Hey all, sorry this has taken so long, but we hope it is worth the wait! This video has been mastered in 8K so once it's processed UA-cam's end, please enjoy the extra bit rate!!! Jake
@@CVPTV WELL worth the wait - I just now finished it. Wanted to take my time going through it. FANTASTIC review. Y'all are the best! I just wish you had a showroom in the US...maybe someday?
GREAT, fastidious, thorough, and excellent work fellas. My only question: Am I the only one bothered by the Burano's positively EXTREME rainbow color artifacting on the line pairs @11:08? Sure seems to me that 12k is the best there. And as for when you get the 17K - I'd go out and try (if possible) to put it in situations we're used to seeing 65mm 5-perf, (notable examples being 2001: A Space Odyssey, Lawrence of Arabia, and Grand Prix) and see how it stacks up to them. Off the top of my head, that could be 1) High noon extreme uncontrolled sunlight, in a desert or somewhere brutally hot, at the hottest possible hour to go, with no clouds 2) For night stuff, anything with extreme light panels, LEDs, headlights (thinking about how much of 2001 was beautiful readouts of light panels and "HALS" eye/etc) and 3) a racetrack, in 24fps, handheld, no stabilizers. Go right for the torture test of torture tests. Treat it like its gotta be the best ever. That will be, by far, the most interesting and informative of digital 65mm tests. We've all seen how 65 handles faces. I could be just speaking for myself, but I am quite tired of that. We all know that's super nice. We all know shallow DOF. What I'd like to see from the perspective of being a filmmaker interested in what kind of stories can be told with this tool, I'd prefer to see it tackle some things previously deemed "too precious" for the Arri Rental service. How does it hold up?
Glad that it went down well. We wrote and shot this in a day and a bit so happy with how it came out considering that! It was funny to shoot as well. Jake
55:27 I watched the whole this and I’ve learned allot about cinema cameras and lenses from your content. Thanks man and keep up the high standard reviews
waiting until the 8K upload has finished processing need to pixel peep as much of that 12K sensor. Well done, am sure putting a 55minutes video together wasn't easy.
Actually cine D showed 14.8 with an extra 2 in the shadows. After owning and operating for over a month we can net about 16.8 pretty consistently with noise reduction and highlight recovery
For me, it's clearly the ARRI and then the Blackmagic. ARRI and Zeiss Otus lenses are a dream team. I shoot almost exclusively with the 55 and 85mm on an ARRI Amira, yay
I love how we’re talking about the 17k price like it’s insane. The Red cameras had a steeper price and the sensor was nowhere near this. The Alexa 35 is over triple the cost
@@julianterry6837 think like a producer tho; you want to hire the arri guy or the BM guy. Sorry 9 out of 10 times this is the dialogue. BM has to make big changes before they can be taken seriously
Best in class review. As long as I maybe will never use this camera, the amount of knowledge you share on these reviews is priceless. Just got my second OTUS and this confort me this is a good choice. Many thanks to everyone involved on this channel for the amazing work 🤝🤝🤝
Looks like an absolutely incredible camera! I just picked up a C400 because it fits my workflow much more but I’d love to get this from a local rental house for some special projects! Incredible review as always! Well worth the wait!
Outstanding review. Kudos to everyone. The use of the Image Engineering Integrating sphere is a massive step up! Now I will probably buy the LE7 instead of the camera!
I just want a smaller camera with this sensor. Limit it to 8K, give it 2x CFexpress Type B, take off the second screen and some I/O, sell for under $10K
Difficult since the relatively big size and weight of the camera has mostly to do with the necessarily powerful heat dissipation needs. I am afraid that with the current tech you would need a different sensor to get smaller/lighter.
@@earthlevel4569 the Pyxis sensor really is not awesome. And no built-in NDs, no articulating screen. I wish they would’ve made the Pyxis more like this camera
In the blind test I got the Ursa and Alexa right, and swapped my guesses between the Sony and the V-Raptor. I was surprised to find the V-raptor to be my favorite, as I'm not usually a RED fan. The 12k also looked the worst among them, which was again surprising as the S35 12k has one of my favorite images. Maybe it's an image processing issue? As they're going from native log to CST, maybe the Blackmagic would perform better using a different log profile and color management, or maybe there's something in the new sensor that I'm not a super fan of. But still, it's like it's bad! It seemed the least good of the 4 but we're really spoiled with quality nowadays
Difficult to judge differences on those short and simple scenes. Could you pin-point why exactly the V-raptor was your favorite? and Why the BM 12k looked the worst among them? Saying that without referring to any concrete differential element on the scene doesn't mean anything.
@@phrasalsyntaxI don't get it too. Resolution chart showed blackmagic has the least resolution, but in A/B comparison it actually looked like the most detailed and sharp picture. Nothing special about V-raptor in that comparison
@@88nostromo yes, resolution charts measure 'sharpness', but 'detail' is a different thing (it's like 'pleasant' sharpness or 'cinematic' sharpness, or when an image has a natural separation of edges as opposed to a delineated separation). In my opinion, the Cine 12K is quite good in 'detail' rendering, which it what matters in the end. The Burano, for example, is more sharp than the Cine 12K, but it also has a more 'video/tv' look. The colors on the V-raptor look to me the worst, don't know what @gabrielmachadobsb means by that image being the best, he doesn't explain.
Perfect review, 55 minutes really easy to watch... now we need an URSA CINE 12K MINI for the perfect camera ... remove the side screen and put only 1 NVME 8TB PCI E5 in the storage card... full carbon 2.5KG max please ;)
24:50 that's it, that's the killer feature. LIVE transfer of files into Resolve while recording in real-time?! That eliminates a significant bottleneck right there.
Thanks you so much for such a detailed review. It was much much needed. Form factor and power make this camera for bigger production only. Would love to rent it when project needs it, but I haven't came across any rental house that is willing to buy into this system yet... As a owner operator it's way too much of a camera all around.
They announced a 16TB module, but will they do smaller media modules like a 1TB 2TB or 4TB ? (for those who would be using the camera in lower downsampled resolutions most of the time)
Thanks for explaining the 6x6 photosite grid in more detail. Do you know how it’s able to readout that grid out for the 4K mode while also gaining a readout speed boost? I understand that the different design allows for on sensor scaling, but it’s obviously not a true downscale nor a pixel binned version. So are they skipping photosites on the 6x6 grid instead to get the speed boost?
*This newer version of the 12K does have slightly more detail than the URSA Mini Pro 12K Super 35 Sensor has. However, I do prefer the overall image from the URSA Mini Pro 12K camera, even though it has a smaller sensor. My first impression of the New 12K camera is it has more detail, but also a harsher look, which is more of a digital look, whereas the URSA Mini Pro 12K has a softer, more nuanced, Cinematic look, which I find more pleasing to the eye.*
In your opinion, how does the sensor size of 17k 65 be evaluated commercially and in terms of competition with competitors? Could it threaten the position of arri and venice cameras?
Can you compare the 12K LF to the original Super35 12K? My guess is is the original Super35 12K will be the best value cinema camera because it has the same RGBW principle as the 12K LF version, but with less frame rate and less dynamic range and less shallow DOF, but all the other benefits will hold.
Ursa G2. Probably the highest dynamic range of all BM cameras and lowest rolling shudder. Lighter than 12kLF and contrary to popular belief rigs like a box camera. Most misunderstood and slept on camera out there.
Unless the USB C is USB4, it should be the same datarateas thunderbolt (I saw somewhere that intel released the specifications of TB4 to the USB forum) so they should be compatible
I love my red v-raptor x and red komodo x with raw film you can get any look you need and flexibility with camera and size and autofocus help me and lens chose and app in phone we after use sony and blackmagic and lumix every time i feel i miss something but with red v-raptor x and red komodo x give me hope and trust this my opinion after test
Man, I know you guys know what you are doing, but some of the coloring looks a bit like DSLR footage. I say that gently, as I know it may also be just the CST or something else. Props on the review!
Images are lovely but imo BM need to do a few things to win the love of most* professionals: Kick the URSA badge to the curb and run. that name is stained with a cheapo feeling and change the body so it doesnt look like an URSA. Bring back Prores recording! Lose the 24v and make it 12v. Make a better EVF; that eyecup spinning on the EVF diopter is amatuer hour. BM should be looking at how hard the Alexa35 flopped. They should essentially make their own MiniLF. Full-frame 4k with highspeed, Build in ND, and good lowlight. Don't overthink it but also don't focus on it having to be the cheapest priced camera on the market. Pros and rental houses will spend 30k on a camera body if they know it won't be replaced or have the price slashed after one year (i see you v1 12k camera).
Once again I am asking, HOW DID THE ALEXA 35 FLOP?! Every time, no one has been able to give me hard evidence as whenever they do say is just true for the rest of the industry. I can tell you what a flop on Arri's part would like, we've seen with the maxima gimbal, the orbiter light, that one long ultrawide zoom and it's rear Anamorphic variant. The thing on those other lack of adoption across the productions being done and thus, a short lifespan on the shelves (this is true for the maxima and ultra wide zoom). the Alexa 35 HAS seen adoption even in the industry downturn right now, as evidenced by the multiple film festival having lots of films shot on them (sounds dumb that hasn't stopped people online from gauging how well adopted other cameras have been before now has it?).
@zebius4517 Hey there. You came to the right place. Simple, Orbiter just wasn’t bright enough, Maxima couldnt do 360 without seeing the dumb arms and the 9.5-18mm released at a time when full frame was popping off(yikes dont forget the price and the already had 8r). The 35 is another story. I would what you call an Arri fanboy, and i even despise the 35. Ask any sales person how many 35’s are sitting in the warehouse. And talk about terrible timing to release this camera. 24v was a huge fuck up and we now know why the only reason they did it; the 265. Rental houses and owner ops dont want to buy new batts, especially if there is no benefit to the end-user (its just to benefit the engineers). If it gave me DOUBLE the run time, ok ill buy new batts. Sorry not sorry the new color science is trash. I feel like im shooting with a red camera. I have to AWB to get proper skin tones. Old sensor has amazing skin tones no matter what lighting scenario. Camera is heavier and fat. 3rd party audio module is a joke. Buy all new accessories. It is also the BUGGIEST camera Arri ever made probably due to the new power system. Textures just look like noise. Super35?! They have a whole line of incredible FF Sig lenses (and now ENSO) to be pissed away on a crop sensor wtf is that? They fucked up so hard and the industry is so fucked up they are working on a cheap camera. If Arri is shaking in their boots i’m looking for a plan B myself.
I want them to release a genuine Alexa 35 or Mini LF competitor, that's it. That's all I'm asking for. By this request, the most logical next step will be for them to announce their brand-new URSA Cine 22K camera and 27K camera for 2025, with rumours of the 32K on the horizon
A more mature/high-end Pyxis without the clown sidescreen, internal NDs and sensor readout speeds that are actually usable would hit the market really well.
I think this is the first time a CVP review didn't showcare the the very best a camera has to offer visually... This is my first not positive comment on a CVP video ... which is a strange feeling since this channel has honestly been my number one purchasing initial decision source... hmmm. idk.... The beard tho ... like the look my dude.. no diddy!
1) 04:23 noise ratio is bad 2) 06:10 DR is shameful and highlight rolloff is terrible (like on cheapest consumers cameras) 3) Rolling shutter for VP - doubtful In our rental previous BM Ursa 12K was taken only when ordinary Ursa 4.6K were not available. Useless camera for uncertain tasks. Only real goal is VR.
A camera sensor does not have any highlight roll-off. This is a very common misconception. The sensor either captures the data on all channels, or one or more channels clip. What is done to the captured data afterwards determines the perceived smoothness in the highlights, be it a direct Video/display output out of camera or process in post.
Blackmagic needs to dump the RGBW 12k sensor design. People are going to shoot in 8k or 4k with the camera to save on data storage and improve rolling shutter. But you lose a stop in highlight performance at those lower resolutions. It really makes no sense to me to optimize dynamic range for 12k when it will be the least used mode. Going with a 8k Bayer pattern sensor(even better 6k) would improve low-light performance with the larger light gathering pixels. A used Venice 1 or Red Raptor makes more sense than buying this camera
![Lp. Сердце Вселенной #60 РОЖДЕНИЕ ЛОЛОЛОШКИ [Финал] • Майнкрафт](http://i.ytimg.com/vi/YoR0pAV9FVQ/mqdefault.jpg)
Hey all, sorry this has taken so long, but we hope it is worth the wait! This video has been mastered in 8K so once it's processed UA-cam's end, please enjoy the extra bit rate!!! Jake
YES! I've been checking for this one everyday for the past few weeks. Thanks so much, Jake!!
Hope it's been worth the wait!! Jake
@@CVPTV WELL worth the wait - I just now finished it. Wanted to take my time going through it. FANTASTIC review. Y'all are the best! I just wish you had a showroom in the US...maybe someday?
100% worth the wait. These reviews are industry standard now. 🔥
At 53:37, did the prices get reversed with the EVF/ Non EVF packages?
Great review, can't wait to get my hands on one.
Love everything about this: the camera, the review, the beard.
While no camera is perfect the Blackmagic 12k is truly mind boggling for its price and the fact that you get 8tb in the box is wild!
If you get the 265 and Ursa 17K in. Maybe find some situation where you can compare it to IMAX film scanned at high resolution?
GREAT, fastidious, thorough, and excellent work fellas. My only question: Am I the only one bothered by the Burano's positively EXTREME rainbow color artifacting on the line pairs @11:08? Sure seems to me that 12k is the best there. And as for when you get the 17K - I'd go out and try (if possible) to put it in situations we're used to seeing 65mm 5-perf, (notable examples being 2001: A Space Odyssey, Lawrence of Arabia, and Grand Prix) and see how it stacks up to them. Off the top of my head, that could be 1) High noon extreme uncontrolled sunlight, in a desert or somewhere brutally hot, at the hottest possible hour to go, with no clouds 2) For night stuff, anything with extreme light panels, LEDs, headlights (thinking about how much of 2001 was beautiful readouts of light panels and "HALS" eye/etc) and 3) a racetrack, in 24fps, handheld, no stabilizers. Go right for the torture test of torture tests. Treat it like its gotta be the best ever. That will be, by far, the most interesting and informative of digital 65mm tests. We've all seen how 65 handles faces. I could be just speaking for myself, but I am quite tired of that. We all know that's super nice. We all know shallow DOF. What I'd like to see from the perspective of being a filmmaker interested in what kind of stories can be told with this tool, I'd prefer to see it tackle some things previously deemed "too precious" for the Arri Rental service. How does it hold up?
all blackmagic cameras have this modern in the 80s look and i like it very much.
Love seeing you guys get a little more creative, especially like the theme of this one, it is eery but somehow made me laugh!
Glad that it went down well. We wrote and shot this in a day and a bit so happy with how it came out considering that! It was funny to shoot as well. Jake
55:27 I watched the whole this and I’ve learned allot about cinema cameras and lenses from your content. Thanks man and keep up the high standard reviews
Glad to hear it and we will try! Jake
together with this new arri camera footage this produces the most astonishing footage i have ever seen.
Came for a review. Shared for the production value. Well done CVP.
waiting until the 8K upload has finished processing need to pixel peep as much of that 12K sensor.
Well done, am sure putting a 55minutes video together wasn't easy.
I started an Ursa 12K savings account back in April, this would be a dream to work with 🙏🏾🙏🏾 I’m only a 1/3 way through but excellent video so far!
Actually cine D showed 14.8 with an extra 2 in the shadows. After owning and operating for over a month we can net about 16.8 pretty consistently with noise reduction and highlight recovery
Never gonna buy it, never gonna use it but I just like watching your videos and learning a lot in the process. Keep up the good work.
For me, it's clearly the ARRI and then the Blackmagic. ARRI and Zeiss Otus lenses are a dream team. I shoot almost exclusively with the 55 and 85mm on an ARRI Amira, yay
Ordered mine yesterday, can’t wait to start working with this one ❤
I love how we’re talking about the 17k price like it’s insane. The Red cameras had a steeper price and the sensor was nowhere near this. The Alexa 35 is over triple the cost
@@julianterry6837 think like a producer tho; you want to hire the arri guy or the BM guy. Sorry 9 out of 10 times this is the dialogue. BM has to make big changes before they can be taken seriously
Yes one hour about my dream camera on CVP 🎉🎉🎉
Best in class review. As long as I maybe will never use this camera, the amount of knowledge you share on these reviews is priceless. Just got my second OTUS and this confort me this is a good choice.
Many thanks to everyone involved on this channel for the amazing work 🤝🤝🤝
This review is an achievement!
I really appreciate that you did the translation into Spanish 💯😁
This is the review I've been looking forward to - yours are always the most in depth and useful!
yall are the best
Thank you! Jake
every camera review needs these intros from here on out
Looks like an absolutely incredible camera! I just picked up a C400 because it fits my workflow much more but I’d love to get this from a local rental house for some special projects! Incredible review as always! Well worth the wait!
Outstanding review. Kudos to everyone. The use of the Image Engineering Integrating sphere is a massive step up! Now I will probably buy the LE7 instead of the camera!
I LOVE CVP reviews!!! Never change guys!!
Most awaited , ready with my coffee!!!
Edits and reviews a banger. Critics now send messages about fraud, waste, and abuse.
Imagine doing such an amazing, comprehensive and professional video review and still apologizing for it... so British :)
that intro is brilliant
Arri still beats every other vendor, although they are getting close. Arri is about to launch an incredible new camera. Hang on to your hats.
They just did, it was the 265
And it’s available as a RENT ONLY.
Not on price though
Yeahhhhh gogogo, an hour of quality content ❤
AC dream. They were really thinking about ACs and DITs when developing this camera
This Camera is instantly THE camera to get for anamorphic filming ... open gate with high framerates and a good price ... i mus have that thing!
that is hell of a review !
Hope you like it! Jake
I just want a smaller camera with this sensor. Limit it to 8K, give it 2x CFexpress Type B, take off the second screen and some I/O, sell for under $10K
Difficult since the relatively big size and weight of the camera has mostly to do with the necessarily powerful heat dissipation needs. I am afraid that with the current tech you would need a different sensor to get smaller/lighter.
@@grahmdoughty isnt that the pixis?
@@earthlevel4569 the Pyxis sensor really is not awesome. And no built-in NDs, no articulating screen. I wish they would’ve made the Pyxis more like this camera
I can’t believe that I watched the whole video even though I don’t have a money or use for it.
Spectacular!
Fantastic review. Thanks.
Great review thank you cvp!💯
CVP once again taking no prisoners. Respect.
FINALLY!!! 😩🙌🏾
In the blind test I got the Ursa and Alexa right, and swapped my guesses between the Sony and the V-Raptor. I was surprised to find the V-raptor to be my favorite, as I'm not usually a RED fan. The 12k also looked the worst among them, which was again surprising as the S35 12k has one of my favorite images. Maybe it's an image processing issue? As they're going from native log to CST, maybe the Blackmagic would perform better using a different log profile and color management, or maybe there's something in the new sensor that I'm not a super fan of. But still, it's like it's bad! It seemed the least good of the 4 but we're really spoiled with quality nowadays
Difficult to judge differences on those short and simple scenes. Could you pin-point why exactly the V-raptor was your favorite? and Why the BM 12k looked the worst among them? Saying that without referring to any concrete differential element on the scene doesn't mean anything.
@@phrasalsyntaxI don't get it too. Resolution chart showed blackmagic has the least resolution, but in A/B comparison it actually looked like the most detailed and sharp picture. Nothing special about V-raptor in that comparison
@@88nostromo yes, resolution charts measure 'sharpness', but 'detail' is a different thing (it's like 'pleasant' sharpness or 'cinematic' sharpness, or when an image has a natural separation of edges as opposed to a delineated separation). In my opinion, the Cine 12K is quite good in 'detail' rendering, which it what matters in the end. The Burano, for example, is more sharp than the Cine 12K, but it also has a more 'video/tv' look. The colors on the V-raptor look to me the worst, don't know what @gabrielmachadobsb means by that image being the best, he doesn't explain.
Finally the review for another camera I can't afford! 😅
Can you share the sample raw footages please?
8k UA-cam upload... thats a flex!
yesss
yessssssss
yesssssssssssss,
at this point ya'll should just employ me
Perfect review, 55 minutes really easy to watch... now we need an URSA CINE 12K MINI for the perfect camera ... remove the side screen and put only 1 NVME 8TB PCI E5 in the storage card... full carbon 2.5KG max please ;)
Finally, the review I've been waiting for. Let me buy some popcorns 🍿 sit down, and spend my next valuable 55 minutes well 😅
Hope you enjoy it! Jake
@CVPTV I certainly am. Thank you for the video, Jake. It's very insightful!
24:50 that's it, that's the killer feature. LIVE transfer of files into Resolve while recording in real-time?! That eliminates a significant bottleneck right there.
What is the result of the ABCD cameras?
53:50
A - Burano
B - Mini LF
C - Ursa
D - RED V Raptor 8k VV
@ I actually switched Ursa and Burano.
Thanks you so much for such a detailed review. It was much much needed.
Form factor and power make this camera for bigger production only. Would love to rent it when project needs it, but I haven't came across any rental house that is willing to buy into this system yet...
As a owner operator it's way too much of a camera all around.
They announced a 16TB module, but will they do smaller media modules like a 1TB 2TB or 4TB ? (for those who would be using the camera in lower downsampled resolutions most of the time)
Fair point, will suggest it to my contacts at BMD. Jake
Great!
But you forgot the most important test; Can it run Crysis?
Thanks for explaining the 6x6 photosite grid in more detail. Do you know how it’s able to readout that grid out for the 4K mode while also gaining a readout speed boost? I understand that the different design allows for on sensor scaling, but it’s obviously not a true downscale nor a pixel binned version. So are they skipping photosites on the 6x6 grid instead to get the speed boost?
I think the ursa cine retained contrast well in the over exposure test
*This newer version of the 12K does have slightly more detail than the URSA Mini Pro 12K Super 35 Sensor has. However, I do prefer the overall image from the URSA Mini Pro 12K camera, even though it has a smaller sensor. My first impression of the New 12K camera is it has more detail, but also a harsher look, which is more of a digital look, whereas the URSA Mini Pro 12K has a softer, more nuanced, Cinematic look, which I find more pleasing to the eye.*
I dont think i never was that fast to click on a vid.
Let us know what you think when you've finished it! Jake
@ pretry wild performance for the price!👌 also looks like a great system as a whole
In your opinion, how does the sensor size of 17k 65 be evaluated commercially and in terms of competition with competitors? Could it threaten the position of arri and venice cameras?
Just looking forward seeing many underpriced OG URSA mini 12ks on the used market 🙈
Well done review.
Sorry if someone's commented this already, but did you mean Burano, not Venice in the comparison at 4:10 ? It looks like a Burano in the line up
Can you compare the 12K LF to the original Super35 12K?
My guess is is the original Super35 12K will be the best value cinema camera because it has the same RGBW principle as the 12K LF version, but with less frame rate and less dynamic range and less shallow DOF, but all the other benefits will hold.
are you sure the purple aliasing isn't chromatic abberation?
The Eterna sensor is not much bigger than Vista Vision.
This URSA 17 sensor is much bigger
You should have uploaded this in 8K HDR
I really wish we had something halfway from the Pyxis to this. Something in the 6000$ range pretty please?
Ursa G2. Probably the highest dynamic range of all BM cameras and lowest rolling shudder. Lighter than 12kLF and contrary to popular belief rigs like a box camera. Most misunderstood and slept on camera out there.
The blues are crazy good is never good on digital cameras 😮
Thank You!
Unless the USB C is USB4, it should be the same datarateas thunderbolt (I saw somewhere that intel released the specifications of TB4 to the USB forum) so they should be compatible
Video hardware companies still treating fast storage like it's some kind of magic blackbox that can't be found anywhere else.
One video for UPCOMING ARRI ALEXA 265
It would be interesting if you could add the varicam in some of these cinema camera tests.
I love my red v-raptor x and red komodo x with raw film you can get any look you need and flexibility with camera and size and autofocus help me and lens chose and app in phone we after use sony and blackmagic and lumix every time i feel i miss something but with red v-raptor x and red komodo x give me hope and trust this my opinion after test
Man, I know you guys know what you are doing, but some of the coloring looks a bit like DSLR footage. I say that gently, as I know it may also be just the CST or something else. Props on the review!
Full feature about sticky notes man when?
Ursa 12k Olpf vs ursa 12k cine please
All red, Sony and arri cameras are 12bit log and 16bit linear except arri Alexa 35 that is 13bit log and 18bit linear.
That 17k with the large sensor would be great for filming the mystery drones in New Jersey.
What top handle is mounted on Pyxis at 52:22 ?
Looks like mid49
Images are lovely but imo BM need to do a few things to win the love of most* professionals: Kick the URSA badge to the curb and run. that name is stained with a cheapo feeling and change the body so it doesnt look like an URSA. Bring back Prores recording! Lose the 24v and make it 12v. Make a better EVF; that eyecup spinning on the EVF diopter is amatuer hour. BM should be looking at how hard the Alexa35 flopped. They should essentially make their own MiniLF. Full-frame 4k with highspeed, Build in ND, and good lowlight. Don't overthink it but also don't focus on it having to be the cheapest priced camera on the market. Pros and rental houses will spend 30k on a camera body if they know it won't be replaced or have the price slashed after one year (i see you v1 12k camera).
Once again I am asking, HOW DID THE ALEXA 35 FLOP?! Every time, no one has been able to give me hard evidence as whenever they do say is just true for the rest of the industry. I can tell you what a flop on Arri's part would like, we've seen with the maxima gimbal, the orbiter light, that one long ultrawide zoom and it's rear Anamorphic variant. The thing on those other lack of adoption across the productions being done and thus, a short lifespan on the shelves (this is true for the maxima and ultra wide zoom). the Alexa 35 HAS seen adoption even in the industry downturn right now, as evidenced by the multiple film festival having lots of films shot on them (sounds dumb that hasn't stopped people online from gauging how well adopted other cameras have been before now has it?).
@zebius4517 Hey there. You came to the right place. Simple, Orbiter just wasn’t bright enough, Maxima couldnt do 360 without seeing the dumb arms and the 9.5-18mm released at a time when full frame was popping off(yikes dont forget the price and the already had 8r). The 35 is another story. I would what you call an Arri fanboy, and i even despise the 35. Ask any sales person how many 35’s are sitting in the warehouse. And talk about terrible timing to release this camera. 24v was a huge fuck up and we now know why the only reason they did it; the 265. Rental houses and owner ops dont want to buy new batts, especially if there is no benefit to the end-user (its just to benefit the engineers). If it gave me DOUBLE the run time, ok ill buy new batts. Sorry not sorry the new color science is trash. I feel like im shooting with a red camera. I have to AWB to get proper skin tones. Old sensor has amazing skin tones no matter what lighting scenario. Camera is heavier and fat. 3rd party audio module is a joke. Buy all new accessories. It is also the BUGGIEST camera Arri ever made probably due to the new power system. Textures just look like noise. Super35?! They have a whole line of incredible FF Sig lenses (and now ENSO) to be pissed away on a crop sensor wtf is that? They fucked up so hard and the industry is so fucked up they are working on a cheap camera. If Arri is shaking in their boots i’m looking for a plan B myself.
C is?
First.
0:35 this video has more bokeh than tony northup
30 mins in and the only thing this cam lacks is 16 bit color
12bit log is pretty much the same as 16bit linear. Resolve can decode the 12bit BRAW file to 16bit linear.
@ not exactly but close enough
grgrgrgrgr you should have waited the 8K upload to be encoded before getting this video public, i'm frustrated now.
Scrolls to latitude test
I want them to release a genuine Alexa 35 or Mini LF competitor, that's it. That's all I'm asking for. By this request, the most logical next step will be for them to announce their brand-new URSA Cine 22K camera and 27K camera for 2025, with rumours of the 32K on the horizon
A more mature/high-end Pyxis without the clown sidescreen, internal NDs and sensor readout speeds that are actually usable would hit the market really well.
Actually, a competitor would be to make the Ursa cine smaller lol
this , mini , burano , venice or raptor someone help
For that price, a used DSMC2 Monstro is much better.
Waiting for the 17k one to drop so I can sell a kidney.
I think this is the first time a CVP review didn't showcare the the very best a camera has to offer visually... This is my first not positive comment on a CVP video ... which is a strange feeling since this channel has honestly been my number one purchasing initial decision source... hmmm.
idk.... The beard tho ... like the look my dude.. no diddy!
1) 04:23 noise ratio is bad
2) 06:10 DR is shameful and highlight rolloff is terrible (like on cheapest consumers cameras)
3) Rolling shutter for VP - doubtful
In our rental previous BM Ursa 12K was taken only when ordinary Ursa 4.6K were not available. Useless camera for uncertain tasks.
Only real goal is VR.
A camera sensor does not have any highlight roll-off. This is a very common misconception. The sensor either captures the data on all channels, or one or more channels clip. What is done to the captured data afterwards determines the perceived smoothness in the highlights, be it a direct Video/display output out of camera or process in post.
Blackmagic needs to dump the RGBW 12k sensor design. People are going to shoot in 8k or 4k with the camera to save on data storage and improve rolling shutter. But you lose a stop in highlight performance at those lower resolutions. It really makes no sense to me to optimize dynamic range for 12k when it will be the least used mode. Going with a 8k Bayer pattern sensor(even better 6k) would improve low-light performance with the larger light gathering pixels. A used Venice 1 or Red Raptor makes more sense than buying this camera