Blackmagic URSA revolutionizes on set workflow

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mikerissi

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Re: Blackmagic URSA revolutionizes on set workflow

PostSun Apr 13, 2014 6:31 am

perroneford wrote:The primary problem with the MFT sensor (and thus the MFT mount) was that with a sensor that small, it was nearly impossible to get wide angle lenses with the quality of the Nikon and Canon offerings. People wanted to mount their Nikon and other full frame glass onto the M43 version of the Pocket camera and other M43 cameras and still get a reasonable wide angle. These adapters do that nicely. The added benefit of the speed increase is nice in some cases, but really overkill if you are already using good prime or zoom lenses. The BMPC eliminates the "wide angle" problem because it is already a large sensor, and wide angle lenses are plentiful for it's sensor size. Does this make sense?


Sure, that makes sense -- if that's what you want. But so does giving people the option of a smaller sensor if they want one. Some people may actually prefer the deeper focus possibilities. Most people are looking for bokeh these days, but I really don't see how offering multiple options hurts anyone. One person above posted that they were hoping a smaller sensor would be available as an option (in addition to the Super 35 sensor), because it allows for more than one use of the same camera! I agree with that. I think that's an interesting idea.

I am also still not convinced that adapters that allow the use of Nikon lenses on EF mounts are perfectly fine for infinity focus. I am not an expert on flange mismatches, but the research I've done indicates infinity focus is "allowable" but not guaranteed.

Regardless, I have NO idea why ANYONE would object to a version of the camera with a native Nikon mount. Red has made cameras with native Nikon mounts. Good for them.

Frankly, since this camera is designed to allow more than one type of sensor and more than one type of mount, I don't know what possible objection anyone could have for offering more options.

TOPIC CHANGE --

I have already mentioned my dissatisfaction as a Windows user that Avid is dragging its feet to enable a DNx4K codec. As far as I can tell, the problem really has nothing to do with technical issues developing the codec. They simply have no incentive apparently to release approval of that codec at settings which allow increasing quality levels to match 4K workflows of production. In Resolve Lite and Vegas and Avid and most other software programs, you cannot output anything over the "hard" button 1080P HD settings (highest currently DNxHD 220 10 bit). But programs like After Effects CS4 actually have a "Custom" setting for the frame size. This allows the user to actually "set" the output to 4K (or more!) with the DNxHD codec... Most people are probably unaware of this. But you can create a DNx file at that size.

The problem is that there is currently a "glass ceiling" so-to-speak on the compression settings at 220 10 bit quality -- and four times as much 2D information is present in 4K as everyone knows. We can reasonably deduce that simply allowing a commensurate increase with regard to the rendering settings by allowing quadrupling of the size of Mb per frame would likely allow the proper quality levels, which in turn would allow the finishing of shows to pass professional levels for QC and industry standard, contractual deliverables requirements, while at the same time clearly maintaining desirable efficiencies over uncompressed files. "Hard" button presets to simply allow greater size output would not even require new compression schemes. No one at Avid has given me a credible answer for why they are holding out on this. Even hard button 4K presets with the lower quality Mb per frame would be better than what we have now.
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Perrone Ford

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Re: Blackmagic URSA revolutionizes on set workflow

PostSun Apr 13, 2014 10:22 pm

I don't see anything wrong per se with offering more choice. In terms of a smaller sensor, I would have thought the already announced 2/3" would suffice, but maybe m43 might be useful to some. And I wouldn't mind seeing a Nikon mount, especially since I have so much Nikon glass. But it seems every time BM take on something new, things take longer and longer to ship. I'd really love for this thing to ship in 3 months instead of a year. So I guess I am just in the "keep it simple" mindset.
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bis01005

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Re: Blackmagic URSA revolutionizes on set workflow

PostMon Apr 14, 2014 9:11 pm

To Grant Petty and the Development team:
Please lose the CFast cards and incorporate SSD slots. This isn't a good solution for your consumer. SSD's will get faster overtime, if you have a user replaceable media drive that can be upgraded to sata3.2 then users are able to take advantage of future features like higher fps with a new sensor or unlock the sensor for higher fps since the drive can handle such frames. It might not be possible to close the LCD screen because of the SSD sticking out of the side, but I assure you, your engineers can find a way to move the recorder. Lastly, if this is meant to be handheld, design in for such, a shoulder pad wouldn't be a bad inclusion. If the price goes up a few dollars, it would be well worth it.

Everyone's two cents.

P.S. Congrats on the release of your new camera lineup.
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Che Broadnax

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Re: Blackmagic URSA revolutionizes on set workflow

PostFri Apr 18, 2014 1:50 am

While we're asking for stuff... can we get a few more 1080 SDI-OUTs? The way I see it, in a normal cinema setting, the camera op isn't going to want to operate using that 10" screen, they're gonna want to use an EVF. Meanwhile, the AC is going to want to use an on-board monitor (as an AC, I'd love that 10" screen, but, it doesn't appear to disconnect so that it can be pushed where-ever the AC needs it), and video village is going to need a feed, too. Because here's the thing, that 10" will let the DP take a look at what they're doing without traveling back to video village, but you still need the village. Because you can't have a director, a producer, HMU, Art, Wardrobe, and Scripty all crowded around the camera trying to peek around the operator's head at that 10". You need to send a signal out. A 1080 signal.

Also... what's the deal with the mounts? There's no price on what the PL mount alone would cost for people thinking about upgrading from EF to PL, or keeping both on hand. That's what really makes this camera feel like it has a shelf life, the mount/sensor upgrades.
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rick.lang

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Re: Blackmagic URSA revolutionizes on set workflow

PostSat Apr 19, 2014 3:30 am

Chebroadnax, there is a dedicated "EVF SDI" that's HD on the camera. If you are sure the DOP will refuse to use the 10" monitor, then let the DOP use an EVF with an SDI pass-through for a monitor for the AC. There is a 12G SDI output that could be wired to support your monitor requirements for all the other folks that need to see the shot. Seems like the current configuration could work given that you record in the camera and not via the 12G SDI.


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Chris Tritschler

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Re: Blackmagic URSA revolutionizes on set workflow

PostSun Apr 20, 2014 10:27 am

DOP using the 10 inch built in monitor thingy or EVF ? Surely you mean the operator ? :)
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rick.lang

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Re: Blackmagic URSA revolutionizes on set workflow

PostSun Apr 20, 2014 7:52 pm

Sure I mean the camera operator, but aren't they all calling themselves DOPs here?


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rick.lang

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Re: Blackmagic URSA revolutionizes on set workflow

PostWed Apr 23, 2014 4:10 am

Hopefully not to belabour the point, but for so many years now, the term Director of Photography is used in film credits when I personally thought the term Cinematographer would be more appropriate and even sounds better.


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rick.lang

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Re: Blackmagic URSA revolutionizes on set workflow

PostWed Apr 23, 2014 3:25 pm

Oh my, you Aussies live dangerously!


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Chris Tritschler

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Re: Blackmagic URSA revolutionizes on set workflow

PostFri May 16, 2014 9:15 am

I've always thought D.O.P sounds like sheep dip or something you use to remove paint. Often it's clapper-lighters with optical delusions who call them selves a D.O.P. :lol:
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