Blackmagic Designs BIGGEST camera RELEASE EVER - Ursa CINE 12 and 17K IMAX CAMERAS
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- Опубліковано 15 вер 2024
- Today at NAB2024, BLACKMAGIC DESIGN announced the Ursa CINE 12k and 17k cameras.
Both are revolutionary large format digital film cameras with RGBW sensor, 16 stops of dynamic range and Blackmagic RAW syncing to DaVinci Resolve.
NAB 2024, Las Vegas, USA - Friday, April 12, 2024 - Blackmagic Design today announced Blackmagic URSA Cine 12K, a revolutionary new digital film camera that introduces new advanced technologies with total integration into the post production workflow. This new model includes a new large format RGBW 36 x 24mm sensor with larger photo-sites for 16 stops of dynamic range, interchangeable PL, LPL and EF lens mounts, and industry standard Lemo and Fischer connections. Blackmagic URSA Cine 12K comes with 8TB of high performance storage built in and also includes high speed networking for media upload and syncing to Blackmagic Cloud. Blackmagic URSA Cine 12K is available immediately from Blackmagic Design resellers worldwide from US$14,995.
URSA Cine features a revolutionary new sensor designed for incredible quality images at all resolutions from 4K to a massive 12K. The larger sensor builds on the technology of URSA Mini Pro 12K with larger photo-sites leading to an astounding 16 stops of dynamic range. The unique RGBW architecture provides equal amounts of red, green and blue pixels. This means it is optimized to deliver incredibly rich colors at all resolutions and provide the ultimate in image quality and flexibility.
URSA Cine is designed to meet the demands of any high end production. The evenly weighted camera body is built with a robust magnesium alloy chassis and lightweight carbon fiber polycarbonate composite skin to help customers move quickly on set. Standard Lemo and Fischer connectors let customers control the camera remotely while providing power for lens motors and other accessories. Customers also get 12G‑SDI out, 10G Ethernet, USB-C, XLR audio and more.
Now customers can live stream from film sets. URSA Cine features a built hardware streaming engine that supports RTMP and SRT streaming to major platforms or directly to clients. Simply connect to the internet via Ethernet, high speed wifi or even connect a 4G or 5G phone for mobile data.
Blackmagic URSA Cine 12K Features
* Cinematic large format sensor with a massive 16 stops of dynamic range.
* Lightweight, robust camera body with industry standard connections.
* PL and locking EF mounts included with optional LPL mount available.
* Blackmagic RAW for real time 12K editing.
* Generation 5 Color Science with new film curve.
* High performance OLPF for reduced moire and aliasing.
* Build in ND filters for shooting in varying conditions.
* Shoot up to 80 fps in 12K, 144 fps at 8K and 240 fps at 4K.
* High performance Blackmagic Media Module 8TB for recording included.
* Recording media compatible with the Blackmagic Media Dock.
* High speed wifi, 10G Ethernet or mobile data for network connections.
* Built-in RTMP and SRT live streaming.
* Optional Blackmagic URSA Cine EVF.
* Includes DaVinci Resolve Studio for post production.
AVAILABILITY AND PRICE
Blackmagic URSA Cine 12K is available now from US$14,995, excluding local duties and taxes, from Blackmagic Design resellers worldwide.
The media cards I recommend (non affiliate links):
Angelbird AV PRO CFExpress
www.angelbird....
Angelbird PRO SD MK2 V90 (SDXC UHSII)
www.angelbird....
Angelbird SSD2GO PKT MK2 1TB
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- UA-cam Ads : Yes
- Product Placement : No
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This project was made with:
DaVinci Resolve 17 Studio
BMD Cameras and Canon Cameras with Cine Primes
Sound mixed in Fairlight
VFX DaVinci Resolve Fusion
Foley Sound Effects Created on location
Music Copyright Supplied by Audiio Sound
#cinechimp #blackmagicdesign #ursacine12k #nab2024
The GAME has changed forever….let me know your thoughts below….
Correction notes: there will be a CFExpress Type B adapter sold for the camera, but it will restrict the frame rates and sensor acquisitions recording formats.
While it’s super cool, realistically the specs with likely to be same as their other higher end cameras, do average and above average for things real professionals actually care about and effects them.
In Newsshooter’s video from NAB, Blackmagic said that they’re going to release a version of the media mag that has CFexpress Type B ports. So, you’ll be able to swap out the 8TB mag and use that instead. You won’t be able to shoot every frame rate, but still most of them. They also mentioned they’re most likely going to release a 16TB mag. This camera and the Pyxis are pretty insane! Great video too!
Hey thanks for the additional info and positive vibes…super sayins unite
It's a monster. Imagine the file sizes and PC required to be working in 17k. My PC slows to 4fps when adding NR in 4k
Well NR destorys everything….
12k cine is amazing, if i had the crew and clientele it would definitely be in my bag.
how did you find the announcement of the Pyxis? Is that system better suited to the work you do?
@@cinechimp looks promising, I'll wait for the reviews before making a purchase.
well stay tuned, I’ll do my best to get one for review
@@cinechimp do you think they’ll Release early for reviewers?
yes some reviewers will get them for sure...
17k is not IMAX its about the same size as 65mm but fed vertically - true IMAX is much wider
Nice ! I think my only thing with Blackmagic and this release , is the fact they will come out with a box version of this sensor , for me that’s what’s holding me back from pulling trigger and moving away from the Alexa XT. This is the best image we have seen , and for me in end that’s what I care about , not resolution.
oh, you could be right about that, maybe next year…and the XT is one of those cameras every other manufacture is chasing...
I saw some footage from NAB where they showed a module with CFexpress slots that will be available. The caveat is that you won’t be able to shoot all resolutions and frame rates with them. Still, if they support the frame rate and resolution you need for a project, then that will be a good option for many.
Also, I believe I’ve heard that the Ursa Cine is not dual gain ISO. It’s possible that the larger photosites and the RGBW sensor makes up for the lack of dual ISO and provides the dynamic range they are claiming.
Ok Thanks Ron updated in the pinned thread. If its not dual gain iso, that means its most likely a dual gain output sensor…
Some updates from NAB
Native iso is 800
They will sell an optional dual CF express B memory housing that slots into camera where the current ssd goes. But won’t shoot all formats and fps
They will also have an option to buy Camera only with CF express B slot for slightly lower price.
12K Cine might get a future update to shoot near 800fps at lower resolution’s. Due to them using the same processor as the 17K in the 12K. So processing power is overkill on the 12K which gives her room for potential features in the future.
Last they have been hinting of making dedicated monitors (non-external recorders) that can be displayed, powered, and control camera settings from the same usb-C port for the evf. For those that don’t use EVF. I think this will be great for the 6K
oh this is super interesting stuff and yes BMD always hides features in their cameras and Im pretty sure that why they have lowered their pricing on the video assists…clear the stock make way for the monitor….thanks for the updates….
Nice! Definitely want to hear more about this camera along with 2nd variant. I think commercial work will be the first to demand the IMAX quality camera. What do you think?
Definitely! I think both will sell and get rented, but the IMAX camera, that is going to get traction
Well there is the CF express caddy/module you didn't mention. So that's also an option. It doesn limit you in frame rates and resolution however its still a viable option. Also i believe I heard in an interview that the BM rep said they are gonna come out with a smaller one bay dock to offload footage. This would me ideal as hardly anyone needs the 3 bay and its expensive.
That was announced a AFTER the video was posted and is in several comments and show notes, and the BMD rep did say it will limit the frame rates
The Ursa Cine... man, I can't take my eyes off that footage. It's so malleable in post! I know that in 1.5-2 years they MAY drop a Ursa Cine Lite, sans wireless and side screen, but sweet fancy Moses... it's enticing right now. And I do feel like it will be a camera that's gonna stick around for a long while. I no longer dream of owning an Arri. I want this!
that makes two of us
Great video when I imported these sample clips into my resolve 19 I immediately notice a difference from the 12k s35 you can tell there a lot of room for more. In some ways the image already looks cinema ready if that makes sense. HUGE difference in the image quality from the 12k s35
Thanks for sharing! Yes that what I was thinking as well. It so obviously noticeable.
Rolling shutter at its worst (12k open gate) is 12ms. 6ms in FF 4K. Check out the cineD article for more
@@dukebozikowski3801 Oh thanks for the update Duke, much appreciated!
@@dukebozikowski3801 oh wow i didnt realize CineD already did a piece on this wow there good
I’m pretty sure you can get your ISO questions answered in Graham’s interview with Blackmagic at NAB.
Im not sure who graham is, but in all of the interviews I have seen, nobody is even asking the question about the sensor being DGO or Dual ISO or pixel pitch sizes, that would most likely mean, they cant ask as part of the agreement of interview.
They are impressive for sure, but the key thing missing (for me at least) is modularity. Look at the form factor of the Alexa, Komodo or the Venice with its rialto extension system. You’re not going to fit 6 of these cameras in a cockpit as they did for Top Gun Maverick, or 9 of them in a window frame as done for The Killer. For broadcast this new BM body design is ideal, but I’m not so sure about dramas and commercials. Clearly it can be rigged to jibs and gimbals as their trailer shows, but for smaller productions that might opt for the camera due to cost they may struggle to rig the camera in certain situations.
Hey Robbie, the realto point is super valid, I wonder if they could push the boundaries further and develop one? I think Bright tangerine will be all over this to fix some of those issues, as their mattebox was on the camera GP used in the demo. And I must agree when I watched Maverick Top Gun, it was stunning.
Will the Cine run at full capacity on 26V V mount or do we have to use B moun
other mounts will be offered, but it a 24volt camera. If your like me and only have standard Vlocks, Im pretty sure someone will come up with a sharkfin to use older batteries
Very eager to see some testing of the camera by Cvp & others, along with more creative content from talented Dp's. I have to save up 😂, but if everything goes right, this can be my A cam.
Coming soon!
AWSOME AWSOME video ive been waiting for a video like this so i can really asks some questions 1st question is are you saying in the new ursa cine 12k has more latitude as in we can get more than 16 stops of dynamic range im not sure what you mean by the data is wrong and has more latitude 2nd question in terms of getting the media on to our laptops do we need that dock or is there another way from what im hearing you can use the eSATA to usb-c to off load do you mind clearing that up
Hey there, the 12k FF CINE has more DR than the 12k s35mm for sure. ‘data” as in BRAW file…they have said that a adapter for CFEXPRESS type B cards will be released for the camera so you don't have to buy the BMD media modules. The you can just ingest via USBC and thunderbolt card readers, but the trade off will be recording formats, some resolutions and frame rates because the TYPE B cards just wont be fast enough. Not sure about the Esata, but you can offload while you shoot via the ethernet cable, but BMD cautioned agains that, it would depend what RES you are working in. Or you can off load direct from camera, when not shooting via ethernet or USBC. The camera makes the media appear like a cloudstore.
@@cinechimp thansk for that answer so when saying the data is wrong what do you think it should say
I didnt say the data is wrong in the video, but its all good brother
65mm at 17k is insane. It's believed that around that resolution, is what the actual filmstock is capable of.
So the only real benefits (specs on paper wise) with 65mm film is now the projection part as digital projection is just starting to go to 4k. Insane times.
I made this other video a couple of weeks ago about my Arri BL2, I dont know whether Im old, born in a time of considerable change, or both….
And the fact that digital has deeper blacks.
IMAX 15 perf is the goal. So not standard super 35mm film.
During the announcement Grant actually threw a punch at digital projection, he intimated that high density LED panels will eventually supersede it to achieve those higher resolutions.
I know, that was hilarious.
These cameras use proprietary media which is expensive and will be obsolete before you can say "Blackmagic is incompatible with my workflow and it wont accept my V-mount batteries either." This reminds us of the Redmag cards for the RED ONE which no longer exist.
These cameras have a CFexpress adapter if you do not wish to use the BMD memory modules.
Your enthusiasm is palpable. There is something to be said for the end to end BM workflow. The Imatest transmissive values for the 65mm sensor will be interesting. Taking market share away from ARRI is formidable. Sony's impeccable autofocus makes it a crowd favorite. But there will be some productions that will take a chance on the new sensor.
Grant has superstar status. Good offering across from BM. Anxious to see the final specs, performance and price when camera reaches market. Thanks for the content.
Oh thanks Michael, and yes GP is a legend! And I am also very keen to hear more info about/around the new Ursa CINE cameras...
You think this camera is going to take away market share from Arri?… You need to get back on your drugs. Never happen. When major companies who are doing “Game of Thrones” quality pictures start using Blackmagic… I will eat my words. But not in my lifetime.
@@cinechimp Resolution wise, It is reasonable solution for retail installations or art exhibits. Anything with large LED walls, extra camera resolution helps.
Yes it will Allen, because ARRI doesn't sell there alexa 65, you can only rent it. I can tell you right now, Arri has lost one customer in me to this, I wont rent the 65mm again, because I would like to own a 65mm camera. One lost sale is market share, because in the end it all adds up. Look we get you are not happy, move along - we cant change that for you.
oh totally, imagine the DOME or whatever its called in Vegas…and yes LED volume work…Ive already started chatting with my compositor buddies from ILM….
The footage looked great and a step above anything I've seen from BMD. The only feature film I can think of that shot on the Ursa Mini was the Philip Noyce / Naomi Watts film 'The Desperate Hour'. I saw it at the cinema just to see how it looked on the big screen and it looked ok but not quite good enough.
yes that was shot by John Brawley…apparently the film was shot super fast, I haven't seen it - my question would be, did the use of an BMD camera remove you from the story, or did the cinematography still work for the film?
@@cinechimp It was a mumsploitation film to begin with which isn't my thing and below the usual standard of Noyce and Watts. The cinematography was also below par for a Hollywood production. It felt like TV at the movies as Tarantino says.
@@robertpaterson5477 oh sounds avoidable
@@cinechimp John Brawley was the DP on the new URSA shoot btw. They just released a new video on YT
Yeah I saw the BTS a while ago, and saw JB shooting it…will have to find this new video….but shoot me the link so I dont miss it
Another update on the 12K
Rolling shutter speed
12K Open Gate 24fps 12ms
8/4K open gate 24fps 6ms
Again Native 800iso
I think for the size of te sensors, these are pretty impressive readout speeds
I really want this camera, not just for my commercial work (and yes, it's overkill for 99% of what I do). I totally can't justify the cost, but the real truth is that I want it for my own personal creative/passion projects. It would be perfect for 99% of what I want to do there. I'm sure it would pay for itself commercially anyway. Just got to figure out where the £££ is coming from °¬)
Big camera bigger bucks Jonas….we really need to discuss these passion projects of yours
@@cinechimp Ha ha ha! Of course °¬) We also need to discuss 'Bigger Camera, Bigger Bucks' - I need to know more about that °¬)
I’d argue that Panavision has that much deep insight into color science. 😂
The company I actually forgot about was, Technicolor - but they don't manufacture cameras, neither does Panavision, they convert or collab with RED, but if Ive missed one of their cameras, shed a cine brother some light. Im always open to learn new info...
It might be the case we gonna get ProRes (RAW?) in this cameras ... seems BMD is going to partner up with Apple. I guess Apple is aware what BMD application is doing on their phones and this partnership might be beneficial for both sides ... if Apple plays it well.
Great question, its something a lot of people want….maybe with the guy from BMD board of directors now being part of ATOMOS… fingers crossed…..you just never know, but the new 12k and 17 Usra CINE sensors have the resolve colour engine natively inbuilt, so also maybe not….
Internal raw recording patents are held by Red, which was just bought by Nikon. Nikon would need to license its patent.
@@rooketube totally agree, but if we go of what Jarred Land said at the sale of RED to Nikon, being “that it had already been licensed by all the major camera companies”….I wonder if BMD has had to buy one for resolve…?
They may add prores. Will they force productions into Braw? Niether are using final cut anyways. Prores raw is real raw unlike braw but other prosumers say the fx3 and a7s3 is only 10bit. They will never admit to the raw capabilites unless everyone else does too. Even then they say 12bit like it's the same as the fs5 or z6 or something. You don't here that about arriraw. Only now do you here that about braw even. 12bit log is way different than linear. Look at your timeline when decoded. Both my raw a7siii and pocket 6k footage say 16bit! Way more with log.
Anyways, downside with prores raw on the ninja v is the footage comes out transformed already. There are workarounds but it makes it feel like a jankier codec in that way. Priemer actually lets you start in log w/o transforming like you do in davinci though. LUTs work better for me on premiere with prores raw because of that.
I think the Ursa cine 17k might go for USD $25k atleast
Maybe, I have a feeling the prices will be adjusted, the 12k Ursa is only 6k.
@@cinechimp yeah that's also true, black magic design is known for doing that.
The photosites of the ursa cine 12k are tiny. Think about it, the pyxis 6k has photosites that are twice as large and it still sits at 13 stops. So let's not be silly and correlate photosite size to dynamic range.
Valid point but one sensor is made by BMD and the other is an off the shelf solution, so we should also not be silly in the comparison of the two..and different photosite architectures do correlate to differences in DR as does the processing pipeline, which the CINE clearly has more power behind it.
@@cinechimp The ursa cine 12k is their own sensor?
@@SHDEdits yes GP clearly states that in the keynote that both the 12k and 17k are BMD sensors that they have developed in house...
@@cinechimp That's exciting news then
@@SHDEdits the unknown is if the sensors are DGO or Dual ISO, my money is on DGO, it's the only way currently to get even close to 16 stops of DR.
I vote making Grant, Prime Minister of OZ!
hahaha, he’d have my vote
ブラックマジックデザイン社、ホントかっこいい。
yes it is very very cool
Ursa 12k is the softest 12k I ever saw! Even 6k from canon c300 mark 2 and 4k uncompressed from my sigma fp are sharper. To much denoising in camera and OLPF caused drop in quality so much that 12k doesn't make sense anymore 😁. I hope 12k full frame comes without denoising and OLPF
Thanks for sharing your opinions, I appreciate it
BM ask Canon for sensors!
wouldnt that be something
17 K camera is ridiculous… Let’s start there. I love resolution but again, it’s ridiculous. I know their box Camera sucks… Stick with Sony folks… You can’t go wrong.
I think you are a very hard man to please
No, I don’t like Sony’s color or motion cadence on any of their offerings- besides the Venice. They also don’t offer internal RAW.
@@Frontigenics that makes two of us...
@@2424rocket I'm sure people like you said the same when companies came up with 4k cameras 🤣
The cameras are still not as good as the Alexa 35
only time will tell….but what will you do if it's better?
@@cinechimp hopefully it is. Although it’s still built more like an ENG camera vs a cinema camera. Which is fine. It’s a great camera for the price point. I have a Ursa G2 and a red Gemini so i know as a price point there are great cameras at all levels.
Just thought industry changing? Not quite sure about that.
One would have to make tests before declaring such things. Whilst I love my Alexa 35, I adore my Zcam F6. I’ll be VERY happy to add an URSA Cine 17K with 65mm sensor to my kit. Exciting possibilities ahead.
a commercially available IMAX camera to me is industry changing as up until now, they have been rental only.
@@cinechimp on that level I get what you are saying. Yes, You are correct.