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BlackMagic URSA Mini, 4.6K sensor, 15 stops DR, 2160p60
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  • They will have to add an XQD or miniSSD/SSD option for me to consider the Ursa or mini. Cfast and CompactFlash are dead end to me.

    A Sensor upgrade for poor,low light would also make it usable. I currently shoot my A7s between 4,000 & 8,000 ISO.

  • Is it just degradation of the uploads? All the test Videos seem to to have a Matt filter on them. Not really bright of sharp like my A7s.

  • LoL. This camera murders the A7S.

    You can get a Cfast to sata ssd adapter if you want.

  • There are 4 major reasons for avoiding this new camera, and another 8 minor or personal reasons.

  • They will have to add an XQD or miniSSD/SSD option for me to consider the Ursa or mini. Cfast and CompactFlash are dead end to me.

    I'd disagree, it appears to me CFast will win the battle over XQD for the next generation of high speed cards.

  • Blackmagic Ursa Mini 4k Noise Test

  • I have been a big fan of Blackmagic cameras since they first waded into that stream. To my eye, they offer the best color rendition, rich realistic skin tones and are capable of images not only cinematic, but film-like at a ridiculously low entry-point. I even got images I desired out of the early 2.5K BMCC. Now, in advance of the wide release of the 4.6K Ursa-Mini, just a few humble observations, for whatever they are worth.

    After a review of all the test footage I can find for the 4.6K, it seems clear that this camera (like the earlier BM cameras) loves light, and requires that shots be lit appropriately (yes, yes; I know that ALL cameras love light and perform better with proper lighting, so maybe a better way to put this is that the 4.6K sensor DEMANDS lighting). Properly lit and exposed, the camera is capable of truly amazing imagery. Shoot it in interiors with only flat, available light and the images are going to be muddy and fairly disinteresting (even more so ungraded). In this way, the camera's requirements are very similar to those of film.

    The camera and its footage also requires post work. Here too, just like film. No one would have been moved to tears at footage from films like THE GODFATHER if they saw it straight from camera, and the same is true with the 4.6K. Yes, some usable images are possible straight from camera if properly shot ProRes is captured with 709 baked in, but this camera is clearly designed with proper postproduction in mind. Why do you think a copy of Resolve is included with the camera purchase? It is not just a sales enticement. Resolve is seen as the other half of creating stunning images from this system. Unfortunately, society's evolution (devolution?) to a point-and-shoot, instant gratification mentality makes this seem an onerous burden to some.

    So, to my mind, we all asked for a digital tool that could produce images as pleasing to the eye and emotionally evocative as those on film stocks (or as close to that as possible). We now have a handful of such cameras, the upcoming 4.6K looking to be one of them. The 4.6K Ursa cameras are intended to deliver as film cinema cameras, and in many ways they have the demands of film cinema cameras. No built in ND? Well, those big expensive Panavision and Arriflex 35mm film cameras didn't have that, either (matte / filter boxes weren't created just to look cool in front of a lens). Lighting that demands planning, time and fixtures? Well, if you want cinematic, film-like images, it makes sense that you need to light similar to how film stock had to be lit for. Be grateful that you're getting by on a lot less wattage and heat on set (and a lot less weight if you want to hand-hold or use a stabilized system). The 1600 ISO starts to get noisy and there's nothing beyond that? No, these cameras can't see in the dark like a Sony a7s ii, but well, neither could commercial film stocks (anyone remember a lot of ASA 1600 film used in commercial cinema?).

    I can't wait for my 4.6K Ursa-Mini to ship. That I am getting a sensor capable of what this one can produce, a global shutter option, color bit-depth at a level virtually unheard anywhere near this price range, a big, high resolution Super-35mm sensor, 15 stops of latitude when properly exposed, reasonable slo-mo options, and all the postproduction opportunities afforded by shooting RAW when I want / need to (but knowing top-level ProRes is available to me as well) for an entry point of US$5,000 leaves me unable to see the glass as half-empty. With proper lenses fronting the 4.6K, I am near-blind to any limitations of the camera (though I concede they are there for those that insist on putting their focus there), and see only the near-endless possibilities of images that lay ahead.

    Again, just my own observations.

  • Now Shipping but with the Global Shutter mode Removed (kinda doubt they are adding it back in). I was initially excited by this camera, but have decided to hold off indefinitely, as it's not really "a necessity" for me, let's see what happens at NAB, etc.

  • Even the Micro Cinema Camera has not Global Shutter...

  • For me the global shutter was one of the big attractive to this camera, now it's 50% less attractive for me, global shutter gives motion a natural look much more organic. Yes with less DR but the ability to change this setting given the situation was the real appeal of this camera. Now you can buy this or a FS7 about same price equipped and have much more versatile specs. Or for much less money the A7s2 with external recorder.

    It's very unfortunate for blackmagic marketing, and many prebuyers will be frustrated.

  • Yay, the URSA Mini 4.6K ships! Nearly exactly a year after it was announced. (as NAB 2016 is now just around the corner....)

    I spent a good few weeks last year thinking hard about pre-ordering the URSA Mini 4.6K, but in the end decided to go with the Sony F3 when I found a great deal on it for only US$1.2K

    Now that I see how long it took for the Mini 4.6K to ship (plus who knows how much longer mine would take because I wouldn't have been in the first week of pre orders, so might have been a loooong way down the order queue), I am feeling extra good that I went with an F3 instead! :-D

  • "We have really appreciated everyone’s patience in waiting for these cameras and apologize for the delay. It took much longer than we had thought to get the cameras to where we needed them to be, but I am incredibly proud to bring 15 stop, Super 35 true digital film cameras to everyone...

    However the big reason for the delay is the problems we were having with the global shutter feature in both of these cameras. The problems are different between the models and on the Micro Cinema Camera we have been seeing random bad pixels when in global shutter mode. On the URSA Mini 4.6K we have been seeing problems with sensor calibration when using global shutter.

    Our engineers have been killing themselves working on this for months, but the performance is just not where it needs to be for us to feel comfortable shipping with global shutter, and so we have had to remove the global shutter feature from both these cameras to allow them to ship.

    Obviously this is very upsetting for us, as we really wanted to produce high dynamic range cameras that also had a global shutter for an all in one design. The reality is that this is just one feature on cameras that are ready right now to shoot with and get incredible results. So we have made the decision to ship now."

  • Hello. Here's some more DNG's for downloading. There's a mix of evening and dusk shots here with tricky and mixed lighting. Compressed RAW as well.