Andrew Reid

It looks fine to me on the dynamic range front. Very little of it is blown out. The actual shooting could do with a bit more imagination but I'm not seeing any glaring problems.   Dynamic range does not look like LOG or CineStyle BTW... Nor does it look like the horrible HDR sick. Dynamic range for cinema really is how much of the shadows and highlights remain while keeping a ton of contrast in the image. Alexa and BMCC are good examples.

Try this for Copy instead - https://copy.com/EoeMcoA2T9L4

Hopefully Canon will react to A7S and GH4 with a 5DC / 4D with 1D C sensor (and image quality) - just not the pro photography features or as high build quality. Ideally it would be more up to date on the 4K side with more space efficient 4K codec than MJPEG. 10bit via HDMI would also be useful.   Price no more than $3k.

  BMC as in Blackmagic Cinema Camera?   The AJA is $9k so not the same market.

  And roll like it's the 80's all over again.

  Must say URSA looks better in the flesh.   UI seems to have a lot of features and works smoothly. Screen looks well built and overall camera is attractive to look at.   Still not really for my style of shooting though.   Make it smaller and lighter, put a more sensitive sensor in there and I'm in.   Also that UI, audio levels, etc. let's see them on the other cameras before too long hey!

  It will be nice for 1080p for sure. Especially for drones and gimbals where the weight and size needs to be kept down to a minimum.

Let's try to avoid harsh personal comments in this forum please bwhitz, no hard feelings but keep it classy!

What that Sony ad suggests is a physical impossibility.   Very strange!   If you read out every pixel from a 12MP sensor you get approx. 4.2k horizontally. This will be either cropped or zoomed to 3840 pixels in-camera. Cropped I hope, as zoomed would be pixel binning on the image processing side, if not on the sensor.   If you crop out an APS-C area from the 12MP sensor there's not enough resolution in that window to create a 4K image, so how are Sony doing 4K in APS-C mode? Like I say... weird!

GH4 certainly has the advantage of coming first. Sony were very unclear over availability and pricing for the A7S. I can only assume it is a few months of yet as a result, as usually companies of this size are pretty clear on such issues.

Good thing is we now have a choice. A7S for low light 4K under $2k. GH4 for internally recorded 4K under $2k.   Both make superb 2K solutions as well because of the benefits of oversampling 2K from a 4K image in post.   Bob you get it better than many....   And I love the GH4 for same reason I loved the GH1... at the time, stunning image, lots of features, for low prices and no hassle. Very creative.

  You see I prefer not to have that.   I'm happy to trade 1 stop dynamic range for some levels and an OLED screen / EVF so I can expose properly in the first place.   I'd trade 1080p raw for 4K 8bit, because of the more manageable file sizes, especially long term for archival of the master files. 4K on the GH4 grades extremely well as I showed in some of my production diary posts.   I still love colour in raw but again I am happy with colour on the GH4, and it makes for very smooth 10bit 2K 444.   1 and 2/3rd Speed Booster is nice on the Pocket but I would trade that 2/3rd of an extra stop for the better low light performance in the GH4 from the sensor.   Same goes for BMCC 2.5K MFT.   I am not all of a sudden a Blackmagic hater but I think the Ursa is not an appealing direction as far as I am concerned and I think the A7S and GH4 have more features as well as images which are a huge step up to what we had before from mirrorless cameras.

Since I have used the GH4 I wonder when I pick up my Pocket camera why I am not just shooting with the GH4 instead.   I didn't get the feeling with the GH3 because the image just wasn't as nice, but now...   Especially with 10bit 4:2:2 output and 4K it is nicer.

It can't do 4K in APS-C crop mode.

The integration of all the rig stuff you might use on a BMCC is a good idea on the Ursa but I think you are swapping one practicality mess for another.   The weight makes it impractical for a ton of stuff. How many times have we heard people sing praises of lighter cameras like the 5D or EPIC because it makes rigging lighter. Lots of stuff is shot form 3 axis gimbals and MoVi is pretty groundbreaking. I'd rather have that freedom of shot getting, than having to lug around 10kg on sticks like some nostalgic throwback to the film days.   Drones are great too... GH4 can go on one. This can't.   With the GH4 you can strip it down or build it up and buy 3, keeping each on set in a different configuration depending on the shot you need to get. Rather have 3 of those bespoke rigs than one big heavy Ursa that is only suitable for half the shots I need to do.   So much great work has been shot on location with the smaller cameras, without a large crew. I have tried shooting in a small crew with a heavy camera - the Kineraw S35 was very heavy - I hated every second of it. I was seeing shots and angles all over the place and the camera just wasn't nimble enough to go there quick enough.   Fact is big heavy cameras slow you down.   I am all for getting rid of the stupid spidery arms and bits hanging of DSLRs and BMCCs.   But this is wrong way to go about it.   All this time, effort and money - some of it ours - spent on two new cameras rather than updating the BMCC form factor to something much more usable. Like a Mini Ursa. It's a tragedy.   Just give us a BMCC in a small but integrated and capable cinema camera, that's all I want!

  Yes but look at what these guys are using already... C100, C300 and rental of Arri or Red.   What does the Ursa do that these don't?   If it has the same sensor as the Production Camera it will be unusable on a music video shoot because you can't point it directly at lights or flare up the lens. Black holes!

  It depends on the DSLR.   DSLR as in 1D C - horrible to use for motion.   DSLR as in mirrorless camera / GH3 - actually pretty good.   I think the GH4 has come a long way ergonomically.   Peaking, OLED monitor, very high res EVF, CineLikeD, pedestal, luma settings, zebra, large battery, weather sealed, stronger magnesium alloy body, video optimised live view and video info display modes...   I don't agree with lumping in all the DSLRs into the same boat when it comes to ergonomics for motion.

At the moment I don't see how it fits into the market.   Low budget filmmakers have rental options like C300.   They also have the BMCC and BMPC which give comparable images I assume to the Ursa.   For 4K they have the BMPC, GH4 and A7S for far less than $6k.   The Aja Cion - now this is how to design an indie filmmaking camera. It is like a poor man's Arri Amira. Lovely ergonomics and presumably same 4K sensor as is in the Ursa.   I just think that running around with a generator, lights, heavy bulky equipment, is so last decade though...   And so is native ISO 400.

  The jobs and projects that need Ursa already have Alexa or F55.   Surely productions that the Ursa is aimed at consider $6k as small. If they have the budget for a crew and all the other stuff necessary to operate the Ursa, then surely they can use an F55 or an Alexa?   The beauty of Blackmagic so far, for me, has been the high image quality for low prices in small boxes.   Very artistic tools.   The Ursa is more a workhorse in search of work.

  Shot at 4K and dropped onto a 1080p timeline, scaled 50% in Premiere.   Which copy link is broken? Let me know and I'll have a look.

  Frank has shot a ton of nice slow-mo stuff and I want to wait to see if any of it can be included on Day 5's diary because some of it is work for other clients and he has to get permission.   Also NAB has started and I need to focus on that, as well as finishing my A7/A7R/A7S lenses book.   So Day 5 will come later, kind of more logical that way rather than rushing something out that isn't ready :)

Look I am not saying it doesn't have a place at all or is 100% wrong, I just think it is definitely not for me and not really the form factor anyone who bought the Pocket or BMCC was really looking for.   With your own rigging you have tons of flexibility and it can be adapted to a job.   With this you are essentially stuck with 10kg of stuff whether you like it or not.   For crews and studio based stuff then I can see the purpose of it.   What about being nimble though?   It's really important.

  OK glad you mention the shoulder, because I have no idea how URSA is supposed to go on there...   The 10" flip screen is way too big to be used on the shoulder. It would be smack right in front of your face. So it is necessary to close the screen... then that blocks the control interface and 2nd screen, along with a bunch of physical buttons.   Not ideal.   OK it does have the saving grace of the right hand side panel and good for a second camera op whilst the shooter concentrates on getting the shot with an offset external EVF on the left.   I thought the point was you didn't have to add any bits?

This is a lot more than a Sony F55. This is more like Alexa territory. Guess it suits their market - broadcast, TV, cinema - but I am quite surprised they did not go more aggressive on price to counter Cinema EOS and Sony. ETA is not till Q4 2014.   Press release from Panasonic -   PANASONIC ANNOUNCES ProRes CODEC SUPPORT FOR VariCam 35 4K CAMERA/RECORDER    Strategic Alliance with Codex Digital to Develop High-Speed Uncompressed V-RAW Recorder for VariCam35 Also Disclosed    LAS VEGAS, NV (April 6, 2014) – Panasonic today revealed updates to its new VariCam 35 4K camera/recorder, including Apple ProRes 4444 and ProRes 422 HQ* support for HD recording, as well as a strategic product development alliance with Codex Digital to deliver a high-speed 4K uncompressed RAW recorder for the VariCam 35 camera.   “Given the prevalence of ProRes as a popular editing format within the production community, its inclusion in the VariCam 35 will position the new camera/recorder solidly within a well-established and widely accepted HD workflow,” said Steve Cooperman, Senior Product Manager, Panasonic System Communications Company of North America. (The ProRes codec component is licensed from ATOMOS Global Pty. Ltd., which has shipped ProRes recorders for years.)    Codex Digital, an industry leader in RAW recording and workflow, is working closely with Panasonic to develop a dedicated recorder that will capture uncompressed 4K VariCam RAW (V-RAW) at up to 120fps, bolstering the VariCam 35’s suitability for high-end cinema applications. The Codex V-RAW recorder will directly connect with Panasonic’s VariCam35 camera, eliminating cabling completely to facilitate greater efficiency and higher mobility.   VariCam 35 workflow scenarios will be previewed at NAB: Assimilate’s SCRATCH will demonstrate V-RAW debayering and grading workflow at Panaonic booth C3607, and Grass Valley’s EDIUS will show seamless AVC-Intra 4K editing at the Panasonic and Grass Valley (SL206) booths.    The VariCam 35 incorporates a newly-developed super 35mm MOS image sensor and Panasonic’s AVC-ULTRA family of video codecs. The new camera’s superb image handling in multiple formats including 4K, UHD, 2K and HD make it an unparalleled tool for high-end filmmaking, commercials and episodic production, as well as live 4K events.   With its innovative design, the 4K camera module (AU-V35C1) is separate but dockable to the recording module unit (AU-VREC1), which is also interchangeable with Panasonic’s new 2/3” camera module (AU-V23HS1). This system flexibility can be expanded with an umbilical cable between the s35mm 4K camera and the AVC-ULTRA recorder, providing “box” camera functionality for jibs, cranes and other “remote” camera needs. This common recorder module system enables professionals to switch between s35mm and 2/3” camera heads to best suit their creative needs.    “Evoking the VariCam heritage of gorgeous, cinematic image rendition, this VariCam 35 establishes new standards for 4K production,” said Cooperman. “With its expanse of formats ranging from flawless 4K RAW output to more practical 4K, UHD, 2K and HD capture, the VariCam 35 represents a matchless option for premier digital capture.”   The VariCam 35 utilizes a new Panasonic super 35mm MOS sensor for 4096 x 2160 (17:9) 4K image capture; this imager when combined with the AVC-ULTRA codecs for 4K enables very manageable and practical 4K production file sizes. The new imager boasts an impressive 14+ stops of latitude, and faithfully captures high-contrast, wide dynamic range imagery without compromise.    Powerful color management capabilities provide a much extended color gamut for impeccable image fidelity, and permit support for an Academy Color Encoding System (ACES) workflow for full fidelity mastering of original source material. The VariCam 35 also affords in-camera color grading.    To maximize the dynamic range of the recorded images, Panasonic has developed a new log curve (V-Log) which elegantly maps the 14+ stops of image data to the recorded file. The VariCam 35 permits the assignment of various LUTs to individual recording channels and camera outputs. For example, shoot UHD and record non-destructively with the V-Log LUT, but assign a ”baked-in” 709 LUT on the HD / proxy recording for editing. The camera’s monitor and EVF outputs have similar selectable LUT capabilities.    Among the camera/recorder’s top-level production features are real-time, high frame rate, variable speed 4K recording up to 120fps, providing the capability for master level 2K/HD recording, and advanced workflows with parallel simultaneous 4K/ UHD, reference 2K/HD and proxy recordings for in-camera on-set color grading and monitoring / editing ease. The camera also features a newly-developed OLED electronic viewfinder (EVF) with optical zoom functionality. Lastly, 24-bit LPCM audio is added for in-camera audio master recording.    The VariCam 35 will deliver an unprecedented breadth of recording formats, including 4K and UHD in AVC-ULTRA 4K, and 2K and 1080p HD in AVC-Intra 100/200** and ProRes. Addressing the need for high-speed file exchange, the camera encodes high-resolution proxy files in parallel with 4K and 2K production formats, enabling fast, efficient offline editing, at bit rates from 6 Mbps down to 1.5Mbps. Metadata management will also be available.   The VariCam 35 will use Panasonic’s new expressP2 card for high frame rate and 4K recording. The camera is equipped with a total of four memory card slots, two for expressP2 cards and two for microP2 cards. The new 256Gbyte expressP2 card can record up to 130 minutes of 4K/24p content. The microP2 card is designed for recording HD or 2K at more typical production frame rates.   Professional interfaces include: 3G-HD-SDI x4 for 4K QUAD output; an HD-SDI out for monitoring (down-converting from 4K); and two XLR inputs to record four channels of 24-bit, 48KHz audio. A multi-connector facilitates docking the camera head to the recording module. In another striking design innovation, the VariCam 35 boasts a removable control panel to facilitate real-time control and easy access when the camera is in a fixed position. The VariCam 35 features a standard 35mm PL mount.   The VariCam 35 will launch fall 2014, with a suggested list price under $60,000, including EVF.    For further information about Panasonic professional video products, visit www.panasonic.com/broadcast.   * The Apple ProRes format is licensed from Apple Inc.    **AVC-Intra200 is available only for FHD recording.

  720p for 120fps.