Hey all, sorry this has taken so long, but we hope it is worth the wait! This video has been mastered in 8K so once it's processed TH-cam's end, please enjoy the extra bit rate!!! Jake
@@CVPTV WELL worth the wait - I just now finished it. Wanted to take my time going through it. FANTASTIC review. Y'all are the best! I just wish you had a showroom in the US...maybe someday?
Glad that it went down well. We wrote and shot this in a day and a bit so happy with how it came out considering that! It was funny to shoot as well. Jake
55:27 I watched the whole this and I’ve learned allot about cinema cameras and lenses from your content. Thanks man and keep up the high standard reviews
GREAT, fastidious, thorough, and excellent work fellas. My only question: Am I the only one bothered by the Burano's positively EXTREME rainbow color artifacting on the line pairs @11:08? Sure seems to me that 12k is the best there. And as for when you get the 17K - I'd go out and try (if possible) to put it in situations we're used to seeing 65mm 5-perf, (notable examples being 2001: A Space Odyssey, Lawrence of Arabia, and Grand Prix) and see how it stacks up to them. Off the top of my head, that could be 1) High noon extreme uncontrolled sunlight, in a desert or somewhere brutally hot, at the hottest possible hour to go, with no clouds 2) For night stuff, anything with extreme light panels, LEDs, headlights (thinking about how much of 2001 was beautiful readouts of light panels and "HALS" eye/etc) and 3) a racetrack, in 24fps, handheld, no stabilizers. Go right for the torture test of torture tests. Treat it like its gotta be the best ever. That will be, by far, the most interesting and informative of digital 65mm tests. We've all seen how 65 handles faces. I could be just speaking for myself, but I am quite tired of that. We all know that's super nice. We all know shallow DOF. What I'd like to see from the perspective of being a filmmaker interested in what kind of stories can be told with this tool, I'd prefer to see it tackle some things previously deemed "too precious" for the Arri Rental service. How does it hold up?
waiting until the 8K upload has finished processing need to pixel peep as much of that 12K sensor. Well done, am sure putting a 55minutes video together wasn't easy.
Looks like an absolutely incredible camera! I just picked up a C400 because it fits my workflow much more but I’d love to get this from a local rental house for some special projects! Incredible review as always! Well worth the wait!
I love how we’re talking about the 17k price like it’s insane. The Red cameras had a steeper price and the sensor was nowhere near this. The Alexa 35 is over triple the cost
@@julianterry6837 think like a producer tho; you want to hire the arri guy or the BM guy. Sorry 9 out of 10 times this is the dialogue. BM has to make big changes before they can be taken seriously
@@earthlevel4569a REAL producer thinks financially. If I’m able to save a tremendous amount of money by using a product which will give me a competitive look I’m going for that. We all know that the conversation is lenses and DR.
Best in class review. As long as I maybe will never use this camera, the amount of knowledge you share on these reviews is priceless. Just got my second OTUS and this confort me this is a good choice. Many thanks to everyone involved on this channel for the amazing work 🤝🤝🤝
Outstanding review. Kudos to everyone. The use of the Image Engineering Integrating sphere is a massive step up! Now I will probably buy the LE7 instead of the camera!
For me, it's clearly the ARRI and then the Blackmagic. ARRI and Zeiss Otus lenses are a dream team. I shoot almost exclusively with the 55 and 85mm on an ARRI Amira, yay
I just want a smaller camera with this sensor. Limit it to 8K, give it 2x CFexpress Type B, take off the second screen and some I/O, sell for under $10K
Difficult since the relatively big size and weight of the camera has mostly to do with the necessarily powerful heat dissipation needs. I am afraid that with the current tech you would need a different sensor to get smaller/lighter.
@@earthlevel4569 the Pyxis sensor really is not awesome. And no built-in NDs, no articulating screen. I wish they would’ve made the Pyxis more like this camera
They announced a 16TB module, but will they do smaller media modules like a 1TB 2TB or 4TB ? (for those who would be using the camera in lower downsampled resolutions most of the time)
In your opinion, how does the sensor size of 17k 65 be evaluated commercially and in terms of competition with competitors? Could it threaten the position of arri and venice cameras?
50:42 is this in fact a leveler and extender or just an extender? i.e. is there the piece that attaches to the tripod head to keep the eyepiece level during tilts?
There are some features on this camera that really punch above the weight class. I would love to see BM get themselves into more high end DPs hands. I think a lot of the hate on the company comes from some of their early models being finicky or having issues, but they're obviously really trying to establish the camera side of thing which makes a lot of sense due to how prevalent they are in the post side of things. I feel like they need a B cam version with this type of sensor array. Would love to see a PYXIS pro of sorts to be a companion- even if its only a 6 or 8k version with the RGBW sensor and maybe some internal NDs.
The dynamic range is superb. Check out CineD tests made a month ago. It can hold up to the Alexa LF. Instead of emphasizing the very good dynamic range, an assumption, that it could have a inferior dynamic range is made here, that has long been disproved. So much for the competence of CVP.
Thanks for explaining the 6x6 photosite grid in more detail. Do you know how it’s able to readout that grid out for the 4K mode while also gaining a readout speed boost? I understand that the different design allows for on sensor scaling, but it’s obviously not a true downscale nor a pixel binned version. So are they skipping photosites on the 6x6 grid instead to get the speed boost?
Perfect review, 55 minutes really easy to watch... now we need an URSA CINE 12K MINI for the perfect camera ... remove the side screen and put only 1 NVME 8TB PCI E5 in the storage card... full carbon 2.5KG max please ;)
In the blind test I got the Ursa and Alexa right, and swapped my guesses between the Sony and the V-Raptor. I was surprised to find the V-raptor to be my favorite, as I'm not usually a RED fan. The 12k also looked the worst among them, which was again surprising as the S35 12k has one of my favorite images. Maybe it's an image processing issue? As they're going from native log to CST, maybe the Blackmagic would perform better using a different log profile and color management, or maybe there's something in the new sensor that I'm not a super fan of. But still, it's like it's bad! It seemed the least good of the 4 but we're really spoiled with quality nowadays
Difficult to judge differences on those short and simple scenes. Could you pin-point why exactly the V-raptor was your favorite? and Why the BM 12k looked the worst among them? Saying that without referring to any concrete differential element on the scene doesn't mean anything.
@@phrasalsyntaxI don't get it too. Resolution chart showed blackmagic has the least resolution, but in A/B comparison it actually looked like the most detailed and sharp picture. Nothing special about V-raptor in that comparison
@@88nostromo yes, resolution charts measure 'sharpness', but 'detail' is a different thing (it's like 'pleasant' sharpness or 'cinematic' sharpness, or when an image has a natural separation of edges as opposed to a delineated separation). In my opinion, the Cine 12K is quite good in 'detail' rendering, which it what matters in the end. The Burano, for example, is more sharp than the Cine 12K, but it also has a more 'video/tv' look. The colors on the V-raptor look to me the worst, don't know what @gabrielmachadobsb means by that image being the best, he doesn't explain.
24:50 that's it, that's the killer feature. LIVE transfer of files into Resolve while recording in real-time?! That eliminates a significant bottleneck right there.
Actually cine D showed 14.8 with an extra 2 in the shadows. After owning and operating for over a month we can net about 16.8 pretty consistently with noise reduction and highlight recovery
Thanks you so much for such a detailed review. It was much much needed. Form factor and power make this camera for bigger production only. Would love to rent it when project needs it, but I haven't came across any rental house that is willing to buy into this system yet... As a owner operator it's way too much of a camera all around.
Ursa G2. Probably the highest dynamic range of all BM cameras and lowest rolling shudder. Lighter than 12kLF and contrary to popular belief rigs like a box camera. Most misunderstood and slept on camera out there.
Can you compare the 12K LF to the original Super35 12K? My guess is is the original Super35 12K will be the best value cinema camera because it has the same RGBW principle as the 12K LF version, but with less frame rate and less dynamic range and less shallow DOF, but all the other benefits will hold.
Man, I know you guys know what you are doing, but some of the coloring looks a bit like DSLR footage. I say that gently, as I know it may also be just the CST or something else. Props on the review!
Unless the USB C is USB4, it should be the same datarateas thunderbolt (I saw somewhere that intel released the specifications of TB4 to the USB forum) so they should be compatible
*This newer version of the 12K does have slightly more detail than the URSA Mini Pro 12K Super 35 Sensor has. However, I do prefer the overall image from the URSA Mini Pro 12K camera, even though it has a smaller sensor. My first impression of the New 12K camera is it has more detail, but also a harsher look, which is more of a digital look, whereas the URSA Mini Pro 12K has a softer, more nuanced, Cinematic look, which I find more pleasing to the eye.*
Cameras don't really have a 'look' - they're just a data capture device. Once you know how to grade and process an image, you can create any look. Just look at what Steve Yedlin has to say on the subject. We shouldn't think of it as such, and we should be more concerned about what data it captures, which in this case is a lot!
@@MasamitsuKai Oh yes they do have a look. Cameras have internal image processing architectures and manufacturers apply their own secret sauce, which produces a difference the human eye can plainly see. If what you were saying was true, then we would see no difference in image quality outputs from all the top cameras, but clearly, this isn't so. As for grading one's own footage, I would have to say less than 5 % of Cinematographers know how to actually color and image density "Grade" their own footage. Colour grading is the least understood discipline of technical film and video production. Grading an image is not an exact science, because if it was, then producers wouldn't higher an expert technician with an "Eye" to grade all their productions and pay them tens of thousands of Dollars just to do so.
@@markjob63541) 'Cameras have internal image and processing' - yes of course that is true! Rec709 conversions will give you vastly different colours and looks, this is not what I am refering to. I am saying that you can take that data and process it to give nearly any look. In terms of colours, given that you have a very robust raw codec and good dynamic range, there is so much you can do with an image! That's why I will always put the emphasis on Dynamic Range, Codecs, Bit Depth, noise patterns, etc... 2) 'If that were true, then we would see no difference in image quality' - well no, there are so many factors that go into image quality, so to simplify it down to look isn't reasonable. It's about how much usable data is captured, and how well that data is manipulated. If you imagine a hypothetical where one camera has limited DR, a bad codec, and only shot in rec709 but had a good 'look', compared to a camera that had a 'video look' camera that had good data, the final image would almost definitely be better with the 'video look' camera. 3) 'Colour Grading is the least understood discipline of technical film' ' I mean it depends by what you mean by that. Within the colour grading community, it is very deeply understood. Do professionals specialised in cameras generally have a specialty in colour grading? No, kind of by definition. But if you're working on any decent shoot, you're going to have a colorist working on the footage, so that's not really an issue. 4) 'Grading an image isn't an exact science' - yeah of course not, just like exposure isn't an exact science. That being said, it is highly technical and reproduction of specific looks is very obtainable. And furthermore carrying out "exact science" isn't easy, and takes years of study to truly understand the topic. I've been grading professionally for over 6 years and I'm still just scratching the surface and very much an amateur compared to the pros.
Please convince Blackmagic to develop a single Media Module reader. 3 8tb media modules and a single reader would allow this camera to be used in regular workflows that camera departments already know. Each module being a magazine, alternating between them for recording and offloading the media accordingly, through a logger of DIT. This has been the standard. Tested and proven.
I love my red v-raptor x and red komodo x with raw film you can get any look you need and flexibility with camera and size and autofocus help me and lens chose and app in phone we after use sony and blackmagic and lumix every time i feel i miss something but with red v-raptor x and red komodo x give me hope and trust this my opinion after test
Images are lovely but imo BM need to do a few things to win the love of most* professionals: Kick the URSA badge to the curb and run. that name is stained with a cheapo feeling and change the body so it doesnt look like an URSA. Bring back Prores recording! Lose the 24v and make it 12v. Make a better EVF; that eyecup spinning on the EVF diopter is amatuer hour. BM should be looking at how hard the Alexa35 flopped. They should essentially make their own MiniLF. Full-frame 4k with highspeed, Build in ND, and good lowlight. Don't overthink it but also don't focus on it having to be the cheapest priced camera on the market. Pros and rental houses will spend 30k on a camera body if they know it won't be replaced or have the price slashed after one year (i see you v1 12k camera).
Once again I am asking, HOW DID THE ALEXA 35 FLOP?! Every time, no one has been able to give me hard evidence as whenever they do say is just true for the rest of the industry. I can tell you what a flop on Arri's part would like, we've seen with the maxima gimbal, the orbiter light, that one long ultrawide zoom and it's rear Anamorphic variant. The thing on those other lack of adoption across the productions being done and thus, a short lifespan on the shelves (this is true for the maxima and ultra wide zoom). the Alexa 35 HAS seen adoption even in the industry downturn right now, as evidenced by the multiple film festival having lots of films shot on them (sounds dumb that hasn't stopped people online from gauging how well adopted other cameras have been before now has it?).
@zebius4517 Hey there. You came to the right place. Simple, Orbiter just wasn’t bright enough, Maxima couldnt do 360 without seeing the dumb arms and the 9.5-18mm released at a time when full frame was popping off(yikes dont forget the price and the already had 8r). The 35 is another story. I would what you call an Arri fanboy, and i even despise the 35. Ask any sales person how many 35’s are sitting in the warehouse. And talk about terrible timing to release this camera. 24v was a huge fuck up and we now know why the only reason they did it; the 265. Rental houses and owner ops dont want to buy new batts, especially if there is no benefit to the end-user (its just to benefit the engineers). If it gave me DOUBLE the run time, ok ill buy new batts. Sorry not sorry the new color science is trash. I feel like im shooting with a red camera. I have to AWB to get proper skin tones. Old sensor has amazing skin tones no matter what lighting scenario. Camera is heavier and fat. 3rd party audio module is a joke. Buy all new accessories. It is also the BUGGIEST camera Arri ever made probably due to the new power system. Textures just look like noise. Super35?! They have a whole line of incredible FF Sig lenses (and now ENSO) to be pissed away on a crop sensor wtf is that? They fucked up so hard and the industry is so fucked up they are working on a cheap camera. If Arri is shaking in their boots i’m looking for a plan B myself.
![Overrated: Camera features that don't matter [ft Gerald Undone]](/img/n.gif)
Hey all, sorry this has taken so long, but we hope it is worth the wait! This video has been mastered in 8K so once it's processed TH-cam's end, please enjoy the extra bit rate!!! Jake
YES! I've been checking for this one everyday for the past few weeks. Thanks so much, Jake!!
Hope it's been worth the wait!! Jake
@@CVPTV WELL worth the wait - I just now finished it. Wanted to take my time going through it. FANTASTIC review. Y'all are the best! I just wish you had a showroom in the US...maybe someday?
100% worth the wait. These reviews are industry standard now. 🔥
At 53:37, did the prices get reversed with the EVF/ Non EVF packages?
Great review, can't wait to get my hands on one.
Love everything about this: the camera, the review, the beard.
While no camera is perfect the Blackmagic 12k is truly mind boggling for its price and the fact that you get 8tb in the box is wild!
If you get the 265 and Ursa 17K in. Maybe find some situation where you can compare it to IMAX film scanned at high resolution?
Love seeing you guys get a little more creative, especially like the theme of this one, it is eery but somehow made me laugh!
Glad that it went down well. We wrote and shot this in a day and a bit so happy with how it came out considering that! It was funny to shoot as well. Jake
55:27 I watched the whole this and I’ve learned allot about cinema cameras and lenses from your content. Thanks man and keep up the high standard reviews
Glad to hear it and we will try! Jake
GREAT, fastidious, thorough, and excellent work fellas. My only question: Am I the only one bothered by the Burano's positively EXTREME rainbow color artifacting on the line pairs @11:08? Sure seems to me that 12k is the best there. And as for when you get the 17K - I'd go out and try (if possible) to put it in situations we're used to seeing 65mm 5-perf, (notable examples being 2001: A Space Odyssey, Lawrence of Arabia, and Grand Prix) and see how it stacks up to them. Off the top of my head, that could be 1) High noon extreme uncontrolled sunlight, in a desert or somewhere brutally hot, at the hottest possible hour to go, with no clouds 2) For night stuff, anything with extreme light panels, LEDs, headlights (thinking about how much of 2001 was beautiful readouts of light panels and "HALS" eye/etc) and 3) a racetrack, in 24fps, handheld, no stabilizers. Go right for the torture test of torture tests. Treat it like its gotta be the best ever. That will be, by far, the most interesting and informative of digital 65mm tests. We've all seen how 65 handles faces. I could be just speaking for myself, but I am quite tired of that. We all know that's super nice. We all know shallow DOF. What I'd like to see from the perspective of being a filmmaker interested in what kind of stories can be told with this tool, I'd prefer to see it tackle some things previously deemed "too precious" for the Arri Rental service. How does it hold up?
together with this new arri camera footage this produces the most astonishing footage i have ever seen.
all blackmagic cameras have this modern in the 80s look and i like it very much.
Excellent work guys. Thoroughly enjoyed it. I have shot and loved Blackmagic since the tiny OG Pocket Cinema Camera
Came for a review. Shared for the production value. Well done CVP.
I started an Ursa 12K savings account back in April, this would be a dream to work with 🙏🏾🙏🏾 I’m only a 1/3 way through but excellent video so far!
This is the review I've been looking forward to - yours are always the most in depth and useful!
Ordered mine yesterday, can’t wait to start working with this one ❤
waiting until the 8K upload has finished processing need to pixel peep as much of that 12K sensor.
Well done, am sure putting a 55minutes video together wasn't easy.
yall are the best
Thank you! Jake
Looks like an absolutely incredible camera! I just picked up a C400 because it fits my workflow much more but I’d love to get this from a local rental house for some special projects! Incredible review as always! Well worth the wait!
great in depth review. probably more comprehensive than blackmagic themselves.
I love how we’re talking about the 17k price like it’s insane. The Red cameras had a steeper price and the sensor was nowhere near this. The Alexa 35 is over triple the cost
@@julianterry6837 think like a producer tho; you want to hire the arri guy or the BM guy. Sorry 9 out of 10 times this is the dialogue. BM has to make big changes before they can be taken seriously
@@earthlevel4569a REAL producer thinks financially. If I’m able to save a tremendous amount of money by using a product which will give me a competitive look I’m going for that. We all know that the conversation is lenses and DR.
Best in class review. As long as I maybe will never use this camera, the amount of knowledge you share on these reviews is priceless. Just got my second OTUS and this confort me this is a good choice.
Many thanks to everyone involved on this channel for the amazing work 🤝🤝🤝
This review is an achievement!
Yes one hour about my dream camera on CVP 🎉🎉🎉
Most awaited , ready with my coffee!!!
I LOVE CVP reviews!!! Never change guys!!
Outstanding review. Kudos to everyone. The use of the Image Engineering Integrating sphere is a massive step up! Now I will probably buy the LE7 instead of the camera!
every camera review needs these intros from here on out
I really appreciate that you did the translation into Spanish 💯😁
Yeahhhhh gogogo, an hour of quality content ❤
Never gonna buy it, never gonna use it but I just like watching your videos and learning a lot in the process. Keep up the good work.
For me, it's clearly the ARRI and then the Blackmagic. ARRI and Zeiss Otus lenses are a dream team. I shoot almost exclusively with the 55 and 85mm on an ARRI Amira, yay
that is hell of a review !
Hope you like it! Jake
that intro is brilliant
Great review thank you cvp!💯
Fantastic review. Thanks.
Arri still beats every other vendor, although they are getting close. Arri is about to launch an incredible new camera. Hang on to your hats.
They just did, it was the 265
And it’s available as a RENT ONLY.
Not on price though
For the price it should totally be better in every way but its not.
I just want a smaller camera with this sensor. Limit it to 8K, give it 2x CFexpress Type B, take off the second screen and some I/O, sell for under $10K
Difficult since the relatively big size and weight of the camera has mostly to do with the necessarily powerful heat dissipation needs. I am afraid that with the current tech you would need a different sensor to get smaller/lighter.
@@grahmdoughty isnt that the pixis?
@@earthlevel4569 the Pyxis sensor really is not awesome. And no built-in NDs, no articulating screen. I wish they would’ve made the Pyxis more like this camera
Imagine doing such an amazing, comprehensive and professional video review and still apologizing for it... so British :)
Spectacular!
This Camera is instantly THE camera to get for anamorphic filming ... open gate with high framerates and a good price ... i mus have that thing!
They announced a 16TB module, but will they do smaller media modules like a 1TB 2TB or 4TB ? (for those who would be using the camera in lower downsampled resolutions most of the time)
Fair point, will suggest it to my contacts at BMD. Jake
In your opinion, how does the sensor size of 17k 65 be evaluated commercially and in terms of competition with competitors? Could it threaten the position of arri and venice cameras?
Edits and reviews a banger. Critics now send messages about fraud, waste, and abuse.
FINALLY!!! 😩🙌🏾
50:42 is this in fact a leveler and extender or just an extender? i.e. is there the piece that attaches to the tripod head to keep the eyepiece level during tilts?
There are some features on this camera that really punch above the weight class. I would love to see BM get themselves into more high end DPs hands. I think a lot of the hate on the company comes from some of their early models being finicky or having issues, but they're obviously really trying to establish the camera side of thing which makes a lot of sense due to how prevalent they are in the post side of things. I feel like they need a B cam version with this type of sensor array. Would love to see a PYXIS pro of sorts to be a companion- even if its only a 6 or 8k version with the RGBW sensor and maybe some internal NDs.
The dynamic range is superb. Check out CineD tests made a month ago. It can hold up to the Alexa LF. Instead of emphasizing the very good dynamic range, an assumption, that it could have a inferior dynamic range is made here, that has long been disproved. So much for the competence of CVP.
Can you share the sample raw footages please?
Thanks for explaining the 6x6 photosite grid in more detail. Do you know how it’s able to readout that grid out for the 4K mode while also gaining a readout speed boost? I understand that the different design allows for on sensor scaling, but it’s obviously not a true downscale nor a pixel binned version. So are they skipping photosites on the 6x6 grid instead to get the speed boost?
Perfect review, 55 minutes really easy to watch... now we need an URSA CINE 12K MINI for the perfect camera ... remove the side screen and put only 1 NVME 8TB PCI E5 in the storage card... full carbon 2.5KG max please ;)
Well done review.
AC dream. They were really thinking about ACs and DITs when developing this camera
In the blind test I got the Ursa and Alexa right, and swapped my guesses between the Sony and the V-Raptor. I was surprised to find the V-raptor to be my favorite, as I'm not usually a RED fan. The 12k also looked the worst among them, which was again surprising as the S35 12k has one of my favorite images. Maybe it's an image processing issue? As they're going from native log to CST, maybe the Blackmagic would perform better using a different log profile and color management, or maybe there's something in the new sensor that I'm not a super fan of. But still, it's like it's bad! It seemed the least good of the 4 but we're really spoiled with quality nowadays
Difficult to judge differences on those short and simple scenes. Could you pin-point why exactly the V-raptor was your favorite? and Why the BM 12k looked the worst among them? Saying that without referring to any concrete differential element on the scene doesn't mean anything.
@@phrasalsyntaxI don't get it too. Resolution chart showed blackmagic has the least resolution, but in A/B comparison it actually looked like the most detailed and sharp picture. Nothing special about V-raptor in that comparison
@@88nostromo yes, resolution charts measure 'sharpness', but 'detail' is a different thing (it's like 'pleasant' sharpness or 'cinematic' sharpness, or when an image has a natural separation of edges as opposed to a delineated separation). In my opinion, the Cine 12K is quite good in 'detail' rendering, which it what matters in the end. The Burano, for example, is more sharp than the Cine 12K, but it also has a more 'video/tv' look. The colors on the V-raptor look to me the worst, don't know what @gabrielmachadobsb means by that image being the best, he doesn't explain.
I can’t believe that I watched the whole video even though I don’t have a money or use for it.
great video thanks CVP best for 2025.
24:50 that's it, that's the killer feature. LIVE transfer of files into Resolve while recording in real-time?! That eliminates a significant bottleneck right there.
Would love to see a comparison against the Ursa Mini Pro 12K or Pyxis:)
Actually cine D showed 14.8 with an extra 2 in the shadows. After owning and operating for over a month we can net about 16.8 pretty consistently with noise reduction and highlight recovery
Thanks you so much for such a detailed review. It was much much needed.
Form factor and power make this camera for bigger production only. Would love to rent it when project needs it, but I haven't came across any rental house that is willing to buy into this system yet...
As a owner operator it's way too much of a camera all around.
Sorry if someone's commented this already, but did you mean Burano, not Venice in the comparison at 4:10 ? It looks like a Burano in the line up
CVP once again taking no prisoners. Respect.
Finally, the review I've been waiting for. Let me buy some popcorns 🍿 sit down, and spend my next valuable 55 minutes well 😅
Hope you enjoy it! Jake
@CVPTV I certainly am. Thank you for the video, Jake. It's very insightful!
I really wish we had something halfway from the Pyxis to this. Something in the 6000$ range pretty please?
Ursa G2. Probably the highest dynamic range of all BM cameras and lowest rolling shudder. Lighter than 12kLF and contrary to popular belief rigs like a box camera. Most misunderstood and slept on camera out there.
G2 are a hell of a camera. Only downside is that it eventually dies out because of the sensor failing.
Finally the review for another camera I can't afford! 😅
What is the result of the ABCD cameras?
53:50
A - Burano
B - Mini LF
C - Ursa
D - RED V Raptor 8k VV
@ I actually switched Ursa and Burano.
Can you compare the 12K LF to the original Super35 12K?
My guess is is the original Super35 12K will be the best value cinema camera because it has the same RGBW principle as the 12K LF version, but with less frame rate and less dynamic range and less shallow DOF, but all the other benefits will hold.
8k TH-cam upload... thats a flex!
Thanks for your reviewing. Please add z cam to compare.
I think the ursa cine retained contrast well in the over exposure test
yesss
yessssssss
yesssssssssssss,
at this point ya'll should just employ me
It would be interesting if you could add the varicam in some of these cinema camera tests.
Great!
But you forgot the most important test; Can it run Crysis?
No, but it comes with Half-Life 3.
so what is Camera A, B, C and D? Where do you tell what camera is what?
Just looking forward seeing many underpriced OG URSA mini 12ks on the used market 🙈
Man, I know you guys know what you are doing, but some of the coloring looks a bit like DSLR footage. I say that gently, as I know it may also be just the CST or something else. Props on the review!
The Eterna sensor is not much bigger than Vista Vision.
This URSA 17 sensor is much bigger
Ursa 12k Olpf vs ursa 12k cine please
Thank You!
Unless the USB C is USB4, it should be the same datarateas thunderbolt (I saw somewhere that intel released the specifications of TB4 to the USB forum) so they should be compatible
are you sure the purple aliasing isn't chromatic abberation?
I dont think i never was that fast to click on a vid.
Let us know what you think when you've finished it! Jake
@ pretry wild performance for the price!👌 also looks like a great system as a whole
Full feature about sticky notes man when?
What top handle is mounted on Pyxis at 52:22 ?
Looks like mid49
You should have uploaded this in 8K HDR
Video hardware companies still treating fast storage like it's some kind of magic blackbox that can't be found anywhere else.
One video for UPCOMING ARRI ALEXA 265
That 17k with the large sensor would be great for filming the mystery drones in New Jersey.
The blues are crazy good is never good on digital cameras 😮
*This newer version of the 12K does have slightly more detail than the URSA Mini Pro 12K Super 35 Sensor has. However, I do prefer the overall image from the URSA Mini Pro 12K camera, even though it has a smaller sensor. My first impression of the New 12K camera is it has more detail, but also a harsher look, which is more of a digital look, whereas the URSA Mini Pro 12K has a softer, more nuanced, Cinematic look, which I find more pleasing to the eye.*
Cameras don't really have a 'look' - they're just a data capture device. Once you know how to grade and process an image, you can create any look. Just look at what Steve Yedlin has to say on the subject. We shouldn't think of it as such, and we should be more concerned about what data it captures, which in this case is a lot!
@@MasamitsuKai Oh yes they do have a look. Cameras have internal image processing architectures and manufacturers apply their own secret sauce, which produces a difference the human eye can plainly see. If what you were saying was true, then we would see no difference in image quality outputs from all the top cameras, but clearly, this isn't so. As for grading one's own footage, I would have to say less than 5 % of Cinematographers know how to actually color and image density "Grade" their own footage. Colour grading is the least understood discipline of technical film and video production. Grading an image is not an exact science, because if it was, then producers wouldn't higher an expert technician with an "Eye" to grade all their productions and pay them tens of thousands of Dollars just to do so.
@@markjob63541) 'Cameras have internal image and processing' - yes of course that is true! Rec709 conversions will give you vastly different colours and looks, this is not what I am refering to. I am saying that you can take that data and process it to give nearly any look. In terms of colours, given that you have a very robust raw codec and good dynamic range, there is so much you can do with an image! That's why I will always put the emphasis on Dynamic Range, Codecs, Bit Depth, noise patterns, etc...
2) 'If that were true, then we would see no difference in image quality' - well no, there are so many factors that go into image quality, so to simplify it down to look isn't reasonable. It's about how much usable data is captured, and how well that data is manipulated. If you imagine a hypothetical where one camera has limited DR, a bad codec, and only shot in rec709 but had a good 'look', compared to a camera that had a 'video look' camera that had good data, the final image would almost definitely be better with the 'video look' camera.
3) 'Colour Grading is the least understood discipline of technical film' ' I mean it depends by what you mean by that. Within the colour grading community, it is very deeply understood. Do professionals specialised in cameras generally have a specialty in colour grading? No, kind of by definition. But if you're working on any decent shoot, you're going to have a colorist working on the footage, so that's not really an issue.
4) 'Grading an image isn't an exact science' - yeah of course not, just like exposure isn't an exact science. That being said, it is highly technical and reproduction of specific looks is very obtainable. And furthermore carrying out "exact science" isn't easy, and takes years of study to truly understand the topic. I've been grading professionally for over 6 years and I'm still just scratching the surface and very much an amateur compared to the pros.
Please convince Blackmagic to develop a single Media Module reader.
3 8tb media modules and a single reader would allow this camera to be used in regular workflows that camera departments already know. Each module being a magazine, alternating between them for recording and offloading the media accordingly, through a logger of DIT.
This has been the standard. Tested and proven.
All red, Sony and arri cameras are 12bit log and 16bit linear except arri Alexa 35 that is 13bit log and 18bit linear.
my friends are fighting...please answer
I love my red v-raptor x and red komodo x with raw film you can get any look you need and flexibility with camera and size and autofocus help me and lens chose and app in phone we after use sony and blackmagic and lumix every time i feel i miss something but with red v-raptor x and red komodo x give me hope and trust this my opinion after test
C is?
First.
grgrgrgrgr you should have waited the 8K upload to be encoded before getting this video public, i'm frustrated now.
30 mins in and the only thing this cam lacks is 16 bit color
12bit log is pretty much the same as 16bit linear. Resolve can decode the 12bit BRAW file to 16bit linear.
@ not exactly but close enough
0:35 this video has more bokeh than tony northup
Images are lovely but imo BM need to do a few things to win the love of most* professionals: Kick the URSA badge to the curb and run. that name is stained with a cheapo feeling and change the body so it doesnt look like an URSA. Bring back Prores recording! Lose the 24v and make it 12v. Make a better EVF; that eyecup spinning on the EVF diopter is amatuer hour. BM should be looking at how hard the Alexa35 flopped. They should essentially make their own MiniLF. Full-frame 4k with highspeed, Build in ND, and good lowlight. Don't overthink it but also don't focus on it having to be the cheapest priced camera on the market. Pros and rental houses will spend 30k on a camera body if they know it won't be replaced or have the price slashed after one year (i see you v1 12k camera).
Once again I am asking, HOW DID THE ALEXA 35 FLOP?! Every time, no one has been able to give me hard evidence as whenever they do say is just true for the rest of the industry. I can tell you what a flop on Arri's part would like, we've seen with the maxima gimbal, the orbiter light, that one long ultrawide zoom and it's rear Anamorphic variant. The thing on those other lack of adoption across the productions being done and thus, a short lifespan on the shelves (this is true for the maxima and ultra wide zoom). the Alexa 35 HAS seen adoption even in the industry downturn right now, as evidenced by the multiple film festival having lots of films shot on them (sounds dumb that hasn't stopped people online from gauging how well adopted other cameras have been before now has it?).
@zebius4517 Hey there. You came to the right place. Simple, Orbiter just wasn’t bright enough, Maxima couldnt do 360 without seeing the dumb arms and the 9.5-18mm released at a time when full frame was popping off(yikes dont forget the price and the already had 8r). The 35 is another story. I would what you call an Arri fanboy, and i even despise the 35. Ask any sales person how many 35’s are sitting in the warehouse. And talk about terrible timing to release this camera. 24v was a huge fuck up and we now know why the only reason they did it; the 265. Rental houses and owner ops dont want to buy new batts, especially if there is no benefit to the end-user (its just to benefit the engineers). If it gave me DOUBLE the run time, ok ill buy new batts. Sorry not sorry the new color science is trash. I feel like im shooting with a red camera. I have to AWB to get proper skin tones. Old sensor has amazing skin tones no matter what lighting scenario. Camera is heavier and fat. 3rd party audio module is a joke. Buy all new accessories. It is also the BUGGIEST camera Arri ever made probably due to the new power system. Textures just look like noise. Super35?! They have a whole line of incredible FF Sig lenses (and now ENSO) to be pissed away on a crop sensor wtf is that? They fucked up so hard and the industry is so fucked up they are working on a cheap camera. If Arri is shaking in their boots i’m looking for a plan B myself.
Waiting for the 17k one to drop so I can sell a kidney.
this , mini , burano , venice or raptor someone help