The LCD screen itself provides a surprisingly accurate indication of what your footage is going to look like, even when handling very high or very low frame rates. While this isn't especially unique, it's welcome, especially when compared to photography-minded cameras that sometimes aren't capable of showing the difference between high- and low-frame-rate video.

The growth of DSLR/mirrorless cameras—and their video capabilities—led to something of a slow obsolescence for the camcorder genre. They're not dead, necessarily, but most are relegated to specific professional uses or the video equivalent of point-and-shoots. However, several features on the BMPCC 6K Pro make a strong case for cameras that are designed for video first.

One of the headliner features here is the three built-in ND filters. Two buttons on the rear of the camera cycle between filters that offer 2, 4, and 6 stops of filtering (or none at all). If you're on a chaotic outdoor set, being able to adjust filters with a press of a button can be a lifesaver.

On the side of the camera, the 6K Pro features two mini-XLR inputs—each of which provide 48 volts of phantom power—which let you pipe in higher-quality audio than you might be able to get from most photography cameras. It also has CFast and SD UHS-II card slots, which are necessary for getting the absurdly high recording speeds necessary to capture high-bitrate 6K footage. Or you can record directly to an external SSD (provided it's fast enough, which you should definitely check before buying).

The camera's software also lets you upload custom LUTs, which you can use to preview how your footage will look when you start grading. This can be especially handy if you work on recurring sets and perform the same custom tweaks to your footage with each project. Since you're recording in Log footage, you'll still have all the flexibility you need to tweak the shots later, but being able to apply your own custom LUTs in-camera is the kind of feature that you just don't expect to get on cameras that aren't built around a video workflow.

With all those perks, and in such an inexpensive package, there has to be a downside, right? Well, aside from the weight, there's a pretty major one: the battery life. This camera uses the common NP-F style batteries, which might help cut down on needing extra accessories if you use other gear like lights that share the same battery type. But even the 3,500-mAh battery that comes with the camera doesn't last very long.

On a full charge, a single battery might last about an hour, and that can be optimistic at times. To help offset this, Blackmagic sells a battery grip ($145) that can house two extra NP-F batteries for up to around three hours of battery life. (You need to buy the batteries separately.) Conveniently, the batteries can also be charged while still in the grip, by using the camera's 12-V DC charger.

Less conveniently, the grip adds even more heft to an already chonky body. It's not an insurmountable problem for studio shoots, but between the weight and the short battery life, this might not be the best run-and-gun camera. Nevertheless, given its shockingly low price for the bevy of professional cinema features you get, budget and indie filmmakers should give it a serious look.