Tag Archives: BlackMagic Design

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Today Blackmagic Design announced a new Ursa Mini Pro Camera capable of shooting up to 12K at 60fps resolution. The 12K Super35 sensor was developed directly by Blackmagic Design. So while many productions may not 'always' require such high resolutions, the new Ursa Mini Pro 12K can switch to lower resolutions using in-sensor scaling due to a symmetrical sensor design. The camera body itself has not changed (much) and all previous accessories designed for Ursa Mini Pro cameras should work such as any rigs, Ursa EVF, etc.


Learn More BlackMagicdesign Ursa Mini Pro 12K Camera

But one accessory i'm really glad to see them figure out is the new SSD Adapter. I admit there was some controversy around the one they made for the 4.6K camera, when I returned mine and went with an aftermarket solution. The problem was that their SSD recorder for the 4.6K used the SDI outputs to record. But because I use the SDI outputs on my ATEM switcher, this option didn't work for me. Instead I used an SSD adapter that connected to the CFAST ports, and left my SDI outputs free for me to use.

Blackmagicdesign's new SSD Adapter fixes this problem now by connecting to the (newly relocated) Type-C USB port. The adapter is powered through the camera, and the data is recorded through the Type-C leaving your SDI ports free to use. Finally!

Product Description:
Featuring a revolutionary 12K Super 35mm 80 megapixel sensor with Generation 5 Color Science and 14 stops of dynamic range, URSA Mini Pro 12K is designed for high end feature film production.

Storage Features
Storage Type
2 x CFast 2.0
2 x SD UHS-II cards
1 x high speed USB-C expansion port for external media.

Storage Rates
Storage rates based on 24 frames per second.

12K - 12,288 x 6480
Blackmagic RAW 5:1 - 578 MB/s
Blackmagic RAW 8:1 - 361 MB/s
Blackmagic RAW 12:1 - 241 MB/s
Blackmagic RAW 18:1 - 160 MB/s
Blackmagic RAW Q0 - 241 to 578 MB/s 1
Blackmagic RAW Q1 - 144 to 361 MB/s 2
Blackmagic RAW Q3 - 96 to 241 MB/s 3
Blackmagic RAW Q5 - 72 to 180 MB/s 4

8K - 8192 x 4320
Blackmagic RAW 5:1 - 258 MB/s
Blackmagic RAW 8:1 - 161 MB/s
Blackmagic RAW 12:1 - 107 MB/s
Blackmagic RAW 18:1 - 72 MB/s
Blackmagic RAW Q0 - 107 to 258 MB/s 1
Blackmagic RAW Q1 - 64 to 161 MB/s 2
Blackmagic RAW Q3 - 43 to 107 MB/s 3
Blackmagic RAW Q5 - 32 to 81 MB/s 4

6K - 6144 x 3240
Blackmagic RAW 5:1 - 145 MB/s
Blackmagic RAW 8:1 - 91 MB/s
Blackmagic RAW 12:1 - 61 MB/s
Blackmagic RAW 18:1 - 40 MB/s
Blackmagic RAW Q0 - 61 to 145 MB/s 1
Blackmagic RAW Q1 - 36 to 91 MB/s 2
Blackmagic RAW Q3 - 24 to 61 MB/s 3
Blackmagic RAW Q5 - 18 to 45 MB/s 4

4K - 4096 x 2160
Blackmagic RAW 5:1 - 65 MB/s
Blackmagic RAW 8:1 - 41 MB/s
Blackmagic RAW 12:1 - 27 MB/s
Blackmagic RAW 18:1 - 18 MB/s
Blackmagic RAW Q0 - 27 to 65 MB/s 1
Blackmagic RAW Q1 - 16 to 41 MB/s 2
Blackmagic RAW Q3 - 11 to 27 MB/s 3
Blackmagic RAW Q5 - 8 to 20 MB/s 4

Recording Formats
Blackmagic RAW Q0, Q1, Q3, Q5, 5:1, 8:1, 12:1 and 18:1 at 12,288 x 6480, 11,520 x 6480, 12,288 x 5112, 7680 x 6408, 8192 x 4320, 7680 x 4320, 8192 x 3408, 5120 x 4272, 6144 x 3240, 4096 x 2160, 3840 x 2160, 4096 x 1704 and 2560 x 2136 stored as 12 bit non-linear with film, extended video, video or custom 3D LUT embedded in metadata.

Ursa Mini Pro 12K will be Available for Pre-Order via B&H (here)

Learn More BlackMagicdesign Ursa Mini Pro 12K Camera

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ATOCH CFAST to SSD Adapter

People have been using CFAST to SSD Adapters for the Ursa Mini cameras ever since the beginning, and i've used the ATOCH adapter myself. It sure comes in handy, but what I didn't like was all of the loose cabling and the extra bulk. So whenever possible I just stuck to CFASt cards. It kept my rig light and tight.

Blackmagic Design Ursa Mini Pro SSD Recorder

Now BlackMagic Design has introduced their own SSD Recorder (only for Ursa Mini Pro), that connects between the camera and the battery plate. It's much cleaner with only two wires that record from the SDI input and output, but it does have it's caveats. For one, the BM SSD Recorder only works with the 'Pro' version as it records from the SDI. When using the SSD Recorder, you can't connect the camera to an ATEM for live production. With only one SSD drive, it also can't record 4.6K Lossless RAW at 60p (only supported to 30p).


Clean Aftermarket CFAST to SSD Adapter

That's what makes this new aftermarket 'DUAL SSD Recorder' very interesting. It works very much the same as other CFAST to SSD adapters, but it's been designed to fit clean behind the battery plate (exactly like Blackmagic's design). The advantage is that because they are still using the CFAST adapters, you can record full RAW, full resolution, and all at the fastest framerates. In fact because this adapter uses (2) SSD Drives, you can even turn on 'Dual Card Mode'! And there's no bias for Ursa Mini Pro cameras, it is backwards compatible to any Ursa Mini camera - and you'll still be able to use the SDI out if you're hooking up to an ATEM.

There's not much to complain about this aftermarket Ursa Mini SSD Recorder except for the fact that you won't be able to close the LCD screen completely with the CFAST cabling running through. But that's about the only con I can think of...


CFAST to SSD Adapter Ursa Mini + Ursa Mini Pro


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When you're doing 'Live Production' and switching multi camera angles, you don't have the luxury of matching camera 'looks' in post. The 4.6K Ursa Mini is even so different than the Ursa Mini 4K sensor in dynamic range and low light sensitivity, it's a hard camera to match. I've also found myself using the Ursa Mini 4.6K so often, I thought it would be great to have a B-Camera that matched during interview setups. Finally I just ended up picking up a 3rd one for other projects that need 3 camera angles. I was able to purchase all of these BlackMagic Design Ursa Mini 4.6K cameras over at https://DVEStore.com

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I've used quite a few different (somewhat affordable) wireless video transmitters, and the one that seems to be most consistent with long range has been the Connex Kits. There is a full size Connex version capable of 1,000m LOS range, and a newer Connex Mini that transmits 500m LOS range (that's still quite a distance!). There are some short comings to the Connex system when using it for video cameras, as these kits were originally designed for Drone use streaming full 1080p up to 60fps.

Some of the cons for on-camera video use are that it requires a battery, but there are no battery mounts. Also there are no standard mounts to attach to your video rigs. Finally it doesn't transmit audio (if you need this). But for distance, reliability, performance, and price the Connex kits are darn good. To make life easier, Camera Motion Research created a special frame and battery kit for us shooters.

The latest mod for their Connex Mini kits is adding an SDI to HDMI converter. This allows someone like me to now use the Connex Mini kit with professional cameras that only offer SDI out, and does it in a clean, simple, and easy way. All of the new hardware is still within the custom modded frame kit, and it's all powered by a single cable (via D-tap).


I'm often running Multicam Live Switching at events and one of the biggest headaches is runnning SDI Cable across the floors. It's not easy running cables and taping them down. This also prevents the cameras from being mobile. But with a wireless video kit, you can move freely around the event. With this new mod, you basically have a tiny high performing wireless HD video kit that can support both HDMI or SDI inputs. Here's a test of latency below.


Keep in mind that in my latency test, the Connex Mini does not transmit audio. My audio source is coming in from another input into the ATEM Switcher. Both feeds were recorded to a Hyperdeck Mini and you can see it's just about perfect in sync. With this type of setup, that camera is now free to roam up to 1600 Feet away from the receiver, and we can still Live Switch during a Live Production.

If you are working with the Connex Wireless HD Video kits, and you experience latency, that could possibly be caused by your camera's output. Some cameras will have a 3-6 frame delay and you'll notice this when connected to any monitor. I personally have moved to working with the Ursa Mini cameras for my Live Production, as this camera offers almost no delay on SDI output, and with SDI I can do long runs up to 300 feet (HDMI limit is around 12 feet).

You can find out more about the Connex Mini kits over at https://CamotionLLC.com

connex_mini_20170323_576x591connex_mini_sdi_kit_350x275Learn-More-sm Camera Motion Research Connex Mini Kits

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If you've ever struggled to balance cameras such as the Sony FS7 or Blackmagic Design Ursa Mini into a DJI Ronin, then your interest will be peaked by the new CAME-TV Prodigy Gimbal. It's a physically larger gimbal with a deeper, wider, and taller frame offering up a lot more room to balance these types of cameras. Yet despite the larger size, the Prodigy Gimbal is almost a full pound lighter than the full size DJI Ronin (not to mention less expensive too). Here's an unboxing of what comes with the new CAME-TV Prodigy Gimbal and a quick demo of the Ursa Mini placed on the system.

The system comes with a nice rolling hardcase with durable dense custom cut foam. The battery system is powered by (4) 18650 Batteries which doesn't lock you into propriety batteries if you need more run time.

Balancing the system requires no tools, and there are plenty of fine tuning knob adjustments to get the balance perfect. Just like their Mini3 and ARGO Gimbals, there is a built in wireless video transmitter. On the frame is a 15mm Rod Clamp for you to attach accessories such as a wireless follow focus. It comes ready with a wireless joystick, and also a Quick Mount Plate to attach the CAME-TV Prodigy in creative ways (like under a jib or RC Gimbal Car).

came-tv-prodigy-gimbal-sailfish-rc
Prodigy Gimbal mounted on CAME-TV SailFish

The Prodigy is the latest and LARGEST gimbal CAME-TV has made to date. The final production version is even larger than what was shown at NAB2016. It was designed specifically to resolve the issues of balancing these larger camera bodies or cameras with heavier lenses. The Prodigy is available to order now at the CAME-TV Website (click here).

came-tv-prodigy-gimbalcame-prodigy_03
Learn-More-sm CAME-TV Prodigy 3-Axis Gimbal 32-Bit w/ Encoders

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After shooting a few projects with the BlackMagic Design URSA Mini 4.6K camera, I found several that I could sometimes get away with just the audio from the built in microphones. But as soon as I threw on my Canon EF-S 17-55mm F/2.8 lens with Image Stabilization (Ursa is not full frame), the camera microphones would pick up all of the IS noise. Once that noise was embedded into the audio, it was no longer usable. So I set out to find a good microphone that I could mount over the handle.

I personally wanted the shortest shotgun microphone, powered over XLR phantom so I didn't have to worry about batteries. I wanted to find the slimmest shock mount so it didn't sit too high (trying to keep the camera clean and simple). It didn't need to be the best microphone in the world, as I was only planning to use it mostly on camera for good scratch audio or sound bites. After reviewing a few options I found the Azden SGM-PDII to be a good fit and has excellent customer reviews. Over at B&H they have an Azden SGM-PDII Shotgun Mic Kit that includes the shock mount, and the microphone already comes with a short XLR lead.

Running through the tests mounted on camera, the SGM-PDII was completely free of any Image Stabilization noise from my lens. So for my on-camera needs it works great. And surprisingly I found the microphone also sounded very good when booming overhead, so it's something I would even use during interviews. If you're working with a camera that has built in XLR inputs (i.e. Sony FS7) and looking for something better than the built in microphones, you may want to take a look at the Azden SGM-PDII Short Shotgun Microphone.

azden sgm-pdii shotgun short microphone xlr ursaazden sgm-pdii microphone shotgun ursa mini
Learn-More-sm Azden SGM-PDII Professional Shotgun Microphone

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Here's a look at the new Epiphan Video AV.iO 4K HDMI to USB Adapter that takes the Video Output from your cameras and allows you to input them to your Laptop or Computer. They also offer many other to capture video feeds from SD-SDI, HD-SDI, DVI, VGA, and more! These new adapters can input up to 4K Resolutions for which you can Capture, Record, or Stream.

Once you have your camera's Video Feed on your system you can choose to Record or Stream from your camera's video and audio directly to services such as Facebook Live, YouTube Live, and many other online services. This is a great way to use professional cameras and zoom lenses instead of using cheap webcams for your Live Stream. I use adapters like these to stream from my Multi Camera Live Switch Setup (seen here).

You can also take the feed from your cameras and use software like ScopeBox turning your Mac Laptop or iMac into professional a large screen Directors Monitor complete with Waveforms, Vectorscopes, RGB Parade, Histograms, Focus Peaking, Zebras, and more!

The Epiphan 4K Video AV.iO Adapters work over USB so no Thunderbolt ports needed (unlike some BlackMagic Design adapters), no drivers to install, and no software required for the adapter to be seen by many popular applications. There is also no configurations needed to set the proper resolution or framerate, most software such as just sees the device. Very Simple. Remember that this can take up to 4K resolutions (not just 1080).

epiphan video 4k hdmi to usb capture device card
Learn-More-sm Epiphan Video 4K HDMI to USB Capture Record Stream Adapter


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The Canon LP-E6 batteries were designed to fit inside of Canon DSLR cameras, so they don't really come in larger capacities. Sony batteries on the other hand come in a variety of capacities if you want extra run time. Well I wanted extra run time on the new BlackMagic Design Cinema Camera but didn't want to use the ugly and huge break out cables that is required for running external power.

Now I don't recommend this for people who don't really know what they're doing when it comes to batteries and soldering, but if you have the basic knowledge this little MOD can give you extra run time on your new BlackMagic Design Micro Cinema Camera. The dummy battery and Sony Battery Plate are very basic and once you open them up, they just have two wires inside (red + black).

Once you merge those two plates together, you have a working adapter that sends the 7.4V voltage from your Sony NPF-970 battery to a Canon mount. Now Sony batteries come in different capacities so I don't necessarily have to use the bulky one in the video, but it's a good idea how much power I can run if I really wanted to.

sony battery charger
VIEW-ITEM Sony Battery Charger

canon dummy battery lp-e6
VIEW-ITEM Canon LP-E6 Dummy Battery

Before I merged my two parts together, I added some heavy epoxy putty on the inside to make it more solid. I also plastic welded (melted the two parts together) along the sides. It's a pretty solid adapter and the wires are glued inside so they don't move. Now I like to experiment, but if you guys decide to try this out, just know you're doing this at your own risk...

blackmagic_design_cinecammichdmft_micro_cinema_camera_1428959948000_1137292
VIEW-ITEM BlackMagic Design Micro Cinema Camera RAW ProRes 60p

You may also check pricing for this product with:
Amazon | B&H Photo | Adorama | DVEStore | EBAY

 

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Just testing some different color grades using RAW footage from the new BlackMagic Design Micro Cinema Camera. This was shot in compressed 3:1 RAW on a Sandisk Card in 60p and then conformed in FCPX. I originally thought you couldn't shoot RAW in 60p on this camera, but that was because I was trying Full RAW. If you set it to RAW 3:1 (compressed RAW), then you can definitely do 60p.

The camera is a bit quirky without an LCD screen or Grip, so you need to add a few things to it to make it functional. But in such a small package it's amazing to get 60fps 12-bit RAW Video for under $1K. No other camera offers this. I can only imagine the quality people will get flying this on Drones (as it was originally intended for). Or even just used for car mount projects as this camera is tiny but packs incredible quality.

A photo posted by Emm (@mrcheesycam) on

The BMMCC is very sharp, but my images in the video (above) are soft because I forgot to bring a good ND Filter and needed to stop the Panasonic 20mm lens down to F/16 (max). This lens is typically sharp around F/2.2 or so, and stopping it down (from bright daylight) really makes the images soft (Most lenses will be softer when at it's widest aperture or stopped down). I'll have to go out and shoot again, this time with a better lens and ND filter.

Obviously the ‪#‎BMMCC‬ ‪#‎Blackmagic‬ ‪#‎MicroCinema‬ camera is not designed to be as sensitive in low light as the Sony A7s, but at ISO 1600 it's not too shabby. As long as you can get your exposure set properly and push everything down in post, noise shouldn't be too much of an issue. It's when you shoot underexposed and then decide on trying to push up the Shadows, Mids, or Highlights that you'll see a big problem. Instead you should be setting your exposure so that your know in post you will be pushing down your Highlights, Mids, and Shadows. If you can't set your exposure, you'll have to light your scene. Personally I think I would stick to ISO 800 as much as possible, but here's a test at ISO 1600 where I felt I was still shooting underexposed, and you can see some of that noise.

BTW, if you have a decent set of headphones or speakers listen to the Stereo Audio recorded by Azden's new SMX30 which is two microphones in one! So handy to be able to switch from a directional microphone for focused sound, or to Stereo to capture natural ambient sound. Unlike a mono audio track, you can actually hear the people walking from one side to the other, or cars driving by.

blackmagic_design_cinecammichdmft_micro_cinema_camera_1428959948000_1137292
VIEW-ITEM BlackMagic Design Micro Cinema Camera RAW ProRes 60p

You may also check pricing for this product with:
Amazon | B&H Photo | Adorama | DVEStore | EBAY

 

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