timbutt2 wrote:I see some hate for the UMP12K. I don’t understand why? I have seen incredible results from the camera. I think it looks maxing. On par with the UMPG2 and possibly better. I haven’t done a side by side test, but I maybe I should rent one and do it.
Absolutely no hate from me Tim. I think the Ursas are very underrated in the industry IMV, both in TV and film - they are just invisible here in the UK. They are, for me truly great cameras, very capable of shooting professional big budget features and episodic TV, and as I have said, because I grade these Sonys everyday, better to me in every way, than FS7s and FX9s. The UMPG2 is Netflix approved for that reason. Believe me I have tried many times to persuade Broadcast to move to Ursas from FS7s and FX9s, they simply will not.
In broadcast, for example, the next and only choice in 4K 2/3" Eng cameras are the PXW-450/750, some $30-40000. The PXW-450 is a single, non global sensor like the UBG2. The 750 is a global 3 chip. But the image to my eyes on the UBG2 is better than both. Would a BBC choose the UBG2 over these Sony's - I doubt it. Both BTW are approved by Netflix the UBG2 not.
But comparing a $6000 camera to a $60/80000 camera something has to give. Are the Alexas 10+ times better than the 12K Ursas - I doubt it, but to claim that there is
only the Alexa and 12K up there, and perhaps the Venice, when it comes to the best is to say the least somewhat hyperbole. We must be realistic in our love of these tools.
As I have said, DR, resolution and colour, are so close in cameras from $2000 - $80,000 these days, especially in terms of ultimate screen technology, that these tests on the internet are meaningless. Even RS is not really a great issue in a lot of cameras. The FX9 is 20ms, for example, yet it is favoured by broadcasters. That's why idiots in the comments, on testing sites, argue defensively over them -
No one can really see the difference! Moiré, aliasing and up/down sampling are still with us and no one is properly testing that. Look at Alan Roberts EBU test on one of the early UMPs, to see what I mean, still approved by Netflix btw also, that I only keep mentioning because you can see the problem with bad and, non-transparent testing/approval: Alan could not recommend this camera for Teir 1 UHD acquisition.
I watched 'The King' the other night on Netflix, in DV/HDR on my very fine Panasonic TV. For me it was simply the best images I have ever seen from modern digital cinema cameras. Not in terms of cinematography necessarily, although that was stellar, but in the beautiful undefinable quality of those Alexa 65 shots. It can't be resolution, can it? - that's
only 6.5K, down converted to 4K. Nor DR, for the same reasons. So what is it and why is it? I have not seen that quality from any Ursa footage I have looked at, though I am sure someone like JB could achieve it. But generally there is you get what you pay for, in all walks of life, or nobody would bother wasting cash on high end gear.