Blackmagic Ursa Cine 12K LF

Ok… Blackmagic you have no right being this good at this low a price. This is easily Alexa LF quality for a fraction the cost…

Especially small fraction when the numerator is under $7K!

Excited to get away from wall power as soon as a B-Mount Battery Plate ships. Till I can shoot and share more footage.

Here (in france) the B mount plate is available. I will get it monday. Same for Pyxis monitor

Ok… Blackmagic you have no right being this good at this low a price. This is easily Alexa LF quality for a fraction the cost.

https://vimeo.com/1070512458/024142431b

Well done

Could not agree more on the camera. I expected a lot, but this camera is exceptional. In fact, many of the concerns that I had after watching YouTube videos were removed in a few hours of shooting with the camera. B Mount showed up yesterday, so now we are off to the races.

Yeah, some of the early YouTube videos that came out and looked pretty awful. There were some that were terribly graded.

And, almost any of the tests I saw with the Blazar Remus Anamorphic lenses didn’t look good. Those lenses are just not good. Sorry, but cheap anamorphic lenses look fugly to me.

I like my DZOFilm Vespid Primes, but think that I need to make the upgrade to the Arles Primes later this year. Hoping DZOFilm adds lens data via /i Technology to their lenses at NAB this year to justify making the upgrade more appealing.


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In the new carry bag.

Yeah, some of the early YouTube videos that came out and looked pretty awful. There were some that were terribly graded.

And, almost any of the tests I saw with the Blazar Remus Anamorphic lenses didn’t look good. Those lenses are just not good. Sorry, but cheap anamorphic lenses look fugly to me.

I like my DZOFilm Vespid Primes, but think that I need to make the upgrade to the Arles Primes later this year. Hoping DZOFilm adds lens data via /i Technology to their lenses at NAB this year to justify making the upgrade more appealing.

I didn't love the Arles (35, 50 or 75). T 1.4 exhibits a lot of funky oddities which improve above 2.0 but still don't match the Nisi Athenas which are excellent wide open at 1.9. 1.4 would be the only reason to go wth the Arles if it works for you but I found it far too hit/miss. I ended up with a set of Athenas and only hope they add focal lengths above 135.

Do all your Athenas have clearance for the Internal NDs?

My PL C 200 did not allow focusing with the 40 as the rear was too long ...

Do all your Athenas have clearance for the Internal NDs?

My PL C 200 did not allow focusing with the 40 as the rear was too long ...

Yes, they all look good. The ND module on the Cine LF is a little over 33 mm inside the PL flange. They have it very deep in there . The longest lens protrusion (Athena 8 lens set) is about 24 millimeters from flange to rear element at infinity, so I believe we have about a full centimeter to spare. How deep is the ND module on your C 200 from the PL flange?

No longer have the camera but there was a ledge ... I assume to protect the NDs which did not all
infinity focus on the Athena 40 ... would not get past about 10 feet .... so I returned the lens. Subsequently moved to RED Komodo and then Komodo X.

That is great news on the lens set ... attractive size and weight ... and I rarely shoot at 1.4.

No longer have the camera but there was a ledge ... I assume to protect the NDs which did not all
infinity focus on the Athena 40 ... would not get past about 10 feet .... so I returned the lens. Subsequently moved to RED Komodo and then Komodo X.

That is great news on the lens set ... attractive size and weight ... and I rarely shoot at 1.4.

It also really nice on this camera and at these resolutions as the lens set is extremely (and pleasingly) sharp with great contrast and color that seems to play very well with this sensor. Out of focus areas are beautiful to my eyes. I'm not sure if it is just the set that I have but absolutely no shimming was required, so kudos to the camera and lenses in that regard. In my opinion, own clean, rent "character" .

Also, the Internet determination that this camera struggles in lower light or is noisy is just flat out wrong. Put it in the neighborhood exposure-wise and the camera's latitude is there for the rest. That is shockingly good.

[… I didn't love the Arles (35, 50 or 75). T 1.4 exhibits a lot of funky oddities which improve above 2.0 but still don't match the Nisi Athenas which are excellent wide open at 1.9...

Thanks for the feedback. Five lens sets are under $6,000 for Athena and under $9,700 for Arles.

No ‘true indie’ has anyway near $18,000,000 to throw at anyone voting in the Oscars. Now I’m beginning to question other ‘outsider’ wins like the recent Korean Oscar winner. Memo to self: stop drinking the kool-aid, trust your own instincts.

To be fair to the director, he's about indie as you can get. Baker and his producing partner started with pretty much nothing but a consumer camcorder, and worked their way up to larger budgets over many years and several features.

The $18 million came from the distributor, Neon, after they bought it. That money wasn't there from the start. What really bugged me was his win at Cannes, but if you look at the jury, headed by Greta Gerwig, who comes from the same no-budget indie naturalism world herself, it makes sense.

"Parasite" was a bit different. The director was already famous internationally and the budget was about twice Anora's, which in Korea goes a lot further than it does here. But again, the marketing funds came after acquisition.

Thanks for the insights, John.

[… I didn't love the Arles (35, 50 or 75). T 1.4 exhibits a lot of funky oddities which improve above 2.0 but still don't match the Nisi Athenas which are excellent wide open at 1.9...

Thanks for the feedback. Five lens sets are under $6,000 for Athena and under $9,700 for Arles.

I am suspect that Nisi may want to compete with a larger aperture series, but I would much prefer that they expand out the Athena line to some longer focal lengths.

FWIW, from my seat, the Vespids are actually a superior lens set to the Arles at the Vespid widest Aperature and above. I actually think this is true regardless of size considerations and price. I found that very surprising and significantly different than the common online sentiment.

At any rate, I would strongly suggest trying before buying. Very interested in hearing what others have found in this regard.

Alan which model of Porta Brace is that?

Thanks.

Alan which model of Porta Brace is that?

Thanks.

It's this guy:

https://www.portabrace.com/product-page/rig-alexamini

Ah brilliant thanks

"Shot on a set of Leica R's (all Summicrons). Resolution was set to 8K and compression was 3:1"

Very nice!

In the new carry bag.

How long is this bag?

In the new carry bag.

How long is this bag?

Hi,

Interior: 22.0 x 11.0 x 13.5" (55.9 x 27.9 x 34.3 cm)

Exterior: 24.0 x 13.5 x 15.0" (61.0 x 34.3 x 38.1 cm)

Is there any way to output 4K UHD natively? As in 3840x2160?

Ben, here are the 4K recording options:

4096 x 2680 (4K 3:2 open gate)
4096 x 2304 (4K 16:9)
4096 x 2160 (4K 17:9)
4096 x 1704 (4K 2.4:1)
3216 x 2680 (4K 6:5)

You could be record 4096x2304 (16:9} in camera. In Resolve Project Settings / Master Settings, you define a timeline of 3840x2160. In Image Scaling, select Centre Crop.

Is there any way to output 4K UHD natively? As in 3840x2160?

No, best option is to record 4K 16x9 as an oversample to use in a UHD timeline in Resolve. It’s better as you have some extra room with those extra pixels for reframing or stabilization.


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It never occurred to me when buying it that this would be something it couldn't do. I didn't even think to check.

Crazy.

It never occurred to me when buying it that this would be something it couldn't do. I didn't even think to check.

Crazy.

I don't see how this is a problem, or anything that really negatively affects how you work? Why not just shoot 4K 16x9? You get the benefit of an oversample. It's not that much of a difference really. We're talking about 256 pixels on the width, and 144 pixels on the height. Resolve handles the scaling perfectly to fit the 4K image into a UHD timeline.

Tim’s approach if you want to keep the field of view of 4K 16:9 by shrinking it to a UHD 16:9 timeline uses another Project Settings / Image Scaling option to Scale the Image to Fit. I usually use the Centre Crop setting ass I like the small amount of oversampling to reframe in post Edit page / Inspector / Transform / Position settings.

It never occurred to me when buying it that this would be something it couldn't do. I didn't even think to check.

Crazy.

I don't see how this is a problem, or anything that really negatively affects how you work? Why not just shoot 4K 16x9? You get the benefit of an oversample. It's not that much of a difference really. We're talking about 256 pixels on the width, and 144 pixels on the height. Resolve handles the scaling perfectly to fit the 4K image into a UHD timeline.

How do you not see it's a problem if production wants 4K UHD acquisition?

It's absolutely no problem for me shooting my own stuff but to start telling production that one of their cameras has to be treated differently in post than the others means it will not get on those productions.

Tim’s approach if you want to keep the field of view of 4K 16:9 by shrinking it to a UHD 16:9 timeline uses another Project Settings / Image Scaling option to Scale the Image to Fit. I usually use the Centre Crop setting ass I like the small amount of oversampling to reframe in post Edit page / Inspector / Transform / Position settings.

Yes I understand how to treat footage in post but that's got nothing to do with the question - As a DOP on production I am not within 500 miles of the edit process for most jobs.

It's just something I am going to have to deal with and pretend is a feature not a bug when I give them DCI or something.

Thanks anyway just wanted to confirm what I had assumed.

Wait, the SDI output won't do 3840x2160? The specs list "ultra hd" with 2160p and the sdi output is 12g. What are those specs even for?

Oooh you know what, I haven't even looked at output via the SDI as my monitor wants a client 1080p feed?

Will check it out.

You can do SDI Output of 2160p.

Here's a test video I shot. Remember I still don't have a B Mount Battery Plate, so this was using the D-Tap out of the CoreSWX Helix Max 275Wh Battery into the 8 pin Lemo compatible socket of the UC12K. That is limited to the 14V power max.

Shot with the DZOFilm Vespid Primes. Mainly 25, 35, 50, 75, and 100mm were in my CineBag. No lens data, so I can't say which was exactly used unless I look at a shot and remember that yes for certain that was x lens. You can generally figure it out watching based on compression and bokeh.

Graded in DaVinci Resolve with Film Look Creator.

Now, I don’t know. I thought I was set on a Pyxis 12K, but after thinking about how much it would cost to rig it up how I wanted, I’m almost approaching Ursa Cine 12K territory.

I feel like the Ursa Cine 12K is the best iteration of blackmagic tech and quality, that’s available right now.

Now, I don’t know. I thought I was set on a Pyxis 12K, but after thinking about how much it would cost to rig it up how I wanted, I’m almost approaching Ursa Cine 12K territory.

I feel like the Ursa Cine 12K is the best iteration of blackmagic tech and quality, that’s available right now.

I'd say go for the URSA Cine 12K if you can swing the extra funds. Just remember that the power needs are greater. I've currently got 3X 275Wh B-Mount Batteries with the intention to buy a 4th soon. But since I'm still waiting on the back ordered B Mount Battery Plate I am holding off.

But a lot of the shared accessories like EVF, Top Handle, and PYXIS Monitor all even out between the two cameras. Thus it's mainly batteries and baseplates that add up to more money overall than the PYXIS. But you do get internal ND, higher frame rates, and a plethora of other features with the URSA Cine. It's truly a magical camera.

BH Photo has a Deal of the Day on batteries at $376.00 off:

Core SWX Helix Max 275 Lithium-Ion Dual-Voltage Battery (275Wh, B-Mount) $449.00 USD

B&H Photo has the Core SWX Helix Max 147Wh Lithium-Ion Dual-Voltage Battery (B-Mount) battery on sale for $399.00 USD in the Deal of the Day.

https://www.bhphotovideo.com/c/product/ ... max_14_4_2
8_8v_147wh_3_stud.html

Up to 2 packs of this battery is allowed per person for carry-on when flying.

Although this battery retails for $749.00, it is also on sale at the manufacturers website for $449.00. Normally, B&H sells this battery for $525.00.

Coreswx is headquartered in New York. I am not sure in which country this battery is manufactured.

Here's some test footage I shot today in 12K Q5 Blackmagic RAW at 24 FPS.



This was a little bit of a therapeutic shoot for me. I needed to take my mind off of things today after receiving tragic news Tuesday night of a childhood friend passing away.

I did the bare minimum amount of color work. Mainly some exposure adjustments in ISO, Curves for contrast, and a light touch of Film Look Creator. I worked in a Color Managed Workflow on a Project level.

… This was a little bit of a therapeutic shoot for me. I needed to take my mind off of things today after receiving tragic news Tuesday night of a childhood friend passing away...

Thanks for sharing that, Tim. Work, being with your team, honoring that loss, all help lift you up.

Now, I don’t know. I thought I was set on a Pyxis 12K, but after thinking about how much it would cost to rig it up how I wanted, I’m almost approaching Ursa Cine 12K territory.

I feel like the Ursa Cine 12K is the best iteration of blackmagic tech and quality, that’s available right now.

I know what you mean. Cine 12k has higher frame rates, built in ND, etc, and I would more than happy to pay the extra £2k for those features but what stopping me from buying is how impractical it is for me as a lone operator to use something that is bigger, heavier and more cumbersome that is much more of a crew cam. I would almost certainly need to carry a tripod that handle heavy load to any shoot. I don't even bring the Ursa Mini G2 to my gigs because of the above reasons.
A Pyxis 12k I can use handheld, can bring along a light weight tripod, gimbal and a second Pocket camera as B cam.

Thanks for sharing that, Tim. Work, being with your team, honoring that loss, all help lift you up.

Thank you, Rick!

Tim

Most profound condolences for your loss ... with every passing year we at a certain age become
aware that it is not the random event that truncates our life but more likely the series of
choices which combined affect our health strength and cognition. Not to mention the variables of
genetics outlook and how we perceive life that will define our response ... and stress.

It is good to focus on those physical and mental skills in a period of stress loss and grief ... it allows us
to seek consolation beauty and peace in the glory of that which surrounds us.

I cant speak to you without acknowledging my faith ... especially in this time of Christ's passion and
His promise and ultimately His Resurrection ... my thoughts and prayers are always that anyone close to \
me can claim His grace and ultimately life eternal.

As a physician ... who wrestled with theology at Oxford in the early 70's ... my worldview is conditioned by the Gospel accounts of His life, death and appearance on the third day ... which for us is celebrated on Sunday. I spent 20 years doing medical missions .... 40 in practice and have seen too many things to discount His presence in this world and His promises ...

My prayer for you is that your childhood friend will be in the presence of God Most High ... welcomed blessed and given a new name and have his or her rags replaced with robes of righteous light and glory.

I pray that you can experience the peace and promise which Easter proffers.

At this time, I am going to attempt the short film I originally planned once I had the URSA Cine. But in the future I would like to approach a short dealing with the subject matter of the loss of this friend. There is some level where I can speak more on the mindset of this subject matter as I have battled the thoughts since age 10. But for now, this is a dark and deep subject matter that has for a long time been the matter of much debate.

Suffice it to say I'm coming to terms. Thank you for the kind words.

I'll do what I can to share some more footage soon. What I shot the other day was less than 128 GB and was roughly the same 11min worth of footage you'd get in 2,000 FT of VistaVision film. This is a good benchmark for me to comprehend shooting 12K in Q5 for narrative purposes.

I've had a hard time wrangling any models lately. And, I can't share client work yet. So for now bear with me as I get footage put together from this camera that can be made public.

… in the future I would like to approach a short dealing with the subject matter of the loss of this friend. There is some level where I can speak more on the mindset of this subject matter as I have battled the thoughts since age 10. But for now, this is a dark and deep subject matter that has for a long time been the matter of much debate...

“For everything there is a season, and a time for every purpose …”

Epiphany:
“a sudden, intuitive perception of or insight into the reality or essential meaning of something, usually initiated by some simple, homely, or commonplace occurrence or experience.”

We certainly are an amazing creature with an astounding consciousness alive in three dimensions of time at once: the present is both obvious and mysterious, the past has created and shaped us, and the future is the path we take to knit our experience of good and evil into a thing of beauty that holds our salvation.

I’m also inspired to work through that process that ties up the loose ends of a lifetime before the last frames of the reel have run through the projector.

UC12K On Film

TB-7188-031_PORTRA160_UC12K.jpeg (926.9 KiB) Viewed 2399 times

Here's a photo of the URSA Cine 12K I captured on some Kodak Portra 160 35mm Film with the Minolta SRT-102 and Minolta Rokkor 58mm f/1.4 lens. Figured some of you may get a kick out of this.

So cinematic… so textured… so filmic… don’t worry, we can fix it in post!

As a collector of Minolta Rokkor lenses, I definitely get a kick out of this!

Sounds good but they spent more than 18 million for their Oscar campaign (three times the films budget) and It's all one of the lowest grossing films to ever win the best picture Oscar.

JB

I believe it. They should've put that money into marketing, as I never heard of the movie.

So cinematic… so textured… so filmic… don’t worry, we can fix it in post!

I did do some color correction on the film scan. Nothing to drastically alter the qualities of Kodak Portra 160, but some white balance adjustments, exposure, and contrast.


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As a collector of Minolta Rokkor lenses, I definitely get a kick out of this!

Well, you’ll get a kick out of the fact that my St. Patrick’s Day photo on Kodak Portra 160 came out 1000X times better than the digital photos I took then. Minolta Rokkor lens for the win. Had more character than the new Sigma 50mm f/1.2.


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