Blackmagic 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.
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:
Here is the HDMI-only camera being used as a recorder:
Mounting options:
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.
Your Comment
246 Comments
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!
April 7, 2014 at 11:31AM, Edited September 4, 8:56AM
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 4096x2160
Max FPS on Ursa: 60 fps pro res 422 at 3840x2160
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
April 7, 2014 at 11:37AM, Edited September 4, 8:56AM
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.
April 7, 2014 at 11:49AM, Edited September 4, 8:56AM
It weighs about the same as the Arri Alexa without batteries or Glass. BMD knows what they're doing.
April 7, 2014 at 12:07PM, Edited September 4, 8:56AM
Alexa was designed pre MoVi so I think Black Magic should have taken that into consideration when designing the cam.
April 7, 2014 at 12:25PM, Edited September 4, 8:56AM
If your going to use the movi, your going to rent the Production Camera
April 8, 2014 at 10:10AM, Edited September 4, 8:56AM
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.
April 7, 2014 at 12:06PM, Edited September 4, 8:56AM
People seem to be forgetting about the huge 10.1" HD display for focusing, surely that's got to cost something.
April 7, 2014 at 12:37PM, Edited September 4, 8:56AM
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.
April 7, 2014 at 12:58PM, Edited September 4, 8:56AM
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)
April 7, 2014 at 1:26PM, Edited September 4, 8:56AM
Still cheaper than a Red.
April 7, 2014 at 1:59PM, Edited September 4, 8:56AM
@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.
April 8, 2014 at 12:08PM, Edited September 4, 8:56AM
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.
April 7, 2014 at 12:19PM, Edited September 4, 8:56AM
Love it. Footage please.
April 7, 2014 at 12:25PM, Edited September 4, 8:56AM
Shipping in July? But of what year? :D
April 7, 2014 at 12:28PM, Edited September 4, 8:56AM
Could you be anymore unoriginal? Filmmakers.... or rather "filmmakers"...
Geez.
April 7, 2014 at 12:46PM, Edited September 4, 8:56AM
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?
April 7, 2014 at 1:17PM, Edited September 4, 8:56AM
I highly doubt it's gonna be obsolete, since the interchangeable sensor.
April 7, 2014 at 1:29PM, Edited September 4, 8:56AM
Everything else you said, right there with you. Seems bmd isn't gonna be making cameras for long if they keep abandoning their old products like this..
April 7, 2014 at 1:32PM, Edited September 4, 8:56AM
+1
April 7, 2014 at 2:55PM, Edited September 4, 8:56AM
"Shipping in July"
Yeah ok... 2015. I gotcha. nudge nudge. wink wink.
April 7, 2014 at 1:34PM, Edited September 4, 8:56AM
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!
April 7, 2014 at 1:56PM, Edited September 4, 8:56AM
16 lbs? Alright! Finally a camera, that weighs like a real camera! Tired of my tripod weighing more than my camera...
April 7, 2014 at 1:56PM, Edited September 4, 8:56AM
Like ALEXA or RED EPIC/DRAGON
April 7, 2014 at 1:58PM, Edited September 4, 8:56AM
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)
April 7, 2014 at 2:43PM, Edited September 4, 8:56AM
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).
April 7, 2014 at 3:02PM, Edited September 4, 8:56AM
Keep spreading FUD Juhan, you're great at it. Clouding NFS with nonsense and RED hate one comment at a time!
April 7, 2014 at 3:04PM, Edited September 4, 8:56AM
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
April 7, 2014 at 3:37PM, Edited September 4, 8:56AM
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.
April 7, 2014 at 5:09PM, Edited September 4, 8:56AM
That comparison proves you are an amateur.
April 13, 2014 at 11:39AM, Edited September 4, 8:56AM
Dragon has 16 stops of dynamic range? Can you cite a credible source?
April 7, 2014 at 5:46PM, Edited September 4, 8:56AM
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...
April 8, 2014 at 9:21AM, Edited September 4, 8:56AM
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!
April 8, 2014 at 4:45AM, Edited September 4, 8:56AM
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
April 8, 2014 at 8:57AM, Edited September 4, 8:56AM
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.
April 8, 2014 at 9:08AM, Edited September 4, 8:56AM
@Juhan-i
Uh, the Red Epic is clearly visible flying on steadicam in the BTS...
April 8, 2014 at 3:55PM, Edited September 4, 8:56AM
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
April 17, 2014 at 10:20PM, Edited September 4, 8:56AM
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.
April 8, 2014 at 3:31PM, Edited September 4, 8:56AM
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.
April 9, 2014 at 3:21AM, Edited September 4, 8:56AM
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.
April 8, 2014 at 9:24PM, Edited September 4, 8:56AM
Oh no this doesn't record in 8k, and color grades the footage itself? I'm not buying it.
April 7, 2014 at 2:23PM, Edited September 4, 8:56AM
Exactly. Such BS. I was expecting sub $2K by now on something like this. Pass! ;)
April 7, 2014 at 3:39PM, Edited September 4, 8:56AM
Dood I was really hoping for $999.95 on this one.
April 7, 2014 at 5:16PM, Edited September 4, 8:56AM
Dang, I was expecting they'd pay me to use it. ;^)
April 8, 2014 at 1:49AM, Edited September 4, 8:56AM
Don't worry. Your clients will do that for you.
April 8, 2014 at 2:32PM, Edited September 4, 8:56AM
Only 60fps?
April 7, 2014 at 2:52PM, Edited September 4, 8:56AM
Yeah, only 60fps is quite disappointing. I'm out.
April 8, 2014 at 5:43AM, Edited September 4, 8:56AM
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
April 8, 2014 at 9:03AM, Edited September 4, 8:56AM
+1, I love my BMPCC. This seems like the next step up. Ridiculously cheap for what you get.
April 9, 2014 at 2:53PM, Edited September 4, 8:56AM
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.
April 7, 2014 at 3:04PM, Edited September 4, 8:56AM
"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...
April 7, 2014 at 3:20PM, Edited September 4, 8:56AM
Well you know, people know everything about everything.
"10.000fps? But is it 8k? Meh."
April 7, 2014 at 8:00PM, Edited September 4, 8:56AM
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.
April 9, 2014 at 2:52AM, Edited September 4, 8:56AM
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.
April 7, 2014 at 4:00PM, Edited September 4, 8:56AM
Dumb side, not bomb side. Autocorrect fail.
April 7, 2014 at 4:01PM, Edited September 4, 8:56AM
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.
April 7, 2014 at 4:45PM, Edited September 4, 8:56AM
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
April 8, 2014 at 7:09PM, Edited September 4, 8:56AM
i wish this had the 2.5k sensor as a package
April 7, 2014 at 4:47PM, Edited September 4, 8:56AM
12G SDI, 2 XLR's, 10" screen, Black Magic decided to whip out a can of wup ass!
April 7, 2014 at 7:22PM, Edited September 4, 8:56AM
I wish it had a bigger flip out monitor...
April 7, 2014 at 10:05PM, Edited September 4, 8:56AM
LOL, that made me spill my coffee, suddenly I thought a 24" would sit great there.
April 8, 2014 at 12:11AM, Edited September 4, 8:56AM
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..
April 8, 2014 at 12:32AM, Edited September 4, 8:56AM
Broadcast needs more stops than you can wrestle out of the RED Dragon?
April 8, 2014 at 8:26AM, Edited September 4, 8:56AM
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.
April 8, 2014 at 1:39AM, Edited September 4, 8:56AM
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.
April 8, 2014 at 1:42AM, Edited September 4, 8:56AM
Sony must be shitting themselves.
April 8, 2014 at 6:18AM, Edited September 4, 8:56AM
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. ;-)
April 8, 2014 at 8:14PM, Edited September 4, 8:56AM
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.
April 8, 2014 at 6:18AM, Edited September 4, 8:56AM
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?
April 8, 2014 at 7:36AM, Edited September 4, 8:56AM
Am I the only one who is disappointed that Black Magic hasn't announced an Active m43 mount for their 2K & 4K cinema cameras?
April 8, 2014 at 7:44AM, Edited September 4, 8:56AM
I'm disappointed too. Please give us active m4/3 on your cinema cameras BM!
April 8, 2014 at 2:29PM, Edited September 4, 8:56AM
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.
April 8, 2014 at 11:05AM, Edited September 4, 8:56AM
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.
April 8, 2014 at 11:34AM, Edited September 4, 8:56AM
Here, Here....about as well said as can be.
April 8, 2014 at 5:46PM, Edited September 4, 8:56AM
Damn autocorrect. That should read Hear, Hear!
April 8, 2014 at 5:47PM, Edited September 4, 8:56AM
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.
April 8, 2014 at 7:19PM, Edited September 4, 8:56AM
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.
April 8, 2014 at 8:23PM, Edited September 4, 8:56AM
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
April 20, 2014 at 7:00PM, Edited September 4, 8:56AM
Have BM stated what the native ISO of the Ursa is?
April 8, 2014 at 12:37PM, Edited September 4, 8:56AM
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...
April 8, 2014 at 7:42PM, Edited September 4, 8:56AM
Anyone know how much 4K footage you could record on a 120GB ($1200) CFast card?
April 8, 2014 at 2:22PM, Edited September 4, 8:56AM
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.
April 8, 2014 at 8:28PM, Edited September 4, 8:56AM
and as one guy said.. you can make people cry in sd, hd, 2k, 4k and etc.
April 8, 2014 at 8:29PM, Edited September 4, 8:56AM
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.
April 9, 2014 at 2:46AM, Edited September 4, 8:56AM
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
April 10, 2014 at 1:00AM, Edited September 4, 8:56AM
@ 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.
April 10, 2014 at 1:42PM, Edited September 4, 8:56AM
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.
April 10, 2014 at 5:03PM, Edited September 4, 8:56AM
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.
April 25, 2014 at 7:45AM, Edited September 4, 8:56AM
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.
August 7, 2014 at 9:33AM, Edited September 4, 8:56AM
So, as with their 'Production Camera" let me remind them and you folks that 4k is 4096x2160 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
April 18, 2014 at 1:47PM, Edited September 4, 8:56AM
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