Lately, the brand new Blackmagic Cinema Digital camera 6K arrived on the CineD headquarters. Motive sufficient to run it by way of our normal lab take a look at procedures. Curious to listen to how this new, full-frame digital camera from Blackmagic Design fares? Then learn on …I’ve been a Blackmagic Design fan because the introduction of the unique pocket cinema digital camera in 2013, and I nonetheless use it occasionally if I’m after a sure look. As an illustration, utilizing it with C-mount lenses can provide me a pleasant classic, very natural tremendous 16 look. However that is one other story.I then added the Blackmagic Pocket Cinema Digital camera 6K to my arsenal, which is one in all my two go-to cameras. The opposite one is the Panasonic LUMIX S1.This brings me on to the brand new Blackmagic Cinema Digital camera 6K (BMCC6K), which now makes use of the identical L-mount as my Panasonic LUMIX S1 and likewise comes with a full-frame sensor. Please take a look on the article wanting into the specs by my colleague Jakub right here, and a primary look by my colleague Francesco right here. So, I used to be actually to see what this primary full-frame digital camera from Blackmagic Design brings to the desk.BMCC6K – Rolling shutter Utilizing our 300Hz strobe mild, which generates the sequence of black and white bars, we get 18.7ms (much less is healthier) for 6K DCI (17:9):Rolling shutter of the BMCC6K in 17:9 6K: 18.7ms. Picture credit score: CineDThis shouldn’t be the most effective end result for 2023. We now have quite a lot of different full-frame client cameras which might be higher. The Nikon Z 9 (8K – 14.5ms), the Canon EOS R5 C (8K 15.5ms), and the Sony A1 (8K 16.6ms) simply to call just a few. And, in fact, the chief of the pack, the Sony a7S III with 8.7ms in 16:9 4K. Full body cameras that carry out worse within the rolling shutter division are the Panasonic LUMIX S sequence cameras that are throughout 22ms.In 3:2 open gate mode, we get 25ms, and in 4K DCI crop mode, we get 15ms for the brand new BMCC6K. BMCC6K – Dynamic RangeThe BMCC6K has once more a twin native ISO sensor, with ISO400 and 3200 because the “native” ISO. In Blackmagic RAW although (which is the one codec now obtainable, as ProRes HQ is gone), ISO might be set in put up. These two ISOs, nonetheless, signify a superb steadiness between highlights and shadows.Let’s take a look on the waveform of the 6K open gate, BRAW 3:1 at ISO400 (shade science gen5):Waveform plot of the BMCC6K at 6K ISO400: 12 stops are seen. Picture credit score: CineDA stable 12 stops above the noise flooring might be recognized, with a thirteenth and even a 14th cease seen.IMATEST calculates 11.6 stops at a signal-to-noise ratio (SNR) of two, and 12.9 stops at SNR = 1 for ISO400. These are nearly precisely the identical outcomes that we measured for the BMPCC6K and BMPCC6K Professional (they really confirmed 0.2 stops higher outcomes at SNR = 2). Additionally, the noise ranges look very comparable (see our lab take a look at article right here).IMATEST outcomes of the BMCC6K at ISO400. Picture credit score: CineDNow, let’s take a look on the second native ISO circuit – ISO3200:Waveform plot of the BMCC6K at 6K ISO3200: 12 stops are seen. Picture credit score: CineDAlso for ISO3200, about 12 stops are seen above the noise flooring. Nevertheless, the second native ISO is basically very noisy. Let’s see what IMATEST calculates:IMATEST outcomes of the BMCC6K at ISO3200 Picture credit score: CineDIMATEST calculates 10.2 stops at SNR = 2 and 11.5 stops at SNR = 1. That is just like what we measured for the BMPCC6K and 6K Professional (lab take a look at right here).Therefore, you lose about 1.5 stops when switching to the upper ISO circuit, which isn’t precisely what I’d count on from a twin native ISO sensor. All the opposite cameras that we examined up to now sometimes confirmed lower than half a cease distinction in dynamic vary when switching to the second native ISO worth.As well as, the normalized pixel noise reaches values of round 6 within the pink channel (see the bottom of the three diagrams above), which is means greater than for the BMPCC6K and 6K Professional at ISO3200. I did some fast checks evaluating the 2 cameras at residence and truly discovered the noise nastier, and rather more troublesome to take away with the brand new full-frame BMCC6K. Fairly stunning to be trustworthy …Within the crop 4K modes, the identical precise dynamic vary outcomes for the 2 ISO’s are obtained, which is to be anticipated – additionally for the upper body charges which might be attainable in these modes.BMCC6K – LatitudeLatitude is the aptitude of a digital camera to retain particulars and colours when over- or underexposed and pushed again to base publicity. A while in the past, we selected an arbitrary worth of round 60% luma worth (within the waveform) for our topics’ brow as the bottom publicity in our normal studio scene. This CineD base publicity ought to assist our readers get a reference level for all of the cameras examined, no matter how they distribute the code values and which LOG mode is used.Once more, BRAW 3:1 open gate mode at ISO400 was used, however we solely show 16:9 frames right here. As traditional, we overexpose till the pink channel is on the cusp of clipping on the brow of our topic (my expensive colleague Johnnie on this case), after which we push it again to base publicity in put up. Right here, sometimes some patches of the colour checker on the left are clipped. These might be introduced again by utilizing the “spotlight restoration” possibility within the RAW digital camera tab of DaVinci Resolve 18.6.4 that we used right here. Nevertheless, we solely take a look at with “spotlight restoration” turned “OFF”, as shade accuracy suffers massively with reconstructed shade channels (as we wrote in lots of earlier articles) – however it’s a good choice to have to save lots of components of the picture if they’re partially clipped. For Blackmagic shade science technology 5 (as a result of code worth distribution at ISO400) that offers 3 stops of overexposure risk:3 stops overexposed, pushed again to base. Picture credit score: CineDFrom right here ahead, we shut the iris of our ZEISS Compact Prime 85mm T1.5 (which we at all times use for full-frame cameras) to T2, T2.8, and so forth till T8, after which we additionally double the shutter pace. These photographs are additionally normalized again to base publicity in put up.Base publicity in our normal CineD studio scene. Picture credit score: CineDNow, let’s instantly transfer to five stops of underexposure (from base), introduced again. Right here, fairly all of the sudden, noise begins to kick in, which was nearly absent even for the 4 stops beneath picture that was introduced again:5 stops underexposed, pushed again to base. Picture credit score: CineDWe are at 8 stops of publicity latitude (3 over to five beneath). That’s nearly the usual now for client full-frame cameras just like the Sony A1, the Panasonic LUMIX SH1, S1, and S5 (not the S5II as this one solely had 7 stops of latitude). Noise discount helps to wash up the picture, however a inexperienced tint stays within the shadows:5 stops underexposed, pushed again to base, and including noise discount. Picture credit score: CineDIt is already on the cusp of being usable, however I’ll nonetheless depend it as a legitimate end result. Fairly large temporal and spatial noise discount is required:Noise discount settings in DaVinci Resolve 18.6.4 for five stops underexposure. Picture credit score: CineDNow, let’s transfer to six stops underexposure:6 stops underexposed, pushed again to base. Picture credit score: CineDNow, the noise turns into large, and horizontal stripes additionally begin to seem. Plus, the nasty inexperienced tint within the shadows is rather more pronounced. The horizontal stripes might be recognized extra simply when utilizing noise discount:6 stops underexposed, pushed again to base utilizing noise discount. Picture credit score: CineDNoise discount settings in DaVinci Resolve 18.6.4 for six stops underexposure. Picture credit score: CineDHence, it is a clear “sport over”, which leads us to the conclusion that 8 stops of publicity latitude are attainable with the brand new BMCC6K. In comparison with current client cameras, that is 1 cease higher than the Canon EOS R5 C or Panasonic LUMIX S5II, and it’s just like the Sony A1, Panasonic LUMIX S1H, S1 or S5, and likewise Nikon Z 9 in addition to Canon EOS R3.This result’s a tad disappointing, as I did count on the 12-bit BRAW codec to have extra potential to tug up shadow stops in comparison with the H.264 or H.265 codecs which might be sometimes obtainable for client cameras.The leaders of the pack within the full body section are the RED V-Raptor with 9 stops and the ARRI Alexa Mini LF with 10 stops of publicity latitude. Our benchmark is the Super35 ARRI Alexa 35 with 12 stops.SummaryThe new Blackmagic Cinema Digital camera 6K exhibits a stable efficiency within the lab take a look at. Within the rolling shutter division, it falls behind in comparison with most up-to-date client full-frame cameras, whereas within the dynamic vary division, it’s on the same degree, a minimum of for the decrease native ISO. The upper native ISO is kind of an issue youngster; I’d steer clear of it if attainable. Latitude can be within the center floor, nothing particular, however higher than some current cameras just like the Panasonic LUMIX S5II or the Canon EOS R5 C.As a BMPCC6K or 6K Professional consumer, it’s easy – lab take a look at outcomes for the brand new full-frame BMCC6K are kind of “copy & paste” from the APS-C sized BMPCC6K and 6K Professional. Therefore, a much bigger sensor, however every thing else is analogous. Have you ever shot with the BMCC6K but? What’s your expertise? 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