Curious to see how it works in low light (I'm not looking for FX6 levels, just how flexible it can be.) That said, I rarely use anything other than 800 ISO on my FX6, as I light everything.
I'd be interested in seeing how it performs in Super35 cropped modes. With that much resolution the camera should be a good candidate for mixing FF and S35 glass. And how 8K and 4K footage compares to 12k in terms of the scaling quality, especially compared to conventional Bayer pattern sensors. I'm a Sony guy but the 12K is intriguing to me. I wouldn't really shoot 12K with it, probably, but 8K and 4K (no 6K?) would be interesting. Also, how lenses which are typical for BMD camera users (DZOs, Nisi, IRIX, maybe one or two zooms) perform at 12K at different apertures, just to get an understanding of what a camera like this demands from the glass in front of the sensor.
Rolling shutter test in all resolutions, low light test, lens mount options, file sizes, all codecs, all shooting resolutions, internal ND?, Audio, connections, HDMI? Thanks
Id like to see what the real useable DR is at the different resolutions and bitrates, what the low-light is at the different resolutions and bitrates, how the high frame rates behave in low-light in the different resolutions and bitrates and if it has a s35mm mode and if so, what can you shoot in that? Also check for IR pollution or any quirks. It does look like a very promising camera. It's a bit of an exhausting test list, but I would do it myself if I had the camera, as I've been caught out on other cameras shooting 50fps in low light and the image falls apart - it's useful to know how far you can push a camera. In other words, if I want to shoot low-light at say, 100fps, would I get better results at the highest bitrate, or there is no difference (it's hard to imagine lower bitrates won't affect it it, but you never know). I forgot to add also at what ISO does it work best at in low light and bright lights, though I suppose other people will do these tests along the line.
Same. We filmed that quite early one, and it really took me by surprise how well the camera did. Theres nothing quite like seeing the impact of DR like that in a real world situation.
Meh it noticeably had a lot of fill light inside the barn from another large front lit door off camera right. My hands on impressions on the 12k at a trade show showed it had good DR but nothing that special for a modern camera
The footage looks great, but that shot doesn't look like anything that any modern Blackmagic or even most mirrorless cameras couldn't handle. Like noahyv said, there's clearly fill light coming from a door camera right (you can see the light on the ground as the camera tilts down). I know I've shot scenes with far more dynamic range in them with the BMPCC4K and no artificial lighting and I had no problem at all. Some ETTR and making sure not to clip highlights and probably any modern camera would be fine for that scene.
this might become my new beast. Blackmagic really defines itself for the freelance cameraman who needs a device that works great, fast, easy (especially when you're alone) and finally gives enough tools that studios or ENG facilities want when you're asked for a job. And all of this for a great price. If you compare this to ARRI, you need 10 times the money
This is the most expensive camera which Blackmagic have released so far (until the upcoming 17K 65 that is..). Yet it still offers so much value for money.
This sensor in a slightly smaller body meant for solo operators (ie no extra side screen) for under $10K would absolutely crush. Really looking to seeing more in depth tests comparing the image to other cameras
A refreshed 8K oriented Ursa Mini design with CFExpress B only and standard v-mount support for say $5900 might be a great option. Same sensor, but with a lower power draw so have limited 12k frame rates. There’s a LOT of room between the Pyxis and the new 12k. So maybe by NAB next year we will see what else they have up their sleeves.
It would be nice for you to discuss the heat the camera generates and how hot the body itself can get. It’s an amazing camera but it does put off more heat than I’ve experienced with others. Would be nice to reassure consumers that it’s a normal occurrence.
That dynamic range! Coupled with Blackmagic color🤯 When blackmagic said it’s 16stops, I knew it’s gonna be crazy good. Since I’ve found that 13stops in blackmagic term is already like 15+stops in many other manufacturers’.
Impressive indeed. The footage looks very organic with great colour science. Amazing value - wonder what a Sony or Red would cost to have the same features.
I’d love to see a comparison against the Raptor X for example, in terms of DR and such, I know the read out is different because of the raptor x GS sensor but still the other aspects of the workflow and usability of the cameras would be nice to see, because as a RED user, I know and like BRaw but R3D is vastly superior, so the price of the ursa and all its features against the advantages of a Raptor x is an interesting fight. Great video and looking forward for the full review !
I really wish they'd make a third camera that sits between the 12K LF and the Pyxis. As an URSA Mini G2 owner, getting a Full Frame 8K + XLRs + NDs would be more than enough and would close the gap between the 12K LF and the Pyxis.
Appreciate the video. I'm looking forward to the more in-depth video. I love your guys' videos. I'm thinking about getting the URSA Cine 12K LF as my flagship camera just need to figure out what the best B-cam would be that I can use as a minimal, smaller camera from action shots.
Love this video kudos. Since there's a huge amount of confusion with 12bit log being effectively 16 bit linear, could you put into the next video that clarification? Most don't know that the Blackmagic raw files, unpacked, is 16 bit linear as well. Thank you!
Amazing camera ❤ and for the price one can future proof themselves for years to come instead of buying a used Venice 1 or Alexa Mini LF. My only concern is that regardless of how amazing the Blackmagic image looks, in higher end productions you don’t often hear requests for Blackmagic cameras. So unless you have more influence over camera decisions or you don’t have to deal with requests for certain cameras, make sure the investment will be financially worth it 😅
Astonishing specs. If Blackmagic have also stepped up in terms of reliability (the single thing after poor battery performance) that has kept me from investing in BM cameras, then this will take serious consideration for my next purchase.
Blackmagic design actually revealed their new ursa cine lines all have undocumented 16 bit raw color bit depth. even the ursa min 12k which explains the rich and beautiful color science... just adding
I feel like more video cameras should implement rgbw sensors. I understand the benefit of rgb for hybrid cameras, but I just can’t think of any reason rgbw wouldn’t be flat out better for video only cameras. Would love to hear any reasons against rgbw
I'm no sensor engineer. But there will be a reason that no one other than Blackmagic has done it yet. The original UMP 12K had less dynamic range than the UMP 4.6K, it suffered from noisy images when cropped in, and aliasing problems especially on the 8K and 4K. None of those problems here! Blackmagic really seem to have cracked the formula with this sensor.
@@carlyates2487 makes sense, and then I could also imagine that the inability/lack of desire, for other companies to implement a raw workflow to make it work also explains other companies decisions. I’m pretty sure blackmagic said they could only make this work with braw. Regardless, I’d like to see at least some innovation from other companies. Sensor technology has grown so stale
Second this. In Canada we find ourselves in a variety of “harsh” conditions and if this camera has anywhere near the arri reliability I could see it being used more often on larger sets.
I wish BM would take their RGBW tech and put it in a Pyxis (or even Pocket) style camera. I think it's clearly one of the reasons their readout speeds are so fast on both this camera and the Super 35 12K, and rolling shutter has always been a pretty sore spot for BM cameras (the 6K FF Cine and Pyxis are like 25-26ms in open-gate, which is abysmal). I mean, even if they just took this same sensor, put it in a Pyxis body, and artificially limited it to 8K or lower capture, that'd be awesome. I wouldn't mind seeing them do the same with the S35 12K sensor, because I do love the Super 35 format, and it could be priced a little more cheaply.
Competition is really heating up in the $5000-$8000 camera segment with the new C80/C400 and Komodo x price drop. I am hoping by NAB Blackmagic Design puts this sensor in the Pyxis body with ND filters. Sacrifice some of the higher frame rates, extra monitor, and a few other features and sell it for $7000-$8000.
This sensor, even if you sacrifice some of the higher frame rates, needs a lot of cooling. That's explains the size of the Cine 12K, they probably couldn't make it smaller. Pyxis body size is just too small for this type of sensor and processing. You need new developments in hardware tech to get this type of performance in a small body.
I would love to see the RGBW tech inside a small camera like the Pyxis. Hopefully over the next few years we will. However the cooling and media are a huge part of what makes this camera able to do what it does. That’s far too much to put inside the Pyxis as it is.
@@phrasalsyntax Your logic regarding possible cooling problems makes sense. I am guessing that higher frame rates create more heat. Will shooting at 8k or 4k produce less heat as well? If so, just make it an 8k up to 60p, 4k up to 120p and 12k up to 30p. And if that is to much, just drop the 12k option. Unless BMD is leaving a place to drop the price by $4000 like it did with the previous camera, there is a large enough gap in its camera lineup to place a scaled down version of this camera for solo operators.
@@davidwendt3613 yes, but remember that the sensor read out speed is extremely fast and that generates a lot of heat in itself. And don't forget that the (8K and 4K is down-sampled from the 12K (full width of the sensor) meaning that it still requires initial 12K processing (8K and 4K only help with file size). That's why I think in order to get this performance in terms of IQ and high frame rates in a small package we still need some new developments in sensor hardware/processing/cooling tech, you maybe can't do it with the same architecture.
@@phrasalsyntax Thanks for taking the time to explain the cooling/camera size relation in more detail. Someone further down posted that the camera runs hot in its current form, so making it smaller would multiply that problem.
Love this camera and I’m looking forward to buying one soon. NOTE; when ARRI coined the term Large Format (LF) they said it was bc the Alexa LF sensors was LARGER than Full Frame. So that means this URSA CINE 12K is NOT an LF (Large Format) camera. It’s simply FULL FRAME (FF). Nonetheless an awesome camera. Thanks for the video!
in cinematography LF is usually refer to anything bigger then Super 35 since that sensor size was the de facto standard for the film industry, so that mean FF sensors are called LF while in photography that term is usually reserved for anything bigger than medium format aka actual large format
@@ali_alamiI tried to reply with an old video with Mark at Arri talking about why they use the term LF as a way to differentiate their sensor from FF sensors but it appears TH-cam doesn’t like when we post url
@@carlyates2487 Ha ha! Yes, I totally get you there. My actual dream is a 6k version in the pyxis body. Praying for Pyxis G2 (whenever it comes) t have an inhouse sensor like this but 6 or 8k. My perfect camera. But I would love one of these for that stunning image. Shame I'd have to sell the car to get one!
It shows you can do high resolution without having that really ugly over sharpened netflix look thats been popular. This looks normal, even creamy. And its not 100k. Thats pretty freaking cool man. Also hi carl!
Am I right in thinking this camera doesn’t shoot 1080p? Most of my work (uk broadcast) still insists on HD capture. Shame because I really want to buy this camera 😅 but it wouldn’t make sense without 1080p and I’d annoy a lot of edit assistants very quickly
please do a latitude test vs alexa 35. i m so curious how much these 16 stops are real 16 stops. my guess is, BM can be happy to achieve the 14 stops of the alexa classic. its not a secret that no one tells the truth about their DR except for ARRI.
It's a fantastic camera, but if BM could just put this new sensor in a slightly smaller and lighter body approx 2kg, instead of the 3.9kg this weighs, and compromise some of the features like 12K high frame rate and the side screen, they would knock it out of the stadium and I and so many more solo operaters would buy this, even at a not much reduced price point
Absolutely, the workflow is fantastic. While we are making our next longer video, we have been editing Venice & Ursa Cine footage on the same timeline, and the 12K Ursa footage plays back easier than the 8.6K XOCN from the venice
I would say its up there with the big boys but others will be hesitant because how can a camera that is less than 100,000 be considered the most powerful?
It depends how you define the word “powerful”. I’d challenge you to find another camera that can do 12K at 100fps which you can purchase now and be filming with tomorrow?
It’s a fascinating camera which should manage to muscle into the higher end cine space over the next few years. For owner operators on the other hand, this 12k will require a significant upgrade of equipment. In many cases, B-mount will be a significant and expensive change. Tethered ingest of footage? Do you want a camera plugged into 10G Ethernet between setups with everyone standing around waiting for an “all clear” from the DIT? Ah, not really, not on a busy shoot day. You will need more of those modules to swap out, especially since there’s no track record in terms of reliability. The camera is also a lot beefier than the Ursa Mini line, so bigger rig, larger sticks, etc. It may well be worth the cost and effort but none of it should be taken lightly.
If BMD made this camera with actual 14 or 15 stops of dynamic range ABOVE the noise floor, then yes, this is the only existing competent alternative to Arri cameras.
We will have to wait and see what the independent chart tests come back as. My guess after grading the footage would be more DR than a few Alexa’s, but still less than the Alexa 35.
we are a production house that runs sony, red and blackmagicd cameras. Know that the 12k is a BEAST---the form factor is large---the specs...impressive--what we love BM for what they work towards giving us. I like the media 8TB (and eventual 16tB module idea) however--to think you'll be doing media wrangling on an active set out of the camera you're shooting with (especially on budget features is not realistic) we purchased the media dock...took us over 6 hours to get it tied into out NAS and editing system to offload our first "test"s---and the media dock if you're wrangling on set will need to be set up in a work flow fashion that works for your needs...not small. We'll overload on the 8tb modules and bring back to the editing suite to begin with...rather than buying two or three docks....just be aware of the form factor -- the camera also runs HOT...not that different than our Red Raptor...but in five minutes in the shade...hot to the touch! Will be a camera that will need loving care. Looking forward to shooting our first narratives with her.
Why is media wrangling on set not realistic on a low budget feature? All you need is a MacBook, the Sonnet Solo 10g I mentioned, an Ethernet cable and the hard drives to store it on. I’ve been on plenty of jobs where we have a laptop there doing some data wrangling.
Yea…my best wishes to Blackmagic’s long-term financial wellbeing. Love the company and what it does. Just hope that things are sustainable as it is, especially given their products’ pricing. It really shows customers and the rest of the industry what can be done at a given price🤯
What would people like to see us cover in the upcoming in depth video?
Curious to see how it works in low light (I'm not looking for FX6 levels, just how flexible it can be.) That said, I rarely use anything other than 800 ISO on my FX6, as I light everything.
I'd be interested in seeing how it performs in Super35 cropped modes. With that much resolution the camera should be a good candidate for mixing FF and S35 glass. And how 8K and 4K footage compares to 12k in terms of the scaling quality, especially compared to conventional Bayer pattern sensors. I'm a Sony guy but the 12K is intriguing to me. I wouldn't really shoot 12K with it, probably, but 8K and 4K (no 6K?) would be interesting. Also, how lenses which are typical for BMD camera users (DZOs, Nisi, IRIX, maybe one or two zooms) perform at 12K at different apertures, just to get an understanding of what a camera like this demands from the glass in front of the sensor.
Battery life
Rolling shutter test in all resolutions, low light test, lens mount options, file sizes, all codecs, all shooting resolutions, internal ND?, Audio, connections, HDMI? Thanks
Id like to see what the real useable DR is at the different resolutions and bitrates, what the low-light is at the different resolutions and bitrates, how the high frame rates behave in low-light in the different resolutions and bitrates and if it has a s35mm mode and if so, what can you shoot in that? Also check for IR pollution or any quirks. It does look like a very promising camera. It's a bit of an exhausting test list, but I would do it myself if I had the camera, as I've been caught out on other cameras shooting 50fps in low light and the image falls apart - it's useful to know how far you can push a camera. In other words, if I want to shoot low-light at say, 100fps, would I get better results at the highest bitrate, or there is no difference (it's hard to imagine lower bitrates won't affect it it, but you never know). I forgot to add also at what ISO does it work best at in low light and bright lights, though I suppose other people will do these tests along the line.
That barn shot got me with the DR performance
Same. We filmed that quite early one, and it really took me by surprise how well the camera did.
Theres nothing quite like seeing the impact of DR like that in a real world situation.
Made me "wow"
This shot makes me realise they are in for the kill with Arri ahah
Meh it noticeably had a lot of fill light inside the barn from another large front lit door off camera right. My hands on impressions on the 12k at a trade show showed it had good DR but nothing that special for a modern camera
The footage looks great, but that shot doesn't look like anything that any modern Blackmagic or even most mirrorless cameras couldn't handle. Like noahyv said, there's clearly fill light coming from a door camera right (you can see the light on the ground as the camera tilts down). I know I've shot scenes with far more dynamic range in them with the BMPCC4K and no artificial lighting and I had no problem at all. Some ETTR and making sure not to clip highlights and probably any modern camera would be fine for that scene.
I’m seriously blown away, knowing all the competition. What a milestone, well done Blackmagic, Grand Petty.
this might become my new beast. Blackmagic really defines itself for the freelance cameraman who needs a device that works great, fast, easy (especially when you're alone) and finally gives enough tools that studios or ENG facilities want when you're asked for a job. And all of this for a great price. If you compare this to ARRI, you need 10 times the money
This is the most expensive camera which Blackmagic have released so far (until the upcoming 17K 65 that is..). Yet it still offers so much value for money.
The spider web shot is just stunning.
The footage looks surrreal! Incredible job on the part of BMD team!
Thanks for watching!
This sensor in a slightly smaller body meant for solo operators (ie no extra side screen) for under $10K would absolutely crush. Really looking to seeing more in depth tests comparing the image to other cameras
A refreshed 8K oriented Ursa Mini design with CFExpress B only and standard v-mount support for say $5900 might be a great option. Same sensor, but with a lower power draw so have limited 12k frame rates. There’s a LOT of room between the Pyxis and the new 12k. So maybe by NAB next year we will see what else they have up their sleeves.
Agreed, I’d love to see that.
My jaw was on the floor with that barn shot. That DR… wow.
i love the little physical switches for iso and shutter, and this is truly made for cinema
Cant believe I've watched this review 5 times already. I keep coming back to it 😅
Can't wait for the in-depth video. If the camera works as expected, things are gonna get wild.
What would you like to see us cover in that in depth video?
It would be nice for you to discuss the heat the camera generates and how hot the body itself can get. It’s an amazing camera but it does put off more heat than I’ve experienced with others. Would be nice to reassure consumers that it’s a normal occurrence.
@@carlyates2487if possible would it be possible to have the dr chart next to a arri or red?
phenomenal review . camera's specs are outa this world .
That dynamic range! Coupled with Blackmagic color🤯
When blackmagic said it’s 16stops, I knew it’s gonna be crazy good. Since I’ve found that 13stops in blackmagic term is already like 15+stops in many other manufacturers’.
Exactly, like I said in the video, they are usually quite conservative with their DR claims.
Superb Video, as always. Can't wait for the really in depth 45 min long Version of it. 😉
Thanks! What would you like to see us cover?
Compare with the Alexa 35 👀
This is quite amazing. It’s going to be a game changer no doubt about that.!!!
They need one of these types of sensors in a Pyxis style body. Even just 4K with great readout and DR would be enough.
My heart says yes, my wallet says "don't you dare even thinking about it".
Thanks for watching!
finally the video I have been waiting for. I can't wait for the in-depth test.
Camera this good for that price is something I thought would never exist.
Great review. Indeed a 'waaw factor'. Looking forward to the upcoming in-depth episode.
Impressive indeed. The footage looks very organic with great colour science. Amazing value - wonder what a Sony or Red would cost to have the same features.
Great intro video & what an incredible system! ❤
really fantastic, great review
This camera is insane!!!
Thanks for watching!
Wow, this camera is a beast!
I’d love to see a comparison against the Raptor X for example, in terms of DR and such, I know the read out is different because of the raptor x GS sensor but still the other aspects of the workflow and usability of the cameras would be nice to see, because as a RED user, I know and like BRaw but R3D is vastly superior, so the price of the ursa and all its features against the advantages of a Raptor x is an interesting fight.
Great video and looking forward for the full review !
Noted, thanks for watching!
You can shoot a future with this Mate!!
I really wish they'd make a third camera that sits between the 12K LF and the Pyxis. As an URSA Mini G2 owner, getting a Full Frame 8K + XLRs + NDs would be more than enough and would close the gap between the 12K LF and the Pyxis.
Agreed. That would be a fantastic addition to their range.
Yes! And please use an RGBW sensor!!
Agree. Pyxis could have been 8k already. Mirrorless cameras will advance within a year.
Appreciate the video. I'm looking forward to the more in-depth video. I love your guys' videos. I'm thinking about getting the URSA Cine 12K LF as my flagship camera just need to figure out what the best B-cam would be that I can use as a minimal, smaller camera from action shots.
There’s the Pyxis of course. If you want something with a faster shutter for action work though, perhaps the Canon C80?
@@carlyates2487 I've been checking for footage of how well the image matches the URSA Cine.
Wow. Great footage. Would be great to see one of fire as a dynamic range test
Thanks! I wasn't aware this camera was so potent. Really cool! Rooting for BMD, even if I'm currently using a sleeker R5C for personal needs.
Thanks for watching!
This looks incredible
Thanks for watching
Love this video kudos. Since there's a huge amount of confusion with 12bit log being effectively 16 bit linear, could you put into the next video that clarification? Most don't know that the Blackmagic raw files, unpacked, is 16 bit linear as well. Thank you!
This is the poor man ARRI. Love it
Such a massive fan of BlackMagic! 😩🥰🥰❤️
We all are!
They are certainly an interesting company!
I love this camera.
Thanks for watching. Your DR comparison tests have been very helpful by the way, thank you for sharing!
@@carlyates2487 Thank you for your review too
Amazing camera ❤ and for the price one can future proof themselves for years to come instead of buying a used Venice 1 or Alexa Mini LF. My only concern is that regardless of how amazing the Blackmagic image looks, in higher end productions you don’t often hear requests for Blackmagic cameras. So unless you have more influence over camera decisions or you don’t have to deal with requests for certain cameras, make sure the investment will be financially worth it 😅
Yes that’s true enough. It will be interesting to see if these new Ursa Cine cameras change that
Please don't wait too long for the camera tests :) thank you
They are well underway! Hopefully out within a few weeks.
Fantastic Video.
Thanks for watching!
amazing !!!! no words .....
Thanks for watching!
This camera is insane quality and it’s a fraction of the price of burano and higher but competes very well!
Astonishing specs. If Blackmagic have also stepped up in terms of reliability (the single thing after poor battery performance) that has kept me from investing in BM cameras, then this will take serious consideration for my next purchase.
Blackmagic design actually revealed their new ursa cine lines all have undocumented 16 bit raw color bit depth. even the ursa min 12k which explains the rich and beautiful color science... just adding
I wonder if they could do an update on the OG Ursa 12k, so we can have 16bit (wrapped in 12bit), also.
I feel like more video cameras should implement rgbw sensors. I understand the benefit of rgb for hybrid cameras, but I just can’t think of any reason rgbw wouldn’t be flat out better for video only cameras. Would love to hear any reasons against rgbw
agreed!
I'm no sensor engineer. But there will be a reason that no one other than Blackmagic has done it yet.
The original UMP 12K had less dynamic range than the UMP 4.6K, it suffered from noisy images when cropped in, and aliasing problems especially on the 8K and 4K. None of those problems here! Blackmagic really seem to have cracked the formula with this sensor.
@@carlyates2487 makes sense, and then I could also imagine that the inability/lack of desire, for other companies to implement a raw workflow to make it work also explains other companies decisions. I’m pretty sure blackmagic said they could only make this work with braw.
Regardless, I’d like to see at least some innovation from other companies. Sensor technology has grown so stale
On paper this is amazing. If Blackmagic nails the reliability it could be a game changer for the industry
Blackmagic have got a huge amount better in recent years when it comes to QC and reliability.
Second this. In Canada we find ourselves in a variety of “harsh” conditions and if this camera has anywhere near the arri reliability I could see it being used more often on larger sets.
I wish BM would take their RGBW tech and put it in a Pyxis (or even Pocket) style camera. I think it's clearly one of the reasons their readout speeds are so fast on both this camera and the Super 35 12K, and rolling shutter has always been a pretty sore spot for BM cameras (the 6K FF Cine and Pyxis are like 25-26ms in open-gate, which is abysmal). I mean, even if they just took this same sensor, put it in a Pyxis body, and artificially limited it to 8K or lower capture, that'd be awesome. I wouldn't mind seeing them do the same with the S35 12K sensor, because I do love the Super 35 format, and it could be priced a little more cheaply.
Now carl, imagine if we’d had this at staffs :p
This is ubelivable! The best point of this camera is the color science! Can you share some raw footage?
Ok, we will see if we can make a few clips available to download.
damn... my URSA 12k lol. I will probably upgrade, that DR is excellent.
Thanks for watching!
Blackmagic crushing it, hard.
Just WOW!!
Thanks for watching!
Competition is really heating up in the $5000-$8000 camera segment with the new C80/C400 and Komodo x price drop. I am hoping by NAB Blackmagic Design puts this sensor in the Pyxis body with ND filters. Sacrifice some of the higher frame rates, extra monitor, and a few other features and sell it for $7000-$8000.
This sensor, even if you sacrifice some of the higher frame rates, needs a lot of cooling. That's explains the size of the Cine 12K, they probably couldn't make it smaller. Pyxis body size is just too small for this type of sensor and processing. You need new developments in hardware tech to get this type of performance in a small body.
I would love to see the RGBW tech inside a small camera like the Pyxis. Hopefully over the next few years we will. However the cooling and media are a huge part of what makes this camera able to do what it does. That’s far too much to put inside the Pyxis as it is.
@@phrasalsyntax Your logic regarding possible cooling problems makes sense. I am guessing that higher frame rates create more heat. Will shooting at 8k or 4k produce less heat as well? If so, just make it an 8k up to 60p, 4k up to 120p and 12k up to 30p. And if that is to much, just drop the 12k option. Unless BMD is leaving a place to drop the price by $4000 like it did with the previous camera, there is a large enough gap in its camera lineup to place a scaled down version of this camera for solo operators.
@@davidwendt3613 yes, but remember that the sensor read out speed is extremely fast and that generates a lot of heat in itself. And don't forget that the (8K and 4K is down-sampled from the 12K (full width of the sensor) meaning that it still requires initial 12K processing (8K and 4K only help with file size). That's why I think in order to get this performance in terms of IQ and high frame rates in a small package we still need some new developments in sensor hardware/processing/cooling tech, you maybe can't do it with the same architecture.
@@phrasalsyntax Thanks for taking the time to explain the cooling/camera size relation in more detail. Someone further down posted that the camera runs hot in its current form, so making it smaller would multiply that problem.
I'm waiting for a job but this is the camera I want next
Thanks for watching!
I need to get one of these to test
If you are in the UK you are welcome to come and try our demo unit.
NICE! Can't wait for the low light performances and rolling shutter in action!
Footage looks great. Form factor maybe dated? If they can chop it in half and make a mini version they'll clean up, surely.
Love this camera and I’m looking forward to buying one soon. NOTE; when ARRI coined the term Large Format (LF) they said it was bc the Alexa LF sensors was LARGER than Full Frame. So that means this URSA CINE 12K is NOT an LF (Large Format) camera. It’s simply FULL FRAME (FF). Nonetheless an awesome camera. Thanks for the video!
in cinematography LF is usually refer to anything bigger then Super 35 since that sensor size was the de facto standard for the film industry, so that mean FF sensors are called LF while in photography that term is usually reserved for anything bigger than medium format aka actual large format
@ mark 2:52
th-cam.com/video/fYbsukCve88/w-d-xo.htmlsi=8GzaLqyiCKopeAge
@@ali_alamiI tried to reply with an old video with Mark at Arri talking about why they use the term LF as a way to differentiate their sensor from FF sensors but it appears TH-cam doesn’t like when we post url
is it about a half stop brighter at 4K compared to 12K? Or was it an aperture change? 9:24
Most likely the sun came out.
I want one for family days out and vlogging ❤Ha ha, jus kidding but I'd love one of these for my own personal projects.
After lifting one around for a few weeks, I can assure you you don't 😂
A lightweight vlogging camera this is not!
@@carlyates2487 Ha ha! Yes, I totally get you there. My actual dream is a 6k version in the pyxis body. Praying for Pyxis G2 (whenever it comes) t have an inhouse sensor like this but 6 or 8k. My perfect camera. But I would love one of these for that stunning image. Shame I'd have to sell the car to get one!
so how come that the Pyxis didn't get this new sensor?
if media houses dont start adopting the ursa cine line, ill be very disappointed
Wonder if the paint will come off a bit slower that all the Ursas before 🤔
It shows you can do high resolution without having that really ugly over sharpened netflix look thats been popular. This looks normal, even creamy. And its not 100k. Thats pretty freaking cool man. Also hi carl!
Am I right in thinking this camera doesn’t shoot 1080p? Most of my work (uk broadcast) still insists on HD capture. Shame because I really want to buy this camera 😅 but it wouldn’t make sense without 1080p and I’d annoy a lot of edit assistants very quickly
Saw some where that it is 12 Bit Logarithm Raw and if you take in into your NLE it goes to 16 bit linear Raw
It's 16 bit linear = 12bit log. Other manufacturers will use 16 bit linear without specifying
That’s the difference between logarithmic and linear. 12 bit logarithmic is roughly the same information as 16 bit linear.
Woah!!
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They seem to have the best line up of cinema cameras on the market from beginner or pro if you don’t care about autofocus.
DJI focus pro pretty much solved that.
@@fullbarsVery true. A lot of people will be pairing this and the Pyxis with the DJI focus pro.
I really wish they picked a different name than "B-mount", there are a lot more letters in the alphabet that sound less like "V".
That is a very good point.
tell that to arri
The sensor people need inside of Pxsy.
Amazing... 😭😭😭
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please do a latitude test vs alexa 35. i m so curious how much these 16 stops are real 16 stops. my guess is, BM can be happy to achieve the 14 stops of the alexa classic. its not a secret that no one tells the truth about their DR except for ARRI.
so there is no loss in image quality if I shoot in high frame rates option like 8K 180?! 😳 all frame rates are in full image quality?
No loss
Exactly. The data rate goes up as the frame rate goes up. And it’s all 12-bit BRaw.
@@carlyates2487 wow that‘s really crazy 😅
Do you get every frame rate when you power it through mains?
Yes definitely
❤❤❤
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wow
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If this is what the 12K LF loks like and performs like what is that 17K URSA going to look like my goodness
Woah
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It's a fantastic camera, but if BM could just put this new sensor in a slightly smaller and lighter body approx 2kg, instead of the 3.9kg this weighs, and compromise some of the features like 12K high frame rate and the side screen, they would knock it out of the stadium and I and so many more solo operaters would buy this, even at a not much reduced price point
Lowering the noise floor like Pyxis?? 😅
No genlock?
is it me or did that barn have insane CA around the door?
lens
@@BlackopsCoops true
Did Black magic say anything about the monochrome version of this camera?
I haven’t heard about a monochrome version. Where did you see that?
This is Davinci Resolve paying off. Now that other camera companies like Sony are implementing BRAW, Blackmagic Design is going sky-high.
Absolutely, the workflow is fantastic.
While we are making our next longer video, we have been editing Venice & Ursa Cine footage on the same timeline, and the 12K Ursa footage plays back easier than the 8.6K XOCN from the venice
one small clarification it's blackmagic who is implementing BRAW to work with sony camera using their video assist not the other way around
Does the camera have an OLPF?
Yes it does. And from our tests so far it seems to work very well.
I can see blue chip wildlife filmmakers using this - 180fps with massive crop potential
whats the price?
16.500,- in the EU. around 15000 US I guess
@@maicovimuto6341thx buddy
I would say its up there with the big boys but others will be hesitant because how can a camera that is less than 100,000 be considered the most powerful?
It depends how you define the word “powerful”. I’d challenge you to find another camera that can do 12K at 100fps which you can purchase now and be filming with tomorrow?
There aren't many cameras, that are better than this one.
It’s a fascinating camera which should manage to muscle into the higher end cine space over the next few years. For owner operators on the other hand, this 12k will require a significant upgrade of equipment. In many cases, B-mount will be a significant and expensive change. Tethered ingest of footage? Do you want a camera plugged into 10G Ethernet between setups with everyone standing around waiting for an “all clear” from the DIT? Ah, not really, not on a busy shoot day. You will need more of those modules to swap out, especially since there’s no track record in terms of reliability. The camera is also a lot beefier than the Ursa Mini line, so bigger rig, larger sticks, etc. It may well be worth the cost and effort but none of it should be taken lightly.
Alexa 35 full frame competitor?!?!?
In some ways yes!
A great looking camera.. but the B-Mount batteries just kill it for me, I understand why they had to move to that spec, but no thanks.
If BMD made this camera with actual 14 or 15 stops of dynamic range ABOVE the noise floor, then yes, this is the only existing competent alternative to Arri cameras.
We will have to wait and see what the independent chart tests come back as. My guess after grading the footage would be more DR than a few Alexa’s, but still less than the Alexa 35.
@@carlyates2487 Even if it is less than the Alexa 35, that still leaves it being better than ALL of Sony and Red lineup.
Ah yes let me just hand over my camera to my AC for every media dump 😂
Ethernet can run up to 100m. How about your AC / DIT running a cable in while the camera is fully operational and you light the next scene ?
So theres only a three bay card reader or you have to plug the camera directly into the computer? Lol
Looks cool otherwise though!
I would never shoot close ups ever again. 🤣
Only if it did pre-roll…it would have replaced RED in natural history filmmaking.
we are a production house that runs sony, red and blackmagicd cameras. Know that the 12k is a BEAST---the form factor is large---the specs...impressive--what we love BM for what they work towards giving us. I like the media 8TB (and eventual 16tB module idea) however--to think you'll be doing media wrangling on an active set out of the camera you're shooting with (especially on budget features is not realistic) we purchased the media dock...took us over 6 hours to get it tied into out NAS and editing system to offload our first "test"s---and the media dock if you're wrangling on set will need to be set up in a work flow fashion that works for your needs...not small. We'll overload on the 8tb modules and bring back to the editing suite to begin with...rather than buying two or three docks....just be aware of the form factor -- the camera also runs HOT...not that different than our Red Raptor...but in five minutes in the shade...hot to the touch! Will be a camera that will need loving care. Looking forward to shooting our first narratives with her.
Why is media wrangling on set not realistic on a low budget feature? All you need is a MacBook, the Sonnet Solo 10g I mentioned, an Ethernet cable and the hard drives to store it on.
I’ve been on plenty of jobs where we have a laptop there doing some data wrangling.
please use models without too much make up on. we want to the see the skin tones.
Red be sweating hard...
Yea…my best wishes to Blackmagic’s long-term financial wellbeing. Love the company and what it does. Just hope that things are sustainable as it is, especially given their products’ pricing. It really shows customers and the rest of the industry what can be done at a given price🤯
Its beautiful on the inside but fugly on the outside!