Camera by camera
Pocket Cinema Camera 6K Pro export settings.
From BRAW to a client link.
The 6K Pro and the 6K G2 record Blackmagic RAW or ProRes 422, and a web browser plays neither. Here is what the camera writes, where each file plays, and the HEVC review export sized for a 6K source.
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By uncompressed.io · Updated September 2026
What the camera records
BRAW or ProRes 422,
and no H.264 or H.265 at all.
The 6K Pro and the 6K G2 share one sensor and one list of recording options, so everything on this page applies to both. Neither body records a file a browser can play.
6144 x 3456
Full 6K frame
Super 35 sensor, 23.10 mm x 12.99 mm
13 stops
Dynamic range
Dual native ISO 400 and 3200
12-bit
Blackmagic RAW
A custom non-linear 12-bit space, per Blackmagic
120 fps
Top frame rate
At 2.8K 17:9 and at 1920 x 1080
Codec options from the Blackmagic Pocket Cinema Camera 6K Pro and 6K G2 tech specs pages, and the 12-bit description from the Blackmagic RAW page, all read 19 September 2026. Data rates are not quoted here: take the average from your own clip as file size in bytes times eight, divided by duration in seconds.
Frame sizes and maximum rates from the Blackmagic Pocket Cinema Camera 6K Pro tech specs page, read 19 September 2026.
For the grading master, record Blackmagic RAW. It keeps white balance and exposure adjustable in post, it sits in a 12-bit space, and Blackmagic states that DaVinci Resolve includes support for it. Choose between the ratio settings (3:1 is the least compressed, 12:1 the most) and the constant quality settings by how much card and drive space the job can carry, not by what the client will see: the client never watches the RAW in a browser. ProRes 422 HQ is the choice when a pipeline downstream cannot take BRAW, and it is baked in the way RAW is not.
On the 6K Pro, media is one CFast 2.0 slot, one SD UHS-II slot and a USB-C expansion port for an external drive, and the built-in IR ND runs clear, 2, 4 and 6 stops. The 6K G2 has no built-in ND. Neither difference changes the export.
Where each file plays
The browser plays your export,
the macOS app plays the originals.
Every file this camera writes needs a decoder a web browser does not have. That splits the audience in two: reviewers on a compatible Mac can play the originals, everyone else gets an export.
The macOS app plays RED R3D, Blackmagic BRAW, Nikon N-RAW and ProRes up to 8K 4:2:2 HQ at 60 fps. Clips recorded above 60 fps, such as the 2.8K and HD 120 fps modes, are beyond that stated frame rate.
Supported camera originals and Vault playback use the compatible macOS app; they are not universally playable in web browsers. Playback of a 6K original is hardware-dependent, so before a real session, send a short BRAW clip and have your reviewer play it on the Mac they will use. The longer version of this split, with the review workflow around it, is on the BRAW client review guide.
Browser playback uses your uploaded export without another platform re-encode. Codec, device and connection requirements still apply. Each film plays from one file with no lower-quality rendition, so a slow connection buffers rather than dropping resolution. That is why the export settings below matter: what you render is what the client sees.
The review export
HEVC 10-bit,
sized for a 6K source.
The base settings: H.265 Main10 (10-bit), MP4 or MOV, constant frame rate at the timeline’s rate, 2-pass VBR, AAC audio at 320 kbps. Only the resolution and the bitrate change with what you shot.
Bitrates are the uncompressed.io recommendation for review exports. Calm frames such as interviews sit near the bottom of a range; snow, rain, water, foliage, heavy grain and fast pans need the top. If you want one number, 80 Mbps HEVC 10-bit covers 1080p through 4K.
4K is the usual choice. A UHD export shows everything a client needs to judge an edit or a grade, and plenty of client laptops and phones struggle to decode 6K smoothly; the reasons are on can a browser play 6K video. Export at 6K only when the reviewer has to see the full frame, for a reframe or a VFX plate, and test it on their device first. If the timeline is 2.4:1, render the 6144 x 2560 shape as it is rather than padding it into 16:9.
Off-speed footage. The 120 fps modes are usually slowed down on a 24, 25 or 30 fps timeline. Export at the timeline’s rate, constant, never at the recording rate.
Grade before you export. BRAW and ProRes recorded with a log gamma both look flat until they are graded. The browser shows the file as encoded, so the grade, or at minimum a transform to Rec.709, must be baked into the export. An ungraded export is what the client will judge.
Anamorphic. The 3.7K 6:5 mode records a squeezed 3728 x 3104 frame. Desqueeze it with your lens’s factor on the timeline, render square pixels at the desqueezed shape, and fit the width to 4K. Do not rely on the player to desqueeze; it will not.
Free export presets for DaVinci Resolve, Premiere Pro, Media Encoder and Compressor carrying these values are on the NLE page.
Card to client
From the CFast card
to notes on your timeline.
Offload
Copy the BRAW or ProRes clips off the CFast card, SD card or USB-C drive into your project, as you already do.
Grade or transform
Grade in the NLE, or apply at least a Rec.709 transform. Desqueeze anamorphic clips and conform off-speed clips to the timeline rate.
Export HEVC
UHD, H.265 Main10, constant frame rate, 2-pass VBR, AAC 320 kbps, at the bitrate from the table above.
Upload
Drop the export in. Uploads are resumable, with no codec allowlist and up to 5 TB per file within your plan's hot storage, so you can add BRAW originals for Mac reviewers too.
Share one link
The link is the access; clients need no account. Add a password per video if you want one. Original downloads stay off until you switch them on for that video.
Pull the notes back
Comments carry author and timecode with red or green status, drawings sit on the picture, and they come back as markers via a Resolve script, a Premiere Pro panel or a Final Cut Pro bundle.
When the next cut is ready, replace the file: the link, views, settings, notes and approvals stay where they were, and approvals are red or green per version so sign-off lands on the right cut.
When this is the wrong tool
Questions
Frequently asked
Should I export 6K or 4K for a client review of Pocket 6K Pro footage?
4K is the usual choice. It keeps the picture sharp on any screen a client is likely to watch on, and it asks far less of the viewer's device than a 6144 x 3456 file does. Export UHD at 40 to 80 Mbps HEVC 10-bit for 24 or 25 fps, or 50 to 100 Mbps for 50 or 60 fps. Keep a 6K export, at up to about 120 Mbps HEVC, for the reviewer who needs to judge a crop or a stabilised shot at full size, and test it on their device first.
Does the 6K G2 need different export settings from the 6K Pro?
No. Blackmagic lists the same sensor, the same 6144 x 3456 resolution and the same Blackmagic RAW and ProRes options for both bodies, so the review export is the same. The difference on the spec pages is hardware: the 6K Pro has a built-in four position IR ND filter and the 6K G2 has none.
How do I share 3.7K 6:5 anamorphic footage with a client?
Desqueeze it in the grade before you export. The camera records 3728 x 3104 and the browser shows the file exactly as encoded, so a squeezed export reaches the client looking squeezed. Apply your lens's squeeze factor on the timeline, render with square pixels at the desqueezed shape, and size it down to fit a 4K frame width.
Can my client play the BRAW files without DaVinci Resolve?
On a compatible Mac, yes: the uncompressed.io macOS app plays Blackmagic RAW natively. Playback is hardware-dependent, so send a short clip first and have the recipient try it on the Mac they will review on. In a web browser, no; send the HEVC review export for that.
Can I upload the ProRes straight off the card instead of exporting?
For a reviewer on a compatible Mac, yes. All four ProRes flavours the camera records (422 HQ, 422, 422 LT, 422 Proxy) sit within the macOS app's ProRes ceiling of 4:2:2 HQ at 60 fps; 120 fps clips are above that frame rate. For anyone watching in a browser, no: ProRes does not play in a web browser through uncompressed.io, so export HEVC from the graded timeline.
Send the grade, keep the negative
Upload a 4K HEVC review export for anyone in a browser, add the BRAW for a reviewer on a compatible Mac, and share one link. Starter is free with 5 GB and no card.
Sources
- 1.Blackmagic Pocket Cinema Camera 6K Pro, tech specs (Blackmagic Design) (sensor, resolution, dynamic range, ISO, codecs, frame rates, media; read 19 September 2026)
- 2.Blackmagic Pocket Cinema Camera 6K G2, tech specs (Blackmagic Design) (same sensor, resolution and codec options, no built-in ND; read 19 September 2026)
- 3.Blackmagic Pocket Cinema Camera, tech specs overview (Blackmagic Design) (6K Pro built-in ND: clear, 2, 4 and 6 stop IR ND; read 19 September 2026)
- 4.Blackmagic RAW (Blackmagic Design) (12-bit non-linear space, Generation 5 Color Science, DaVinci Resolve support; read 19 September 2026)