Is it only me who feels that there is to much attention being made on the URSA here on this (and the Blackmagic) forum? My qualified guess is that there are a lot more of us here that own and shoot with a Blackmagic Cinema Camera (BMCC), a Blackmagic Pocket Cinema Camera (BMPCC) or a Blackmagic Micro Cinema Camera (BMMCC). So why is it so little said or discussed regarding the BMD Cinema Cameras? Why all of this unequal focusing on 4K (and above) resolution and Super 35, at the expanse of 2.5K (and below) and Super 16?
In my opinion, it's time to bring back (and reclaim) the topic of Super 16 CinemaDNG RAW shooting on this discussion board; what started it all. I reach out to all of you shooters that haven't given up on the original Blackmagic Design mission of bringing forth and establishing the small form factor format, making CinemaDNG RAW accessible to the masses and guerilla filmmakers through the Super 16 format. The democratisation of filmmaking.
This is the thread for you who own and still use the BMCC (which I consider to be a oversized Super 16 cinema camera, rather than in between Super 16 and Super 35). For you who still shoot with the dedicated Super 16 BMPCC, as well as the newest addition, the BMMCC. You who seem to lurk, perhaps being daunted by all of this talk about the URSA, which (based on discussions here and elsewhere) seems to be the Emperor's new cloths (read, product in the making).
Seems to me, reading various forums and threads, that the BMPCC is the most reliable, affordable (as in bang-for-the-buck) BMD camera and also the one most used in the industry. Since 2016 it has reached its full potential and come to its age; it's not the same camera as in 2013. The BMMCC also seems to be equally reliable, drawing on the development of the BMPCC. The URSA, that's an entirely different story. Also, it seems that the classic BMD colour science (that we all have come to love) has deviated since the introduction of the URSA, contrasted to the Blackmagic Cinema Cameras (i.e. BMCC, BMPCC and BMMCC). Would you agree?
Personally, I would had preferred to see BMD invest in and further develop its classic models, the BMCC and BMPCC (and BMMCC), the Super 16 format and sub 3K standard. And not as now, only focusing on the URSA Mini in the firmware upgrades. That's what BMD have excelled in and deserves most credit (and have gained the best reputatioin) for. I'm shure that there are other BMD owners who would agree with this premise.
Let us talk about why we prefer to shoot in Super 16 HD / 2.5K and why we ignore the 4K+ hysteria. Let us also talk about why we still prefer to shoot in the Cinema DNG RAW format rather than ProRes or DNxHD/HR. Why we prefer Digital Film over digital video. Let us talk about the pros and cons of Super 16 CinemaDNG RAW filmmaking in general, and BMD Super 16 cinema cameras in particular. However, let us also compare the BMCC, BMPCC and BMMCC with the other two classic CinemaDNG cameras, the Ikonoskop A-Cam dII and Digital Bolex D16 (while feeling a common bond in the brotherhood of Super 16 CinemaDNG filmmaking). What are the strenghts and weeknesses between these cameras and brands?