Blackmagic URSA Mini Pro 12K price drop

ha, thank you for thinking of it though.

Yeah, no HDMI on the original URSA Mini 4K was a real problem for me several years ago based on how I did some jobs.
 
Here is my latest blockbuster from front yard productions. You can't really do much with this beast unless you have paid work it, too bulky and heavy for a walk-a-bout and needs a sturdy tripod. The Kessler K-Pod with Hercules head is more than able but you need hired hands unless your real job is for a moving van company. I do hope to be able to find a role for it in some upcoming weddings, actually 3 this weekend, some color and pageantry, people and celebration.

For now, it's this, shot with 85mm PL lens at T2.8, 180° shutter, ISO 1000, BRAW Q3 Film mode, resolution 12K, frame rate 60 FPS, rendered to 8K/60FPS.

 
The CA on that lens is off the charts (at least presumably wide open), but I like the image - and I like playback in 60p more and more every year.

What's he doing?
 
Thanks for posting Tom. Very nice image. I am surprised to say I think the F55 ended up looking just as nice. How easy was it to get the two at the same happy place?
 
Bassman2003 said:
Thanks for posting Tom. Very nice image. I am surprised to say I think the F55 ended up looking just as nice. How easy was it to get the two at the same happy place?
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I agree, if anything among these clips I prefer the look from the F55. One was no more difficult than the other to arrive "at the same happy place," although straight from the cam the F55 was a smidge more saturated and I had to bring it up in the 12K to match. The DR or at least the latitude extension into the highlights seems about the same. There is a FOV difference as well, the F55 has more crop factor, approx 1.5 where the 12K is more like 1.3 making the 12K FOV wider but the major flaw I notice in the 12K footage is the CA, which seems non-existent in the F55. It's the same lens. On the F55 it was shot T4.0, on the 12K it was shot T2.8 with one scene at T2.0. Was that the difference? Or was it some kind of reaction or flare to the 12K sensor or internal ND? More testing is needed. Thank goodness I have the perfect setting, a yard and street with some Toyotas that go by creating such exciting footage. Who could ask for anything more?
 
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As far as the CA, that was probably the difference. It's common practice to close down almost every lens on planet earth a stop or two (some more) to get the best performance, and I've confirmed that myself in almost every lens I used where just a slight turn of the aperture ring or a click or two on the camera - say from 1.8 to 2.2 - seems like it reduces CA by at least 50%.

The light and the reflections are what are causing it but it's the lens' job to control it. In your clip I actually saw the purple change to green which was interesting. Those are the two primary colors for CA but IDK if I ever saw them in the same clip almost at the same time.

Which lenses? Sony's older PLs?

Modern lenses have really great coatings to control it but so much older glass has a problem with it.

Some of the best lenses 5-10 years ago that cost a lot of money had it too. There are a few models like the Zeiss Otus' that claim perfection wide open but IDK.
 
First thing to test would be f/2 with the F55 in the same bright conditions, and preferably with a moving object with shiny metals.
 
I wonder if you'll get more CA if the flange distance is off. Maybe some shims are needed somewhere...
 
hmmmm.... interesting. That purple CA is off the charts. Wonder if it has more to do with resolving detail of lens and shooting in larger format. I know you said you had to bring up saturation - Did you boost saturation more in highlights?
It's really apparent in the contrast area's of that white truck - but even seems to be there in Arthur's blue jean shorts - in the stitching around pockets, etc. - look at :26
 
Tom Roper said:
It’s like you can’t discount the possibility BMD are bailing on the product. To me, it has been a really nice product and no issues so far, but for a big cinema cam I was surprised it didn’t include an HDMI output, which is the only reason I didn’t snap up that nice 2200 nit 7 inch monitor you’ve got for sale, can’t use it.
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Given the time and effort BMD has put into the 12K over the past 3-4 years, I think bailing on it so early in its lifespan is very unlikely, especially since most of the DP's who HAVE used it have been quite happy with it. I don't think many care about the 12K part, and are a lot more interested in its color rendition, which by all accounts so far is phenomenal.
 
markfpv said:
hmmmm.... interesting. That purple CA is off the charts. Wonder if it has more to do with resolving detail of lens and shooting in larger format. I know you said you had to bring up saturation - Did you boost saturation more in highlights?
It's really apparent in the contrast area's of that white truck - but even seems to be there in Arthur's blue jean shorts - in the stitching around pockets, etc. - look at :26
Click to expand...

Play it from :26 and watch closely at the scene change at :31. Pay attention, it happens fast, look at the top of the side rail of Arthur's truck, at the line where the the black rail cap meets the white paint. For an instant, the purple vanishes completely, then comes back. See it? Use the spacebar on your keyboard, to freeze it at :31, then bump it along, purple vanishes for a frame or few just before :32 and comes back like a neon lightbar just past :32.
 
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