BlackMagic - URSA Mini

Firstbase said:
From a purely marketing and forecasting perspective, I wonder if the folks at BlackMagic really understand the groundswell of enthusiasm the URSA mini is causing from potential buyers. I think demand could easily exceed supply. They aren't Apple after all with 10's of billions in cash reserves with which to play. I would have preferred to see built-in NDs on the cam as most of us would, but hey, the other specs make that apparent oversight pale in comparison.

If BMD truly hits their delivery mark this summer with the initial (overwhelming?) orders and the URSA mini lives up to expectations, they will get a lot of people like me to make the jump from Sony/Panny/Nikon to BMD. And this from a guy who owns no Canon or PL mount glass. It's all about the image and ease-of-post use. The BlackMagic team seems to understand this better than anyone.

On second thought, perhaps they are an Apple in the making.
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BMD has been a largely successful company for years before they ever started making cameras. They already are the Apple of broadcast gear. I have used various capture cards and other I/O products of theirs for almost a decade now. They really know what they are doing and while their first cameras may not have been perfect they were ground breaking for what they offered and a necessary first step to learn the fine art of building a cinema camera. I would buy a URSA mini in a heartbeat if I had the budget for one. Since I am heavily invested in and love m43 I will be skipping the URSA for now. Just too much of an investment for me right now when the GH4 does 90% of what the URSA can do plus work great as a stills camera.

I have hopes BMD will make a m43 version of the URSA mini with a m43 sensor and m43 lens mount but I doubt they will since most people obsess over larger sensors. Although with the Speed Booster most of that advantage gets tossed out anyway. Kind of frustrating that BMD uses such a mixture of lenses across all their cameras. Would be nice to just stick with a mount or at least give different mounting options.
 
I think the GH4 doing 90 percent of what the URSA Mini is supposed to do is a bit of a stretch. The GH4 is a great little camera and I am thinking of getting one again because of all it offers. BUT I think its in a different class than the Mini. The Prores and RAW alone make them totally different.
 
Samuel H said:
Still waiting for the APS-C mode in the a7S to be assignable to one of the custom buttons, or to the quick menu.
Also for start/stop video recording on the custom buttons, which is not a personal need but actually a near-universal request from a7S users.
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A7S is so revolutionary that even if it would be operated by a crank people would still buy it. I've got a feeling they are leaving all those issues on purpose so people will have a good reason to upgrade. I'm sure they could resolve ALL those things prior to release (even internal 4K) without a stretch.
 
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Dafilman21 said:
I think the GH4 doing 90 percent of what the URSA Mini is supposed to do is a bit of a stretch. The GH4 is a great little camera and I am thinking of getting one again because of all it offers. BUT I think its in a different class than the Mini. The Prores and RAW alone make them totally different.
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Yes if you want to nit pick over little things like that. My point is the GH4 can shoot just as compelling of a story with high production value as much as the next camera. Don't become a slave to technology. Just about any DSLR today can create amazing art that an audience will enjoy. It is only the obsessed video geeks who see that last 10%. So no I don't think what I said is a bit of a stretch at all. Things like RAW, 4:4:4 and the extra dynamic range are nice things to have but they will not magically make your story better or your talent actually know how to act. Both cameras in the right hands will create magic.
 
Thomas Smet said:
Yes if you want to nit pick over little things like that. My point is the GH4 can shoot just as compelling of a story with high production value as much as the next camera. Don't become a slave to technology. Just about any DSLR today can create amazing art that an audience will enjoy. It is only the obsessed video geeks who see that last 10%. So no I don't think what I said is a bit of a stretch at all. Things like RAW, 4:4:4 and the extra dynamic range are nice things to have but they will not magically make your story better or your talent actually know how to act. Both cameras in the right hands will create magic.
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Sure you can shoot a compelling story with any camera, I thought it was clear I was just talking about the tech side. If you meant the GH4 can record video and audio and that's the only comparison then yes it does 90 percent of what the Ursa should do if not 100. Didn't know a sturdy codec and the ability to create a look from RAW was a little nit picky thing. But yes we all know it's been said literally a thousand times it's the person not the camera.

As far as the GH4 being the best hybrid ever, I think that is subjective I prefer the video from the A7s and the photos on both are just okay to me. I do miss the internal 4K on the GH though and if the Log comes I will definitely pick a used one up.
 
The GH4 is great in good lighting. ISO 1600 isn't very good at all to me. I don't like the noise pattern. The camera requires good lighting in doors to get the most from the image. I'm very interested to see what ISO 1600 on the URSA Mini 4.6K looks like in dim lighting.
 
Darktide Media said:
GH4 was the best mabye, but sorry after owning one and now a NX1, NX1 stomps the GH4 camera. The stills are amazing and the video is much better all around.
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Cameras are like girls... : D I don't buy the pinky NX1's videoish tone to my eyes, as for instance :-)
 
Erik Naso said:
The GH4 is great in good lighting. ISO 1600 isn't very good at all to me. I don't like the noise pattern. The camera requires good lighting in doors to get the most from the image. I'm very interested to see what ISO 1600 on the URSA Mini 4.6K looks like in dim lighting.
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Me too. But if you don't feel satisfied with lower than ISO1600, I bet you risk to not be happy with the upcoming 4.6K output from BMD either...
 
Emanuel said:
Me too. But if you don't feel satisfied with lower than ISO1600, I bet you risk to not be happy with the upcoming 4.6K output from BMD either...
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I would suspect if the 1600 ISO performance was excellent they would be showing off ISO 1600 footage as low light was a huge issue with previous gen sensor. Considering BMD are saying max 1600 I'm skeptical unless they are being conservative and have made that statement based on usable clean ISO not maximum.
 
Yep, I hold the same opinion about all of these camera manufacturers. If they don't mention it, you probably will not be impressed. It might be fine but anything that is standout usually gets talked about.
 
Emanuel said:
Me too. But if you don't feel satisfied with lower than ISO1600, I bet you risk to not be happy with the upcoming 4.6K output from BMD either...
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Maybe. We shall see. Different cameras have different noise patterns. Some like the Cinema EOS look more organic and others like video. I'm not opposed to noise just as long as it's more organic looking.

I dont generally need to shoot at ISO 1600 but I want to be able to.
 
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Erik Naso said:
Maybe. We shall see. Different cameras have different noise patterns. Some like the Cinema EOS look more organic and others like video. I'm not opposed to noise just as long as it's more organic looking.

I dont generally need to shoot at ISO 1600 but I want to be able to.
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I follow your POV, even though we always have some possible approach to workaround either on NR app (when we have sharp acquisition to deal with, that's the whole point IMHO) or adding a grain filter to mask it... In any case, I don't think that's not so dramatically a trouble when well lit, as for instance this sample here from a consumer camera such as this under $1,000 LX100:

 
BMD doesn't exactly have the best track record when it comes to low light. I will love to be proved wrong but I'm not going to hold my breath on this one.
 
From prolost year ago:
"You can never get enough of what you don’t need.It’s easy to pick a camera for a particular project. But in the ever-changing world of tiny, affordable digital cinema cameras, if you don’t have a shoot on the calendar with specific camera requirements, then no camera will seem adequate. There will always be a “next camera,” the one that gets to be perfect in your mind rather than imperfect in your hand."

Applies to URSA mini again! ;)
 
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