BMCC6K Facts and Findings

They really need to see 28 Days Later or Pieces of April and then see other things shot on the XL1

That was the first video camera I owned; my it was soft but it still produced some great images; even bought a Panasonic anamorphic and the wide angle for it:

That was the first video camera I owned; my it was soft but it still produced some great images; even bought a Panasonic anamorphic and the wide angle for it:

That looks pretty good! I swear back in the day most of the footage I saw from it was blown out lol

Thanks Mark. I loved that camera; those days were simpler, I'll swear; and I reckon I was never happier - and we didn't know better, then

Thanks Mark. I loved that camera; those days were simpler, I'll swear; and I reckon I was never happier - and we didn't know better, then

I was too young at the time to be able to get an XL1 or XL1s but I was at the expo where the XL2 was first shown off so that was the only time I got to interact with an XL series camera. I recently watched the product video for the XL2 that used to be on Canon's website and it's still cool. I still wanna get one just to mess around with lol

I was too young at the time to be able to get an XL1 or XL1s but I was at the expo where the XL2 was first shown off so that was the only time I got to interact with an XL series camera. I recently watched the product video for the XL2 that used to be on Canon's website and it's still cool.

Get one Mark; I know I regret selling mine... the crappiest viewfinder image you ever did see and soft as molasses; but it was the first that gave 24/25p in some kind of reasonable form. I just used to slap that polarizer on, there in the hot Spanish sun and she sang nicely then

Get one Mark; I know I regret selling mine... the crappiest viewfinder image you ever did see and soft as molasses; but it was the first that gave 24/25p in some kind of reasonable form. I just used to slap that polarizer on, there in the hot Spanish sun and she sang nicely then

If I can find one in good condition for like $200, I definitely will lol Actually with any luck I can get an XL-H1a so I can record out of the HD-SDI out instead of needing to buy tapes lol

I bought a load of DVCam tapes from eBay a while back. Sold the XL1s for the JVC HD101 and the deck. I still have that and love it as well; and it's like brand new, since I can service it myself - I reckon it's like 16mm if it you get it right. Part of me wants to get rid of everything: the Ursa Broadcast G2; the iPhone and go back to how it was; but that's just and old man speaking. Off topic I know and apologies -no '3D Pop' here :

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I bought a load of DVCam tapes from eBay a while back. Sold the XL1s for the JVC HD101 and the deck. I still have that and love it as well; and it's like brand new, since I can service it myself - I reckon it's like 16mm if it you get it right. Part of me wants to get rid of everything: the Ursa Broadcast G2; the iPhone and go back to how it was; but that's just and old man speaking. Off topic I know and apologies -no '3D Pop' here :

JVC.jpg

I mean I get it lol Those old "prosumer" to professional cameras were like swiss army knives. They had so much packed in them. Also I wish the idea of using 3 monochrome sensors with a prism could still be a thing. I even wondered if a more compact version of that could be done by having one normal-ish monochrome sensor and then have double sided linear sensors hook into it between rows perpendicular to the regular sensor. Then you can place dychroic strips between the linear sensors to split like incoming light so the green goes to the photo-sites on the "mothersensor" and the red and blue can go to each side of the linear sensors. All the readout circuitry could be on the mothersensor to keep the linear sensors thin.

Not sure it's possible but it would be really cool and could fit in the same space as a typical sensor.

Yeah, a true '3 strip Technicolor' digital cinema camera; now maybe that would be something

Yeah, a true '3 strip Technicolor' digital cinema camera; now maybe that would be something

I have so many ideas. I can't execute any of them, but I have ideas lol

We need a thread such as “Wild and Crazy” where wild and crazy guys can post their improbable impossible imaginative inventions. Or maybe a YouTube channel which could become viral among the cognoscenti.

They really need to see 28 Days Later or Pieces of April and then see other things shot on the XL1

That was the first video camera I owned; my it was soft but it still produced some great images; even bought a Panasonic anamorphic and the wide angle for it:

Nice video Steve. I haven’t been to Ronda in ages, although it’s less than one hour drive from Marbella. I should visit such landmarks to practice videography.

Thanks for resurrecting my memories of that wonderful city.

We need a thread such as “Wild and Crazy” where wild and crazy guys can post their improbable impossible imaginative inventions.

I would be down for that lol

Thanks for resurrecting my memories of that wonderful city.

Thanks Joe

Nice video Steve. I haven’t been to Ronda in ages, although it’s less than one hour drive from Marbella. I should visit such landmarks to practice videography.

You should definitely visit, Omar. I lived there for 12 years; married there and my children born there; in fact I practically grew up with mis hermanos, my Spanish friends there; we all started out as a group of lads and they followed me in turn, with their wives and children too. My eldest daughter still lives there. I had gone there, by accident to learn Spanish; after being slightly burnt out editing in the UK. I bought some gear and I think that Tourist video was the first commission.

I also know Marbella very well and did a lot of filming there over the years; and throughout Andalucía and Spain, in general too. Eventually, I ended up being MD of a Sky TV channel called Majestic TV, in San Pedro de Alcantara. I envy you and wish I was back there.

We need a thread such as “Wild and Crazy” where wild and crazy guys can post their improbable impossible imaginative inventions.

'Old guys and their crazy film notions', Rick; I'd watch; hell I'd take part

We need a thread such as “Wild and Crazy” where wild and crazy guys can post their improbable impossible imaginative inventions. Or maybe a YouTube channel which could become viral among the cognoscenti.

All the terminology reminds me of the never-ending debate that guitar’s neck wood affects guitar tonality.

Nice video Steve. I haven’t been to Ronda in ages, although it’s less than one hour drive from Marbella. I should visit such landmarks to practice videography.

You should definitely visit, Omar. I lived there for 12 years; married there and my children born there; in fact I practically grew up with mis hermanos, my Spanish friends there; we all started out as a group of lads and they followed me in turn, with their wives and children too. My eldest daughter still lives there. I had gone there, by accident to learn Spanish; after being slightly burnt out editing in the UK. I bought some gear and I think that Tourist video was the first commission.

I also know Marbella very well and did a lot of filming there over the years; and throughout Andalucía and Spain, in general too. Eventually, I ended up being MD of a Sky TV channel called Majestic TV, in San Pedro de Alcantara. I envy you and wish I was back there.

It would be nice if we meet here one day. We would have fun shooting videos. I hope you haven’t forgotten your Spanish it’s not easy to acquire. I know people that lived here for long but didn’t bother to learn more than, Gracias and Cerveza

San Pedro has evolved, it’s not the same as before.

Sigma 50mm F2.0 vs. 28-45mm F1.8 L-Mount Lens Showdown on Blackmagic 6K Full Frame (Geoff Fagien, Florida, USA)

This video highlights something I don't think gets mentioned enough, that the ability to shoot Super 35 at 4K on the 6KFF makes it like two cameras in one. He also shows that it works well as a B-cam for the Alexa 35. Obviously the sensor could technically shoot 4.6K in the Super 35 image circle to be an even better match with the Alexa's 4.6K sensor but that would require some more S35 crops to be added in firmware.

Interesting experience for me is finding that once I started shooting with the 6kff, the body style turned out to be not as onerous as I thought. Or as bad as so many people complain about. I was ready to order the Pyxis, but the sale ended that idea. I've gotten used to the caveats. I spent a few weeks getting familiar with using the camera and the body gripped nicely to me. I found it sat well in my hand and my fingers balanced the right side grip well when walking about.

The next two helpful items for me were spending the money on the Mid49 cage which was a surprise and the Cinesaddle. Well, the mini version. I was able to get more stable footage while shooting in a manner that felt natural to me. I've been learning better how to get the most out of what the camera can do in Resolve and enjoying that more. Would I take stabilization? Sure, but I'm not stressing about it. With a little more weight it balances nicely on my tripod/head combo. I'm figuring out some tweaks and my shooting palette has extended because I've been jazzed to use it. Maybe because I'm talking about it more I've been getting more opportunities as well. I'm loving the footage. I've got a Micro panel coming for next steps.

I definitely support Mark's Feature Request to get more out of the camera. Getting more out of S35 would allow for better flexibility for sure. Loved seeing that video posted above.

Not the one above that though. I must be the only person on the internet the cringes every time I see images from a Sigma.

Interesting feedback based on your experience with the BMCC6K. Which camera capture resolution do you shoot typically and what post workflow do you use to generate 4K deliverables?

Anyone else annoyed that there aren't more cheap cine primes using Leica M mount? It seems like such an obvious choice. It's a mirrorless mount but it's flange distance is large enough that you can adapt it to any other mirrorless mount. On top of that, it was made to be able to mechanically communicate it's focal length to range finders so a powered M to L/RF/E adapter could communicate that data to the camera. I imagine it would also lower the cost of the lens if they don't need to ship so many variants, too.

"Blackmagic Cinema Camera 6K FF | Open Gate | Takumar 50mm -- all shots on f2.4" (Paweł Nowicki, Poland)

The 3D-Pop keeps popping

Anyone else annoyed that there aren't more cheap cine primes using Leica M mount?

Keep an eye out for Laowa. They have developed some m-mount lenses and have new ones coming out soon, and they already make cine lenses based on some of their stills lens designs so they could conceivably move into that market if they perceive enough demand. They don't usually put electronic contacts into their lenses, though.

Z-Cam, DJI, and Kinifinity all have native M-mount support, and there's an adapter for Arri. There is definitely a market, and of course Cooke are now selling m-mount versions of the SP3 (but not for cheap).

Keep an eye out for Laowa. They have developed some m-mount lenses and have new ones coming out soon, and they already make cine lenses based on some of their stills lens designs so they could conceivably move into that market if they perceive enough demand. They don't usually put electronic contacts into their lenses, though.

Oh! Thanks for the heads up!

Z-Cam, DJI, and Kinifinity all have native M-mount support, and there's an adapter for Arri. There is definitely a market, and of course Cooke are now selling m-mount versions of the SP3 (but not for cheap).

Well I'm more-so interested in it on the lens end than the camera end but if that drives demand for M mount lenses, then I'm all for it lol

"Blackmagic Cinema Camera 6K FF | Open Gate | Takumar 50mm -- all shots on f2.4" (Paweł Nowicki, Poland)

The 3D-Pop keeps popping

Much more pleasing to my eyes than Sigma!

Well I'm more-so interested in it on the lens end than the camera end but if that drives demand for M mount lenses, then I'm all for it lol

Yeah, I mentioned that only as an indication that there's demand for m-mount lenses on cinema cameras, and if they have cine housings and features (e.g., low focus breathing) that's even better.

Light Lens Lab produced a Speed Panchro replica in m-mount a year or two back and they have a bunch more varieties of that lens in development at different focal lengths: https://lightlenslab.co/blogs/upcoming- ... type-stage

For their replica of Angénieux S21 under development they mention cinema applications in their blog.

https://lightlenslab.co/blogs/upcoming- ... nouncement

Sigma 50mm F2.0 vs. 28-45mm F1.8 L-Mount Lens Showdown on Blackmagic 6K Full Frame (Geoff Fagien, Florida, USA)

Figured I'd comment on this. I actually don't know why Sigma lenses are so hated by some. I like a sharp lens because I can always soften the image in post or with filters while I can't sharpen a soft lens. Looks like it performs well, I just don't think the footage they shot with it looked all that good. That's not the lenses fault though.

I actually wish I had a lens like that since almost every lens I have is vintage. They can look pretty beautiful but they can fall apart way to much when wide open and flaring can get excessive.

Light Lens Lab produced a Speed Panchro replica in m-mount a year or two back and they have a bunch more varieties of that lens in development at different focal lengths: https://lightlenslab.co/blogs/upcoming- ... type-stage

For their replica of Angénieux S21 under development they mention cinema applications in their blog.

https://lightlenslab.co/blogs/upcoming- ... nouncement

That's pretty exciting! I don't think I've heard of them before.

That's pretty exciting! I don't think I've heard of them before.

They've been specializing in producing replicas of very rare and expensive lenses, with mostly excellent results (and a few misses here and there). Prices are higher than those of most Chinese lens manufacturers, but a tiny (and I mean tiny) fraction of the cost of those original lenses, which are out of reach for most mortals. I don't have any of their lenses (yet) but I do have some accessories and they are well made.

There's a long (50+ page) thread on them here, with lots of photo examples. I've never seen any video shot with them but I'm sure it's been done, likely with the Speed Panchro replicas.

https://www.fredmiranda.com/forum/topic/1625479/

"Blackmagic Cinema Camera 6K FF | Open Gate | Voigtlander 40mm" (Paweł Nowicki, Poland)

The Pyxis should have been called "3Dpop"

I find Sigma lenses has a general dullness to the image and not very good light transmission. If you have so much glass elements and correction to improve corner to corner sharpness you have to compensate by making the lens physically longer and fatter. Maybe they haven't perfected the type of glass on their lenses?

The Pyxis should have been called "3Dpop"

I think I'd actual protest it if it was.

That's pretty exciting! I don't think I've heard of them before.

They've been specializing in producing replicas of very rare and expensive lenses, with mostly excellent results (and a few misses here and there). Prices are higher than those of most Chinese lens manufacturers, but a tiny (and I mean tiny) fraction of the cost of those original lenses, which are out of reach for most mortals. I don't have any of their lenses (yet) but I do have some accessories and they are well made.

There's a long (50+ page) thread on them here, with lots of photo examples. I've never seen any video shot with them but I'm sure it's been done, likely with the Speed Panchro replicas.

https://www.fredmiranda.com/forum/topic/1625479/

I've been following them for a long time, but I've seen so many come up for sale on FM that I've always wondered what the deal is. The M mount isn't sexy to me either. But there's a lot of interesting images on that thread. I have seen this video with footage:

"Blackmagic Cinema Camera 6K vs Sony FX6 | Full Frame Shootout" (Anderson West, UK)

"Blackmagic Cinema Camera 6K vs Sony FX6 | Full Frame Shootout" (Anderson West, UK)

I like that he mentions that pretty much any camera now will give you an amazing image. He's completely correct. If you want to make a film that looks good and you can't with one of these cameras or even cheaper cameras, it's not the camera that's the problem.

If your camera’s lowest sensitivity was 0.2 nits, it would take 16 stops of light to reach (and exceed) the (theoretical) limit of 10,000 nits. I don’t believe there are any monitors capable of displaying 10,000 nits on a screen that also can display less than 0.2 nits. You might say OLED can display 0 nits but that’s another story to capture in a camera.

"Blackmagic Cinema Camera 6K vs Sony FX6 | Full Frame Shootout" (Anderson West, UK)

He should have use a fixed ND. These variable ND has polarizing effect.

For one-man-band and you are limited for time, also taliking head, sport, etc, having continouse AF is a must.
My next camera will have continous AF and that will depend if BMD get one out soon. If not as others says the IQ amongst different cameras are pretty similar these days.

He should have use a fixed ND. These variable ND has polarizing effect.

There are variable NDs being sold now that allow you to rotate one polarizer or both polarizers together in order to control the polarization and ND separately. He could have just used one of those.

"Blackmagic Cinema Camera 6K vs Sony FX6 | Full Frame Shootout" (Anderson West, UK)

I noticed a dimensionality and a 3D pop in the mid-wide scenes for the BMCC 6K. At 12:02, the comparison of the the scene where the woman is standing in the window, the texture of the shadow on her face shows greater fine details and delicate gradual shading for the BMCC6K. Both the distant background as well as the interior look washed out and lacking saturation on the FX6.

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BMPCC6KvsFX6Sig24-70mmVNDBMCC6K29mmB.png

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At 11:39 a crop BMPCC6K shows this more clearly. The Sony FX6 crop at 11:51 in comparison shows a pink nostril, and a diffused pupil of the eye that does not stand out from the white part.

"Blackmagic Cinema Camera 6K vs Sony FX6 | Full Frame Shootout" (Anderson West, UK)

Another comparison of the BMCC6K vs Sony FX6 Shootout.

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At 9:47, the close up of her hands from the BMCC6K shows more detail with micro contrast and natural skin tone.

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In contrast, the FX6 image at 9:58 makes her fingers look infected due to the dreaded pink shadows the Sonys are known for. This saturation level is not showing the model in a flattering light. There is slightly less graduation of the shadow on the wrist. I would think that this micro contrast difference would be more apparent in a higher quality lens than the Sigma Art series that is known for having a more sterile look.

Keep in mind that these are screen shots taken from my phone at 1080P. The original uncompressed files would be more revealing.

It looks like the lack of a good codec for the Sony FX6 is responsible for it's showing here.

"Blackmagic Cinema Camera 6K vs Sony FX6 | Full Frame Shootout" (Anderson West, UK)

I noticed a dimensionality and a 3D pop in the mid-wide scenes for the BMCC 6K. At 12:02, the comparison of the the scene where the woman is standing in the window, the texture of the shadow on her face shows greater fine details and delicate gradual shading for the BMCC6K. Both the distant background as well as the interior look washed out and lacking saturation on the FX6.

At 11:39 a crop BMPCC6K shows this more clearly. The Sony FX6 crop at 11:51 in comparison shows a pink nostril, and a diffused pupil of the eye that does not stand out from the white part.

At 9:47, the close up of her hands from the BMCC6K shows more detail with micro contrast and natural skin tone. In contrast, the FX6 image at 9:58 makes her fingers look infected due to the dreaded pink shadows the Sonys are known for. This saturation level is not showing the model in a flattering light. There is slightly less graduation of the shadow on the wrist. I would think that this micro contrast difference would be more apparent in a higher quality lens than the Sigma Art series that is known for having a more sterile look.

Keep in mind that these are screen shots taken from my phone at 1080P. The original uncompressed files would be more revealing.

It looks like the lack of a good codec for the Sony FX6 is responsible for it's showing here.

Good observations Don, many people in this industry are kind of blind to the distinctions you point out, don't know why, maybe they just got too familiarized to the look of images from television aesthetics so they normalized them, apparently missing the chance to be influenced by other types of images like oil canvass on an art museum.

Sony claims very high dynamic range for their cameras. What counts is USABLE dynamic range:

Gunther Machu wrote:

"Speaking of internal noise reduction, this cannot be turned off unfortunately as usual with Sony Alpha cameras. IMATEST confirms this, showing 12.9 stops at SNR = 2 and 14 stops at SNR = 1 (at ISO 800).

...Using temporal and spatial noise reduction in DaVinci Resolve 17.4.1 with emphasis on chroma noise reduction still cannot save the image, as the noise is not finely distributed. It shows larger blotches of pink chroma noise instead – have a look at the shadow side of Johnnie’s face for example. In general, noise reduction in post production with the Sony a7 IV is a risky business, as those larger blotches of noise turn into larger, plasticky-looking monochrome areas. The rest of the image is OK – no horizontal or vertical stripes are visible, but I cannot tolerate pink shadows, especially on faces. Sorry.

Again, an old Sony Alpha phenomenon has raised its ugly head: the combination of a weaker codec and internal noise reduction (which cannot be turned off) leads to these large blotches of pink chroma noise, which cannot be removed effectively by the noise reduction tool in post. And that leads to a similar conclusion that we had for the Sony a7S III – around 7 stops of exposure latitude are possible."

Sony a7 IV Lab Test – Rolling Shutter, Dynamic Range and Latitude

https://www.cined.com/sony-a7-iv-lab-te ... -latitude/

I tend to use the highest data rate possible in long GOP and S-Cinetone instead of S-log in the A7IV.
That makes shadow areas acceptable, but it still can't compete with a BM camera.

many people in this industry are kind of blind to the distinctions you point out, don't know why, maybe they just got too familiarized to the look of images from television aesthetics so they normalized them, apparently missing the chance to be influenced by other types of images like oil canvass on an art museum.

Your question has been answered many times before, and at least in one case by a party who's been to a lot of art museums.

The issue is not how two different images from two different cameras compare on youtube but whether any perceived or objective differences are significant, in the sense of being unalterable characteristics of a particular camera -- rather than incidental to shooting or post-production (including the transforms) or of the two different images themselves (shooting the "same" uncontrolled scene a few minutes later is not the "same" scene!) or simply a product of youtube compression.

The youtubes you promote do not allow these questions to be answered. Not on set, and not in post and not as presented. A more productive exercise might be, can either image be made to look like the other, even though they're not identical (including in front of the camera) at any point in the production chain? That at least might actually be useful, if only to the shooter/grader, as it would reveal to him his personal limitations using any given camera.

Meanwhile, the distinctions you and other make here for uncontrolled side-by-side youtube comparisons amount to acts of superstition. The samples are not known to be reliable or consistent and the methods are unrevealed, so there's no way to determine what's real and unalterable and what's incidental and changeable. And the less said about imaginary categories, like "3D pop", the better.

Steve Yedlin provided an example of how to compare cameras for anyone who really wants to do it. But of course the work is difficult and time-consuming, and requires equipment and skill. And the results he gets are not going to fuel a youtube channel.

A more productive exercise might be, can either image be made to look like the other, even though they're not identical (including in front of the camera) at any point in the production chain? That at least might actually be useful, if only to the shooter/grader, as it would reveal to him his personal limitations using any given camera.

Thanks for this. When I watched the video (taken with the caveats cuz, as stated, "it's just for fun") I kept wondering how much effort would it take someone to grade one clip to look like the other. I have seen a couple videos on matching and it's not rocket science. On the YT vid, the commenters who discussed price and features seemed more reasonable in terms of identifying differentiation.

many people in this industry are kind of blind to the distinctions you point out, don't know why, maybe they just got too familiarized to the look of images from television aesthetics so they normalized them, apparently missing the chance to be influenced by other types of images like oil canvass on an art museum.

Your question has been answered many times before, and at least in one case by a party who's been to a lot of art museums.

The issue is not how two different images from two different cameras compare on youtube but whether any perceived or objective differences are significant, in the sense of being unalterable characteristics of a particular camera -- rather than incidental to shooting or post-production (including the transforms) or of the two different images themselves (shooting the "same" uncontrolled scene a few minutes later is not the "same" scene!) or simply a product of youtube compression.

The youtubes you promote do not allow these questions to be answered. Not on set, and not in post and not as presented. A more productive exercise might be, can either image be made to look like the other, even though they're not identical (including in front of the camera) at any point in the production chain? That at least might actually be useful, if only to the shooter/grader, as it would reveal to him his personal limitations using any given camera.

Meanwhile, the distinctions you and other make here for uncontrolled side-by-side youtube comparisons amount to acts of superstition. The samples are not known to be reliable or consistent and the methods are unrevealed, so there's no way to determine what's real and unalterable and what's incidental and changeable. And the less said about imaginary categories, like "3D pop", the better.

Steve Yedlin provided an example of how to compare cameras for anyone who really wants to do it. But of course the work is difficult and time-consuming, and requires equipment and skill. And the results he gets are not going to fuel a youtube channel.

Totally agree. One of the things that immediately struck me is that the BMCC is prepared for display using color management and the Sony is using some sort of Sony2Alexa LUT. This basically completely invalidates the comparison with regards to the 'look' because the two methods of preparing for display are completely different.

He should have use a fixed ND. These variable ND has polarizing effect.

There are variable NDs being sold now that allow you to rotate one polarizer or both polarizers together in order to control the polarization and ND separately. He could have just used one of those.

I know, SLR Magic is one of them. If you rotate it may help one area but effect another.
Hoya Solas variable NDX is the only VND that has built in de-polarizer that I consider effective if you don't go over 6 stops but I hardly recommend it if doing IQ test between cameras.

Good to know. Just a reminder the SLR Magic Vari-ND has a limit of 6 stops to minimize the X-factor.

A more productive exercise might be, can either image be made to look like the other, even though they're not identical (including in front of the camera) at any point in the production chain? That at least might actually be useful, if only to the shooter/grader, as it would reveal to him his personal limitations using any given camera.

Thanks for this. When I watched the video (taken with the caveats cuz, as stated, "it's just for fun") I kept wondering how much effort would it take someone to grade one clip to look like the other. I have seen a couple videos on matching and it's not rocket science. On the YT vid, the commenters who discussed price and features seemed more reasonable in terms of identifying differentiation.

Hey everyone, I appreciate you guys watching the video and as a frequent reader of the forum, I appreciate it more as it feels good to be part of an active community.

A couple of caveats on the test, it's awkward to kind of shoot tests like this in an outside environment (period), you try to keep them as exact as possible, but at the same time visually interesting, as mentioned other people have done more accurate tests, and for some that would have been ideal, I'm not super technical with grading, I like a certain look and work with it. I remember reading John Brawley's comment a few months ago about camera tests, and the futility of sharing them, because at the end of the day everyone has a different methodology. Personally, I don't get the obsession of trying to make every camera look the same. We all know that with log - profile and a skilled grader, everything can be made similar, but that takes time, and again who decides which is the camera that we should base the look on? Personally, I prefer to judge cameras on how quick it is to get a good-looking image.

The points about color management are correct, however. I have to say that when I processed the FX6 with Da Vinci's color management, it did look a worse than the 6Ks.

I tried to use my normal shooting process of monitoring the 6K with an Alexa REC709 look and from there, pretty much no matter what in I do in post I get the look I want, and even when using Da Vinci's color management, I get a pleasing image that I think is good to go. I tried doing the same with the FX6 and it didn't yield desirable results. Now I had two options: spend hours color correcting to get it on par with the 6K, or go back to just applying the LUT I monitored with on the FX6. As you can imagine, with a throwaway YouTube video, it feels kind of a waste of time, and then if you don't match them exactly, it's still the same discussion about grading skills, etc. Hence the "lazy" decision to apply the monitoring LUT to the footage.

And to be honest, as I don't use the FX6 day in day out, it might be a fair conclusion to say I don't know how to get the best out of the camera. But personally, I think it's interesting how easy it is to get a pleasing image from the 6K, compared to the FX6. Personally, I do think one of the above comments about Sony colours not looking quite right is valid but because it's such a popular and it is a well-featured camera, everyone kind of accepts that everything about it is "awesome".

But to be honest, the whole point of the test was to point out the absurdity of the discourse about the 6K's sensor and image being inferior or unusable. Personally, I much prefer the 6K image. But again, it's subjective, so I keep my opinions neutral for the sake of the more "passionate" camera folk in the YouTube space. As someone who uses this camera in commercials, films and documentaries, I think this camera is a steal. But yes I know I need to get better at grading (or find a colourist who doesn't mind doing Youtube videos)

But I appreciate the feedback anyway, guys. Normally, I wouldn't care to explain things to the internet, haha, but as this forum has given me so much knowledge and insight over the years, I thought I'd share some of the why.

Interesting experience for me is finding that once I started shooting with the 6kff, the body style turned out to be not as onerous as I thought. Or as bad as so many people complain about. I was ready to order the Pyxis, but the sale ended that idea. I've gotten used to the caveats. I spent a few weeks getting familiar with using the camera and the body gripped nicely to me. I found it sat well in my hand and my fingers balanced the right side grip well when walking about.

The next two helpful items for me were spending the money on the Mid49 cage which was a surprise and the Cinesaddle. Well, the mini version. I was able to get more stable footage while shooting in a manner that felt natural to me. I've been learning better how to get the most out of what the camera can do in Resolve and enjoying that more. Would I take stabilization? Sure, but I'm not stressing about it. With a little more weight it balances nicely on my tripod/head combo. I'm figuring out some tweaks and my shooting palette has extended because I've been jazzed to use it. Maybe because I'm talking about it more I've been getting more opportunities as well. I'm loving the footage. I've got a Micro panel coming for next steps.

I definitely support Mark's Feature Request to get more out of the camera. Getting more out of S35 would allow for better flexibility for sure. Loved seeing that video posted above.

Not the one above that though. I must be the only person on the internet the cringes every time I see images from a Sigma.

Thanks for the kind words and for watching. I have to say, our experiences with the 6KFF are very similar, including down the getting a Mid49 cage and cinesaddle (or equivalent) I was skeptical because of the perceived short comings, but once you understand it's limitations, it is a very powerful camera. I went for the Ratbag Mini from Focus Rat (a company based in Romania), it's a cheaper alternative to the Cinesaddle, but it's still really high quality.

But I for one, love the camera and look forward to the images it will allow me to create over the next few years.