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We explain what changes made this possible and suggest some cloud storage alternatives to keep your data private. For our twenty-fifth anniversary, we asked camera and lens makers what they believe to be the most significant products of the past quarter century. Among other things - it remains to be seen exactly how this non-Bayer unit behaves, but if you sample at 4k bayer and downsample to FHD - you now have full color information at each pixel. Obviously there's a diminishing gain here though, some oversampling is good but 12K won't make your HD footage any better than 4K. But you can do things like virtual pans/zooms/punch-ins "inside" your 12K frame. You can also do virtual multicam like capturing both the dialog from a distance and each talking head in the same clip.
Advanced Digital Slate
Fstoppers Review of the Blackmagic URSA Mini 4.6K RAW Cinema Camera - Fstoppers
Fstoppers Review of the Blackmagic URSA Mini 4.6K RAW Cinema Camera.
Posted: Mon, 05 Dec 2016 08:00:00 GMT [source]
If you opt for the EF mount as opposed to the PL mount of the base model, you can fit it with Canon EF lenses that have in-lens stabilization. But otherwise, you are going to want to factor in how you plan to keep yourself stable when shooting. As I said, I won’t bog you down with too much detail about the tech specs as you can easily read those elsewhere online.
Blackmagic 58mm Lens Cap
Most notably, this means new high frame rate (HFR) options for slow motion. 4.6K footage can be recorded up to 120 frames per second, while 1080p can hit 300 fps. The 4.6K/120 footage is recorded from the full width of the sensor and automatically plays back in slow motion (up to 5X when shooting 24p). Despite being a filmmaker for over 20 years now, this is the first Blackmagic Design camera I have ever used.
Built-In NDs
80MP at 120fps with 14 stops of DR, and from an APSC sensor no less? Stills shooters can't even dream of that kind of performance, no matter how big your budget is. The existence of $10000 cameras doesn't keep anyone from becoming a good videographer any more than $5000/kg saffron keeps anyone from being a good chef. A poor workman will always blame his tools, it's human nature.
Powerful color panel gives you all the control you need to create cinematic images!
Might end up being pointless to a degree for a while. For one, no one even knows when theatres will be back in action and also, it'll be a LONGGGGG time before anything like this hits TV so the only venues for it will be specialized streaming events. Even then, you'll need an 8K TV to even begin to see what it can be like.
Boost your band’s image with incredible production values
Down the line this is the resolution we can expect to get in 5-10 years from now in any consumer oriented camera. Last week we thought the EOS 5R was prestigious and a game changer, then came the overheating problems and now it looks even low specced compared to this Black Magic camera. You can do a smoother and more controlled zoom in post.
OBSBOT Tail Air review: Packed with features, but not without flaws
It’s controlled via the USB‑C so you don’t have to worry about manually starting or stopping the SSD recorder. The URSA Mini Pro 12K sensor and Blackmagic RAW were designed together to make 12 bit RAW workflows in 12K effortless. As an incredibly efficient next generation codec Blackmagic RAW lets you shoot 12K and edit on a laptop, a capability that simply isn’t possible with other codecs. The massive resolution of the sensor means you can reframe shots in post for delivery in 8K and 4K. It’s like a multi camera shoot with only one camera. And it’s perfect for great looking vertical and square video, too.
Blackmagic Design URSA Mini Pro 12K reviewed and analysed - RedShark News
Blackmagic Design URSA Mini Pro 12K reviewed and analysed.
Posted: Sat, 14 Nov 2020 08:00:00 GMT [source]
Now you can create setups for different users and productions!
The Komodo also offers a global shutter and more advertised stops of dynamic range. One more thing that could be a benefit or a drawback, depending on your shooting style, is the body format. This is not a camera built to be a run and gun vlog-style camera. This is a system meant for full professional production. Ideally, you’d be working with a team, but, if not, you will at least be working in a scenario where you can take the time to set up your shots and light and compose them properly. Its button layout and length make it comfortable to shoot within an ENG shoulder-mounted fashion.
Blackmagic URSA Mini Pro
But let's hope for new additions to its Ursa and Pocket Cinema Camera ranges and to its highly regarded video editing software, DaVinci Resolve. The latest Lumix puts a Four Thirds sensor in a full-frame body with boosted AF and a wealth of stills and video capabilities to create a Swiss Army Knife of a Micro Four Thirds camera. It may even lead some makers to finally offer me a choice of decent and affordable "pure stills" cameras again.
Then the 12K camera gives not only incredible resolution but a dynamic range of 14 stops, with colours that are very filmic once the Raw files are processed. The 12-bit Raw files mean you can change ISO, white balance, sharpening and colours as much as you like to colour correct and grade properly. Some highlight recovery is needed, as it is definitely best to over expose and recover detail rather than under-expose which reveals shadow noise. Going up from ISO 800 reveals some noise which can be reduced in post production.
We were impressed because we saw 15+ stops of dynamic range, and appreciate the surprise over the disappointment of less. There is no shortage of shoot assists with the URSA Mini Pro 12K. More than just the assists you need, you can route them to the monitor, EVF or out the SDI, be it the one in the rear or front of the camera.
Seattle-based director and cinematographer, Note Suwanchote recently did a 12K and 8K camera test in Blackmagic RAW, using the Blackmagic URSA Mini Pro 12K. Note talks about the image quality for the new 12K sensor and how easy it is to shoot using Blackmagic’s RAW codec. I also appreciated how the camera records audio in HFR mode, something many lesser cameras don’t do. While the viewfinder may not come standard, a touchscreen monitor does, and it’s the most approachable user interface you can get on a camera. Blackmagic made a point to unify its UI across camera models, so if you own a Pocket Cinema Camera, you’ll feel at home with the Ursa. The interface is easy to learn if you haven’t used a Blackmagic camera before.
I have a small collection of film-era Nikon glass I would have loved to test on the Ursa. Although not new, a key feature of the Ursa — and many dedicated video cameras — is the built-in neutral density filter control. You can select 0, 2, 4, or 6 stops of density by turning a dial, meaning you never have to fuss with a screw-on lens filters. ND filters reduce light and allow you to maintain a slower shutter speed for smooth motion and/or a wider aperture for a shallow depth of field when shooting in bright settings. Blackmagic hits a low price by selling you a bare-bones camera.
Moving past the technical specifications, we want to address the usability of each camera in contrast to the other. They have a difference of weight, with the URSA weighing 5.1 pounds and the C200 at 3.2 pounds. A little shy of two pounds doesn’t sound like much, but it would be a noticeable difference after shooting all day. We must note that when shooting in ProRes, there is no crop in any resolution or compression type unless you put the sensor into windowed mode. It’s OK, you don’t need it all, but it might make your work better and easier.
The Blackmagic URSA Mini Pro 12K is aimed at professional productions, including use with television and movies. Videos shot in 12K Blackmagic RAW can be tweaked with multiple constant bitrate encoding and quality options. The 12K sensor enables oversampling so that users get sharp, highly detailed 4K and 8K images, giving creators a bit more freedom during post-production. The unit I shot with was powered via the Blackmagic Design V-Mount Battery Plate.
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