My name is Corry, I am a Director of Photography working in media and entertainment production environments with a career spanning over 10 years.
In this channel, I post my personal tips and tricks for shooting content. These are all my personal findings and opinions, so I’ve tried to discuss things which aren’t readily available from a basic search. Some of these are “hacks”, ie manipulating the technology outside it’s standard use to achieve new results.
Hope you enjoy the content!
Пікірлер
👏👏👏 phenomenal footage as always. Truely inspiring
Thank you 🙌
Looks beautiful ❤️
Hello Corry and thanks for the Guide. Your trick to put the quick release on top of the cage to fit the screw is excellent.I put a NATO Smallrig QR. What FF Cine lens you suggest?
It's a shame the Blackmagic app doesn't exist on Android. :\ Would have made my life so much easier.
Great video, would love some insight into rigging focus, particularly as when you were talking about headroom being a problem I was thinking about the focus in the shot lol, it's something I've struggled with two, the lens mount is so damn high
I love this camera, shot my last 3 feature films with this as a B-cam to my Ursa Broadcast 6k
Just the info I’ve been looking for for my nucleus nano. One question: does the app need to be running the entire time you are using it to stop/start the camera with the nano? As in, can I close the phone and put it in my pocket and still use the remote trigger function? Thanks!!!
Thank you! I’ve found that it doesn’t need to be running the whole time, you can close the phone
@@corryraymondfilms This is great news! Thanks so much for the great video and the quick response!!!
Great info guys! Appreciated. Same with Nucleus Nano II?
Did you ever find out about the Nano II?
I’m not sure to be honest. I haven’t tested the II
Great footage.👍🏾 did you use an adapter for the Ziess ef lens to the 6k ? If so , what was it?
Thank you! The sigma adaptor is the best!
Your review is good, very well spoken. You gave a lot more insight then others that spoke on the BlackMagic 6k FF
How you mange de focus with this camera in a gimbal?
The RS3 has an accessory where you can attach a focus wheel and focus motor to the lens, this is how I do it
What's the name of the battery and cable you used in the camera? Thank you
Just a standard V mount lithium battery and the D-Tap to Blackmagic Pocket 6k adaptor
what is absolutely CRAZY is how Blackmagic doesn't have preview desqueeze options for anamorphics.. even at the current price of $1,500 it still baffles me. It makes it to where you MUST add a monitor to desqueeze preview, making the veritcal build even more vertical. Alternatively if you have a squeeze factor that works (1.6x for full sensor readout), it's BAKED IN.. Blackmagic, I love the company but man it's so dumb that they don't offer this.. It's a 3:2 sensor, it screams anamorphics.
Great video thanks
Those handheld shots are mostly shoulder rig or an easy rig kinda setup?
Yes that’s right! A shoulder rig setup
Unfortunately other than Tilta no-one else made proper rig system for this camera ( cage )
Thanks for this. I just got this camera, motivated by that lovely image combined with the BM raw and proxy files, I think this camera provides the perfect workflow with Davinci.
Hi, Corry, thank you, great video! Where did you come across the information about ATEM controls being removed? I just got my BMCC6k FF today and connected it to my ATEM Mini via HDMI, the record trigger seems to work just fine. I'll test the color wheels and autofocus in the next few days...
You know what, I had a guest on my camera podcast and he said it to me. But it’s not true, it does work. I’ve used it too. Shame I said it 😭
@@corryraymondfilms No worries, I was just wondering whether they've added the capabilities later in a firmware update... thanks!
Cool test! It looks like your focus was slightly off on the Pro. When you switched to "open aperture," I noticed a clear focus loss on the Pro which I don't think had anything to do with the lens. It makes the Full Frame look much sharper in the 2X comparison but I don't think the actual sharpness is that drastic when both are properly focused. Would love to see more tests like this.
Thank you, it is the lens, the Zeiss at 1.4 is pretty unusable
i came here for the girl in the thumbnail 🙈
Been fighting against getting a camera as the newest anything always makes yours obsolete and I usually hire a cinematographer with the latest toy anyway. But I have been tinkering with different camera ideas and you convinced me to strongly consider this gizmo right here. Nice work Corry, straightforward and clear information.
Wow! You were prophetic in the video about so many things to do with the PYXIS 6K 😮 Bravo 👏🤩
Can you please suggest me what type gimble stabalizer you use for this camera?
I use the Ronin RS3 Pro
Nice review! I'm also confused about 17:9 instead sixteen. It is a bit awkward to transform camera's huge beautiful display to small regular one occupied with all those frame guides at the end.
How long does it take to charge those batteries?
what are some good workhorse or first lenses you would recommend for this body?
If you could only choose 2 leneses, which focal lengths would you get for corporate work & interviews on the 6k pro?
Really good video. Thanks for taking the time to put it up for me and everyone else. It's always nice to find videos and information that help us solve problems.
What mount do you use to connect the two?
I have a very hard time processing the phrase "super 35 is industry standard"... It absolutely isn't. Have you even heard of "cinemascope"? 50 years ago, people such as yourself today thought it was the future. It died in the 70s. Cinemascope and super 35 are basically the same thing, the difference being, what you know as super 35 today has nothing to do with actual super 35. Cinemascope were anamorphic lenses used with 35mm film cameras modified for the only purpose of using less film stock. Those modified cameras shot in the "Super 35" format, and the lenses made it possible to shrink the film space used per image even more. It is not industry standard, it never was, just like today, it was a way to save money. 2.35:1 ratios and above aren't a clever artistic statement, they are a means to an end. Seeing those horrible, immense horizontal pillars on your footage should be a clear sign that you're not shooting industry standard. If it were the case, the pillars wouldn't be there. Nobody has a TV 3 times as wide as it is tall, and they never will. It is an inconvenient format, purpose-built to save money or compensate for lagging technology, just like cinemascope was. Let's not repeat history with this nonsense.
“Super 35 is AN industry standard” Thanks for the rant though on your misunderstanding
@@corryraymondfilms Hey, what's a KZread comment section without a proper drunkard rant? It's nice to be acknowledged. Thanks for that. I still think Super 35 is a marketing-driven upsell of a discounted technology, but maybe we'll built wider TVs in the future.
Dude, check in on yourself. I said super 35 is AN industry standard. As in it’s a common format. That’s it. It’s not a marketing push, super 35 sensors are cheaper and the lenses are cheaper too. You can also get great zoom lenses at a good price to cover super 35. It’s the same in digital as it was celluloid. Then you’re ranting at me because I shot in 2:39:1 aspect ratio. I happen to like it and my audience isn’t watching my content on television- these are extracts from shorts I have had screened at film festivals, some of these are Oscar and BAFTAs qualifying shorts. My intention is for them to be displayed on the big screen, not on tv. And funnily enough, if you do shoot at a cropped 2:39:1 on BRAW, it is cheaper because you save card space, which is the other reason why I did it. 🙄
@@corryraymondfilms I thought I did check myself. I freely admit it was a rant, and I'll add that parts of it were unbecoming of me. Super 35 is cheaper, yes, but it is also a way to put a 6K label on a camera with a sensor that doesn't exactly shoot 6K; hence marketing. Setting aside anamorphic lenses (which are still shunned by pretty much every distributor or outlet), most distributed content with 2.39ish ratios (anything wider than 2:1 really) isn't native but rather matted. I guess our main point of disagreement is about the definition of "industry". I've worked in film and tv for over 20 years, so what I think of as "industry" is mostly about financing/selling content. A lot of that money comes with strings attached, delivery format being a big one. Mattes were preferred to 3-perforation (native Super) 35mm film for the same reason, and framing is often skewed to conform to 1.777:1 or 1.85:1 to this day. Producers need to keep their options open in the edit. Distributors, streaming and even broadcast are huge parts of financing, and completion bonds and insurance depend upon at the very least letters of intent from these sources. I understand your audience/distribution is different, I got my start in this business by producing online content for media conglomerates that didn't know how to deal with this back in the mid-2000s. I used anamorphic lenses on 4:3 DV cams back then, and had to stop because those formats didn't cut it for multiplatform use. So that's all I have to say. Be well, keep on doing what you're doing and don't listen to old f"ks like me. This business changes constantly, albeit slower than expected, but I'm not the harbinger of anything. Although, the last 20 years have been tough on the big-screen, financing-wise.
I’m going to say it again, check in on yourself. This KZread channel gets a lot of comments and I sit and read all of them. Most ask for instructional advice, many however want to pick up on the odd detail and rant about it. An industry standard means the industry uses it. I have the American Cinematographer Manual on my desk and there’s chapters upon chapters titled “Super 35”, so you can’t argue with me about this. I actually know everything you’re talking about perfs, but think about the context: I’m not going to go into these details for an instructional KZread video which is ultimately a piece of entertainment for people wanting to get into cinematography. These discussions are ultimately you trying to let me know that you worked in the industry for 20 years. Great. We don’t disagree with anything, I’m reading a transcript of you using this opportunity to get validation that you know what you’re talking about. Thanks for the insulting remarks about my work along the way. Personally, I take deep care and attention to my work and it’s very important to me, so if you insult my work I will defend it. Check in on yourself next time before you rant about another man’s work, you might have gotten the wrong end of the stick
nice rig! what follow focus is that?
Looks stupid
At 6:00 you say BRAW is recognized by Final Cut Pro. How, without using 3rd Party convertors like BRAW Toolbox or Color Finale Transcoder?
Firstly download the BRAW player from Blackmagic Design. Then, when you import, import it the footage from the media browser tab
@@corryraymondfilms Sorry, but Final Cut does not import BRAW files. Even with having the latest BRAW Player installed.
Elsewhere it's called "vandalism".
Load of shite ....
Can you all stop gagging yourselves over this basic b art
VANDALISM!
we must alert the honourable knights of the Order of the Garment, in they lies hope
#MESS….Think I’d be gutted if someone painted that on the side of my house wouldn’t u ? 😮
That's not art. That's a Moron cutting stencils out
What lens brand do you use for BM 6k ?
Omg! That's round the corner from my school 😮
Omgg that’s so cool!!
Love this !!
he's made it to finsbury!
loving the green
Such brill quality
Incredible!!! Nice shots
Wow!!
*Great video man. I loved the B Roll around Piccadilly Circus **01:34** which really did look filmic. There was some really well researched and presented info in here. I can see the difference between full frame and S35 now with your comparison. You can check out the HEAVY DUTY GIMBAL L BRACKET from Motion Picture Hardware to mount the RS2/RS3 Pro on a shoulder rig Gareth Edwards Creator Style.*
Thanks man, and thank you for the gimbal tip, I’ll buy it!
@@corryraymondfilms my pleasure..