Blackmagic Forum

Here are some stills from the Ursa Mini Pro 12K. Shots with people in them coming at a later time.
I'm extremely impressed with the details and colors that you can get from this camera.
I think the team at BMD has achieved something really special.

I found the dynamic range to be incredible. The flexibility of the files is something that stands out when you start grading. The 14 stops is a bit conservative from my impressions.


UPDATED 8-18-2020
Ursa Mini Pro 12: Twilight by Note S., on Flickr

Ursa Mini Pro 12K: Evening Light by Note S., on Flickr

Original
Shot with the Sigma 18-35mm.

Ursa Mini Pro 12K by Note S., on Flickr

Ursa Mini Pro 12K by Note S., on Flickr

Ursa Mini Pro 12K 2x Anamorphic by Note S., on Flickr

2x Anamorphic on Nikon 85mm 1.8 non-ai with Isco Ultra Star Red

Will there be any original 12k stills uploaded?

I saw your post on Facebook. I think the image is impressive in that you used the Sigma 18-35 lens on an EF mount for these shots. Looking forward to seeing more!

jallen0 wrote:I saw your post on Facebook. I think the image is impressive in that you used the Sigma 18-35 lens on an EF mount for these shots. Looking forward to seeing more!

My most-disliked lens, but you (and the Ursa 12K) made it do beautiful things.

Looks incredibly 3D!
Can’t wait to see some motion.

Brad Hurley wrote:

jallen0 wrote:I saw your post on Facebook. I think the image is impressive in that you used the Sigma 18-35 lens on an EF mount for these shots. Looking forward to seeing more!

My most-disliked lens, but you (and the Ursa 12K) made it do beautiful things.

Much appreciated. I was surprised at how this lens interacted with the Ursa Mini Pro 12K.

Adam Langdon wrote:Looks incredibly 3D! Can’t wait to see some motion.

Thanks Adam! I agree.

jack0429 wrote:Will there be any original 12k stills uploaded?

Possibly in the future!

Saw and commented on the Facebook, but wanted to again praise the images! Although my first plan is to upgrade my EF glass to PL glass so that I can just rent PL glass from here on out without need to change the mount, I'm very impressed with the fact that this is the 18-35 Sigma EF. I have that lens, so I know that it holds up on the 12K now.

I'd love to see more and especially in motion. I'd be very interested to see moving imagery with some really nice lenses like the Cookes. I have a local studio that has them. Would love to see how well the 12K resolves gorgeous Cooke glass.

timbutt2 wrote:Saw and commented on the Facebook, but wanted to again praise the images! Although my first plan is to upgrade my EF glass to PL glass so that I can just rent PL glass from here on out without need to change the mount, I'm very impressed with the fact that this is the 18-35 Sigma EF. I have that lens, so I know that it holds up on the 12K now.

I'd love to see more and especially in motion. I'd be very interested to see moving imagery with some really nice lenses like the Cookes. I have a local studio that has them. Would love to see how well the 12K resolves gorgeous Cooke glass.

I'm surprised at how well the Sigma holds up. I have some shots in anamorphic with a Milvus that I may put up soon.

Yeah the motion on this camera is amazing. It's something people don't talk about but in 8K it's RSI times are incredible.

Great images Note, looking forward to more.


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Note, please post some anamorphic stills! Can’t wait to try that out.

Adam Langdon wrote:Note, please post some anamorphic stills! Can’t wait to try that out.

updated with anamorphic

Just beautiful. Thanks!
s35 really is the perfect sensor size, IMO.

Looking forward to seeing some video when you are allowed. See how it all stays together.

Can URSA 12K take singel still image inside camera? What is the file type or you need to grab Still inside Davinci resolve?

Impressive. Most Impressive.
Looks like this camera will be something special. I love the tonality and colour. Even with a cheap lens, the image looks stunning.

This is a first camera in a while that makes my heart beat faster.

I would love to see those shots in motion.

While the pixel density on this camera is probably the maximum for S-35 where you can still see a difference between the best lenses and the second best, what's wrong with using older glass if it fits the look you're after?
See this article, which was already linked around here:
http://www.lensrentals.com/blog/2017/10 ... d-sensors/

Oh, and the Sigma 18-35mm is pretty good glass, but It's so sad that the EF mount is not locking properly.
I hope someone will construct a better one for the UMP 12K.

You can always export a single frame under the Camera Raw tab in Resolve, but it'll be BRAW. Since you may want to grade it anyway, you can use the export possibilities in the Stills Gallery. But maybe one of the image processing softwares will get BRAW import? After all, the SDK is free.

Note Suwanchote wrote:I found the dynamic range to be incredible. The flexibility of the files is something that stands out when you start grading. The 14 stops is a bit conservative from my impressions.

So what you're saying is that it has better dynamic range than the ursa mini pro G2?

Adam Langdon wrote:Looks incredibly 3D!
Can’t wait to see some motion.

I agree. The IQ is tight and it seem to have some unexplainable depth to it. It was the same with the 12k shot that JB did, where the woman is moving towards the chair beside the water. Its hard to put a finger on it, but there is a subliminal depth that reminds me of larger sensor cameras. Like Hasselblad or phase one. Interesting.

visalapol wrote:Can URSA 12K take singel still image inside camera? What is the file type or you need to grab Still inside Davinci resolve?

There’s a great feature in Resolve where you can export a single frame.

What’s strange is I’ve emailed screen shots of frame from resolve and the exported frame itself is smaller.

JB

Oyvind Fiksdal wrote:

Adam Langdon wrote:Looks incredibly 3D!
Can’t wait to see some motion.

I agree. The IQ is tight and it seem to have some unexplainable depth to it. It was the same with the 12k shot that JB did, where the woman is moving towards the chair beside the water. Its hard to put a finger on it, but there is a subliminal depth that reminds me of larger sensor cameras. Like Hasselblad or phase one. Interesting.

I love this comment. During the first moments with the camera, that was the one thing that stood out to me. It has such a "large" look to it, no matter which glass you have on it (so far). Roman and I talk about this quite often—just about daily.

I would like to know what it is and how to define the "effect". Is it purely the 80MP sensor? Is it the 80MP sensor minus an OLPF? I wish there were a way to test those things but I'm sure someone will figure it out!

@Note — nice shootin'

John Brawley wrote:What’s strange is I’ve emailed screen shots of frame from resolve and the exported frame itself is smaller.

JB

Perhaps the still frames will only export at the size defined in the project and/or timeline?
¯\_(ツ)_/¯

Jamie LeJeune wrote:

John Brawley wrote:What’s strange is I’ve emailed screen shots of frame from resolve and the exported frame itself is smaller.

JB

Perhaps the still frames will only export at the size defined in the project and/or timeline?
¯\_(ツ)_/¯

I've found this to be the case. You have to change the timeline settings to match.

Jamie LeJeune wrote:

John Brawley wrote:What’s strange is I’ve emailed screen shots of frame from resolve and the exported frame itself is smaller.

JB

Perhaps the still frames will only export at the size defined in the project and/or timeline?
¯\_(ツ)_/¯

Finder screen shots.

Not timeline frame grabs.

jb

Kholi Hicks wrote:

Oyvind Fiksdal wrote:

Adam Langdon wrote:Looks incredibly 3D!
Can’t wait to see some motion.

I agree. The IQ is tight and it seem to have some unexplainable depth to it. It was the same with the 12k shot that JB did, where the woman is moving towards the chair beside the water. Its hard to put a finger on it, but there is a subliminal depth that reminds me of larger sensor cameras. Like Hasselblad or phase one. Interesting.

I love this comment. During the first moments with the camera, that was the one thing that stood out to me. It has such a "large" look to it, no matter which glass you have on it (so far). Roman and I talk about this quite often—just about daily.

I would like to know what it is and how to define the "effect". Is it purely the 80MP sensor? Is it the 80MP sensor minus an OLPF? I wish there were a way to test those things but I'm sure someone will figure it out!

@Note — nice shootin'

Oyvind Fiksdal wrote:

Adam Langdon wrote:Looks incredibly 3D!
Can’t wait to see some motion.

I agree. The IQ is tight and it seem to have some unexplainable depth to it. It was the same with the 12k shot that JB did, where the woman is moving towards the chair beside the water. Its hard to put a finger on it, but there is a subliminal depth that reminds me of larger sensor cameras. Like Hasselblad or phase one. Interesting.

Yeah! This is what’s surprising to me. There’s a dimensionality to it and there’s a larger format feel. Something special here! I think this it translates very well in motion.

Chris Shivers wrote:

Note Suwanchote wrote:I found the dynamic range to be incredible. The flexibility of the files is something that stands out when you start grading. The 14 stops is a bit conservative from my impressions.

So what you're saying is that it has better dynamic range than the ursa mini pro G2?

It’s similar from my use. It “feels” easier to grade from my impressions so far. The color response is very fluid.

Piotr Naumowicz wrote:Impressive. Most Impressive.
Looks like this camera will be something special. I love the tonality and colour. Even with a cheap lens, the image looks stunning.

This is a first camera in a while that makes my heart beat faster.

I would love to see those shots in motion.

Ryan Earl wrote:Great images Note, looking forward to more.


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Thank you!

Yes. I have always assumed that large look is mainly inherited because of larger sensor, but now I start questioning that…

Basically, we can emulate the scope of larger sensor by using other lenses recorded on smaller sensor. That’s not new, but the main effect seems to only simulate correct FOV and DOP without making it “larger” in that sense. That’s the notion.

Now in the celluloid days we didn’t relate to pixels… Naturally the large format film stocks did receive more information, because of its bigger surface to render the image. Let’s imagen for a minute that we could magically double the rendered information on a 35mm film stock. How would that look projected to the silver screen… Like 70mm? With digital sensors we can render more information on a tiny space as the technology evolves. That was not the case on celluloid since we stopped developing it.

The design of the sensor, how the pixels are arranged and translate the light, should also be mentioned here. It could be that is the main reason of what we are seeing. Arri always talk about better pixels, not necessarily more. We also see that the new A7sIII can deliver 4k images look as good as 8k from other cameras. But it might be that BM have made something that combine both worlds. Better and more pixels. A smaller sensor that delivers rich large format feel will also be revolutionary because of the possibilities with more lens chooses. The cost ratio will have a huge impact for many of us. Hope they can deliver something like this on a smaller size camera.

My guess is that the white pixels covering true luminance add to the perceived dimensional depth, like a bump map in 3D animation. And the high res and CFA of the sensor amplifies the lens characteristics but without adding its own sensor characteristics too much - so it might be a more neutral sensor than the other BM sensors before.

Interesting thoughts Robert.

If I understand you correctly. It could be something with the white pixels and the combination that there are so many pixels (12K) that the whole image acts like a true RGB sensor when downscaled to lower resolution. But in this case, you have added a white sub-pixel not normally present in a standard RGB sensor. Thus, making a deeper textured image with the benefit of clarifying details in richer, not sharper, way. This is not logical when shooting at lower resolution, but at higher resolution both surprising and somehow strangely logical.

As I mentioned in another forum. Someone should make a 70mm IMAX, vs URSA12K, vs ARRI-65 comparison test. That would be interesting…

Oyvind Fiksdal wrote:Interesting thoughts Robert.

If I understand you correctly. It could be something with the white pixels and the combination that there are so many pixels (12K) that the whole image acts like a true RGB sensor when downscaled to lower resolution. But in this case, you have added a white sub-pixel not normally present in a standard RGB sensor. Thus, making a deeper textured image with the benefit of clarifying details in richer, not sharper, way. This is not logical when shooting at lower resolution, but at higher resolution both surprising and somehow strangely logical.

Exactly. Normally with a Bayer sensor you would get less texture the darker the shadows. But the white (or clear) pixels do see more into the shadows without interpolation like with green pixels. So you get more defined depth in the dark parts (which also won't get smeared away that easy by compression).

Robert Niessner wrote:

Oyvind Fiksdal wrote:Interesting thoughts Robert.

If I understand you correctly. It could be something with the white pixels and the combination that there are so many pixels (12K) that the whole image acts like a true RGB sensor when downscaled to lower resolution. But in this case, you have added a white sub-pixel not normally present in a standard RGB sensor. Thus, making a deeper textured image with the benefit of clarifying details in richer, not sharper, way. This is not logical when shooting at lower resolution, but at higher resolution both surprising and somehow strangely logical.

Exactly. Normally with a Bayer sensor you would get less texture the darker the shadows. But the white (or clear) pixels do see more into the shadows without interpolation like with green pixels. So you get more defined depth in the dark parts (which also won't get smeared away that easy by compression).

Yes I see your point. Its hard to put a finger on, but I believe we now witness a sensor that deliver superior shadow rolloff. When looking at the first image, masterfully done by Note btw. It’s like the whole area is lit by a massive soft box even though we see its obviously lit by a much harder golden hour sun. There is a perfect smooth transition between the shadow area and midtones, which is often hard to achieve without adding fill light. The information is there.

Note, bring on some more caps. inspiring stuff

Oyvind Fiksdal wrote:Yes I see your point. Its hard to put a finger on, but I believe we now witness a sensor that deliver superior shadow rolloff. When looking at the first image, masterfully done by Note btw. It’s like the whole area is lit by a massive soft box even though we see its obviously lit by a much harder golden hour sun. There is a perfect smooth transition between the shadow area and midtones, which is often hard to achieve without adding fill light. The information is there.

I think that's it, or at least it feels completely unique. I still want to see some high contrast (highlight roll-off) stuff, but the fact that both ends of the DR look REALLY nice.... its really something special.

Added some more shots.

Ursa Mini Pro 12: Twilight by Note S., on Flickr

[url=https://flic.kr/p/2jxMvym]Ursa Mini Pro 12K: Evening Light by Note S., on Flickr

Note Suwanchote wrote:I have some shots in anamorphic with a Milvus that I may put up soon.

I'm shooting a feature film at the end of September, using Scorpiolens anamorphics.
That's some damn fine glas - very unique look, pretty much all the benefits of the wide format, without the artifacts. Flares are there, but very discreet, almost round bokeh, no distortion.

Would love to test those on the 12K.

Note Suwanchote wrote:Added some more shots.

Ursa Mini Pro 12: Twilight by Note S., on Flickr

[url=https://flic.kr/p/2jxMvym]Ursa Mini Pro 12K: Evening Light by Note S., on Flickr

Stop making me regret choosing new lenses and a new computer over the 12K! Haha.

Seriously love these frames. As I said on Instagram, the one with his back to the camera has such a dream like quality to it. I really will need to upgrade to this camera in the future.

But the new DZOFILM Pictor lenses are the first thing to get paid off. Then the desktop computer upgrade needs to happen since mine is getting to 5-years in age.


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Those beach shots look REALLY great! Would you be able to post an ungraded still?

These look great! Thanks for sharing Note.

timbutt2 - What are your thoughts on DZOFILM Pictor lenses? I have been curious about those and the new Lawoa Cinema Zoom as well. I would love to see how any of these new budget cine lenses pair with the Ursa 12K.

It is difficult to define, but there is just something I really like in the footage coming from this new sensor.

Dan Cotreau wrote:These look great! Thanks for sharing Note.

timbutt2 - What are your thoughts on DZOFILM Pictor lenses? I have been curious about those and the new Lawoa Cinema Zoom as well. I would love to see how any of these new budget cine lenses pair with the Ursa 12K.

It is difficult to define, but there is just something I really like in the footage coming from this new sensor.

I agree. There is something special there!

Adam Langdon wrote:Those beach shots look REALLY great! Would you be able to post an ungraded still?

Hey Adam, I'm afraid not. Sorry about that!

timbutt2 wrote:

Note Suwanchote wrote:Added some more shots.

Stop making me regret choosing new lenses and a new computer over the 12K! Haha.

Seriously love these frames. As I said on Instagram, the one with his back to the camera has such a dream like quality to it. I really will need to upgrade to this camera in the future.

But the new DZOFILM Pictor lenses are the first thing to get paid off. Then the desktop computer upgrade needs to happen since mine is getting to 5-years in age.
You ordered them?

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Note Suwanchote wrote:

timbutt2 wrote:But the new DZOFILM Pictor lenses are the first thing to get paid off. Then the desktop computer upgrade needs to happen since mine is getting to 5-years in age.

You ordered them?

Yes, I did. Waiting for B&H to get them from the manufacturer since it's still Pre-Order for the Bundle. I ordered the Black Bundle. First batch was shipped out earlier this week. Can't wait to get them and test them out.

Dan Cotreau wrote:timbutt2 - What are your thoughts on DZOFILM Pictor lenses? I have been curious about those and the new Lawoa Cinema Zoom as well. I would love to see how any of these new budget cine lenses pair with the Ursa 12K.

I'm pretty excited to get mine and test them out. So far I'm very sold from all the demo footage. What really excites me most is parfocal with near zero focus breathing at the focal range they offer. I'm hoping to get them just before the St. Pete Fashion Week Runway Show on September 12th. I'll configure them both as EF to use on the UMPG2 and the UM4.6K for the show. But I also love the fact that they are interchangeable lens mount by design. So, I'll try to use them as PL as much as possible.

Nearing finish on this feature film I'm color grading. And, I've started receiving the interval paychecks for the recent club shoot. All this easily pays off the rest of the money owed on the Steadicam and the lenses. Plus I have some other money from other shoots owed and other shoots on the books. So, after bills I'll start getting everything in order for the iMac Upgrade. Once that's paid off maybe I'll start saving for the 12K.

dang never thought I would want this camera until I seen those beach shots...

Timbutt2 Wrote
I'm pretty excited to get mine and test them out. So far I'm very sold from all the demo footage. What really excites me most is parfocal with near zero focus breathing at the focal range they offer. I'm hoping to get them just before the St. Pete Fashion Week Runway Show on September 12th. I'll configure them both as EF to use on the UMPG2 and the UM4.6K for the show. But I also love the fact that they are interchangeable lens mount by design. So, I'll try to use them as PL as much as possible.

I am excited to see some of your footage and hear your thoughts in the after you have had a chance to give them a spin!

Note Suwanchote wrote:

timbutt2 wrote:I'm surprised at how well the Sigma holds up.

Hi Note:

Sorry if this info is in the thread, but are these stills from 6K resolution?

Also, how did you focus/check your focus? Is it just me or are some of the shots really soft (e.g., the man on the beach)? Frames looks great. Please post more

Thanks