Andrew Reid

Look I am not saying it doesn't have a place at all or is 100% wrong, I just think it is definitely not for me and not really the form factor anyone who bought the Pocket or BMCC was really looking for.   With your own rigging you have tons of flexibility and it can be adapted to a job.   With this you are essentially stuck with 10kg of stuff whether you like it or not.   For crews and studio based stuff then I can see the purpose of it.   What about being nimble though?   It's really important.

  OK glad you mention the shoulder, because I have no idea how URSA is supposed to go on there...   The 10" flip screen is way too big to be used on the shoulder. It would be smack right in front of your face. So it is necessary to close the screen... then that blocks the control interface and 2nd screen, along with a bunch of physical buttons.   Not ideal.   OK it does have the saving grace of the right hand side panel and good for a second camera op whilst the shooter concentrates on getting the shot with an offset external EVF on the left.   I thought the point was you didn't have to add any bits?

This is a lot more than a Sony F55. This is more like Alexa territory. Guess it suits their market - broadcast, TV, cinema - but I am quite surprised they did not go more aggressive on price to counter Cinema EOS and Sony. ETA is not till Q4 2014.   Press release from Panasonic -   PANASONIC ANNOUNCES ProRes CODEC SUPPORT FOR VariCam 35 4K CAMERA/RECORDER    Strategic Alliance with Codex Digital to Develop High-Speed Uncompressed V-RAW Recorder for VariCam35 Also Disclosed    LAS VEGAS, NV (April 6, 2014) – Panasonic today revealed updates to its new VariCam 35 4K camera/recorder, including Apple ProRes 4444 and ProRes 422 HQ* support for HD recording, as well as a strategic product development alliance with Codex Digital to deliver a high-speed 4K uncompressed RAW recorder for the VariCam 35 camera.   “Given the prevalence of ProRes as a popular editing format within the production community, its inclusion in the VariCam 35 will position the new camera/recorder solidly within a well-established and widely accepted HD workflow,” said Steve Cooperman, Senior Product Manager, Panasonic System Communications Company of North America. (The ProRes codec component is licensed from ATOMOS Global Pty. Ltd., which has shipped ProRes recorders for years.)    Codex Digital, an industry leader in RAW recording and workflow, is working closely with Panasonic to develop a dedicated recorder that will capture uncompressed 4K VariCam RAW (V-RAW) at up to 120fps, bolstering the VariCam 35’s suitability for high-end cinema applications. The Codex V-RAW recorder will directly connect with Panasonic’s VariCam35 camera, eliminating cabling completely to facilitate greater efficiency and higher mobility.   VariCam 35 workflow scenarios will be previewed at NAB: Assimilate’s SCRATCH will demonstrate V-RAW debayering and grading workflow at Panaonic booth C3607, and Grass Valley’s EDIUS will show seamless AVC-Intra 4K editing at the Panasonic and Grass Valley (SL206) booths.    The VariCam 35 incorporates a newly-developed super 35mm MOS image sensor and Panasonic’s AVC-ULTRA family of video codecs. The new camera’s superb image handling in multiple formats including 4K, UHD, 2K and HD make it an unparalleled tool for high-end filmmaking, commercials and episodic production, as well as live 4K events.   With its innovative design, the 4K camera module (AU-V35C1) is separate but dockable to the recording module unit (AU-VREC1), which is also interchangeable with Panasonic’s new 2/3” camera module (AU-V23HS1). This system flexibility can be expanded with an umbilical cable between the s35mm 4K camera and the AVC-ULTRA recorder, providing “box” camera functionality for jibs, cranes and other “remote” camera needs. This common recorder module system enables professionals to switch between s35mm and 2/3” camera heads to best suit their creative needs.    “Evoking the VariCam heritage of gorgeous, cinematic image rendition, this VariCam 35 establishes new standards for 4K production,” said Cooperman. “With its expanse of formats ranging from flawless 4K RAW output to more practical 4K, UHD, 2K and HD capture, the VariCam 35 represents a matchless option for premier digital capture.”   The VariCam 35 utilizes a new Panasonic super 35mm MOS sensor for 4096 x 2160 (17:9) 4K image capture; this imager when combined with the AVC-ULTRA codecs for 4K enables very manageable and practical 4K production file sizes. The new imager boasts an impressive 14+ stops of latitude, and faithfully captures high-contrast, wide dynamic range imagery without compromise.    Powerful color management capabilities provide a much extended color gamut for impeccable image fidelity, and permit support for an Academy Color Encoding System (ACES) workflow for full fidelity mastering of original source material. The VariCam 35 also affords in-camera color grading.    To maximize the dynamic range of the recorded images, Panasonic has developed a new log curve (V-Log) which elegantly maps the 14+ stops of image data to the recorded file. The VariCam 35 permits the assignment of various LUTs to individual recording channels and camera outputs. For example, shoot UHD and record non-destructively with the V-Log LUT, but assign a ”baked-in” 709 LUT on the HD / proxy recording for editing. The camera’s monitor and EVF outputs have similar selectable LUT capabilities.    Among the camera/recorder’s top-level production features are real-time, high frame rate, variable speed 4K recording up to 120fps, providing the capability for master level 2K/HD recording, and advanced workflows with parallel simultaneous 4K/ UHD, reference 2K/HD and proxy recordings for in-camera on-set color grading and monitoring / editing ease. The camera also features a newly-developed OLED electronic viewfinder (EVF) with optical zoom functionality. Lastly, 24-bit LPCM audio is added for in-camera audio master recording.    The VariCam 35 will deliver an unprecedented breadth of recording formats, including 4K and UHD in AVC-ULTRA 4K, and 2K and 1080p HD in AVC-Intra 100/200** and ProRes. Addressing the need for high-speed file exchange, the camera encodes high-resolution proxy files in parallel with 4K and 2K production formats, enabling fast, efficient offline editing, at bit rates from 6 Mbps down to 1.5Mbps. Metadata management will also be available.   The VariCam 35 will use Panasonic’s new expressP2 card for high frame rate and 4K recording. The camera is equipped with a total of four memory card slots, two for expressP2 cards and two for microP2 cards. The new 256Gbyte expressP2 card can record up to 130 minutes of 4K/24p content. The microP2 card is designed for recording HD or 2K at more typical production frame rates.   Professional interfaces include: 3G-HD-SDI x4 for 4K QUAD output; an HD-SDI out for monitoring (down-converting from 4K); and two XLR inputs to record four channels of 24-bit, 48KHz audio. A multi-connector facilitates docking the camera head to the recording module. In another striking design innovation, the VariCam 35 boasts a removable control panel to facilitate real-time control and easy access when the camera is in a fixed position. The VariCam 35 features a standard 35mm PL mount.   The VariCam 35 will launch fall 2014, with a suggested list price under $60,000, including EVF.    For further information about Panasonic professional video products, visit www.panasonic.com/broadcast.   * The Apple ProRes format is licensed from Apple Inc.    **AVC-Intra200 is available only for FHD recording.

  720p for 120fps.

  Funny :) Now add 7.5KG + lenses. 10KG on your shoulder and 10" screen in your face. Ergonomics and Blackmagic don't mix do they?

The Ursa is like Blackmagic have acted on a satire and made it real.   It reminds me of that joke ENG box for DSLRs to make them look more 'professional'!

  Unless I fired myself, no it didn't.   And I'm a big fan of Blackmagic which you'd know if you had read EOSHD for more than 5 seconds.   I have done a lot to put Blackmagic in the spotlight. Recently put them in a major print magazine in the UK on every shelf.   Don't lecture me on my opinions... I'm entitled to them... and this camera is just not for me.

It's a divisive camera.   Probably no sure right or wrongs in this. It will work great for some people and for others not.   I still think the trend for cameras in general is to go smaller and lighter though.   Look at Red as they went from Red One to Epic. Look at Sony between F3 and F55. Canon between XL1 and C300.   Lots and lots of people want the convenience.   I just don't see how that iMac screen on the end of a hinge is going to hold up to rough & tumble / rental either.

It looks like the story of 2014 is taking shape in the form of 4K on high end mirrorless cameras. Last year for me it was raw on the 5D Mark III which excited me the most and before that it was the Blackmagic Cinema Camera. This year is more exciting on the tech and creative front than any I can remember. Let's look at exactly how the 4K shooting GH4 and A7S compare. Read the full article here

  In a perfect world? How about in the REAL world. We are talking basic functionality. Stuff that can kill you on a shoot and end up losing you your job. If you have a mega expensive unrepeatable shot ready to roll and the camera just cuts in the middle because the card is full without warning, I'd love for you to come back on the EOSHD forum and sing the praises of your £650 cinema camera.

  I honestly don't see it this way mate.   Trend is to go smaller and lighter.   This goes in complete opposite direction.   We already have the same 4K capabilities and likely even same sensor in the Production Camera. Rig a monitor up to that and you have Ursa without the bulk.   Also those ProRes HQ 4K files are virtually unmanageable when it comes to archiving footage. Be prepared to delete and compress a lot of master files if working with those. I am already dreading it with the A7S... And will be begging all the recorder manufacturers to come out with some lighter codecs for it.   The URSA doesn't suit me as a filmmaker but that's not to say I haven't considered the possibilities and who it WOULD suit.   I just don't think it's well conceptualised or designed to be honest. A massive heavy screen on a little hinge? A 7.5kg camera body? No thank you.   It smacks of greed to go after the production market before you have even satisfied the indie crowd... who are constantly asking for basic features and updates.   I'm afraid I don't be shooting any Blackmagic in 2014. What a shame.

Blackmagic are launching not none, not one but TWO new cameras at NAB 2014. One as you can see packs quite a punch with a quite revolutionary design. The aim of the URSA is to take all the accessories you'd normally rig onto a Blackmagic Cinema Camera and integrate them. That is a sensible idea. However the execution looks to have produced a 7.5KG monster. There's even an HDMI version of the URSA which has no sensor block or lens mount but a cradle on the front for any camera with HDMI output, such as the tiny Sony A7R. That would give you a full frame 4K URSA recording to CFast cards. However the URSA is aimed at a large crew, large scale productions and in doing so completely turns its back on Blackmagic's existing indie filmmaking user base. To make matters worse Blackmagic show no sign of any significant firmware update for the 3 existing cameras at NAB, which is what people REALLY wanted them to announce. Read the full article here

Some more pics here '?do=embed' frameborder='0' data-embedContent>>   Discussion continues on that thread :)   This announcement fills me with dread.

I can guarantee this announcement will not please any of Blackmagic's existing user base, unless backed up by some really good news in the form of significant firmware updates for the Cinema, Production and Pocket cameras plus Resolve 11. The latter is definitely coming and takes Resolve's editing capabilities up a notch. Read the full article here

Many in same boat as you, simply edit in 4K and deliver as 2K. Many benefits to it.   Difference is a click of a button and that is it.

  Not quite as clean as FS100 in low light but with some post processing you can get them pretty close to each other.   Shoot 4K on GH4, add noise reduction plugin, downscale to 1080p.

  It's currently so slow as to be of limited use but it does work.

I can guarantee that the internal XAVC-S 1080p from the A7S will not look as good as getting 1080p from the 4K output and doing your scaling in post with all that processing power available on your desktop.   8bit 4K 4:2:0 = 10bit 1080p 4444 remember. If the maths have complications and gotchas, the image to my eyes does not. The GH4's 4K looks like 10bit when you grade it and when you look at it on a 2K display. Gradations are smooth. Colour is fantastic. Sampling shows no signs of pixilation or jaggedness at 2K. At 1:1 at 4K you do see some aliasing and jaggies from 4:2:0 sampling. They disappear when scaled correctly to 1080p or 2K.

  4K = good 1080p.   So therefore you should care a lot Brian!

Raw or ProRes / Pocket Camera vs GH4 and A7S 4K is definitely a topic for a future blog post.   My feeling so far (based on the GH4) is that this compressed 8bit 4K stuff makes for very nice 2K and 1080p indeed, which looks every bit as good colour and dynamic range wise as the Blackmagics or raw on 5D Mark III.   Also GH4 in 4K has far less moire & aliasing than the Pocket Cinema Camera and BMCC, especially when downscaled to 2K.

Atomos have just sent me some info on their upcoming 4K recorder, primarily for use with the A7S and GH4. Read the full article here

A good idea to separate output and recording when speaking of HDMI and the external recorders.   So 8bit out to 10bit is still 8bit.

  Den or the Sony spec sheet? Who is right?   3840 × 2160(30p/24p) / 1920 × 1080(60p/24p) / 1920 × 1080(60i),YCbCr 4:2:2 8bit/ RGB 8bit

  Where's the source of the info please?   Good news if true.

  It will be as moire free as a JPEG still at full resolution. It reads out every pixel from the sensor in 4K video mode.