I believe this had the V2 sensor, which is released on the second generation URSA but not yet out on the Mini 4K.I owned a URSA...same sensor. The image is beautiful and I must have said that 100x on this forum and the others, but the camera had issues. DR was not 12 stops. FPN showed up with the slightest bit of under-exposure. Other random issues...
But that's like looking for flaws on a supermodel. Granted, side by side, most people would prefer the Alexa colors but, taken on its own merit, the new URSA footage looks really nice.The more you do this job, the more you see things in the image and the more you look out for things, and the more you realise that very little looks like an Alexa/Amira. ... BM would have to have utterly reinvented their colour science and sensor division to be anywhere near that.
From a purely marketing perspective, 4K brings that "added value" concept to products that are then priced accordingly (i.e., "premium price for premium quality"). In terms of of resolution, Alexa is 2880 x 1600 in 16:9 or 4.6 MPX while F65 is 17.6 and Red Dragon oversamples into 4K too from roughly the same pixel count (Varicam is 8.8 MPX). Now, can one see difference between 2.5K and 4K on a regular screen? Not with the naked eye but, when people do charts, one can see the difference even between the 8.8 MPX GH4 and the 13 MPX DVX 200.Well, you know what probably happened. Some high paid dushbag 'consultant' or 'technology expert' convinced the top brass at Netflix that it's all a numbers game and next thing you know the gold standard of digital cinema cameras is disqualified from shooting for Netflix. It is scary to think that more beancounters will follow Netflix's lead and within no time at all the Alexa will be locked out of more productions. All I can do is shake my head when I think of the sheer stupidity of it all...