Blackmagic 6K Pro Top Tips, Settings and Hacks! 

hows your experience with it so far?

Some great points, thank you 🙌🏻

I couldn’t have said it better myself! BRAW is the only way to go with this camera.

Thank you!

Thank you John!

Thank you Joshua!

My pleasure. I would definitely recommend one 👍🏻

No problem, check back on the video shortly, I will have the links added

Thank you! Yes of course; it's fine if you can get a hot signal into the camera. The best I've ever got it to sound is when I had a 4 channel analogue preamp sending a sound output to the camera and it sounded unreal! If your mic is at a low signal (and boom mics for instance generally are) then when you boost it via the camera sound setting you will be left with some unfortunate noise. So my rule of thumb is keep that noise low at 10% and find alternate means to make the signal louder, such as a preamp. I don't know if it applies to the G2 however- worth experimenting

thanks for the reply ! been heard about this several times actually but im not really get into that yet, do you have any plan to make an audio editing tips in davinci ? would really appreciate it, love your detail explaination tips and tricks where there's no one mention about it out there

@@cinemavius Thank you! Yes I will make a guide for audio editing on davinci, no problem ✌🏻

I would recommend always put it on film dyamic range - you can load the footage into Davinci resolve and add the exact video lut. You can’t do it the other way round though!

If you shoot 4K UHD in prores, yes it downsamples from the full 6K sensor. If you shoot 4K DCI there's a 33% crop.

Thanks Lee. Compression. The purpose of this video is to hopefully give some definitive instruction to people who haven’t done tests and need a quick answer before they shoot something important. Looking back (and references in this video haha) I’ve actually shot a lot on 12:1 and 8:1, and it’s looked amazing. The test I am referring to was before a vital shoot last year, and as I generally prefer low key images, I shot a dark image to see how much detail I lost in the shadows. I zoomed in as close as possible to see the digital noise, and in the slightest way, there is a difference between 5:1 to 8:1. This is in terms of potential detail I was loosing. Lower bitrates do start to get noticeable across any cameras, and when I started shooting, there was always a big debate around it that doesn’t seem to happen as much now. It depends on what you’re shooting. On RU-vid, the bitrate is going to get compressed anyway. If you wanted to shoot something that was potentially going to be on a major streaming platform for instance, you would be required to shoot at the highest possible. 5:1 isn’t my go to every time, but certainly if it is a piece such as a film, a pilot or something that will be broadcast, it’s very reliable. F stop. Yes that’s true, a super 35mm is a common sensor size. If you read interviews with Jeff Cronenweth, or the documentary Side by Side discussing filming on digital vs film, there is a lot of discussion around whether with digital, if there is inherently a noticeable loss of depth of field between the two formats. Cronenweth shot at 1.3 because as far as he was concerned, that was how to make the image look like it was shot on film. So he is running on the assumption there is a loss of depth of field on digital. The high end pictures shot on digital are also commonly not shooting super 35mm these days. There are some large films that were shot on full frame Reds, Sonys, or the advanced full frame Arri Alexas. So perhaps what I could have said was to compete with that look, f2.0 is a good sweet spot. Thanks Lee, I hope that is some food for thought!

@@corryraymondfilms We're going to have to slightly disagree on one end. There's still plenty of high end productions that still use S35mm, if not the majority. Though full frame is more commonly used compared to years past. I guess it also comes down to defining what a high end production is? A lot of the bigger budget movies have used full frame, but not all. Thanks for the info on compression. I'll be shooting some feature films using this camera also in low key, so I'll most likely use lower compression. Regarding the EVF, do you find it difficult to find proper focus since the resolution is only 1280 x 960? Cheers

@@leebrandt8597 that’s absolutely fine Lee, whatever works for you. I’m inclined to agree with Jeff Cronenweth and that’s worked out for my cinematography 🙌🏻 Re EVF. Yes, I have the peaking at it’s highest and the zoom button on the right side zooms into the image when looking through the EVF as well

@@corryraymondfilms Thanks man. Don't get me wrong, F 2.0 looks great. I guess certain shots could use different apertures. Any issues doing rack focusing during a shot with the EVF?

I have never heard such nonsense in my life. There is no such thing as industry standard F or T stop, most films are shot with a variety of F or T stops depending on what the cinematographer and director are trying to convey in the images they produce. Yes smaller number apertures give you a shallower depth of field but look at most films they aren't shooting wide open all the time cause focus pullers would be utterly pissed off. I mean Deep focus is used a lot more the whole shoot wide open at all times craze came from DSLR's when people thought cinematic means blown out background and bokeh makes digital look more cinematic.

Just a standard V mount lithium battery and the D-Tap to Blackmagic Pocket 6k adaptor

Hey Steve, I’ve got a quick release top handle which attaches to a NATO RAIL, which sounds like what you need. I have a slim version that is the perfect size for the smallrig cage to fit on top. You will notice two screws evenly separated for a nato rail.

@@corryraymondfilms perfect thanks for that. Sadly they Diane have the kondor blue at my local the other day, I will look online. The two screw holes are there. Thanks for your reply.

Hey Michael, that's awful- I haven't experienced that- have you been able to work out what part is exactly making the squeaking noise?

@@corryraymondfilms Its the whole body of the camera that squeaks. We decided to just reach out to black magic and maybe they can help us out

@@aziantoast That sounds like a faulty camera for sure, Blackmagic have repaired my camera on two occasions so don't worry, they will sort it!

I would recommend either f1.8-f2. That’s going to be the equivalent of f2.8 and f2.4. That will give you a nice shallow depth of field that is an industry standard f stop as well

@@corryraymondfilms is that 1.8 with the speedbooster already? Or do I set the f stop to 1.3? Thank you very much sir!

@@JirehTorres no worries. I’ve done the conversion already, so with the speedbooster on, set it to f1.8 or f2

Yes for sure, some of these apply to the 4K as well!

ive got an m1 Mac mini and it works beautifully for BRAW. but you can make proxies and optimized media if not. but mines like butter

I didn't actually use any tricks, the f. was f.4, all natural light, shot it in prores. I think slow motion and shooting telephoto goes a long way for looking cinematic

@@corryraymondfilms which lense ?

@@PIPERBOYWILLIAMS The Canon 24-70mm F4

There's two in the video: 1. Manfrotto MT290XTA3 2. Manfrotto 509HD The Manfrotto 509HD is the larger one and the other I use for quick setups or second camera

The full Ursa?