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I only had the URSA Mini Pro 12K for three weeks, so I can’t give a definitive answer on long-term dependability. While the fashion is for ever-larger sensors, Blackmagic found the best way for ultimate, filmic quality is to use a very high resolution 12K sensor in the smaller Super35mm CMOS size. This smaller sensor is packed with tiny photosites, which may not have the best high-ISO performance, but the highlight roll-off and colour gradation are much more organic and like film. If bigger is better then the new Blackmagic Ursa Mini Pro 12K is the best of all as it shoots in 12K. However, the camera’s incredibly high resolution is almost a by-product of what the Aussie boffins at Blackmagic wanted to do.
Mount and share over your network media modules from Blackmagic URSA Cine cameras. Includes Blackmagic Cloud sync.
As you might guess, the URSA Cine 12K has a staggering price tag, as well. With the recent price drop, getting all these features and capabilities in a camera for less than $6,000 is great value for the money. There are, of course, several other options for cinema cameras. Some of those options have definite advantages over the URSA Mini Pro 12K. I think for a budget-conscious filmmaker looking to get the most bang for his or her buck, the URSA Mini Pro 12K is a terrific value.
Three Post Production Workflows!
A built in digital focus chart ensures you get perfect viewfinder focus setup. You can also view critical status information such as frame guides. The URSA Cine EVF is extremely easy to connect as it simply mounts to the included viewfinder bracket and connects to the camera using a single USB-C cable. The viewfinder can be positioned in multiple ways and comes with 2 different types of eyecups.
Power
The 82mm lens cap easily snaps on to protect your camera’s lens from scratches, dust, moisture, and fingerprints when the camera is not in use. The 77mm lens cap easily snaps on to protect your camera’s lens from scratches, dust, moisture, and fingerprints when the camera is not in use. The 58mm lens cap easily snaps on to protect your camera’s lens from scratches, dust, moisture, and fingerprints when the camera is not in use. Kit includes shoulder pad with built in rosettes, rail mounts, integrated tripod quick lock release and top handle. Optional side hand controller for URSA Mini Pro with record start/stop, iris and focus buttons built in. Standard rosette and LANC for attaching to the side of the camera or relocating it to the front of the camera with the URSA Mini Shoulder Kit.
At $3,900 it’s much less money, however is not a cinema camera. Starting with dynamic range, there is slightly more dynamic range with the C200. When shooting the same lens, exposure and distance from the subject, the highlights in the footage from the URSA were clipped at not even a third of a stop lower than the C200. If dynamic range is your concern, the C200 does have more, but we wouldn’t say it’s enough to base your purchasing decision on alone. They are easy to access and work with whatever lens you attach to the camera. We’re not sure what Blackmagic was thinking when they labeled the ND controls.
It’s really made for use on a tripod, with manual-focus prime lenses. And with such high resolution, it really does demand the use of quality cine lenses rather than zooms or primes made for stills photography. Of course, there are reasons to shoot in 12K, such as the enormous amount of scope for cropping if you are making a film in 4K or HD. It’s also good for extending the life of your footage for when 8K and above becomes the norm.
The Blackmagic URSA Mini Pro PL Mount lets you use the world’s highest quality professional cinema lenses with your URSA Min Pro camera. In addition, you can also power and control broadcast style cine-servo zoom lenses using the camera’s 12-pin Hirose connector. URSA Cine supports the optional Blackmagic URSA Cine EVF to make outdoors and handheld shooting accurate and easy! You get an integrated high quality 1920 x 1080 color OLED display with built in proximity sensor, 4 element glass diopter for incredible accuracy with a wide focus adjustment.
Compatible with Broadcast, Photography and Cinema Lenses
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They are accessed on a knob on the URSA and up and down buttons on the C200. Both have a 2, 4 and 6 stop ND, however the C200 expands to offer 8 and 10 stops of ND, as well. We must note that when shooting in ProRes, there is no crop in any resolution or compression type unless you put the sensor into windowed mode. For those who can use RAW in their workflow, consider the following. If you do, the URSA Mini Pro 4.6K will require another external accessory — a recorder.
Blackmagic PYXIS 6K is an advanced digital film camera with an incredibly versatile design that lets you build the perfect camera rig for your production. Blackmagic PYXIS 6K is available in three different models with fixed L-Mount, PL or locking EF lens mounts. The Ursa Mini Pro 12K has built-in ND filters with IR compensation, in 2, 4 and 6-stop range. The left of the camera has a second LCD screen which shows frame rate, shutter angle, aperture, white balance, ISO, iris, battery indicator, card recording status and audio meters. There are XLR audio connections, a 12G-SDI out connector, HD-SDI monitoring out, 2 LANC inputs, timecode in and reference input.
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External control of some camera settings, focus, iris and zoom with compatible lenses. Camera Control REST API over Ethernet for external control via HTTP when used with REST client applications such as Postman. A drawback to the innovation from this camera is it only captures in Blackmagic BRAW for all resolutions and framerates.
The colors, especially the skin tones, were exactly where I wanted them. I only did minor color grading after the fact for my own aesthetic reasons, but could have easily gone with the straight out of camera footage without skipping a beat. Despite being a filmmaker for over 20 years now, this is the first Blackmagic Design camera I have ever used.
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