Ursa Mini with Sony E-Mount

I would love to have this option..

I will make a dumb E-mount (whole front cover with mount) for my BMPC after I'll get the Fs7.
But man, I would take any day the ursa mini with an E mount si I can adapt a speed booster on it.

Can't use E-mount for legal issues ? Then make a Canon EF mount with a focal reducer built in... Team-up with Metabones! I would pay an extra 600$ for that extra stop of light and field of view.

If the 4.6k sensor will have a clean ISO 800 image, then with a focal reducer, this camera would be more than enough for me. Until then, FS7 shall do for me... Sorry BM!

Sony will Not license the E-mount, end of discussion.
There is no real advantage to putting an EF mount Speed Booster on the 4.6K sensor, as it is already a Super 35 size sensor, and you would be limits too using only Full frame 35mm still lenses, not always a good choice. Cine lenses are a,readymoptimizdmdor Super 35 sensor, so no real advantage there either to justify the cost. Mini Lens Turret is not interchangeable anyway, so now you are adding another complete camera to an already limited market. I do not think this is going to happen either, given the size of the market.

Sony will Not license the E-mount, end of discussion.
There is no real advantage to putting an EF mount Speed Booster on the 4.6K sensor, .

Sure there is. How about the ability to get a wider filed of view, especially in high speed crop mode where it's otherwise not possible to get wider than 35mm? Or what about the extra stop, again especially important at HFR where every bit of light is critical?

Granted you may not have any interest in speedboosters, but please keep in mind that many of us do.

Gaining 1.5 extra stops would be a help in low light situations, and a 35mm on a SB would gain you one jump wider to a 24mm FOV. However, given some of the new lenses, like the Tokina Cine series, 11-16 and 16-28, coming out, wide shots on 4.6 and 4K sensor is covered, including crop sensor mode shooting.

The best ideia, in my opinion, is to use a active MFT mount. With active MFT mount we can adapt to PL, nikon, canon FD, canon EF and a speedbooster canon ef (vistavision like - to use with full frame lenses). We can also use mft lenses in cropped hi frame rate mode.

Gaining 1.5 extra stops would be a help in low light situations, and a 35mm on a SB would gain you one jump wider to a 24mm FOV. However, given some of the new lenses, like the Tokina Cine series, 11-16 and 16-28, coming out, wide shots on 4.6 and 4K sensor is covered, including crop sensor mode shooting.

The Tokina 11-16mm is actually the lens that I had in mind when posting that previous message. Windowed mode is x3.5, which gives a 39-56mm equiv. For my uses, 39mm as the widest option is simply not practical.

Granted it will be a great camera regardless of the limited mount options and lack of speedbooster potential, as the limitations aren't too detrimental for most users. Unfortunately for some of us, they force us to seek out other manufacturers.

Unfortunately for some of us, they force us to seek out other manufacturers.

They can't license the E-mount. They're not forcing you to do anything, you just can't get an e-mount version.

The Tokina 11-16mm is actually the lens that I had in mind when posting that previous message. Windowed mode is x3.5, which gives a 39-56mm equiv. For my uses, 39mm as the widest option is simply not practical.

3.5x when compared to Full Frame 135 which is a stills format. Comparing it to the non windowed mode is much more practical and of much more use as you are then comparing what you lose when shooting on the same camera in various modes.

11mm in 2K windowed mode would be about the same as shooting 24mm in Full 4.6K mode or 20mm in UHD mode.

So shooting 11mm on the URSA 4.6K in 2K windowed mode would be about the same as shooting 23mm on the Sony FS7 or FS700.

8-16mm Sigma would give you a wider option.

8mm in 2K windowed mode would be about the same as shooting 18mm in Full 4.6K mode or 15 mm in UHD mode.

They can't license the E-mount. They're not forcing you to do anything, you just can't get an e-mount version.

I have no interest in e-mount actually, but rather MFT. You are however correct that the word "force" was a poor choice. There a ton of great things about this camera, and I still plan to buy one. It's just unfortunate that I'll have to look elsewhere when I need to shoot HFR.

3.5x when compared to Full Frame 135 which is a stills format. Comparing it to the non windowed mode is much more practical and of much more use as you are then comparing what you lose when shooting on the same camera in various modes.

They're ratios. It really makes no difference which you compare it to. The loss is relative.

Nat, I wished they would at least do a dumb MFT mount on the 4K version too, I would buy one. However, on the 4.6K, the sensor is too large for a MFT mount. If I got a 4.6 Ueprsa Mini, I would have to go for the PL mount, but that is not happening either.

Another unconventional option if you are looking at a wider horizontal angle of view is shooting with the SLR Magic Anamorphot on a MFT camera. You would need to be confident about your vertical framing but it would give you room to reframe your horizontal view.


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Nat, I wished they would at least do a dumb MFT mount on the 4K version too, I would buy one. However, on the 4.6K, the sensor is too large for a MFT mount. If I got a 4.6 Ueprsa Mini, I would have to go for the PL mount, but that is not happening either.

Denny, this is where my understanding gets a little questionable, as you likely know more about this area than I. The Jvc L300's main feature is that it is an S35 sensor with an MFT mount. Lenses for the mount can't cover the sensor, but with an adapter larger glass can. Sounds silly, but with an adapter it actually opens up a lot of doors. I don't know how practical it is to offer that for the mini, but the option would certainly benefit some of us. Maybe a 4k window mode for when using native MFT glass?

Anyway, I just wanted to chime in earlier and explain why speedboosters can be beneficial, but it seems I've gotten carried away.

Another unconventional option if you are looking at a wider horizontal angle of view is shooting with the SLR Magic Anamorphot on a MFT camera. You would need to be confident about your vertical framing but it would give you room to reframe your horizontal view.

Interesting suggestion. I'll take a look at that possibility. Thanks Rick!

The Amamorphot can be 1.3x or 2x with 0.33, 1.33 diopters for closer focus. Another diopter is in development. And then there's the announced 70mm anamorphic lens, not an adapter, which makes focus much simpler. The 70mm is a 135 film format so it's going to work on larger sensors like the URSA/Mini. The Anamorphots are designed for MFT cameras.


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Agreed Denny, I too am holding out hope for an URSA Mini 4K with a m4/3 mount!

Agreed Denny, I too am holding out hope for an URSA Mini 4K with a m4/3 mount!

Don't hold you breath too long! I too would consider a BMD camera if one was available with a S35 sensor and generic or MFT mount.

In the interim, Sony's just announced A7R Mk II may just tick a lot of boxes for FF lens owners with E-Mount Speed Boosters who want to shoot correctly 'supersampled' 4K/UHD.

"The sensor in the new camera was, it seems, optimised around the aim of outputting a cropped Super 35mm sensor area without pixel binning, with even this smaller area benefitting from supersampling from more pixels than are needed for 4K. This means that, once the video from the sensor is deBayered, the result is a true 4K image, as opposed to cameras where exactly 4K pixels are used as a source, which would mean that the deBayered image is less than true 4K."

Ref: RedSharkNews.com

I would love a MFT Ursa mini version for the reasons of choice, flexibility with many lenses and adapters, speed booster support with almost 2 stops gain and possibility to change the crop factor (even if some think the last point is unnecessary there are many other advantages).

Would it be an idea to start a petition?

I'm another who would like a MFT (passive mount) 4k Ursa Mini. Please!

Craig: This reminds me of when everybody was falling over themselves for the Sony A7r when it came out!

But then along came the A7s.... I'll just wait

History will repeat itself.

Yep, I've been waiting too so I still work professionally with and (old!) NEX VG20, albeit coupled to some of the world's best vintage glass...

There's rumors of a A7s Mk II soon with on-board 4K but looking closely at the specs of the new A7r Mk II, it's almost enough to get me in. If only someone would build the performance of all these new DSLRs into a classic 'video' form factor body with an S35 sensor, generic mirrorless lens mount, on-board ProRes HQ or DNxHD 185 for an (almost) DSLR price. No need for RAW or even 4K, just give me the modern equivalent of a classic ENG Betacam with a S35 sensor. (an 'affordable' S35 servo zoom would be nice but I'm just dreaming there!) I don't pretend to make 'cinema', just good ol' Rec.709 broadcast television!

Here's an HD ProRes frame grab from a promotional video I shot in Kyoto earlier this month. Captured with my Zeiss 25mm f/2.8 using the C/Y to NEX Speed Booster. Down rezzed for this site but it's amazing what you can do when you mate a 'toy' camera with quality glass and an external 4:2:2 recorder, even with nearly 30dB of Gain applied...

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