Thread: URSA Broadcast!

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  1. #31  
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    Quote Originally Posted by mbeck View Post
    Can this camera please have low latency! I have been trying to figure out a way to make these Ursas work in a live IMag situation for a long time. But the delay kills them for me. If this camera only has a frame or two of delay, they will sell tons of these to live event folks.
    The UMP has 1 frame of latency and as of a few months/firmwares ago the UM46 is allegedly down to 1 frame as well.
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  2. #32  
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    Quote Originally Posted by NorBro View Post
    Actually Grant said in the press conference it has less than 1 frame so you should be good to go!
    Whoo! I am so excited!
    -Michael Beck
    RawCinema.net
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  3. #33  
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    Also the latency for the UM has been improved with it’s latest FW update to less than one frame. With its smaller sensor, the Boradcast camera should have even a lower latency than the UM.
    Cheers
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  4. #34  
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    the main selling point here is obviously 4k broadcast with industry standard b4 lenses, even if they don't actually resolve that much ha ha. the larger sensor cameras can only do HD when using these zoom from a crop of the sensor.

    If you are doing production with ef or pl lenses this is not the camera for you, better off with at least the mini4k.
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  5. #35  
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    This thing would be awesome with a MFT mount and BMPCC speedbooster.

    Oh sorry, am I supposed to be Chicken Little-ing about the death of Blackmagic cinema cameras?
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  6. #36  
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    An optional MFT mount would have been nice, but that would require a new lens turret and major case modifications, which would have driven up the price. Going to a MFT FFD turret, would also preclude using the existing Ursa Mini Pro lens mounts. Also, their are no real good MFT Servo type zoom lenses that can be used effectively in a Stuido setting. Yes the Oly Pro zooms are nice, f/2.8, the Panny Leica 12-60 is parfocal, but a variable f/2.8-4 lens, so not really easy to use, and all require some kind of remote zoom control to be rigged.

    Since BM sees this new Broadcast comrade as primary a B4 Mount Camera, using B4 Broadcast and ENG Zooms, the MFT mount was left behind.

    I think the MFT mount Studio Cameras are going to have numbered days too, as the biggest complaint about them was lack of B4 Broadcast lens support. The Micro Studio Camera will remain, as a lock down Camera, not requiring a B4 Studio Zoom. Trying to upgrade the Micro to full Stuido camera status, requires an optically corrected B4 Mount (which BM did not make) which costs $1500 to $2K, added to the cost of the Micro Studio (1295 + $50 for B4 cable)and a good HD monitor another $500 or more, so the total cost would wind up being $3400. The new Broadcast Camera is $3595, um... which way to go?
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  7. #37  
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    Denny, obviously if I used it with a MFT mount, I would be using it as a cinema/documentary camera, not a broadcast camera. This is essentially the UMP with a smaller sensor (slightly larger than the Pocket's sensor).

    That said, I'm sure you're right that the sensor depth isn't shallow enough to be able to incorporate the MFT mount. Which is a shame but probably allowed them to add the ND wheel.
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  8. #38  
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    Quote Originally Posted by RyLo View Post
    This thing would be awesome with a MFT mount and BMPCC speedbooster.

    Oh sorry, am I supposed to be Chicken Little-ing about the death of Blackmagic cinema cameras?
    It is a little odd that MFT is not an option. Kind of like the original BMCC having a small sensor and being ef mount. There's an input output mismatch. I get that it's in essence (TBD) a micro 4K sensor in an UMP body. However if we're really looking at broadcast as the target why does it have internal recording, a screen, audio, etc., Is the whole purpose of this camera a platform for ENG lenses? If so why not have a 2/3" sensor from the get? Seems more like a port.

    Of all the goodies introduced I feel the camera is the least interesting. More and more I see production moving away from or at least expanding away from 2/3". You could put the new B4 adapter on an UMP and probably get somewhere around 3K on a much better sensor (TBD). Why not develop a 2.?x B4 tele for the UMP and call it a day?

    It's like we have these bodies and these sensors how do we combine them in some new way?
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  9. #39  
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    Good point Howie, the camera is an odd hybrid, not quite an ENG Camera (internal recording) and not quite a Studio Camera, needs the studio Simpte back and Studio monitor added. Kind of reminds me of the Sony DXC series cameras that had a common head, and took different backs or recorders.
    Cheers
    Last edited by Denny Smith; 02-04-2018 at 01:23 PM.
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  10. #40  
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    Quote Originally Posted by Howie Roll View Post
    It is a little odd that MFT is not an option. Kind of like the original BMCC having a small sensor and being ef mount. There's an input output mismatch. I get that it's in essence (TBD) a micro 4K sensor in an UMP body. However if we're really looking at broadcast as the target why does it have internal recording, a screen, audio, etc., Is the whole purpose of this camera a platform for ENG lenses? If so why not have a 2/3" sensor from the get? Seems more like a port.

    Of all the goodies introduced I feel the camera is the least interesting. More and more I see production moving away from or at least expanding away from 2/3". You could put the new B4 adapter on an UMP and probably get somewhere around 3K on a much better sensor (TBD). Why not develop a 2.?x B4 tele for the UMP and call it a day?

    It's like we have these bodies and these sensors how do we combine them in some new way?
    Yes this is very much “we have this ENG style body, lets grab this sensor and tweak things a bit to cater it more towards ENG shooters on a budget”, and there is nothing wrong with that. In fact quite a few people have been begging for something like this.

    UB by far the cheapest B4 camera to offer 4K in a tight 2/3” space, and you can nearly buy two of them for the price of a single UMP.

    I honestly think that this is a very exciting camera.
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