Blackmagic URSA : full Fledged Camera

[macgregor]

If this thing ships I am going to buy one. Maybe two. Here's why as it relates to a number of complaints I've seen in this thread.

1. Low light performance - Seriously? God forbid we actually have to LIGHT our films again instead of shooting everything at ISO 3200 and de-noising just so we don't have to place lights. I'm a cinematographer first, and actually enjoy lighting so this doesn't bother me. I light my DSLR shows, just like my other shows.

2. It's heavy. This coming from the same crowd that buy a pocket camera, put a metal cage on it, handles, broadcast batteries, counterweights for balance, external screens, external recorders, and all manner of accessories. I like that it's got weight to it. That means my handheld work won't have that cheap, frenetic look of a tiny DSLR. Go pick up a Dalsa Origin, or an Arri D21, or Viper, and get back to me.

3. It only has 12 stops of dynamic range. Ok, how many did the DVX100 have? Or the HVX? Or the RED One.

4. It uses expensive CFast media. Ummm, tell me about how much P2 media cost when it was as new as CFast. Or how much it is now. Or SxS, or AJA's media. Even SSD isn't cheap.

5. Blackmagic hasn't released firmware fixes for current cameras. So what. My BMCC works just like advertised. And it cost me less than my first purchase of SxS cards for my EX1.

6. It doesn't do 60p/120p. It's $6k. WIth the money you saved over buying a Scarlet package, rent a Flex4k.

7. BlackMagic ship cameras late. And RED. So don't plunk down on a pre-order. Keep your money in your pocket, and buy one when B&H has them in stock. Problem solved.

8. Why not just buy a used XYZ camera. Corporate accounting doesn't do "Used" cameras. If you're shooting for yourself, great. But I suspect a lot of these will find their way into corporate/government video departments, and that means new cameras only.

Here are my REAL concerns for this URSA camera.

1. Will it output frame lines onscreen... I want 2.40:1, 2:35:1, 16x9, and 4:3.
2. Can it run without a fan? That's a problem on the smaller cameras, but hopefully not on this one.
3. I think the 10" screen is too big. 7" would have been plenty. And I wish it had an EVF along with that screen so my puller could have a display to work from. But hey, it's cheap.
4. Will it ship anywhere near on time? I'm not in a particular hurry, but fiscal year planning makes this one tricky for me.
5. Will they solve the overdriven whites issue? At this budget level, they need that solved. On the $2k cameras, it's not fun, but more forgivable.

Overall, it's a nice effort and version 2 will probably be stunning. I just wish BM would get cameras like this in the hands of some ASC, BSC, etc., members to suss out some of the human interface issues before finalizing design.

WHile I don't like the BM camera that much, I have to say your post was very smart and I agree about all you're saying. Congrats.

 

[PerroneFord]

Good points, but what matters to you doesn't matter to others and vice versa. For instance I don't care about the frame lines, but I do care about not having a 20 plus pound behemoth to lug around.

Then clearly, this is not the camera for you. The Scion is lighter, the GH4 i lighter, there are numerous other lighter cameras out there to do the job.

And I do wonder about being able to format/play/delete clips and audio. Etc.

Cool. This is important to some. I prefer to handle my set like film. NOTHING get's deleted on-set. Ever. I don't even want an erase button on my cameras. I like that my Sony makes me jump through several hoops to delete anything.

ome may be shooting in situations where a better low light camera is desired, others have the time and the situation for always lighting perfectly.

There are several options for better low-light performance. GH4, Sony's A7, etc. Clearly this tool is not aimed at the run & gun user, or the person looking to shoot without lighting. There are clearly better options out there for that. This camera seems very squarely aimed at the Scarlet and cameras of that ilk. And I think they are going to do quite well with that.

One mans go to camera will be a nightmare for others.

VERY true.

 

[PerroneFord]

Man, you are hilarious. Like anyone on this forum, but a few, will ever have Arri 20K HMI's on their shoot, much less Arri M18's. Lighting is expensive and takes a larger and more experienced crew, generators, tow trucks to pull generators.

I'll bet you $100 right now that the 4k sensor in the URSA/BMPC is no less sensitive than the sensor in HVX200 or the DVX100. And somehow, thousands of indie filmmakers were able to make wonderful movies without generators or tow trucks. Will you take that bet?

I know because I was a working as a professional Gaffer for 20 years before moving to working as a DP. I know how to light with HMI's, Tungsten, Xenons, etc.

Cool. As a gaffer, how many shoots did you get hired on where the DP said, "Nevermind, crank up to 3200 and leave the lights in the truck."

If you think there is no advantage to a fast camera then you are completely ignoring the fact that when we shot on film we were always scrambling for a great looking 500 iso film.

I didn't say there was no advantage. There most certainly is an advantage. I've got a fight scene in the woods next saturday and after realizing that the ONLY way I could effectively light the thing would be to float balloons, I said we were simply going to film it unlit and do the best we can. We are on a 5D for this no-budget short, and that's the best I can offer them. I'd love to see how this sensor stacks up to Vision3 500T (rated at 400) in terms of grain. I'll bet they're not far off from each other.

I applaud your diving into deep waters on this camera, but the forums are full of individuals complaining about the problems they are having with the sensor that exists for the Blackmagic 4K camera.

The forums are full of individuals complaining about every camera ever released for the past 15 years. Everything from the D90 shooting to poor AVI, to the 5DMk2 needing the stuff from Magic Lantern, to the RED One shipping with no audio, to the HVX costing $6k/hr for media, to the BM cameras having sun spots (and the Alexa too), to whatever you want to name. There are no perfect cameras. They are all a compromise. I remember when the DVX100 was released how everyone sat in amazement that we finally could shot 24p on videotape! It was manna from the heavens. Now here we sit, with a $6k 4K production camera that has more features than the Panavision Genesis did, and we complain because it's too heavy, it doesn't have more than 12 stops of dynamic range, and it's sensor isn't as sensitive as a full frame DSLR.

If you have the budget for large HMI's, generators, large crew then what the frack are you doing talking about this minor offering from Blackmagic.

They used 5DMk2's on Ironman 2. They used EX1's on Public Enemy (Johnny Depp). GoPros have been used in countless $50M+ films over the past few years. Why not talk about it?

 

[Kholi]

If this thing ships I am going to buy one. Maybe two. Here's why as it relates to a number of complaints I've seen in this thread.

1. Low light performance - Seriously? God forbid we actually have to LIGHT our films again instead of shooting everything at ISO 3200 and de-noising just so we don't have to place lights. I'm a cinematographer first, and actually enjoy lighting so this doesn't bother me. I light my DSLR shows, just like my other shows.

2. It's heavy. This coming from the same crowd that buy a pocket camera, put a metal cage on it, handles, broadcast batteries, counterweights for balance, external screens, external recorders, and all manner of accessories. I like that it's got weight to it. That means my handheld work won't have that cheap, frenetic look of a tiny DSLR. Go pick up a Dalsa Origin, or an Arri D21, or Viper, and get back to me.

3. It only has 12 stops of dynamic range. Ok, how many did the DVX100 have? Or the HVX? Or the RED One.

4. It uses expensive CFast media. Ummm, tell me about how much P2 media cost when it was as new as CFast. Or how much it is now. Or SxS, or AJA's media. Even SSD isn't cheap.

5. Blackmagic hasn't released firmware fixes for current cameras. So what. My BMCC works just like advertised. And it cost me less than my first purchase of SxS cards for my EX1.

6. It doesn't do 60p/120p. It's $6k. WIth the money you saved over buying a Scarlet package, rent a Flex4k.

7. BlackMagic ship cameras late. And RED. So don't plunk down on a pre-order. Keep your money in your pocket, and buy one when B&H has them in stock. Problem solved.

8. Why not just buy a used XYZ camera. Corporate accounting doesn't do "Used" cameras. If you're shooting for yourself, great. But I suspect a lot of these will find their way into corporate/government video departments, and that means new cameras only.

Here are my REAL concerns for this URSA camera.

1. Will it output frame lines onscreen... I want 2.40:1, 2:35:1, 16x9, and 4:3.
2. Can it run without a fan? That's a problem on the smaller cameras, but hopefully not on this one.
3. I think the 10" screen is too big. 7" would have been plenty. And I wish it had an EVF along with that screen so my puller could have a display to work from. But hey, it's cheap.
4. Will it ship anywhere near on time? I'm not in a particular hurry, but fiscal year planning makes this one tricky for me.
5. Will they solve the overdriven whites issue? At this budget level, they need that solved. On the $2k cameras, it's not fun, but more forgivable.

Overall, it's a nice effort and version 2 will probably be stunning. I just wish BM would get cameras like this in the hands of some ASC, BSC, etc., members to suss out some of the human interface issues before finalizing design.

Solid, including your concerns. The screen might be too big, not sure yet until I've gone and used it a lot, but hey, most people buying this camera will either get an external anyway or have one already (I've had my TVLogic 5.6" for three years, it goes on every camera).

They need to solve all of the issues with the image on day one to really nail this... it's not really a question of if. FPN needs to go, and the Black spot either needs to be very tamed (Alexa tamed) or non-existant. I'll take Alexa tamed, as long as you can shoot music videos with it then everything else seems great.

Also, BMD almost absolutely needs to get the sensor block upgrades moving asap. The new CMOSIS sensor (14+ Stops) and a 2.5K ACtive EF High Frame rate block (from the original 2.5K sensor, it can handle the rates). Optimize the latter, start selling them by christmas.

And of course, they need to find a way to fix the existing image issues in the 4K camera, and either tell people the blackspot can't be fixed or fix it so people can move on. Otherwise, I agree, my cameras are working as stated and I've been mostly happy with them.

I don't doubt a pair o'these tanks will satisfy as long as they keep up with it.

 

[FrameFarmMedia]

The screen might be too big, not sure yet until I've gone and used it a lot, but hey, most people buying this camera will either get an external anyway or have one already (I've had my TVLogic 5.6" for three years, it goes on every camera).

I don't know anyone who has said "I wish I had a 10" monitor fixed to the mid drift of the camera" . The location doesn't even work as a director monitor as it interferes with the operator and forces the director to be right beside the camera where the operator will be.

That is the part I don't get. It stinks of being designed in a lab without the end user in mind. Being able to remove and relocate the monitor would have made it instantly more purposeful. I imagine most users will leave that panel closed and buy a 3rd party EVF or monitor for the operator.

 

[Darren Levine]

next thing you know gopro will announce their own interchangeable lens 4k raw camera, it will have a s35 sensor and take ssds and yet be the size of zippo. they will call it the gopro paradox

 

[Kholi]

I don't know anyone who has said "I wish I had a 10" monitor fixed to the mid drift of the camera" . The location doesn't even work as a director monitor as it interferes with the operator and forces the director to be right beside the camera where the operator will be.

That is the part I don't get. It stinks of being designed in a lab without the end user in mind. Being able to remove and relocate the monitor would have made it instantly more purposeful. I imagine most users will leave that panel closed and buy a 3rd party EVF or monitor for the operator.

I'll likely leave it closed mostly and just use my TVLogic. It's not like the camera would be much cheaper without it, my main concern is interference with operations. If it interferes, its' not good, if it's there and nobody notices it, it's fine.

And also, speculating that it was built without the team interfacing with shooters isn't really fair... I'm just saying, you might be very wrong( and now come the remarks about the wrong shooters bla blah) but yeah, it could be a not so good thing. We'll see when people are actually using them.

 

[harddrive]

The location doesn't even work as a director monitor as it interferes with the operator and forces the director to be right beside the camera where the operator will be.

That is the part I don't get. It stinks of being designed in a lab without the end user in mind.

The last part strikes a chord. Part of me likes the concept of the monitor - you can always leave it folded if not needed - but what about in bright sunlight? Or handheld - do you really want your eye a couple of inches away from a 10" screen?

It badly needs a conventional viewfinder for a lot of usage.

 

[FrameFarmMedia]

And also, speculating that it was built without the team interfacing with shooters isn't really fair... I'm just saying, you might be very wrong( and now come the remarks about the wrong shooters bla blah) but yeah, it could be a not so good thing. We'll see when people are actually using them.

I just can't imagine any camera operator requesting a 10" monitor thethered to the mid section of the camera. Even all of the manufaturers who used to have flip out side monitors like that have dropped them or kept them subtle and out of the way. I've never seen anyone rig up a on camera monitor in that position out of choice.

Your right who knows but it doesn't appear to be very well thought out to me.

 

[True North]

I have a 9" Marshall monitor and I have actually used a 10" Lilliput prior to the 7" and the 9" monitors that I currently use most often. I liked using the 10" on a lot of things. The things that seems odd to me is that when I see pictures of the 10" on that BM Camera it looks a lot bigger than my Marshall 9" and my Lilliput 10". I thought it was a pretty ballsy move to put a screen that big on that camera. I think many people would be surprised how nice it is to work with a screen that large. You can always leave it closed and strap an EVF to the thing if you want.

I wonder how easy it is to swap out sensors? If it was easy, how cool would that be? I have no idea how this camera will do but I love that these guys keep swinging for the fences.

 

[FrameFarmMedia]

I guess what baffles me is that the swappable sensor thing is a great forward concept. A modular monitor (via tether, or wifi) would be forward thinking (too bad). A 10" monitor attached camera side just seems very conventional of gargantuan proportions. Most users probably are thinking " I'll use it closed most of the time" which to me is a wasted opportunity, manufacturing and materials.

Hey what do I know. Maybe it will be a big bonus to the camera. I can't wait to see footage roll outs from all the cameras announced. NAB is such a tease as we wait to see real hands on experience.

 

[Benjobe]

Has anyone noticed that the audio levels are on the dumb side of the camera and there are no audio levels on that 10" LCD? Why would they do that?

 

[greenheron]

I'll bet you $100 right now that the 4k sensor in the URSA/BMPC is no less sensitive than the sensor in HVX200 or the DVX100. And somehow, thousands of indie filmmakers were able to make wonderful movies without generators or tow trucks. Will you take that bet?

I have no idea what a HVX200 or DVX100 is. I'm talking about productions that have greatly benefitted from the added sensitivity of a Red Epic, over the original Red; a C500 or C300 over any camera out there. An Arri Alexa and its ability to get great shots in low light conditions. I will be glad to bet you $200 that the sensor in the URSA/BMPC is nowhere near what these cameras provide for shooting real movies.


Cool. As a gaffer, how many shoots did you get hired on where the DP said, "Nevermind, crank up to 3200 and leave the lights in the truck."

Just finished a shoot where they crank the Red Epic up to 1200 iso to get shots because we ran out of time. Same shoot they used the B camera, a C500 to shoot material at 3200 iso because we only had time to add fill light or a light coming through the window. And the C500 looked great at 3200!


I didn't say there was no advantage. There most certainly is an advantage. I've got a fight scene in the woods next saturday and after realizing that the ONLY way I could effectively light the thing would be to float balloons, I said we were simply going to film it unlit and do the best we can. We are on a 5D for this no-budget short, and that's the best I can offer them. I'd love to see how this sensor stacks up to Vision3 500T (rated at 400) in terms of grain. I'll bet they're not far off from each other.

Exactly, sometimes having a fast camera can solve budget issues.

The forums are full of individuals complaining about every camera ever released for the past 15 years. Everything from the D90 shooting to poor AVI, to the 5DMk2 needing the stuff from Magic Lantern, to the RED One shipping with no audio, to the HVX costing $6k/hr for media, to the BM cameras having sun spots (and the Alexa too), to whatever you want to name. There are no perfect cameras. They are all a compromise. I remember when the DVX100 was released how everyone sat in amazement that we finally could shot 24p on videotape! It was manna from the heavens. Now here we sit, with a $6k 4K production camera that has more features than the Panavision Genesis did, and we complain because it's too heavy, it doesn't have more than 12 stops of dynamic range, and it's sensor isn't as sensitive as a full frame DSLR.

I'm not complaining, I'm just not going to buy because I have better cameras available to me to fit the budget.

They used 5DMk2's on Ironman 2. They used EX1's on Public Enemy (Johnny Depp). GoPros have been used in countless $50M+ films over the past few years. Why not talk about it?

Always very short specific shots that were used on a feature where a Red or Alexa was the main camera for 95% of the picture.

 

[izoneguy]

Has anyone noticed that the audio levels are on the dumb side of the camera and there are no audio levels on that 10" LCD? Why would they do that?

Because they don't really understand how cameramen work. John Brawley is on the inside with BM. Did they get his input on this new camera? Maybe it will be added since the cameras at NAB look like prototypes.
They really need to add support for SSD. They need to have a viewfinder option. I would take a proper viewfinder over the 10" flip out screen. They should have the 10" screen so it can detach and extended with a cable.

 

[PerroneFord]

I have no idea what a HVX200 or DVX100 is.

Maybe you should take a look at the name of the forum you are signed into...

I'm talking about productions that have greatly benefitted from the added sensitivity of a Red Epic, over the original Red; a C500 or C300 over any camera out there. An Arri Alexa and its ability to get great shots in low light conditions. I will be glad to bet you $200 that the sensor in the URSA/BMPC is nowhere near what these cameras provide for shooting real movies.

No, what you are talking about is a $50k camera in the Epic, a $20k camera in the C500 that can't even record on-board, and an $80k camera in the Alexa. Yes, I will agree that the $6k URSA cannot do what these cameras do. Nor should it be expected to for 1/3, 1/8, or 1/12 the price of the cameras you mentioned.

 

[PerroneFord]

Because they don't really understand how cameramen work.

Really? When I am shooting films, I have no idea what my audio levels look like, but my sound guy is watching his rig like a hawk. How do YOU shoot?

They really need to add support for SSD. They need to have a viewfinder option. I would take a proper viewfinder over the 10" flip out screen. They should have the 10" screen so it can detach and extended with a cable.

No, they do not need to add support for SSD. SSD is huge, heavy (comparatively), and runs hot. And there are DARN few people making SSDs that would be suitable for recording 4k @ 60p. A viewfinder option would be nice. Especially outdoors. I agree the 10" screen is likely overkill. But I'd rather that than the 3" screen I've been trying to use on the back of my DSLR. A detachable 7" screen that could pivot to the camera op, or over to the focus puller would be very helpful and useful.

 

[alaskacameradude]

Really? When I am shooting films, I have no idea what my audio levels look like, but my sound guy is watching his rig like a hawk. How do YOU shoot?

As usual, a lot of the back and forth is because there is no 'normal' group of those who use cameras for work, business, art or
what have you. You probably shoot high end narrative. Plenty of budget for say a DP, an AC, a sound op, and so on.
A lot of the production companies I work for, on the other hand, would pretty much sh#*can a DP that had no idea what
his audio level looked like. If you don't have headphones on while shooting, they assume you have no idea what you
are doing because yes, you are expected to shoot both the pictures and get good sound all by yourself. It happens out
here away from the big budget world to a lot of us (admittedly more minor) guys. And that is why there are so many
different types of cameras right? Heck, they are all pretty good in my view....certainly better cameras than I am a DP.

 

[izoneguy]

Blackmagic URSA - So where is the footage?

 

[PerroneFord]

As usual, a lot of the back and forth is because there is no 'normal' group of those who use cameras for work, business, art or
what have you.

Honestly, I think more of this back and forth is from people who are flexible with tools, and those who are not. I've shot on everything from the DVX100 to RED. I even shot VHS, S-VHS and Hi8 before that. I have about a dozen cameras now that shoot video of some kind. I may add an URSA to that in my personal collection, or might just add it at work. We'll see. All of these tools bring something to the table. It's up to us to embrace them, work around their compromises, and get the best we can from them. Not everyone sees it that way. Some would rather not shoot a film, because they can't get their hands on the perfect camera, or perfect lenses, or perfect crew/cast. I enjoy shooting, so I'll shoot.

You probably shoot high end narrative. Plenty of budget for say a DP, an AC, a sound op, and so on.

Not really. I shoot a lot of corporate work and indie films. But we do try to have at least 5 on the crew because things go much faster that way. On the current film I am working on, I am DP, gaffer, and grip. I have a camera op, and sound guy. No AC this time. Earlier in the film I had a full crew. It is what it is.

A lot of the production companies I work for, on the other hand, would pretty much sh#*can a DP that had no idea what
his audio level looked like. If you don't have headphones on while shooting, they assume you have no idea what you
are doing because yes, you are expected to shoot both the pictures and get good sound all by yourself.

So then that person is not a DP. That person is a DP/Camera Op/Sound guy/Gaffer/Grip/etc. Cool. I've done several of those shoots too. Now I feel fortunate to be able to call up some friends who can come give me a hand if I need it. I find it darn difficult to work a boom pole, a camera, and sound at the same time.

It happens out
here away from the big budget world to a lot of us (admittedly more minor) guys. And that is why there are so many
different types of cameras right?

It happens here in the bustling metropolis of North Florida too. But the idea is to set expectations. The URSA has a headphone jack. It can be used. Do a sound check before shooting, stay at least 6db down, and do the best you can. Same thing I do when single shooting the EX1. It's a compromise.

Heck, they are all pretty good in my view....certainly better cameras than I am a DP.

My book too. Which is why I've successfully done work on mini-DV handycams, DSLRs, my BMCC, my EX1, etc.

 

[alaskacameradude]

Honestly, I think more of this back and forth is from people who are flexible with tools, and those who are not. I've shot on everything from the DVX100 to RED. I even shot VHS, S-VHS and Hi8 before that. I have about a dozen cameras now that shoot video of some kind. I may add an URSA to that in my personal collection, or might just add it at work. We'll see. All of these tools bring something to the table. It's up to us to embrace them, work around their compromises, and get the best we can from them. Not everyone sees it that way. Some would rather not shoot a film, because they can't get their hands on the perfect camera, or perfect lenses, or perfect crew/cast. I enjoy shooting, so I'll shoot.



Not really. I shoot a lot of corporate work and indie films. But we do try to have at least 5 on the crew because things go much faster that way. On the current film I am working on, I am DP, gaffer, and grip. I have a camera op, and sound guy. No AC this time. Earlier in the film I had a full crew. It is what it is.




So then that person is not a DP. That person is a DP/Camera Op/Sound guy/Gaffer/Grip/etc. Cool. I've done several of those shoots too. Now I feel fortunate to be able to call up some friends who can come give me a hand if I need it. I find it darn difficult to work a boom pole, a camera, and sound at the same time.



It happens here in the bustling metropolis of North Florida too. But the idea is to set expectations. The URSA has a headphone jack. It can be used. Do a sound check before shooting, stay at least 6db down, and do the best you can. Same thing I do when single shooting the EX1. It's a compromise.



My book too. Which is why I've successfully done work on mini-DV handycams, DSLRs, my BMCC, my EX1, etc.

Yeah, I generally just buy the best camera I can afford for my company, and then I use that. My business
just can't afford to have dozens of cameras for different shooting styles (I have 2). Being careful this way
is how I've staying in business for 10 years in this small, isolated town. Sure isn't perfect for everything
(my current A camera is a FS700) but I make do the best I can.

I do a lot of end to end corporates (where I do all shooting, editing and entire production). A lot of
jobs shooting interviews and B-roll/scenics for TV shows, documentaries or corporates where they
either don't want to travel up here to shoot, or they need some 'pick ups' after the fact. One thing
I do almost none of, is indie films.....because to be honest the pay is awful, so for me to
work on them, I'd have to actually really like the project. A 5 person crew? That would be some
nice luxury!!! I have less than 5 jobs a year where I have the budget to hire a PA to help me carry gear.
It sure would go faster with more people as you say! But if they only have budget to hire me, it is what it
is, and as you say, I like to shoot (and don't want to go get a job digging ditches) so I'll make do the best I can.
And you are also right it is probably more accurate to call such a person a DP/Sound person/Gaffer/Grip.
For interviews, .....if it is a controlled environment, I do the nice lighting set up and hang a shotgun mic off
a boom pole on a mic stand just out of frame, as well as a wired lav mic on a separate channel. If its a
'walk and talk' I just roll with the wireless lav mic....because I haven't figured out how to handle both a boom
pole and camera at the same time either! And North Florida? It IS a bustling metropolis to me. Trust me.

I don't think it's as simple as people just not being flexible with their tools. People just need different things.
For example, with a lot of the work I do, a person couldn't just 'be flexible' with a camera that was bad in low light....
so that feature would be a deal 'maker or breaker'. To someone who did a lot of narrative, they
probably could care less because they would light everything the way they wanted it. Just as some people
wonder why I would care about internal ND filters, because 'real cinema camera' don't have them anyways.
There's hundreds of different types of things being shot, and hundreds of different shooting styles.
No 'normal' or 'typical' group really, we are all over the place with what we need in a camera....depending
on what we shoot. So no big surprise then, that there are hundreds of different styles of cameras with different
features. Enough of them that pretty much everyone should be able to find a camera that suits their needs. But
some people say the URSA isn't for them because it's 'too heavy' or 'doesn't do high frame rates'. OK, then
find another camera. But listing the reasons they are 'wrong' about their concerns, only means these concerns
are wrong for you. For example, I can't just rent a camera that shoots high frame rates with the money I saved
over buying a Scarlet. I mean I could....but I'd have to have it shipped from somewhere over 1000 miles away.
Oh yeah, and Fed Ex doesn't even honor their guarantees in my town because we are too remote and cut off
by weather for days or even weeks at a time. So, I might rent gear and by the time it got to me, it would already
be overdue back to the rental house. Different people, different needs.