Table Of Content
If you’d rather use your existing CFexpress cards, however, there is an optional Blackmagic Media Module CF. The camera has a rolling shutter, so it has some adverse effects. The rolling shutter is not the worst we have seen, but you see it in horizontal lines when panning the camera or when filming a fast-moving object. Chris Monlux has used almost every camera released over the last two years. Moving past the technical specifications, we want to address the usability of each camera in contrast to the other.
New DaVinci Resolve Micro Color Panel
Optional side plate with 5 1/4″ thread mounts and 4 3/8″ thread mounts for adding accessories, plus a rosette mounting point for attaching handgrips or extension arms. Even if you don’t need all of the resolutions, it functions in many different ways. When you downscale the image, it looks even sharper, any noise minimizes. 12K is 4 times larger than 4K, which means you can do a 4x punch-in when finishing in 4K. That’s enough to give you a medium-wide shot, medium shot and close up all in one. Partner with us to reach an enthusiastic audience of students, enthusiasts and professional videographers and filmmakers.
Non-stop recording using the media of your choice!
And these are certainly more useable for run-and-gun style shooting. But, of course, nothing else shoots in 12K, or 8K at 110fps, in video Raw at any price. Apart from the 12K logo and the USB-C socket being moved to the back, the camera itself is identical to the old 4.6K Ursa Mini Pro G2. The body feels like it would take you through a warzone and back again, as it is very solid. At the back is a plate to take the big V-Lock style batteries. There is a good viewfinder for use on the shoulder, and the screen is bright for use on a tripod.
High Resolution Viewfinder for Accurate Focus
Blackmagic Camera 8.5 Public Beta Released - URSA Broadcast G2 Proxy Recording, Direct Cloud Upload - CineD
Blackmagic Camera 8.5 Public Beta Released - URSA Broadcast G2 Proxy Recording, Direct Cloud Upload.
Posted: Fri, 22 Dec 2023 08:00:00 GMT [source]
The bright 7” screen has a detachable sunshade and includes large handles and an articulated pivot mount that let you position and move the viewfinder independent of the camera! The large rotary control dials and customizable function buttons let you make on the fly adjustments without having to take your eyes off the action! Set up is quick and easy using the included V-Lock plate and it connects directly to the SDI monitor and power output on your URSA Mini, so you don’t need additional cables or power supplies. Automatically populated lens data from i/Technology with compatible PL lenses and electronic EF lenses when using optional EF lens mount.
Project frame rates of 23.98, 24, 25, 29.97, 30, 50, 59.94 and 60 fps supported. Turn URSA Broadcast into a professional studio camera with large and bright 7 inch screen, removable sunshade, adjustable mount and knobs for control of brightness, contrast and focus peaking. Interchangeable LPL mount that lets you use high end cinema lenses with you URSA Cine camera. Turn URSA Mini into a professional studio camera with large and bright 7 inch screen, removable sunshade, adjustable mount and knobs for control of brightness, contrast and focus peaking. Blackmagic URSA Cine Handle is required for mounting to Blackmagic URSA Cine and Blackmagic PYXIS 6K cameras.
Compatible with Industry Standard Batteries and Power
But while my CF Express card is voluminous enough to shoot stills all day without needing to be offloaded, it can only shoot roughly 6 minutes of 8K Canon Raw before filling up. Sure, I could just buy a bigger card or opt to record to the Atomos Ninja V Plus with its SSD instead. But this is both an added expense and potentially an added headache as the Atomos records from the R5 in ProRes Raw which doesn’t play so nice in DaVinci Resolve Studio. I wish all cameras had this external SSD recording option as it provides another real tangible benefit. And you’ll need to flash some more cash on memory cards and hard drives, as well as potentially upgrading your computer to edit the files. Just because the camera shoots in 12K doesn’t mean you have to, as you can record in 8K or 4K instead to save space on files.
All Blackmagic Design ATEM switchers can control cameras via a protocol embedded into the URSA Broadcast G2's SDI video connections. Setup is easy because all ATEM switchers broadcast control commands from the switcher’s SDI program output to the camera via the SDI program input. The switcher can perform color correction, tally and lens control and these are sent to all cameras. All you need to do is select the correct camera number and it all works. This means someone can manage the image color and gain so the camera operator is not distracted trying to adjust their camera, and they are then free to focus on framing the shots.
Blackmagic URSA Cine EVF
There's also a Hirose 12-pin connection on the front of the camera for B4 lens control. Plus there's a headphone connection and a USB-C connection for recording to external disks. The Blackmagic URSA Mini Pro 12K features a revolutionary new sensor with a native resolution of 12,288 x 6480, which is an incredible 80 megapixels per frame!
Includes DaVinci Resolve Studio
URSA Broadcast includes an advanced YRGB color corrector built in and full remote camera control. You can use B4 ENG lenses, large studio box lenses, or even change the lens mount and use any lens! Plus the optional Blackmagic focus and zoom demands let you control the lens from the tripod handles. URSA Cine includes an 8-pin Lemo power connector at the back of the camera that works with 24V and 12V power supplies. That means it’s easy to use the camera with existing power supplies, batteries and accessories! The front of the camera includes additional Lemo and Fischer connectors for powering lens motors and other accessories.
You get the world’s most advanced solution that combines professional editing, color correction, audio post and visual effects all in one software tool! URSA Broadcast G2 includes an advanced 6K digital film sensor, and you can change the lens mount! Use a PL mount for digital film lenses or EF for photo lenses. Plus the high dynamic range, great low light performance and Blackmagic RAW means you get a true "Hollywood" quality digital film camera.
To help you get your shots in perfect focus and exposed correctly there are displays for histogram, zebra, false colours and peaking. High quality viewfinder with full HD OLED display, precision glass optics, adjustable diopter and function buttons. Quick set up with versatile mounting and single USB-C cable for power and video. When live streaming or uploading to Blackmagic Cloud, you can connect and use an Apple or Android phone to get a connection to the internet via mobile data.
The heat exchange is mounted vertically allowing the fan to run slowly and very quietly. With a metal design, you can change lens mounts for different types of lenses, even heavy cinema PL lenses! It’s the magnesium metal design that allows the camera to handle both broadcast and cinema uses. The optional Blackmagic URSA Mini Recorder lets you record files onto large 2.5 inch SSDs, as well as the latest U.2 NVMe Enterprise SSDs! SSDs such as the latest 7mm U.2 NVMe disks are super fast, delivering data transfer speeds of up to 900 MB/s! This blazing fast performance allows you longer recording times for full resolution 4K and 6K 12-bit Blackmagic RAW files in the highest quality Q0 encoding.
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. It’s OK, you don’t need it all, but it might make your work better and easier. There is a bit of relief because Blackmagic Design does you a solid and includes the 300 dollar DaVinci Resolve Studio for free. Mountain Attack, a ski mountaineering competition, was the first real world test of the URSA Broadcast G2 live broadcast SRT streaming capabilities. Christopher Malcolm is a Los Angeles-based lifestyle, fitness, and advertising photographer, director, and cinematographer shooting for clients such as Nike, lululemon, ASICS, and Verizon.
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