Quite like the height of popularity for my Pocket 4k video, every day, I’m receiving a dozen questions about my 6k Pro video, and in most cases, I’ve already answered them. However, I also understand that nobody wants to shift through 100s of comments when it’s easier to ask the same question again. Conversely, that’s not fun for me.
So, listed below should be the answers to near enough every question asked on the 6k Pro test video.
Q. What lenses did you use?
A. The Sigma 14mm f/1.8 and the Canon 24-70mm f/2.8 II. However, it should be noted that the 24-70mm was only used for the shots of the waves. Near enough, everything was shot on the 14mm.
Q. What ISO did you use?
Q. How did you pull focus?
A. Manually, fingers around the focus ring.
Q. What FPS did you shoot at?
A. Slow-motion was at 50fps, and normal shots at 24fps.
Q. What gimbal did you use?
A. The DJI Ronin-S
Q. How did you mount the Pocket 6k Pro onto the Ronin-S with the battery grip?
A. I didn’t.
Q. How did you mount the Pocket 6k Pro onto the Ronin-S?
A. First, place the mounting plate onto the Ronin-S cradle instead of attaching it to the camera. Remove the lens, and then screw the 1/4 inch plate threads into the camera (opposed to sliding the camera and plate on). Then attach the lens when the camera is on the Ronin-S. The 14mm is a hefty lens, so I imagine it made the process a lot easier for me.
Q. What was the smallest aperture you used?
Q. Why is the woman’s face so noisy on the final shot?
A. It’s just a layer of added grain. However, I likely didn’t dial the opacity back and yes, in hindsight, it’s a little too much.
Q. How did you grade the footage? Did you use a LUT?
A. Truthfully, the less I have to grade, the better. In most circumstances, it was about getting the look I wanted in-camera with either natural light or colors found within the composition and then giving the footage the slightest of tweaks in post. The only LUT I used was the built-in GEN 5 to Extended Video LUT found in Resolve. For example, here’s a before and after applying the BMD LUT to the footage and the final tweaks.
Q. Where was this filmed?
A. In and around The Vale of Glamorgan heritage coast. A county in Wales.
Q. What’s the music?
A. It’s actually three different tracks mixed together. Twilight, Sea Wanderer Atlantis, and Meeting The Goddess. All by Kyle Preston, and licensed from Artlist.
Q. What mic did you use?
A. RODE NTG-3
These are the primary questions I keep receiving. So hopefully this should quash any queries you may have. If not, leave them in the comment box below.
Was the mic directly connected to the camera? or did you use any recorder?
Straight into the cam!
Great footage and some pretty interesting insight into your process. We do love our 12, and 6ks BM’s color science, especially gen 5 has been getting really good.
I love Canons color too. I have a 1DXMIII that I use as a b-cam to my Komodo. I feel like Canons skin tones cut really nicely with RED. Speaking of RED I do have to say the article that you wrote over at premium beat regarding the Komodo did not age well at all. The Komodo has turned out to be a stellar little camera and outside of frame rates it meets or exceeds the image quality of the Epic W I finalize just sold as the Komodo does pretty much the same job and has the flexibility to be mounted on small gimbals like the RS2. Even better I can use DJI’s 3D focus which I have been having a mindblowingly good time with my Leica R’s and the Aivascope 1.5x.
It’s unreal that you can now have a RED mounted on a handheld gimbal, have autofocus on vintage glass with a single focus anamorphic front and have the whole thing less than 4.5kg. Such a great time to be a filmmaker.
Did you use any filters on the lenses
No artistic filter, just a B+W protective filter.