I have been using this camera all over the world since the week this camera came out. Hands down One of the greatest cameras ever made. I've taken this into corporate shoots, weddings, hanging off cliff faces, and even summiting 16k Ft+ mountains. Not once has this camera ever held me back. Only now can I come close to saying Ive reached the skill cap of this camera. And even then I still could use this camera another 5 years and lose out on nothing.
This cam just went on sale for 3k. I was looking at the Pyxis, but this may make more sense. Did your ursa ce with a PL interchangeable mount or did you have to purchase separate?
One thing people forget to mention about its prores option is that its still under the gen 4 colors and not being able to switch over to gen 5 colors in post so i dont even recommended the proress
I have an opportunity to pick up a used one of these from a friend for less than 1/3 of the original retail price and I'm leaning towards it tbh. It has the viewfinder, SSD module, and shoulder kit too. The only thing holding me back is having to buy an entirely new set of lenses for it because I've only shot Sony thus far...
Thanks for sharing. To add to this topic - (1) the Ursa G2 records in Gen4 not Gen5 and (2) buying the Ursa 12K Pro means buying BMD’s best and largest sensor and color science. It’s not about resolution, but about image quality.
Looking to pick up a G2 soon. I agree with your points but the thing that puts me off the 12K is its severe lack of low-light performance. I know the G2 is not exactly great in that field either, but it seems much more usable than the 12K. Do you have any experience shooting with either? Great video Jake btw!
@@DANAMIONLINE It's a good shout. I have the Pocket 4K already with a Speedbooster and it's pretty decent at the higher ISOs. Just feels like the 12K gets super noisy anywhere above 800 and I'd like to be able to push to at least 1600 on an A cam without having to switch to the pocket. Think I may have to rent an ursa to see for myself!
@@ElliotMillson Its true, the low light out of the G2 is not great. I use the 4k for all the lowlight stuff I come across. Still far and wide, the URSA is the perfect move up from the pocket range (I'm considering an fx30 as a lowlight dedicated cam) I tend to not really venture that far out of ISO 1600 on the ursa, but you'd probably be able to work some magic if you were to jump up to 3200. That being said, I'm only really using it in light controlled environments or daylight. Personally, I've found the noise levels at 1600 to be perfectly acceptable and manageable. I've shot with both the 4k and URSA together and on their own extensively if you've got any questions.
@@iwsfilm_ Thanks for your reply! Really appreciate it. That's good to know the G2 is usable at 1600. The vast majority of stuff I shoot is under controlled lighting (or at least daylight), but there's always those golden hour / dusk moments when you need that extra push. I plan on keeping the 4K for any night stuff but that's an interesting point with the fx30- haven't really looked into that camera much. The only other thing that bugs me slightly about the G2 is the fact they haven't updated it to gen 5 colours internally yet. Obvs this isn't so much of an issue with Braw but there are times when I'm needing to hand off ProRes directly to a client and I'd much rather be in gen 5. Don't suppose you've heard any news of a future firmware update for this?
Yeah, seems we have another gadget guy shooting reviews instead of actual filmmakers who know how to light and shoot a scene. The grain is his thing I guess, trying to make it look like film. I was wondering if he was lighting using a shoplight from Home Depot but nope, just doesn't know what he's doing at all.
The video signal itself coming off of the URSA 4.6k G2 is really clean as long as you are exposed correctly and below 800ish ISO. Chances are the grain you are seeing is the film grain I usually add to introduce a little bit of texture to my videos. Good eye and thanks for asking
@@jakehayden998 main reason why I am going with the Broadcast G2 with that dual ISO for event shooting or when shooting in general and I have little to no control of the lighting. Also, 6K will help a lot when shooting vfx plates
awesome review ! I have the 6k pro and now the new 6k FF but i'm considering selling the 6k pro in order to get a G2, especially for the rolling shutter performance and better frame rates than the 6k ff One thing that also attracts me and would like your opinion is about the codecs, i'm really interested on the G2 for the prores 4444 as wel as XQ for color work, is it better than braw ? even if it's slightly better, this would be helpful for me, considering i'm mostly doing commercial work as freelancer DoP, so having access to better files for post production would be really nice for projects that have the right budget. I know prores will use a lot more media, but it's the quality better on this 12bit codec ?
As far as I know the BRAW codecs (with minimal compression) are almost identical to the higher end Prores codecs (like Prores 4444). I'm not sure if there would be a meaningful difference but I could totally be wrong. I would love to be able to make a video about this at some point though. I'm really curious what kind of image quality differences there might be
@@jakehayden998 Since braw is not a true raw (even though it's a 12bit codec), i thought that by going with a prores 4444 XQ, it would be the best possible way to capture all the information the sensor would give and would be as close to a 'real raw' codec, similar to when you shoot with an Alexa and don't want to use ArriRaw, you go for 4444/XQ. I know the differences might not be visible in a simple test, but i would love to see some challenging situations, to see if there would be any advantages to use it over braw. I love braw, don't get me wrong, its an amazing codec, especially with high compression (like 12:1), it holds up a lot and you can record a lot on an ssd, but for some commercials that i've been DoP, i would love to see if the prores 4444 XQ would make a difference.
It does indeed say on the box that the URSA 4.6k G2 has 15+ stops, but in the review I am talking about dynamic range at a signal to noise ratio of 2 (dynamic range above a certain threshold of noise). The total patch range captured by the sensor is usually around 15 total stops, but I chose to specify levels of dynamic range at signal to noise ratios of 1 and 2 in order to give some idea of dynamic range in relation to the noise floor. Either way the dynamic range is absolutely huge and really impressive
Really love the footage of the Ursa Mini but a A7S3 gives me a stabilizer and unmatched low light performances which for a run and gun guy like me is a no brainer. A Red Komodo or and Ursa delivers better images out of the box but I can tweak the footage in post prod to have the same results with a Sony. I'm still hesitating sometimes because Blackmagic is such a great company, with an awesome editing workflow and an eye on affordable systems for everyone which is very commandable. But I can't take the plunge until they improve on stabilizer and low lights characteristics.
Worth noting: Black Magic has a patent on RAW compression. No other brand can offer compressed RAW, only full uncompressed RAW - talking about storage space. Anoher reason to consider Black Magic cams.
It's Red/now Nikon who has this patent not BMD; and Braw is not true 'raw', hence why it was invented, since BMD had to stop using compressed cDNG, because of the patent.
