The Blackmagic URSA Mini 4.6K looks like it's finally shipping — as is the Micro Cinema Camera — but neither will come with global shutter, as originally planned.
Hundreds have been shipped out worldwide, so we should see them in many people's hands very shortly (and if we can, we'll also try to get our hands on one to see how it compares to the previous models).
The reason for the extended delay is simple and complex at once. As CEO Grant Petty explains in the video below, trying to get the URSA Mini 4.6K and Micro Cinema Camera to do both global shutter and rolling shutter wasn't working as well as they had hoped, and wasn't giving them ideal performance. Thus, they've made these models rolling shutter-only (at least for the foreseeable future) to get them out into the world:
The company also released this short film shot by DP John Brawley on the URSA Mini 4.6K, followed by a "making of" video (you can download both of these videos in 4K/UHD, as well as sample RAW footage, from the Blackmagic site here):
URSA Mini Short
URSA Mini Making Of
Here's more from Blackmagic's press release:
For the past 6 months, Blackmagic Design engineers have been working extremely had to resolve the issues. As the performance of the global shutter is not up to the high quality level that Blackmagic Design strives to give it’s customers, Blackmagic Design have decided to ship both of the cameras without the global shutter feature.
The prime reason for this decision is that over the last few months, professional cinematographers and DOP’s who have been beta testing the cameras on all types of different projects have reported incredible results. Their feedback is that the cameras should not be delayed for this feature as the main benefits of the cameras are the wide dynamic range, and that this dynamic range is only available when running without global shutter. The beta testers working in high end digital film and television production are urgently wanting to use cameras such as URSA Mini 4.6K to obtain the advantage of the 15 stops of wide dynamic range and high frame rate capabilities of the rolling shutter.
With the release of URSA Mini 4.6K, customers will be able to choose between two very different models of URSA Mini. Originally URSA Mini 4K was intended to be the entry level model and the URSA Mini 4.6K to be the higher end model with more features. However, now these two cameras are targeted for different kinds of work as customers can choose between URSA Mini 4K if they want global shutter for fast action sports and URSA Mini 4.6K if they want wide dynamic range for high end digital film work.
Check out these additional 4.6K clips. You can see more in the Blackmagic gallery, or on our previous roundup post:
So, what's the difference between using a global shutter or rolling shutter? Most cameras we work with today have rolling shutters, which make the image skew and wobble when it's panned back and forth too quickly. A global shutter has no skew, and cameras like the Blackmagic Production Camera 4K, original URSA 4K and URSA Mini 4K, Sony F55, and Digital Bolex all have these kinds of sensors (or at least are released only with a global shutter mode).
To a certain extent, a global shutter can affect the performance of the sensor, which can come at the cost of decreased dynamic range and sensitivity. This is what we saw when Blackmagic went from the Cinema Camera 2.5K to the Production Camera 4K. Though resolution went up, dynamic range and sensitivity went down. Different companies have managed to work with these constraints in different ways, but in general, rolling shutter tends to provide better overall image performance.
The interesting thing about their newest implementation was that the URSA Mini 4.6K and Micro Cinema Camera were originally planned to be switchable between global and rolling, right in the menu. If you're shooting fast-moving objects, bouncing around in a car, or running after someone, global shutter can be preferable. But for many shooting situations, rolling shutter isn't a problem, and some cameras have faster read-out speeds than others, which means that the rolling shutter is less pronounced. Smaller cameras tend to have it worse than larger cinema cameras with more processing.
Blackmagic essentially wanted to give us the best of both worlds, but it hasn't worked out the way they had hoped. If you need global shutter, Blackmagic makes a number of larger models that utilize the same 4K sensor, which is slightly limited in dynamic range and sensitivity (around 12 stops and cleanish 400 ISO vs 15 and 800 for the 4.6K). This 4K sensor has also suffered from a number of image issues that have been corrected to an extent, but can still rear their head.
Here are more clips of the 4.6K:
Video is no longer available: vimeo.com/157306694
Specs for the 4.6K are pretty much the same as when we first covered the camera at NAB. It's still capable of RAW and compressed RAW at 4608 x 2592 up to 60p, as well as UHD 3840 x 2160 up to ProRes 422 HQ, and 1920 x 1080 up to 120fps in a cropped window mode. The camera does feature the newer CFast 2.0 cards that Blackmagic adopted with the original URSA, as these are necessary for high-res recording (they've also started to come down in price). As for packages, the camera still comes in both $5,000 EF and $5,500 PL mount versions (which both have a built-in 5" 1080p screen), and you can add the new 1080p OLED viewfinder and shoulder mount package for another $2,000 or so combined. Adding in cards and batteries, you can put together a pretty complete shooting package for under $10,000 total.
Micro Cinema Camera
The $1,000 Micro Cinema Camera has also not really changed since NAB, except for the fact that it will be rolling shutter only, just like the 4.6K camera. This camera features a Micro 4/3 mount, SD card slot, and Canon LP-E6 battery slot, and can record 1080p up to 60fps, including RAW and ProRes formats. While it uses a similar Super 16mm sensor as the Pocket Cinema Camera, the big difference between the two is that the Micro Cinema Camera does not have a screen, as it is designed to be as small as possible. They expect this to be a drone camera, as well as a replacement for GoPros in certain instances. You can connect an external monitor with an HDMI cable in order to see what your image looks like and change settings. When a monitor is mounted, it can be operated just like any other camera.
You can see a clip shot with this camera here (though footage should look very similar to the Pocket):
Both cameras are technically shipping, but depending on backorders, we'll see how quickly they hit critical mass; with such intense hype, the backlog may be pretty big. I'm sure Blackmagic will be looking to ship as many before NAB as they can — especially as they're always cooking up something new.
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76 Comments
My thoughts are this. I appreciate what Blackmagic is striving to do I really do, but I would caution them on something from a business advice standpoint. Stop announcing cameras! Just stop! This year at NAB please say nothing. Here is why. Each and every year they announce the best camera for the price. They then proceed to keep telling potential customers about unforeseen problems which invariably cause delays. Can you imagine if they'd said nothing last year? Here's how it would've gone down. "We are working on special things" when people would ask them at the booth. That's it! Now thy would've kept the global shutter problem a secret and they should have. We never would've known these problems. Beta testers would sign non disclosure agreement. Then you hire an actor that is fairly well known and a director and a great script writer. Film a great short. Then when it's ready release the camera. Announce it and say "Shipping tomorrow!" And boom you'd have consumer confidence. None of this anger that goes back and forth year after year. Grant should never have had to share the secret of how we almost had both rolling and global shutter. Keep it within the group that are beta testing and call it a day. I really would like to see companies like this succeed but they don't allow any time to pass before announcing a camera or two prematurely. Be patient. It's a virtue
March 17, 2016 at 12:49PM, Edited March 17, 12:49PM
The trouble with your well-thought out and solid plan is that if they did this, users will sit on their money for the "next big thing" announced by some other company who offers an astonishing camera features at unheard of prices, who also fails to deliver. BMC is racking up a terrible record... before their first orders were shipped, they announced "even better" cameras at nearly the same price. They spend money on new product development before ever getting announced or existing products debugged, and that is not the way to build a good reputation as a manufacturer. It keeps people interested, but sooner or later, those with cash and a true need for a new camera will buy something from a reputable company and go make art and/or money with it. This "announce & delay" strategy is eerily similar to the way software companies did with vaporware, just to keep people from buying competitors products.
March 17, 2016 at 1:08PM, Edited March 17, 1:11PM
Well last year around September, October I was looking to buy a new camera and the Ursa Mini was my first choice. Because of the delays I went and purchased a Sony FS7, and I'm glad I did. I'm happier having my FS7 than dreaming about the Ursa Mini.
March 17, 2016 at 6:03PM
I'm still not seeing a problem with the method of silence. People sitting on their money? People will do what they're going to do. I still don't understand buying a car without test driving it first. So when it comes out there will be "test drivers" and people will buy but waiting until it's actually available to announce it would increase consumer confidence.
March 18, 2016 at 5:54AM
Yes. 100% yes. They're sort of taking the RED approach (although RED is getting far better at delivering stuff, at least in bits and pieces).
March 17, 2016 at 1:09PM
One big difference, RED over deliveries on features (and their cams don't fall apart in your hands AND GET BETTER with time).
The global shutter feature was the main thing that made these new batch of BMD cameras potentially interesting.
Now there is no reason to "roll the dice" on these disposable cameras.
I wonder what percentage of folks w/ roll on a refund and re-up w/ RED Raven
March 18, 2016 at 3:07PM, Edited March 18, 3:12PM
Red used to have problems with delivery and with specs. If you look back at the release of the original epic, you'll see.
March 18, 2016 at 4:42PM
... too bad Red cameras still all look like the Panasonic GH2 with better dynamic range.
March 18, 2016 at 8:30PM
Whoever join's the Raven lineup is making a big mistake. Just like they would be with the Blackmagic systems. Quality controls issues have gotten better for Red, but are no where near the speed, accuracy, and reliability of Sony's cameras and camera department. Red has about 500 engineers, Sony has 10,000. Let's not even talk about the dramatically cheaper cost of repairs, faster customer support, and reselling value.
March 21, 2016 at 12:12AM
yeah like the "16+ stops of dynamic range" and new model that still have purple blob direct sun light artifacts.
March 20, 2016 at 1:00AM
I run my own business.
One thing I've learnt is to UNDERpromise and OVERdeliver.
That will turn clients into returning fans that act as your ambassadors.
The other way around leads to cynicism.
Having said that: I'll take a look at the raw footage :-p
March 17, 2016 at 1:43PM
Agreed. First let me say I pre-ordered the BMDPC 4k and BMDCC. After this announce at NAB and over promise on delivery strategy I will likely not consider any of their products an option until shipments start rolling out and are tested by the public. Also waiting and waiting for the firmware updates as well. It makes me feel like a good friend that owes me money instead of thankful for a product that eventually became close to what was promised.
March 18, 2016 at 11:33AM
You may want to help the Blackmagic and RED teams. If they are willing to listen. Maybe Blackmagic will be more responsive.
March 21, 2016 at 12:15AM
I couldn't agree more! What really bothered me though was how they (in specific Grant) addressed the issue: "Oh we promised something (more than half a year ago) and now we can't deliver, but you know what? That doesn't really matter, because the people who we sponsor to use it are really pleased with it! Oh! And now we have a great opportunity. We can sell the older model as if it we're new again, because now we have two very different types of camera..."
Excuse my language but: F*** off!!
Next time don't promise things before you are certain you can deliver!
I had a Micro Cinema Camera reserved exactly due to the rolling shutter issue on my Pocket (and 60p) but now there's no point in "upgrading".
March 17, 2016 at 1:59PM
That was a video that should have been split in two. I was uncomfortable just watching it. Make one apology and publish it. Then make another video talking about the camera as it is without ever having to say, "but... it still has..."
I think Grant Petty is a great guy, but as an engineer first and foremost I think he needs to bring in some talent that can understand his vision but help him execute on it better. The 4.6K turned into such a massive PR disaster and it didn't have to be that way. Period.
March 18, 2016 at 11:50AM
That seems to work for Apple.
March 17, 2016 at 5:04PM
They always come up with some craps which never work properly. Shut downs and frame drops... I had lots of disgusting experience and lost lots of money with their cameras.
March 18, 2016 at 11:23AM
Looks like an awesome camera. Shame about the global shutter option being taken out of both cameras.
March 17, 2016 at 1:26PM, Edited March 17, 1:26PM
To an extent, this is the flip side of Canon hating. How dare Canon make incremental increases, text extensively and charge accordingly for a decent product cycle. Remember the pretty funny Andrew Reid video ribbing Canon execs:- https://www.youtube.com/watch?v=sJBq0z2Vmu4
If Canon weren't so professional, they might be doing this for real at BM now.
March 17, 2016 at 1:47PM, Edited March 17, 1:49PM
Blackmagic has always been at the bleeding edge with their cameras in terms of value and performance. They've changed the course of the industry in terms of what's available to customers. You simply can't be this type of company without making mistakes. There's is no "Canon version" of Blackmagic. The better Blackmagic gets at testing and designing and planning, the more their costs will go up, the less they'll innovate and the risks they're willing to take on will go down.
March 18, 2016 at 11:57AM
It would be nice if they could take this 4.6k sensor and slap it in the classic bmcc body and limit the spec to make s better 4k camera.
Also it would be great so I could keep all my other expensive devices. Cards. Rig. Batteries.
call it the BMPCC MARK II
March 17, 2016 at 2:50PM, Edited March 17, 2:50PM
I guess I understand people's frustration with the delays and the lack of global shutter being promised but I actually love what Blackmagic are doing as a company. They are hands down the most disruptive company in the business right now since Red first came to market (remember how much cameras cost before the Red One, hundreds of thousands of dollars). They have been offering affordable cameras that shoot 10 bit and 12 bit video that have cinematic qualities that rival all of the other competitors out there. Are there bugs, are there growing pains are there bad ergonomics yes, absolutely but you could say the same about Sony as well. Ultimately though, it all comes down to image and they do deliver a camera capable of an amazing image in a price that is impossible to beat. I'm sorry, but the FS7's (which is closest in price) image just doesn't hold a candle to the image from the 4.6k. The color, the detail, everything about the 4.6k image is pleasing to my eye and having worked with the FS7 I was very disappointed with the footage as the color just doesn't do it for me. These guys are offering very high end quality for a very affordable price so I'm not going to complain too much.
March 17, 2016 at 3:08PM, Edited March 17, 3:08PM
If you're shooting in full, 10-bit 4K at the highest quality settings, there's so much color information in the FS7/F5's file that to not be able to get the look you want kind of falls back on you, IMO.
I can agree that out of the camera it might not fit your preferences, but there are ways to quickly alter the color to start in a different place.
March 18, 2016 at 12:08PM
The global shutter was the only thing that interested me about this camera. Curious if the new sensor was scrapped completely. Perhaps this the Pocket sensor has been added to the new Micro housing? I was disappointed with the noise and moire / aliasing in the pocket, so I sold it.
March 17, 2016 at 4:15PM, Edited March 17, 4:15PM
Hey BlackMagic, now that you have some empty space from the absence of a global shutter, how about just sticking some ND's in there? I think that would have softened the blow a bit and made your customers a bit happier.
March 17, 2016 at 6:43PM, Edited March 17, 6:44PM
I downloaded the UltraHD version of the promo from the blackmagic website. Looks an awful lot like fixed pattern noise at 1:23 in the video... the car driving at night. Am I wrong?
March 17, 2016 at 7:13PM, Edited March 17, 7:13PM
Fixed pattern noise seems to be a part of all their cameras. I had the pocket. It was there if I raised the blacks to high or used iso 1600. Same with my 2.5k I have now.
March 17, 2016 at 11:37PM
I have the pocket too. I was hoping they would have solved that issue with this new sensor. I haven't heard anyone that has tested the camera comment about it. I suppose we'll have to wait for real reviews to get the honest dirt on this thing. Daytime images look gorgeous and color looks very good all around.
March 18, 2016 at 6:16AM
True. Imagine having to work within the limits of your camera? Staggering thought isn't it? lol
March 18, 2016 at 12:00PM
What in the world are you talking about Tyler?
March 21, 2016 at 3:25PM
I wonder if there will be some sort of upgrade or firmware change in the future to allow for G shutter? And a discount of some sort for an incomplete product.?
March 17, 2016 at 7:26PM, Edited March 17, 7:26PM
I have been looking for a proper night test shot with the 4.6k sensor for such a long time that that it just hurts. If somebody knows where to find one, please let me know. It hurts man, it just hurtsss
March 17, 2016 at 7:33PM, Edited March 17, 7:33PM
I haven't seen one footage from Black Magic camera that does the color rendering accurately.
Doesn't matter how many stop of dynamic range it has. The skin tone and the overall color just seems off to me.
I know all these clips are heavily color altered in the post, but there is always something unnatural about the footage color. Really a pity.
March 17, 2016 at 9:31PM, Edited March 17, 9:31PM
So download the footage and grade it yourself... the cameras are used on blockbusters and the main thing why its used is because of the size and the likeness of the Arri color science so your comment is your personal opinion and not a fact
March 17, 2016 at 10:35PM
Likeness to Arri color science??? What?? Dont want to start a long argument but you should rent alexa mini and start pushing the colors around. Bmc and Arri products are not even in the same univerese in terms of colors.
March 18, 2016 at 6:26AM
https://www.blackmagicdesign.com/products/blackmagicursamini
I recommend you download the 4.6k Raw files, the 12.3.2 update of Resolve and start pushing the colors around. You might be surprised.
March 18, 2016 at 7:20AM
Actually, if you read the article on the making of Whiskey Tango Foxtrot, they used the pocket cam to match the Alexa quite well when they needed to shoot in cramped spaces. The Avengers 2 used the pocket as well as it matched the color on the Alexa better than any DSLR out there. So yes, BM are making poor man Alexas in a way and I'm all for it.
March 18, 2016 at 8:22AM
Not in the same Universe? Where are you located? Have you shot with 4.6K?
I constantly hear from DP's at the top of their game that ARRI, RED and BMC are the three cameras with great color science. RED uses annoying filters over its sensors, ARRI fakes its 4K, and BMC is, well, BMC. But any DP worth their paycheck should be able to shoot with either of the 3 camera brands and produce something stellar. No one brand is sacred.
March 18, 2016 at 12:13PM
A lot of what you see are peoples specific grades. I almost didn't buy a camera because of how bad a lot of footages looked on vimeo/youtube.
I enjoy shooting Raw but hated how yellow it looked until I downloaded the BMDfilm from vision-color. after that the footage can look as simple as canon or any other camera.
March 17, 2016 at 11:42PM, Edited March 17, 11:42PM
You might want to stop judging video quality on your crappy PC laptop. ;)
Honestly though, if you're looking at the footage on a proper (calibrated) monitor I have no idea how one could come to your conclusions.
March 18, 2016 at 12:02PM
Guys, respectfully, I think everyone needs to shut up and be grateful that somebody is doing what BM does. Yes BM cameras are quirky, occasionally fail, and always release later than announced. But BM is also a force for innovation and change that brings progress to the industry as a whole. They are basically the new red, releasing mind-blowing IQ at insane pricenpoints, yet releasing cameras with some inconsistencies, much later than promised. Because of red we got sub 100k cameras that can rival film, and that was a feat of its own at the time. Because of Blackmagic, we got sub 10k s35 4k cameras that can come close to red and alexas ( fs7 , raven, even a7s to some extent)
I think people most understand what this camera is and it is not. It is not a proper replacement for a dragon or alexa, even though the image comes somewhat close. Based on all previous BM products, the camera is likely not as reliable and hassle free as the former choices, and the postproduction is significantly more involved and thus more expensive(time is money).If you are making enough money to either buy or rent a Red or Alexa, you probably should do so. What this camera is, is a serious prosumer cinema camera. A true cinema camera, with some professional features that redefine the category. Its the camera for people who want a high end look, and have more time than money. Its a camera for film students and lo budget filmmakers, or filmmakers who cannot rent cameras in their market. It's a camera for people starting out, and i'm sure people will grow professionally because they use it. Its a camera for people whose ambition is greater than their pockets, and are willing or able to go the extra mile. For that purpose it is excellent, and the delays, announcement missteps, and bugs are virtually insignificant in comparison.
So lets not be spoiled consumers, enjoy it for what it is, and be thankful that they are directly or indirectly, propelling the whole industry forward.
March 17, 2016 at 10:57PM, Edited March 17, 10:57PM
You lost me at ''shut up'...
March 18, 2016 at 5:12AM
Sorry if I offended you. I wasn't trying to censor anybody, I used the language to make a point about the value of blackmagics, and how their lack of flawlessness does not make them worthless. Some people can live with the compromises, some can't and it's OK either way.
March 18, 2016 at 2:17PM
Will anyone title there next film project "Guys, respectfully, I think everyone needs to shut up (A summary of these days and times) ?
March 18, 2016 at 8:24AM
My point was about consumer entitlement, and how in the end, you get what you pay for in one way or the other. Everyone chooses what compromises they deem acceptable. If Blackmagics aren't, you can shoot with some other system. Just don't expect any camera to be free of compromises ( for example, price, for higher end systems)
March 18, 2016 at 2:12PM
The fuzz is not about what they do, but about what they say they'll do and then don't meet deadlines AND promises.
Imagine you are going to make a video for a client, but deliver it far too late without the topics that were supposed to be addresses. That is what the fuzz is about.
And appearantly some people have been waiting for the cameras as they were promised and now feel like the marketingblabla held their budget hostage for 11 months (since NAB 2015).
Next time they announce something, nobody will count on it that they will be in time, but even worse: lots of people will doubt what they promise.
RED made that mistake before with the Scarlet. It seems they learnt from it.
So hopefully, BMD will learn from this as well.
March 18, 2016 at 9:20AM
Bleeding edge companies often deliver late. More so if they are "budget" bleeding edge.
This isnt exclusive to BM, Sony delivered their raw for the fs7 late, and with many issues. Arri still doesnt have arriraw in their mini. RED, well red has been late as much as BM. Somehow because blackmagic is doing this at a price many more can afford, it makes people more angry.
If people are holding their budget hostage , they have only themselves to blame.
March 19, 2016 at 1:27PM, Edited March 19, 1:28PM
You are right: people are holding their own budget hostage.
I never do.
The only good camera is the one you can shoot with now. Otherwise you will always be waiting for what comes next.
March 19, 2016 at 3:12PM
In my opinion the footage looks stunning and the skin tones are spot on. But is it just me or is it strictly white folks in all of the sample footage released so far? I'd love to see how the 4.6K sensor handles different skin tones.
March 18, 2016 at 1:18AM, Edited March 18, 1:18AM
Great point. I usually overexpose 1/2 to one stop for dark skin people.
March 18, 2016 at 2:34AM, Edited March 18, 2:34AM
I shoot a monthly talking head for a client who is black and it took me a while to figure out my light meter left me with under-exposed shots. Now I over expose anywhere from half a stop to a full stop of light (using 5D Mk3 and Atomos Blade).
March 18, 2016 at 5:10AM
There are some darker skin tones in this footage https://vimeo.com/146086078
March 18, 2016 at 8:25AM
Have you seen this one yet? https://vimeo.com/155567263/description
March 19, 2016 at 5:51PM, Edited March 19, 5:51PM
Blackmagic always comes up short. Like making us use expensive Cfast cards instead of ssd's.
As others have said..they over promise and under deliver.
A few tweaks, and this could be a revolutionary product!
March 18, 2016 at 2:32AM, Edited March 18, 2:32AM
As someone who has to work a regular job to fund my dreams, Black Magic Gear never comes into the equation. I love what they have done with Davinci Resolve 12 (I am cancelling my Adobe Creative package end of this month) but they need to stop over promising and under delivering.
March 18, 2016 at 5:05AM
I'm assuming the prices stay the same? Although the cameras still seem like good value, it's rather odd to strip a significant feature away without adjusting the price.
March 18, 2016 at 5:32AM, Edited March 18, 5:33AM
Ooooh BlackMagic, just put that global shutter in those camera and let us decide if the loss in DR is so bad or not. All the moving/action scene that desperately need global shutter don't necessarily need a extra wide DR ! And even 12 or 11 stops of DR are really ok for a lot of scenes actually for a good DP ( Canon 50D magic lantern raw has 11.5 and it's fabulous, i have one and i love it, but i need more reliability and a Global Shutter, that's why i have a SB and a Sigma 18-35 and 995e under my bed since last summer waitin' for you ! ) So please put it in those cameras and let us decide when we need DR vs GS <3 (i really hope because right now i have a good deal on a GH4 .. ;))
March 18, 2016 at 5:45AM, Edited March 18, 5:45AM
The sensor in the Ursa Mini 4.6K appears to be a custom-tweaked version of the Fairchild Imaging LTN4625A. The LTN4625A has a readout noise of <2 e- (root mean square [RMS]) in rolling-shutter (RS) mode and <5 e- (RMS) in global-shutter (GS) mode. It's RS dynamic range (DR) is >88 dB, or just shy of the 4.6K's 15 stops (90 dB). The equation to calculate DR is DR, dB = 20 x log(full-well capacity ÷ noise). If the RS and GS noise is the same for the 4.6K's sensor, then:
20 x log(full-well capacity ÷ 2) = 90
log(full-well capacity ÷ 2) = 4.5
full-well capacity = 2 x 10e4.5 = 63,245
The GS DR would be:
20 x log(63,245 ÷ 5) = 82, or 13⅔ stops
Of course, this is a theoretical figure, but it indicates that the loss in DR going from RS to GS might be 2 stops or less.
March 18, 2016 at 11:46AM, Edited March 18, 11:48AM
I'm going to keep using my analogy of cars. Some drivers want a 4x4, to keep up with their rugged lifestyle. Others like a small Mini Cooper for nimbleness and parking in a city. There are street racers that want a hot rod they can mod themselves. For many it's all about torque, others mpg, some love big others tiny. The good news is when I see a car commercial and one of my favorite drivers is behind the wheel talking about how amazing it is, I don't go and preorder one. Then when released I don't lose my mind getting upset at it for not having the mpg they claimed it would or the power. I test drive It. Then I make my choice. I don't understand why we don't apply the same principles to cameras. I've seen people literally verbally abuse each other on other forums and Facebook for being an X camera fan and not a Y camera fan? Why ? Pray tell! Listen I wanted this camera to have built in NDs. Others wanted global shutter, for many dynamic range of 15 stops would suffice. If you've been used to driving a BMW or Audi and you had the money you might consider the Porsche 911 as your next upgrade. You might ask yourself "ooo I don't know should I upgrade." Many might be coming from a used Ford Escort and their next upgrade would be a Subaru Outback or less, a new Nissan Versa. Porsche and BMW drivers please don't lambast the Nissan Versa driver. Lol I hope my analogy is making sense. I'm just glad my clientele is not someone like me, pixel peeping and critiquing what's under the hood. My clients don't care how I get there they just would like it if I got there. That's the magic of filmmaking. I may show one of my favorite guys in the industry, Shane Hurlbut, Sony cam footage and he may hate the "video" look. But perhaps I have a shoot in 2014 in Zimbabwe where leave my C100/C300s at home as my insurance company says "due to sanctions we cannot cover you in Zimbabwe If anything happens to your equipment. I go to lensrentals.com and get an A7s for the few weeks I'm there. Documentary from there and Zambia is delivered and the client is happy. Will I put it on fellow filmmaker sites for us to pixel peep it to death and there will be the eventual comment "aliasing at 1:34 and moire at 4:33 and rolling shutter at 5:53." Yes yes yes it will be there but thank God above you aren't the client. Guys and Ladies we live in 2016 at a time when you can shoot 4K from an A6300 and blow the clients mind. You can film with an FS5 and get great slow mo and C100 and still get incredible results. Celebrate it people we live in fantastic times.
March 18, 2016 at 6:14AM, Edited March 18, 6:14AM
I don't get all the complaining either, it's another great option at a very reasonable price point. If you don't want it don't buy it, more for us.
March 18, 2016 at 8:28AM
This color palette on the URSA is just unacceptable. I get an immediate 'no' when I see that color. But some want that look. Green water, what's up! Flesh tones a bit sickly.
March 19, 2016 at 8:27PM
two words: RED RAVEN
March 18, 2016 at 9:01AM, Edited March 18, 9:01AM
Three words: Twice the price!
March 18, 2016 at 2:21PM
Ha!
March 18, 2016 at 3:05PM
once you add the evf and a few cards the price looks pretty similar
March 18, 2016 at 3:40PM
And worth every penny for the CS alone! I haven't received my RAVEN yet, but the constant communication and interaction with customers is amazing.
March 18, 2016 at 7:43PM
Four more words: Red, better color palette!
March 19, 2016 at 8:23PM
After around 2 years they announced this camera, its coming finally. In camera business Blackmagic is a disaster. They always come up with some crap. None of their cameras work properly as per the specifications they say. I bought an URSA last year and they replaced 4 cameras in 4 months of time because it was shutting down while working and frame drops issues. None of these cameras were working properly. Finally they refunded my money but i lost whole money I spend on batteries and 3 CFast cards. And i coulndnt manage to do a single shoot with it. If you check Users Forum you can see many complaints and cases of refunded the money. Couple of my friends also still having issues with URSA and URSA mini 4k. Now they are coming with another crap. So dont jump into it and buy it immediatly. Just see what ppl feel about it and make sure atleast this camera is problem less camera
March 18, 2016 at 11:20AM, Edited March 18, 11:20AM
It has nice image characteristics. But that color palette--it is unappealing. I don't get why BlackMagic intentionally makes it that way. I must not be part of the niche market they aim at.
March 19, 2016 at 8:22PM, Edited March 19, 8:22PM
Blackmagic cinema camera 2.5k is still their best image looking camera
March 20, 2016 at 1:02AM, Edited March 20, 1:02AM
Blackmagic is really lost on itself... Every camera they release has some problem. The Pocket has a tiny sensor and bad connections, the 2.5k had a weird sensor size that no lens exactly matched... The 4k suffered from degrading image issues...
Sometimes, the whole 'lot of camera for cheap' is a bad idea, and you really do get what you pay for. Honestly, I have never purchased anything from Blackmagic that was any quality at all, even sending back their mini-monitor card because of it's quirks.
I appreciate what they have done help bring down market prices: But none of their camera's are up to professional work, which is why you don't see them being used professionally.
March 21, 2016 at 11:38AM, Edited March 21, 11:38AM
I used to defend Blackmagic cameras because they did just what you said, helped bring down prices in the market. They were the ones with the famous "4K for $4k" saying. That just blew everyone away back then. But I can't find it in myself to defend them anymore. Their color science is too strange. They don't seem to be aiming at a broad market. I've never used one, but had kicked around the idea of buying this URSA 4k. But besides the color palette, the continual talk of quirkiness in the camera has turned me toward other options---and there are so many options out there. I am leaning more and more toward the AJA Cion 4K, for one, because it has a very appealing color science (and yes I know it technically doesn't have as good a color science as ARRI and Canon, but it still looks so appealing), and second, they have a good reputation for service. Blackmagic headquarters is very close to where I live, like a 35 minute drive a way. But even that is not enough to get my business. I may also shoot a little higher, bite the bullet, and get a Red. Commenters have done a 180 in how they are talking about Red customer service. They are saying it is now excellent. And I like that. I also like the Red color science and image characteristics. It looks professional.
March 21, 2016 at 7:54PM
im waiting for my micro cinema camera here in zimbabwe global shutter or not. i mean why shoot in situations it can handle? its like taking your sedan on an offroad safari and complain that u r getting stuck in the mud/sand lol take your 4x4 you idiot!! im suprised your amatuers expect an all rounder camera at sub 10k its like expecting the same performance of a mclaren F1 from your sub 20k toyota. to date i havent heard of an all rounder camera in terms of ergonomics, fps, dynamic range, low light sensetivity, workflow, price, storage etc. thats the reason major blockbuster movies use different camera systems for certain shots. the glorious alexa is just too big to be mounted on a bike, enter bmd pocket and if anyone of u pixel peepers can tell me at which exect moment is the shot from the pocket. and tell me if any one of your came out of the cinema and said or hear some one say "hey great movie but i did some of the parts coz of bad picture quality". same with 6 oscar award winner mad max fury road.
March 22, 2016 at 12:17AM, Edited March 22, 12:17AM
The BMMCC form factor is perfect for a small and capable gimbal.
https://vimeo.com/146837277
LeViteZer Smooths the movement, www.levitezer.com
March 23, 2016 at 11:23PM, Edited March 23, 11:23PM
HighCee Engineering has announced the BMMCC Pro Gimbal for the MIcro Cine Camera. This is a lightweight 360 degree continuous rotation system, with a custom ultra-flex cable.
The r/c controls (using sBus) allow for full remote gimbal control as well as shutter, iris and zoom with appropriate lenses. There is also a 2000mW video transmitter available for composite video transmission.
The gimbal weighs approximately 450gr making it among the lightest Pro grade gimbals available for the UAV market.
http://highcee.com/blackmagic-pro-gimbal
May 16, 2016 at 12:00PM, Edited May 16, 12:00PM
i did not like this post
May 17, 2019 at 6:26PM