Actually, It'll be game over once they make it smaller. Notice how the only cameras to make a dent in the superiority of Arri were ones that were functionally smaller?
Honestly, I think the first wave of adoption for this sensor will come from indie productions with budgets in the $1-5 million range. They’ll start using it to generate some much-needed buzz. For it to gain traction, a solid cage system needs to be developed, and it must prove its reliability. ARRI cameras have built their reputation on reliability, not just their size, because they simply don’t fail. Right now, Blackmagic lacks an established on-set ecosystem, most operators wont know what to do with it. Though it is worth noting that most ARRI cameras aren’t designed for solo operation which is a shame, while RED cameras and even the Venice have carved out niches as excellent tools for single-operator, run-and-gun-style shooting. Now, Blackmagic finally has a true contender in this space. It’s absolutely capable of being operated solo without issue OR on a feature production. While the camera is larger, that’s not a significant drawback on larger sets. It has the potential to stand out once an ecosystem is established and it’s proven that it wont fail under stress.
@@youngonestudio I agree, I don't think it will be used on the high end movies and they need to come out with some more accessories to compete with Arri like a follow focus etc. And someone mentioned the camera will need to get more compact at some point. But at the prices BM can offer, it is hard to see in the near future why they won't be a major competitor.
@@zackzeiler2594 Oh, we definitely think it’ll be used on features. It just needs the right ecosystem and the chance to prove itself on a high pressure, 120 day shoot. Once it does, adoption will be inevitable, especially with the arrival of the 65. The image quality alone will make it a goto for features.
Just got the camera into my studio, excited to put it through its paces. To turn off the side screen press and hold the "disp" button, it'll black out the screen until you press it again.
@@Javaughnhenry_ yep found it 🙌🏼:D enjoy that sensor. It’s something else. We’ve done a bit more testing and it’s holding strong along side even the Alexa 35.
Interestingly, everyone initially considers the monitor on the right-hand side strange, but then reports only good things about it! Great review with some useful real life scenarios!
@@seppwaldspecht3793 very much. We’ve done quite a lot more work with it since I made this and again that monitor develops its own ecosystem on every set!
You can use USB C to Ethernet Adapter to offload footages: 1. QNAP Thunderbolt 3 to 10GbE Adaptor - QNA-T310G1S 2. QNAP USB4 to 10GbE Adapter- ONA-LIC10G1T 3. OWC Thunderbolt 3 10G Ethernet Adapter Remember to use CAT 8 40Gbps Ethernet cable.
very nice insides, thanks 🙏 Whats your experience with the low ISO range? Have you filmed at night with available light? And what do you think about the mount options, do you miss the l-mount or even auto focus?
@@beamsandwaves best single base iso ursa to date by quite a large margin. It’s not no light but lowlight is drastically cleaner. The mounts are neither here nor there. Locking ef is great if you have the glass around but pl lpl is industry standard for this type of body so that’s fine. No cinema camera has auto focus so not even something to think about if you’re investing in a cinema body.
@ - So no problems with low light?! - But what about AF with the sony burano and isn’t RED experimenting with it? I saw the ursa cine has some focus assist features wire KI tracking or something like that?
15:30 - sadly this kills its chances of being used on any professional set where there is a dedicated DIT. This would be a nightmare to work with for corporate projects because media management and off-loading is very important. They def need like an adapt/module for this.
Can you give us some more of your thoughts comparing the Ursa Mini Pro 12k to the Ursa Cine 12k? How does the overall image and dynamic range compare? What about noise and low light? Is there anything that the Usra pro 12k does better besides its smaller size? Are there any other pros and cons that you can share? This is the comparison that I need to help make a decision, so your insights are are valuable. Thanks again!
Hey David, TBH it's in an entirely different league. There isn't really much of a comparison to be had. Being such a drastically better looking image does make sense as it's a whole new line up and price bracket. I could see them keeping the Ursa 12k line going and the Cine line going as separate markets. The image really is feature film ready where the Ursa 12k, yes film ready but really needs to be beaten into submission and then it's a bit of a struggle. The Ursa Cine image, the moment you turn it on has a "well I definitely don't need an ARRI or Venice anymore" look to it. The only advantage the original 12k has over this is weight, truly that is it. EDITED: after more low light testing it definitely ahead of the ursa 12. The detail in the Cine sensor does seem to make the noise much finer and cleaner than the s35 sensor. FPN in no light but definitely improved low light! This Cine sensor outclasses anything BM have ever made by quite a large leap but the price does reflect that. BUT the price is dramatically low in comparison to the image alone let alone the new ergonomics. Arguably the most comparable image to this sensor that I've seen in the wild (as in I've actually worked with on a set) in terms of range and skin tone is actually the Alexa 35.
@@davidwendt3613 after more low light testing it actually is significantly better than the old 12k sensors. Still definitely not no light but it handles low light a lot better than I initially tested
@@youngonestudio Philip Noyce shot a movie with Naomi Watts on the Ursa 12k and it wasn't quite up to par image wise. I hope somebody shoots a feature on the Ursa Cine soon.
@ I think it looked fine, with that crew and post pipeline you could have filmed it on anything. The glass always plays the biggest part in a final image (bar coloring). I never would have been able to guess the sensor for that film. I’ve been speaking to John a bit and he’s already using the cine on some shows and a film. He didn’t tell me what. I think the most exciting thing about the cine is the detail and dr is so high, it’s going to make a lot of DPs experiment with al sorts of glass that may have been too mushy otherwise. That and the color is exceptionaly good, world leading now and very modern.
@@alesko5 you know even as I was saying it in my mind I thought the exact same thing 😂 I should have said you can find the info on the BM website or other bigcam websites
@@ghospod indie pro tools B-Mount, the body is native b mount. You can buy a V mount plate n run it off v mounts but you loose resolutions and frame rates
It's so weird how they implemented the USB-C. It should be significantly faster than Ethernet. Usb 3.2 2x2 is twice as fast at 10gig Ethernet and 4.0 is 4 times faster. Amazing video by the way, so few in-depth reviews of this camera!
I’ve used my new URSA Cine 12k on 2 shoots and I’m noticing a LOT more noise in the lower-value areas of the images than my Ursa Mini Pro G1. Are you noticing a noisy image at all?
@@DougThomsen interesting! We are finding the opposite. From what we’ve seen so far it’s the cleanest single base BM sensor to date. Very little to no noise in the shadows at all. It’s certainly not a no light sensor but definitely their hardiest low light sensor.
Wow, that makes me think there is something wrong with my unit. The noise I described was at 800 ISO with large windows in the room. I can’t find a black balance in the menus - am I missing it?
I guess some vintage glass wouldn’t suit this camera due to it being unable to resolve that much resolution, the result would probably be like the flaws of the glass be amplified by a hell lot by the camera sensor. 😅
Heads up, “B-roll” isn’t a film/ cinema term. It’s a news term. In cinema we call them “cut-aways” and “inserts”. It was popularized by RUclipsrs who unfortunately hadn’t been on real film sets with industry professionals. No harm no foul but I just wanted to give you a heads up before you used RUclipsr news terms on a set with industry professionals.
Once a good film decides to use one of these cameras it is game over
Actually, It'll be game over once they make it smaller. Notice how the only cameras to make a dent in the superiority of Arri were ones that were functionally smaller?
Honestly, I think the first wave of adoption for this sensor will come from indie productions with budgets in the $1-5 million range. They’ll start using it to generate some much-needed buzz. For it to gain traction, a solid cage system needs to be developed, and it must prove its reliability. ARRI cameras have built their reputation on reliability, not just their size, because they simply don’t fail.
Right now, Blackmagic lacks an established on-set ecosystem, most operators wont know what to do with it.
Though it is worth noting that most ARRI cameras aren’t designed for solo operation which is a shame, while RED cameras and even the Venice have carved out niches as excellent tools for single-operator, run-and-gun-style shooting.
Now, Blackmagic finally has a true contender in this space. It’s absolutely capable of being operated solo without issue OR on a feature production. While the camera is larger, that’s not a significant drawback on larger sets. It has the potential to stand out once an ecosystem is established and it’s proven that it wont fail under stress.
@@youngonestudio I agree, I don't think it will be used on the high end movies and they need to come out with some more accessories to compete with Arri like a follow focus etc. And someone mentioned the camera will need to get more compact at some point. But at the prices BM can offer, it is hard to see in the near future why they won't be a major competitor.
@@zackzeiler2594 Oh, we definitely think it’ll be used on features. It just needs the right ecosystem and the chance to prove itself on a high pressure, 120 day shoot. Once it does, adoption will be inevitable, especially with the arrival of the 65. The image quality alone will make it a goto for features.
@@youngonestudio agreed!
Just got the camera into my studio, excited to put it through its paces. To turn off the side screen press and hold the "disp" button, it'll black out the screen until you press it again.
@@Javaughnhenry_ yep found it 🙌🏼:D enjoy that sensor. It’s something else. We’ve done a bit more testing and it’s holding strong along side even the Alexa 35.
Just what I needed to see! Can't wait for mines to arrive and most importantly to use it on my indie film & commerical work!
Great review!! The camera is on my purchase list for next year.
Good choice!
Thank you for taking the time to make this great review! Do you have some footage you can share?
@@davidwendt3613 not a whole heap atm! But very soon 🙌🏼
ruclips.net/video/XKfcbD9f4yc/видео.htmlsi=If0r0KzwA2KpeZ1R
Interestingly, everyone initially considers the monitor on the right-hand side strange, but then reports only good things about it!
Great review with some useful real life scenarios!
@@seppwaldspecht3793 very much. We’ve done quite a lot more work with it since I made this and again that monitor develops its own ecosystem on every set!
you can use the BlackMagic cloud to get proxys to the DIC it uploads over wifi or though your phones data
Would you recommend this camera for home videos? Is the image warping when moving it around fast?
@@Giovanni-Giorgio all can be read here 🙌🏼www.cined.com/blackmagic-ursa-cine-12k-lf-lab-test-rolling-shutter-dynamic-range-and-exposure-latitude/
@@Giovanni-Giorgio as far as using a cinema camera for home video that is entirely up to you and how deep your pockets are.
You can use USB C to Ethernet Adapter to offload footages:
1. QNAP Thunderbolt 3 to 10GbE Adaptor - QNA-T310G1S
2. QNAP USB4 to 10GbE Adapter- ONA-LIC10G1T
3. OWC Thunderbolt 3 10G Ethernet Adapter
Remember to use CAT 8 40Gbps Ethernet cable.
Could a DIT set up WiFi and pull files wirelessly all day long? There is no info on what WiFi speeds are supported.
very nice insides, thanks 🙏 Whats your experience with the low ISO range? Have you filmed at night with available light? And what do you think about the mount options, do you miss the l-mount or even auto focus?
@@beamsandwaves best single base iso ursa to date by quite a large margin. It’s not no light but lowlight is drastically cleaner. The mounts are neither here nor there. Locking ef is great if you have the glass around but pl lpl is industry standard for this type of body so that’s fine. No cinema camera has auto focus so not even something to think about if you’re investing in a cinema body.
@ - So no problems with low light?!
- But what about AF with the sony burano and isn’t RED experimenting with it? I saw the ursa cine has some focus assist features wire KI tracking or something like that?
15:30 - sadly this kills its chances of being used on any professional set where there is a dedicated DIT. This would be a nightmare to work with for corporate projects because media management and off-loading is very important. They def need like an adapt/module for this.
@@LeapingDogFilms soooomething. Baffles me it wasn’t released with more media management.
I think you're suppose to use Blackmagic Cloud - I've never used it but apparently it's quite powerful and useful
Can you give us some more of your thoughts comparing the Ursa Mini Pro 12k to the Ursa Cine 12k? How does the overall image and dynamic range compare? What about noise and low light? Is there anything that the Usra pro 12k does better besides its smaller size? Are there any other pros and cons that you can share? This is the comparison that I need to help make a decision, so your insights are are valuable. Thanks again!
Hey David, TBH it's in an entirely different league. There isn't really much of a comparison to be had. Being such a drastically better looking image does make sense as it's a whole new line up and price bracket. I could see them keeping the Ursa 12k line going and the Cine line going as separate markets. The image really is feature film ready where the Ursa 12k, yes film ready but really needs to be beaten into submission and then it's a bit of a struggle. The Ursa Cine image, the moment you turn it on has a "well I definitely don't need an ARRI or Venice anymore" look to it. The only advantage the original 12k has over this is weight, truly that is it.
EDITED: after more low light testing it definitely ahead of the ursa 12. The detail in the Cine sensor does seem to make the noise much finer and cleaner than the s35 sensor. FPN in no light but definitely improved low light!
This Cine sensor outclasses anything BM have ever made by quite a large leap but the price does reflect that. BUT the price is dramatically low in comparison to the image alone let alone the new ergonomics. Arguably the most comparable image to this sensor that I've seen in the wild (as in I've actually worked with on a set) in terms of range and skin tone is actually the Alexa 35.
Thank you, that really helps put things into perspective.
@@davidwendt3613 after more low light testing it actually is significantly better than the old 12k sensors. Still definitely not no light but it handles low light a lot better than I initially tested
@@youngonestudio Philip Noyce shot a movie with Naomi Watts on the Ursa 12k and it wasn't quite up to par image wise. I hope somebody shoots a feature on the Ursa Cine soon.
@ I think it looked fine, with that crew and post pipeline you could have filmed it on anything. The glass always plays the biggest part in a final image (bar coloring). I never would have been able to guess the sensor for that film. I’ve been speaking to John a bit and he’s already using the cine on some shows and a film. He didn’t tell me what. I think the most exciting thing about the cine is the detail and dr is so high, it’s going to make a lot of DPs experiment with al sorts of glass that may have been too mushy otherwise. That and the color is exceptionaly good, world leading now and very modern.
There's literally only 1 technical review (ProAV TV) on YT right now😂. All of the other "reviews" are not hands-on reviews.
@@alesko5 you know even as I was saying it in my mind I thought the exact same thing 😂 I should have said you can find the info on the BM website or other bigcam websites
CVP just dropped an almost feature length review and overview of this URSA 12K LF. HIGHLY RECOMMENDED
@@CallMeRabbitzUSVI Agreed!
Is it K&F V-mount battery? How do you like it?
@@ghospod indie pro tools B-Mount, the body is native b mount. You can buy a V mount plate n run it off v mounts but you loose resolutions and frame rates
@@youngonestudio thanks!
It's so weird how they implemented the USB-C. It should be significantly faster than Ethernet. Usb 3.2 2x2 is twice as fast at 10gig Ethernet and 4.0 is 4 times faster. Amazing video by the way, so few in-depth reviews of this camera!
I’ve used my new URSA Cine 12k on 2 shoots and I’m noticing a LOT more noise in the lower-value areas of the images than my Ursa Mini Pro G1. Are you noticing a noisy image at all?
@@DougThomsen interesting! We are finding the opposite. From what we’ve seen so far it’s the cleanest single base BM sensor to date. Very little to no noise in the shadows at all. It’s certainly not a no light sensor but definitely their hardiest low light sensor.
Wow, that makes me think there is something wrong with my unit. The noise I described was at 800 ISO with large windows in the room. I can’t find a black balance in the menus - am I missing it?
I guess some vintage glass wouldn’t suit this camera due to it being unable to resolve that much resolution, the result would probably be like the flaws of the glass be amplified by a hell lot by the camera sensor. 😅
@@wenjun_n we think that’s the exciting part. We love a dirty lens 😉🥰
@@wenjun_n we think that’s the exciting part. We love a dirty lens 😉🥰
Heads up, “B-roll” isn’t a film/ cinema term. It’s a news term. In cinema we call them “cut-aways” and “inserts”. It was popularized by RUclipsrs who unfortunately hadn’t been on real film sets with industry professionals.
No harm no foul but I just wanted to give you a heads up before you used RUclipsr news terms on a set with industry professionals.
This camera is not affordable? Man, this is super cheap for what you get! Arri Alexa 35 is max 4k @ 90kEuros. Question: were's the catch? Reliability?
@@nickadams1051 super affordable! But that is comparatively. The outlay is still a lot for most ppl.
The most biggest paperweight ever with gimmicky functions
it certainly is a heavy body! full of some interesting tech
*I prefer the URSA Mini Pro OLPF 12K, because THAT BMD 12K camera also has a really great image AND IS AFFORDABLE ! 👍The New 12K LF is NOT !👎*
@@markjob6354 definitely still an excellent sensor