The Ursa Broadcast G2 is the BMPCC6K Pro sensor shoved into a Ursa Mini body with a couple different codecs added. It's funny too because the Broadcast G2 even comes with an EF mount to attach as well as a top handle and shoulder mount. It's seriously a really good deal with what you get.
I'm getting the Broadcast G2 as my A cam to my pocket 4K since the dual native ISO on an Ursa was something I was looking for. the 4.6K G2 and 12K are straight up cine cameras which require much more light and for me, that becomes an issue when having to shoot events when I don't have control of the lighting setup. I think the Broadcast G2 is a camera that will be looked over mostly because of the name when it truly is a pretty great events, broadcast and cine camera unless you are someone that wants those high framrates which for me I never found myself severely needing.
I love my Broadcast G2, makes a great A Cam to my 6K Pro, also is an aesthetic client pleaser. I do notice the Broadcast G2 tends to be more green than my 6K Pro, in fact, I usually run the Broadcast G2 with an extra +10 tint when shooting in daylight. This matches the 6K Pro perfectly. It must have something to do with the different internal ND's in each camera body. Thanks for the video!
Everything in the background looks so much better on the left pic but you, on the right, so much brighter! I see your face clearly with so much light and details!
Yeah, I was surprised! We already see how much heavy-lifting software does on phones these days. The argument can definitely be made that the URSA mini has a better sensor, but if they don’t update the firmware for their new colour science, it will definitely drag behind.
Totally opposite to what I have experienced with the URSA cameras. I own a G2, a UMP and four pocket 4K Cinema cameras, as well as the older models. The 4k sensor is very close to the 6K sensor in terms of dynamic range. The UMP G2 and UMP definitely have an edge in the highlight department but mostly in the shadows comparing them at their base ISOs (800 for URSA cameras and 400 for Pockets). The G5 vs G4 color science is easily switchable in Resolve if you need to compare them and this review didn't take into account the difference in dynamic range when selecting G5 color science in Resolve with the URSA cameras in LOG.
What lens do you use? I'm finding that seems to make this biggest difference with the URSAs vs the Broadcasts. The better the lens, the better the image is what im finding so far. But the Broadcast G2 handles blacks very nicely too. Trying to run the 4k crop is a complete waste of time for anyone who actually wants a sharp image - just my opinion but a strong one.
It's always a strain to figure out what camera to spend your money on when buying. The versatility of the broadcast camera for ENG work is practical with its 'live streaming' capabilities. That to my mind brings added income even though I'm no fan of broadcast turn-arounds.
I guessed the right camera was the broadcast because a video i was watching earlier said it performs better in low light. I've used the mk 1 ursa mini and always found it to be a little tough in low light.
The broadcast tends to burn out the image in the test shoot as well as loosing a lot of contrast due to the lower dynamic range, which also results in a possible color shift. Your pants for example. In addition the light/shadows become less beautiful due to the flattened image onthe broadcast.
Thanks for this. Running 3 g1 URSAs and just got a G2 broadcast. Wasn't sure which line to move forward into. I'll stick with Broadcast for now due to the better blacks in low light. Doesn't the URSA have a larger sensor though? Physically I mean?
Is there a chance you can share a download link to these comparison clips? I'm very curious about the broadcast 6k, especially since its essentially the same as the pocket 6k
Im looking to upgrade my multicam cameras... what lens are you using for the low light comparison ? Do you have any footage from a concert or panel discussion you can show using the Broadcast G2? Looks great of paper.....but.....
Congratulations. That's excellent. Did you encounter any limitations or hiccups while filming. I have a film lined up for next year and I'm looking for a new A cam.
@@paranormalplantations not at all, they're rock solid. I would advise you to shoot 1250 ISO. and light for that. I shot native ISO 3200, but there was noise on that. 1250 is extremely clean. I did shoot BRAW 8:1 mostly and yes you can change your iso in post, so that's what I did when grading, changed everything to 1250 and got amazing ALEXA type results. My distributor thought I shot on the new Alexa 35 , lol. BMD has really come a long way with their stuff.
@@mrkumaran thanks for responding. I love black magic. I used to use Sony. When I got the og bmcc when It first came out I knew this company was gonna be creating some excelent cameras . And they have definitely delivered .
@@dasmeisterleincan confirm! As long as there is no adaptor (for example, a Metabones Speedbooster for the Studio 4K) the zoom and focus demands will work. You can also zoom using ATEM software. If the zoom works with the ATEM software, in my experience, it also works with Zoom/Focus Demands.
hey bud, when you up[grade the software of the Ursa Mini Pro G2 you can actually do Gen 5 color science. To me the Broadcast seems like a great camera but far more tv oriented and also its rolling shutter can be pretty brutal. On the other hand the 4.6K G2 is a beast. Yes, it has a few shortcomings but it can take them like a champ
HI John. I'm looking at the G2 Broadcast for wildlife video. Have you or any of your watchers used this cam with a zoom range of 40x-50x plus. Would be interested to see the results and hear the comments.
Hey! I’ve never personally used it with a lens of 40x+. The most I’ve used on it is a Fujinon UA22x8BERD (with a lens doubler, so I guess 44x equivalent). Great results! Despite using a smaller part of the sensor, AND less light (due to the doubler), the light and colour information still holds up well 👍
Please correct me if I'm wrong... If you record in BRAW on the Ursa Mini G2, you can select Gen5 color in the Raw settings window on the color page. (Right?)
Yes! You can do that in post, within DaVinci. However, I do use these cameras within the context of live broadcast, with live edits as well - which then becomes very difficult within all the multiple edits and cameras. If you’re using the camera for single camera shooting though, it’s certainly possible to “transfer” the colour from Gen 4 to Gen 5.
I appreciate the comparison, John, super useful. I was wondering if you’d be able to confirm if the Broadcast G2 has the same genlock function that the Ursa Mini does that makes virtual production workflows possible?
So I would have guessed the other way arround with the picure profiles. I would have guessed that the image would be flatter with the Mini than the G2. Hmmm
@@JohnCastillo what also would be interesting to see: the pocket 6k. Also on your "not pro enough" video you showed the studio 4k do you want to review the 6k studio too?
@@dasmeisterlein Pocket 6K is defiinitely doable! I've been wanting to do the Studio 4K Pro G2 as well as the Studio 6K but I haven't been able to get my hands on them 😓Good idea for the Pocket 6K though, I'll put it on the list 🧐
I was looking at the highlight roll-off. I was shocked by Broadcast G2's highlight performance. The 4.6K G2 in the test looks crunchy in the highlights, harsher. Now I'm considering the broadcast instead of the Mini Pro.
@@DANAMIONLINE I have tried it! It doesn't really work unfortunately. Because the "Film" profile is different between both generation's colour sciences, it's sort of like applying a conversion LUT to different log curves.
I have actually slowly come around to the Gen5 colour science on the broadcast camera. In my work, we tend to use our 1 Broadcast camera with a broadcast lens, which when combined with all of our Gen4 URSA 4.6Ks sticks out like a sore thumb! Haha. However when we’re actually able to make use of that full sensor with S35 lenses I totally get it. I think we’re just gna have to upgrade our URSA fleet! 😅😅
Hey Shazamm! The URSA 4.6K G2 can also do 2160p60. As far as lowlight with the Broadcast, that dual ISO is certainly preferable - though I will say that in most of the low light work I’ve had to do (which is primarily dark theatre scenes, concerts, etc), the URSA 4.6K G2 has handled it quite well! ☺️
Not a Blackmagic issue. Blackmagic has other devices which can encode H.264/H.265 in a variety of resolutions (for example, the Hyperdeck line). However, it is still a limitation to consider in this camera.
The Ursa Broadcast G2 is the BMPCC6K Pro sensor shoved into a Ursa Mini body with a couple different codecs added. It's funny too because the Broadcast G2 even comes with an EF mount to attach as well as a top handle and shoulder mount. It's seriously a really good deal with what you get.
True. It also comes with the V-Mount battery plate in the back. A lot of these things are additional purchases with the URSA Mini.
I'm getting the Broadcast G2 as my A cam to my pocket 4K since the dual native ISO on an Ursa was something I was looking for. the 4.6K G2 and 12K are straight up cine cameras which require much more light and for me, that becomes an issue when having to shoot events when I don't have control of the lighting setup. I think the Broadcast G2 is a camera that will be looked over mostly because of the name when it truly is a pretty great events, broadcast and cine camera unless you are someone that wants those high framrates which for me I never found myself severely needing.
I've searched the entire internet for this comparison! Thankyou for putting the time and effort in to creating this comparison video. Very insightful!
Me too before haha. Glad I was able to help 😜
Just excallent! Thankful too!
I love my Broadcast G2, makes a great A Cam to my 6K Pro, also is an aesthetic client pleaser.
I do notice the Broadcast G2 tends to be more green than my 6K Pro, in fact, I usually run the Broadcast G2 with an extra +10 tint when shooting in daylight. This matches the 6K Pro perfectly. It must have something to do with the different internal ND's in each camera body. Thanks for the video!
Wow really helpful video!!! It explained a lot of my questions, thank you!
Everything in the background looks so much better on the left pic but you, on the right, so much brighter! I see your face clearly with so much light and details!
Yeah, I was surprised! We already see how much heavy-lifting software does on phones these days. The argument can definitely be made that the URSA mini has a better sensor, but if they don’t update the firmware for their new colour science, it will definitely drag behind.
i was checking out the people in the background to figure out which is which
Totally opposite to what I have experienced with the URSA cameras. I own a G2, a UMP and four pocket 4K Cinema cameras, as well as the older models. The 4k sensor is very close to the 6K sensor in terms of dynamic range. The UMP G2 and UMP definitely have an edge in the highlight department but mostly in the shadows comparing them at their base ISOs (800 for URSA cameras and 400 for Pockets). The G5 vs G4 color science is easily switchable in Resolve if you need to compare them and this review didn't take into account the difference in dynamic range when selecting G5 color science in Resolve with the URSA cameras in LOG.
What lens do you use? I'm finding that seems to make this biggest difference with the URSAs vs the Broadcasts. The better the lens, the better the image is what im finding so far. But the Broadcast G2 handles blacks very nicely too. Trying to run the 4k crop is a complete waste of time for anyone who actually wants a sharp image - just my opinion but a strong one.
Thanks for sharing.
Very cool, great job!
Thanks 😁
It's always a strain to figure out what camera to spend your money on when buying. The versatility of the broadcast camera for ENG work is practical with its 'live streaming' capabilities. That to my mind brings added income even though I'm no fan of broadcast turn-arounds.
I guessed the right camera was the broadcast because a video i was watching earlier said it performs better in low light. I've used the mk 1 ursa mini and always found it to be a little tough in low light.
You should do a comparison of the ursa mini g1 broadcast vs the ursa mini g2. Can't find that video anywhere. 😕
oh also don't forget the dual native iso on the broadcast. It is great in lowlight
Very useful
Glad to help!
I would have sold my G2 years ago if I was locked in to gen 4 color science. I switch it to gen 5 in post every shoot to match my 6k pro.
The broadcast tends to burn out the image in the test shoot as well as loosing a lot of contrast due to the lower dynamic range, which also results in a possible color shift. Your pants for example.
In addition the light/shadows become less beautiful due to the flattened image onthe broadcast.
Thanks for this. Running 3 g1 URSAs and just got a G2 broadcast. Wasn't sure which line to move forward into. I'll stick with Broadcast for now due to the better blacks in low light.
Doesn't the URSA have a larger sensor though? Physically I mean?
what about the crop in the different recording resolutions?
Is there a chance you can share a download link to these comparison clips? I'm very curious about the broadcast 6k, especially since its essentially the same as the pocket 6k
Im looking to upgrade my multicam cameras... what lens are you using for the low light comparison ? Do you have any footage from a concert or panel discussion you can show using the Broadcast G2? Looks great of paper.....but.....
Loving my Broadcast, just completed a feature film on it
Nice!!! Congrats man
Congratulations. That's excellent. Did you encounter any limitations or hiccups while filming. I have a film lined up for next year and I'm looking for a new A cam.
@@paranormalplantations not at all, they're rock solid. I would advise you to shoot 1250 ISO. and light for that. I shot native ISO 3200, but there was noise on that. 1250 is extremely clean. I did shoot BRAW 8:1 mostly and yes you can change your iso in post, so that's what I did when grading, changed everything to 1250 and got amazing ALEXA type results. My distributor thought I shot on the new Alexa 35 , lol. BMD has really come a long way with their stuff.
@@mrkumaran thanks for responding. I love black magic. I used to use Sony. When I got the og bmcc when It first came out I knew this company was gonna be creating some excelent cameras . And they have definitely delivered .
FIRST!
Great Video! Thank you for the information!
Does the Ursa G2 a variable zoom with that optics and the zoom demands?
Thanks! Yes, with the right lens (for example both of these Canon CN-E). You'll need a Cine Servo lens that is powered through the EF Mount.
@@JohnCastillo So you can confirm, that both of the Canon Cine lenses have variable zoomspeeds with the BM Zoom demand?
@@dasmeisterleincan confirm! As long as there is no adaptor (for example, a Metabones Speedbooster for the Studio 4K) the zoom and focus demands will work. You can also zoom using ATEM software. If the zoom works with the ATEM software, in my experience, it also works with Zoom/Focus Demands.
@@JohnCastillo but does it work in slow and fast zooms? like slow push ins and fast pull outs?
@@dasmeisterlein Yes, but those lenses are certainly not the fastest for this sort of thing (definitely not comparable to a Broadcast lens)
hey bud, when you up[grade the software of the Ursa Mini Pro G2 you can actually do Gen 5 color science. To me the Broadcast seems like a great camera but far more tv oriented and also its rolling shutter can be pretty brutal. On the other hand the 4.6K G2 is a beast. Yes, it has a few shortcomings but it can take them like a champ
Great to know Martin! I’ll def be updating them, thanks 🙏
Where did you find this new firmware with Gen 5 color science for the URSA Mini Pro 4.6K G2 ? Waiting for it to be released since 4 years now.
HI John. I'm looking at the G2 Broadcast for wildlife video. Have you or any of your watchers used this cam with a zoom range of 40x-50x plus. Would be interested to see the results and hear the comments.
Hey! I’ve never personally used it with a lens of 40x+. The most I’ve used on it is a Fujinon UA22x8BERD (with a lens doubler, so I guess 44x equivalent). Great results! Despite using a smaller part of the sensor, AND less light (due to the doubler), the light and colour information still holds up well 👍
Please correct me if I'm wrong... If you record in BRAW on the Ursa Mini G2, you can select Gen5 color in the Raw settings window on the color page. (Right?)
Yes! You can do that in post, within DaVinci. However, I do use these cameras within the context of live broadcast, with live edits as well - which then becomes very difficult within all the multiple edits and cameras. If you’re using the camera for single camera shooting though, it’s certainly possible to “transfer” the colour from Gen 4 to Gen 5.
I appreciate the comparison, John, super useful. I was wondering if you’d be able to confirm if the Broadcast G2 has the same genlock function that the Ursa Mini does that makes virtual production workflows possible?
I can confirm that it also has a Genlock in, yes!
So I would have guessed the other way arround with the picure profiles. I would have guessed that the image would be flatter with the Mini than the G2. Hmmm
I know! I found that very surprising as well. It goes to show how much influence the dynamic range profile has over the sensor output.
@@JohnCastillo what also would be interesting to see: the pocket 6k. Also on your "not pro enough" video you showed the studio 4k do you want to review the 6k studio too?
@@dasmeisterlein Pocket 6K is defiinitely doable! I've been wanting to do the Studio 4K Pro G2 as well as the Studio 6K but I haven't been able to get my hands on them 😓Good idea for the Pocket 6K though, I'll put it on the list 🧐
I was looking at the highlight roll-off. I was shocked by Broadcast G2's highlight performance. The 4.6K G2 in the test looks crunchy in the highlights, harsher.
Now I'm considering the broadcast instead of the Mini Pro.
Completely agree! The colour science really does a lot of heavy lifting, it’s quite remarkable!
@@JohnCastilloI’m curious what the test would like after you changed the Ursa G2 to Gen 5 in post. Did you try that?
today was published camera firmware 8.1.2 with enhanced gamma curve and highlight roll-off. let‘s see how it was enhanced…
@@DANAMIONLINE I have tried it! It doesn't really work unfortunately. Because the "Film" profile is different between both generation's colour sciences, it's sort of like applying a conversion LUT to different log curves.
i'm sorry, but whitch tripoide do u use with those cameras?
We have Manfrotto 504HD, Nitrotech N8, or CamGear V25
broadcast looks better hands down
I have actually slowly come around to the Gen5 colour science on the broadcast camera. In my work, we tend to use our 1 Broadcast camera with a broadcast lens, which when combined with all of our Gen4 URSA 4.6Ks sticks out like a sore thumb! Haha. However when we’re actually able to make use of that full sensor with S35 lenses I totally get it. I think we’re just gna have to upgrade our URSA fleet! 😅😅
the Broadcast is 4k60p and its dual iso and better in lowlight
Hey Shazamm! The URSA 4.6K G2 can also do 2160p60. As far as lowlight with the Broadcast, that dual ISO is certainly preferable - though I will say that in most of the low light work I’ve had to do (which is primarily dark theatre scenes, concerts, etc), the URSA 4.6K G2 has handled it quite well! ☺️
Light in the face tells the 6K ... right side.
h264 is natively a hd codec, h265 was developed for uhd flavours. this is not a blackmagic issue…
Not a Blackmagic issue. Blackmagic has other devices which can encode H.264/H.265 in a variety of resolutions (for example, the Hyperdeck line). However, it is still a limitation to consider in this camera.
Buy nice or buy twice!
would have loved the broadcast, but the lower DR is a bummer