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This would also give a working proxy for those that need to edit dailies without adding the time to grade. Depending on your own anatomy, you might experience something different. When shooting from the shoulder, an EVF is required to shoot with the URSA. Along with that, using the monitor is very cumbersome because it’s very close to the face. The Canon does not have a branded shoulder mount, so it is no competition for the URSA.
Blackmagic Design unveils high-end URSA Cine 12K
There are standard ¼ inch threaded points positioned over the top and bottom of the camera to make it easy to add the things you need. While a shoulder mount is included, you can remove this mount and attach the camera to custom rigs using the mounting points on the underside of the camera. That's fantastic when you need to mount URSA Broadcast on lighting rigs or on set. URSA Broadcast G2 has been designed from the ground up to be comfortable enough to use all day and small enough to be taken anywhere! The weight is evenly distributed so the camera is balanced, making it comfortable to use for both handheld and over the shoulder shooting. Plus, the Blackmagic URSA Broadcast G2 includes a shoulder mount kit so you can use the camera in the traditional broadcast way without buying any extra accessories.
Blackmagic URSA Mini Shoulder Kit
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It also includes common live camera controls with multiple channels of talkback and standard television industry talkback headset connections. The Blackmagic Camera Fiber Converter features 1 Ultra HD camera feed, plus 3 HD return feeds in a compact IP video based design. URSA Broadcast G2 has the most important controls on the outside of the camera where they can be located by feel, allowing you to change settings quickly without taking your eyes off the viewfinder. Each button is located in a dedicated area on the camera with tactile dimples or guards, so you know which control you are using by feeling for it.
Record to SSDs and U.2 Media
The incredible definition around objects makes it ideal for working with green screen and VFX including compositing live action and CGI. Super sampling at 12K means you not only get better color and resolution at 8K, but also a smoothness that comes from making aliasing invisible. This new generation of digital film technology ushers in an analog style purity and subtlety to deliver a better than film experience.
Custom V-mount battery plate with D-tap +12V regulated output from camera. Convert SMPTE fiber to 12G-SDI broadcast equipment while powering remote cameras up to 2 km away. Supports converting SMPTE fiber to 12G-SDI, multiple channels of return video, control and power. Although a V-Lock compatible battery plate is included, you can also buy other types of battery plates. Set your recording options to estimate data rates and record times.
Lens
The camera comes with an Arri PL mount, but this is user-changeable. We used it with the optional Canon EF mount which just bolts right on without any need for shims or other faff. We tried a set of Canon CN-E cine primes and a Sigma full-frame cine zoom which were perfect for the job. But there is no image stabilisation, continuous AF or any codecs other than Raw which hinder it for more general use.
In summary, I was very impressed with my maiden voyage shooting with Blackmagic Design and the URSA Mini Pro 12K. It has the feature set I’ve come to expect from far more expensive cameras for a fraction of the price. It provides a great deal of versatility, whether you want uber resolution or a 4K workhorse with perks. It offers an accelerated workflow by being able to record directly to SSD at manageable file sizes in a raw format that plays very nicely in DaVinci Resolve Studio. This is probably not the camera for you if you are looking for a run and gun autofocus beast that you can vlog with.
But the problem with ND filters is they are bulky and cumbersome to use, and this seriously limits your ability to remain portable. Plus the built in ND filters are IR compensated and are matched to the sensor and the camera colorimetry. With built in ND filters, you always have them available and ready to use at any time. With a built in LCD that folds out, you can both monitor and control the camera.
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Ursa Mini Pro in use
The Super 35 sensor has a superb 14 stops of dynamic range and a native ISO of 800. The new 12K sensor has equal amounts of red, green and blue pixels and is optimized for images at multiple resolutions. You can shoot 12K at 60 fps or use in-sensor scaling to allow 8K or 4K RAW at up to 120 fps without cropping or changing your field of view. URSA Mini Pro’s interchangeable lens mount lets you choose from the widest range of vintage and modern cinema lenses, so you can capture every ounce of character and detail from your favorite optics.
If you can accept a lower resolution, shoot up to 120 fps in 2K DCI. At 120, an action that took two seconds to capture will play back at 10 seconds. Shoot at a data rate as high as 4.1 Gbps in uncompressed RAW 4.6K or as little as 176 Mbps in ProRes Proxy 4.6K. One thing to consider though, if you desire to shoot RAW in any resolution outside of 4.6K, you are going to gain a crop related to the resolution you shoot. Blackmagic doesn’t publish the changing crop factor, but it appears to be pixel to pixel reduction with your resolution change. When shooting in HD, there is more than a two times crop factor.
And it’s ideal for VFX workers who want maximum resolution for green screen work. Off-speed frame rates up to 60p in Ultra HD and up to 150p in HD. In-camera correction of color fringing when using compatible broadcast lenses. British cinematographer, Ben Davis BSC., is well known for his work on Hollywood blockbusters and beautifully crafted independent films. Ben recently shot Banshees of Inisherin on Achill Island off the coast of Ireland. Ben talks about his work with Martin McDonagh and why they chose to use a Blackmagic URSA Mini Pro 12K as one of the production cameras.
Plus, hardware is included for mounting the focus and zoom demands onto tripod handles. Advanced digital film camera with an incredibly versatile design! Includes full frame 36 x 24mm 6K sensor, wide dynamic range and PL Mount. Includes full frame 36 x 24mm 6K sensor, wide dynamic range and locking EF Mount. Includes full frame 36 x 24mm 6K sensor, wide dynamic range and L Mount.
And like all professional cinema cameras, there are lots of external buttons to access many of the main settings, or you can dive into the menus. Blackmagic Camera OS includes a Media Page for professional media management and viewing metadata information. Sort clips by duration, frame rate, resolution, codec, media slot, timecode, scene or upload status, plus search all clips, private storage or just clips within specific projects. Preview clips with duration, timecode and file name displayed and use the scrubber for fluid, precise frame control. Select clips to upload and share, and delete clips with a confirmation warning. You can also select multiple clips to batch upload, batch delete or playback in a custom timeline.
With a price of $6K, the Komodo is a fraction of the price of the rest of RED’s cameras. At half the resolution of the URSA Mini Pro 12K, the Komodo is like the E2-F8 and is modular. As to a modular design, you need additional investment to get the camera fully functional and with proper rigging. The Komodo has a super35 image sensor and offers RedCode RAW (R3D), the pinnacle of RAW available.
The Blackmagic Design URSA Mini Pro 12K comes with a Super 35mm CMOS sensor with an effective resolution of 12,288 x 6,480, or roughly 79.6 megapixels. It advertises 14 stops of dynamic range and a native ISO of 800. It records in 12-bit Blackmagic RAW (more on the recording formats later). It can record 12K Anamorphic up to 75fps and windowed DCI 4K up to 240fps. It has two 3-pin XLR jacks and a touchscreen interface built-in. The camera body weighs 5.62 pounds or 2.55 kg and currently retails for $5995.
Then the DaVinci Resolve sync bin can be used to automatically sync the recordings and display them in a multiview for easy editing. The high frequencies of synthetic materials like fabrics or the LED matrix in video walls can cause problems for ultra sharp modern lenses and high resolution sensors, creating interference patterns. URSA Cine includes a high performance, optical low pass filter that is precisely matched to the sensor. Optional B4 lens mount with precision optics and spherical aberration correction specifically designed to match the camera’s sensor so you can use your existing B4 HD broadcast lenses. Featuring a revolutionary 12K Super 35mm 80 megapixel sensor with generation 5 color science and 14 stops of dynamic range, URSA Mini Pro 12K is designed for high end feature film production. Secondly, we have the Z CAM E2-F8 Full-Frame 8K Cinema Camera.
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