This means DCI 12K at 60 fps and 8K up to 120 fps. Somehow, Blackmagic even offers decent frame rate options at the highest resolutions. It is now the highest resolution cinema camera on the market. Now to actually talk about the core specs. Considering the specs and price point it just all makes sense. He says it’s a little clunky-not exactly unheard of with Blackmagic cameras-and that some aspects don’t feel quite as modern or of as high quality as competing options. Yates appreciates that they’ve kept the same body design as the previous version, but still keeps the same issues as that model. It’s a lot of data for 12K, so this is a nice addition. Now there is a USB-C port at the rear for connecting an external SSD or the new dedicated unit. ![]() Yates claims they were able to get 12K BRAW files playing back on a 2017 MacBook Pro.Īs for body design, the 12K managed to keep the same form factor as the regular 4.6K URSA Mini Pro. The workflow with Resolve appears to be very good anyway. You could use an external recorder, but Yates points out you’ll lose many advantages of the camera. Interestingly, the URSA 12K only allows users to record in Blackmagic RAW, so while other NLEs do offer support for it you’ll be best off with Resolve. They designed the sensor, developed the codec/raw data, and offer DaVinci Resolve as a full NLE/coloring suite. It has even been designed to handle this type of sensor.Īs Yates points out, this is perhaps the first cinema camera where the manufacturer has complete control of the entire pipeline. With better compression options and capabilities it makes 12K footage much more manageable. This means you get reduced rolling shutter and faster shutter speeds.Īnother aspect of the camera is Blackmagic RAW, or BRAW. Without de-Bayering everything runs a bit faster. In that case we are lucky that Carl Yates from ProAV TV went hands-on with the URSA and went over some of the most important specs.įor the URSA Mini Pro 12K Blackmagic custom designed a Super 35mm sensor that eschews the traditional Bayer filter pattern for a system that features an equal amount of red, green, and blue pixels.Ī major advantage of this is improved color accuracy, though considering the extremely high resolution the symmetrical design makes it easier for the camera to effectively downsample to lower resolutions. Perhaps not everyone is even looking to pick one up – 12K is an insane amount of data – the concept and tech deserves a deeper look. I think it’ll still be a little bit before I will get used to the idea that you can just go shoot 12K footage right now with a camera you can get at your local shop. Blackmagic Design once again is pushing the boundaries of what seems reasonable for relatively affordable cinema cameras with this year’s release of the URSA Mini Pro 12K. The shim is included in the kit, as well as tools needed for installation.12K is now a reality. Consequently a shim is needed to correct back focus. ![]() The Rawlite OLPF is thicker than the original filter. ![]() An anti-reflective coating prevents unwanted reflections and enhances contrast. By doing so it’s assured that all mounts, lenses and adapters that work with the original filter, will work with the Rawlite OLPF.Ī hot mirror coating is added to cut infrared light very effectively. The assembly has been designed to preserve the same flange depth (distance between the rear of the lens and IR-filter). This Rawlite OLPF is specifically designed for the Blackmagic URSA Mini Pro 12K, preventing moiré while preserving the high detail that this camera is able to capture with it’s 12K resolution. After removing the filter the Rawlite OLPF can take it’s place. Behind the mount the original filter is held in place by three screws. The interchangeable mount can be easily removed. The original IR absorption filter of the Blackmagic URSA Mini Pro 12K does not have an OLPF.īlackmagic made it easy to change the filter. To prevent it from occurring most digital cinema camera’s (including the Arri Alexa) have a built in Optical Low Pass Filter (OLPF). + Shim, tools and video for installation included Naomi Watts in The Desperate Hour, shot with Blackmagic URSA Mini Pro 12K and Rawlite OLPF 12KĪliasing and moiré are common issues with digital imaging. Optical Low Pass Filter for Blackmagic URSA Mini Pro 12K
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