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Blackmagic URSA 4K Camera: Interchangeable Sensors, Flip Out 10-Inch Screen for $6K

04.7.14 @ 12:13PM Tags : , , , ,

blackmagic-ursa smallBlackmagic has done it again, introducing a product the industry has yet to see. The new Blackmagic 4K URSA camera is something else entirely, featuring a 4K Super 35mm global shutter sensor, real camera form factor, a built-in 10.1″ 1920 x 1200 fold out display, and two 5” 800 x 480 displays. Not only that, but it has both interchangeable lenses and sensors, meaning you’ll be able to upgrade to a better sensor at home removing a few screws when a better one is available.

Blackmagic URSA 4K Bigger

Blackmagic URSA Flipout recording


Here are the specs:

  • 21.12mm x 11.88mm — Super 35mm Global Shutter 4K CMOS Sensor (Probably the same as current Blackmagic Production Camera 4K)
  • Interchangeable Lens Block
  • 3840 x 2160 — 24/25/60fps
  • 1920 x 1080 — 24/25/30/50/60fps
  • ProRes HQ and Lossless Compressed RAW
  • 12 Stops Dynamic Range
  • EF/PL/B4/ or No Mount
  • Two CFast 2.0 Slots for Media Recording
  • 1 x 10.1” 1920 x 1200 Fold Out Non-Touch Screen
  • 2 x 5” 800 x 480 Touch Screens
  • SDI Video Output: 1 x 12G-SDI 10-bit 4:2:2. 1 x 3G-SDI down converted for external monitoring
  • SDI Video Input: 1 x 12G-SDI
  • Ref Input: 1 x Reference Input
  • Timecode In/Out
  • 2 XLR Inputs
  • 2 SDI Audio Out
  • Headphone Jack
  • 1 x 2.5mm LANC for Rec Start/Stop, Iris Control and Focus.
  • Power: 12V 4-pin XLR In/Out (Can take battery plates for Gold Mount and V Mount)
  • Availability: July?
  • Price: $6,000 for EF, $6,500 for PL

Here are the four options they are offering, with the Broadcast having a totally different sensor, and the HDMI-only model which has no sensor and is basically used as a recorder:

Blackmagic URSA 4K Cameras

Blackmagic Upgradeable EF PL B4 HDMI Cameras

 

Blackamgic URSA Outputs EF

 

Blackmagic URSA Connections

 

Here is the HDMI-only camera being used as a recorder:

Blackmagic Ursa-canon

 

Mounting options:

Blackmagic URSA 4K Mounting

The price is simply out of this world for what is being offered, just as it has been for their other products. Interchangeable sensors and lenses is really what we needed in this industry, as things are moving way too fast to keep up. The form factor is also much better for a production environment, and it’s going to fit in better without tons of support gear.

The only question now would be whether it can be delivered on-time for July. We’ll have more from Blackmagic at their NAB booth.

Link: Blackmagic URSA 4K Camera

COMMENT POLICY

We’re all here for the same reason: to better ourselves as writers, directors, cinematographers, producers, photographers... whatever our creative pursuit. Criticism is valuable as long as it is constructive, but personal attacks are grounds for deletion; you don't have to agree with us to learn something. We’re all here to help each other, so thank you for adding to the conversation!

Description image 258 COMMENTS

  • Dominik Belancic on 04.7.14 @ 12:16PM

    Holy f***ing shit! This is epic!

  • I’m shipping back my unopened BMPC. Does anyone know when pre-orders will open up?

  • Canon apologists what are your defense now for the c100?

    • C200 and C400 are rumoured. Will be interesting to see what happens anyway.

    • While I’m hardly an apologist, and the URSA is an amazeballs camera with a looong wish list of features, if you’re a documentarian/run-n-gunner/one-man-band (DRO) there are several reasons why the C100 (or maybe, hopefully?, C200) would still be a better choice:

      NO BUILT-IN ND FILTERS (except on the broadcast version). Unless BM is coming out with a Holy Manta-style filter system (and please Odin, from my fingers to Grant Petty’s ears), when time is short – and when isn’t it – being able to add some ND at the flick of a switch is huge.

      BATTERY LIFE AND COST. Three touch screens means big power draws. I’m sure the external battery options will outlast the BMCC’s built-in battery, but there’s no way they’ll equal the all-day shooting the C100 features. And cost-wise, the C100 is, again, the clear winner.

      RECORDING MEDIA. At least initially, Cfast 2.0 is unlikely to be as cheap as SD cards (or even SSDs if you opt for a Ninja Blade).

      STEALTH MODE. Three touch screens means you’re going to light up like Times Square at night. And if you need to “borrow” a location, or keep a camera shy subject calm, I doubt this bad boy is going to help keep you on the down low.

      WEIGHT. 16.53 pounds, bitches! (Are we still doing Aaron Paul memes?) Holy crap! And that’s without lens, battery, and shoulder mount. … Holy crap!

      SLIDERS. See above. (Re: Holy crap!)

      POINTS OF FAILURE. The C100 is hardly a masterpiece of hermetically sealed-ness, but there’s an awful lot of bells and whistles on the URSA (lovely, lovely bells and whistles). As the literature itself states, “Blackmagic URSA is designed to be used on high end feature films … with a large crew.”

      Don’t get me wrong. I’m feelin’ the envy and the wanting, but as much as a jaw dropper as this is, I am more the DRO type, and could still see myself going the C100 route.

      • Forgot one!

        LOW-LIGHT SENSITIVITY. If the URSA is in line with the rest of BMs camera, you’re going to need much more light, comparatively.

      • while agree on those things you pointed out..whether you believe it or not you are kind of being a canon apologist specially when you talk about features this camera doesn’t have because oh boy when it comes to missing features lets not even get me started with the c100.. so.. yeah. One thing I saw you fail to mention though is the prices. Look at the price at this camera and compare it to the c100.. are serious man?. I rest my case.

        • Gene Sung (non-GH2 Gene) on 04.7.14 @ 2:27PM

          I am not a Canon fan boy. In fact, I kind of despise Canon. With that said, at least with Canon you are getting a reliable product. While BMD cameras are cheap, price is hardly a consideration when the camera does NOT work right. The current 4K BMC is not useable in a real production since it has very serious and well documented sensor problems and it’s a gamble whether it’s going to work right.

          Unless you are doing free gigs / art projects with your camera, when you get your footage back and it has vertical banding, black hole suns and fields of white pixels in the image which we have run into on my friend’s 4K BMC; tell the producer that “Hey, at least the camera only costed $5K,” and see what kind of reaction you get.

          Price is not everything, especially when you are doing paid gigs where reliability is the #1 consideration and FAR out-weighs the low sticker price appeal.

          If BMD can get their act together and make a reliable camera released on time, then they have something. If not, it’s just the same old BMD.

          • I see what you’re saying and I agree with you, at the same time you really can’t deny canons is BS us with their features and prices. A 5d can shoot raw now why can’t the c100 not even shoot 60fps? They just care 99% on the money protecting their other cameras and not the user. That’s why I’m so disappointed with canon. Their cameras can do much more and they are just messing with us.

      • I’m in agreement!

  • I predict that current sensor lineup for this camera is the first gen sensors in their other cameras. Since they already have the sensor calibrations and color science down, it’s really just the body that needs to be built. I wouldn’t be surprised if they can hit their target release date (or within a couple of months).

    • Jordan Oliver on 04.7.14 @ 5:45PM

      I would hardly say they have their sensors “down”… That’s what has kept my BMPC4k sitting in my cart since the beginning of this year. TERRIBLE banding issues and random speckles.

  • Availability: July?

    LOL

  • Daniel Christensen on 04.7.14 @ 12:18PM

    Once again, Blackmagic steals the show. No one expected it in ’12, no one expected it AGAIN last year. But this, this changes the game. This is literally everything anyone could want in a camera.

  • Anthony Marino on 04.7.14 @ 12:18PM

    I’m impressed how BM kept this thing a secret for as long they did.

  • BOOM! Mind blown…WOW

    …But what’s it like in low light?

    It look like its got the same sensor that’s in their highly flawed BMPC 4K…hmmm

    Fixed Pattern Noise?….yes?…No?

    Lets see some footage please.

  • Chris Lambert on 04.7.14 @ 12:21PM

    They never did say which July….

  • Massive audio meters, actually built into the housing. You don’t need those on a blackmagic camera surely. ;)

  • finally! blackmagic kicking asses! excited to see what canon, sony and all the others will hold against this :)

  • Wait a minute… Are those audio meters? HOLY MONKEY! finally. No yeah, yeah, I like them right.

  • Just a same note I posted to AJA thread , this is current AJA camera sensor:

    “4K APS-C sized, 22.5mm x 11.9mm”

    So, current AJA (protype) uses same sensor as BM cameras…

    BUT as we can see from above news BM is giving true Super35 sensor size…

  • What about the Cfast cards. How much do they cost?

  • I need to know about the battery on this thing. Can the batteries be switched out? That’s been my main issue with the BMCC so far.

  • Favorite thing about 2014 is that video cameras are starting to look like video cameras again.

  • Fine and dandy, but what most want from BM is firmwire updates to make the existing cameras actually more useable!

  • July 2016?

  • Yeah this is everything I wanted to see from NAB and didn’t expect it to be Blackmagic AGAIN.

    Hitting the shipping dates is always a gamble with them but the sensor upgradabilty means if they delay 8 months you may get a better sensor.

    Look forward to acquiring one when they become available as our productions have called for more and more setup and don’t have the cash to jump to a RED setup.

  • Leviticus Maximus on 04.7.14 @ 12:50PM

    Shipping in July… 2015

  • Garrett Cox on 04.7.14 @ 12:54PM

    My god. Can BM please make work the cameras they already sell! I’ve already bought and sold one of them. I’m not about to invest in another only sell it after finding out it’s not yet completed and ready for for use. Commit to your product, please!

    • Jordan Oliver on 04.7.14 @ 5:48PM

      +10000
      I’ve been cheering BlackMagic on since the BMCC, but this game they are playing is really starting to get old… Is everyone really THAT excited about a camera that wont function properly, may catch on fire, and won’t be released for 2 years?!?

      Make what you already have work before you decide to make something new…

  • something tells me it won’t ship in July

  • I’m so glad they made this. But can they take a year off from building new cameras and just focus on firmware?!

    Formatting cards in-camera. Deleting clips. Audio meters in every camera. Time remaining on a card. Simple, basic things that need to be in every camera.

    I’m rooting for Black Magic, I really am. I like their hardware and culture. I hate how they neglect the small things and focus on big things instead. The small things matter, and are what hold me back from trusting them as a camera manufacturer.

  • ahahah GOODBYE ARRI AMIRA ;)

  • Spec says 3840 x 2160p60.

    Unfortunately, it’s still based on the same crappy UHD sensor as the BM4K. Which is probably why they’ve moved to a replaceable sensor system!

    • yes thats true….I agree same fixed pattern noise sensor thats in the BMPC4K

      Boooooo!!!….

  • WHERE’S CANON????? IM SORRY IM OUTTTT… CANON CAN KEEP THE LENSES COMING!!

  • WHAT’S IT LIKE IN LOW LIGHT……?

  • Has anyone looked at how close that 10″ screen will be to your face? How will you SEE around the thing to watch where you’re going?

    • Jorge Cayon on 04.7.14 @ 1:45PM

      Dude use common sense. That monitor is not intended for on the move work, aside from maybe steadicam. Thats why you use an EVF.

    • That was the first (of many) questions I had looking at this camera. Reading a bit more it appears you can throw on an external electronic VF via the HD-SDI and 12v outputs which seems easy enough with the mounting option available on top of the rig. Over all, this looks like a great start for BM. For the starting price point it is well worth keeping an eye on it.

      • Graham Kay on 04.7.14 @ 3:42PM

        Of course. But with the screen closed against the body how do you access controls on the smaller touch screen? If you have it on your shoulder you’ll have to take it off and flip out the screen to get access.

        • This is true. However most most cameras are set up this way. If it is on your shoulder and you need to make adjustments in the menus then you really aren’t prepared for the shot to begin with and you’re no longer paying attention to whats being captured. If it were anywhere else you would not only have to pull away to peek at your setting on the fly, but also take it off the shoulder and flip the entire camera around.

          • Graham Kay on 04.8.14 @ 6:04AM

            I’m thinking about ENG cameras with buttons that you can reach whilst it’s on your shoulder. The thing is that although they’ve designed it for crewed operation they should anticipate that for the price it will appeal also to lots of people who would like a shoulder mount ENG shape camera currently out of their price range (for no good reason). But it looks at first glance like it won’t lend itself well to that kind of niche, which is a bit daft because that’s a lot of custom they’re turning away. A few user assignable buttons would go a long way.

    • You don’t have to use the screen. You can use an EVF.

  • VillageBoi on 04.7.14 @ 1:26PM

    Jeez! Are they going to be smacking the world with the unexpected every year?

  • If they can make this a reality in a timely fashion, they have completely changed the game again.

    Oh one thing though, please put a MTF mount to this thing so other lenses can be adapted to it!

  • and that is why we wait…

  • Intriguing, but it’s going to be more expensive (as always) to actually start shooting with it. V-mount batteries and cfast cards aren’t cheap. According to B&H, it’s well over $1000 for a 120GB card.

    • v-mount isn’t that bad actually but the CFast 2.0 cards are going to rape your wallet!

  • Would love to get the HDMI recorder for my FS-700. Wonder what the cost will be?

  • I want Firmware updates to my Pocket Camera!

  • holy shit.

  • Brad Watts on 04.7.14 @ 1:48PM

    All these cameras coming out but none offer the dynamic range of an Alexa…although cheap they still wont be used or bought. The sensitivity on Black Magics suck as well. Cameras like the C500 may not offer more then 12 stops of range either but there colors are top notch and you can shoot up to 3200 ISO clean….these companies need to step it up…It’s cool they are making bigger better built cameras with nice ergonomics but what about everything else?

  • Gene Sung (non-GH2 Gene) on 04.7.14 @ 1:49PM

    Personally, I’m very skeptical of anything BM puts out. My friend got the BM 4K and it’s pretty bad IMO. Yes, it’s cheap but the vertical banding, black hole sun and white pixel issues which he got all of on his tests makes it borderline not useable in a real shoot, at least until the issues are fixed.

    Plus, the URSA is 16 lbs (can someone verify that)! That’s insane. I like my cameras a lot lighter than that. And what about low-light? The current BMC 4K has TERRIBLE low light.

    Yes, with BMC you get a cheap price, but it always comes with major caveats.

    • Agree 100%, I’ve been testing multiple 4K BMPC models, and all of them have sensor issues – some are better than others, but some are not usable in any lighting scenario. 16lbs sounds crazy to me, that’s Alexa territory. It CAN’T be that heavy, right? Like.. there’s no way.

      • The Alexa weighs 15.2 lbs, and it’s really not a big deal, this camera is going to be just fine.

    • Clayton Arnall on 04.7.14 @ 2:12PM

      I sent my 4K back as well because the image had a lot of noise and banding. They don’t even mention if this camera fixes that problem. All BMD does is wow with specs it seems.

    • marklondon on 04.7.14 @ 2:48PM

      I love your username!
      Having just felt it up (!) its aimed squarely at the Alexa/F5/F55 market, and that 10in screen is something else.
      Its a serious ENG/Indie drama/doco camera (as is AJA’s slightly pricer model). I LOVE the user upgradeability. That’s almost a gamechanger for me.
      I also have good word that it will ship on time. I know, I know. But this source has been right before with these guys.

      This is not a film student/super indie pic camera. If you don’t have lights, don’t go here.
      This is a working camera operator camera, perhaps someone currently rocking a C100/C300 who will buy this AS WELL. I was at the booth with a friend who is a 20 year BBC doco cameraman who has a C300 now: for him its this or the AJA as his first 4K cam.
      It will sell to the corporate/ event market like ice-cream in July. Its also the first BM cam I see having a decent rental market.

      Re the constant complaints on here re ‘I’ve done tests on 10 BM4Ks and they all have vertical banding’ etc. I’m confused. We just had our first big-budget commercial come in partially shot on the BM4K by an ASC DP and he RAVED about the camera. His AC hated it (fair call) but the pictures were stunning, and cut perfectly with the ALEXA A-cam. We had zero noise/banding issues. Two of the EPIC owners I know have bought them as B-cams and claim to love them. I shot with one for a half-day and while I still hate that form factor, the pics looked terrific, especially skin-tone. So, who should BM be listening to?

      And unless you need a 4K camera in the next week, save your cash for Q3. Still at least two more HUGE shoes to drop…..

      • Clayton Arnall on 04.7.14 @ 3:27PM

        Unless you do your own coloring you likely won’t notice the issues. Footage looked fine until I started doing a more advanced grade in resolve. That revealed a weird slight orange line right through my talent’s face. Couldn’t see it in the ungraded footage unless you squinted. Also bad noise patterns on her neck that I then had to hide by dropping the shadows more than I’d like. Believe who you like! There’s also QC issues with the camera with good copies floating around, but also very bad copies, so that may have something to do with it as well.

  • Gad fucking famn, boners and multiple erections. I have to see footage from this and the aja camera

  • Why no stay with the SSDs?

  • 12 Stops Dynamic Range – suck….

    • I was thinking the same thing.

      • Why does everyone think that 12 stops is bad? Is it because your too lazy to light? It must be, because if you did you would realize dynamic range really doesn’t mean that much. In fact there having lots of range makes it harder to light because it sees all of the spill and you can’t control it.

        • Gene Sung (non-GH2 Gene) on 04.7.14 @ 2:46PM

          Dynamic range and lighting are different issues. With more dynamic range, you see more graduations between the dark and the whites, which helps greatly with perceiving detail is high contrast situations and helps greatly with highlights. For example, if you film into the sun with clouds, with 12 stops you will see less detail in the clouds and horizon and more things will appear white or blown out as opposed to a camera with 13 stops.

          I got the 7Q for my FS700 and with S-Log 2 it’s gone from a 12 stop camera to a 13.5 or so stop camera, and the difference with just 1 1/2 stops is huge. You get so much more detail out of extreme light scenarios. Plus, the highlights are so improved. After getting that extra stop or so, I can’t go back to just 12 stops.

          • Dynamic range is handy when shooting exteriors, but 12 stops is not the reversal film you make it out to be. I understand that it sees into the shadows more, but that means you have to light them now. Traditionally if you wanted to see into shadows, you light it. It was like painting on a canvas, if you want something else, then fill it in.

            I’ve shot with the Alexa and it’s a pain in the rear to light with, because you can’t even look at you phone without the light affecting your setup in some way. Basically it easy to make garbage on an Alexa. Plus I don’t hear anybody hating on the 5D MKiii, C300 or C500 they also have 12 stops of range.

            The point is we are supposed to be Cinematographers here, and a Cinematographer is great because he can light, and can make anything look good because he can light. So when I hear people complaining that a camera doesn’t have 14+ Stops of Latitude, because that means they have to light. I immediately loose respect for them, because they are not thinking like Cinematographers, they are thinking like band-wagoning fanboys.

    • We’re now in a world where 12 stops suck?

      • Daniel Mimura on 04.7.14 @ 6:36PM

        Yup, we are. At least for me since I don’t have a truck full of HMI’s with me on most things I shoot to make it look good. More DR saves a lot of time and money.

      • Gene(also not the GH2 Gene, of the Fake Gene, or the 2 other Gene's) on 04.8.14 @ 5:27AM

        well, no, we’re not that spoiled I hope.

    • You can have 12 stop in 4K, a good highlight rolloff with accurate colors all over the range. With that and a solid codec like pro res or even raw… Well, if you can’t do something that looks cool with all that, frankly speaking, the problem is not the camera.

      My concern is low light capabilites since the 4K BMCC is not even close to a king on that department.

    • 12-Stops sucks? Well, it is a hell of a lot better than you get with 99% of cameras around, including most in the $100,000+ range. Most good DSLRs shoot about 9 stops in their compressed video format and even less usable stops. Around 7 when you factor in usable stops. Oh and their maximum dynamic range is at their lowest ISOs and drops as you head towards 800 or 1600… losing at least a stop or two in DR. The cameras used to shoot Avatar, the highest grossing film of all time with nearly $3 billion dollars, was shot on 1080p Sony Cine-Alta cameras with 2/3″ sensors and about 10-stops of dynamic range. So, yeah. 12 stops totally sucks! :P lol. You may want to check out Barry Green’s Lighting for Film & Television DVD. Not to mention the sensor is upgradable to when sensors with higher DR start coming out. BMD thought of everything this time! lol.

    • Gene(also not the GH2 Gene, of the Fake Gene, or the 2 other Gene's) on 04.8.14 @ 5:25AM

      lol, surely you jest

    • @Sergey – Just add a little light to any shadowy areas. It’s not that hard to flip on a light.

  • Christopher Kou on 04.7.14 @ 1:59PM

    “Shipping in July”

    Hahahaha! Yeah, right. Well, I will definitely be interested in this camera WHEN it ships. I have no doubt Blackmagic can and will deliver on the product eventually, but their target dates are an industry joke now. I am currently a new owner of their BMPC-4K, so that’s gonna keep me happy for quite a while yet. And when this comes out and they’ve ironed out the inevitable firmware kinks, the BMPC-4K will make a nice B cam.

  • Great stuff, especially the interchangeable sensor! But at the moment it seems to be exactly the same camera as the current 4k cam but with a new form factor and a few useful buttons and dials, am I right?

  • Somebody needs to fix the info on this page – it does 4K UHD at 60FPS, not just 30FPS.

  • My hunch is these recent announcements are going to be crueller to the smaller entrepreneur cameras like Apertus Axiom and Digital Bolex rather than Canon.

  • “The camera runs at 60 fps, however the body has the high speed processing and high capacity cooling to run beyond 100 fps, so when faster sensors are available you could upgrade and then get higher frame rates. “

  • I think this is a very sensible idea. I’m just not too hot on that sensor there, I rather have the one from the Cinema Camera as it has way better low light sensitivity and an extra stop of DR. Of course this would require MFT mount which isn’t bad either, especially when you combine it with a Speed Booster. Otherwise you get everything you need in one whole package and all you have left to worry about is mics, power supply and media storage.

  • This is why I’ve been holding out on the blackmagic cameras. They keep outdoing themselves each year. Can’t wait to see some footage from this!

  • Spec comparisons between the Cion and the Ursa

    Max resolution on Cion: 4096 x 2160
    Max resolution on Ursa: 3840 x 2160

    Max FPS on Cion: 120 fps with sdi out 4k raw, 4k pro res 422 at 60 fps in cam in 4096×2160
    Max FPS on Ursa: 60 fps pro res 422 at 3840×2160

    In camera codec on CION: pro res 444, pro res 422 HQ, pro res 422, pro res LT, pro res proxy
    In camera codec on URSA: pro res 422 HQ (I believe it has just pro res 422 as well but I can’t confirm)

    Both cameras output raw but Cion can give you raw in 120fps

    Both cameras are rate at 12 stops of dynamic range

    Both camera have global shutter

    On board storage media for Cion: AJA SSD 256 GB cost 695.00, 512 SSD costs 1295.00. Dock costs 395
    On board storage media for URSA: CFast 120 GB cost 1199.95 CF reader cost is 109.00

    Cion cam cost with PL mount: 8995.00
    URSA cam cost with PL mount: 6495.00

    Other considerations, customer support at AJA is way better than black magic. Also AJA seems to hit release dates on time as opposed to Black Magic.

    Word on the floor is that the CION seems way more rugged (their booth is packed as is Black Magics). Both cams are awesome. For features that need heavier grades in post AJA might be the better bet since it is 444, for multi cam and jib shoots CION can be controlled via laptop with it’s built in software. Depends on what you’re doing. You save money on storage on CION but URSA is still overall cheaper and includes resolve.

    Footage will look great on either cam. AJA footage can be found at the end of the product video https://vimeo.com/90658762

  • It’s like meeting a girl with a great personality but…

    BM seems to design cameras that excite hard ware guys and pixel peepers but not for the actual shooters. This thing looks clunky. Is 16lbs a rumor? And thats before Battery, glass and all the other accoutrements necessary. Is it made out of Iron?

    I admire their innovation but their follow through could really use some work… The image coming out of their current 4k cam has a pretty good look but there cameras are simply the most annoying things to use (I don’t need to list the complaints). I think if they spent all their energy on just one or two models their cameras would be near perfect by now.

    Why do I care so much? Because they are so close to revolutionizing the industry, they just need to focus more on what it’s actually like to use a camera on set.

  • Stephen Herron on 04.7.14 @ 3:06PM

    Ergonomically this makes sense, economically though, its kind of a joke. You are paying literally double the price for the same camera as their current 4k cam. Besides audio, there is no real reason to jump at this camera. It’s still UHD folks. Of course it can ship faster, their likely using the same sensor. I predict that in a year they will announce a new sensor upgrade that will likely cost you 1-2 grand.

    • Shaun Fontaine on 04.7.14 @ 3:37PM

      People seem to be forgetting about the huge 10.1″ HD display for focusing, surely that’s got to cost something.

    • Upgradable sensor is a feature worth $6k alone, IMO. The next sensor they release might be a 4k or 6k like the Kinemax with 16 stops of dynamic range & high frame rates. Would be worth paying an extra grand a year or so down the road. I’m sure it wouldn’t be hard to sell the sensor that it comes with for a reasonable amount once that comes. Sure, it will depreciate, but somewhere out there someone may need that sensor for their camera body and you use that money to help pay for the new sensor.

      • I totally agree with you, this is a product that is really going to be ¨future-proof¨. Although. the upgrades on their current line of cameras has been a bit slow and that’s why I really don’t see myself buying this until there is a better sensor available. (assuming it’s the same as the current bm4k)

    • Still cheaper than a Red.

    • @Stephen Herron – Yes the sensor is the same one as the production 4K. The difference is the URSA sensor is water cooled, which allows it to get up to 60 fps.

  • Also, URSA is way too heavy (16 pounds) for a MOVI while CION is a little over 6 pounds and should fly if paired down to a light lens and battery. I think the CION is going to be better from a spec standpoint and price becomes negligible because of the higher storage cost of Fast CF cards on the URSA. Also, way more output and monitoring options on the CION than the URSA. So it may seem like the URSA is cheaper but when you start calculating the media costs between the two cameras the CION is just slightly more expensive but way less limiting (444, weight, output/monitoring). Also, CION has a mechanical back focus which is great. I don’t believe URSA has that.

  • Love it. Footage please.

  • Shipping in July? But of what year? :D

  • Rodrigo Molinsky on 04.7.14 @ 4:17PM

    Wow, lots of comments. I don’t know if someone already addressed what I’m gonna say, but I’ll leave my thoughts.

    Blackmagic has to stop to make cameras announcements as priority and fix the ones that already have been released. The BMPC 4K has a lot of issues: unusable 800 ISO, black dots, vertical banding, power hungry (20 minutes in stand by, really?), unable to format clips and so on. Fix this is more important then say it’s gonna have a revolutionary camera in july (I ain’t gonna fall for that). Firmware update for yesterday!

    I’m not excited anymore about the BM announcements: if I pre-order a URSA camera now, it’s gonna be cheaper and obsolete in the next NAB. I have to feel the camera can deliver or else.

    And by the way: why not “true 4K” instead of Ultra HD?

  • “Shipping in July”

    Yeah ok… 2015. I gotcha. nudge nudge. wink wink.

  • Guys, did you ever ask yourself why a camera like start from 50k up to 90k
    Only the body?!?
    I think there is a big reason…and quality!

  • 16 lbs? Alright! Finally a camera, that weighs like a real camera! Tired of my tripod weighing more than my camera…

  • Like ALEXA or RED EPIC/DRAGON

    • Robert Ruffo on 04.7.14 @ 5:43PM

      NO, not like Alexa or Red Epic Dragon.

      Alexa has 14 stops dynamic range, and Dragon has 16, this one has 12. Both Alexa dn Dragon have much better color, Red has much, much better RAW compression, Dragon has much faster slomo, much higher resolution. Both Alexa and Red have real OLPFs that are precisely engineered, BM cameras so far have none -so images from Alexa and Red will look better in way that no amount of talent can fix when using BM cameras.

      Dragon and Alexa have amazing highlight roll-off, this does not (it can’t at 12 stops)

      • Dragon does not have 16 stops of DR in real-life. It has less than Alexa.

        It also shoots 6K images that are softer than 4K images from Sony F55. Meaning they have less visible resolution when comparing final 4K image.

        And finally, Sony F55 has less noise than Dragon in low light situations and wider colour gamut (same as F65).

        • Keep spreading FUD Juhan, you’re great at it. Clouding NFS with nonsense and RED hate one comment at a time!

        • Kemalettin on 04.7.14 @ 6:37PM

          are you frickin blind or something? Have you seen any Dragon images?
          i have shot side by side and here you go..Tell me which one sharper
          http://matthayslett.com/wp-content/uploads/2014/03/DragonVsAlexabeauty.jpg

          • When talking about the final image resolution, I was talking about F55 vs. Dragon, not Alexa. As you can see, if you actually read what I wrote above.

          • That comparison proves you are an amateur.

        • Dragon has 16 stops of dynamic range? Can you cite a credible source?

          • It does not.

            Very reliable, independent test by Geoff Boyle and his crew showed that Red Dragon has less DR than Arri Alexa. Which itself, as we know, is already old camera.

            Same tests also showed that Dragon has clearly more noise than what was promised. Or as a cynical person would say, extremely arrogantly hyped for several years by Red themselves.

            Failure of “noise promise” was also verified again by Red users when cameras started be to available, which resulted hilarious inter-cult fighting and literal name calling. But I guess that comes with “true cinema artists”, who have incredible passion for … inanimate objects…

      • FreshCamMan on 04.8.14 @ 7:45AM

        Really?? RED will always look awful with weird orange colour science, no matter how many K’s they add or DR stops they claim. 16? HAH! not likely. Looks more like 12. ARRI and the original BMCC have by far the best picture in the business! Girlymen!

        • ummm if they have the best image why werent they used in Oblivion which needed THE BEST DR and resolution to capture the landscape shots. #hollywoodnoobs

          • Oblivion looks so good for only one reason: 90% of the “principal photography” was shot with Sony F65.

            Actually it was rather amusing how excited Red boys were, because FINALLY they would have film with very beautiful skin tones and overall image done with Red camera. Then when person who was actually deeply involved with camera work corrected and told that is really a Sony F65 movie entirely, all the discussion ended right away.

            Too painful, I suppose.

          • @Juhan-i

            Uh, the Red Epic is clearly visible flying on steadicam in the BTS…

        • Actually Arri and Alexa do not have best images, Technically F65 on paper and in real life have better dynamic range than any video camera. Second i would put the genesis in terms of dynamic range not resoluton it still is a beast and also made by sony, Then alexa, then sony f55 or F5 or dragon all are on par, but f55 is better in lowlight, then black magic 2.5k

      • For the price of the Alexa and Dragon one should expect the image quality to be better, For the mere fact the New BMC URSA is even being compared to those high end expensive camera makes me ever more hyped to buy the BMC Camera.

        • Keep in mind, the Blackmagic 4k production camera suuuuuuuuuuuucks in low light. Since the Ursa uses the same sensor, it’s likely that it also will suck in low light. The Alexa, however is AMAZING in low light.

          Just something to think about.

      • I actually like Blackmagic’s image better than Red’s. Besides the Dragon, which looks really good so far. It goes Red Epic/Scarlet<BMCC<Red Dragon<Alexa<F65 for me.

  • Oh no this doesn’t record in 8k, and color grades the footage itself? I’m not buying it.

  • Only 60fps?

    • Yeah, only 60fps is quite disappointing. I’m out.

      • Lets make it a minimum 240fps and do internal 10bit 4k and 2k, internal 12bit, built in ND filters from 1-7 stops and have an option of an ISO range to 50k. oh and drop the price to 5,000. #sarccasim

        • +1, I love my BMPCC. This seems like the next step up. Ridiculously cheap for what you get.

  • I think black magic needs a better designer, maybe someone who really understand how a videocamere should have been designed.

    This URSA is awfull about the way it’s designed: who need a 10″ reflecting-like-a-mirror monitor instead of a good evf? It has big screen and buttons like my grandson toys…
    Aja did a better work under this aspect.

    • “BMCC needs a lot of rigging, a monitor…”
      They put a big monitor, and a lot of solutions for rigging and people complain.

      “BMCC needs real buttons, not just touchscreen”.
      BMD provides, and people complain.

      “BMCC form factor is unusable”.
      They change it to a more ergonomics friendly and… well… you already know it.

      And I can go on, and on, and on…

      • Well you know, people know everything about everything.
        “10.000fps? But is it 8k? Meh.”

      • With you there friend. Everyone should design a camera right (ergonomics etc) so it dosen’t need all these 3rd party rigs and jigs. Sometimes costing more than the camera. Shoulder mount and ENG style for me all the way. Love the large flip out screen. The small 3 inch or so is way too hard to judge for me when run and gun.
        10 inch and above 720p. I can take those shots judged by it to the bank.

  • Daniel Mimura on 04.7.14 @ 7:00PM

    That flip out screen looks like the worst idea! A 10″ hinged flip out screen? If you mount it to your shoulder (as the shape of it implies you’re supposed to be able to do, you need the screen further away from you, especially for one that big. Yes, you could use your own monitor thru HD-SDI (or HDMI if you have to for some reason)…but then why have a giant monitor built-in in the first place!? And it looks like you’ll have to flip it out to use the playback features. I guess you can use an external monitor and operate s/s (switchstance for the non-skater/snowboarders/surfers) and shoulder it on the bomb side…that way the ridiculous big monitor isn’t in your way…but you’ll still have screens up against your cheek and you’ll still have to be careful not to accidentally power down the camera with your cheek (this was a problem with the Red One until an update that let you disable the side record button and “1″ & “2″ buttons b/c some ops would inadvertently hit the buttons with their faces.)

    This looks like Blackmagic took a list of all the ergonomic complaints of their first cameras, and looked at all the praise heaped on the Alexa ergonomics and went to the drawing board to mimic that…without actually field testing it.

  • Blackmagic should change their name to RED, fake installing sensors in a clean room at NAB and ship sometimes in the next 5 years. Or they could keep it like it is and sell it to me in a few months.

    • Let us not forget when the Scarlet was first announce it was $3000 four years later when it was finally released it was $10,000. Blackmagic is trying to give us something we can work with without breaking the bank. Resolve included $1000

  • Howard L Hughes on 04.7.14 @ 7:47PM

    i wish this had the 2.5k sensor as a package

  • 12G SDI, 2 XLR’s, 10″ screen, Black Magic decided to whip out a can of wup ass!

  • Lance Bachelder on 04.8.14 @ 1:05AM

    I wish it had a bigger flip out monitor…

  • Nice try but 12 stops? industry need at least 18 stops & 4096 × 2160 resolution not the television 4K resolution . & the design can make much better modular compact & simple with a metal body finish not bulky..

  • Agni Ortiz on 04.8.14 @ 4:39AM

    Nice 3D renders. Would it be too difficult to have a smooth and comfortable shoulder support? so far I have not considered Blackmagic cameras due to ergonomics and outright ugly shoebox design. Now this one is nicer, but still seems unbearable.

  • Agni Ortiz on 04.8.14 @ 4:42AM

    Oh, and the Recorder HDMI only version reminds me of an old 1979 JVC VHS camera and separated recorder setup and as useful and convenient.

  • Sony must be shitting themselves.

    • Yeah, 4K competition is an 8 sided caged in ring, with, it appears, not much in the way of mercy.

      But oh yeah, that’s right, I’ve been told higher resolution isn’t king. ;-)

  • It looks like it has no EFV. If this is the case Zacuto will probably sell it to us for another 2K. I wonder when this madness will end. It’s like saying “here is nice car at a great price but the wheels come for an extra 25%. through another vendor. Enough. really.

  • This is quite the departure from what BMD have been doing the past 2 years, and overall I like the direction, but honestly: why use CFast cards? One of the great things about existing BMD cameras was cheap media. Now they have several COMPLETELY different cameras, and only 2 of them can use the same media. Is it too much to want a company that has cameras at different price points with the same color science, and able to use a lot of the same accessories? That would seem like a great way to get market share. Have a $1k entry camera (Pocket) that shoots great 1080p. It’s a cheap way to get into the system. From there, you could upgrade to the 2.5 or 4k, then the URSA. And if you could use a lot of the same kit, you might even keep the earlier cameras for the times you need something different. Am I the only one that thinks this way?

  • Am I the only one who is disappointed that Black Magic hasn’t announced an Active m43 mount for their 2K & 4K cinema cameras?

  • I have to say, a lot of you guys are funny…and extremely fickle. I remember a time when Alexa’s 14 stops of dynamic range was awesome and RED’s 12 (NOT 13.5, like they hyped…liars) stops was crap. “Nobody needs 4K” and “resolution isn’t everything,” you exclaimed. Now, a $6K camera comes along with more resolution than Alexa and THE SAME dynamic range as those RED cams and suddenly 12 stops is plenty and UHD resolution is all amaze-balls.

    I hope the URSA and CION find a market. I have nothing against any camera or camera company and I’m not so much for RED as I am against misinformation. But, some of you guys can’t seem to make up your minds as to what features you’re going to rally behind and which ones to consider a personal affront to your existence. The truth is that, feature- and spec-wise, every cinema camera released in the last 3 years is more camera than most people know what to do with.

  • I agree with Brian. All of the recent cameras are incredible pieces of technology compared to what we had even 5 years ago. Instead of complaining that this camera has only 12 stops or that camera doesn’t have a 4K flip out monitor, let’s thank our lucky stars we live in a time when these marvels exist. All cameras can’t be everything to everyone, otherwise there would be only one camera and everyone would have it. Decide what’s important to you, buy that camera and learn how to use it to its best advantage. Then, concentrate on what’s more important than the actual equipment you’re using to record the image and that is what’s going on in front of the camera. The average viewer recognizes good story and good acting and rarely says “oh, I see this was shot on the _____, that’s why it’s so good.” I’m not saying image isn’t important, it is…but technology has leveled the playing field for quality to the point where good stories and good performances on the other side of the glass are becoming more important than ever.

    • Here, Here….about as well said as can be.

    • Well said Bud.. Ive seen people shoot with the Red camera and the footage look like it was shot on a iPhone 3G then again I’ve some footage shot on a Canon 60D and it look like it was shot on a Scarlet.

    • What’s incredible also is that we are not far away from 8K.

      These very low priced 4K cameras are dream cameras. Let’s quit wasting time wishing they were even better. It’s like having Kate Upton and wishing for Raquel Welch.

    • I agree with you…
      I used a few different Cameras To get my new feature done.
      None Of Which Were The Red Nor The ARRI And Not The BM.
      I Chose To Buy The Canon C300, C100, 7D, 60D, 70D, 5D Mark2, 5D Mark3, an dThe T3i
      And I Used All Of Them For My Feature STEEL CHAMBER

      You Can See The Trailer AT http://steelchamberthemovie.com

  • John Teerendy on 04.8.14 @ 3:37PM

    Have BM stated what the native ISO of the Ursa is?

    • I just called BM today to ask that very question… They said they don’t know much more about the camera than what is already published on the site. I asked if it was the same sensor as the 4k Production Camera, the guy said he thought it was not the exact same, but similar. But he didn’t know for certain. Just FYI…

  • Anyone know how much 4K footage you could record on a 120GB ($1200) CFast card?

  • Pete Polyakov on 04.8.14 @ 11:28PM

    honestly speaking, from dp point of view, if you are good in your own sht, doesn’t matter that do you use… blackberry phone camera with 0.3px or 100bit range camera from the future.. at the end of the day, composition + lights/shadows… the only that matters.

  • Pete Polyakov on 04.8.14 @ 11:29PM

    and as one guy said.. you can make people cry in sd, hd, 2k, 4k and etc.

  • This looks interesting and a great leap forward from their earlier efforts. It’s hitting the targets I’m after. Super 35 sensor, PL or EF mounts. (Therefore many different primes or zooms can be used). 4K up to 60 fps. RAW.
    12 exposure latitude (pretty good) Yes I know there are cams that will do 14 and 16. But this at 6000 odd.
    Based on these specs and nothing else. we can all use this to shoot up to a Hollywood Blockbuster, let alone a Indie film. Their other Boxy cams are fine and will be great as B and C cams. The only problem besides of some reports with white and or black spots/dots. Is delivery promises. Lets hope this dosen’t happen this time. I’m drooling already and rubbing my hands.

  • Black magic you rock.
    In the recent years, how many of your guys would dream of owning a 4k camera?
    BLACK MAGIC have changed the market structure and thought about the independent film maker more and made every product of theirs affordable.
    CANON, SONY, PANASONIC etc have lowered or made options since BM joined the field.
    I might not be able to buy this NEW 4k CAM but the 2.5k Micro 4/3 I am coming for IT.

    BLACK MAGIC U ROCK
    BLACK MAGIC U ROCK
    BLACK MAGIC U ROCK
    BLACK MAGIC U ROCK
    BLACK MAGIC U ROCK

  • @ Gabe: You said:
    “Uh, the Red Epic is clearly visible flying on steadicam in the BTS…”

    From Creative Planet magazine: “This time around, Miranda chose the Sony CineAlta F65, a camera that captures images at 4K resolution on a chip that is roughly the size of a Super 35 format film frame. The filmmakers used RED EPICs for scenes that required a compact, nimble camera.” And ” Joe (Director Joseph Kosinsky) liked the way the Sony camera looked on TRON,” says Miranda. “He was after the 4K resolution. In the end, I think the F65 did really well. In the right hands, the data can be handled amazingly well. Some of the post houses we took it to brought the most out of it. It’s clean and sharp. It’s a good camera.”

    Argument over. They used the F65 predominantly, unless they needed the RED.

  • bestfrontman on 04.10.14 @ 8:03PM

    Could anybody explain to me the purpose of a fold out 9″ display? If I need a 9″ display, I WOULD NEVER WANT IT ATTACHED TO MY CAMERA. Could also anybody explain to me the purpose of a 5″ display which is going to be most of the time pressed against my ear??? Also, is it too complicated for inexperienced manufacturers to talk to REAL camera operators instead of “videographers” so they can finally understand the importance of a fucking view finder and how unnecessary is a touch screen??? Didn’t you guys learn anything from the overwhelming success of the Alexa??? And last: does this camera have the same sensor as the 4k BMPC??? I hope not. Otherwise, I’m out.

    • Personally I love the big fold out screen idea.
      I never use EVFs at all any longer and have been a cinematographer (not a videographer) for 20 years.
      To me other than a couple little things like size of body and a stop or 2 dynamic range looks pretty sweet for $6K.
      Though add $2400 and $2000 or so for cFast cards and batteries respectively.
      Still under $10k for a camera that shoots 4K up to 60fps RAW, is a really nice self contained package.
      Something no one would have dreamt of just a year ago.
      Pretty impressive to me.

      • Transcend has their CFX600 256GB CFast 2.0 Flash Memory Card for under $500… you think you would be pretty good with two of them- meaning it’d be under a $1000 for media. I spent $2500 in media for the RED Epic.

  • So, as with their ‘Production Camera” let me remind them and you folks that 4k is 4096×2160 or some similar 4096 resolution. UHD is NOT 4k.

    Also, it this is supposed to be a digital film (as in Cinema) camera, why is it not 4k? Hopefully they have an update coming. As you folks probably know, UHD does not properly scale to 2k Cinema but it of course can be done.

    I find it interesting that the humans don’t bother to get it right.

    Y’all be cool,
    Robert A. Ober