Going back to 6K, it helps save some space by going to 2.4:1 if you can get away with the crop. For slow motion, you will need to drop down to 2.8K 17:9. Either full 6K or the 6K 2.4:1 is fine depending on your personal preference. There is a big jump to go from 12:1 to 8:1, so it’s worth it for client work.Īs for resolution, Bertoli picks the top 6K options.
For client work he does go up to 8:1 or even 5:1 to squeeze out a tad more quality. Most of his personal work he actually sticks with 12:1 compression and been very happy. Bertoli sticks with Blackmagic RAW and chooses to stick with constant bitrate for more reliable file sizes and predictable performance. Kicking things off with the Record tab, you’ll find some of the most important settings. Anyone looking to learn how to get their Blackmagic camera configured can learn from how others pick settings.
This includes things like ISO, codecs, resolution, and more, but Bertoli also talks about his setup. Blackmagic Design is among the companies who has tons of features in their tiny Pocket Cinema Camera 6K and you might be looking for some recommended settings.įilmmaker Matteo Bertoli has just shared his favorite settings for the BMPCC 6K. Raw formats, compression, and autofocus are among the tough choices in newer video cameras and it can be difficult to sort through and find what’s best. While cinema cameras have shrunk in size dramatically over the past five or so years, their menu options have only grown.
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