The BlackMagic URSA Mini Pro 12k is a Super 35 Sized Sensor which surprisingly has an Arri LPL Mount. It has USB outputs for Video.
What do the folks here think of the high amounts of data generated by this camera and the subsequent need for storage and backups? Also low-ressing for offline?
This may sound like a bit of a dampener but i have more questions than answers on this issue. Why 12K when most DPs are already complaining about digital images looking clinically crisp. Why a Super 35 Sensor when VFX work is aided by a Larger Sensor Size. LF is already in play and being preferred by most larger scale productions. Why not the LPL mount.. as claimed by ARRI the LPL mount is the way forward for Digital Camera Design, given its advantages of Shorter Flange, Telecentricity etc. Although it goes without saying that Cinematographers should benefit from technological advancement, the continually changing
goal-posts are quite confusing..
The URSA mini Pro 12k surely looks like a great camera. Can’t say much till I actually get my hands on one.
Regarding the mount on the camera, I don’t think it has an ARRI LPL mount, it has the good old PL mount. You can use Large format lenses like the Sigmas and the Zeiss Supremes which have a regular PL mount and all the S35 lenses that we’ve been using all these years. Plus the EF, F and S16 PL mount lenses too.
As for the data being generated, I think we’ll probably only use the max resolution when it’s actually required, like for VFX heavy work for example. Else, the 8k and 4K resolutions are good enough.
As for compressing the files for offline, I think if the BRAW files are as light as they say, then it surely shouldn’t be that much of a problem.
All we can do is speculate right now. We wont’t be able to give you a good enough answer till we get our hands on the actually camera and put it through a rigorous test.
Everything about the camera sounds great. Let’s wait and see what’s in store for us. :)
Till then, click on the links below if you to know more about the camera. I found these online a few weeks ago.
I think it is going to be a game changer when it comes to VFX heavy work. It will challenge the RED company to come up with something better to keep up the game. Also it is specifically a camera designed for large scale production shoot and VFX heavy production/movies.
I don't have a good knowledge on the Dynamic range and colour science of BMUM PRO. Would love to hear from someone.