UMPG2: Sink or Savior? | URSA Mini Pro G2 Review and Footage!
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- Опубликовано: 5 авг 2024
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MUSIC: "Lost" by Brodacious
Check his stuff out, he's awesome!
( • Dope Yelawolf Type Bea... )
URSA Mini Pro G2: amzn.to/2K9vJNo
Side Handle: amzn.to/3kOH2fO
Wireless Follow Focus: amzn.to/3KVRZXg
V-Mount Plate: amzn.to/3FpIVJl
V-Mount Battery: amzn.to/3L5TYZr
SSD: amzn.to/3OX4MvQ
Favorite EF 24-70mm Zoom Lens: amzn.to/2LGAW1Z
Timecode Generator: amzn.to/2EbDiA3
Chapters:
0:00 - Intro
1:20 - First Impression
1:30 - Rigging and Accessories
2:01 - Physical Features
8:25 - New and Improved Features Over the G1
9:10 - Slow Motion Options
10:50 - ISO and Noise Performance
11:43 - Trading CinemaDNG for BRAW
12:34 - Final Thoughts
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Disclaimer:
Though the links provide above are 100% for the same equipment that I personally use on my camera rig, it is only fair to note that they are Amazon affiliate links.
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#GearTalk #BlackmagicDesign #URSAMiniProG2
Forgive me if I missed it in your video, but the best new feature of the G2 that no one is really talking about is the MUCH improved rolling shutter. Seriously! While the original 4.6K Mini and then the URSA Mini Pro had a really good rolling shutter, the supporting internal hardware / electronics of the G2 has been greatly improved to better pull information off the sensor. In fact, the rolling shutter scan speeds have been cut in half with the G2. UMP 4.6K ------- 15.2 ms, UMP-G2 4.6K ------- 7.6 ms. It's now one of the fastest / best rolling shutters in the industry. And if you drop down to 2K, it's 3.2 ms.
That is extremely valuable info! Honestly, I was very happy with the first-generation 4.6K sensor I hadn't even thought to do a new rolling shutter test. That is absolutely fantastic, and will absolutely play a part in selling my directors / producers on using this body (as though access to S35 4.6K/120fps wasn't already a deal-maker)!
Is that 2K 3.2ms true of full-sensor coverage (i.e. ProRes non-windowed), or does that refresh speed apply specifically to windowed mode?
This comment alone may make me concrete decide on this camera over the RED Raven. When it was announced all I wanted was 4.6K at 120 and 15 stops of DR. Those are the two features I love on the Raven (wish the G2 also had some HDR mode) but my final worry as the rolling shutter. I came from the Blackmagic Production 4K which had a Global shutter. It looked fantastic. I loved the handheld look. So for over 5 years I hadn't touched a rolling shutter camera. I recently upgraded to the Pocket 4K. Fantastic little beast. Best camera under $5K easily (only surpassed by the G2 and closing in on the C200) but the rolling shutter I have to be extremely careful with. Its TERRIBLE at least coming from a global shutter camera. Certain shots go from Pro to amateur real fast if I'm not careful. So in summary im ecstatic to hear the rolling shutter is great here! Thanks!
Great to know. Thanks
Did you have a canon cinema lens ? A really need to se how they works with this camera.
I like to buy the cinema lens from canon and g2.
Thanks, from Chile.
I do not have a Canon cinema lens, but a friend of mine had the CN-E 35mm for a while and we shot around with it on the first-gen 4.6k sensor. Must say, it looked really nice! You probably won't be disappointed if you paired Canon cine glass with an URSA Mini sensor.
Are you kidding me? How do you not have a massive amount of subscribers!? This was an amazingly detailed overview of the ursa, exactly what I was looking for
Thank you so much! That means a lot to hear.
Would love to see more detailed videos like your kit breakdowns and the work flow you use for blackmagic raw
@@VideoBaseie Will happily make those! Getting asked for that (and a few other videos) by others as well, so it's good to know which order I should focus on.
Agreed! That was a great review and just sold me on selling my FS7 and getting the G2 to go with with the two BMPCC4Ks they have made me fall in love with BMD.
Incredibly detailed breakdown of this cam! Thank you
No problem! Glad it's a helpful resource. =)
Great video man! Appreciate the no BS approach!
Thank you, onboardv! I try to keep it concise and honest. =)
Best G2 review i've seen to date!!
Thank you, Sean!
exactly to the point Clifton! I'm thinking to upgrade my gear and your review was very very helpful, thanks :)
Thanks for the feedback, Bogz! Glad this was a useful resource for you. :D
From a new subscriber, excellent review. Can't wait to see whats next.
Oh, thank you so much! I've got about a half dozen high-priority videos to make (based on requests in comments), and a couple dozen more slated as I pick up momentum making these between client projects.
Very glad to have you on board as a subscriber!
Your room is a filmmaker's dream
thank you for all this info! Great content!
Really appreciate the feedback, Ferris Films! Working on getting more stuff out soon (since there is some extra time these days, and all)
Your ring-light makes you look sooooo dreamy!
*blushes profusely*
i love so much what BM are doing. and i hate the elitist approach by "professional" filmmakers of only allowing arri and red on set. dont get me wrong, those are fantastic cameras and i enjoy working with them, but you can get a comparable image quality (you just have to know how to work with the cam) out of the ursa, for a fraction of the cost... dont even get me started on red minimags, which is the biggest freaking scam i can think of... anyway, i am really excited to see what comes after the G2, i predict that the next big BM camera is gonna be equal in terms of features and image quality to the industry "standards".
btw. braw is magic!
Right there with ya, d d! Last round of project pitching I did, a lot of people were shocked at the quality I was getting out of Blackmagic cameras. There is a lot of "you shot THIS on an URSA??" and "well, that just goes to show the painter is more important than the brushes!" which is super flattering, but also kind of sad... it really shows just how much the industry relies on the monetary value of one's equipment being an indicator of the skill of the shooter.
Yeah, I've got some rants and raves on proprietary memory card pricing structures lol. As expensive as CFast was (kind of still is), the fact that it was at least an open market for competition helped ensure that it wasn't going to just be a monopoly. Plus, after the Atoch C2S and other solutions you can just pop SSDs into Blackmagic's CFast slots. Options are always good; customers don't like getting cornered!
In terms of image quality, you wouldn't believe how frequently I hear about major productions here in LA where they are using the 4.6K sensor (URSA Mini, Pro, and now Pro G2) as a B-Cam to Arri, as well as a go-to backup body in case of catastrophe. Meanwhile, my production company has been pretty much all Blackmagic bodies since the original 4.6K came out. As you can see on my shelf, I have a hard time letting go of old bodies lol
.....well said! agree 100% @@starsieve
d d The Alexa is indeed a joy to work with. RED, not so much.
Thank you great review. I hope that a full frame version comes out in 2021
Thanks for the feedback! Yeah, if BMD comes out with a full frame camera, it's going to be pretty nuts.
That being said, I'm looking at all of these full frame cameras on the market, and there appears to be a serious limitation when it comes to record settings (like, all higher frame rate options require increasingly-cropped sensor coverage as you go up in frame rates).
Part of what I like about most of the S35 and MFT sensor options is there is a pretty uniform "Full Sensor / Full Resolution" recording option (generally 60fps or 120fps range as of this post); then the "2K/HD Crop" options (Generally 120 or 240fps range).
Makes picking resolutions, frame rates, and basing framing compositions very streamlined.
I definitely love the "full frame" look, but when it comes to being able to clearly tell my director or producer "Yeah, we have 4K/120, HD/300" on the Pro G2 (or 4K/60, HD/120 on the Pocket 4K) it is a lot easier than having to explain "Well, we can do 2.8K at 75... but if we window down a little to 2.3K we can get 96." and explain how raw at 2.8K will scale beautifully to a 4K editing timeline.
But I digress lol.
TL;DR Version: Yeah, I hope BDM makes a full frame camera! I just hope they keep the resolution-to-framerate options as clean as they have on the URSA Mini Pro and Pocket 4K (explaining the Pocket 6K's record settings to people is driving me crazy)
Dude your setup is so cool! I love it.
Much appreciated, Dragonstone! I'm diggin your work, by the way. Your compositions and rhythm-driven editing are really strong. What gear are you shooting with these days?
@@starsieve Wow dude, thanks so much! You have a better viewpoint on my work than I do.
Currently all the videos on my channel are shot with the Panasonic FZ300. I'm gonna do a review on it soon.
@@dragonstone6594 The tool seems to be working for you. Would be interested to see your thoughts on it, I'm not really familiar with Panasonic DSLRs (outside of the GH series)!
A succinct and knowledgeable review of the G2! Thanks, Clifton! I've been eyeing this camera vs a used Alexa, and I'm leaning more and more towards the G2 every day. I know Grant mentioned a redesigned black shade calibration process briefly in the press release, but didn't go into much detail. I'm glad to know though that the noise performance is improved; I think we can start to use more of the sensor's latitude and smooth the highlight rolloff a bit, which was one of my one nitpicky complaints about the G1. Looking forward to seeing more footage from this camera!
Thank you Avery Peck! Really appreciate the feedback.
Yeah there are a lot of used Alexa EV Classics on the market right now, and I had been heavily contemplating getting one with the high speed license, at least to get access to the full-sensor coverage at 120fps (even if the resolution caps out at 2K), but one of the reasons I held off was because of how many of my clients actively ask about 4K@120fps - even nearly picked up a Z Cam E2 just to get the box checked! But I'm officially spoiled with access to raw video codecs, so I couldn't bring myself go back to all ProRes lol.
Yes, the new noise performance is an absolute treat; especially for those of us who got good at getting consistently clean footage out of the previous-generation BMD sensors. Based on how good the Pocket 4K was, I was a little concerned that I was going to be underwhelmed by the Pro G2; but I can confidently say that neither one is fully capable of outshining the other. Different tools for different jobs, and very much worth having both in one's arsenal!
@@starsieve Clifton Stommel I agree about braw; it's hard to go back to other codecs after using it. Much more practical than arriraw, especially if you also make RUclips videos with no DIT :)
Seems like the Pocket is the perfect compliment to the G2; I'm considering getting both. Been super impressed with the footage coming out of the Pocket; I had the chance to use it alongside an Alexa mini and was amazed at how well it cut.
Keep up the great work man! I look forward to seeing more of your videos.
@@averypeck Thank you so much! Honestly, I'm having a blast making these videos, and I already have ideas and requests for about a dozen more; so there are plenty comin' soon. Just wish I could crank them out faster between client projects (at the rate of requests / recommendations I could probably make a video a week without running out of ideas lol).
Great vid thanks 4 sharing man!
Thank you for the feedback! I'm working on getting more out soon (and more consistently). Check back soon!
Great review man!! Def don’t hear many people talking about this camera and it has my interest! Could be my next can 😬
Thank you! It's a great machine, and my go-to for many shoots. I get a lot of clients who want a more expensive camera. And then they see what can be accomplished with the Pro G2, and the difference in rental price!
Thank you so much! You're right on the money! Just in case you have a BMU 4.6k it will be great to view the image comparison between both camera.
Great idea! I actually have my original BMPCC, BMCC 2.5K, BMPC 4K, First-Gen URSA Mini Pro 4.6K, and now the Pro G2 as well as the Pocket 4K... may be worth doing a full "all Blackmagic Cinema Sensors Compared" video. I know this is more involved than what you're asking, but it may cover a lot of bases for a lot of people (and be somewhat historically interesting).
Good stuff and well presented.
Thank you, Lawrence!
Awesome video... Can't believe there are less that 1k subscribers... Would love to see how you rig out the G2 think that would be an awesome video.. especially with your experience with the BM cams
Thanks Mark! That is very nice of you to say; hopefully more folks feel the same.
Yeah, I'm going to make a whole URSA Mini Pro G2 Configurations video (as well as a BMPCC4K Configurations video). I'll bump up priority on the G2!
@@starsieve Clifton that sounds awesome.. only a small film maker myself.. I ended up buying out with a Panasonic g7, g85 and then a gh5 all with the same mounts... Similar profile and navigation... And they have done the job fine... And I've been so tempted by the pocket.. and then with the G2... DSLR video shooter does some really cool videos but I'd love to see your opinion considering this is really your wheelhouse and what you use on a day to day basis... But at the moment I think what you are getting with the G2 in terms of footage as you said in other comments an arri doesn't make sense for everyone.. certainly not for the type of work I am doing... So I'm really enjoying your pro take on it
@@markmccavitt Hey, you have to start somewhere; and starting is the hardest part (once things build momentum it ends up being harder to stop than to keep going)! It's very cool that you picked your preferred camera, started making stuff, and stuck it out through upgrades. The painter really is more important than the brushes, and as long as you're using a tool you're comfortable with / excited about, then more power to you!
For me, I came into film from commercial photography. Only happened to start playing with video at all because it came stock on my 5D3 when it was time to upgrade from my old DSLR. Fell in love with MagicLantern hack since it looked and felt so much like the image quality of still photography (raw video for the win), and after buying a C100 and a BMCC2.5K, I ended up selling the C100 and stuck with my raw video machines. The URSA Mini 4.6K was my hot-ticket cinema item and officially said "Okay, this is not a hobby. This is a viable career path," which is when I developed the Atoch C2S (investing in the camera was one thing - but the only memory cards available at the time were astronomically expensive), but I digress.
You're right, he makes great videos and is actually one of my inspirations to go ahead and get serious about sharing my experiences / thoughts as a filmmaker here on RUclips. Ever since relocating to LA it's been pretty crazy upward momentum, and you wouldn't believe how deep the production rabbit hole goes! Technology is an ever-shifting landscape; the least I can do is pass along relevant info to others who are self-teaching and just sort of figuring it out as they go.
Dude, youre awesome ! :)
Thanks, man! :D
Great video! You've just earnr yourself a new subscriber!
Thank you! Glad to have you on board!
Enjoyed this. Thanks!
I’ve been bugging my distributor in Germany for months now... hopefully they will be in stock soon.. ish...
Much appreciate the feedback.
And keep at it! As with any product, distributors should be keeping manufacturers updated on regional demand (in my opinion anyway). =)
Thank you so much! Great video! If you don't mind, I would love to see the high frame rate set up on the camera with window and without. Keep it up!
Thanks for the positive words, Red Umbrella!
Out of curiosity, which thing are you specifically looking to see? Sample footage? Menu settings?
Thanks for your reply Clifton! If you don’t mind we would love to see how to set up and footage.
@@redumbrella4218 Ahh, I see! Yeah, I'll put together a quick video on record settings with sample footage. This is something I'm sure a lot of people are also dying to see; thanks for the request!
Hey man I dont think you mentioned it...but to record BRAW do you have to record to the ssd through the ssd module on the back?
Nope! You can record BRAW just like ProRes: directly to whatever media card you choose. Just worth noting that SSDs are going to be the fastest and least expensive option for recording high data rates (like high resolution / slow motion raw capture)
Great video! Just a small question: What do you think about the compress ratio is best for this camera for your workflow? Film making?
[Edit: Thank you! Working on getting more videos out quickly about these cameras, additional pieces of kit, and post workflows!]
I think the compression is shockingly good at all settings. Personally always preferred constant bitrate over variable (at least you can accurately judge remaining record time that way, and with braw being 12bit while matching data rates of ProRes 10bit settings, you pretty much can't go wrong.
Braw 3:1, 5:1, 8:1, and 12:1 nearly match the data rates of ProRes HQ, 422, LT, and Proxy, respectively.
Long story short: I shoot most everything for clients at braw 5:1 or 8:1, and pretty much everything for RUclips (and much of my personal projects) at 12:1, always maximum resolution - for both the URSA Mini Pro G2 and the Pocket Cinema Camera 4K.
It will be nice to see a video on how you rigged the G2, especially am wondering how you mounted the USB-C drive to the camera.
Hey Benjamin! Sure thing; an Ursa Mini Pro G2 configurations video is on the schedule for upcoming videos. =)
Amazing bro 👏👏👏, please make more ursa g2 video.
Thank you! Sure thing, I've got some videos I've been meaning to finish up and get out recently!
Also, a thing that no one was saying anything about... YOU CAN RECORD ON USB-C SSDs NOW! I still wonder why I had not seen any info about it prior to opening the BM website...
Right? Crazy how convenient it is! So glad to see straight to SSD recording coming back to BMD cams.
I see that BMCC back their! What are you’re thoughts on it? Do you still have work where it would still be used or hold up?
I think the BMCC still makes a great image! And yeah, I do still use it from time to time. 2.5K raw scales very nicely to UHD, so even in a 4K project it's still a viable option, as long as you're wiling to deal with the ergonomics!
I mostly use it these days as a locked wide camera when shooting live stage productions or set it up as a timelapse camera. Ergonomically, it's much more complex to rig up (especially if I'm not the operator), and without timecode input and the built-in screen being not super usable for focus it doesn't really function as even a small project A Cam.
Realistically, the Pocket 4K now does everything I would have brought out the BMCC, BMPC, or the original Pocket for (and then some). At this point, my extra camera bodies are used mostly for rentals, BTS camers, or extra angles on 4-5 cam shoots (again, mostly live production). Sort of surprising how often it still gets rented out, honestly.
Hey! Just bought my G2 and am trying to use my Atomos Ninja inferno monitor which takes HDMI. Does your monitor only run off two cords since its SDI? If I use this converter from SDI to HDMI then I'm going to need four cords total. Not sure which is better, cost wise probably the converter but damn so many wires!
I used to use an SDI to HDMI adapter with my classic BMCC 2.5K and yeah it is surprising how quickly an extra set of cables and power draw can become combersome (especially with HDMI cables not being the most space-efficient things lol).
If your goal is to record footage on an external monitor, you'll be best served by taking the SDI feed straight into a monitor designed to record rather than converting first (i.e. Atomos Shogun or Blackmagic Video Assist), but if you just want a solid non-recording monitor, that also happens to do live cross conversion so you can use other HDMI accessories, I have been very happy with my PortKeys BM7 and I just picked up a BM5 to test (so far very excited).
for anyone wondering - the ND filter is not stepless - it's a huge slide mechanism.
Hard steps, indeed! Apologies if the footage of the 4 stages of ND being flipped through is unclear.
Not sure about the "huge" sentiment though? Can you elaborate?
Thank you Clifton. I'm running test indoors using ambient light and I'm getting "magenta and green vertical lines in dark/black areas of the video"... I'm filming at 3200 iso (native), ProRes 444 and Color Profile set to Film (flat)... is there something I need to do when post-processing the video or could there be something wrong with the sensor? I did perform various black shading calibration... when placing a lens cap black is not black... black is riddled with noise and those green/magenta vertical lines. Please advise? I'm probably missing something? Thx.
Are you using a G2? It almost sounds like a wearing-down/aging issue with a first-gen pro or even the non-pro original URSA Mini sensor.
Also, my understanding is 800 ISO is native not 3200. So you are already pushing your sensor to the limit. You'll have a much better time (even with a problematic sensor) if you stick to ISO 200 and use plenty of light to make your scene properly exposed.
No matter what the condition of your camera, if you shoot at 3200 ISO and then start recovering shadow information that isn't readily visible, the image will just fall apart and show tons of artifacting!
@@starsieve are we still getting 15 stops of dynamic range at iso 3200 or are they going to re-word that sentence (see below) and change their press releases worldwide? Just wondering... When it first came out, the G2 listed the "side handle" as included in the package... was I surprised when I could not find the handle after receiving mine? Yes! I called my vendor, my vendor called BMD... and within 24 hours the handle was taken off the "what's in the box" list... Going back to native ISO, Isn't 3200 the FS7 native ISO? Well I thought the G2 was aiming at beating just that... "15.5 stops at 3200 iso... and now you say 800iso is the native? I think I'd be even madder... I hope you are wrong... cause I'm going to sell this one if it doesn't start acting as described!
"4.6K Super 35 Sensor
"
With an effective resolution of 4608 x 2592, the sensor housed inside the URSA Mini Pro G2 can capture motion pictures that have greater-than 4K resolution with a filmlike 15 stops of dynamic range at a very high 3200 ISO. A wide exposure latitude allows for greater control in post, enabling highlight recovery while keeping the shadows clean from artifacting."
The G2 and the FS7 are vastly different cameras... For one, internal raw recording (and no need to invest in extra accessories just to change record options).
If you need to operate at 3200 ISO, I strongly recommend something like a Pocket 4K or Pocket 6K. They have two native ISOs, the higher of which being 3200.
In terms of the quoted Blackmagic verbiage, I read that as a bulleted list put into a kind of run-on sentence.
Regardless, if you feel that there is a better camera out there for your needs at that or cheaper price point, then make the switch you need to the machine that's right for you!
You also want more light at higher frame rates because when you have higher frame rates, less light or exposure is provided to each frame. That’s also the reason why you press the hfr button or change to higher frame rates, the image becomes darker. Great video! I like what bm is doing but I’m not a fan of the ursa mini form factor and that’s a tough sell for me. I’d have to change all my rigs. Haha! Thanks for posting.
That's a great point Falcon Awesomeness! You are absolutely right; I suppose I jumped straight to the part where a lot of camera operators try to compensate for the reduced amount of light per frame by just cranking up ISO rather than adjusting their lighting (and did not go into Why specifically slow-mo needs more light than "normal" speed filming)!
Thank you for the feedback. Yeah, it's pretty awesome that someone out there is working to offset the massive gap between affordable and "professional" cameras! Out of curiosity, what is your favorite camera, ergonomically, and how do you manage your rigs? Do you have a setup that works semi-universally with a number of cameras (or do you mean that you've already built out such an extensive kit around a specific manufacturer's form factor)?
Clifton Stommel hey hey! You responded!!! That’s so cool when youtubers respond. For me I like the bmcc, the RED Scarlett w and the pocket 4K. They were really easy to build around and it allowed me to extend not only in front of the bodies but on all of the sides. My current setup is the pocket 4K, one using the smallrig run and gun setup and the other is a pocket 4K “production model” using the tilta cage. In fact since you responded, I’m going to make a video with my brother walking you through our pocket 4K setup and why we build them out the way we did.
Wow. I’m really stoked that you responded. Thanks dude!
@@falconawesomeness1141 Haha, not a problem! Yeah, this platform does create kind of an odd gap in communication when people don't take the time to respond. This isn't television, we can actually have a dialogue with viewers here!
Ah, I see. Yeah a friend of mine was building his URSA Mini out with tons of rear-mounted (battery plate sandwiches) accessories and when I pointed out that his football-shaped camera is now a bazooka, odd ergonomic decision in my opinion, he said there is a pretty evenly division of filmmakers who prefer to build long rigs vs. tall rigs. I hadn't really though about it until then, but I guess I lean towards tall (I am 6'7" though so that's probably why tall is better for me, ergonomically lol).
Would love to see your setups! Definitely shoot a link my way whenever it's live. Always good to see how other filmmakers are solving problems.
When they announced the camera, the mentioned an auto focus system in the camera. For single operator situations, this could be good. Have you tested this feature? Is it any good? Would you compare it to a Canon Dual Pixel auto focus?
It's a nice tool to grab focus when you need it, for sure (especially useful for locked wide shots). As far as I know, it doesn't do face tracking and attempt to hold a subject in focus as they move, but even if it did I would likely not use it personally. I'm operating in an environment where I have a person dedicated to a monitor with a wireless follow focus setup, and there just isn't a computer yet that can make organic predictions about what living beings are going to do lol.
I did play with the DPAF on Canon cameras (back when they first released it on the C100, before the Mk II), and we have a 7D Mark II that has the feature. The issue I have with Canon's DPAF during video is just how precise / automatic it is. It feels very robotic, which is fine for commercial / corporate work, but in narrative there are a million tiny things you would never be able to point your finger at that either make a film feel "cinematic" or "video" ish... one of these things is the ability to pull focus seemlessly with the way an audience member's eyes are likely to scan the frame (I could geek out about this for hours haha).
Long story short, yeah it totally works. I know a few shooters who use it, but no one that relies on it in an narrative environment. However, a robotic tool has yet to replace human capacity to make creative decisions; and when you're working within a medium that is real-time flow of sound and visuals, an audience has an opportunity to feel those decisions being made in real-time. This is true of Canon's DPAF as well, of course!
It's great for using live view to take photos / grab stills!
I'm trying to convince someone to do an extreme highlight recovery comparison between the G2 and the Pocket 4k. But the ONLY way it would work is if both cameras are set at the exact same F stop. A lot of comparisons do this improperly by setting the G2 at f5.6 and the Pocket 4k at f4. This is the wrong way to do it as it gives the G2 an extra stop advantage. Would this be something that interests you?
Hey Lee!
It sounds like a pretty complex scenario you're describing there. if your goal is testing the quality of the highlight recovery tool between the two bodies, it's actually more important that you ensure both cameras are clipping the same amount of data on the high end than that the cameras be set to the exact same settings.
For one thing, the Pocket 4K is listed as a 13-stop dynamic range camera, and the URSA Mini Pro G2 is a 15-stop dynamic range camera; so in theory the URSA Mini Pro G2 would see an extra stop of detail before clipping in the highlights and an extra stop before crushed data in the shadows than the Pocket 4K.
Also, the Pocket 4K's 13-stop native ISO is 400, whereas the URSA Mini Pro G2's native is (presumably) 800; which may account for the testers you're speaking of stopping the URSA Mini Pro G2 down a stop darker than the Pocket 4K...
Yes, I think it would be worth running this test as a part of my Understanding Blackmagic ISO video! Which is on the schedule for upcoming stuff I'll be making for everyone.
@@starsieve yes, I think you're correct in that placing the pocket 4k at iso 400 and the G2 at 800 accounts for these testers setting the cameras at different F stops. Two of the tests I saw however, were done at the same F stop (in raw) and it seemed that the pocket 4k was able to recover the highlights slightly better, which made me raise my eyebrow. So it would be fantastic if you could do this test.
Also. Yes I agree when you describe that ultimately the most important factor is that both are clipping the same amount of information. But as we both know when it comes to shooting raw, it's all metadata. So “No matter what ISO value you are using, expect to get the best possible latitude coming out of this camera”. (I’m quoting Blackmagic Design here). This is why I think placing each camera at different iso isn't as important as having both at the exact same exposure, meaning identical F stops to make an accurate dynamic range comparison. Cheers
Very good, Sir
Thank you, sir!
Great. Can say anything about Lenses you shooting with and related topic: crapping factor
Is there any way you can shoot HD without cropping the sensor? Lots of my workflows are still in HD and it would suck not to be able to shoot HD without cropping all my lenses!
Yes, you can shoot HD without cropping the sensor. If you film in ProRes codec you can choose HD and unless you choose to activate "Window Sensor" setting, the default is to use the full sensor size.
Hey buddy just saw your video, and in the background was a Sony. I’m looking to get a new bmc camera and have a a7sii, what is your experience with matching and does one camera work better than another.
Hey Joseph!
As a colorist, I do work with a TON of a7sii footage. It is an extremely popular camera.
Short version: BMD footage is significantly better than a7sii and matching a7sii to BMD is a nightmare - the other way around is doable though.
----------------------
Long Version:
The a7sii has very different color science than Blackmagic (Sony DSLRs seem very focused on the green channel - so much so that I very frequently have to correct yellow-green shifts in skin tone). Also, the 8-bit 4:2:0 codec the a7sii records in throws out a tremendous amount of useful data for color grading - compared to 10-bit 4:2:2 data of Blackmagic's lowest ProRes options or 12-bit 4:4:4 data of BRAW, CinemaDNG, or ProRes's highest options.
To put it simply, the two shoot very differently in terms of how they perceive color, and because Blackmagic cameras capture 4 to 16 times as much color information at 2 to 4 times the color resolution (even when both are set to record 4K) - you cannot mathematically match a7sii footage to Blackmagic footage.
You can, however, "degrade" Blackmagic footage to match the Sony DSLR footage - in order to achieve a consistent look throughout a project which used both for filming.
Also, that little camera in a cage is actually the Blackmagic Pocket 4K! Since then I've picked up a second one, and a Pocket 6K (if that tells you anything about the quality lol).
Do you use the black magic view finder or a monitor set up
I'm a monitor guy. At 6'7" a shoulder rig would turn into a crazy high angle of everything / everyone (or I'd have to crouch all the time). And I'd have to hunch over or sit on a stool in order to use an EVF on tripod.
And with all the daylight-bright monitors out there (been loving my Portkeys BM7, and I'm super jazzed about the new Blackmagic 12G monitors), I don't really feel a negative space that an EVF would fill.
Do you put the Ursa on a gimbal? If so, what’s the rig?
Oh man, that's a good one. I used to fly the camera in a super minimal setup on the original DJI Ronin, but when using cinema glass, wireless kits (video and focus), etc..
the batteries couldn't support the power draw and the motors would often poop out mid-record lol.
Nowadays if I'm flying on a gimbal it's Ronin 2 with a Easyrig Vario 5 (the R2 is waaay too heavy to operate without a rig on some kind).
More and more, I've been putting in tons of time on the Steadicam though... and I gotta say it's quickly growing to be one of my favorite pieces of kit!
9:23 Why did you bleep out kinefinity?
Haha, someone noticed! It is the only time I mention another camera manufacturer by name, and this isn't a "versus" video so I really just wanted to keep the thing focused on Blackmagic.
Also I thought it would be funny.
I got UMP 12k, have you yet had chance to check it out?
How are you? Listen, I love your shelving unit! Where did you purchase it from? I need to build a shelving unit such as yours in my college’s camera rental office. Thank you again for your assistance.
Oh, yeah they are great! Really nice looking, and still robust enough to hold gear solid. The one behind me is 18" deep, 36" wide, and 72" tall: amzn.to/2l9f6aP
There is a smaller one I also got that fit nicely in the corner of my office at the time, then went nicely in my closet as of this video, and now I have it living in two halves in the new office I just moved my stuff into (it is 16" deep, 30" wide, and 60" tall): amzn.to/2jFdBkd
Hey Clifton really great review. Thank you. Would you use this camera for a high end full length feature film for cinema shoot?
Thanks for the positive feedback!
Yes I would use this camera on a high end feature. Of course, which camera I would recommend / request of my producer would be based on the needs of the project.
There is no "perfect" one-size-fits all tool. But this camera does a tremendous amount for a super reasonable price, and given any budgetary restrictions on film projects I tend to campaign for an URSA Mini Pro G2 and Pocket 4K pair right away.
Sky's the limit? Arri, Phantomflex, Cooke Anamorphics, etc... Would still have my G2 and a Pocket 4K tucked away in case main cam goes down. =D
Thank you for your response. So we are shooting a a high key comedy feature film and I really am excited to shoot in BRAW, I am huge Blackmagic fan so fingers crossed it gives me everything we need, just waiting for the camera to arrive in South Africa now should be any day now. Take care. Thanks again
@@sansmoonsamy1174 That's super cool to hear! I think you're going to be pleased with the camera, and it definitely has the features you'll need to do your comedy feature. Definitely keep everyone posted on how it's coming along (or at least reach back out when you're approaching distribution).
I love to see what long-form projects are coming out of productions using Blackmagic cams!
Hey Clifton, thanks again for your positive response, I will definitely keep you updated, I actually shot a feature using the 4K Production cam in 2017, it was a thriller so the cam we felt was pretty good in terms of that narrative, if you’re up for it at some point let me know and I will send u a link, we had a theatrical release in South Africa in March this year 2019 and we did really well here playing for 8 weeks in total, but we are looking at further distribution now. Anyways take care and keep up the great work. Your reviews are so informative and really awesome.
@@sansmoonsamy1174 Hey, if you made it happen with BMD's first-generation 4K sensor, then you are in for a treat with any of their current sensors!
Yeah I would love to see it! Sound like you guys have something good on your hands.
And thank you so much! Will keep making reviews for sure (and some workflow videos soon too). My Pocket 6K is showing up this week, so I'm sure you can guess what I'll be up to over the weekend / next week!
Am I missing something? B and H says the BD grip is $199 and comes with start stop button. The wooden handle looks cheap, has no button and is only $100 less? On a $6k camera I would want the better grip. OR is the G2 grip different?
I have 5 of the original grip (4K, Two 4.6K Bodies, first-gen Pro, and now Pro G2), but I never really find myself in need of that particular record button, and a hand-shaped wooden handle is by FAR more comfortable to hold than the stock handle.
Ergonomics wins out over a record button for me. And when I bought this handle it was $60. Not sure if the price has changed (or if it was on sale at the time?)
Is there anyway to bring .braw files to After Effects? Is it entirely .braw files only? No cdng?
Yes, unfortunately no cDNG at all on the G2. Honestly, the more I work with braw, the more and more impressed I am with it (and the more it becomes my go-to codec - for everything but green screen). And I totally get the decision to just remove it completely; they released braw just in time and it is a pretty damn near perfect codec (for like 97% of filming scenarios).
As far as I know, there is only a plugin for Premiere at the moment; it is called Braw Studio and it looks like they now support both Mac and Windows OS.
It looks like any After Effects stuff would have to either be done to baked-down footage (ProRes / DNxHD exports for example), or effects will have to be isolated and exported with alpha channel to be applied overtop of the native braw footage in Resolve / Premiere.
@@starsieve that's such a hassle workflow to begin with. Sigh.
BMD has released a plugin to allow users to edit .braw natively in Adobe Premiere and Avid Media Composer. I'm curious to know if the Adobe plugin also works for AE, or if the coding has to be totally different (and how round-tripping works within the Adobe Suite, for those who open an AE composition mid-edit on some .braw footage).
Hello! Is problem with connecting to back SDI ports like ursa ssd recorder and visual assist 4k 7" solved? I mean maybe sdi out (ssd in) can be used as throghout VA4k as loop?
Hey Protasov, I'm not sure what problem you're describing. I've used my Video Assist 4K with the main SDI port on the back for years without issue. What exactly is the issue you're having?
@@starsieve Did you tried SSD recorder from blackmagic? there a choice to which connect, SSD needs both SDI in and out, so I wondering if there EVF connected to FHD front port, can SDI back out be looped through VA4k with SSD recorder to record raw properly?
Ahh I see! Well, given that I am the original inventor of the Atoch C2S (the first SSD recorder for the URSA Mini which goes over CFast instead of using up SDI ports) I have not used Blackmagic's SSD recorder.
Never wanted to lose my SDI ports!
But I can say that saving a file over SDI as a data port and recording a video stream over SDI as a video connector cable are two very different things. So it would be unlikely they would make it so you can loop through the Video Assist 4K before going into their SSD recorder.
@@starsieve So to test does it work on G2 need a G2 :))
@@protasov-by To test if you can connect an SDI cable from the main SDI out to the Video Assist 4K and then to the Blackmagic's URSA Mini SSD Recorder and have it send a video signal to the 4K but a data file to the SSD recorder? I'm pretty confident it will not work.
And yes, you would need to get a G2 to test that! Nothing against Blackmagic's SSD recorder, I just have no reason to own or rent one.
FYI - LINK for music channel in description does not work.
Gasp! Okay let me fix that right away!
Fixed (I hope)!
can this camera handle any weather conditions? Great video btw!
It is not weathersealed like a high ene DSLR (nor is it waterproof like a GoPro), if that's what you're asking! If you're out in a rainstorm, you'll want to have some kind of water protection.
We've shot with our URSA Mini under relatively light rain conditions and managed to keep it dry enough to get our shots without the camera ever being in any real danger. Of course this is purely anecdotal!
Nice review, the 300fps might be the tipping point for me. Interesting the external features all feel very FS7
Thank you! Yeah, that 300fps is super usable with the way that sensor noise works now. It's not perfectly scattered, mind you; and any grossly underexposed footage is going to turn to mud when recovered lol... but it certainly exceeded my expectations. And I can very confidently say that the cropped 300fps is significantly more usable than the cropped 120fps on the first-gen mini!
I want this camera so bad!
It's a good one, for sure! I honestly couldn't be happier with it.
Thank you great video. Can you recommend some setting for shooting a short film. I want to save some presets for indoor shooting thanks.
Thanks for the positive feedback!
There are aesthetic reasons to do any number of settings combinations, but if you are looking for a line-of-best fit / good starting point:
I'd say if you want your film to move/feel like a movie, rather than "TV", stick to 23.98fps and 180 degree shutter angle (1/48 shutter speed at that frame rate).
Keep your ISO down as much as possible, and feel free to open up your apurture to its widest (lowest number) or one stop down from the widest-open. It'll give you the most amount of light to work with and the shallow depth of field (DoF) creates nice subject isolation. Plus shallow DoF is really popular among indie films, so you're footage will fit right in!
Again, these settings are only a jumping off point! There are a lot of wonderful, sometimes subtle, things you can do to your audience's perception of a scene or character when you start making purposeful decisions about which settings you adjust and why. For example, a dream sequence, a drunken stupor, and a street fight are often shot with extremely different settings!
@@starsieve solid advice, to think op did not even thank you for these gold nudgets 🤔 I appreciate it, I'm an indie who is just starting out 😊
Thanks, Niko. That's very nice of you to say. Been a hectic couple weeks, so I'm just now getting around to responses lol.
Maybe OP is super busy shooting his indoor film(s)! Hopefully we'll get to see what's been brewing over there. 😁
Two years on, what are your thoughts on the G2? Are you still using it? Biggest gripe? Would you buy it again today - assuming you couldn't afford the 12K ;-) ?
...oh, and have you had any issues with the touchscreen? I ask because I've heard others have had issues with it. Also, my BMPCC 4K touchscreen just failed this past week.
i am taking photo and i want traveling to asia and middle east for documentary film . there is a lot of professional camcorder camera . i dont know what i buy . what is your advice ?
It definitely depends on a few factors. If you need a camera that is going to last for a good 3+ hours on one of the available batteries made for the camera, along with ND wheel, and good low-light performance, something like an FS7, or C300 Mk II are going to be really good options.
If making your camera look like a DSLR (so you can get in an out of places without getting notice) but still have good ISO performance, and the ability to shoot a 12-bit RAW codec, the Blackmagic Pocket 4K or 6K are good options. Plus you can record straight to SSDs over USB-C so that's really convenient.
If you want to look like you're rocking a really high-end camera, with an ND wheel, and you'll be shooting mostly in daylight or controlled lighting setups - the URSA Mini is a really good option.
You'd be surprised how many people have glanced at my equipment and then told people that I own a RED or Alexa Mini...
Depending on the features you find most important (ergonomics, ND wheel, codec, resolution, battery life, rig-ability, etc) - the answer for the "right" camera will be different for a lot of people!
@@starsieve appreciate bro . thanks so much
What’s the native iso?
Native ISO is 800.
URSA Mini g2 or C200? This will be my first cinema camera, I am upgrading from the Sony a7iii.
Coming from a DSLR with such an ISO range, I'd say look between C200 or Pocket 4K/6K. The URSA Mini may be a large shift all at once.
@@starsieve Thanks Clifton! That's what I'm leaning towards, I have used the alexa mini before and loved it, so I wanted something closer to that. I'll look for the c200!
@@thomasfilmproductions6170 If you're looking for something closer to an Alexa Mini, you're probably going to want to go with the URSA Mini, actually.
Native ISO, color science, monitor / accessories mounting, dynamic range, etc are all much more similar between the URSA Mini and Arri cams than the Canon C-series.
The Canon C-series cinema cameras are more like a Sony FS7 than an Arri or a Red.
What do you recommend for hooking up an external monitor to the camera?
As in which monitor do I recommend? Or... Mounting solutions, cables, power? If all of it, I am happy to rattle off a bunch of stuff; just want to keep it concise for you!
@@starsieve I have the Focus 7 so I'm just looking for mounting and cable options as I know that the G2 does not have an HDMI port like the EVA1 or something. But would definitely love to attach my Focus on here so any cables or anything I should get would be awesome!
@@blukameramedia3194 Ahh, I see!
Well, if you're looking for a solution to go with your current monitor, the Focus 7 takes Sony NP batteries (I believe) so you can always grab something like the Atomos S2H ( amzn.to/2MgiYR9 ) to act as a converter from SDI to HDMI, running an SDI cable from the G2 to the Atomos Converter, then an HDMI from the converter into the Focus 7 monitor.
And mounting, I used Smallrig "magic arms" for the longest time (still love them for most rig accessories - amzn.to/2VfZkZH), but I've been using a top handle and either SmallRig's Arri-style anti-rotation monitor mount ( amzn.to/2VhknLj ) or the AndyCine coldshoe monitor mount ( amzn.to/2o8she3 ), dependong on which cage or top handle I'm using.
But if you're looking for an all-in-one solution that will future-proof you for investments moving forward, I highly recommend monitors from Portkeys like the BM7 ( amzn.to/31RGOcn ), which is twice as bright as the Focus 7, takes both HDMI and SDI signals with loop-out AND live cross-conversion to whichever other input you're NOT using; the cross-conversion is particularly useful if you want to use say something like the Accsoon CineEye ( amzn.to/2njxLSA) to give clients on set android/ios monitors, even though you're using an SDI camera; or if you're using a camera like BMD's Pocket Cinema Camera 4K/6K and want to use an SDI-only wireless kit like a Teradek.
A monitor with live cross-conversion (like BMD Video Assist 5"/4K and Portkey BM5/BM7) greatly reduces rig clutter/bulk, so whenever you find yourself looking at a new monitor investment - which may not be for a while! - that's my strong recommendation!
What's the situation with color matching this with P6K?
Great question, vibe! The P6K does really well at the higher-end ISOs in terms of combating high dynamic range situations (i.e. ISO up to even 1000 when in direct sunlight with no fill or diffusion), which gets it closer to the look of the URSA Mini in terms of shadow detail.
It is worth noting that the dynamic range of the two cameras are objectively different (the URSA Mini sensor is objectively superior), but at the cost of a little noise, you can get a close match with the G2 at ISO 200 or so and the Pocket 6K at 800 or so should give you a similar perceptual starting point.
@@starsieve thank you for the detailed and technical response!
@@vibebreaker Any time!
i thoroughly enjoyed this video alot, very informative. however i have a question for you(or any other commenters).......
if you were new to filmmaking and didn't know anything about cameras, would you choose the G1 or the G2 Ursa Mini Pro? all helpful feedback welcomed.
The G1 and G2 have the same interface and tools, so in terms of learning about cameras the learning curve would be the same for both. I'd say if your goal is to get the most affordable possible option for learning the professional tools and features on a cinema camera, you'll probably find some really good deals on used G1 bodies right now.
If you know you want to do this thing and want to have a machine that will remain a standard for some time, I'd go ahead and spring for the G2. It will be quite some time before you outgrow the camera if you are learning from scratch.
Of course, if you are more accustomed to working with a DSLR, I would recommend the Pocket Cinema Camera 4K. It is very straightforward to use, and feels familiar for photographers. Plus it's Very affordable!
Clifton Stommel thank you so much replying. im going to a FS5 Class in a few weeks to get a certification on that cam because the Ursa G2 and the FS7 G2 are my 2 finalist for when it comes down to the purchase. however, when i see those menus from the Sony compared to the Blackmagic, i feel like i actually know what is going on within the Ursa
@@derrwolf Yeah, Blackmagic's user interface design is incredibly intuitive (something I hear filmmakers mention frequently).
There is a pretty uniform level of frustration out there with Sony and Canon's menus on their cinema cameras. They are great machines, don't get me wrong (and the more tools you are familiar with the better)! It's just that BMD really knocked it out of the park with their UI.
Anytime! It's important to me to reply to everyone on here, so don't hesitate to reach out for whatever reason.
Clifton Stommel thanks a bunch. last thing, do you happen to have a Gear Talk for the Sony FS5 or FS7?
@@derrwolf Not yet, but I do have access to them. If you want, I can add it to my list of videos to make!
Can you do a tutorial for your cinema DNG workflow? I'm new to it so It would be very helpful! Thanks! Great video.
Would be happy to! There are a lot of cool things you can do with CinemaDNG; glad to hear there are people interested in using it. And thank you so much!
@@starsieve Thanks so much! Can't wait!:)
Do a video on that crazy editing setup you have in the background
Thanks for the recommendation, Matthew! I am happy to show off my setup; just never sure what parts people actually care about.
I'll add a "My 2020 Battlestation" - or some similar name - video to the roster!
Sorry Clifton, is it REAL ?! I discovered this UMPG2 yesterday looking at the c500ii and fx9 for an (out of my budget) upgrade of my A cam, from the hybrid mirrorless world to a more pro level gear. I literally lost my face when I saw the specs and the results over the few related RUclips videos.
I’m using the EOS R, A7iii and X-T3 for my work (small budget commercial and corporate videos). I bought a Ninja V 3 months ago, and started doing 10 bits 422 ProRes... wow... wow... like a huge slap in the face I understood magically a lot about codecs and image quality. Naturally I sold my A7iii that was already not my favorite, but ranked suddenly to a 1980-vhs-video-like quality compared to the Canon and the Fuji.
Just so you can give me a more accurate opinion, it’s been only 18 months that I’m doing video production after I decided to quit my former business industry to do something I enjoy better. So I’m trying to work as a pro, but I still have a lot to learn.
Does this URSA mp G2 really do what’s in the spec list? What’s the major flaw that I’m missing?
Do you think it would be a good step up in my production based on the little background I gave you?
Thank you!
(Awesome review btw)
First of all, super exciting that your commercial and corporate work is going well! To be inspired enough to make the leap into film/video full time says a lot about your drive.
The URSA Mini Pro G2 is really very good, and I would say that for someone ready to make the move up to a "real" cinema camera setup (SDI Video Ports, V/Gold-Mount power, ND Wheel, etc), it's the best bang for the buck by far.
Honestly, though, I'd say if you are accustomed to working in the DSLR space and want a middle step toward this kind of machine, you may want to take a look at the Blackmagic Pocket 4K and/or 6K models first. They produce incredible image quality and will probably be a smoother learning curve (not to mention investing in peripherals for an URSA Mini is much more expensive than for one of BMD's pocket cams).
Either way, you'll get an awesome camera with way more punch than your current setup. I'd say if you are used to riding ISO in low/limited available light definitely go for one of the Pockets. If you find yourself shooting outdoors a lot and riding an screw-on ND on the front of your lens a lot (and are ready to make the leap to a new video signal standard / battery ecosystem) then snatch up an URSA Mini!
Also, the size and look of the URSA Mini will impress the daylights out of most clients and scare the crap out of inexperienced interviewees. =P
@@starsieve thank you so much for taking some time to answer :) Hahaha I never realized that we could be scary with all our gear, that's funny! I don't think any of my clients are looking at my camera body a this point, they are often more impress by the lighting, boom or wireless mics and sliders (sliders are really the sh*t for the "wow" effect lol).
More seriously, the size is what scares...ME !!! I'm going to give myself one or two months to make up my mind, I have many projects to finish anyway so I don't have the time to play too much with new gear now.
Thank you again Clifton for sharing your opinion.
@@freddumartin7878 Good call, taking a little bit to make a concrete decision. There's a lot of "If it exists, I need it LAST WEEK!" mentality out there, but I've heard some very wise people from very different pockets of the industry say "Buy last year's flagship product" (in regards to new equipment).
And anytime! Sharing my opinion is why I started sitting in front my own cameras here on RUclips. =D
Let me know what you end up going with, when the time comes!
Note! If I Get 2 Solidpod Cfast 2.0 to M.2 ssd with (two) 2tb M.2 double nano rail them to my Ursa G2 4.6k 4tb of Cfast storage.
That would cost $1,040
4tb of Cfast 2 cost $3,499.90 and they come in (four) 1Tb cards.......
If you're gonna use both ports, you may want to consider an Atoch C2S and a pair of full-sized 2TB SSDs.
Would run $330 for the Atoch and $460 for a pair of WD Blue 2TB ($790 total, pretax and all that).
The Solidpod is a great compact solution for single slot use. But if want tons and tons of space, can even grab a couple 4TB SSDs for the Atoch, but the price break happens at 2TB so it gets more expensive!
Please please do the Blackmagic ISO video you mentioned
On it!
Done! ruclips.net/video/KZbc7N1iR18/видео.html
Wow that was quick🙌. Thanks so much man
@@graemedobie5435 sure thing!
5 months later... where's the Blackmagic ISO video you promised?
Honestly, I cannot believe how much time has passed either! Have been super busy filming nearly every day since I posted the Laowa lens review and somehow managed to move StommelHaus to a larger facility, and kickstart my EF to PL modification for the Pocket 6K (the Bezamod) - the last of which is currently my primary focus; gotta take care of my backers!
A Blackmagic ISO video is still very high on the list, and I would LOVE to get it it knocked out and live before the end of the year; but I would not want to mislead you with any promises.
Aye ive got the same shelves, but way less money on it lol
They are great shelves lol. I really dig the look; just gotta be careful when moving them because of how they fit together!
And Haha, yeah... I'm a bit of a gear hoarder.
you should do a video comparison review with red, arri and normal smartphones.
Haha, that would be a very entertaining review! Perhaps even more fun would be to hand a Red/Arri to a film student and a smartphone to an ASC member. =P
@@starsieve yes, there is actually a video on youtube comparing LG smartphone video with red, they tried very hard to defend the red once they noticed little or no difference in the picture quality.
IRND, NOT Hot Mirror. Hot mirror is different.
Do tell!
@@starsieve Take a look ruclips.net/video/PqLo19K8fzU/видео.html
@@starsieve My understanding: The mirror literally has a red mirror coating, while IRND has an absorptive formula. They ARE similar, but can have slightly different effects.
@@dreams_of_bubbles That's great info! My understanding was that a hot mirror reflects infrared light but let's visible light pass through, and an IRND is a ND glass with infrared reflecting as well; i.e. an IRDN is a hot mirror, but a hot mirror is not an IRND (like a square is a rectangle but a rectangle isnt necessarily a square).
But if IRND is absorbing the infrared light somehow, then I absolutely stand corrected! I have an infrared modded 5D3; I should test this!
Is there AF LOL
Yes, there is an autofocus feature. It's not face-detecting livetracking, but it does an alright job (it's a cinema camera, not a camcorder/VDSLR).
Side note: AF is something you gotta rely on as a photographer, but you may not want the machine involved in AF during video capture (single frame capture VS moving target that must be continually adjusted for); I might use it when setting up a locked-off wide shot just to ensure I'm nailing critical focus, but when capturing every moment live, I personally prefer a human be active and present on the focus controls, making aesthetic decisions.
how u gonna do a video about slowmo capabilities of a camera without a single booty clapping or twerking.
0/10 unsubscribed.
jk
Haha, thanks Andrew. It would certainly be a good way to test the rolling shutter for jello effect!
"The entire bottom is an intake".. ok 🙄
What's up? Is there anything I can help clarify? I would hate for anyone to be confused by my video!
@@starsieve you said you recorded in the desert. Where you worried that sand or dust would get in the camera?
@@NebulousFilms honestly, not really. We weren't shooting anything where the camera was set down directly on sand or on a high hat or grown-level dolly or anything.
And what particles are carried in the air that do get places are able to be taken care of with standard hand puffer / canned air / rag cleaning once we returned to home base.
We were also extremely careful when switching lenses of course!
I pray Jesus Christ calls you to His glory, all these possessions will leave you when you die. I tell you that if your sins are covered in the innocent blood of Gods Son, you will never die. Then you will know what the word Savior truly means, He will write it across your heart.
Just one problem: that camera CANNOT BE FOUND ANYWHERE! Was supposed to be shipping in April, still nothing! Blackmagic did it, again!! 👎 So, unless you’re somebody bancable or that they know, well... they don’t give a f@*k about their regular customers!! Reps won’t talk to you, they DO NOT COMMUNICATE or even bother to inform the buyers on why they’re screwing this up and messing with them, AGAIN! Complete lack of respect! No shame at all! Those people believe in NOTHING!! Australian’s attitude?
the camera is shipping...two units have arrived in europe.... :)
2 happy few. Your sister & Grant Petty’s cousin?
:)@@jmbaillard7015
this is BMD concept...they ship just a few units first and let the customers be BETA testers...
1 + 1, you can hardly call that “a few”, can you?