Adam Langdon wrote:The price, I think for many current BMD Camera owners, puts people on pause.
The Pyxis is VERY affordable, and I see a bunch of people selling their pockets already.
The Ursa Cine, while feature-rich and feels like it will have true lasting power (years to come), is a bit out of price range for the average owner operator of the BMD crowd. I say that loosely. If i was shooting more commercial/narrative work I think it would make sense. I would also plan to own the camera for a long long time.
But the bulk of my work is interviews + B Roll, which doesn't sound that 'sexy', but it pays all the bills. Renting it is a viable option, while owning a Pyxis for the day-to-day...
If we keep saying "I'll wait for the price to come down" or "I'll wait for G2 of the Pyxis" I think we may be a year out. Even as people are saying "NEXT camera. That's what I'm waiting for," it means we are (or we have to be) happy with what we are currently owning. (though, I wonder if BMD is completely done with pocket line?)
Remember, users, the quality of the videos come from us and our skills, and the camera is just a tool. I recently looked back at one of my first cinematographer reels and back then I was using an URSA Mini 4.6k with Rokinon lenses. It still held up! Now, my color grading has gotten much better and my lighting skills have improved, but so much of our ability to capture 'magic' is that instinct to aim, frame, move, and record.
AGREED!
I too look back at what I shot on the BMCC2.5K with Rokinon Lenses, then the UM4.6K with Rokinon Lenses, and am still impressed with how the footage holds up. It's the lighting and frame composition that has improved. Along with some camera movement improvements due to getting a Steadicam, a better slider, and at times using a Dana Dolly. But lighting is where I have seen the biggest improvement. Part of that is the lighting tools. Then of course grading has improved.
In terms of lighting I have to look at my Gaffing work on the feature film
Savage that I'm currently helping get the DCP ready for the festival. Primarily all my Nanlite lights with a buddy's Amaran F22C and his Aputure MC lights. We were limited, but made it work. It also proves how far I've come just lighting wise. And, we shot that on a Komodo-X. I'd happy have shot it on the URSA Cine even though the UCine costs more than the Komodo. But the camera only is a part of the image.
I can't wait to rent an UCine in the future to shoot a decent budget project to play with it.