Blackmagic Design URSA Broadcast G2 Camera announced $3995

[majoraxis]

6K Super35 CMOS Sensor, Dual Native ISO (helps when expanding the B4 image and losing a some amount of stops of light to cover the 4k crop of the sensor)

2/3" B4 Lens Mount & Active EF Mount

6K Blackmagic RAW Recording

Records to ProRes

H.265/264 (10bit 4.2.2 - Grant is call it H.265 SDI because of the higher specification)

12G-SDI Input & Output, Genlock/Timecode (Built-In Timecode Generator)

13 x Stops of Dynamic Range

2 x UHS-II SD, 2 x CFast 2.0 Slots (Dual Media Slots for Nonstop Recording)

Built-In 2/4/6-Stop ND Filters

XLR Inputs, 3.5mm Audio Output

ProRes Recording up to 1080p120

USB Type-C for Recording Direct to External Media Disk

Control Broadcast B4 Lens zoom and focus the through camera or remote over the internet via Blackmagic ecosystem.

Includes Mini Shoulder Pad

Includes Mini Top Handle

Includes V-Mount Battery Plate

Included DaVinci Resolve Studio

Can stream via smart phone over the internet to (you tube etc) or to the Blackmagic ecosystem (camera, lens and coloring remote control via the internet possible). Can record simultaneously the video the is being feed to the stream at a hight codec simultaneously (future free software update)

https://www.blackmagicdesign.com/media/video/645038552

[MurtlandPhoto]

I was waiting for someone to post this 🙂 I think this could be Blackmagic's most compelling camera to date. It is their first do-everything camera: cinema, corporate, broadcast, live event and streaming. The price is just right. 

[filmmakereu]

Any word on the 6k and 4k recording modes? What about the compatibility of the accessories?

[bjohn]

10 minutes ago, filmmakereu said:

Any word on the 6k and 4k recording modes? What about the compatibility of the accessories?

Basically Grant Petty (Blackmagic CEO) said it becomes a 6K camera when you put an EF, PL, or F/G (Nikon) lens on it, and they're delivering it with an EF mount thrown in. He said they got tired of waiting for backordered sensors for the old Ursa Broadcast so took the opportunity to redesign it around a "new" sensor. Since the specs are so close, everyone is assuming this the same sensor as the Pocket 6K, including its not-so-great rolling shutter.

I agree that this looks like a really versatile camera for documentary and indie filmmakers although it sounds like there may be a few limitations compared with the BMPCC 6K (e.g., no cinema 4K modes or 2.8k slow motion, plus you have to use gain to set exposure, which is something broadcast people are used to doing but not cinematographers). Still, I find this form factor more compelling and if I ever upgrade from my current cameras this will be near the top of my list of considerations.

Grant said existing Ursa accessories would be compatible.

[MurtlandPhoto]

There's a bunch of interesting little features to this thing, but the biggest thing for me is the addition of h.264 and h.265 internally. Personally, that has always been the #1 factor in deciding whether I take my Panasonic kit or Blackmagic kit for certain jobs. This blurs that line completely.  

[Emanuel]

In fact, they realize it pretty well : ) For their camera features, friendly user interface, IQ and price-wise, they are unbeatable today :- )

[newfoundmass]

Are there any examples of any of these broadcast cameras BMD has released being adopted by any broadcasters? 

What's auto focus like? That would be useful for a broadcast camera. 

It's wild what $4k can get you these days. 

[bjohn]

3 hours ago, newfoundmass said:

Are there any examples of any of these broadcast cameras BMD has released being adopted by any broadcasters? 

Grant Petty (CEO of Blackmagic Design) said it has been a successful camera and I don't think they would have released a G2 if the first model hadn't sold well to its target market. I know the Cirque du Soleil (which is headquartered near me) has used it for live broadcasts of their shows. See

 

[kye]

On 11/16/2021 at 3:18 AM, bjohn said:

I agree that this looks like a really versatile camera for documentary and indie filmmakers although it sounds like there may be a few limitations compared with the BMPCC 6K (e.g., no cinema 4K modes or 2.8k slow motion, plus you have to use gain to set exposure, which is something broadcast people are used to doing but not cinematographers).

Are you suggesting that cinematographers won't be able to use the camera because of how a control is labelled?  and one that is normally not changed much at that?

You don't seem to have much faith in their intelligence!

[bjohn]

6 hours ago, kye said:

Are you suggesting that cinematographers won't be able to use the camera because of how a control is labelled?  and one that is normally not changed much at that?

It's more that gain is a less consistent measure than ISO. Gain is essentially a volume knob (it's even measured in decibels!): you use it to control how much the camera amplifies the signal before (or in some cameras, after) analog to digital conversion. It doesn't provide any universal benchmark across cameras the way ISO does. So I can see how it would be less optimal for cinematographers who are used to ISO, not that they couldn't adapt to it.

As someone who learned to shoot video on a cinema camera, I'm completely lost at first when I try to shoot hybrid cameras that require me to set shutter speed instead of shutter angle and I'd probably be similarly slowed down if I had to use gain controls. I'd learn, but if a more familiar option were available I'd use that instead.

[techie]

I agree, it's weird to set the shutter speed for video with hybrid cameras.

[kye]

3 hours ago, bjohn said:

It's more that gain is a less consistent measure than ISO. Gain is essentially a volume knob (it's even measured in decibels!): you use it to control how much the camera amplifies the signal before (or in some cameras, after) analog to digital conversion. It doesn't provide any universal benchmark across cameras the way ISO does. So I can see how it would be less optimal for cinematographers who are used to ISO, not that they couldn't adapt to it.

As someone who learned to shoot video on a cinema camera, I'm completely lost at first when I try to shoot hybrid cameras that require me to set shutter speed instead of shutter angle and I'd probably be similarly slowed down if I had to use gain controls. I'd learn, but if a more familiar option were available I'd use that instead.

ISO isn't universal anyway - ISO 100 can give quite different levels of exposure on different cameras.  IIRC Tony Northrup did a test and the different cameras were different to each other, some by quite a lot.  Besides, what matters is the native ISO, not the absolute number.  ISO 100 on one camera might look great if it's the native ISO of that camera, but might look awful on another where the native ISO for that camera is 800.

And shutter speed is a simple primary school fraction isn't it?  And how often do you change it?  Couldn't you just calculate it and write it down?

I'm not really sure where the problems are here, but maybe that's just me.  Carry on.

[Anaconda_]

2 hours ago, kye said:

And shutter speed is a simple primary school fraction isn't it?  And how often do you change it?  Couldn't you just calculate it and write it down?

Why even write it down. Just double the frame rate as close as possible.

24? 1/48 (or 1/50 if you have to)

25fps? 1/50

30fps? 1/60

120fps? 1/240

As for gain/iso. It's the same as meters and miles as far as the end result goes. If your image is dark, turn it up, if it's bright turn it down and call it whatever you like on the process.

Very minor 'problems' considering the rest of what the camera offers.

[BTM_Pix]

The two native ISOs of the camera are 400 and 3200 so you could argue that if you are shooting BRAW in the camera's "cinema mode" then the only two gain values that you need to memorise are 0dB and +18dB.

I don't think this completely negates the argument for displaying ISO values though (when using an external meter for incident readings being an obvious example) so it would be a useful and simple switchable option to include.

The Ursa 4.6K and 12K (as well as the P4K/P6K of course) use ISO so it looks like a bit of a continuity error in that respect to market it as having a cinema camera element and then have it be different to those.

Obviously, it won't stop you exposing the image correctly as there are more than enough exposure tools built in anyway but it would be simple enough to remedy in a firmware update.

Irrespective of the nomenclature, though, it looks like a great all round camera.

[bjohn]

4 hours ago, BTM_Pix said:

Obviously, it won't stop you exposing the image correctly as there are more than enough exposure tools built in anyway but it would be simple enough to remedy in a firmware update.

It almost seems like they were anticipating such a firmware update because even the manual refers to the setting as ISO/Gain. Right now only gain is shown, but I wouldn't be surprised if they add an option to show ISO in a future update.

[Emanuel]

I believe it's because they separate both markets quite well from my experience with them :- )

[kye]

21 minutes ago, Emanuel said:

I believe it's because they separate both markets quite well from my experience with them :- )

[Emanuel]

LOL ; ) I wish... Good to know there are still dreamers either be Coppola or creators like Tonino Guerra who adopted the trend from day one. I try to imagine Michelangelo Antonioni today : )

 

This brand has accomplished such route more than any other one ever, so far.

Love their cameras and the industry concept behind their business model.

They try to satisfy both sides of the equation, those who are here more prone for the sake of their art. And those who have to make a living from.

Without any silly miniaturization complex as their Pocket 6K Pro launch easily proves it.

I contact everyday with youngsters, well, not exactly from 10 to 16 : D but at their early age and course of life and career, trying to get their place in the sun over this difficult craft.

And I see this manufacturer as one of the few to seriously think, focus and implement a solid path where a business plan towards so hard target is viable beyond the project phasis per se as well.

The first manufacturer to put the art in front of it. I just have to salute their commitment, then kudos to them!

My respect and love,

- EAG :- )

[majoraxis]

The great low light sensor of USRA Broadcast G2 makes using/adapting B4 lenses react to lighting conditions as you would expect a cenima camera with a sensor with average lowlight capabilities to perform, and it's not a bad thing, in fact having net "average" low light performance for adapted B4 lenses in a professional camera body is a fantastic improvement.

1. The Blackmagic 4K Broadcast Lens adapter loses at least a stop of light when expanding the 2/3 inch image circle to make it large enough to cover the 4k sensor crop of the 6k sensor.

2. Depending on B4 lens, stopping it down can increase resolving power, increase contrast and allows for easier focus following for shooting action scenes, which may be preferred as compared to shooting it wide open.

3. When zoom on some B4 lenses, you may lose part of a stop of light to a stop of light at the long end as only some are constant aperture when zooming through the entire zoom range.  If you start with it stopped down on some B4 zoom lenses, you can achieve a constant aperture when you zoom through the entire zoom range, but at a the cost of some light loss and you decrease the depth of field, which may be a benefit at the long end of the zoom lens to allow easier focus acquisation.

4. If you have and engage the 2x extender on your Broadcast B4 Zoom lens, it doubles to focal length and you will lose 2 stops of light for enabling this capability.

So, starting at f1.9 wide open on B4 zoom lens at the wide end, then expanding the 2/3 image with the 4k Broadcast Lens Adapter (included with the Broadcast G2) to cover the 4k sensor sensor crop, you are at f2.8.

If you stop it down for constant aperture and/or better resolution and contrast, you are at f3.9.

If you engage the 2x extender on top of the above, you are at f7.8

...and you have a fantastic image that looks like it was shot on a cinema camera with a sensor with average low light capabilities, plus you experience the creative freedom that a B4 zoom lens can provide.

[newfoundmass]

Why not just make it so people can choose between gain or iso?