Blackmagic has two new 4K cameras at NAB - "URSA" & "Studio Cam"

[Glen Vandermolen]

I've been looking over the design of this camera - as much as I can from videos and pictures - and I think it's a pretty nice system, especially for the money. I see it as a mainly tripod-mounted camera with a small crew in attendance. Sure, it can be operated by one person, but it's obvious the design was meant for a production crew.
The audio on the opposite side of the camera op? Very nice. I've worked enough audio to see this as a nice feature. And I wouldn't have a problem with the audio operator adjusting the levels while shooting. He has his own monitor, he can see when to touch the camera. I'd rather he do it than me.

The 10" monitor should negate the need for a viewfinder, at least while the camera is on a tripod. Shoulder mounted, though, will be an issue. The weight and lack of a EVF could pose problems. I guess that's why BM included a power port and video out on top for a third party EVF. Even though the camera is heavy, I came from the days of 3/4" video gear. My gear weighed 45lbs back in the day. I would have begged for this camera. In other words, shoulder mounting is doable, at least for a little while.

For now, this seems to be the best and cheapest 4K solution for raw and pro res codecs. What other camera offers all this for $6,000? All you need is a battery, lens and media cards, like any other shoulder mount ENG cam, and you're set to go. The media is expensive, but so was P2 when it first came out. Still isn't cheap.

You could buy a used RED, but not everybody wants a RED.
I prefer the design of the CION, but it it's more expensive. Might be worth it, who knows?

I've never been interested in BM cameras until the Ursa. You have to admit, BM thinks outside the box.

[David Heath]

Originally Posted by Glen Vandermolen

The audio on the opposite side of the camera op? Very nice. I've worked enough audio to see this as a nice feature. And I wouldn't have a problem with the audio operator adjusting the levels while shooting. He has his own monitor, he can see when to touch the camera. I'd rather he do it than me.

But he may want to adjust the level mid-shot - and if whilst panning with a tight lens I don't see the cameraman being happy.......

But more to the point, and especially with a combined recordist/boom op, being next to the camera on camera right may not be where they need to be. The BlackMagic photos show the recordist camera right purely to see levels etc - but key from camera right and the recordist is likely to actively want to be on the same side as the cameraman for shadow avoidance reasons. Or do BlackMagic expect keying to always now to be from the same direction, to fit in with their design? :-)

Assuming we want single system sound, then isn't the conventional idea of a small field mixer - an SQN, or whatever - to feed the camera just a far better idea? Allows the recordist freedom to be where they want to be - and even allows for mixing more than one mic.........

[Brian Drysdale]

It would make more sense for the audio levels to be on the operators side. Unless the large screen also displays the levels. Any sound recordist I've worked with has always had a mixer, with the audio level on the camera set up before any filming using the reference tone, once set the recordist never touches the camera.

A rather more basic set up is to have a boom swinger feeding audio into the camera, which probably leaves the camera operator effectively adjusting the levels.

[Chris Barcellos]

It really doesn't matter if the sound turns out like it is turning out with the Black Magic Cinema Cameras. The recorded sound, even if fed from a decent mixer, is still lacking lower end response. We know it doesn't have to be like that, because the early version firmware 1.21 gave un a fairly equalized recording, though it was suffering from DC offset issues. On the next firmware update sometime in May or June of last year, the DC offset issue disappeared. Yet, in the notes on they don't even mention they have done anything with the sound,. and since then, they have ignored all requests to correct the issue.

This lack of support is what would make me wary of the Black Magic's new Ursa, and until they fix their support issues, I can't in good conscience recommend to anyone that he or she buy one of their cameras. .

[Glen Vandermolen]

Originally Posted by Brian Drysdale

It would make more sense for the audio levels to be on the operators side. Unless the large screen also displays the levels. Any sound recordist I've worked with has always had a mixer, with the audio level on the camera set up before any filming using the reference tone, once set the recordist never touches the camera.

A rather more basic set up is to have a boom swinger feeding audio into the camera, which probably leaves the camera operator effectively adjusting the levels.

When I work audio, I normally use a mixer. We usually set audio with tone beforehand. The levels are then adjusted from the mixer.
But again, I'd prefer to see the audio levels while filming. This is a very good way of seeing the levels without disturbing the camera operator. I know I'd find it very useful when I'm working audio.
I would think the camera operator can also monitor the audio levels, both on the 10" VF and on the smaller side mounted monitors.

[Murray Christian]

Originally Posted by David Heath

But he may want to adjust the level mid-shot - and if whilst panning with a tight lens I don't see the cameraman being happy.......

But more to the point, and especially with a combined recordist/boom op, being next to the camera on camera right may not be where they need to be. The BlackMagic photos show the recordist camera right purely to see levels etc - but key from camera right and the recordist is likely to actively want to be on the same side as the cameraman for shadow avoidance reasons. Or do BlackMagic expect keying to always now to be from the same direction, to fit in with their design? :-)

An expectation I guess must have been implied by every camera maker who put their XLRs only on one side.
Swinging boom single system ears only was a pretty common experience not so long ago. I expect it still is for enough folks. Their cup runneth over with this set up.
While endless gear options are nice, just as likely is "All the field mixers and radio units are out or in the shop. Some guy took all the field recorders for some school nature thing. But we do have two lengths of cable and a healthy dose of 'make do' "

[Brian Drysdale]

Audio inputs are commonly on the back of ENG cameras, with other cameras they can be found on the side away from the operator. The Amira seems to have a combination with rear facing on the side of the camera.

To date the only camera I've with them on the operator's side is the Digital Bolex. Although that may have to do with their crank arrangement.

[Paulo Teixeira]

Here's a video I just put up.

BlackMagic Design at NAB. - YouTube

The studio camera is using a 1" chip and it seams like it wont be long until we see the 4K version of that chip inside the pocket camera as well.

[Glen Vandermolen]

A 4K pocket camera? Is this news from BM, or conjecture on your part?

[Paulo Teixeira]

I was just implying that since BlackMagic has a 1" 4K chip inside the $3,000 studio camera version than it should eventually get put inside the pocket camera. Just an educated guess on my part. No hits from BlackMagic at all.

[Paulo Teixeira]

Here's a photo of the retail boxes that I just found.
https://www.facebook.com/25758584100...type=1&theater