URSA CINE 17K 65 | Helios 44-2 | Test Footage (open gate)

Hey everyone,

Here is a collection of test footage shot with the Helios 44-2 on the Blackmagic Ursa Cine 17K 65.
Link:

After my shoot in Iceland I had the chance to keep the camera for a week and so I took the opportunity to use my favourite lens on it!

It is pretty insane that this tiny lens can cover the whole sensor!
I always loved using the Helios on a FF sensor but I feels it really shines even more on this 17K 65mm!

I filmed this in under 2hrs, handheld.

Shot Open Gate 17K, in 24 fps & 60 fps.
Upload in 8K Prores.

Hope you enjoy this short video and let me know if you have any questions!

Let me know if you have any questions .

Cheers,
Flo

How is that even possible? What frame was this lens originally used for? I would think if you polled any cinematographer, they would assume the lens won’t cover the URSA Cine 17K 65 open gate.

You killed it with this one !

Finally I feel like buying this camera and super glue that Helios permanently on

00:53-00:56 looks like painting, so much DR here, detail and highlight roll off...

Can we have one Ursa 17k in Perth to film a test scene ?
I have already a mint m645 Sekor C 45mm 2.8f lens
with XP Image adapter to PL.

How is that even possible? What frame was this lens originally used for? I would think if you polled any cinematographer, they would assume the lens won’t cover the URSA Cine 17K 65 open gate.

I was surprised as well haha! I was 100% sure I would get some vignetting or that the edges would show something but nope. Crazy lens! Such a good combo

You killed it with this one !

Finally I feel like buying this camera and super glue that Helios permanently on

00:53-00:56 looks like painting, so much DR here, detail and highlight roll off...

Thanks so much!!
Haha, sure is a hard combo to beat!

Do you think you’ll keep the camera?

Must be stressful returning that Cine17K knowing you already can lens it without spending thousands on a new modern lens.

Good thing I suppose that I’m struggling financially for a few years, but I’ll be free of debt in April 2026. Can’t hide a new Cine12K camera body from my comptroller though as she operates for me and would be sure to notice!

Do you think you’ll keep the camera?

Must be stressful returning that Cine17K knowing you already can lens it without spending thousands on a new modern lens.

Good thing I suppose that I’m struggling financially for a few years, but I’ll be free of debt in April 2026. Can’t hide a new Cine12K camera body from my comptroller though as she operates for me and would be sure to notice!

Haha I don't have it anymore! I had to say goodbye a few weeks ago.
Had it for 2 weeks total (Iceland + French alps). Hoping to get reunited soon
The Ursa 12K LF Body can go unnoticed maybe haha!

Whoa! That's amazing. Surprised the Helios 44-2 covers the 17K Sensor.

I know it's probably a step down from the 17K 65 now that you have used it, but I can't proclaim enough how much I love the URSA Cine 12K. So if you want Full Frame 12K and can't afford the 30K for the 17K 65 then I'd suggest picking up the 12K. It's so worth it. The image is just as good even if not quite as wide. Although, I know the 17K is definitely a bit more special. And, may have a tad more dynamic range due to those extra pixels.

I've had a Helios for over 10 years now and it almost feels a bit gimmicky to shoot with now, haha.
Great looking images!

I didn't notice much rolling shutter artifacts. Did you find any while shooting?

Whoa! That's amazing. Surprised the Helios 44-2 covers the 17K Sensor.

I know it's probably a step down from the 17K 65 now that you have used it, but I can't proclaim enough how much I love the URSA Cine 12K. So if you want Full Frame 12K and can't afford the 30K for the 17K 65 then I'd suggest picking up the 12K. It's so worth it. The image is just as good even if not quite as wide. Although, I know the 17K is definitely a bit more special. And, may have a tad more dynamic range due to those extra pixels.

Thank you mate!
And totally, I am actually very keen to try the 12K LF as I think it would also be a very good fit for what I do.
The Body version is extremely attractive!

I've had a Helios for over 10 years now and it almost feels a bit gimmicky to shoot with now, haha.
Great looking images!

I didn't notice much rolling shutter artifacts. Did you find any while shooting?

Thanks Adam!
Haha I rotate through lenses. Picked up my contax the other day I hadn't used much in a few years.
Using the Helios on the 17K was also about curiosity for me. Very happy with the results!

And no, haven't noticed anything! Haven't done a lot of movement and panning though.

Looks beautiful. Appreciated watching in true 8K, which doesn't matter (until you see it).

Looks beautiful. Appreciated watching in true 8K, which doesn't matter (until you see it).

Thank you!
And yes, I made sure to upload in the highest quality possible even though Youtube's compression is still brutal!

…I'd suggest picking up the 12K. It's so worth it. The image is just as good even if not quite as wide. Although, I know the 17K is definitely a bit more special...

I would like to take your advice, Tim. There are a few things that likely contribute to the special look of the 17K. One is a similar impact on depth of field as you go from a mirrorless camera to Super 35 or ‘full frame’ and then from ‘full frame’ to medium format adding greater cinematic separation of foreground and background. I’ll leave that to those who can manage the medium format ecosystem, but just going from Super 35 to ‘full frame’ like the Cine12K, Pyxis, and BMCC6K provide is a step in the right direction.

But the largest draw for me is the higher dynamic range achievable on the Cine12K/17K. That’s going to sing on grading for HDR ST2084 PQ.

No argument that you can certainly do great stuff with 13 stops but 16 stops makes it easier to accommodate many situations where highlights might be blown at 13 stops and also has the advantage of looking further into the shadows at the same time with 16 stops.

This overall has inspired me to find a way to mount my vintage Minolta Rokkor 58mm f/1.4 lens on to my URSA Cine 12K. I just don't know how that would be possible. Feel like I need an MD to PL Adapter. I have a MD to EF, but it has a glass element that adds a crop factor. And, I don't want to deal with any crop with this lens. Gonna have to explore this. You have inspired me to play with some vintage glass.

… I am actually very keen to try the 12K LF as I think it would also be a very good fit for what I do.
The Body version is extremely attractive!

In spite of my earlier post supporting those who purchase the full Cine12K at $15K, The Body PL mount with minimal additional accessories is my sane approach as I must add a good zoom lens (shooting 9K with DZOfilm Tango 18-90mm or Tokina 25-75mm) to the purchase. I pretty much already have the prime lenses I’d need to shoot 12K.

I have already a mint m645 Sekor C 45mm 2.8f lens
with XP Image adapter to PL.

Apologies for veering off-topic here, but how are you finding the XP Image Adapter Darko? Seems like pretty much a copy of the Kipon version. Do you have modify version or the removable adapter?

I have already a mint m645 Sekor C 45mm 2.8f lens
with XP Image adapter to PL.

Apologies for veering off-topic here, but how are you finding the XP Image Adapter Darko? Seems like pretty much a copy of the Kipon version. Do you have modify version or the removable adapter?

Paul,

I can't comment as yet as I just literally received both, I have a mint-mint copy of Sekor C 45 delivered a few days ago and yesterday I received XP image Modify Adapter 0.71x Speedbooster for Mamiya 645 Lens to ARRI PL Mount

It is Modify adapter and from what I see both in video description on eBay, magnifying part is removable so it is ideal, in a way can be used as speed booster adapter and just a adapter.

I intend to use it on my next project with old Alexa cameras original sensor to give that LF feel with medium format lens but quickly realised it can be very versatile kit for other Full Frame / LF cameras.
This combo may work really well with Cine 12/17k to adapt some old medium format glass.

https://www.ebay.com.au/itm/156712711310

It looks very fancy and packed really well, like high end product, I ll post some images soon.

IMG_9435 by Darko Djeric, on Flickr

IMG_9436 by Darko Djeric, on Flickr
I 'm also awaiting DJI focus PRO to add to this kit.

Darko appreciate the detailed reply! I have been eyeing that same combination as well! They also seem to be selling just the adapter part for around a 100 bucks, meaning one could PL mounts for all the lenses and then just switch the speedbooster lens to the lens being used (if needed). Would save a ton of money. Definitely keep us posted on your experience, maybe in a new thread?

Paul,

Apology for some time delay to respond to your question.
I finally kicked off my new feature film shoot last weekend and put XP Image speedbooster reducer / Sekor C 45mm 2.8 645 lens to test.
Camera was Alexa Classic paired with Odyssey 7Q+ recorder was in the great hands of David Le May ACS...

What I am showing you is completely ungraded footage, straight out of Alexa (ARRIRAW), debayer-ed as
Log C4 and only applied colour space transform(CST) in Resolve 20 studio.

Australian Neo Noir feature film - "Potato"

only CST applied
No grade
No reframe
Voice isolation applied (ai toggle isolation in Davinci) not final audio process.

I hope this footage will answer some of your questions about 645 Mamiya Sekor C lenses.

Needless to say, I am impressed and I see how 645 Sekor C line lens may be a great fit for CINE Ursa cameras...

Cheers,
Darko

This overall has inspired me to find a way to mount my vintage Minolta Rokkor 58mm f/1.4 lens on to my URSA Cine 12K. I just don't know how that would be possible. Feel like I need an MD to PL Adapter. I have a MD to EF, but it has a glass element that adds a crop factor. And, I don't want to deal with any crop with this lens. Gonna have to explore this. You have inspired me to play with some vintage glass.

Just a remark here, even if coming late: the 58mm f1.2 can be "leitaxed" to EF without an optical element, which is rare for Minolta MC/MD lenses. Maybe that's also possible for the very similar 1.4?
Ask: https://www.leitax.com

I have already a mint m645 Sekor C 45mm 2.8f lens
with XP Image adapter to PL.

Apologies for veering off-topic here, but how are you finding the XP Image Adapter Darko? Seems like pretty much a copy of the Kipon version. Do you have modify version or the removable adapter?

Paul,

I can't comment as yet as I just literally received both, I have a mint-mint copy of Sekor C 45 delivered a few days ago and yesterday I received XP image Modify Adapter 0.71x Speedbooster for Mamiya 645 Lens to ARRI PL Mount

It is Modify adapter and from what I see both in video description on eBay, magnifying part is removable so it is ideal, in a way can be used as speed booster adapter and just a adapter.

I intend to use it on my next project with old Alexa cameras original sensor to give that LF feel with medium format lens but quickly realised it can be very versatile kit for other Full Frame / LF cameras.
This combo may work really well with Cine 12/17k to adapt some old medium format glass.

https://www.ebay.com.au/itm/156712711310

It looks very fancy and packed really well, like high end product, I ll post some images soon.

IMG_9435 by Darko Djeric, on Flickr

IMG_9436 by Darko Djeric, on Flickr
I 'm also awaiting DJI focus PRO to add to this kit.

Going to be getting on of these soon for my 12K LF. The Hasselblad to LPL one, to get some nice MF Ziess glass. I've heard great things about that adapter. Someone I know just used it on a huge fashion brand's film with the Mini LF.

I found some Minolta Ancient Optics in Miami for 600/Day or 600/Weekend. May try seeing about reaching out to them about doing a test on the UC12K. So little footage out there with the lenses. So may be worth demo footage for the owner.


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Just in case you dont have a Helios-44, you might like the Tokina Vista-P series of primes:

“Designed to combine vintage character with modern performance, these lenses offer a unique cinematic experience, featuring ultra-fast apertures, high resolution, and buttery bokeh. They are perfect for filmmakers seeking exceptional subject-background separation and a distinctive aesthetic.
The Vista-P series delivers a swirl-type distortion inspired by classic lenses like the Helios-44, paired with cutting-edge lens engineering for large-format coverage and low breathing. Factory-tuned spherical distortion and lower contrast create an authentic vintage look, ideal for high-end productions.”