and a clean image for a bump in ISO.
Cine EI is actually a great concept if you're like overexposing a scene that's gonna be brought back to darkness in post because you want the client to see the later, not the former. You had to do that with custom LUT's before.
I have alot of experience with broadcast cameras and thumbnail has always been on them for playback as when you click it, it takes you to a row of thumbnails of the videos and then you highlight the one you want and play it back so i think sony just used the terminology from their broadcast side since the consumer will more likely be someone from that side and will be used to that terminology.
That's pretty interesting. You learn something new every day. Guess I have only ever used hybrid and cinema cameras. I would still love it to be a ▶️ or say playback like the other cine cams 😂
Great video and SUB from a german FX6 filmmaker 💪🏼 I have the FX6 now for over 2 years and yes there are some negative points but I haven’t found the perfect cam and I love my 🎥 😍 best cinematic greetings from 🇩🇪
Check your detail in the window shot, shorter looking at the bottom of the blinds left if your body. On your face the Sony still looks better but you have to treat it a little, many cameras similar with blotchy skin. Your color treatment was great. Your outdoor test straight out of camera the Ursa is more purple.
Am guessing the purple/magenta tint is IR pollution on the Blackmagic. Easy fixed with a filter or color grading but that's still an extra step the FX6 user don't have to worry about, right.
URSA G2 owner (but for how long ?), loads of FX6 rental through the years. While I still think BM cameras have the edge in terms of image depth, colors, especialy in mixed color lightings, and codecs. The fact that FX6 is in every company workflow makes it a money maker as an owner operator, and can match with the autofocus / gimbal cheap code that is the FX3. It really depends on the area of work you're in, if you do some multicam shoots, if you need to fit in certain workflow etc. G2 is the wild horse, not a RED, not an Alexa for client / studio / light stuffs but great IQ, FX6 is the workhorse for kinda everything, and you'll rent arri / red / venice for the bigger jobs. And G2 needs the rawlight OLPF for IR and moire.
I need to get an OLPF for my G2, been saying it for years but my head just never justified the cost. but I love my G2 and it is not going anywhere soon so am 100% going to get one added ASAP.
So worth it@@OBP_ First job with ursa : ursa on steadicam for a Musical Promo with huge LED wall : moire issue if the wall wasn't out of focus enough, second job : filming tv screens for a home bike company : loads of moire if focused on the screen. IR Polution is helped, althrough proper 4x5.6 ND makes HUGE different, I was shocked !
raw sensor readout is ALWAYS noisy on every camera. if you record eg in prores with ump 4,6 g2 - denoise is applied by the codec. ump with braw must be handled correctly (in davinci) for fair comparison
I see your point, I guess the problem is if I started denoising one camera and not the other, then it would seem an unfair test. if I used Pro Res then i am not using the camera's highest-quality Codec!
i really like the ursa, even though i had the fx6. and i think the red a re spot on on the ursa and the fx6 leans more to magenta which always bothers me ... but it is easily fixed in grading so ... idk is it possible nowadays to buy a bad camera ?
Great video for me its still the FX 6,not perfect but its been a beast and many ways still a great bang for the buck.(I do own many Sony GM lenses not that that was a deciding factor,but it helped and is very good glass.)I’ve worked with many high end broadcast cameras in my live,even some film.Bottom line comes down to what content you provide,customers ultimately care about the end result,not the tech behind it even though we try to convince them with our bells and wissels .Go out and shoot and create the vision of the customer.😊
As an owner of FX6 I can say it has the worst and most non-intuitive menu system I have ever met. But after one week working with FX6 I "understood" it and now don't have any problems using it. FX6 really customizable cam, so ones you set it up, you rarely need to come back to menu system, all every-day settings you can change using buttons on the body. What's I love most in FX6 is picture quality consistensy, especially in CineEI mode. You can shoot in very dif locations indoors and outdoor with mix lighting, but in Resolve you simply applied Lut for FX6/9 or Venice and that's all - footage looks like you can deliver it to your client. I coudn't did it with Canon C200's RAW or Red Komodo's R3D for example. When I need fast turnaround I shoot in Custom mode in Cinetone - the footage is videoish but plesant and skin tones is well and ISO is baked-in in this mode. What's about Ursa. While I like picture from it, well, I didn't have oppurtunity to work with it. Ones I tried, but two cams available in rent house actually were broken. And I heard from my collegues of the same QC problems with Ursa and Ursa 12K. BTW I owned BM Video Assist 12G recorder and it works great. I think both cams are great and you can shoot any doc or low-budget indie with them. FX6 is better for fast action because AF is insane and low weight. Ursa is better if you prefer to shoot from the shoulder.
Hey OBP team! Have you ever worked with client's that require a specific camera or codec for a shoot in the UK? Specifically if post production is handled by an external company? Moving to the UK at the end of the year so would love to know what is used most often in the industry as an owner / operator for freelance work.
Hey man, thanks for commenting. It's pretty standard to be fair. Most medium to bigger production just use the Arri/Venice. The most requested cameras we have found are clients asking for Blackmagic/Red owner ops. But you'd be totally fine on any of the sony/canon/lumix cameras.
A7s3 is photo camera with video function. There are big problems using it as A cam in real pro environment, where client pay for your job (overheating, time code, connectors to name a few). Anytime you rig it for normal pro shoot it looks and works like frankenrig.
@@alexanderdavidyuk5027 you dont know what you are talking lol, the SIII is basically a fx6 without xlr snd vario NDs. It is for videos and it does it it great. You can add the xlr k3m Modul and it is more than capable to earn you great money
For unscripted content, I prefer the Sony FX6 for its autofocus capabilities. For scripted content, I would definitely choose the Ursa as it looks cleaner, in my opinion. Also, you can't notice the difference when watching on a poor-quality monitor.
@@OBP_ Yes, I see what you're saying, it'd be interesting to then do a version where you matched the white balance visually to get them in a similar ball park for white balance.
As a long-time user of Blackmagic cameras (started way back with the first Ursa Mini). I recently transitioned from the Ursa Mini Pro and Pocket 6K, to Sony's FX6 and FX3. Despite this switch, I still have a preference for Blackmagic's image. My main reason for leaving Blackmagic, after years of dedication, was their significant lack of customer support. It's unfortunate, but their cameras tend to fail eventually. They love to add the "Pro" descriptor to their camera names, but in my experience, there's nothing truly professional about Blackmagic's support. Sony cameras are simply more reliable and they actually provide "Pro" support. I'd be more than willing to return to Blackmagic if they ever address quality control and customer support issues.
interesting perspective, luckily I have never had to deal with Blackmagic support . but it defiantly good to hear from someone who has delt with both support for the cameras. thanks for the comment!
I got the 6k Pro
The next day it wouldn’t turn on
Returned it got a new one
A few months later
In the middle of a shoot the ND filter stuck.
I fixed it and sold it.
Now i have the FX3
Not one single issue
I’ll never buy black magic again ever
Took out a 3 year warranty on my Bmpcc4k. 4 months after the warranty ran out, the touchscreen stopped working .Emailed Black Magic, they said.."No repair depot in. Canada
@@robertwmoore My experience was very similar. Spent around $10k CAD on an Ursa Mini Pro and viewfinder. Got less than three years out of it before the XLR inputs stopped working. I was told by Blackmagic Support that my camera was a "legacy" product and no longer supported. I literally begged them and offered to pay. They showed ZERO empathy, and did not help. I take meticulous care of my gear and that camera was still like new. Despite that, I still used Blackmagic cameras for years. In that time, I experienced cameras randomly turning off and not turning back on, touchscreens becoming unresponsive, dead pixels, fixed pattern noise, timecode syncing issues, and one even bricked after a firmware updated. Meanwhile, every year they continue to push out newer models of the same buggy cameras so they can justify calling the previous ones legacy. I just can't support that.
That's completely true. Although featurewise and imagewise Blackmagic's camera tends to be better than others, their cameras really tends to fail and they do not offer viable user support. I have a G2 that recently died during a production. Having confidence on your equipments and proper support is definitely more important than a little margin in other areas. I am really considering going back to Sony ecosystem.
G2 looks a lot better for me.....
Looking at the roll off of the black case and background on the color charts the Ursa is handling it in a much nicer way. To me the only real win for the FX6 was in the low light. The Dehancer comparison, at least on my screen, turned the FX6 into a total mess, and the skin tones were muted to the point of almost non existence where as the Ursa retained far more colors on the skin tones, but I really can't say why. To me, if the goal was color look, I would 100% go with the Ursa; however, all the other features for a run and gun purposes are very compelling features. So I think it comes down to situation one is shooting. If one needs the run and gun features more than the better color I would go with the FX6; however, if I were shooting a story driven piece where the look matters I would choose the Ursa.
totally agree!
I thought this as well, but I was reading that the same can be done when graded S-log3 adding the desired roll off. To be fair if you use resolve the Blackmagic will win in grading for sure.
I own both and use the fx6 when autofocus is needed or when I'm not lighting shots and ursa whenever I can physically or when I know stills and grading is needed.
I put the Lucadapters focalreducer in the Greenwich makes it much closer to FF but also reduces that outdoor ir magenta cast
if you could only have 1 camera for the next 12 months, witch one would you pick?
@@OBP_ ursa for sure
As far as I know Cine EI isn't specifically meant for you to be over exposing the image or 'exposing to the right' like you used to have to do with older sony slog cameras, it's simply the mode for using slog and the highest quality and most dynamic range possible out of the sensor in a compressed format by keeping it to the native ISO and slog. Either way, the FX6 just got a firmware update to allow for flexible ISO in the EI mode just like the fx3 so it's not much of an issue if what you're shooting allows for you to sacrifice dynamic range and a clean image for a bump in ISO.
I just read about the update. Sounds like it could be the best of both worlds. I'm looking forward to giving it a try! Thanks for the comment 👌
BM has a better image. The 7:35 compares, the BM is waaaaayy better.
A great and detailed "real world" comparison ! Just what I needed to hear ....
Many thanks ( also to all the great comments you guys ) ! ; )
Mike
Cine EI is actually a great concept if you're like overexposing a scene that's gonna be brought back to darkness in post because you want the client to see the later, not the former. You had to do that with custom LUT's before.
Really nice review mate, I’m an fx6 owner and I must say I love this thing, it just works
Good to hear, normally when cameras are so user friendly then they fall behind on picture quality. that's defo not the case with the FX6!
I have alot of experience with broadcast cameras and thumbnail has always been on them for playback as when you click it, it takes you to a row of thumbnails of the videos and then you highlight the one you want and play it back so i think sony just used the terminology from their broadcast side since the consumer will more likely be someone from that side and will be used to that terminology.
That's pretty interesting. You learn something new every day. Guess I have only ever used hybrid and cinema cameras. I would still love it to be a ▶️ or say playback like the other cine cams 😂
@@OBP_ Absolutely i agree playback makes way more sense than thumbnail does 🤣
Great video and SUB from a german FX6 filmmaker 💪🏼 I have the FX6 now for over 2 years and yes there are some negative points but I haven’t found the perfect cam and I love my 🎥 😍 best cinematic greetings from 🇩🇪
Thanks for taking the time to leave a comment! all the best to yourself!
Check your detail in the window shot, shorter looking at the bottom of the blinds left if your body. On your face the Sony still looks better but you have to treat it a little, many cameras similar with blotchy skin. Your color treatment was great. Your outdoor test straight out of camera the Ursa is more purple.
Am guessing the purple/magenta tint is IR pollution on the Blackmagic. Easy fixed with a filter or color grading but that's still an extra step the FX6 user don't have to worry about, right.
URSA G2 owner (but for how long ?), loads of FX6 rental through the years. While I still think BM cameras have the edge in terms of image depth, colors, especialy in mixed color lightings, and codecs. The fact that FX6 is in every company workflow makes it a money maker as an owner operator, and can match with the autofocus / gimbal cheap code that is the FX3. It really depends on the area of work you're in, if you do some multicam shoots, if you need to fit in certain workflow etc. G2 is the wild horse, not a RED, not an Alexa for client / studio / light stuffs but great IQ, FX6 is the workhorse for kinda everything, and you'll rent arri / red / venice for the bigger jobs.
And G2 needs the rawlight OLPF for IR and moire.
I need to get an OLPF for my G2, been saying it for years but my head just never justified the cost. but I love my G2 and it is not going anywhere soon so am 100% going to get one added ASAP.
So worth it@@OBP_
First job with ursa : ursa on steadicam for a Musical Promo with huge LED wall : moire issue if the wall wasn't out of focus enough, second job : filming tv screens for a home bike company : loads of moire if focused on the screen.
IR Polution is helped, althrough proper 4x5.6 ND makes HUGE different, I was shocked !
raw sensor readout is ALWAYS noisy on every camera. if you record eg in prores with ump 4,6 g2 - denoise is applied by the codec. ump with braw must be handled correctly (in davinci) for fair comparison
I see your point, I guess the problem is if I started denoising one camera and not the other, then it would seem an unfair test. if I used Pro Res then i am not using the camera's highest-quality Codec!
Noce, thx. Sounds like the Ursa 12k could also be a good alternative that would fit yr existing work flow.
i really like the ursa, even though i had the fx6. and i think the red a re spot on on the ursa and the fx6 leans more to magenta which always bothers me ... but it is easily fixed in grading so ... idk is it possible nowadays to buy a bad camera ?
I agree, I liked the sony image better myself but they both are good.
Great video for me its still the FX 6,not perfect but its been a beast and many ways still a great bang for the buck.(I do own many Sony GM lenses not that that was a deciding factor,but it helped and is very good glass.)I’ve worked with many high end broadcast cameras in my live,even some film.Bottom line comes down to what content you provide,customers ultimately care about the end result,not the tech behind it even though we try to convince them with our bells and wissels .Go out and shoot and create the vision of the customer.😊
Totally agree! thanks for the comment.
I choose fx6 :) but i have a7siii with 24-70gmii and i Love it. Nice video bro !
Good choice! Probs the most versatile camera out right now 👌
great video! Thanks Buddy. I conceder buying the Ursa 12k, cause the footage looks stunning..
The 12k really dose make amazing images! Thanks for the comment 🙌
As an owner of FX6 I can say it has the worst and most non-intuitive menu system I have ever met. But after one week working with FX6 I "understood" it and now don't have any problems using it. FX6 really customizable cam, so ones you set it up, you rarely need to come back to menu system, all every-day settings you can change using buttons on the body.
What's I love most in FX6 is picture quality consistensy, especially in CineEI mode. You can shoot in very dif locations indoors and outdoor with mix lighting, but in Resolve you simply applied Lut for FX6/9 or Venice and that's all - footage looks like you can deliver it to your client. I coudn't did it with Canon C200's RAW or Red Komodo's R3D for example.
When I need fast turnaround I shoot in Custom mode in Cinetone - the footage is videoish but plesant and skin tones is well and ISO is baked-in in this mode.
What's about Ursa. While I like picture from it, well, I didn't have oppurtunity to work with it. Ones I tried, but two cams available in rent house actually were broken. And I heard from my collegues of the same QC problems with Ursa and Ursa 12K.
BTW I owned BM Video Assist 12G recorder and it works great.
I think both cams are great and you can shoot any doc or low-budget indie with them. FX6 is better for fast action because AF is insane and low weight. Ursa is better if you prefer to shoot from the shoulder.
Thanks for the amazing comment👌 super balanced view and totally agree with all your points.
Hey OBP team! Have you ever worked with client's that require a specific camera or codec for a shoot in the UK? Specifically if post production is handled by an external company? Moving to the UK at the end of the year so would love to know what is used most often in the industry as an owner / operator for freelance work.
Hey man, thanks for commenting. It's pretty standard to be fair. Most medium to bigger production just use the Arri/Venice. The most requested cameras we have found are clients asking for Blackmagic/Red owner ops. But you'd be totally fine on any of the sony/canon/lumix cameras.
ursa all the way.
Besides. I like BM better as a company and love their philosophy on camera's and the market.
I just love BRaw too much
AMEN🙏 BRaw is the best feature in any blackmagic camera 🫶
Yes absolutely
honestly the only reason to use the fx6 for the autofocus ... so mostly for solo gimbal work... but you can also buy two a7siii for that money lol
Internal NDs? 🕶
@@OBP_ nice to have but absolutly no must have for me
A7s3 is photo camera with video function. There are big problems using it as A cam in real pro environment, where client pay for your job (overheating, time code, connectors to name a few). Anytime you rig it for normal pro shoot it looks and works like frankenrig.
@@alexanderdavidyuk5027 you dont know what you are talking lol, the SIII is basically a fx6 without xlr snd vario NDs. It is for videos and it does it it great. You can add the xlr k3m Modul and it is more than capable to earn you great money
@@alexanderdavidyuk5027 no overheating at all and i am using it for 3 years now, what are you talking lool
For unscripted content, I prefer the Sony FX6 for its autofocus capabilities. For scripted content, I would definitely choose the Ursa as it looks cleaner, in my opinion. Also, you can't notice the difference when watching on a poor-quality monitor.
any new rumors on the upcoming BMPCC6k?
Go check the video on our channel about the roumures of the new blackmgaic camera 🙌
It's okay you got a Burano a year later 😅😅
The white balances are so far off that the test isn't really useful.
I used the same white card to white balance both cameras. It's the only way to keep it fair in my eyes.
@@OBP_ Yes, I see what you're saying, it'd be interesting to then do a version where you matched the white balance visually to get them in a similar ball park for white balance.
oo nd