- All right, you guys have
been waiting for this. You've been asking for it. So let's open up a monster
energy and do this in one take. (upbeat music) Earlier this year, I put together a tutorial for
the black magic pocket cinema camera 4k in order to help
users of all levels with their questions and helping them
along the way with this video, making a video manual that was
easy to access for everyone. And it seems that a lot
of you got a lot of needed information out of it. The comments and overall
response in that video led me to put together yet another tutorial
this time about the black magic pocket, cinema camera six K pro. And if you went through the
entire tutorial for the 4k, then a good chunk of this
information may sound similar, but there are still plenty of
differences between that and this escape row. In addition, black magic, updated some information and
changed up a few things in April, 2021. And I'll be outlining. Those changes that they
applied to the 6k pro in this particular video, but some
may apply to the 4k as well. I've broken all of these sections
into chapters that you can find at timestamps for in the description, as well as resources and
other videos that will go into further detail. Feel free
to skip around in the video. If you need to jump ahead, or if you need to go back and
review anything before we get started, I do want to take a chance to
invite you to be part of the frame Voyager community by
joining our discord channel, where we have such awesome
community and people from all over the world, all in different production
environments that I'll talk with each other about camera
gears, black magic stuff, Minecraft fun, things like that. So check that in the link
below and also subscribe to our channel as well and consider
becoming a member of our channel by hitting the join
button and get early access to our content and a dedicated
only members chat channel, things like that. Help us to be able to do
videos like this regularly. Now it's time to sit
back, get a cup of coffee, or around here, a monster and get ready for
an incredibly in-depth look at the pocket six K pro camera, which I've memorized the
script completely hardware and specs to get us started. I figured it'd be best to
cover some of the hardware and specifications of the pocket 6k pro. In this first section, I'll be taking a look at the
camera's overall construction, plus some of the features and functions. I'm also going to go over the cameras, a media storage and
power options. First off, we'll start with a built in
ergonomics of the camera to start included on the box
at purchase or the camera, a lens dust cap, a camera strap, a 30 watt power supply along
with a lock-in connector in international adapters and
battery welcome booklet and activation key for DaVinci resolve studio. The standard editing software, the dimensions of the pocket
6k pro are 7.08 inches long by 4.4, one inches high, and a 4.8, four inches deep weighing 2.73 pounds. This makes the naked
camera outright of the box, the largest and heaviest of the
family of black magic pocket cinema cameras. The larger body is there to
house some of the additional features that only the 6k pro has, but it is pretty negligible
as far as grip and feel is concerned. However, the
slightly increased weight, maybe more important
for some of you to help, to look around more equipment
than just the camera or help you to balance the
camera a little bit more. Sometimes people like a little
bit more weight and a little bit more weight in the camera
can be a good thing to reduce things like micro jitters.
So, but at the end of the day, isn't going to do that
much. That's up to you, just like the rest of the family. The body of the pocket 6k pro
is constructed from carbon fiber for the environmental
specifications. The operating temperature of
the camera itself runs from zero to 40 degrees, Celsius,
32 to 104 degrees Fahrenheit. When stored the room temperature
should be between negative 20 to 45 degrees Celsius, negative four to 113 degrees
Fahrenheit and the relative humidity in the environment, the camera is being used in
shipping no more than 90% when it comes to ergonomics.
The camera has a hand grip, which is located on the right
hand side of the camera. If you're looking at the touchscreen, this of course is very helpful
with the one hand camera holding and direct access to
the record and still button. If you use the still
button on this camera, the grip is also covered in
different triggers and buttons that give immediate access to
a lot of standard settings and functions. And some that you can program
yourself for those of you looking for more places
to grip the camera, black magic sells a battery pack. Not only does this give you extra juice, but it also has additional
built in grips for more stable handheld use in the pocket. 6k pro actually has a specific one. They built for this one that
you can use on this camera and keep your internal battery
inside with the camera grip battery. It's pretty cool. Moving onto the touch screen. The most useful feature of the
entire pockets in the camera line is the five inch LCD touchscreen. This touch screen allows you
to manipulate all the standard functions that you would
find with any camera. That's obviously not all you
can change an update nearly every setting you can think
of using the touchscreen along with getting a more accurate
focus and framing for your shots. There will be a ton more details
about all of these settings and features throughout this tutorial. And especially with this new
updated screen that black magic put into the 6k pro with its, as we call it the tilty screen
and increased brightness of 1500 nits, which is great for
when you're filming outside. Let's talk about the super 35
Mount and full frame sensor. The pocket's escape row has
a super 35 millimeter size sensor and an ETF lens
Mount the EF Mount has full electronics. So Canon EF lenses can communicate
with the camera for focus in Iris control. You can use lenses with
built-in civilization on top of auto-focus and auto exposure
with compatible lenses. Now, the autofocus I'm talking about
is only I punch in autofocus and is not continuous. And the image stabilizer or
ISMP can be used by setting the stabilizer switch to on to
enable image stabilization on your camera with lenses
that have natively built in. And we'll show you how to do
that here in a little bit. And when we're talking about, I asked, we're talking about the native
iOS inside of a lens and not at the camera itself, as the camera does not have
native internal stabilization built in the ETF Mount while simpler, we'll expand the number of
possible lenses that you can use for your shot as with everything, how effective this will be, will depend on your personal needs. So let's get into a little bit
more of the specifics of the 6k sensor. It has a super 35 millimeter
sensor or a 23 point 10 millimeter by 12.99
millimeter. The super 35, which is this is based off of
which is originally known as super scope. 2 35 is actually a motion
picture film format that uses exactly the same film stock
as a standard 35 millimeter film. But what's the larger image
frame on that stock by using the space normally reserved for
the optical analog soundtrack, super 35 millimeter and
large formats are really the standard for sensor sizes in
cinematography today with this a super 35 millimeter sensor
has a crop factor of 1.5 compared to a full frame camera. And this is different
from the pocket 4k system, which has a micro four thirds system, which had gave you about
a crop factor of two. So you do get a little bit
more of a view on your footage. So does this mean that if you
film at 35 millimeters and in turn turning into a 52 millimeter lens, because it has that 1.5 crop
factor in a sense yes and no. And this is something that's
important to know if you're beginning with photography, the lens is still functioning
as a 35 millimeter lens, but the sensors capturing a
smaller part of what the lens is still seeing. So if you were to film this
with a full frame sensor, you would have a much wider
view because it's able to capture more with the lenses seen, but it doesn't affect the
focal length or change what the lens is in general. It just narrows, which you can see on that lens. And it can be helpful to think
about it when you're talking about f-stop because it
doesn't fully do this. Your f-stop will always be
2.8, according to the lens, but it does reduce your
depth of field, you know, say you're at an f-stop of 4.0,
you're actually more of an, an f-stop of six. You're not
actually in an f-stop of six. This is mostly explained in
some other videos and we're not going to really get into the
details of what I'm talking about here. I've added a link below to
kind of give you an explanation about focal length and different
sensors and why there's a myth surrounding how it actually works. And it's not what a lot
of people say it is. So be sure to check that out. It's very good information
to know when talking about terminology and understanding
what your lenses are doing on different sensors. Next we're going to go onto
frame rate and resolution. We're going to run through
the different resolutions in their associated maximum frame rates. While this tutorial is
for the pocket 6k pro, this particular information
is going to be same for all of you, regular six K users out there. So it's important to note here
that the max frame rate may be different for each resolution
and codec due to the sensor scam, lots of numbers coming your way. So pay close attention. Six K has a resolution
of 61 44 by 3, 4 56. The only Kodak you can use
here is the black magic RA, which has a full sensor scan
and max frame rate of 50 frames per second, six K 2.4 by one has a resolution
of 61 44 by 25 at 60 with a window sensor scan and
maximum frame rate of 60. This is also black magic raw
only 5.7 K 17 by nine is also only used on black magic raw
with a resolution of 5 7, 4, 4 by 3, 0, 2, 4. It has a window sensor scan
and a max frame rate of 60 frames per second. 4k DCI has
a resolution of 4,096 by 2160. And this can be used on all
codecs black magic Rob or rose 4 22 programs, 4 22 HQ LT and proxy. And as a max frame rate
of 60 frames per second, Blackmagic raw does window
sensor scans while all versions of the pro are scaled from a
5.7 K ultra HD has a resolution of 38 40 by 2160. The only
Kodak used here is pro Rez, which can either be scaled from a full, with a max frame rate
of 50 frames per second, or scaled from 5.7 Gaye with
a max frame rate of 60 frames per second, at 3.7 K anamorphics resolution
is a 37 28 by 31 0 4. It only runs with black magic
raw and as a window sensor scan and mass frame rate
of 60 frames per second, 2.8 K 17 to nine is also
only for black metric raw. And as a window scan, the resolution here is a 28 68 by 1512, and as a max frame rate of 120
frames per second HD on this escape row only works with
progress with a resolution of 1920 by 10 80, as far as sensor scan and
frame rate is concerned. Scaled from full has a
maximum 50 scaled from a 5.7. K's a max is 60 frames per
second and scaled from 2.7 K has a max of 120 frames per second. When it comes to the type of
data storage that can be used on the pocket's escape row, you have three different
options, SD cards, a CFS cards, and USB-C flash disks. I'm going to do a quick overview
of each of these for you. Number one, SD the 6k pro uses both UHS
one and UHS two type has D cards. And what's the difference? Well, UHS one allows for storing all
compressed video formats in HD while UHS two allows you
to record black magic row, as well as ultra HD content in progress, the trade-off here is that UHS
to SD cards tend to be more costly than UHS. One, obviously SDS are honestly
the most affordable of the different storage options and
definitely the easiest way to get your hands on do to how
many different things tend to use them. They're great for storing
and loading Lutz and presets, and are fantastic. If you're recording for long
durations and or don't require high resolution files per
black magic suggestions. If you're shooting in 4k DCI
or ultra HD to use UHS two cars for anything else, then UHS
one is perfectly acceptable. And of course the faster
the speed of your card, the better it will be overall. And now if you're looking for
high resolutions and frame rates, while recording SD is
probably not the best choice of storage since the speeds and
that are available are really not sufficient when you start
getting to higher resolution of this camera, but it's still an option
and it does play a role. If that's something
that you're looking for. And to have that functionality, I personally don't love SD cards. I've had less problems and less
formatting problems and less cards break on me when I'm
using SSD cards than I have SD cards. So there is that as far as
the CFS cards are concerned, their overall functionality
is not too dissimilar from SD cards. So if you already
know how to use those, then you're really ahead of the game. The CFS 2.0 cards can
support higher data rates, making them great for recording
and 4k and HD with high frame rates. It's very important to note
here to make sure that you carefully check out the specs
of the CFS cards you're using or thinking of purchasing. If you're planning on working
with high data rate video, this is because when
it comes to CFS cards, they can have very in
read and write speeds. USB-C solid state drives. These are external hard drives
that use flash memory because they are larger than see fast and SD. They have to be mounted to the
outside of the camera and are connected via the USBC port on
the left side of your camera. Unlike with SD cards, the number of solid state drive
models that are compatible with black magic cameras tends
to be a lot smaller on top of that. Knowing the ones that remain
compatible over time tends to be a moving target. Black magic does keep an
up-to-date list of which ones are the most compatible at
this website right here, which we've linked in
the description below. There are some modes that solid
cards can not record on with a specific camera, especially when you get
into six K and Q zero, but honestly six K Q zero
at 50 frames per second. I don't know what you need
that for that footage anyways. And we'll get into what Q
zero and higher bit rate is, but like I'm not even sure that
there's a card that has the read-write speed to even be
able to capture that footage in the first place. And if you would like to, there is I a friend of mine, another camera channel did a
entire video on the cards on the solid state drives he uses, which are SanDisk car drives
would that are different than the ones that I use, which
are Samsung T five cards. He asked me to come on the
video and explain my side with the T five cards. Well, he
explains his same disk card. So if you're interested in
seeing two different variations of solid state drives that
work with the pockets, escape row, be sure to
check out that video. It's in the description below
using all three styles of storage. Isn't quite as
simple as plug and play, but the formatting process is
extremely easy and can be done right on the camera itself. I'm going to run through
the process for you. Step-by-step the first thing
you're going to do is either insert or Mount your storage accordingly. If you went with either
SD or see fast cards, there are two individual ports
for each style behind the closed or in the hand grip on
the right side of the camera. If you want with solid state drives, then you will connect that to
the USBC port on the left side of the camera, then Mount
the SSD itself to the top, looking at your touch screen, tap the storage indicator that
shows up at the bottom of the screen to enter the storage
manager at the bottom of the screen, you should see three different
options to choose from the first two from left to right, will always read exit and format.
See fast card accordingly. The third option will either
read format SD card or a format drive depending on if you're
using SD or USB-C flash disk. The reason for this is because
both SD and solid state drives need to occupy the
same space and the camera's operating system. So this means that when you
plug the storage into the USB-C drive, the functions for
SD are auto disabled. If you want to manually change
your real number in this process tab, edit real number, enter the real number you
want. Then tap update. You should have two formatting
options here for OS X extended, which is strictly
for max users and ex-pat, which can be used for both Mac and PC. Keep in mind that you do
use Mac and choose X fat. That one does not allow for journaling. You are provided with an
opportunity to quickly review these settings, to make sure
that they are right. And I would definitely suggest
taking an extra couple of seconds here to scan through
everything real quick. If you need to change,
tap, cancel and start over. Otherwise you can continue from here, hold down the format button
for three seconds and you will see right away if your formatting
was successful or not next section inputs and outputs in
this escape pro something you definitely will not be lacking
in is the ports for all of your media equipment and connections. Some of these you're going to
use constantly while others, you may never touch
depending on your needs. So let's get into this. And most of you should
know what these are, but I'm going to go through
the specs of each and kinda explain a couple of things
with each of them. So let's go, let's start with the HD, my port and the 6k pro contains
a full-sized HTMI port that supports 10 bit 4, 2,
2, 2, 10 80 P HD video, plus a port for HDR and two
channels of embedded audio. One of the most common uses
for the HTMI port is to connect an external monitor for better
viewing of your shot without all the indicators that
tend to clutter up the LCD's touchscreen. Some also uses port regularly
to attach an ATM switch or to give better remote access to
the functions and settings. One thing to make sure that
you guys are aware of is an important issue with HDMI burnout. It can be caused by simple
things as using one power source for both your camera and external monitor, or just using cheap
aftermarket HDMI cords, while this does not
kill your whole camera, you will be forced to pay out of pocket to get the port fixed. Since this is not something
covered under the warranty. I did a video about this very
issue with the pocket 4k, but all that same information
applies for the pocket's escape pro, go check it
out when you're done here, and always be careful when
you're buying third-party product third-party power cables and
be careful in your looping power to your camera and to
your monitor at the same time, and make sure that the setting
requirements are correct, because the last thing you want
to do is burn out the board on your camera, because then you're done
moving on to mini XLR. The mini XLR ports are also
located on the left side and are there for use with external
microphones that require Phantom power while the K and 4k models
only have one mini XLR port 6k pro hunters get to and be
mindful when choosing Michael cords for your black magic cameras, as the mini XLR connectors are
smaller than standard XLRs. In some instances, an adapter may be acquired
and I've linked below to the adapters I use for the camera
that have worked well for me, the best microphones to use
here are going to be shotgun and boom mikes, because it's harder to get a
clear signal with more dynamic styles, but you can also attach per usual, like anything like a even
wireless lapel mikes. The 3.5 millimeter Jack has a
couple of pretty handy uses to start. It's a great secondary option
for connecting microphones to your camera. The downside is the input
can not run Phantom power. So whatever microphone you use
needs to have its own power supply wired or wireless. This is also where you can
set up your timecode devices. This method of setting up
the time code via the 3.5 millimeter Jack is what
is known as James sync, the video available on my
channel that goes over time. Code set up in more detail. So make sure to go check out
that one when you're done here, moving on to the headphone Jack, anyone who has used any sort
of audio equipment at this point in the last 40 plus years, and honestly longer probably
is familiar with that standard headphone Jack, the
headphone Jack on the pocket, 6k pro works exactly the same.
So not much to cover here, just make sure you're careful
when plugging in whatever headphones or monitor system
you're going to be using since this Jack and those 3.5
millimeter Jack are right next to each other. So it's easy to mix them up
sometimes if you're not paying attention on a shoot, but I think you guys got that
internal microphones, none. Unlike the rest of the black magic pocket, cinema camera family, the 6k pro has internal
microphones built right into the camera body located on
either side of the lens. I'm pretty sure I don't really
need to explain a microphone to any view, but if you want to know more
about the settings for the mics, there will be a whole section
dedicated to that later on in this tutorial, feel free to either hang out
until we get there or skip ahead. Next, the power input using the DC input. You can fully power the
camera and trickle charge your battery simultaneously. Since the internal battery
in the black magic pocket, cinema camera are just okay. And some of you have some pretty
crazy rigs you may need to get or create custom
power devices and setups. Be careful though, because this is something
that can mess up your camera beyond repair, if done incorrectly, as far as how to avoid any issues, let's go over a couple of
recommendations and solid numbers to help you out. That battery input is rated
from 6.2 volts to 10 volts. Max, the DC input is rated from
10.8 volts to 20 volts max, and while on standby and not
actively charging the battery, that camera requires 16 Watts
while actively charging the battery. The camera requires a 30 Watts. And when you're powering on
your camera with a custom power source, black magic recommends
that you remove the battery. First when recording the external
media with an active lens, full screen brightness, a full tally brightness and
high frame rates while not charging the battery. Black
magic specifically at 26, Watts is required for
the pocket's escape row. Moving on to the USB-C port, as mentioned in a previous section, the USBC can be used for
connecting an external flash desk or a solid state drive to your
camera that isn't this ports only use though. The USB-C is used to update
your camera software when required just connects you to
your camera via the USBC input and run your camera's update application. Another cool use for this
port is while your camera is powered off, you can use this input to
recharge the battery from an external source, such as a battery pack. And this is pretty slow. I
would recommend doing it. It's an option. I've never done it, but I wanted to let you guys
know that you can power it from that USBC. It has to be turned off and
you can power the battery pack, or you can charge the battery inside. So if you're on a camping
trip or something, you don't have an option take that. But I think most of you will
find out that you'll probably just need female batteries,
but we'll get into that later. Now we've moved onto the next section. Oh my gosh. In this next section, I'm going to be going
over interfaces and menus. I can imagine this is part of the video. That's going to interest everyone
the most as this is really where you're going to learn, how to use your black magic
pocket, cinema camera 6k pro, and we'll be diving into the
cameras, various interfaces, buttons, and menus for you to get
the best use of your camera. And this is honestly,
when it comes down to it, something that you really got
to know when it comes to a camera is like what each
setting does, how it works. So when you're on a shoot, when you're somewhere and you
need to get something and you just know where it is intuitively
and you know how to find it and you know what it does. So feel free to skip
along in this section. If you're looking for
specific parts or, you know, rewind and go back over this again, or feel free to comment below too, if you have any questions
about this buttons and lights, what's what we're going to start
with is buttons and lights. Pretty much all monitor
cameras at this point, have buttons and indicators,
but dazzled all over the body. But tasseled, I think
that's the thing, right? That's the, I don't even
know what I'm doing. They all have different
functions and it can be hard to figure out where the function
you need is without a ton of guesswork. I'm going to do a
quick run through of these, with the hopes of at
least giving everyone, watching a headstart starting off, there are two different
external record buttons, one at the top of the hand
grip where you would normally find it on any handheld camera, this shape and the other to
the upper left of the lens. If you're facing the front
of the camera next to the standard recorder is where
you will also find the still button with the manual setting
wheel located directly under those also on the front of
the camera is the tally record indicator on the opposite
side of the lens from the secondary record button, moving
to the top of the camera. And you will find all in
a row on the hand grip, the ISO shutter and white
balance buttons closer to the center top is where you will find it. The power switch with the
battery status led to the immediate right of that.
Continuing the same direction. You will find the functioned buttons, which have different uses
depending on how you choose to have them set up, but starting off, they generally have a lot option
and false color. And gosh, I actually can't remember
what is it right there on the screen power of editing. Now finally, to the backside of the camera
where you'll notice the buttons lined up on the right end, broken up into two sections. The top section is where you
will find that the Iris and focus buttons in the next
section from the top to bottom is where you will find the
HFR focus, zoom menu, and play buttons above the
right-hand corner of the LCD touchscreen, or the
buttons for the ND filter, which is only available on the
6k pro touchscreen controls, the touch and gesture interface. And the five inch LCD touchscreen
is not only intuitive, but it's also fast and pretty
fun to play around with. Let's be honest, the improved efficiency it
creates we'll use to adjust settings on the fly
really is one of the best. I'm not only just on the pockets,
escape pro, but honestly, on any black magic camera
in general, it's the, it's the best selling point. It's such such an intuitive system. Let's take a deep dive into
what this touchscreen can do for you. LCD monitor, let's start with that. The LCD monitor settings allow
you to switch and adjust the monitoring features on your
camera to access these options. Tap the monitor icon in the
upper left-hand of the screen. You're going to get a bar at
the bottom of the screen with six different icons, which represents the different
LCD monitor options in order from left to right. You have zebra focus assist
to frame guides, grid, safe area, gods, and false color. Let's start with zebra. First. The purpose of zebra settings
is to help with correcting exposure when active this
place has a Stripe pattern over areas of the image that
are over a threshold. Then you would be able to see
yourself to access this tap the first monitor option icon, then just have the toggle
right under that zebra icon to turn it on and off to
the right of that toggle, you will see a slider. This is to set the exposure
level that you want. So just move your finger back
and forth with the slider to set this, your exposure level can be set
anywhere from 75 to a hundred percent in increments of
five focus assist has three separate settings, low, medium, and high, like any good microwave that was done, which is chosen based on what
you're shooting. For example, when shooting people, you may need to have a focus
assist set on high to help smooth out the edges of their face. Another great example is shooting foliage, unless you're doing close in
shots of a single leaf setting, your focus assist too low will
possibly work out the best to use this, just tap on the second icon
and toggle it on in the on position. And as I like to have focus
peeking on high all the time, a lot of other people, some people do, some people don't depends
on the way you like to film. Some people swear by filming
and focusing manually without it. I like having on, I have other friends
that don't have it on. And I always know when
they use my cameras, cause they'll be like, where's
why is it not focusing? Cause I don't see the red
lines. So do what works for you, do what you're comfortable with
and then if you need to work off of it, in other words, just change it. So it's good to know this frame
gods assist with setting the aspect ratio of your shoot by
changing the appearance of the frame guides on your LCD
monitor. It is the third icon. And once this is toggled on, you can choose the frame guide
you need by dragging your finger on a slider from left to right. There are more options for
frame guides than there are for other LCD monitor settings. So I'm going to give you a
quick rundown on these here. Oh, let's are you guys ready for some numbers? 2 35 and 1, 2 39 and one
and two 40 and one our broad widescreen aspect ratios mainly
compatible with anamorphic or flat wide screen cinema. So a good one is an aspect
ratio slightly wider than 16 by nine, but less than two by 35 by 31,
1 to 85 to one is commonly a flat widescreen aspect ratio
wider than HGTV 1 78 by one, but not as wide as two by 39
by one 16 Denine also shows one to 78 to one ratio that's
compatible with 16 to nine TVs and monitors. This is mainly
used for HD broadcasting, online videos, and more recently ultra HD
broadcasting 14 to nine is mostly used by TV broadcast so that
this aspect ratio can display on both 16 by nine and
four by three television. For those of you that still
have your parents old antenna TV set four by three is the
ratio most compatible for SD televisions and also helps
frame will using two times anamorphic adapters. One by one is the only perfect
square aspect ratio that is popular. Now on social media, four to five is the only
vertical aspect ratio and works best for portraits and smartphone. Viewing custom frame guides
is pretty self-explanatory and it is good for all of those
extra shots that don't work with. The standard aspect ratios. Are you filming something for
a football team that has to go on a massive screen. This can help you to see
what's actually in that weird aspect ratio. So have fun with that next
we're moving on a grid. So the fourth icon is for grids, which are overlays meant to
help with the image composition. There are four different grid options, rules of third horizon, cross hair or dot. And the third setting to display
shows a grid consisting of two perpendicular lines in
each of the third image. And not only does this help
you compose your shots, but flirts also help maintain
a consistent framing from shot to shot. When in horizon, the meter tells you whether
your camera is rolled left or right or tilted up or down. This is really useful for
balancing the camera tilt while on a gimbal. It also helps you make sure
that your shooting horizon is level while doing handheld
shots and the horizon meter is something interesting. And you guys haven't seen
the video yet. Check out my, I don't actually remember
what I called it, but it's right here. It's the black, it's the black magic secret
society secret feature that you didn't know about. That's hidden in the camera
that they wouldn't tell you about that I pretended like are
broken to their facility and dead. It was really dumb, but you should check it out
because it's very interesting for something in the future
about gyroscopic data within it. So if that peaks your interest, go check it out in the description.
I've LinkedIn per usual. Cross here has similar
functionality to thirds in that it helps with the shot composition. And it helps if you need to
center a subject in the frame. The difference between this
and thirds is that crosshair only has two lines that
intersect in middle of the screen dot helps you center your shot
on the subject much in the same way as crosshair. The main difference is right
in the name instead of two lines that intersect a.is placed
in the center of the frame, safe area guides, safe area guides is used to
help you frame your shots by keeping the most important parts
of your shots inside of the safe area best use is for
broadcast production scenarios, because it can keep you from
having important items in your shot, cropped out for television. And this will also help frame
out shots that will have tickers or banners added
in post-production. So that can appear without
blocking important items or people. This is also used to assist
with framing during shootings. So, you know, what can be visible after
the shot has stabilized in post-production tap the
fifth icon to toggle on. Then you can set your safe
area gods by either using the slide bar or you can use the
arrows that appear on either side of the shown percentage
to get the most accurate framing. Now we're moving on to false
color, my favorite feature. And if you want to find out
more about this is we're not going to go incredibly in-depth on this. Check out our video on
it. In the link below, we don't offer the Pope
pocket 4k and pocket 6k pro, and there's some new
things within the updates, the false color setting, overlays different colors onto your image, which represent exposure values
for different elements in your footage. These different colors represent
different exposure elements that will give you different
information about your shot. Blues and purples can tell you
if you have a loss of detail while yellow and red can
indicate places of overexposure, gray, pink and green show the areas
where exposure is at its best, you should be able to
see how this chart works. She left of your screen. When you turn on your false
color and the new 7.3 black magic update, and they added this false color
chart for a quick reference of what each color means. And let's go through real
quick and explain BDO, which has everything in purple
means you have black detail loss, meaning you have absolutely no
details at all in the purple parts of your exposure. And you will not be able
to recover it in post. And B DL is near black detail
loss and as everything lights up blue or dark gray, this shows you the parts of
your footage that are close to losing all detail. If you expose down any
further 18% mg is middle gray, and this is represented with
color green and a light gray. Now, for those of you wondering
how about middle gray, middle gray is perceptually
about halfway between black and white on the lightness scale
in photography and printing. It is typically defined as 18%. Reflectance invisible light mg. Plus one is one stop over middle gray. And this is represented by pink
to almost near white colors. Now essentially adding one stop
of light to your image means that you increase its
brightness by a hundred percent. And another way to put this as that, you double the amount of light, your image has 80% WC
is near white clipping. This is represented by yellow
and use your warning that if you expose your image any higher, you will lose your
details in the highlights, essentially making it just
white 95%. WC is white clipping, and this is represented by red
and is letting you know that you're pretty much blowing out
and losing all the details in your image. And we have
covered this in other videos, like I've talked about more extensively. So be sure to check that
out in the link below, moving on to ND filters, as mentioned in the previous
section of the pockets, escape row has an exclusive feature, the ND or neutral density filters. This will allow you to reduce
the amount of light reaching the sensor by a preset
number of exposure stops. This means in term means this
in turn means that you'll be able to shoot at wide apertures, giving you a shallow depth of
field in bright conditions, such as outdoors on a sunny day, I'll get into how to adjust
the Indy filters in the setting section for when active the
indicator for the indie filter will appear directly
underneath the monitor icon. If you're already familiar
with using ND filters, then you will probably already know what, in terms you want for each
of your filters as needed, you can identify the indie
filter number amount of stops in light reduction or fraction
representing the amount of light reducers for the filters frames
were second located in the upper right-hand corner of your
touch screen to the right of the monitor icon is where you'll
find the frames per second setting, tap on the icon to change
both the project and sensor, a frame rate using the slider
or the left to right arrows that appear on either side of the frame, right counter the project frame
rate is six scape rose frame rate. While the recording end should
be set to work best with your post-production workflow. The sensor frame rate sets how
many frames from the sensor are recorded by the second and
affects how fast or slow your playback will be for a natural playbacks. Meet your sensor and project
frame rates are matched by default. Sometimes you will need to
set your sensor frame rate independently though. This is where off-speed frame
rates come into play to turn this off and on. Just use the toggle that
appears feature in the lower left-hand corner while
the FPS menu is visible. This setting can give you
some interesting effects, which are useful depending on
the type of project you have. Keep in mind that using
off-speed frame rate makes your audio and video out of
sync. And this essentially, for those of you who have
not used off-speed recording before essentially convert
something like this, you could have it. You can, and we'll show you how to
set this up in the settings internally later on. But essentially if you have
60 frames per second and 24 frames per second, and your project framework
is 24 frames per second, you can hit an HFR button and
it'll convert 60 frames back down to 24 automatically
making it slow motion. It's pretty cool, pretty easy feature. And if we have more content on
that in a full video on that below here in the description, if you want to check that
out, moving on to the shutter, the shutter is what allows light
to come through your camera at particular intervals to
change your shutter settings, just tap on the shutter indicator, which is located directly to
the right of the FPS indicator. This is where you can manipulate
both shutter speed and shutter angle. Shutter speed determines the
how long your shutter will remain open to accept light into the lens. And this should be adjusted
to match your frame rate appropriately using the rule of 180, meaning having your shutter
speed set to double your frame rate. For example, if you're recording at
24 frames per second, then your shutter speed
should be at 1 48 of a second. Shutter angle serves pretty
much the same purpose, just the parameters, a bit different. Think of it the same way you
would think of the difference between the metric and
Imperial measurement system. The real difference between
the two is that when using shutter speed and shooting
at varying frame rates, you have to manually change
the speed for each frame rate while using shutter angle. This is done automatically
for you giving you a bit more independence when shooting, if you want to use flicker
free tap on the shown shutter values while in the shutter settings, shutter auto adjust the shutter
values in order to maintain constant exposure while
keeping the Iris aperture consistent. This is best for maintaining a
fixed depth of field shutter. Plus Iris is what maintains
correct exposure levels by adjusting the shutter. First
after second, this is great. If you reach the minimum
or maximum shutter values, but still can't maintain
Bosure because it adjust the aperture to keep exposure consistent. Iris plus shutter is
pretty much the reverse. It just Avature then shutter value. Then if you reach that minimum
or maximum aperture and still can't maintain your
exposure, the shutter values, what gets adjusted to
keep exposure consistent. Iris, the Iris setting is used to
change the aperture of whatever lens you have attached. The setting also allows you
to configure Iris based auto exposure modes, access to the Iris settings
by either using the external Iris button or the tap
on the Iris indicator, located on the touchscreen
directly to the right of the shutter indicator. The duration displays the
timecode counter on your touchscreen. Its purpose is not only to
monitor the timecode during recording and playback, but also to check the duration
of your individual clips, duration display along
with all other time codes, is that the middle top of your
touch screen and shows as the time sequence and the format
hours minute, second frames. The time code can be used
for device time sink, faster editing and note taking. You can switch back and forth
between the time of day time code and the clip duration by
tapping on your touchscreen, right where the time code is displayed. Black magic design currently
has available the a 10 mini, which is a multi-function switcher, giving you a ton of different
broadcasting production options for multi-camera and
more complicated equipment setups for this particular
setting, the ATM mini auto syncs, the time code on your cameras,
removing the majority, if not all of the guesswork, depending on how you
have everything set up, you may have one for possible
indicators next to the duration display a w to the
left of the duration display means your camera is using
windowed sensor mode. TC appears to the right. If you're showing the regular time code, when connecting to an external
device via the 3.5 millimeter Jack for Tom, go to, then EXD
appears next to the right. If your camera is running an
internal time code that has been jammed sinked, then IMT will appear to the
right of the duration display ISO. The ISO indicator appears
to the right of the duration display area. Access to the ISO to settings
is available by either tapping the icon on the touchscreen
or using the external ISO button. ISO is a secondary sensor
that can be used to adjust a varying light conditions to
help with exposure in the settings. The ISO can be adjusted using
the arrows or slide bar. The pockets escape row comes
with a dual native ISO meaning that the sensor is built into
work both in low and right light conditions adjusting
your ISO has lightened conditions. Change causes the dual
native ISO to work its magic. Making sure all of your
footage is clean with as much minimal noise as possible. And this is something that
we've covered extensively in other videos, which you can
check out in the link below. This is really a critical
component of the camera to get correct as it really
does affect your footage. Let's briefly discuss this dynamic range. For those of you who do not
know is the camera's ability to capture stops of light above
and below middle gray native ISO is the baseline setting. Your camera is set out to
achieve the most detail out of your image going above or below. This setting will digitally on
amplify or amplify the sensor sensitivity to light. It is capturing. So these are levels that
you are generally advised. Stay at one filming to get
best results with with over amplifying or under amplifying
could cause the pockets escape row is said to have
13 stops of dynamic range. Speaking at about 13.4 stops
at 400 ISO and thinking at 12.1 stops and the secondary 3,200 native ISO. This is where you have to start
thinking differently about how you film with this camera
versus that like a DSLR or mirrorless, a camera equivalents that
rarely use dual native ISO systems. Each time you adjust your ISO levels, the dynamic range value shifts, where they are at meaning that
if you're at your native ISO 400 VO, 5.9 stops above middle
gray and 7.5 stops below. This means for this, this means for this ISO you
have slightly more dynamic range in the shadows or simply the
darker areas of your footage. Now, if you went all the
way back to a hundred ISO, you only have 3.9 stops above
middle gray, but 9.5 below. Meaning that oddly enough, you have very little range in
the highlights of your image. If you shoot at a hundred ISO, you actually want have better
successfully at 1000 ISO in direct sunlight. Since it has
7.3 stops above middle gray. If you properly expose for your shot, you'll be get much more detailed. You'll be getting much more
details in the highlights than a hundred as for settings.
When it comes down to it, the you should really stick to early on. I would suggest 400 ISO and
only bumping to 3,200 ISO when absolutely necessary to get
the correct amount of exposure. If you want to learn more
about this and get into this in detailed subjects, check out our video on it below
to get more information on this. Oh my gosh, guys, if you've
made it this far, God bless you. Oh my gosh. I had to get some, some tea, even though this is the Voyager fuel. As we like to call it
on our discord channel, it does not help the vocal cords does it. Let's talk about white balance. The white balance setting is
used to adjust the colors that light naturally gives off to
keep the whites in your footage as white, as possible
to access white balance. You once again, have two options. The first is the white balance
button located at the top of the body of the camera. The other is by tapping the
white balance indicator on the touch screen, which is the immediate
right of the ISO indicator. This will give you these slider
bar and arrows options to adjust the settings at
the bottom of the screen. This will also give you the
icons for the different white balance presets. Before
getting into those, I wanted to talk about
another feature. First, the camera comes with a feature
to have your white balance set automatically for the
duration of your shot. That is auto white balance
button to sew this up, tap on the auto white balance
button in the lower right of the screen. And then a box will appear
in the center screen with the options, cancel and update white
balance below it hold a neutral white card or a piece of
paper in front of the camera. So this box is filled in
tab update why balance? So use this after it's set, press the white balance button
on the outside of the camera and hold it down in the
same box will appear and automatically adjust your
white balance setting. Based on what's in that box.
As I've mentioned before, there are five white balance
presets that you can choose from depending on each lighting condition. Each of these presets is
presented by an individual icon in the setting screen first
from left to right is bright sunlight, which has a setting of 5,600 K. Then there are incandescent bulbs, which center 3,200 K next, our fluorescent bulbs at 4,000
K and followed by a mixed lighting at 4,500 K last, there is a cloud which has
a setting of the 6,500 K, but wait, there's more. I take a look at the number
and the arrow set to the right of this light bar. This is the tint and it doesn't
do anything too dramatic. Well, I guess it is dramatic
if you do it too far, it only has a range of
negative 52 plus 50. And the purpose of the 10 is
to dial in the perfect color balance of the image when it
comes to Magenta's and the greens. So use carefully, I guess it is a little dramatic power. It's like a tip to see the last
icon on the far right of the top row. And the touch screen
is the power indicator, which I guess is important. I mean, you wouldn't be able to see it. Would you be able to see the
power indicator without power? Probably not. So if it's dead, I don't know what that job's going. Well, it looks like the same type
of power indicator that you would find on most electronic
devices that has a few different statuses that vary
as much as the type of power options you have at your disposal. AC means that your camera's
plugged into his main power source. AC charging means your camera's
plugged into its main source and simultaneously charging it. And external batteries such as
the black magic battery grip percentage will show when
your camera is running off external battery power and
the indicator will turn red at 20% or lower battery bars is
the indicator for your internal battery. When not plugged in. This will also turn red at
20% or lower battery grip bar show two stack battery icons
with their own individual charge. This one is only visible when
you're using the black magic battery grip power source.
Voltage indicates the voltage. The camera is receiving from
the battery or through the DC power on a plug pack D tap
cable or other power sources. Let's move on to lead
indicators while let, while using a Lud as a preview tool, the icon will be visible
on your touchscreen. It's located directly under
the monitor icon and is only visible when there is
an act of Lud histogram. The bottom left of your camera
touchscreen is where you will find it. The amazing histogram which
shows the total distribution of the image separated into
individual red, green, and blue channels. If your monitor settings
are set to display codec and resolution, the RGB Instagram will not
appear on the left edge of the histogram are shadows or blacks. And for the far right
shows, highlights or whites, when you close or open the lens aperture, the histogram will move
to the left or the right accordingly. You can use this to check
for clipping in your image. When clipping occurs in the
red, green or blue channel, the respect of indicator on
the right side of the histogram lights up. If the left and right of your
edges of the histogram to come to an abrupt stop, rather
than falling off gradually, you may be losing,
highlight or shadow details. The record button. In addition to the
external record buttons, you can tap the icon located
next to the histogram indicator to record. If you're actively
recording, then this button, the storage indicator and the
time code will all turn red. Beyond that. Everything
here is pretty standard. As far as function is
concerned, let applied to clip. This is not deja VU, and
we're not in the matrix. I did already tell you where
to find the light indicator that tells you that the light
has been applied to your whole shot. There is another indicator though, that tells you if you have
a light applied to your individual clips, the indicator for this appears
to the left of your record icon and will show if you
have this feature turned on or not, the storage indicator that
you're currently recording to will turn red as well,
dropped frame rate indicator. The pocket's escape row has
multiple ways to let you know you're dropping frames during a shoot. The main and most obvious
indicator is a flashing exclamation point to the
popping up inside of the record icon, the storage indicator
will turn red as well. This will happen if the storage
you're using maybe too slow for the codec and resolution
you're working with to avoid the accumulation of unusable footage, you can set your camera to
automatically stop recording. If frames are dropped, there will be more on that in
these settings section of this walkthrough record time remaining. The indicator for record
time remaining is visible. Whether you are using an SDC
fast card or USB-C flash disk, the remaining record time
appears in minute increments and will vary depending on what
frame rate and codec you're using. Any adjustments of these
settings triggers and auto recalculate, the text and
the indicators turns red. If you have only five
minutes of storage left, then starts blinking at
the two minute warning. If you fill your storage or
the word full will appear, if you want to see more
detailed information for your storage and formatting, tap the indicator. After that, you will be able to see the
amount of free space in TB, GB, or M B plus the name of the storage, the length of the last clip, your total number of
clips and the file format, and also format the storage
here while recording the storage highlighted blue on your
touchscreen is the storage you're actively recording onto the
audio meter at the bottom of the touch screen on the right as
the audio meter indicator. This displays the audio levels
in DBFS for two channels while using the cameras built
in Mike or an external one to it via the 3.5 millimeter
Jack like most audio meters. If you see it fluctuating
inside the green area, then your audio is okay. If
you end up in the yellow, you need to take a look at
some of the settings because you're in danger of
getting closer to clipping, but yellow is still fine.
If it extends into the red, you're definitely clipping. If you want to adjust the volume
controls on either channel or the volume of the audio
output coming through your headphone or speaker, tap the indicator and those
options will come up in the middle of the screen. And if you want to know more
about audio production and the perfect settings for audio,
check this video out below. That was actually the second
video I ever made on this channel. Touched focus quickly. Adjusting focus in specific
areas of your image is done rather easily on the touch screen, touch and hold your finger on
the T on the section of the LCD, where you need to focus adjusted, then press the focus button on
the camera body to focus your lens on that area. Next is zoom. This is escape pro gives you
two quick options for zooming in via the touch screen.
Both with different purposes. These are double tap to
zoom and pinch to zoom. Both are pretty self-explanatory names. Double-tap zoom will automatically
put you into two times. Zoom slide your fingers around
on the zoom and image to show the area you want to focus on it. Double tap the screen again, to return to normal
view for pinch to zoom, you'll start by doing a double
tap to get the initial two times zoom from here, pinch the screen as needed to
zoom in further. Once again, you can change which area
of the image is zoomed in by dragging your finger on the
screen full screen mode. Needless to say, the touch screen contains a
ton of functions and features and information, but sometimes really required
and unhindered you of what you're shooting and all these
indicators can get in the way to remove the majority of
the indicators from the view. Simply do a swipe up or
swipe down on the screen. If they are active. The only things that will
remain are the record indicator, a frame guides, grids, focus, assist, and zebra to get out of full
screen mode. Just swipe again, playback menu by tapping
the play control button. You can access the playback menu, which gives you the option to
control and play previously recorded clips. Once access use the play button
to use the play button on the touch screen, to
start playback and pause. You also have a forward and
reverse buttons that allow you to skip the beginning
or the end of the clip, plus a loop button to play
the same clip over and over. If you want your playback to
go faster in either forward or reverse, hold it down in the appropriate
button on the screen. This puts you into two times playback, which can go up to 16 times by
tapping the same forward and reverse buttons. If you tap
these buttons one more time. While at 16 times you will
automatically get dropped back down to two times. Speed, whichever playback speed you're
currently running will be indicated directly under the
battery icon return to the regular playback by tapping
the play button again, to get out of playback
altogether and back into standby mode. Tap the record
button on your touchscreen. All right. Thank you guys. If you've made it this far, I think we're halfway through
the video at this point. I'm hoping I only have 86
minutes left on this card. So I'm hoping this is
getting close to the end. Next section is where all
the action is. The settings. This portion of the walkthrough
is going to get a bit more technical, but don't get too intimidated. If it seemed like I just kind
of glossed over a few pieces of information in the previous section, this is where a bunch of
that will get fleshed out. First things first to access
the settings dashboard on the pocket's escape row, press the menu button located
on the rear of the camera. This will put you on the dashboard, which is just a simple tab menu. The option available are mainly
for all of the settings and functions that can be easily
accessed via the touchscreen. There are going to be six
different settings options listed left to right across
the top of the screen. Those are recorded monitor
audio setup, presets, and Lutz. Most of these menu options
have multiple pages represented at the bottom of the screen
by a series of dots and all accessible with a simple
swipe left or right as needed. Otherwise you can use the
arrows on either side of the screen record. Let's talk
about the record tab first. This is where you're going to
set your codec video format and resolution also making guest
appearances under this menu option or additional settings
such as dynamic range and detail sharpening. These settings are spread out
between three separate tabs record tab, one codec and quality. The codec is the software in
your camera that compresses your footage by encoding
and decoding your data. The top half of the first
screen is where you will choose you, which codec you want,
either black magic, raw, or pro Rez, and then the
appropriate quality options. Blackmagic raw is the Kodak
developed by black magic design, which is automatically available
in all of their current cameras. And it's fricking awesome
codec Mirabel comes with two different quality options, constant bit rate and constant
quality constant bit rate gives you a great combination
of high-quality and predictable file sizes.
And as an excellent option, if your storage options are limited, the sacrifice here is that
the quality will drop while filming small, quick moving items, such as glitter or leaves. If you're willing to sacrifice
consistency with the file sizes in favor of those types of shots, being clearer than constant qualities, what you should go with. And the difference between
concept bit rate and constant quality is essentially constant
bit rate remains constant, and you can adjust it to have
higher levels of bit rate, or if constant in constant quality. It varies based on what it's
seeing in its exposure or in the focus. And we have a video full video
on how you should select your bit rate and what options to
go with in the link below. So be sure to check that
video out because it's, it's, it's pretty important to know these, the second co-direct option
pro Rez functions a bit more differently than Blackmagic raw, where B raw compresses
all of your data together, pro Rez compresses, each
frame individually and ProRes. Your bit rate is set, which
does not make it less dynamic, but it keeps the quality consistent. I did a more detailed video
on the differences between the two of these codecs that you
should check out as well. And the difference between also
for this section between be raw and pro Rez, then be raw. You're able to adjust things
like your ISO and white balance and other things in posts
through the B Ross sidecar settings and with pro
Rez, you're not able to, so that's one thing to
consider. And honestly, like I Al I've never filmed
in progress on this camera, but to each his own, and each person has their own
thing that they're going for. So moving on resolution, the resolution setting works
in combination with your Kodak for the BMP CC six K pro. You can choose between six K
68 to four to one 5k 17 by nine 4k DCI, 3.7 K and a morphic 2.8 K
17 by nine HD and ultra HD. Those last two are only available.
If you're using progress, let's move on to record tab.
Number two, dynamic range. The second record tab is where
you find the dynamic range settings. There are three different
settings to choose from here, film extended video and video and film. You will be shooting using a log curve. Not only does the setting allow
for the best dynamic range, but it also augments the
information in your footage. This helps you get the most
out of your color grading when using programs such as DaVinci
resolve extended video is the dynamic range of middle
ground. This is for the, this is for those of you. This is for those of you
that have limited time for post-production and it's efficient. If you're using standard
broadcast monitors, videos, best for when you have zero
post production time available, this gets you close enough to
the rec 7 0 9 color standard, and also records directly to
compressed video formats sensor area. So the right of the
dynamic range is the sensor area. This setting is available when
you are shooting below the cameras, max resolutions,
such as ultra HD, your 6k broke can be set to
use the full sensor area for higher frame rates. Use the sensor area option to
select the sensor area and the window mode. This uses the only the amount
of the sensor pixels needed for a given video format. Instead of scaling images
from the entire sensor project frame rate, when using the project frame
rate setting also found on the second tab, you can choose between frame
rates that are more commonly used in TV and film. Make sure that this is set to
match your playback speed and audio sync. Otherwise you'll have a lot
of problems trying to match it up from other things. The available project frame
rates are 23.9 8 24, 25, 29 0.9, 7 30, 50 and 59 point 94
and 60 frames per second. Off-speed recording
again, nothing fancy here. The off speed recording option
allows you to independently choose your sensor frame
rate as opposed to being automatically defaulted to
match natural playback speed. So essentially you set
in the last section, your project frame rate
to let's say 24, you film, you set your off speed recording
to 60 frames per second. When you turn on off speed, which is the age of our button
on the outside of the camera, or there's other places you
can turn on when you turn that on, it converts that 60 frames it
films at 60 frames per second, but it converts it back down
to 24 frames per second. For you. You have to be
careful with audio with it. Cause I've done that a lot
of times we're accidentally filming 60 frames per second
and have down convert it to openness, but that's essentially what
off speed recording does. Off-speed frame rate. When you have off-speed frame
rate toggled on your sensor frame rate, we'll set how many frames from
the sensor get recorded every second? And this will affect how fast
or slow your video playback is. And we talked about that
preferred card for recording. If you, one of those people that like
to use both see fast and SD cards for your storage, the preferred card for
recording settings allows you to dictate which one your
footage saves to first, when both are loaded, the
last option of the tab two, it dictates how recording proceeds. If you're dropping frames, when toggled on your
camera will stop recording. When dropped frames are detected, this setting is great for saving time. Since it will help you not
waste resources with unusable footage, record tab, number three, time-lapse at the beginning of
record tab three is where you can toggle time-lapse on and
off and directly to the right of the toggle is where you set
your time-lapse intervals in frames seconds or minutes. When a use the timeline sequence
gets saved as a single clip that matches whatever coding
and frame rate you have set up. This helps in post production. Since you can just drop your
time-lapse clip or write into the timeline. Previously access to this
type of con type of effect was limited, but that's not the case anymore. I made a fun video about this
for the pocket 4k a while back, but all the information
still applies the 6k pro. So go check it out and see
how I time-lapse with these cameras. He will find detail sharpening
right under time-lapse and its purpose is pretty self-explanatory. This comes with three options,
default, medium, or high. The best use of the setting
is when you have no post production time available,
for example, a live broadcast. Unfortunately, if you're using black magic
raw you're out of luck. Since detail sharpening only
works with pro Rez record, lot to clip turning on record, lot to clip option allows the
allot applied to your recorded footage. By default, turning on record luck to clip
option allows the law to be applied to your recorded
footage. By default. It is yet another useful tool
to help post-production go smoothly, apply lot and file. The last setting under
record is apply and file. And what this does is embed
your chosen LA into your file. The light gets saved into
the header of the file, make it easier to apply to
the clip in post production apply. Lutte in file is only
usable with black magic RA. And this is super nice because
whenever you bring your footage into premier or
into DaVinci resolve, you can go and click apply
law that was used on it right there, and you don't
even have to load it in. It was already attached to
the sidecar. Super easy. Next up is the monitor settings
where you can just features such as status, text, various overlays, plus a few other cool options. Spread out over two tabs
on the pockets, escape row, you will see four menu options,
LCD HTMI viewfinder and all. If you do not have a view vulner
attached and you'll see an option labeled in place of
the viewfinder and all monitor tab one, the settings shown in the
first tab can all be applied, regardless of whether you have
an external monitor attached via the HTMI port or are
using the LCD touchscreen, no guesswork here, just an easy on off toggle
switch for each setting. Most of these settings are
either self-explanatory by the name or were explained in the
touchscreen setting of this walkthrough. The first option in the
first row is clean feed, which is used to remove all
overlays texts and indicators from your view, except for your record. Tally indicator. Next
up is display 3d law, which applies to your view of the 3d lot. You currently have active. If any, the last two options in this
row are zebra. Then focus, assist, moving to the second row. You'll find an order from left to right, your frame guide grid, safe area guide and false color toggles. Moving on a monitor
tab to LCD status text. The very first setting for
your LCD touchscreen is the toggle to turn your
status texts on and off. When the toggle is in the off position, your status texts and
meters will be invisible. You will still be able to
see your grids guides, focus, assist, and zebra. If these are activated display, next is where you can further
customize a couple of your display options. This is where you can switch
your view to show your codec and resolution information
on screen instead of the histogram and audio meter, tap on the meter or codec and
resolution to switch back and forth screen brightness. The last thing here is the
slide bar to adjust the screen brightness, just drag your finger across
to choose your screen's brightness displayed in percentages. Moving on to the HTMI
section status texts. This is literally the same
as it is under the LCD simply toggle on and off to use each setting, display status force and
photographer or director next under the display status. Two separate options can be
switched based on who is using the monitor, the
cinematographer or the director, the cinematographer views keeps
the information most useful to the camera operator, visible like aperture white
balance and ISO the directors. You change the view to
information that would mostly be useful to production staff
like directors or script supervisors FPS. It shows the current frames per
second cam is what gives you the camera's index set in your camera. Slate operators shows you who
the camera operators based on the metadata in your slate
duration display shows the timing of the clip you're currently
recording or the last clip recorded real scene. Take
shows exactly what it says. It shows no more. This dynamic range shows
the currently applied Lud. If no Lutte is being used, then you'll see the film or
video dynamic ranges time code shows the camera's time code
independent of the duration display. You find her buckets. Escape row has the option
of attaching an electronic viewfinder available via the
black magic design directly also known as the pro EVF. It attaches to the top of the
camera's body and the EVF tilt vertically to 70 degrees and
comes with four ICAP types for the right or left eye, a sensor in the viewfinder
texts when it is in use. And we'll switch off the LCD
touchscreen to conserve battery power. Also preventing accidental
taps on your touch screen while you're using it, you can set the viewfinder
to overlay the camera status information, or display a clean feed under
the viewfinder settings. There are multiple settings to
adjust the options for status techs, display and viewfinder. Brightness are exactly the
same as related to the LCD NHD. My settings, there are two
additional options here as well. Focus chart to turn on the
focus chart, tap on the toggle. So it's on the on position. This setting is to help adjust the IP. So the viewfinder to suit your
vision with an adjusted range of negative four, two plus four, you can make this adjustment
by manipulating the diopter located directly under the IPS. If you're shooting at frames
lower than 30 P on a display that doesn't run at native frame rate, it's common to see shaking
and vibrations in your shots. These are known as jetters
when toggled on the setting smooths the motion of fast
moving images displayed by the viewfinder to work appropriately. The shutter angle needs to be
set at 180 degrees or less. And the frame rate set at 23
98, 24, 25, 29, 97 or 30 P both in all, depending on whether or not
you have an EFV mounted to your 6k pro, you're going to see either both
and all as the final monitor options, setting options. These serve exactly the same purpose. This last option has two
independent tabs because while the LCD HD mind viewfinder settings
were meant specifically for those individual outputs, the items available on both
in all our four settings that apply, regardless of which of
the three views you're using, all of these settings were
covered in the previous section. So feel free to refer back to
that as needed for additional information frame guides on
the left of the middle rows, the frame gods setting this
box has two arrows on either side for you to cycle through
this settings options guide capacity next to the right is
the guide capacity setting. The purpose of this one is
to choose how we'll pick the areas outside of the frame
guide parameters are you can set the opacity for 2 25, 50, 75
or a hundred percent focus assist. The next line in focus assist
gives you two different settings to choose from
peak and colored lines. Peak sharpens the area of the
shot that are in focus on the screen, but not on the recorded image, helping you to make sure your
focus is dialed in and will cause the parts of your shot
that are focused on to pop out, separating the subject from
other elements in the shot, places lines around the area
or subject of the image you're focused on this serves
the same purpose as peak, but can make your manipulations
more precise, focus, assist level. Working in
conjunction with focus, assist, focus, assist level is
another self-explanatory one. You hit three different options
to choose from here, low, medium, and high, just like a
microwave focus, color, focus, colors use. If you have the focus assist
set two colored lines, and all this option does is
change the color of the lines and focus assist. You can choose
between white, red, green, blue, and black zebra levels. The last setting on the
tab one is zero levels. It says the exposure
level of the zebra effect. You can set this between 75
and a hundred percent in 5% increments grids. The first option under
the second tab is grids. Just tap on the thirds,
horizon, cross hairs, or.to set. What type of grid overlay you
would like to use safe area guide, right under grids is
the safe area guide setting. This is used to set the percentage
size of your safe area in association with the image
frame anamorphic D squeeze, the anamorphic D squeeze setting
that can only be toggled on and off when using anamorphic lenses, when turned on and recording
in 3.7 K in a morphic at the BNP CC six K ProAm automatically
provides a two times anamorphic D squeeze. Next is the audio. The audio settings give you
the ability to map out your audio channels to different sources. Plus make adjustments to
smaller items as well. Audio tab one channel source. The first setting for both
channels will be the channel source at gig, which input your audio devices
inserted into camera left or right, is used to choose between the
internal microphones camera. Mano creates a single audio
channel out of both internal microphones XLR line records, line level audio via the mini
XLR input XLR micro chords microphone level audio
via the mini XLR input. If you're running a mind through
this input that has Phantom power, make sure the 48
volt switch gets turned off. When the microphone is disconnected
3.5 millimeter left line only uses the left channel. The 3.5 millimeter input
for the line level audio 3.5 millimeter right line does the same thing, but on the right channels, 3.5 millimeter mano line
does a mono mix as the man, as the line level audio on
both 3.5 millimeter channels, 2.5 millimeter left. Mike
only uses the left channel. The 3.5 millimeter input for
microphone level audio 3.5 millimeter, right? Mike does the same, but on the right channel
3.5 millimeter mano Mike, as you probably guessed it by now, does a mono mix on both
3.5 millimeter channels. None completely disables that
audio channel channel one and two level. This is the next setting that
allows you to manage the audio level on each channel. This has the same function as
the audio meter that appears on the main level of the
touchscreen channel one and two gain. This setting allows you to
adjust the record levels on both channels using a slide bar,
audio tab, two headphone volume. The first setting on the second
tab is the headphone volume. Use the slide bar to adjust
the output volume for this device. You've plugged into the 3.5
millimeter headphone Jack. Next is speaker volume,
which is pretty again, self explanatory. The speaker volume slide a bar
is used to adjust the output volume with the 6k pros built-in
speaker XLR Phantom power. The next toggle is used to
turn on XLR fan of power on and off. Make sure that if you're
connecting a mic that does have its own power to double-check, that the setting is turned
off before connecting, having Phantom power on
in this situation, combat, possibly damaged the
microphone and your camera. Since the 6k pro has two XLR ports, there will be two toggles
present audio meters, the last setting adjust how
high the peak level on your audio meter goes. Using
two different options, negative DBFS and negative 18
DMFs set up the setup tab is where you can manipulate the
settings that are not directly linked to recording or monitoring. A lot of what we're looking at
here are settings related to software and functions amongst
other settings set up tab one date and time. The first setting is to set
your camera's internal calendar to the current year, month, day, and time. This will also assist in
setting the time code. If there is not an external
time code device connected to adjust this tap on the image
of the pen and edit accordingly language. Next is the language setting, which is meant to set the
camera to language you're most comfortable with reading and
working with the language setting does pop up when you
are doing your camera's initial software setup or after
updating software. Despite this, we all had this situation where
devices end up in a language we don't understand, which
can be understandably, be pretty difficult to fix. Now, you know where it is to
adjust this underneath. Those is shutter measurement
where you'll choose whether or not you want your shutter speed
or shutter angle by tapping on either option. I gave some details on this
difference between these earlier in the walkthrough, flicker free shutter based
on next onto the right. You will set the power frequency. You want your camera to use
to calculate the flicker free shutter setting. This is to adjust the visibility
or items that flicker such as candle or stars. There are only two options to
choose from 50 Hertz and 60 Hertz. So make sure you do test shots
to figure out which works best for you. Time code drop frame. The time code drop frame setting
is useful when you're using national television standard
committee's frame rates of 29, 9, 7 and 59 point 94. Since NTSC frame rates are
somewhat different from standard. This will ensure that your
project time code stays correct and sync even though every
second does not contain a whole number of frames. Tap on the toggle to turn
this on and off display, ND filter as the last setting
on tab one for the pockets, escape rows, where you adjust how the
indie filter is indicator, how the India filter indicator
displays your ND filter setting with each option
corresponding to a different camera convention while cinematographers
will typically use ND number notation. Those using DSLRs or broadcast
cameras may prefer this information in f-stop format
or as a fraction of available light set up function button. The second setup tab is where
you'll set what you want. The three function buttons at
the top of the camera's body to correspond to. It's basically one big
setting with multiple facets. Each of the function buttons has one, two or three dots to help you
differentiate between them along with the corresponding
F1 F two and F three in the setting itself, DAP on which of these you would
like to set a function for after that, to the right you'll set the
behavior that you want the button to have either a preset
function or an off or an on off toggle. If you want
it set as a preset, then using that particular
button will recall a particular combination of setting and
parameters that you want per the example in the manual. If you want function button
to use a preset aperture of FH tap F1, then preset following by
tapping the IRA setting in the second window after you
would set the parameter, which is the first box in the third row. Now you can use the first
function button to apply and remove that setting
automatically in your shot. If you decide you need one of
the buttons to simply turn a function on or off, then you would use the toggle
instead of a preset in this mode, the middle row will be great out. And instead you'll use the
parameter box to set which function you want the button to have. The last section is where you
would set either your function to appear on your LCD or your
external monitor attached via the HG. My input, the feature that the features
that you can use for the toggle settings are off-speed
recording OIS, clean feed, display, light frame guides, focus, assist a false color
zebra grid and safe area. God set up tab. Number three, set up tab three tally light
led the first setting on the third setup tab is the tally light led, which changes the color of
the Italian light found in the upper right of the camera's front panel, depending on how you're recording, you'll get three different
color indicators. Yellow is for when you're
recording and the footage is going directly to storage media, such as an SD card or solid-state
drive red tells you that you're live on air and green
is for when you're about to go on air or standby. This is something that will
really only come into play. If you're using a black magic
ATM mini and turn this on and off by tapping the toggle, then adjust how bright you
want the led to be to the right of that Autodesk display that
new setting now available on the 6k pro is the option
to have the LCD screen dim automatically when idol to
have the toggle to turn this on or off and set the amount of
idle time you want before the screens dim. This can be set
to one, five or 10 minutes. The next time you touch your LCD, the screen will wake up hardware
and ID software starting off. The last row of this tab is
where your current hardware ID and software type are displayed. The information displayed here is static. The hardware ID is an eight
digit code that identifies your specific black magic camera. It's useful if you have a
multi-camera setup because we will help you identify which footage came from, which camera when matched with
the 32 digit version on your metadata, the software
identifier displays, which version of the software
you're currently running, and I'll be going over
software updates later in the walkthrough playback and the
next setting by tapping either a single clip or all clips, you can choose how you want
your footage playback to happen. All clips plays back through
your media and sequential order and single clips plays your footage back. One clip at a time set up
tab for Bluetooth setup. Tab four is where you
can connect your pockets. Escape road to another
Bluetooth enabled device, such as a smartphone or tablet. This is important because
there are multiple mobile apps available that will allow you
to control your camera from a remote position. Multiple apps are serving this
function for both apple and Android users. And I have a video explaining
the differences functionality of these apps as it
applies to the pocket 4k, but all that information
applies to the 6k pro as well. And I also have a friend that
went to other more in-depth looks at this for another
camera channel and I've linked both of the videos. I'll run through the
steps to connect to here, as it applies to an iPad,
turn on your cameras, Bluetooth on by toggling
the settings to be on the, on position on your iPad, open the black magic control
app and select the spot in the list, which corresponds to the pocket 4k. The hardware ID mentioned
earlier in this section will be helpful here. If you're
connecting for the first time, the app will ask you for a
six digit code to continue. This code will now be visible
in the touch screen of the camera type in the code
on your iPad to continue. You will receive a
confirmation on your iPad. If the connection succeeds
or an error message on your camera, if it fails, if it fails, just start over at step one. If you need to disconnect
your camera from the currently paired device, then you will just tap the
disconnected box to the next of the toggle. And if you want to remove all
previously paired devices from the history, tap the third box that says
clear all set up tab number five, factory reset. The first setting option
on the setup tab fives, where you can do a factory
reset on your pockets. Escape row. Do use this tap
on the reset camera settings, then reset on the confirmation
page before doing this, make sure you have a backup
of your settings to a memory card. So they are not lost forever. If you want to put those
settings back in place after a reset, just import them back into
the camera and doing a factory reset will erase all
stored Lutz and presets. Plus puts all settings back
to their default state. Next is pixel remapping, which will help you get rid of hot pixels, which are pixels that become
more visible in your footage due to normal changes in
brightness to the pixels over time. Do use this start by putting
your camera lens cap on and then tap remap pixels. One minute later, it's complete motion sensor calibration. Another one of the self-explanatory
titles to recalibrate your motion sensor, place your camera on a flat level surface. Then tap calibrate sensor. This is one of those settings
that you can not save to storage before doing a factory reset. So make sure you go and calibrate
this after you reload your settings, LCD white balance calibration. The last setting in the setup
is where you calibrate the white balance for your LCD touch screen. When you tap on the LCD white
balance calibration box, you'll be brought to another screen here. You will adjust the LCD
temperature and LCD 10 controls so that the two reference
patches look neutral. After you change the setting, you can use the reset button
to return the controls to the factory calibration. If you want to compare the
appearances before and after calibration tap restore to
bring the new settings up. When the LCD shows an
accurate white balance, save your settings presets. Next on the dashboard are the presets, which are extremely
useful. If you're using, if you're someone who uses their pockets, escape room for multiple
types of shoots in varying environments, or you're working on multiple
filming projects at the same time, what you can include in a
preset is just as varied as the number of settings features
and functions that your camera has. You can have up to 12 preset
saved in the camera's internal memory at once preset buttons.
While on the presets tab, you'll see six icons across
the bottom of the screen, which are what you'll use to
manipulate the settings from left to right. You'll have an ad, which is what you use to
create a new preset load, which is what you tap on after
you choose what preset you want to use from your
list after that is update, which is for saving adjustments
that are made to your preset. The last two are the buttons
where you can manage your list of presets and delete presets
from the memory saving and loading presets. Once
you set up with the PR, once you're set up with what
presets you'll be using for a particular project or environment, you're going to want to make
sure that you save them for use later to save the settings and
a brand new preset tap on the plus, sign this, we'll add
it into your safe list. After that step, you'll be provided with a
virtual keyboard on the touch screen to name this preset. After you have your preset
named tap the update icon to save, to recall any of the presets
you've saved in order to use them tap on the name of
the preset in the list, then tap the load icon importing presets. While the 6k pro can hold up
to 12 individual presets and its onboard memory. Lots of cinematographers
may be working with way more presets than just one for a
project to import these into your camera. First, make sure that the
appropriate CFS SD or as, as D is connected correctly, open the preset option and tap
the manage icon on the next provided screen. You'll tap import presets
then import on the next confirmation page. When
using this function, the camera will only search
throughout the presets folder in your storage media. So if your presets are
saved in another folder, better get the mood for
starting before starting this operation exporting presets
to explore your presets, your storage media tap on the
preset. You want to export, then tap the manage icon from there. You'll get another screen
where you'll tap export, selected preset and choose
which inserted storage you want. That preset to go to. These will automatically go
to the aforementioned presets folder, deleting presets to
not have digital clutter. You're most likely going to
have to delete some presets. You no longer need just
like the preset tab. Tap the delete icon. Then tap delete on the confirmation page. Like I said before,
never to be seen again, introducing three Lutz. The purpose of Lodz is to tell
your camera what color and luminance output you want
for your image to improve the vibrancy of colors that may
be appearing drab on playback let's are most useful. If you're using film dynamic
range for the brr codex, since both of these have
understand under saturated appearances, the law will show you how the
colors are going to look after the grading is done. At 1.5 megabytes. Each you can save a maximum
of 10 different 17 or 33 point 3d Lutz in the BNB 6k prose
internal memory built in Lutz. Every black magic pocket cinema
camera provides lots that are specific to the new
gen five color science. Each lot is specific to that
sensor and allows you to preview the different ways
the footage can appear. Gen five film two extended video displays, a wider dynamic range in the
film to video lot and applies a mild contrast change with
a smooth roll off in the highlights. Gen five direct 2020 hybrid log
gamma displays a gamma curve that is suitable for HDR
and compatible with standard dynamic range screens, gen
five film direct 2020 PQ gamma. It displays a gamma curve
that is based on what we can perceive with our eyes for
efficient coding of HDR images. Gen five film to video is similar
to the rec 7 0 9 color old rec 7 0 9 color standard and
has a high level of contrast and saturation. You may find this setting
useful when using the pocket's escape pro alongside other
broadcast cameras using rec 7 0 9 lot buttons, just like the preset options. When you're using the Lutz settings, you will see control buttons
across the bottom of the touchscreen in order from left to right, you have load media manage
and delete importing Lutz to import lots. You have saved on your
storage media to your camera. You'll start by tapping on
the manage icon on the next screen. Tap import import
on the confirmation page. Just like what the presets, the camera only searches for
the 3d Lutte folder in your storage. So once again, make sure what you need is
in the right place before starting applying a lot to apply
a lot currently loaded into your camera, tap on the appropriate
selection from your Lutz list. Then tap the load icon. If you want to use a lot after
applying it to all outputs, switch to the monitor option
in the dashboard and toggle on display Lud exporting lots
to export a lot for later. Use to your storage media.
Just tap on the lot you want. Then the manage icon on the next screen, tap export selected Lutte
then choose which connected storage you want it to be
placed on the leading light. Removing unwanted Lutz is just
as easy as removing on one and presets tap the light. You don't want any more
followed by the delete icon. Then tap delete again. When the confirmation page
pops up all done and bedded, 3d Lutz. If you're using a 3d live
while using black magic raw, the Lutz get embedded into
that. Be raw file automatically. The Lud is then saved and
adopt Burea heading file, making it simple to apply to
footage during post-production from there. That lot is
easily accessible for editing. The light can then be turned
on and off with no problem and will always travel with the
appropriate bureau file and remount of data entering metadata. If you're unfamiliar with the
term metadata in regards to use and photography, this is in the information that
is saved within your clips, such as take numbers, camera, settings, and various other identifying details. Metadata is the most useful
tool at your disposal when you're in post-production
and have to process and sort footage, your pockets, escape
pro saves time code, date, time, and camera settings
to your clips automatically. Plus you can use the camera
slate for additional details. It's light swipe left or right
on your touchscreen Walnut. The main view to access the slate. This light will be divided
into two tabs clip and project. The information contained in
the clip tab may vary from clip to clip. The project tab is for information
that is static or remains the same between clips, just like what the different
options in dashboard, clip and project metadata have
a few different settings to manipulate, clip metadata. You can update and change
the clip in both standby and playback modes while changing metadata. If you're ready to record in
standby mode of the information you, you change will start playing
with the next recorded clip. The good take last clip option
applies a good tag tag to the most recently recorded clip
while updating metadata in playback mode, the information is always
applied to the current clip being played slate for the first
setting slate for shows, which clip your current
metadata is being applied to. You will see either the current
clip or next clip displayed. Whether you're in playback or
stand by respectively lens, data lens data will display
the information for whatever your lens, for whatever lens
you currently have attached. If any, some information like the lens
model and aperture will be automatically provided, but be prepared to manually
enter some additional information as necessary, do this by tapping the pencil
icon in the lens data box and filling in where needed every
area in this view is editable. First is the lens make and model. If you end up needing to
manually enter this information, your camera actually has a
store database of lens types. If your lens is in this
database, you may, if this, if your lens is on this database, you may see some autofill
happening as you're typing. Next is real. The next piece of information
in the clip metadata is the current real, this escape pro will
automatically increment the real numbers for you. If you need
to reset back to real one, switch to the project tab
and tap a reset project data scene. The scene indicator displays. What scene is currently being filmed. This one can be adjusted
either by the two arrows or by tapping in the box and manually
entering the appropriate information in the upper
right-hand of the corner of this box. You will see a set of
either two or three letters that correspond to the type
of shot you're doing. Ws is wide shot, and
this is a medium shot. MCU is medium closeup. See you as close up at BCU is
X is big closeup and ECU is extreme closeup. The current take number is the
last box in the middle row. This can also be adjusted with
the arrows or by tapping and typing on the touchscreen. You can also add one take or
three descriptors to each take BU or pickup is used. If you're shooting a previous
take strictly for additional material after principal photography, VFX stands for visual
effects and is applied. If the shot needs effects added
later on SCR or series means that multiple takes are within one shot. If you want to tag usable
takes for easy recall, then you'll tap on the good
take indicator located in the lower left int N E X T. After
that you'll see int and EXD, which are used to tag the
shot as either interior or exterior, just tap on either
to apply day and night. The last clip setting is for
tagging whether the shot is in daytime or nighttime to set
this tap on either day or night as needed. Number three, project metadata, the information and project
metadata applies the same, regardless of whether you're
on standby or playback, the metadata, the metadata contained here, a fixes the whole project
instead of individual clips, the type of information that
you would normally find on a traditional physical
slight would appear here. Every setting in this tab is
editable using the pencil icon project name, obviously the name of your
project director after the project names, where you would put in the
director's name camera to the right of the directors would
you would put the letter you want corresponding to
that specific camera. And this is mainly useful in a
multi-camera set up camera op the last spot in this views
where you would put the name of the operator of that specific camera. One of the next section, updating camera software
as with any piece of modern technology with internal
operating systems, occasionally your device
software needs to be updated. The 6k pro was no different. There are many ways to go
about doing this depending on whether or not you're a PC or Mac user. And some of the steps may already
be familiar to you on Mac. Once you've downloaded
the black magic designs, camera set up program to your
Mac book or iMac unzip that file. After that opened the disc
image to show the black magic camera setup, installer launched the installer
and follow the onscreen instructions. Once the
installation is complete, you will want to open the
black magic camera folder. This is where you will find
the manual setup utility and an installer and document folder
that has some read me files on PC. You're going to download
the setup utility and unzip the file just like on Mac. The setup folder will contain
a PDF manual and the setup installer, go ahead and double-click
that installer and follow the onscreen install instructions. The black magic folder is
accessible when opening the start menu on the windows. All right, next, we're going to be getting
into some sections of other content to help you get started, or just show you some
variations of different things. And this first one, we're
going to be getting into rigs, which I will share my rig set
up potentially here on this year. But we have Viva media group. We have Viva media group among some, with some others to do it, and I'll introduce them
for each member, but we, I appreciate them being
on this video manual video masterclass, whatever you'd like to call
it because I wanted to get different perspectives and just
mine so that it can help you depending on which direction
you're trying to go with this camera. Hello. - And thank you so much for
having us. Hello everyone. My name is Matt. My. - Name is Connor and welcome
to Viva media. We have had. - More time and experience
with the 6k probe, more than any other camera we have had. So we're excited to show
you our favorite ways. We like to rig out our 6k pros. Weren't out on commercial shoots. - First things first, if you're wanting to mimic our
builds or just want to know the name or certain part, we use almost exclusively small
rig parts and all the parts we use for each bill will be displayed. On the screen. - Our first bill is a classic in studio. Build this build. Also assumes that the camera
is primarily stationary on a tripod, and you're able to plug your
camera into some wall power. So first thing we need is
obviously the 6k pro the number one thing that's going to be
crucial in this build is the small rig black magic
six K pro camera cage. There are a few differentiating
parts in, in both, but this singular piece is
crucial for both builds. So camera in the cage. There you go. Perfect. Next thing we'll do is add
the small rig magnesium base plate. And I think we already
mentioned that we'll display all names of all the parts on screen. There's a little, some saucy, little beat cam footage for
all you love with people on the internet. Screw this in here. One thing we love about
small rig base plates, where it's most base plates in general, but it's better when you can
get the base plates with two screws, two mounting points, because then your rig isn't
flopping around as with most tripods, you only get one mounting point, but on the bottom of the 6k cage, there's tons of mounting points. So you got lots of good
from there we go, see, see like that, then it won't,
it won't come out nice. And oh yeah. That's not going anywhere
that ain't going anywhere. All right. So we'll
take that and put it on, put it onto our small
rig magnesium base plate. Locked that puppy up. Boom. There we go. All right. The next thing we'll do, what lens you use is ultimately up to you, but we're going to throw on
the Sigma 18 to 35 F 1.8 to get this Raven going here. So
we'll take this puppy off. We'll slide this puppy. Here we go up. See, now it's
a little, it's a little heavy. So what do you do when
it's a little heavy? You install a V small rig
dovetail plate. Now, ultimately, we're not going to show it here, but this will live on your tripod. So we have a tripod base plate
on the bottom of it here. So this is the thing that's
going to primarily let you keep it, take it off and on
the tripod with ease. Of course you could do
that off the base plate, but this is much, much simpler. This also doubles. This also doubles as a way to
fine tune and balance your, your rig on the tripod
C. So there it is there, but turn the tables a tripod for a minute. This also allows you to just
very simply and smoothly, move it back and forth on the dovetail. So that's the point of the
dovetail quick and easy adjustments and quick
off and on the tripod. Plus it also gives us stability
when you have it on the table. All right, the next
thing we'll put on here, now that we have our forward stability, we will put on the small
rig mini Mapbox box. Awesome carpet fiber will actually, I think just the lid is carbon fiber. I'm not sure that this
whole thing is carbon fiber, but the lids carbon fiber.
So it's pretty swanky. So first thing you'll need. When you buy the small rig mini Mapbox, it comes with a bunch of lens
adapters for the front of your lens. So you just find
out which one up here, who's got a little, they got little, little numbers up there to tell
you how many millimeters it is. So you just find the one
that fits your lens and it just slides on like, so, oh, come on now. I tested this. There it goes. The good thing about these
lens adapters is that they're still threads on the inside here. So if you need to put ND
filters or polarizers, whatever you want, you can still do that. So there, and then of course also, if you're using a lens
that's 95 millimeters across, this can just go straight onto the lens. But if you have a smaller lens, you got to put this bad boy on there. So it just goes on there like
that to make sure it's nice and straight because of OCD. All right. Nope. OCD. Okay. Okay. There we go. Now we've got a little sun hood on there. Nice little mat box. Whoo. Good, good. That's good. All right. The next thing we'll add
on here is the top panel. Again, if your camera is stationary, you don't necessarily need it, but when it's on the
tripod and you, again, you need to make those quick
adjustments on the dovetail, or maybe on your ball,
joining your tripod. It's way, way easier to
loosen up your tripod lip. That's the wrong fricking
side to loosen up your tripod, grab a bike here, and then you can adjust like
this it's much, much easier. Plus if you take it off the
tripod, it's just a good, good carrying handle, right? So we always ensure that our
camera rings have a top handle on it because it's way more
handier than you think. Next thing we'll put on for scratch audio, whether you're recording
separate audio on an external quarter, or are you recording
straight from the camera? Like right here, we're
using a shotgun mic. We always still install a little
road microphone for scratch audio for reference later in post. So especially on this rig, there's a bunch of cold shoe
mounts all over this thing, especially on the top handle
and on the cage itself, you can put that anywhere you want. I'll put it on the cold
shoe here on the cage. Tighten that puppy down,
plug that puppy in. All right. That's already looking like
a fancy little wreak there. One other piece, one other piece. Now, a couple other pieces. So specifically tailored to
the small rig cage for the 6k pro. You can also get another
little piece right here that is specific to this cage. So this
little piece won't fit on. Anything else that small rig
makes it specifically made for this cage, but it can go, it can Mount here and it
can also Mount up here, but what it's for is what kind
of any accessory you want, but we use it for our small
rig mini follow focus. So we put this little four
inch carbon rod in there, and then we grab our small
rig mini follow focus. And then just like, so we
put this puppy on here. And then also, if you don't have a lens, that's geared when you
buy the mini follow focus, they provide you with
this rubber gear thing. So you can just slide
this puppy on like, so, and then you just take your
follow focus, line up the teeth, line up the teeth, tighten her
down, and then there you go. Now you have a fancy little
follow focus to move your lens with. And there you go. It's a
simple yet elegant rig. And of course you could build
this up a little more with maybe some wireless follow
focus systems like the tilt of nucleolus M or even maybe
like some wireless video transmission systems, like a
Holly land or a terror deck. But for simple studio work,
this is a perfect rebuild. And we're going to pass it
off to Matt for the second rig build. - Thank you, Connor. And I will be taking you
through our second rig build. And this is for all of
you guerrilla style, running gun shooters out there. So to get this thing started, we are going to build an expand. Connor has built this rig
is going to have a few more pieces, but with mobility in mind. Okay, so let's get this thing started. So building off what Connor has done here, we're going to start
by adding in some rods. These are 12 inch carbon fiber
rods from small rig building off O'Connor's Dunbar going
to go ahead and use this small rig base plate to add in our
carbon fiber rods right there. And I'm going to position it like so, and you'll see why in a second, gotta put our next one in there. Now, depending on the size of
your camera rig or what you're attaching to it, you may be bigger runs. You may need smaller runs. We find that 12 is the ideal
length for what we're trying to build out. Next. We are going to want to
add some power to this thing. The battery in this camera is improved, but it's still not great. And when you're out shooting
all day in the field, you need a power solution. That's going to last the
entire day in the field. So we are going to add
on of the Mount battery, the gold standard in the
video industry and to do so to access that power, we're going to have to
attach a V Mount plate. So let's go ahead and attach
that to our rods off of the back here, just like, so we're going to tighten it
down and that should be pretty good. And then our power
source, our battery, our V Mount battery, we'll just clip in on the
back and that will power our camera. And you'll see that our VML
battery plate actually has eight D tap port. And that is how we're
going to go from VML power. Couldn't plug it in on this
side to the black power connector over there like that. Now, does that mean that you will
have a cable dangling off your rage? Yes, it does. Does that mean that your
rig will last all day? Yes, it does. So this is a much
needed and welcomed addition. Now, the next thing we're
going to want to do, especially because we may be
shooting outside is we're going to add a small sun hood to this screen. So what we're going to do is
we're going to take this little small rig leather. I think
it's leather pleather, the small rig pleather sun hood. We're going to slide it right in behind here now to make
some room for the screen. We're going to pull
this back a little bit, tighten that down. And now when we're running
and gunning with it, you can pick it up like this, and you can look at your screen
and kind of see where you're shooting. You could also add an
external monitor to this rig. Build-out we tend to like
keeping things really, really integrated and really tight knit. And the 6k pro screen is
actually really fantastic. So we tend to like to use
these whenever we can and avoid adding an external monitor,
but you totally can, if you would like next, we are actually going to take
off the dovetail plate because we will not be shooting in
the studio with this rig. And we are instead going to
be replacing that with handles because when you're out in the field, sometimes you're in very
interesting precarious shooting situations now to install this
handle the right way we are going to have to relocate this
follow focus to another part of the camera. And luckily there is one other
spot where you can relocate it. So we're going to break out
our trusty small rate tool. We are going to pull the
follow focus of here. We're going to unscrew this little nub. Rolling. There we go. This little tool I have by
the way is also a small ring special, as you can tell, we absolutely love and adore small rig. So I'm going to re-install
this rod Mount up here in the top. Well, depending on which way
you're looking at the camera, the top right of the camera.
If you're the operator, here we go. So what will that allow us to do? It will allow us to relocate
this rod up here and attached our follow-up attach our
follow focus right over here. Just like, so there we go. Awesome. Now coming back to our handle, attachment that frees up over
here for us to attach the handle. Like, so the reason why I attaching
the handle inverted is you can do the reason why I like
attaching the handle inverted. Like this is, I love pressing a rake up
against my body when I'm out running guns shooting. So this
really allows me to do that. So this setup allows me to
do that without hindering any function of the camera. So we'll go ahead and
attach that last handle. There we go. And let's just slightly adjust
it forward a little bit. There we go. So you can see you have a
nice compact rig that you can shove up against your
chest like that. Well, you wouldn't shoot with the
Mapbox box down that you can shove up against your chest
like that. And it's a really, really, really nice stable
three points of contact. It's really, really great. And I could even reach forward
and pull my follow focus. So this is the ultimate
one man running gun set up. Now let's say you were
one man and a little bit, and let's say you have a client watching, or you have a director
watching what you are doing. That is where we would
put this attachment on and attach this handy thing,
which is the Holly land. Mara's ex wireless transmitter. We'd go like, so twist that on throughout
the little antennas. And you can, you can
re you can orient this, however you see fit. We'll just
leave it forward like that, but it does not interfere with
any operation of the camera just sits at the front. I can hold it like this. I
can do my follow focus moves. And that is a very, very fantastic running gun
guerrilla style rig. Of course, when you're shooting, running gun weight
definitely becomes an issue, but we think we found a
pretty good balance of weight savings and practicality with
this bill in its current form. And there you have it. Of course, you could also do some mixing
and matching of these two builds. We showed you or get crazier
still in bust out a camera vest. But with these two builds, we think you'll be able to
tackle anything that comes your way using the black magic pocket.
Cinema camera 6k pro John. Thanks again so much for
having a son. My name is Matt. My name is Connor. We are Viva media and we'll
pass it on back to you, John. - Who are you? - Small rig segment to make
sure you don't mess up. You need to do this six, eight bro. Rig build video now. - No, I'm, I'm sorry. I'm not making another how to
build my rig video out video. I'm not stooping that low. - We have methods to make sure
you follow this directive. - No, I'm sorry. I'm not, I'm not making
oh, another rig video. Do not test us on this. Literally there is nothing you
can say to make me make a rig video for you about. - $10,000 In a lifetime supply
of what monster ultra energy would that be enough. - Briggs. Everybody's I'm not going to
make you watch this entire video, but if you guys want to check
out my awesome small rig built that I made, I, I figured
I wouldn't show it again. In this video as Viva media
group gave such a comprehensive, an awesome view of how to set
up a small rig setups for this camera. So I thought I would go ahead
and just preview this one and send you guys the link. But I
also wanted to make sure we, for the sake of inclusion, making sure that we got a tilt
camera rig set up in this. So I invited one of my discord
members who has an awesome setup for this to come share
with you his setup. So. Take it away. - Hey, I heard John is
making a video about rigs. So I would like to show my setup. This is 6k pro with a tilter
cage and with tilt accessories. Of course, John asked
me why I chose tilter. It's simply because this small thing, tilter side focus handle. So three years ago, I started studying
directing in UCLA extension. And as soon as the course started, I was lucky enough to get my
hands on pocket 4k and I was using it without any
accessories, any cage whatsoever. So our first assignment was to
shoot a small film or a small scene. So I brought something to shoot
in Wilsher square in broad daylight, because pocket 4k
screen is not bright enough. I couldn't see a thing. I couldn't focus on the actors. The MFE lenses focusing
was quite bad and also the, I had only three batteries,
so I was panicking. So it was a terrible day. So after that day I realized
I need some accessories in order to shoot anything properly. So I made a list. I needed
bigger, better battery, and I need to control the focus properly. And I need an external screen. This is bright enough to see it properly. So I searched the internet
and I saw tilter focus handle, which uses Sony F nine 70 battery. And also you can control the
tilter nucleus and focus model. So it was for perfect solution. And then I upgraded to 6k
pro I waited till tilted to announce their take on the 6k pro cage. And I asked as soon as I see
the EVF bracket I ever sold, I placed an order wait, two months. And finally I got my cage,
but there's a problem. The old side handle use the
rail system to connect to the 4k cage, but with 6k pro
cage, they changed it. So it, it, it doesn't connect it anymore. So tilter suggested to buy,
use a adapter to connect, to do side. We are screw and it's not safe. And also EVF BRCA uses the,
not to rail on the side, but if you use the handle, the nuts rail adapter doesn't fit there, thankfully they provide an
adapter to screw in and natural rail Simone material attachment
in order to use the EVF bracket. But I think I'm going to change my setup. I'm going to get rid off the handle. I'm going to buy a V Mount
battery and use the focus model where the tilter has own knob. And that's it. That is my current setup
that I use for short films or semiprofessional stuff. But recently I find myself
using a much smaller setup for everyday shoots. So I carry the camera with
me like this and this works really well. So this is basically the 6k
pro where you find the attached tilter cage, peak design slide, and peak design clutch on it. So this works quite good because
6k pros battery lasts for an hour instead of 20
minutes of pocket 4k. And with, do you find that I
can see clearly and focused? So actually I like this set up even more. And also I have the peak
design every day back, the everyday sling, I guess. So I take my two lenses and
my camera and I'm ready to shoot. So this is my setup. - Well, thanks guys. That was some great rigs setups, and next we're going to be
going onto color-correction. And my friend decided to come
help me with this as I'm not really, I would consider myself not
really a master colorist, and I really wanted to get
you guys the best information. So I brought along my friend
who does this, so take it away. - Color grading your B raw
clips in DaVinci resolve. So when you open up DaVinci resolve, you want to come over
to the edit tab there, and there's a number of
ways to import your clips. If you're familiar with Adobe premier, it's a pretty similar method.
You can click control. I to import your clips
can come up to file, go over to import file import media. Or you can even just open up
the folder where your footage is in, and you can either drag it
into this little guy here into that bin, or you could even drag it
straight onto your timeline. Now you'll notice that resolve
asks you that the clips have a different frame rate than
the current project settings. Would you like to change
your timeline frame, rate and video format to match?
And I would click change. Now, if you're working
with a mixture of formats, if you have a bunch of
different frame rates, you want to take that into consideration. But for this where I know
that the clip that I'm working with, I want my timeline to match that. I'm going to let resolve
just automatically change my timeline to match what
that clip already is. So now I have my clip in my
timeline and you'll notice that resolve didn't change
the project resolution. There's a little bit
of letter boxing there, which I'm not too worried about
for now. I will scale this, clip up just a touch. And if you're familiar with premier, premier operates in percentages
when you deal with scale and things like that, resolve
is a little bit different. If you look, I'm not scaling up to 110%, I'm just scaling up to 1.1 to
get that image to fit because I shot this in the full frame image. So there was a little bit
of letterbox in there. So now I've got that clip in
there and I can click over to my color panel. If I was
going to edit anything, I would do it in this one over here, but I'm gonna click
over to my color panel. And this is where some people
get really intimidated with resolve, but it doesn't
have to be intimidating. Spend some time fool
around, is it figure it out, but we're going to dig into now
how to color correct your be raw clips in resolve. So if you notice we've
got our color wheels here, our curves, you've got,
what's called nodes up here. Not going to dig too deep into nodes. We'll have some resources in
the description below for some colorists that I really
appreciate learning from. And there's some stuff there
where you can learn more about what the different types of nodes are, but for now just think about
nodes kind of like adjustment layers in premiere. So if
you're familiar with that, that's kind of how these
nodes are going to operate. So you can come over here
to the camera, raw panel. And the nice thing about
working with DaVinci resolve and the black magic pocket cinema
camera 4k is that both are put up by black magic. So I've never run into any
issues with the camera raw panel, where I have had some issues
before with premiers black magic, raw plugin. So the one thing you can
do here is you can change. You come down to decode using project. I'm going to change this to clip. And what that's going to do
is it's going to allow me to edit the metadata of the
clip so I can change my white balance here. If I need to,
I can change the color space, the gamma, the ISO. Now, one thing to keep in
mind with the ISO though, is it because Divinci works
in different systems where I shot this clip at ISO 400, I can only boost the ISO
now up to a thousand, if I'd shot at 1250, I could
change it from two above 1250, but for here, if I needed to
change it, I so which I don't, but if I needed to, I could only boost that up
to ISO 1000 in resolve or premiere, no matter what
program you're working with. So when did you keep them on? When you're working with
raw and logged footage, is that you want to convert
that to a rec 7 0 9 color space before you add any creative
lots or any sort of crazy color grading. So there's a
number of ways to do that. I'm going to change it here
in the color space panel there and click rec seven and nine. And you can look at the image here. Let me get rid of this guy
here and make that a little bit bigger for you. I just clicked the clips button there. If you're wondering what I did there. And if I go back to black magic design, that's what it looks like
back to rec seven or nine. And now one thing to know is
that this actually isn't making any changes on my node. So if I go to copy this
node to a different clip, it's not going to actually make
that change because it's not in the actual node, it's just
doing it to the image itself. So I've got the change of
rec seven to nine. Now, now, if I want to do this differently, a different way that I could
convert it is I could use a conversion lot. There are some really
great free conversion, lots that convert black
magic RA to rec 7 0 9, or I could come up to
this open effects panel. And there's a, there's an effect
in here called color space, transform that I can drag on there. And I can select my color
space that I shot with, which was black magic design pocket 4k. And then I can click output
color space. And again, there's a lot of resolve that
we're not going to get into here, but my timeline is already
set to a rec 709 timeline. So resolves already kind of
converting that to rec 79. So you notice I clicked output
color space rec seven or nine. It's not actually doing
anything different than just use timeline, but if your timeline wasn't set
to use a rec 79 color space, you would want to come
in here and do that. So there's a couple of different
ways that I can do that. I prefer to do it in the camera raw panel, just keep my nodes clean,
not my nose, my nodes, sorry, I'm a dad, dad jokes. So yeah, convert it to rec seven or nine. And now we can have some fun. We can come in and mess with
the exposure a bit. And again, there's a number of ways
that we can do that. So if you come over to
the color wheels panel, which is this guy here, I can do that, I'm clicking over to the primary's wheels. I can do that through gain, which is primarily gonna focus
more towards the brights of the image. You'll notice
if I bring my lift down, it's really dragging down
the blacks that I mentioned, that that got crazy there, but really I encourage you
when you're working with exposure, use your scopes here, and it's operating pretty
similar to how the scopes are gonna work on your camera. These are the dark
areas of the image here. This is the brightest part of
your scopes and part of your image. So as I bring my exposure up, notice what happens on the scopes. The gain is really not touching
the bottom part of the image hardly at all. And same with the lift.
If I bring the lift down, it's barely affecting the top. Now, if I bring it too far down, it
just crushes the whole image. And then gamma is kind
of in between there, it's kinda more towards the
middle range and you can see that in the image. So, so when you're trying to
figure out your exposure, look at your image, look at your scopes, see how they're working together. If I come over to shadow
mid-tone and highlight on the far right there, that third little guy, if I bring shadow down now, look that is not touching
those highlights at all. So if I want to be a little
more particular with effecting the shadows specifically
or affecting the highlight specifically shadow mid-tone
highlight is a great way to do that. It's going to have a lot less
play on the other part of the image. So, but my preferred method for
exposure actually is using my curves. I find that I can just have a
little more control than those wheels. So if I come over here and
click on this guy here, this is the dark area in my
image here. And the curves. This is the bright area of the curves. So if I bring this guy all the way up, it makes my image completely white, because what I've done is
I've brightened up the darkest areas all the way to white. And if I bring this guy down all the way, it's going to make my image
black. And if I bring this over, I'm just going to keep brightening
up those bright parts of the image, see what's happening there. And then if I want to crush my blacks, I can drag this over to the right. So I like to have my black
sitting just a little above zero. I don't want to actually crush
them because I don't want to lose that data. And I like to bring my whites
up pretty close to the top. Now it depends on the image
that you're color grading, because if you're color grading
an image for a short film, where it's a nighttime
scene in a dark room, you don't really want your whites, your brightest parts of your image, sitting all that high on your scopes. That just wouldn't make sense. So just keep that in mind for the image, this setting in particular, I'm pretty okay with
having a balanced exposure. This was a trip that John
and I did at a valley of fire state park. And then when you can do, when your curves from here
as if you really want to grab that those low mids and dark
and those up a little bit, you can come in here, grab in that low to
middle range of the line. And then this is what's called an S-curve. So I brought those low mids down. I'm bringing these higher
ends up a little bit. I don't love exactly where
those blacks are sitting. So I'm actually gonna bring that over. Just a touch mess with this
a little bit. And again, I I'm looking at my scopes, but I'm also just looking at
the image and just seeing what looks right to me. That's the fun part of color. Grading is a lot of it
is really subjective. So this looks fairly decent. I'm pretty happy with
where this is sitting at. This was just after sunset. You can see some of those colors in there. And so I kind of like it
looking on the darker side of things instead of completely
balanced and as if it was daylight, because that's not true to
what the image actually was. So yeah, I feel, I feel
pretty good with that. Now, if I wanted to, if I
didn't want to use my curves, I could, I can reset this using this
and I can adjust my contrast, bring it in there. And a cool feature of resolve
to that doesn't exist in premiere is that it has
this thing called pivot. And what pivot is going to do
is this going to affect where your contrast is stretching. So if you think about
what contrast is doing, when you watch it on the scopes here, if you take a look at these scopes, if I increase my contrast, it's stretching that top
and the bottom equally. Now, if I move my pivot, what it's doing is it's moving
that middle point of the scope. So if I move it
all the way to the right, that middle point, it's now bringing it's
affecting more of the dark. So it's making my image darker. So if I bring it all the way to the left, it's going to move that
pivot point higher. So it's not going to stretch
the top part as much. It's going to bring the lower
part of the image of the darker part of the image up a lot higher. So that's nice when you have
something like if you have, you know, if I get my
scopes in here again, and I get my exposure, the way I want it, I can bring my whites back
up again, not too far, something kind of like that. So if I have something like that, and then I'm making another note, which I can do all to S to
make another node, you know, if I'm really not happy with
where these darker parts of the image are, I can add some contrast, but if I don't want to make
my brights all that much brighter, I can bring that
pivot over to the right there. So that way, if I disabled that note as
control the click back on, it's not really affecting
those highlights. All that much is not blowing
them out by increasing that contrast, it's really just
darkening up the darker parts. So that's a handy little feature there. So this is just a quick color
correction of your brr clip. Again, there's stuff that you can do
in the camera raw panel that change your white balance. If you need to, you can even mess around. I'm going to make another note
here with just moving your shadows and your lift into those oranges. Or if you want to go over
that teal and orange, you can drag your leftover,
bring your gamma up into that. And that's a colorful way to
play around your white balance is in here, your color boost
versus your saturation, your color boost. If you look in premiere, they have a vibrant little tool there, and color boost is essentially
the equivalent to premiers vibrance. So this is a
quick color correction. Now, how do we go about exporting this? Let me get rid of this node
here to get back to that, that balanced image that we had. Now, I'm going to click over to
the deliver tab down here and exporting. It really depends
on what you're trying to do. So for me, I'm a colorist and a lot of
times my client needs the highest quality image that they
can get to put back in their edit. They don't want to have a
compressed image that they're then going to export again. So if
I'm doing something like that, I'll usually do a custom export
and something like I'm on a PC. I'll use a DN by HR 4, 4, 4, 12 bit. Now that's going to be a huge file size, but for what they need, that's going to offer
a really high quality, very little compression video file. Now, if you're working on a YouTube
video or something like that, the nice thing about resolve
is again, similar to premier. They have YouTube export
settings, all ready to go. Vimeo I've even made some own
some of my own custom presets. Now you can also do H shot 2 64. And that's my preferred
method of exporting videos, whether I'm in premiere or
resolve is H dot 2 6, 4, when I'm delivering to
clients a final video. So you can come in here, you can rename. Your file is called,
is John valley of fire. And then I can save this
to one of my hard drives. And the one thing to keep
in mind is that if you had multiple clips in here and you
wanted to export it like an actual video, make sure you
have single clip selected, because if you click individual clips, it's going to export each one
of the clips in your timeline individually, which unless you're doing
something like stock footage, that's not really what you're looking for. Make sure that export audio is on. And again, it's kind of like premiere. I'd really don't mess with
these export settings, all that much, as long as it
stays true to my timeline, that's pretty much what I care about. And then I'm going to click
after I had the location, I would click add to render queue, and it's going to make me pick a location. So I'm going to put this in
frame or color grading exports. So once I have that added
to the render queue, I can start the render and
resolve is going to export that to where I told it to. So that's the basics of
importing your B raw footage into DaVinci, resolve doing a
quick color correction on it, and then exporting your footage. So let's talk about color
correction of those be raw clips in Adobe premier. So you'll notice as we walk
through this at a lot of these steps are very similar to resolve. There are some differences
though, for me as a colorist, when I get hired to color grade a piece, I'm always color grading individually, resolve for that stuff. Now, if I'm just editing something
real quick for somebody and they need it real quick,
for whatever reason, oftentimes I'll do my color
crushing and color grading in premiere. They both do very similar things, but I just find that resolve
is a bit more powerful. Gives me a little more, well, really, a lot more control with the
extra tools that it offers. So I can be a lot more finicky
if that's the right word with, with the image, I have
a lot more control over it. So let's talk about importing
clips into premiere so we can come up to file. I can click import. I can use control eye on the keyboard. I can double click here in that bin, bring my clip in that way. Or I can come to this bin and
very similarly to resolve. I don't even have to drag this
clip into the project bin. I can drag it into my timeline. And what premiere will do is
it will automatically put that clip in there and it will
create a sequence for it, which is right here. And I'm going to rename
that to valley of fire. And so you'll notice one
thing that premiere did that resolve didn't do, which is that premiere
when it made that sequence, it automatically made it
the right aspect ratio, whereas resolve didn't
change the aspect ratio. It let her box that image
those black bars on the top and the bottom. So that is the nice thing
about premiere is that when you bring that clip in, it's automatically going
to make that sequence, the same frame rate and the
same aspect ratio as your clip. So we want to convert
this clip to rec 7 0 9, before we do any sort of
creative color grading or any creative lots or anything
like that. And like, and resolve there's a number
of ways that we can do that. So I'm going to click on the
source little window here, not this guy here, but source. And now I can edit that
metadata there on that clip. I'm going to come down to
color space and I can click rec 7 0 9. Wow. You see the big difference there. So when I click on black magic design, click back direct seven or
nine, that looks really good. Now, another way that I could do this, it's not as true of a fix,
but if you wanted to do this, you could, and I should mention
that black magic RA tab, there is a plugin that
you can download for free. It does not automatically
come with premiere. So if you're looking for
that, you don't see it. That's why. So you need to make sure that
you download that plugin. So, but the other way to convert
direct seven to nine is using conversion Lutz. And we'll have a link below
with some free conversion Lutz. So I'm gonna come over to the
creative panel here under the new metric color window.
If you're not seeing that, come up to window here, make sure Lumetri color is
checked and I'm gonna scroll down. And my conversion
lot that I have here, and you dash BMD film dash BM, PC V. One is what we're going to click on. Now. This light is you can see
it's a bit different than just converting the metadata. So I do prefer to convert the
actual metadata there and not use Lumetri color to convert it. So I'm going to set
that back there, right? Seven or nine. We're good to go. And again, like resolve, you can edit your color
temperature here, your tint, your saturation, all kinds of stuff that you
can change in there on your clip. But now we have this clip and
it's balanced direct seven or nine. And just one quick note to why
you should do that before you start adding your creative Lutz. So now that I've got this
converted direct seven and nine, when I throw something
like blue ice on there, it's a pretty intense grade.
I'm going to bring it back. Some, bring it down to, I don't know. Maybe even let's see something. Yeah, we'll bring it up
a touch somewhere around. Let's try 50. So blue eyes is on there. It's got this really cold look to it, but you can see my greens are
still fairly green. My reds, you can tell that that's red
back there is skin tones look. Okay. So it still looks fairly true
to what the actual image was. Now, if I didn't have this
converted direct seven to nine, if I click that back
to black magic design, look at how muddy that looks. And also what a lot of people
will do is I'll throw a creative lens on top. And they're like, why does my image look money? Well, it's because you haven't
converted that log color space to our rec 7 0 9 color space. So I can read that back to rec 7 0 9. And that looks pretty cool.
Now, again, like I mentioned, in the resolve part, use your scopes. Your scopes will not lie to you. There are true scientific data
on where your exposures and your color sit. So I still can
push the contrast a bit here. I see that there I'm
actually going to reset this, turn off that blue ice look. Now, one thing to note here is that
I'm currently in the source window. And so what that means is, is going to edit that
clip at its very core. Meaning if I grabbed this clip
here and bringing it into a different timeline, every instance of that clip
is going to have those changes to it. So I don't really need that. I'm just going to edit under
the valley of fire sequence version of that clip. And I'm not going to
get too deep into that. But so now I have this clip
that has been converted to rec 7 0 9. And now we can do some basic
contrast exposure kind of stuff to it. Now this is where it gets to
be a little different than resolve. I can use my wheels down here
to pull my shadows boost my mid-tones if I want to do that. And this is what I mean about
where premier doesn't give you as much control as resolve
is that I'm not really seeing like any numeric value to
know where I'm really sitting, whereas resolve it shows you
those numbers to know how far you've gone. So I'm going to reset that I
can double click on that and double click on that and it'll reset it. If I want, I can boost my
exposure this way I can do that. I can reset that zero. I can boost my contrast. So it's, it's kind of pretty
similar to resolve, but again, there's just not as much control
I can bring my blacks down. Now, one thing I've noticed with
premiere when you bring your blacks down is it is very, very
quick to crush those blacks. So see, I'm not bringing
this down even that far, and I've already crushed those
blacks and I'm losing data. Again, my preferred method of getting
proper exposure in contrast in my image is using curves. And so I'm going to grab on this guy here, bring my blacks down again,
just sitting just above zero, just above there. And then I'm going to
bring these guys over, want to make sure that
they're not peaking. See if I bring that too far
back in those clouds there, they're starting to peak. I was starting to clip
and I'm losing data. So right about there,
it looks pretty good. Again, I'm going to make another S curve. I don't one thing you want
to look at in this image. So undo that point is that
John's skin tones are pretty dark. And so what happens if I grabbed
too far up in this low end is that I'm actually darkened
his skin tones more than I want to. So you notice if
I bring that point down, I kind of go more around there. I'm darkening up those
darker parts, I guess, coat and stuff like that. But I'm being really protective
of his skin tones in there. And so now I can come up and
boost those highs a little bit and that looks pretty good. I'm pretty happy with where
that exposure is sitting out. Again, those blacks aren't clipping
or not clipping up there. Everything looks pretty good. And again, like we talked about and resolve
this was shot after sunset. And so I'm not looking to
make this super bright. Now, if I want to tweak this, I can come back up here and
mess with my contrast if I want to, or if I want to bring those
highlights back even more, I can do that to give it
a even more muted look. So I can do that. If I want
to mess with my saturation, that's here. I can boost that I can come
into the creative panel here. There's a lot that I can do
is sharpening and all that. Again, we're just kinda going
over basic color correction, but there's a lot of different tools here. And these panels here are also
in resolve the here versus saturation. The Hebrews
is Hugh hubris is Luma, and there's a lot that I can do there. Like if I want to really
bring out those reds in there, I can do that and kind of mess
with a saturation of those there's things that you can do. Like if I wanted to really
bring out the blues in here, I can make a point here and
a point here and then grab in the middle there, grab these blues and really
bring those up. Or I could, if the blues were too much,
I could bring them back. I mean, something like that
looks kind of cool too, cause it really is muted and
kind of helps those reds pop a little more. Now that I've
pulled some of the blue out. So there's a lot that
you can do here again. I really encourage you
mess around with it. And that's where I've
learned a lot about color. Grading is just learning
what the tools do. And then when you ask
yourself, oh wait, yeah. If I really want to bring the
blues out, how do I do that? Well, because you learn the tool now, you know how to do it now for exporting. It's the same that you would
do with any normal video premiere. So if you're
familiar with that, great, if you're not, you can hit
control M or if you want to, you can come up to file export media. And I'm typically when I'm
exporting from premiere, it means that I'm done with the video. And so a lot of times I'm just
using the H dot 2, 6, 4 codec match source high bit rate
that works really well for me. Or if I'm uploading it
to my Vimeo channel, I'll do Vimeo 10 80 or Vimeo 4k. There's a lot of stuff in
here. A lot of Kodak's, if you're looking for exporting
like a really high quality color, sometimes clients have wanted
me to use quick time and then the apple pro Rez formats there. So it depends on what you're trying to do. The YouTube Kodak works
really well for YouTube. The Vimeo one works really
well for Vimeo. And then again, if you're looking for something
that's far less compressed to export a color graded, clip descended someone
to use in their edit, something like that, apple pro whereas codec might
work well for you. So yeah, I mean, it just, I'm going to use H dot 2, 6,
4 match source high bit rate. That works great for me. If you've already rendered it out, you can click the use previews there. I'm gonna click on this
use maximum render quality. And it's kind enough of premiere
to tell us what that does. It's going to give us
better quality scaling, but increases the Incode dimes. So it's going to take a
little longer to, to export. And if I wanted to bring
this clip back into premiere, for whatever reason, like let's say I edited the
video and then wanted to use that edited video in my project. Again, I could even click to have it
import back into the project. Don't need to do that now
because I'm just exporting this one clip, but I'm just
going to come down here, click export and boom, there it goes. If I wanted to, I could click queue and it
would send it to you in Adobe media encoder. And I could
export it that way, but it's, it's pretty straightforward
as far as exporting goes. So now we've covered importing footage. You knew Adobe premier. We've covered the basics of
color correction in Adobe premiere and we've covered exporting. And if you have any questions, feel free to comment
below or reach out to me. I'd be happy to try and walk
through those steps and help you figure out color correction
and color. Grading to me, color grading is, is super, super fun because you really
have a lot of power over the emotion of the image, just in
what you do with the color. You know, if you make a really cold image, you can make it feel
very lonely and desolate. If you make a very warm image, it can bring a lot of joy
and happiness to the image. There's just a ton that you
can do with color grading and color correction. And so
for me, it's a lot of fun. - So obviously we could not fit everything into this
video manual masterclass. So for anything that you
guys have questions on, please comment below, and we're going to try to make
sure that there's links to other things available and
links to pieces and gear we talked about throughout this
video for you be able to get access to. So if you have any questions, let me know in the comments
below or join our discord channel and we can help you
answer any questions you might have about it. But I just want to think
other people for joining in on this, it was great to have everyone here. It was great to do another one of these. I really hope that this video
helps you out a lot and up be sure again, to subscribe to the channel
and by you watching more of our content, it helps us to be
able to do more of these videos consistently. So hope you enjoyed this. Let us know you have any
questions, but until next time, this is John Owens with frame Voyager, and I'm going to go garlic salt now. Cause my throat is completely gone. We'll see you in the next video manual.
Just completed a personal project of mine! I just finished up a Video Manual of the Pocket 6k Pro that goes over almost everything in the manual. Anything we didn't cover in the video is linked below the chapter descriptions to help get people to the information they need the most.
This was meant to help all users new and old to help better tell their stories through video. Making information on the P6K PRO easy to find without having to sift through a bunch of videos trying to find what you need! If you know anyone that's just starting out or looking for information, we hope that this is a perfect starting point for all users!