Are you still using your URSA MAJOR 4K and what for?

As the subject states, I believe that there are many who still shoots with the URSA MAJOR 4K. I want to make this thread specifically to learn and share how folks are making use of their URSA MAJOR for current projects.

Please... Keep any discussion of the URSA mini series out of here. There are a lot of other threads that talk about the UM infinitum.

Although the URSA MAJOR 4K is heavy, for me I really like its professional form factor and shooting with it. I always shoot on sticks so I am not bothered by its bulk. I like to shoot shorts and features with very few run and gun situations. Having a nice composition for the story at hand makes me love the URSA MAJOR 4K. I don't shoot more than 4K, in fact it will be a rather rare occasions, mostly to have flexibility in composition during post, and of course RAW 3.1 for grading. However my edit timeline and delivery is never more than 2K even for a DCP package. I like the URSA as it is big enough to have someone pull focus, watch the framing, sound guy to monitor levels off the camera (in addition to their external sound device), and the ability to send signal to a large 27" display for the DP, Director, and any one on the set who has input to the shoot. It is rather versatile and commands an air of a professional equipment on the set or field.

What's your story and experiences? Hopefully this thread will provide guidance through other experience and keep the URSA MAJOR alive for all it current glory.

Yes of course. I only bought it because I knew I would use it and it certainly hasn't gotten worse since I bought it. It's a rock solid tank.

Only thing I don't use it for is when I need a camcorder - so for ultraportable stuff or when I need autofocus. I find the URSA excellent for studio or when I don't have the budget for a dedicated operator as I can clearly see both audio and video monitors from across the room. I also rent it out when I'm not using it so it's earned back its cost and then some just in rental alone.

That's great to hear, Joshua. For tight and run-n-gun work, I complement it with a BMPCC, BMCC, and if I need to shoot it in 4K, the BMPC or a GH4 all of which are accessible to me. Heck, for drone shots, even a phantom 4. Like you, I actually rented it out a few times (with operator of course) and pretty much already paid for the camera itself so it is a keeper from here on forward. As you said, it's a rock solid tank. I also like it's global shutter soon jello and any issues like magenta cast to concern with. I would say that with sharp lenses like the Sigma art 18-35 open, there exhibits some aliasing with heavy patterned objects. I'm thinking of an OLPF from Mosaic but I don't think they have one for the big URSA 4K sensor. I said that I don't need anything beyond 4K but if BM will ever come up with the 4.6K turret, I will be in line for it.

Mosaic Engineering's new generation 3 OLPF is designed for the 4K sensor with its 6.5 micron photosites. You could email them to see what it would take to house in the URSA 4K camera. Maybe it just works!


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I'll drop them a line Rick. I've tested it with Rokinon and Canon lenses and interesting enough it does not expose on them. Probably a pro-mist on the art lens will soften and cut it down. It's a great camera choice.

Unless you like blooming, I would keep the diffusion filters to a low strength so it's almost imperceptible, ⅛ or ¼. I haven't bought a diffusion filter yet but I look at lots of results and those that bloom noticeably can take me out of the scene. Fine though to have a stronger diffusion on a beauty shot without harsh light in frame.


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I still use mine for shoots nearly weekly. I bought mine used specifically for the gigs I have now and it has worked fantastically - and I intended to upgrade the turret, still do .

I do mostly fashion work. I needed great color and slo mo. Almost always I'm shooting in a studio or controlled environment, so its perfect. The ginormous form factor is sometimes an issue, but it's also very impressive. People like to see it. Typically I have no issues with moire, but occasionally it bites my butt. But I'm pretty careful. I may buy the olpf, but I'm still hoping for the turret.

It's paid for itself for sure.

I bought mine 2.5 years ago...still working on documentaries, commercial and short films.
Now I'm gonna shoot with her a tv series.
Great big and heavy work horse.
Don't need luts preview, histogram and others bulls*#t, it is much important feature second monitor for sound recordist or focus puller.
Like Jonesy Jones said...It's paid for itself

I use mine for music videos, pilots, docs and shorts...a few commercials and a ton of interviews. For run and gun, I go with my 4K Production cam with all the trimmings so I don't care about it's weight...besides, a fully loaded Red or Alexa is just as-if-not heavier...(I rent when required - it's the same...) As a duo (URSA Major + 4k ProdCam), have paid for themselves and work for me......for now. (WARNING: Turret anger beginning LBVVS )

@Rick, I am taking your advice on the diffusion filters. Thanks.

Jonesy and Walter, glad to hear it's a workhorse for you. It has been for me too so if it is truly an upgradable camera, I am still hopeful that I could use its big form factor for the set with a 4.6K turret. I was in La Jolla yesterday taking some scenery footage with the URSA and about 75 meters from me was a group filming a scene using rigged up DSLRs. A few of the guys came over to just awe the URSA 4K. We chat a bit and I showed them how the cinema camera is used and then copy a clip to my laptop for a quick grade. They were amazed. One of the guys said he's got lots of EF lenses and I told him there is a fire sale going on because BMD is not too interested in selling them. I suggested he go to ebay and as they were leaving I overheard someone saying they need to look at the cam coz "it is impressive and looks so freaking Hollywood professional". I can only smile as in my experience, the URSA had command attention that you are pro... over any other cinema camera I have owned including the C100 and FS700.

"it is impressive and looks so freaking Hollywood professional". .

Damn useful when shooting in a public space, because people stop getting in the way. I filmed a few scenes in a beautiful stream that is usually filled with swimmers. I did scouting with a DSLR and people would kind of just duck under it if they got close, but wouldn't pay much heed otherwise.

Go back the next day with the URSA on full tripod, park it in the middle of the stream and people would keep their distance until they knew we were done. And then they'd all flock over to ask what we were filming.



I'll be honest though, the URSA wasn't my first choice of camera there. I wanted to use a Micro Camera, but it kept getting swept away in the water, so went back to the sturdier, heavier URSA.

Channeling Muhammad Ali: built like a tank, float like a boat.


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I still love mine. It is a v2 and I have decided to take the upgrade option. I shoot mostly fashion/beauty stuff and it renders a beautiful skin tone. I also shoot RED but I prefer the Ursa's skin tone, it's much more colour neutral allowing greater flexibility in the 'skin' grade though I am looking forward to the increased dynamic range of the mini pro. I love the 10" monitor and have no issues about the camera weight. I run a MixPre with it to help the audio which I highly recommend. It will remain part of my kit particularly as it shoots higher frame rates than the mini. Hopefully the turret does become available but if it was a reduced frame rate I would not upgrade it. I don't have any issues with sensor noise as I always light everything.
Screenshot from something shot last week. Before anyone criticises the skin tone it is to brief and supposed to be like that to match in with the editorial stills story I shot!

Screen Shot 2017-03-28 at 13.27.29.png (267.15 KiB) Viewed 2617 times

URSAv2e_4487.jpg (197.64 KiB) Viewed 2617 times

Iain, looking at the still and judging the skin tones around the neck and arm, it pretty neutral and I like it. Are you shooting in ProRes or Raw?

Iain, looking at the still and judging the skin tones around the neck and arm, it pretty neutral and I like it. Are you shooting in ProRes or Raw?

This was ProRes 422HQ. Another reason why I love the camera - the range of recording options!

Iain, if you think that 4K has options, you'll be giddy with the options on the 4.6K upgrade. And I think you'll be shooting 12bit raw and 12bit ProRes nearly all the time given your demanding assignments.


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Also some corporate films that were quite interesting. Ursa Major v2 as A camera and Pocket Cinema (with Voigtlander glass) as B camera (more reportage/handheld style). Worked a treat...and complemented each other really well.

Neat! Thanks for sharing. There are sufficient codec options with the URSA that I wonder what I could do with more. I either shoot ProRes 444XQ or RAW 3.1 if need the flexibility... but that's it. Just rarely I would shoot RAW uncompressed.

I kind of have a similar setup. URSA Major 4K as A Cam and BMPCC as B Cam. I just make sure I almost use the same kind of glass on both cam (every time I can). The cut becomes easy. If I get another cam, I will still use the URSA Major as A Cam and the other cam would be an URSA Mini 4K (not 4.6K) as B cam.

The 4.6K just does not appeal to me because it's too much of a workflow hustle and cost, no one I deal with really cares. The UM4K will be floating around the used market for very cheap... I saw it selling for just shy low of $2000 USD and will catch one in the coming moons (just waiting what announcements are at NAB).

Instead of buying a new UM46P, I spend on new fast cine lenses. That's more of an investment there which I'll use on my cameras.

Ellory, I agree with you. The Ursa and Ursa Mini 4K are fantastic cameras, with a nice rich IQ. I am also thinking about picking up a used UM 4K when the price gets down to around $2K. I just wish BM had made a UM 4K with a MFT mount.
Cheers

I just wish BM had made a UM 4K with a MFT mount.

Denny, maybe your wish will just come true by NAB. Oh wait... the UMP has replaceable mount. Maybe an MFT mount may be in order there for BMD to produce. Not sure how long that production will be, say around the same length of time they announced the 4.6K turret.

Thanks Ellory, but not likely p, as the Mini Pro will get a MFT mount, as the camera sensor to lens mount flange is too long, and the sensor is too big for a MFT mount too. The 4K sensor is just about the max size sensor you could get on a MFT mount, and this would require a new UM. Odel with a shorter FFD.

If BM had done a Mini 4K with MFT mount several years ago, it could have picked up dales from the AF100 shooters looking to upgrade to UHD and Raw, ProRes 12/10-bit files. But today, I think is a little late, as these shooters have moved on to other cameras already, and now with the UM Pro at only a $1k price higher than the AF100 was at release, getting the UM Pro makes more sense for a longer term Camera investment (none are really "long" term any more, tech keeps changing too fast, so 2-3 years on a camera is good these days).

What we might see, is a new MFT S16BMCC sensor size camera from BM, that would be nice also.
Cheers