majoraxis

I'm on a 5k iMac viewing in Safari and I left the playback resolution in auto which I believe defaulted to 1080p. I thought setting B on the video looked best. I noted a difference around the edges of the image elements being that they seemed to have more resolution and less offensive artifacts. What was setting B? If setting B was 2k then that will same me upload time and bandwidth. Thanks!

@BTM_Pix Thanks! Looking forward to the feature announcement of the pro version. I am hoping there will be the ability to correlate and link the zoom motor value with the focus motor value so there is some type of auto framing mode ( or Zolly mode).

@BTM_Pix very impressive! I have Nucleus M Follow focus and a GH5 or URSA Mini Pro 4.6k both are adapting b4 lenses with the follow focus. Will I be able to use the first less expensive version or will I want to wait and purchase the more expensive more advanced 2nd version? Thanks! Mark

@Ed David Happy to see you posting again. I hope to read more of your posts hear in the future. I hope don't we don't drive you away. I would love to see an F35 vs URSA Mini Pro 12k skin tone / color rendering test done in the classic Ed David style. Ed David: Always brilliant. Always entertaining; if you can read between the lines.

I’m impressed with the color matching. If I owned a higher end Red and needed another camera Komodo seems like a good value as a “b” camera to the higher end Red cameras. Even at the lower price point of Komodo you are getting the Red image processing pipeline and great one at that. I think it is fair to say that Komodo will be many people “a” camera and is a good choice as it can look great and has many year of high in camera technology and experience built into its design. It seems priced right for what you are getting...

I have ERA Voice Leveler as well. I compared it to DialogueEnhance by Accentize., They are different in the way they ride the level. DialogueEnhance makes the track have a more even/consistent level. It is 57€, but also has noise reduction, eq and compression as well as leveling. It is all AI driven so it a great place to start with to get your signal in the ball park and then use your other plugins to dial in further if necessary.

Thanks for the link to the compressor! Instead of using compression with Boost, I do large level adjustments with volume automation and more subtle ridding of the level with a plugin that is design to ride the volume of the track (in my case DialogueEnhance by Accentize). Once the signal is fairly even level wise, Boost allows me to make it full like as if it had been well recorded and compressed. It basically allows me to make the recording sound full on the quieter sections, which typically sound less full and less compressed. If you have trouble making the volume level of your tracks sound even and equally full for softer passages, give Boost a try.

Hi, I found great plugin for you guys to check out. It seems to work find in Resolve (the current new 16 public beta version, I'm on the Studio version). Boost by UrsaDSP is a compressor, limiter, upward expander and saturator. What it allows you to do is to make your tracks sit in the mix by bring your low volume information up, compressing regular volume information and limiting the peaks as well as choosing to enhance the signal further with saturation (labeled Drive) which is available when you turn off Punch which is transient enhancement (which I am not currently using, I use Drive instead.) UrsaDSP plugins is distributed by Devious Machines at deviousmachines.com, where you can download the demo. They also have a discounted intro price of £39.99 (about $52 when I purchased today). Anyways, I find making things sound louder and better at the same time is a difficult problem to solve. From my experience Boost is fantastic a solving this problem. It can also be use across your mix, though I have not tried it on a full mix yet. BTW - I have no affiliation with UrsaDSP, but they have been responsive on the Gearslutz forum when I found out about this plugin. Video below... Finally, it is super easy to use.

Maybe they could use the sensors that don't pass QC on the parameter - outside the M4/3 sensor crop and not have to throw them away. With this methodology they could do a 6k 1" super 16 broadcast RGBW sensor camera. I think one issue may be having to cool the whole sensor even though you are only read part of it. That said maybe only reading part of it will allow it to run cooler in the first place. I think the main concept its to use the same size pixels and put as few as you need to cover as smaller image circle. Anyways, it makes sensor for Blackmagic to put it at all level of their product line as I think there would be a significant amount of people willing replace their current version with the RGBW version. We are at the tip of the iceberg when it comes to how much of an impact this RGBW sensor tech will have. As soon as the comparison tests come out, we will see if the word as we know it had been turned upside down. I believe for people who stake their reputation and careers on producing the best image possible, most likely is has when shooting in a sunlight lite screen. As for shooting with lower CRI LEDs, probably less of a difference will be decreeable or maybe it will magnify this differences - we shall see.

Great question. 1. Value. You can purchase a cinema lenses that were 10 of thousands of dollars for 5 to 20 percent of what they cost new especially for B4 lenses. You can purchase a Fujinon 15x para focal constant aperture cinema B4 lens zoom lens for $1700 on ebay today, Adorama sells it as a special order for $39,500. https://www.adorama.com/fuhac15x73b.html?utm_source=adl-gbase 2. Performance. Having access to a long zoom range and much of it at a constant aperture (in many cases) opens up creative possibilities. Size, weight and cost are in line with the reasons people chose super 16 in the first place:. You get a tool for shooting like a lager budget production at a lower cost with some expected compromises like greater depth of field. 3. Design: a true cinema is a joy to behold and to hold and use. You can get a Zeiss DigiZoom 6-24mm (that’s like a 24mm - 96mm) 1.9T constant aperture for $1600 on ebay with a flight case. This was about $60k new. The thing is It is a Zeiss cinema lens and the glass has the Zeiss look/fire.. 4. the right toot for the right job. If you have $1500 prime lens, why not complement it with a $1,500 ($50K designed zoom lens). I think you need both because and they are different tools. Yet, with the right sensor you can get both looks/functions on a budget. 5. It is really a matter of preference. Some productions shot on super 16 for the look, control, speed of shooting and the cost savings. I think some people will shoot it again because it is now possible to get the color fidelity and resolution of close to film with BLackmagic new RGB sensor tech. The limitations weren’t the lens in the first place, so people can now get the look they previously had loved and enjoyed without the costs of shooting on film. To me it is a comparatively inexpensive way to get a much-needed cinema tool.

Once there is an USRA Min Broadcast with a 6k RGB sensor using the same sensor tech as the BM12k, the both super 16 and b4 cinema lenses will be back in fashion. The super 16 lens is not the problem, it is having camera that can make these lenses shine. I had a GH1 with a vintage C-mount 25mm f0.95 and in video mode it look pretty good but in photo mode it look like a still frame from a movie. Anyways, tube mics where kind pushed to the side by solid state mics in the 70’s as there were cleaner to analog tape then with digital audio recording the tube mics (and tube compressor) became in fashion again an doubled and quadrupled in price overtime. Once Blackmagic’s RGB sensor tech as a lower price point and compatible with super 16 resolution wise, I’m sure it will be popular option for specific film genres like horror, documentaries and action scenes.

Blackmagic has great timing regarding the Streaming Bridge. From the Blackmagic website: "Imagine broadcasters and bloggers collaborating on shows and creating global networks of ATEM Mini Pro remote broadcast studios. Setup is easy as the ATEM software utility can create setup files that you can email to remote ATEM Mini Pro studios. ATEM Streaming Bridge is the perfect way use ATEM Mini Pro as a remote broadcast studio!" Seem like what people need in these times sheltering in place. I would like to see an ATEM Mini Pro Solo: a signal video/audio stream encoder that is compatible with the Streaming Bridge for $249. It would be nice if it had an SDI input as well as HDMI the ability to load a 3D LUT on the SDI input would be a plus. Anyways, this is a fanatic product line that keeps getting better.

I disagree with Alex on the necessity of having a 12k sensor as it supportS the RGBW 6 x 6 matrix sub sampling to get excellent 4K with outstanding color fidelity.

I miss the days before COVID-19 when you had trade shows to talk with company representatives and issues like this would have to be fielded and spoken too. Seems like there is less accountability now. That said, I don't think it wold have helped with R5 overheating issue, but who knows, maybe Canon's marketing department would have marketed it differently if they knew that their sales reps would have to speak directly to this issue on video for all the world to see. If I worked for Canon, I would be so embarrassed by this situation.

Speaking of volume of sensors and costs. It make sense that Blackmagic would use the same sensor in another camera (hopefully a less expensive version) so that they could negotiate a lower price per sensor on a large amount of sensors purchased. Maybe they could make an 6k URSA with same sensor and sell it for $6k to replace the current G2 and use the non redundant higher noise G2 electronics.. This would be 6k from 12k and maybe less slow motion options. We will probably see other Blackmagic camera designs using this same sensor.

The footage is impressive! The more I see, the more I am sold on how special the image is.

In the Camera RAW settings in Resolve, you can do the subsampling from 12k to 8k, 4k or even 2k. Is Blackmagic doing Oversampling in the Resolve and in camera it is a different type of math? We may see a quality difference when comparing the two methods (in Camera and in Resolve). Subsampling to 2k looks to be straight averaging so that should look about the same in camera or in Resolve. Because it is not an even ratio of RGB pixels when going from 12k to 4k, the subsampling conversion should benefit from doing advanced math to get the most out of the subsampling process as you are turning a 36 pixel 6 x 6 group of pixels in to 4 pixels. There is a lot of data to work with and maybe simple math, if that’s all that is available in camera, won’t be a big difference when going from 12K to 4k in camera vs in Resolve, if the math is different in camera vs in Resolve. For the 12k to 8k subsampling coversion it is a 2.25 ratio so you are going from 36 to 16 pixels. I would expect to see the most difference between capturing at 12k and subsampling to 8k in Resolve vs subsampling to 8k in camera and creating a 8k BRAW file, if the math is different in camera vs in Resolve. If the subsampling math is simpler in camera, I expect the 12k to 8k in Resolve subsampling to look better. It is possible that they may look very similar now and eventually look better in Resolve when higher math options are available. Testing and time will tell.

To me the point of Super 16 glass with the 12k is that you can added it to your full-frame PL collection and use it to shoot relative wide angle slow motion or you may the like using a Super 16 zoom with deeper depth of field when chasing around a subject when shooting a documentary. I'm pretty sure the Angenieux 7-81mm T2.4 HR Zoom will be sharp enough for many applications. In fact, I bet there will be Super 16 cult following with this camera if it is good in low light. That said, are people going to purchase it exclusive for Super 16, probably not especial when Blackmagic will probably eventually come up with a 1" 6k version of the RGBW sensor to update the USRA Mini Broadcast in the future. At that point, as a dedicated Super 16 camera, I think it makes a lot of sense. Give it 2 years and the entire range will be RGBW...

How much should the 12k rent for per day in San Jose, CA? I’m thinking about getting one and renting it to make it affordable. Thanks!

I'm waiting for a side by side test like Tom Antos does.. I think we can safely say that this is best skin tones we have seen out of a Blackmagic camera. As far as compared to other cameras, that remains to be seen via a comparison video.

Blackmagic replaced a pocket for me no questions asked, so their support was excellent IMHO. I think Grant mentioned the 12k having a redundant power supplies in his presentation (I could be wrong...) and that the 12k was completely re-engineered. I think they are going for the highend and know that reliability and performance under extreme conditions is a must. If it is 100% reliable and good in low-light with these specs, at this point in time, they could charge double and I think they would get a number of high end productions and rental houses adopting them IMHO. I think they have priced it at $10k because they think they are going to sell a lot of them and I think they are right, but the adoption rate will be slower then if it were a $7k or $8k camera.

I imagine people will shoot to different resolutions depend on how the NR process works with the subsampling. We may find 12k to 6k subsample saves a stop of noise and 12k to 4k saves 1.5 stops of noise. Maybe not.. I think there is going to be best case scenarios that will set this camera apart even further from the crowd. What Blackmagic needs to do is give the configurations and expected performance outcomes upfront so that going in people know how to get the most out of the camera in low light. ...Or maybe it is best to shoot 12k and then noise reduce and downscale in camera. Hopefully it will be good in low light natively and there will be little amount of noise to deal with in the first place. That would be a nice change. This said with appreciation that the Pocket 6k is excellent in low light.

The color separation is fantastic - distinctive browns. yellows and blacks which don't loose subtle color shifts from lighting even when crushed. I think there is something special going on here and I will love to hear from folks on how they feel it grades compared to other cameras.

This has the graded footage and it looks real nice. There is something special about the "sparkly" highlights. Not sure how to describe the lack of highlight crushing, but it is nice for a change.

I have not seen Blackmagic make a mistake camera wise, so I have to trust that they have thought this through. If it looks better than other 8k cameras even if it has to start with 12k and subsample then that's fine. A big part of them getting the $10k price tag is if it is the best 8k camera output. I hope it is and that this sensor tech will trickle down. Maybe an 8k version to get perfect 4k in a pocket pro 8k for $3000 in the future. Hopefully, 14 stops will be usable without excessive noise or some fix pattern issue. Hopefully the new sensor tech will not have weaknesses in low light like previous generations.