Oliver Daniel

I'm in two minds whether to actually change my URSA Mini 4.6k pre-order to a Sony FS5. They are much different cameras, but I think I'm getting bit of sense when thinking about this for business terms. 
For these reasons: 
Smaller, much lighter body. (constant shoulder cam on a long shoot really starts to hurt! Health matters). Can use the Sony FS5 with my lightweight grip gear - DJI Ronin M, Edelkrone Slider, Libec Tripod. (too small for URSA Mini).  Internal electronic ND means I don't need 100 step up/step rings/combos to put on a vari-ND on each lens.  240fps at 10bit - massive for music videos. (URSA is a worrying, windowed 3.4x 120fps. HFR is a MUST).  Much smaller file sizes (decent hard drives + backups cost a lot of money).  Much more reliable brand. Less likely to have weird issues on footage where money matters.  Very familiar with Sony video products and Slog2/3.  Much cheaper media.  Can record external RAW in future update. (might be a great way to "upgrade" the camera).  Put on a Speedbooster and also adapt all sorts of lenses. URSA Mini advantages:
Be able to produce much more spectacular images.  Much better colour science.  Rolling/Global Switchable - nice to have the option.  Larger screen and better EVF.  I'm wondering whether the benefits of the URSA Mini 4.6k are enough. The filmmaker says yes, the business person says no.

I'm in two minds whether to actually change my URSA Mini 4.6k pre-order to a Sony FS5. They are much different cameras, but I think I'm getting bit of sense when thinking about this for business terms. 
For these reasons: 
Smaller, much lighter body. (constant shoulder cam on a long shoot really starts to hurt! Health matters). Can use the Sony FS5 with my lightweight grip gear - DJI Ronin M, Edelkrone Slider, Libec Tripod. (too small for URSA Mini).  Internal electronic ND means I don't need 100 step up/step rings/combos to put on a vari-ND on each lens.  240fps at 10bit - massive for music videos. (URSA is a worrying, windowed 3.4x 120fps. HFR is a MUST).  Much smaller file sizes (decent hard drives + backups cost a lot of money).  Much more reliable brand. Less likely to have weird issues on footage where money matters.  Very familiar with Sony video products and Slog2/3.  Much cheaper media.  Can record external RAW in future update. (might be a great way to "upgrade" the camera).  Put on a Speedbooster and also adapt all sorts of lenses. URSA Mini advantages:
Be able to produce much more spectacular images.  Much better colour science.  Rolling/Global Switchable - nice to have the option.  Larger screen and better EVF.  I'm wondering whether the benefits of the URSA Mini 4.6k are enough. The filmmaker says yes, the business person says no.

I do my costs on day rate, whether it's only 3 hours or 10 hours. 
Pre-Production: estimated days to complete pre-shoot work. (treatment, references, locations, talent, equipment, shot lists etc).  Production: days to complete shooting schedule.  Post Production: estimated days to complete post work.  Within these costs, I add a 25% margin to cover the cost of business and a bit more for cushioning. I will also add an extra 2 days for post production amendments and advise the client that should they request anything above what was agreed, then that would be charged at day rate too. 
The amount that you charge really depends on the value/quality of your service, the expense of operating business and the project type

I do my costs on day rate, whether it's only 3 hours or 10 hours. 
Pre-Production: estimated days to complete pre-shoot work. (treatment, references, locations, talent, equipment, shot lists etc).  Production: days to complete shooting schedule.  Post Production: estimated days to complete post work.  Within these costs, I add a 25% margin to cover the cost of business and a bit more for cushioning. I will also add an extra 2 days for post production amendments and advise the client that should they request anything above what was agreed, then that would be charged at day rate too. 
The amount that you charge really depends on the value/quality of your service, the expense of operating business and the project type

I pre-ordered this camera because it ticks a lot of boxes for my type of work:
Beautiful image capabilities.  Global/Rolling switchable.  Ergonomic body.  High frame rates.  ProRes + Internal raw (master those money shots!) Very cost effective.  By the sounds of it, the viewfinder is meant to be a bargain. One of the best on the market for a competitively good price. 
However, I am concerned about these things so far: 
Supposed 3.4x crop on 120fps mode. Could be disappointing/annoying, but I hope not.  Data could be very costly to backup in the long run. BM cameras eat memory. Weight with lens and battery. Got to look after this back.  Reliability. (hopefully no weird issues like pink frames).  

Thought I'd at least bring a topic back to the top. My Chinese isn't great. 
REDuser is very biased, but no wonder as a lot of members have spent incredible amounts of money on their RED packages. They will naturally defend it. 
I have an URSA 4.6k on pre-order still, and I will keep it open in the time being. I just depends the way my market area will shift - I'm finding at the moment that music video production (like music releases) is just getting less and less, cheaper and cheaper (and other factors) which will force me to change business perspective. Come November, the most ideal camera for me might be an FS5. (the windowed 120fps on Mini is a major concern at 3.5x crop). 
99% of my commercial clients don't give a crap what you shoot on. I know for sure that I could invest in a RED Raven, market that I have one and reel bands in with my new spectacular shooting arsenal, but a factory farm of very low budget work filling up my schedule with endless shoots and little return isn't a good move. I'm basing myself on the ideas and service I can provide - with the technology secondary, focusing on the commercial sector. 
In a years time, (if investing) the Red Raven could be an expensive mistake or the holy grail of your business plan. The camera ultimately has to fit your business model, or you are basically p*ssing in the wind. It's not really about the best camera, it's what fits. The one that fits might not be your ideal choice. 

Thought I'd at least bring a topic back to the top. My Chinese isn't great. 
REDuser is very biased, but no wonder as a lot of members have spent incredible amounts of money on their RED packages. They will naturally defend it. 
I have an URSA 4.6k on pre-order still, and I will keep it open in the time being. I just depends the way my market area will shift - I'm finding at the moment that music video production (like music releases) is just getting less and less, cheaper and cheaper (and other factors) which will force me to change business perspective. Come November, the most ideal camera for me might be an FS5. (the windowed 120fps on Mini is a major concern at 3.5x crop). 
99% of my commercial clients don't give a crap what you shoot on. I know for sure that I could invest in a RED Raven, market that I have one and reel bands in with my new spectacular shooting arsenal, but a factory farm of very low budget work filling up my schedule with endless shoots and little return isn't a good move. I'm basing myself on the ideas and service I can provide - with the technology secondary, focusing on the commercial sector. 
In a years time, (if investing) the Red Raven could be an expensive mistake or the holy grail of your business plan. The camera ultimately has to fit your business model, or you are basically p*ssing in the wind. It's not really about the best camera, it's what fits. The one that fits might not be your ideal choice. 

I've heard ridiculous statements saying "URSA Mini is dead" since the announcement of the Raven. The Blackmagic still has great ergonomics, 1080p LCD, XLR's, full ProRes, non-proprietary media and a very affordable but high quality EVF and shoulder kit. 
My pre-order is still in place for the Mini, but I'm still open for options too. Apart from the RED badge, I'm yet to figure out how opting for the Raven over The Mini would be of any benefit. My clients never ask about the camera. Just the ideas. 

I agree. 
This camera would be much better with an MFT mount - the original EF mount BMCC was a nightmare for this reason. (crop factor with EF lenses). 
 
 
We'll find out more on Friday.
The big feature is the 4k 120fps, but I still think the URSA Mini 4.6k is very hard to beat because of the value you get with the package. Once you add ergonomics, the Raven will likely cost double, if not more. 
I'm very curious though because I'm in the market for a major new camera to film a combination of commercial and music video stuff. 

Sad answer: It's RED.

Fixed EF mount is a disastrous choice.  Infact the lack of m4/3 mount option from RED and BM on their Ursa is a mystery as well.  When you give users the ability to stick a SB ultra or SB XL on the camera you open up vast cost effective optical options.  A m4/3 to PL / oct19, oct19, etc etc adaptor would also allow use of cheap LOMO s35mm primes.
 
Exactly the same mistake BM made with the first cinema camera EF version.  Everyone wanted m4/3!   

The AJA Cion looks like a bit of a pain really. It's not going to get any better with the BM Ursa Mini knocking on our doors soon. Big flop? 
As for this Red Raven... I'm hoping it will AT LEAST come with a bomb disposal kit, or some kind of force field that comes out the sensor and protects us from killer drones at 120fps!

No probs.
I'm not sure if other users have experienced anything, although I think most shoot in XAVC-I, due to the lack of support from NLE's (I know FCPX now does). 
When I get the camera from the rental house, the previous user always has it set in Slog3/Cine-El and 4k 60p in XAVC-I, so it gives a good indication of what people are using the camera for. 

The severe issues are banding, macro-blocking and some kind of blotchy color stuff going on. Take note this is in Slog3/CineEl - I'm not sure if there are issues in other PP's.
In the latest instance, it was a female face. It was a very well lit face using daylight LED's. Her face was a cocktail macroblocking mess... like bits of magenta smeared with yellow. Tried many, many grades and all had the same issue. Various shots. 
Other times it's been detail in the highlights - lots of banding and macroblocking. Especially clouds, trees, anything hazy looking (like smoke). Also there's alot of fringing/smearing/fuzziness around some bright highlights, like someone has drawn round them with a crayon. 
The exact same compositions in XAVC-I have NONE of these issues. Just flat-out fantastic and very clean. 
I've shot XAVC-L in 1080p on FS7 too. I've not really seen any issues that I recall. I'm not sure if that is camera-related or the conditions in which I filmed. 
Personally I think the FS5 looks great, but should do some tests before to see if these image issues can be avoided (or see if they are there at all). 

Yes, it should be very close. Probably identical in XAVC-L. 
The biggest difference is that the FS7 shoots in XAVC-I, and it's vastly superior!!
The form factor of the FS5 looks awesome though. It's hard to ignore this camera. 

True - best trying it out yourself before judging other peoples work, although that URSA 4.6k aesthetic has something very special about it.
I'm also very surprised at the content they put in these launch videos - surely they can come up with something better? Throw them into real projects for commercial, narrative, music video and documentary instead of filming a bunch of bushes, trees and people doing literally nothing. 
 
 

Curious - just looked at the launch videos. 
I like to be constructive, but those launch videos were absolutely terrible. They sold me on the form factor, but not the image. The grading in particular was like a thrown up fruit salad. 

Curious - just looked at the launch videos. 
I like to be constructive, but those launch videos were absolutely terrible. They sold me on the form factor, but not the image. The grading in particular was like a thrown up fruit salad. 

Hopefully they have a top handle solution so I don't have to try and rig that thing.

I'm very, very impressed with what I've shot on the RX10 II. I've just finished shooting a Christmas music video - all on the RX10 II. 
Slog2 is a great profile (when tweaked in the camera settings) and the picture quality under controlled lighting conditions looks really great. 
100p is impressing me more, now I've got more practice with the lens, focusing and the peaking. 
Other than that it's great fun, delivers great results and shouldn't be ignored. 

True. 
I'm shooting on the F55 tomorrow. Lucky menu day!!
So the recent rumours suggest it has the "A7S" sensor... so the groundbreaking part is a camcorder with high sensitivity? I'm guessing they would exclude 4k 60p and have the highest frame rates at 100p in HD. 
It would also be interesting if it was 10 bit. There has been talk on this forum lately saying there is hardly any difference with 10bit vs 8bit. From what I've seen from my recent tests on the FS7 codecs - there is a MASSIVE difference. 8bit codec highlights in some shots had banding galore, heavy macro blocking and a mess of colour information - whereas the 10bit codec was clean and could be pushed around much, much more. 
My judgement of the A7S' low light ability is that it comes with very serious issues if used for professional work - mostly due to the sick cocktail of colour and the awful amount of noise, plus loss of resolution. The sensor in a more powerful, video-centric body might improve on this. We'll see eh! 

True. 
I'm shooting on the F55 tomorrow. Lucky menu day!!
So the recent rumours suggest it has the "A7S" sensor... so the groundbreaking part is a camcorder with high sensitivity? I'm guessing they would exclude 4k 60p and have the highest frame rates at 100p in HD. 
It would also be interesting if it was 10 bit. There has been talk on this forum lately saying there is hardly any difference with 10bit vs 8bit. From what I've seen from my recent tests on the FS7 codecs - there is a MASSIVE difference. 8bit codec highlights in some shots had banding galore, heavy macro blocking and a mess of colour information - whereas the 10bit codec was clean and could be pushed around much, much more. 
My judgement of the A7S' low light ability is that it comes with very serious issues if used for professional work - mostly due to the sick cocktail of colour and the awful amount of noise, plus loss of resolution. The sensor in a more powerful, video-centric body might improve on this. We'll see eh! 

As a chronic sufferer of being a pre-order warrior, I can't wait to get my hands on the URSA Mini 4.6k. Some friends have said I shouldn't wait and just get an FS7, but I don't mind waiting a bit. My gut says it's going to be a monster. 
In case you missed it: http://noamkroll.com/chatting-about-the-new-4-6k-ursa-sensor-more-with-dan-may-president-of-blackmagic-design/

Here's this I shot on the sony f3 and fs700.  
And now more and more reason to rejoice -the fs700 and f3 price drops to now around 1k used - cheaper than the NX1 or A7S and better sensor, better motion, and it is such great news - thank you latest and greatest technology.  Because I still think there is a lot of magic to be had from what you can do with the f3 and fs700 - and save yourself $3000 that you can put towards lenses or other things.
The march to newer and newer technology makes the old stuff so much cheaper and with the same results.

Have you thought about hiring a proper anamorphic for the day? Worth checking out rental places to see if budget will stretch?
These 5 pages of flare tests is a good resource:
https://vimeo.com/mkcine/videos/page:1/sort:date
Most vintage Russain lenses flare really well, just off the charts - but you've got the 2 really good ones.
The other Russain lens that is worth getting is the Helios 40-2 85mm f1.5; swirly bokeh like you've never seen & when stopped down has this star-like bokeh - if you like photography as well, its a must have lens. They sell brand new versions now, so you know you're getting a mint version (£200-300). Just Google "Helios 40-2 Bokeh" & you'll see what i mean.
If memory serves well, the Super-Takumars (is that what you meant by Ashai Pentax?) flare pretty nicely (not the SMC versions) with or without anamorphic attachments - 55mm f1.8 is always worth a pop (cheaper than the f1.4 version & just as good).
Meyer-Optik Gorlitz Trioplan (silver version) 100mm f2.8 - produces soap bubble bokeh, crazy shit! Really expensive ATM, if you can find one, but there is a Kickstarter campaign to start making them again:
http://petapixel.com/2015/07/10/trioplan-100mm-f2-8-rebirth-will-bring-soap-bubble-bokeh-to-modern-cameras/