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The URSA has a larger top resolution at 4.6K over DCI 4K on the C200. Additionally, the top frame rate of 120 fps on the URSA is available at a higher resolution at 2K over the 120 fps in HD available on the C200. We found ourselves with the first URSA at 16.5 pounds (lbs) and needed a tripod, but tripods with that weight capacity aren’t cheap. This camera weighs less at 5.1lbs, but the battery will weigh between two and three pounds and the lens adds another pound and a half to two pounds.
Blackmagic URSA Mini Pro EF Mount
We compared the similarities and differences between this camera and the Canon EOS R5, Z CAM E2-F8 Full-Frame 8K Cinema Camera, RED KOMODO and the Sony FX9. Because this camera shoots HDR, its monitor is 1000nit bright for real HDR preview. When shooting with the sun at our back the brightness helped. If it wasn’t that bright, the limited articulation of the monitor leaves you wanting.
Use of screen
Professional cameras need to be able to handle extreme situations as well as years of heavy use. URSA Broadcast G2 features a super strong magnesium alloy body that’s extremely tough so it can handle the bumps and knocks that consumer cameras cannot handle. The magnesium alloy is lightweight, internally there is a whole separate cooling system that pipes heat from the electronics into the heat exchanger.
New Blackmagic Media Dock
Uncompressed RAW in the Blackmagic records at 4.1 Gbps while with the Canon, Cinema RAW Light records at only 1 Gbps. At less than a quarter the size, Cinema RAW light is much more efficient. However, we must mention that the increased resolution of RAW from the URSA Mini Pro 4.6K means files will inherently be larger. With a fold out LCD screen, you don't need to bring extra monitoring! The monitor simply folds out and pivots up and down, making it super easy to shoot either down low or up high above the crowd.
Shooting in camera in smaller sizes has the advantage of still using the whole area of the sensor and also unlocks higher frame rates. Automatically populated lens data from electronic B4 lenses. Scene average auto exposure in video and extended video mode.
Use the widest range of accessories
To test this, we shot the DSC Labs Xyla 21 dynamic range chart. Each light in the chart is one stop of dynamic range excluding the first one as its set at 100 ire. We were impressed because we saw 15+ stops of dynamic range, and appreciate the surprise over the disappointment of less. The crop factor of a super 35 image sensor is 1.5x, double that to 3x for super 16.
Full Frame Capture at Higher Frame Rates
If you want peeking on, it’s on one page with all of the other shoot assists. The URSA Mini Pro 12K features internal captured 12-bit RAW with a bit rate up to 578 MB/s. It shoots up to 240 frames per second (fps) in 4K, but has an additional crop to super 16. Without a crop to the super 35 sensor, it captures up to 120fps in 8K and 60fps in 12K. It’s a nice feature having 60 frames per second (fps) in 4.6K. Slowed down to 24 fps, that’s 2.5 times slow motion — a good choice for cinematic slowmo.
The E2-F8 is a full-frame camera that captures 8K 12-bit ZRAW internally to Cfast 2.0 media. Though the design of the E2-F8 is for cinema, it’s a modular camera. With a modular camera, you add on what you need for your specific need. So there are no built-in ND, the buttons and form factor make it awkward at best without some serious investment in rigging. Its Super 35 image sensor is nearly 80 megapixels (MP), which is insane. Because 12K is 4 times the resolution of 4K, if the final product is 4K, any noise reduces in size by 4 times.
URSA CINE 17K
ISO 200, 400 and 800 are noise-free, we would not hesitate to bounce between the three. By ISO 1600 noise enters the image, but not enough that we wouldn’t use ISO 1600. However, it is enough that we wouldn’t shoot any higher than 800 with 1600 there for edge cases.
Nowhere else will you get this much camera for that low of a price. The image quality easily competes with competing cameras that come at ten times the cost. And for the dedicated videographer/cinematographer, the image is going to be far superior to anything you will get out of a mirrorless SLR hybrid. One more thing that could be a benefit or a drawback, depending on your shooting style, is the body format.
With a solid build, innovative capture and specs, the Blackmagic URSA Mini Pro 12K is a beast. Because we typically use an URSA Mini 4K in our productions, the differences between the cameras were easy to spot. The most noticeable and high value offering in the URSA Mini Pro 4.6K is its improved dynamic range over the 4K sensor. Blackmagic claims 15 stops of dynamic range in the 4.6K sensor, and compared to the 12 stops on the 4K sensor, it shows. We set up both the 4K and 4.6K URSA Minis with the same lens, distance from the subject, and exposure. The scene was lit to have one side almost over-exposed and the other side in full darkness.
Blackmagic's Just-Revealed URSA Cine 12K LF Set to Rock the Industry - No Film School
Blackmagic's Just-Revealed URSA Cine 12K LF Set to Rock the Industry.
Posted: Fri, 12 Apr 2024 18:34:24 GMT [source]
The unique design of the Blackmagic URSA Mini Recorder means it attaches directly to the back of your URSA Broadcast G2 between the camera and the battery. It’s controlled via the USB-C so you don’t have to worry about manually starting or stopping the SSD recorder. Digital film cameras shoot logarithmic colorspace to preserve the dynamic range, which is great for later post production. However, when these files are viewed on a monitor they can look flat and washed out. 3D LUTs solve this problem as they allow you to apply a "look" to the monitor so you get an idea of how the finished images will look when editing. LUTs can be applied temporarily for monitoring only, or they can be recorded into the Blackmagic RAW files for use in post production.
URSA Broadcast G2 has a high quality microphone and professional audio recorder built in so you don’t have to carry any extra sound equipment! That means you can use the built in stereo microphone or you can connect external microphones. The XLR connections have 48V phantom power so you can plug in everything from shotgun to wireless clip on mics. URSA Broadcast G2 also features knobs for adjusting levels and onscreen meters so you can trim audio levels even when shoulder mounted.
Blackmagic Cloud and clip sharing features compatible with and DaVinci Resolve 18.6 or later. Detects camera information embedded in the SDI signal from URSA, URSA Mini and Blackmagic 3G-SDI Shield for Arduino. Holds hard to mount accessories such as wireless receivers, USB disks or phone for streaming. Rotating attachment point for a video light or LED panel to illuminate your subject.
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