About the viewfinder. You can see two knobs for adjustments. the first (right) regulates how far you want to strecht it out from the camera the second (left) regulates how stiff the eyepiece is moving. You can completly lock it or give it some sticky to loose movement. Great. Some people might wonder why you want to window your sensor when not shoting RAW losless? Simple answer: if you are using B4 broadcast lenses which are very awsome being parfocal lenses, they will NOT cover the whole sensor producing a black ring on the image. Here come the windowed sensor in play, puff, no more black ring due to using a B4 mount lens.
kane01337 Thanks. The idea was to create source footage with all the cameras in real world shooting scenarios so that viewers can download and evaluate the images themselves. We purposely stayed away from charts in a lab for this one.
@@theC47 Fair call - totally understand - I guess what I mean is more of a real world split screen comparison between the cameras - sort've like a "Final round up" of how they do at various ISO's + real world Dynamic range scenarios" next to each other ( maybe 2 at a time or 4 split etc ) understandably a lot more work - but would make a handy comparison for matching cameras + knowing limitations between them etc. Great work though - really enjoying the detailed coverage!
I have downloaded the footage and put it on my timeline (444) but I noticed a great deal of Fixed Pattern Noise (FPN) especially in the 1600 footage but also in the footage with the girl in the sunlight. I was just wondering if you made the black calibration and if you dont think something might have gone wrong?? Of course if you crush the blacks the FPN is barely noticable but after all shooting in 10 or 12 bits is there to give you more latitude in post to play with colours and exposure. I am especially referring to the shot "Girl in the sunlight". The pullover in the shadow exhibits a lot of FPN and as soon as you want to lift the blacks or the mids...it's very present. Evene without lifting the blacks or the mids actually. And it is also present in the shadowed background. What is your opinion on this. Thanks for the work and the effort.
Simply put, one of the downsides of this camera IS the fpn starting at 1600 ISO. Thats the way it is and why I never go higher then 800 ISO. But, I do a lot of live concert shoting and never had any problems with not having enough light. So just stick at 800 ISO and you'll be good.
It would be really interesting to compare these cameras with something like the Red Raven, but I guess that camera is a bit too expensive, and also a quite different kind of camera than those featured in this series..? Thanks!
If you just want 4K and nothing else than you can just use an iPhone. If you want a decent, modular cinema camera with the proper codecs and features you're gonna have to go into the Ursa Mini price range. Just because something can "do 4K" doesn't mean it's any good for professional use, there's a lot more than just pixel count that matters.
![Blackmagic URSA Mini Pro vs Pocket 4K - On The Field Comparison ! [4K]](http://i.ytimg.com/vi/EmuDLGCm7As/mqdefault.jpg)
Great video guys! Just purchased this beast today, watched this whole video without the camera in front of me yet I'm that excited 🤩
I just love black magic color science. I think it’s the best color science next to ARRI. Certainly the best production camera under 10k imo.
About the viewfinder. You can see two knobs for adjustments. the first (right) regulates how far you want to strecht it out from the camera the second (left) regulates how stiff the eyepiece is moving. You can completly lock it or give it some sticky to loose movement. Great. Some people might wonder why you want to window your sensor when not shoting RAW losless? Simple answer: if you are using B4 broadcast lenses which are very awsome being parfocal lenses, they will NOT cover the whole sensor producing a black ring on the image. Here come the windowed sensor in play, puff, no more black ring due to using a B4 mount lens.
Great video ...i'm a amateur adventure shooter ...way above my payroll ...but i love your reviews of top end cameras ...learned so much by doing that
Thanks so much for the kind words. The goal is always education.
-Jem
What tripod are you using in this post?
Amazing review! Thanks for this info
Great video, thanks for taking the time!
Great video with so much information!
Great video & Very good presentation.......!!!
Why the sony's menu can't be like this?
Nice video - good coverage - although would've been interesting to see a Dynamic Range comparison between all the cameras involved.
kane01337 Thanks. The idea was to create source footage with all the cameras in real world shooting scenarios so that viewers can download and evaluate the images themselves. We purposely stayed away from charts in a lab for this one.
@@theC47 Fair call - totally understand - I guess what I mean is more of a real world split screen comparison between the cameras - sort've like a "Final round up" of how they do at various ISO's + real world Dynamic range scenarios" next to each other ( maybe 2 at a time or 4 split etc ) understandably a lot more work - but would make a handy comparison for matching cameras + knowing limitations between them etc. Great work though - really enjoying the detailed coverage!
I have downloaded the footage and put it on my timeline (444) but I noticed a great deal of Fixed Pattern Noise (FPN) especially in the 1600 footage but also in the footage with the girl in the sunlight.
I was just wondering if you made the black calibration and if you dont think something might have gone wrong?? Of course if you crush the blacks the FPN is barely noticable but after all shooting in 10 or 12 bits is there to give you more latitude in post to play with colours and exposure. I am especially referring to the shot "Girl in the sunlight". The pullover in the shadow exhibits a lot of FPN and as soon as you want to lift the blacks or the mids...it's very present. Evene without lifting the blacks or the mids actually. And it is also present in the shadowed background.
What is your opinion on this.
Thanks for the work and the effort.
Nicolas Franik only nerds have eyes for FPN. 99% of all audiences don’t notice shit!
i just reread your comment revisiting your video and realized (as i was commenting ‘nerd!’) i’d already commented on it!
Simply put, one of the downsides of this camera IS the fpn starting at 1600 ISO. Thats the way it is and why I never go higher then 800 ISO. But, I do a lot of live concert shoting and never had any problems with not having enough light. So just stick at 800 ISO and you'll be good.
Do you find any apparent softness using full frame lenses on this camera?
Hi, would you trade EVA1 for Ursa Mini Pro specially after the current upgrade?
Anand Bhatt I almost bought a EVA1 a month ago but decided to order a UMP. One of the reason is the addition of Braw.
A what about the jvc gy ls300?
Is there auto focus on the Blackmagic?
Autofocus is available with compatible lenses.
It would be really interesting to compare these cameras with something like the Red Raven, but I guess that camera is a bit too expensive, and also a quite different kind of camera than those featured in this series..? Thanks!
DUST35 Yes. It was considered but once built out it came to quite a bit above the $10K amount.
theC47 honestly, the vast majority of audiences wouldnt notice ANY difference between the raven & the pro
i still stand by my comment. as someone who has owned a red raven.
@@rudolphsturling5236 But there's more to a camera than if your audience can tell a difference of the picture? 🙃
DUST35 only if you’re a nerd!
Does this camera shoots RAW in 16 bits?
Hi Aditya, the LOG files are 12 bit. The RAW files are 16 bit Linear. XQ is 12 bit.
What are those tripod legs ???
They are the Benro HH100AV hi hat with100mm bowl.
why didn't yall update the ursa mini pro so you can use blackmagic raw? Oh wait, i guess yall did this before it came out lol ok
Prank Smart Yep. We mention it in the video but it wasn’t even announced when we shot this.
chocolate ! -)
Great but you can get 4K for $500, and $2000 for a professional 4k camera lol. No need to spend 10k on this beast
If you just want 4K and nothing else than you can just use an iPhone. If you want a decent, modular cinema camera with the proper codecs and features you're gonna have to go into the Ursa Mini price range. Just because something can "do 4K" doesn't mean it's any good for professional use, there's a lot more than just pixel count that matters.