Blackmagic Pocket Cinema Camera 6K Announced – Super 35 Sensor and EF Mount

August 8th, 2019
Blackmagic Pocket Cinema Camera 6K Announced - Super 35 Sensor and EF Mount

Blackmagic Design today announced the Blackmagic Pocket Cinema Camera 6K, a new handheld camera with a Super 35 sized 6K HDR image sensor, 13 stops of dynamic range, an EF lens mount and dual native ISO up to 25,600. BMPCC 6K is supposed to be available immediately and the price has been set to US $2,495 (including DaVinci Resolve license).

Blackmagic Pocket Cinema Camera 6K

Blackmagic Design shared some exciting news today. They announced new Blackmagic Pocket Cinema Camera 6K,  DaVinci Resolve 16.1 public beta, and a new performance measurement tool – Blackmagic RAW Speed Test. This article only covers the new BMPCC 6K camera. For the other news, please check our second article.

The Blackmagic Pocket Cinema Camera 4K ( BMPCC 4K) was announced at NAB 2018 – nearly one and a half years ago. Since then it got fairly popular among filmmakers. Mostly because of the high quality video codecs, great dynamic range, dual ISO, and overall great selection of resolutions and framerates. On the other hand, the camera’s build quality and power management are not that great. And, unlike its predecessor, it’s not pocket-sized anymore. For more information about the BMPCC 4K, please check Nino’s hands-on review of the camera.

Today Blackmagic announces the new Pocket 6K. The company states that the BMPCC 6K is very different from the Pocket 4K in specifications and price, being a higher resolution EF lens based solution. The Pocket 6K sits between the Pocket 4K and URSA Mini Pro G2, complimenting the range, rather than replacing the Pocket 4K. What are the new Pocket 6K specs?

Blackmagic Pocket Cinema Camera 6K

First and foremost, BMPCC 6K features a larger Super 35 sensor with a resolution of 6144 x 3456 (16:9 ratio). Just like the URSA Mini line of cameras, the Pocket 6K utilizes the Canon EF lens mount. The new camera will shoot in the following resolutions:

  • up to 50 fps at 6144 x 3456 16:9
  • up to 60 fps at 6144 x 2560 2.4:1
  • up to 60 fps at 5744 x 3024 17:9
  • up to 120 fps at 2.8K 2868 x 1512 17:9 (windowed mode with higher crop)
  • true anamorphic 6:5 mode in 3.7K 60 fps at 3728 x 3104

The new Pocket 6K features same dual gain ISO as the 4K version – ISO 400 and 3200 (maximum ISO value is 25,600).

Blackmagic Pocket Cinema Camera 6K

Recording works in 10-bit Apple ProRes files in all formats up to 4K or 12-bit Blackmagic RAW in all formats up to 6K. The camera features built-in CFast and SD UHS-II card slots, and a USB-C expansion port for recording directly to an external SSD. Media cards and disks can be formatted in HFS+ for Mac and ExFAT for Windows.

In terms of dynamic range, Blackmagic Design claims the new camera will have 13 stops (just like the BMPCC 4K). Just a reminder – in our hands-on review with the BMPCC 4K during cinema5D lab test we measured 11.6 stops of dynamic range for a signal to noise ratio of 2 (12.7 stops for a signal to noise ratio of 1) at ISO 400 (10.5 and 11.8 stops for ISO 3200) in ProRes 4K DCI 25p.

BMPCC 6K body is made from lightweight carbon fiber polycarbonate composite. The camera features a multifunction handgrip with all controls for recording, ISO, WB, and shutter angle reachable by one hand. Just like the BMPCC 4K, it has the large 5 inch touchscreen LCD in the back to help with precise manual focus at high resolutions. The camera supports “touch to focus” controls.

Blackmagic Pocket Cinema Camera 6K

We said this many times already and I will say it again – Blackmagic camera menu is one of the best and most straightforward solutions for cameramen and all Japanese manufacturers with complicated menus could take an example from Blackmagic. The BMPCC 6K menu interface stays the same as with other Blackmagic cameras, which is good. The Blackmagic OS interface uses simple tap and swipe gestures to adjust settings, add metadata and view recording status. On screen overlays show status, a histogram, focus and peaking indicators, levels, frame guides, playback controls and more.

The new Pocket 6K features the same Generation 4 Color Science as the high-end URSA Mini Pro G2 for accurate skin tones and pleasing colors. The camera works with industry standard 17 and 33 point 3D LUT files, or users can work with the built-in LUTs such as Extended Video, Film to Video, Film to Rec.2020 and more.

Blackmagic Pocket Cinema Camera 6K

The camera includes a full size HDMI connector for monitoring with support for HDR and clean 10-bit output. There’s also a mini XLR connection with 48 volt phantom power for attaching professional microphones, a 3.5 mm video camera style microphone input, and headphone connection.

When it comes to power, Blackmagic Pocket Cinema Camera 6K uses standard removable LP-E6 type batteries and also features a locking DC power connector. The included AC plug pack can power the camera and charge the battery at the same time. The USB-C expansion port can also be used to charge the battery from portable battery packs, mobile phone chargers or a laptop computer. The new BMPCC 6K is also compatible with the Blackmagic Pocket Battery Grip.

The BMPCC 6K also includes built-in timecode generator to keep multiple cameras synced. After plugging in an external timecode generator such as Tentacle Sync into the 3.5 mm audio jack, the camera will automatically detect timecode and lock the internal generator. The new DaVinci Resolve 16.1 will automatically find and sync the shots from all cameras.

The camera also supports still frame capture up to 21.2 megapixel and remote camera control via Bluetooth.

Blackmagic Pocket Cinema Camera 6K compared with the 4K version

Price and Availability

Blackmagic Pocket Cinema Camera 6K is available now for US $2,495. Just like BMPCC 4K, the 6K version also includes a full version of DaVinci Resolve Studio. The price is incredible given the camera’s specs and I really hope Blackmagic will be able to accommodate the demand quickly enough this time.

Blackmagic Design also thinks on their customers who are currently waiting for their ordered BMPCC 4K. The company will support any customers who wish to transition a Pocket 4K back order to the new Pocket 6K. They advise that customer wishing to do so should speak with their authorized reseller.

What do you think about the new Blackmagic Pocket Cinema Camera 6K? Are you going to include it in your kit? Let us know in the comments underneath the article.

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 Dan Brockett
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August 10th, 2019

Guess I’m the only who has noticed that this camera, for the majority of the market, has already obliterated Panasonic’s S1H before it’s even available to buy? Not saying nobody will buy the S1H, but it’s value proposition puts it into a much more expensive position than this camera.

Just looking at the headlines…

Panasonic S1H – 6K mirrorless for $4,000.00, plus as a working pro, you’ll have to shell out double that to get a working, high quality three lens zoom set in L-Mount. All in, you’re at $8k to $10k at least?

BMD Pocket Cinema 6K – 6K mirrorless for $2,495.00. Chances are if you are a working pro, not a hobbyist, you already have a bunch of EF mount lenses laying around, I know I do and have two friends who own FS7s who use EF Canons and a RED Scarlet user who has all EF glass for his RED. Buy the camera, use all of your monitors bits and bobs you have laying around and you are easily in business for under $3k with some AMAZING capability.

M43 mount? Yes, technically more versatile with speed boosters but eventually it will dawn on M43 users that small imagers are rapidly dying and will fade out so from a business standpoint, how many GH5 users are going to switch to this camera? Some but it’s not that much better than the GH5.

6K? Who cares? I don’t care. Most users in the real world don’t care. Almost all clients definitely don’t care. Prores up to 4K is great or you can go with BM RAW at all resolutions, that’s a win-win. I haven’t shot with BM RAW but it seems like a cool idea, I love shooting Cinema RAW Light on the C200.

Flippy screen – who cares? Vloggers care, this is a terrible camera for VLogging. Not very many other pros care. I don’t care. I have an 80D with a flippy screen and an XT-3 without and I don’t miss having it at all. Besides shooting selfie style video, you only VERY occasionally need to have a screen that flips up or down, right? I wouldn’t mind it, but it’s not that big of a factor. VLoggers care, but this isn’t aimed at VLoggers. Pros are going to hook up a monitor, forget the pocket thing, the core audience doesn’t want to put this in their pocket, they want to rig it into a 20lb behemoth that punches well above it’s weight. A Mini RED, if you will. If it’s one thing I’ve learned, in 2019, most people want to hang a ton of crap off of their small cameras, Frankenrigs are very in style, minimalism is out.

Battery life? Yes, it will suck just like the 4K. But once again, who cares? VLoggers. For the audience that this is aimed at, they’ll buy the BMD grip or run it off of V-Mounts. Battery life will suck, but who cares? Not their target audience.

Internal NDs? Sure, it would be nice. I would love it. My C200 has them and my XT-3 and 80D don’t. Not the end of the world. Once again, target audience are wannabe and real filmmakers who mostly are inexplicably in love with matte boxes, which being a documentary shooter, I hate. Matte Boxes are for ACs to mess with, not operators. If you have ACs, go sick. If you don’t, you look like a dork, messing with your rails and matte boxes and giant filters, cursing under your breathe as you endlessly adjust position of the whole mess with each lens change. Matte boxes are for narrative filmmaking with ACs. For everyone else, you’re doing it wrong, but hey, you have to satisfy that masochistic streak somehow, right? ;-)

Dual ISO? Hmm…let’s reserve judgement on that. Traditionally BMD cameras suck in low light. Most pros light things, problem solved. But us documentary people, we can’t always light more than interviews, sometimes we can but a lot of the time we can’t so it matters for some pros.

If they can ship these in quantity and the dual ISO/Higher than 800 ISO doesn’t suck, I think they have a huge winner here. I’m encouraging a colleague to buy one, he has a RED but wants a small 4K capable mirrorless type of camera but this is also a good choice for not a lot of money.

 M Lane
M Lane
Member
August 10th, 2019
Reply to  Dan Brockett

Dan, I use the GH5, GH5s, & P4Ks daily and have shot many, many projects with them. The GH5s & P4K cams are 2-3 stops better in low light than the GH5. I love the GH5, but it is not a low light camera. The dual ISO on the GH5s & the P4K works very well. The P4K most assuredly doesn’t “suck in low light.” On the P4K, you get a very small reduction in dynamic range when you step up to the higher ISO (at 1250+). ISO 10,000 is usable on the P4K with minor noise reduction in Resolve. I don’t like to use the GH5 above ISO 1600.

I have v-mount batteries on all of my P4Ks and I never worry about battery life. It works all day. I also use the Sony NP970 batteries when I want a more compact rig and get 2+ hours out of it. I generally use the Panasonics for run & gun type work and the P4Ks for everything else. Working in BRaw is *very* nice. I shoot every project with the P4K in BRaw, then miss it when I have to shoot with the Panasonics.

As to the articulating screen, I have many times wished for some movement in the screen on the P4K. If you have the P4K up high on a tripod, or down low, some sort of screen movement would be helpful. It doesn’t have to be viewable from the front, but some movement would be nice.

As to 6K, I care. I deliver all the time in 4K. Having a bit of extra room for cropping or down sampling will be useful. My matte boxes have nice boxes in which they usually stay… on the shelf ;)

 Miguel Pescetto
Miguel Pescetto
Member
August 9th, 2019

Great camera. Great value for the money. The only thing i don’t really like is the mount choice. Don’t get me wrong all my lenses are EF mount but wouldn’t be a better choice the canon RF mount that would give the oportunlty to use the Canon Drop-In Filter Mount Adapter EF-EOS R with Variable ND Filter that would give the camera the use as if would have internal nd filter. I know that adaptors aren’t the best way to go. Always native mount is better but the RF mount would have made life easier working with ultra-wide angle lens without front threaded mount.

Great post! Keep up the good work.

 David Ford
David Ford
Member
August 9th, 2019

I really do love what Blackmagic are doing in general but this seems a bit of a strange ‘upgrade path’. I might be completely missing something here, but apart from more resolution, what does the pocket 6k bring to the table that the pocket 4k with an EF speedbooster didn’t?

The EF mount surely means less flexibility in lens selection, no chance of achieving the ‘full-frame look’ with a speedbooster and a higher price tag with the only benefit being 6k?

Narek Avetisyan
Narek Avetisyan
Member
August 9th, 2019

Why EF-mount and not E-mount?
They just denied us, all the mirrorless glass.
I would think they did it to put internal ND in it but I don’t see it. That’s a bummer I wouldn’t choose it over the 4K.

Member
August 9th, 2019

Sony do not license E mount.

sam broggs
sam broggs
Member
August 17th, 2019
Reply to  Philip Bloom

Kinfinity has an E-mount adapter..

 Enrico Parenti
Member
August 9th, 2019

Nice upgrade, finally S35, I just wished they’d come up with a smaller ursa mini, something similar to an Fs5 in size. With ND’s an articulating LCD and a viewfinder, I’m bored of all those freaking add ons that need to get powered, cabled and rigged. Give us a C300 type of camera blackmagic!

microobserver
Member
August 9th, 2019
Reply to  Enrico Parenti

Totally agree 100%.

 Andreas Paleologos
Andreas Paleologos
Member
August 9th, 2019

I’m very impressed. For my use though, the pocket factor was important. I have 2 Pocket Cinema cameras that I have been using in a lot of various applications. Since it’s not pocket anymore I have much less interest in the platform though, but holding no grudge. I’m looking forward to Sigma’s fp.

Member
August 11th, 2019

It’s not just the size though, the shape and design make it look like a toy. In an oversaturated market this is something to be considered. Totally agree on the original Pocket, an amazing camera both for the size and it’s price. Some viewers had asked me if I shot on real film, and thought I was pulling their leg when I showed them the tiny Pocket!

Peter Kent
Member
August 9th, 2019

Wow, this is almost my perfect camera. I really hope this pushes Panasonic to add 6K60 or 6K48 into their upcoming S1H; I also hope this keeps prices of the competition reasonable.

 Egill Bjarki Jonsson
Egill Bjarki Jonsson
Member
August 9th, 2019

This thing looks like a beast! I got the Canon C200 recently, and this looks to be a smaller, cheaper, but just as, if not more, capable! This is a real contender as my next buy. This is truly an amazing time to be a content maker. We are all very quickly running out of excuses not to be out there making our ideas happen :)

Member
August 9th, 2019

The C200 is miles better. Amazing AF, internal ND, 120fps without a crop, proper audio connections. It’s a proper video camera with amazing image especially in raw lite. Wish it did 10 bit internal non raw though. Not sure what makes the pocket 6K more capable? Higher resolution and the braw?

 William McGough
William McGough
Member
August 9th, 2019
Reply to  Philip Bloom

owning both the C200 and Pocket 4K, I certainly agree the C200 is better in most regards, including image quality. However, I actually prefer the 120fps crop of the Pocket 4K to the 120fps non-crop of the C200. Although I would prefer no crop, I would rather swap to a wider lens than deal with the low-bitrate 8-bit codec which is your only option for >60fps on the C200 (unfortunately, you cannot shoot CRM above 60fps). By contrast, the Pocket 4K lets you shoot 12-bit Blackmagic Raw in the 120fps mode, which has substantially more detail and less artifacting than the C200’s 120fps. Ideally, I’d like to have the choice of both full-sensor 8-bit and cropped 10/12-bit 120fps, but I somehow doubt Canon is adding any more features to the C200 at this point.

 Dan Brockett
Member
August 10th, 2019
Reply to  Philip Bloom

I don’t think this camera will be better than my C200. I think this might be a little better than my XT-3, which is a great little B-camera, documentary camera, gimbal camera.

Philip, you tested the 120fps on the C200, right? It’s garbage. The 120fps on my XT-3 is leagues better. This camera’s 120 fps will undoubtedly be leagues better. I love my C200 at 4K 60fps RAW but have never even used the 120fps for anything because when I tested it, it was so soft and mushy.

Member
August 11th, 2019
Reply to  Philip Bloom

One costs $6k, the other $2.5k – and aside from full RAW video, unlike Canon’s RAWlite, offers a plethora of ProRes options; a real professional codec, again unlike Canon’s low bitrate 8bit avc. Yes Canon’s AF is the best in town for video, but it’s not worth the extra $3.5k to me, nor the internal ND filter. BlackMagic do have touchscreen focus and will usually nail it in good contrast situations.

As a Pocket user, I do like BlackMagic’s color best, but that’s subjective. Finally the 6k is a huge plus; not only for refraiming but also in view of a supersampled 4k picture from a 6k, just like the Alexa’s is derived from 2.8k res. Personally, I’d rather purchase two Pocket 6k then one C200, and use the remaining $1k for gear.

 Dan Brockett
Member
August 10th, 2019

I think the excuses ran out about 4-5 years ago. Anyone can make anything at almost any technical/camera level now for almost nothing. It’s the grip, lighting, sound, writing, casting, production design, props, wardrobe, hair and makeup and a concept worth trying to turn into a piece of media that is the problem for most. Gear is now an almost none factor, but skill and taste are still in very short supply.

Ben J
Ben J
Member
August 9th, 2019

Oh BMD. I’ll always love you for those first cameras. But the 4K version is still pre-order only…

Member
August 9th, 2019

The 4 main things people asked over and over in their comments & reviews from the BMPCC4k were: better battery life, articulating screen, some form of basic IBIS (because it suffers from jitters if not rigged), and maybe a bit better AF (it’s not accurate even if in single-focus with some lenses). None of these issues were fixed in the new model. None of these people ever asked for 6k, although admittedly super-35 is nice. Personally, I don’t believe that it’s worth the extra $1100. It makes more sense to get the BMPCC 4k for the price. If they had fixed the issues people were complaining about, I’d say, go full steam ahead and get this! But they just snapped a new larger sensor in there and called it a day. Albeit its more critical component, a camera is more than its sensor.

 Walter Vargas
Walter Vargas
Member
August 9th, 2019
Reply to  Eugenia L

The 4/3 sensor was a mistake from the beginning. The camera is clearly big enough for Super-35. Better control over DOF and the availability of wide angle without exotic fish-eyes is a huge advantage, and one would hope for better light sensitivity as well.

BMD will never have AF on par with native (in this case Canon) bodies, because apparently the EF lens protocol is a shitshow. Articulating screen… OK. I guess you need an Atomos Shinobi with this thing, thereby losing some of the compactness advantage.

Stabilization… I’ve never used IBIS in a video camera, so I can’t say how valuable that might be. The smallness of this camera does make it gimbal-friendly.

 Markus Magnon
Markus Magnon
Member
August 9th, 2019
Reply to  Eugenia L

BS. Only some people (Gh5 or DSLR guys/girls) asked for IBIS and Autofocus. It is a cinema camera. Battery life is fine with 60 minutes aka 45 minutes. You can also buy a battery grip and get 2 hours. I prefer a larger sensort, 4.6K and EF. But hej. This IS an amazing camera for the price. Cannot wait to see some footage.

Member
August 9th, 2019
Reply to  Markus Magnon

God I hate that phrase. ‘It’s a cinema camera” is a phrase used to make excuses for missing basic functions that a modern camera should have. It’s just a name. It should mean more basic.

microobserver
Member
August 9th, 2019
Reply to  Philip Bloom

Well said Philip.

 Markus Magnon
Markus Magnon
Member
August 11th, 2019
Reply to  Philip Bloom

“excuses for missing basic functions a modern camera should have”. No. “Cinema camera” is not just a phrase. Focus is also an art form. Same like framing. If I draw a line with my pencil on paper I don´t want a robot to smooth this line out. With a camera… I prefer NOT to have ibis. And with autofocus it is the same. I don´t want autofocus. Even in a interview .. if a head is moving out of focus so what. I don´t want a camera to focus every single second. It looks terrible. I understand that “pocket” is just phrase. But why compare a Compact camera to a cinema camera? If a company put IBIS into a cam… I think it is hard to lock it down. To tun IBIS of. It is better to mount the sensor rock steady into the camera.

 Dan Brockett
Member
August 10th, 2019
Reply to  Eugenia L

I don’t think BMD have ever done IBIS or decent AF. Maybe they will someday but for now, I think that even though this has Pocket in the name, the target audience for these mostly rigs them up to weigh 15-20lbs with every attachment known to man hanging off of them. Kind of a wannabe mini RED. Or at least that’s what I see on all of the forums?

I think the target audience here are wannabe and real filmmakers, I don’t see this camera as a Vlogging, pocket camera at all. Too big for the pocket and who needs to Vlog in 6K RAW?

 Walter Vargas
Walter Vargas
Member
August 9th, 2019

Good move. The “Pocket” should’ve been Super-35 in the first place, since it’s more than big enough.

Now let’s see if the low-light performance still sucks. The lack of real sensor improvement has really killed BMD’s competitiveness. Churning out one new camera after another is pointless when the chips blow.

 Walter Vargas
Walter Vargas
Member
August 9th, 2019
Reply to  Walter Vargas

Bwahahah look at the babies modding the messenger down.

 Carlos Larkin
Carlos Larkin
Member
August 9th, 2019

Does this model have stabilization? The 4k pocket didn’t.

Admin
August 9th, 2019
Reply to  Carlos Larkin

Unfortunately not.

Member
August 9th, 2019
Reply to  Johnnie Behiri

Does it have usable battery life/ a screen that articulates/ internal nD?

microobserver
Member
August 9th, 2019
Reply to  Philip Bloom

When I heard of this new camera, I had really hoped that BM had listened! Pity, solo operators really want a more manageable camera – as per Enrico Parenti above.

 Morgon Dickerson
Morgon Dickerson
Member
August 8th, 2019

OMG!!! Yesssss.

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