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Major Price Drop For The Ursa Mini Pro 12K


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5 hours ago, kye said:

If you can handle the form-factor.....

 

The URSA 12k highlights are pleasing as well as their transition to being blowout is smooth. Skin tone are nice, but the color grading was a bit too green at times for my tastes...

I like the full spectrum color rendering in day light. The sensor technology shows its advantages under the right conditions - full spectrum light if required to get the most out of this camera.

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On 12/26/2021 at 11:57 PM, bjohn said:

I'm not sure: they're marketing this camera mainly to cinematographers, most of whom aren't interested in full-frame as it's still not used much (relative to Super-35) in cinema, but agree that it would be more versatile and could appeal more to people working in other genres.

VENICE/FX9/FX5/LF(full size & Mini) are all proving to be very popular cameras being used by professionals.

So they haven't overtaken S35 (yet?), but still proving to be rather popular. 

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40 minutes ago, IronFilm said:

VENICE/FX9/FX5/LF(full size & Mini) are all proving to be very popular cameras being used by professionals.

So they haven't overtaken S35 (yet?), but still proving to be rather popular. 

Those are the standard these days IMO. If you look at films the old mini and older S35 alexas are barely used or mostly as B-Cam. The LF is the king these days and the Venice isn't far behind.

People love full frame so much that they'd buy something as unpractical as the Sigma FP to get full frame and RAW.

The URSA body size is great though. You can shoot much more stable handheld with something in the 5 pound body size. You lose that with the Komodo or FX6. XLR and ND's are also really nice, at least for the type of thing I do. The nice thing about the URSA is the crop is like 1.4x, so its actually not far off from full frame compared to like APSC 1.6 crop or micro 4/3 1.9

I am getting by with the 14 pound Classic, with an 80w power draw and no internal ND's though, definitely worth it. 🤣🤣

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53 minutes ago, TomTheDP said:

Those are the standard these days IMO. If you look at films the old mini and older S35 alexas are barely used or mostly as B-Cam. The LF is the king these days and the Venice isn't far behind.

In my world, the ARRI Mini is still much more common than either of the LFs are. Yesterday's TVC (promoting a big new show coming up) was shot on the original ARRI Mini. 

Although this weekend I'll be working on a documentary being shot on 2x Mini LF (but it's been a fair few months since I last worked with a Mini LF).

55 minutes ago, TomTheDP said:

I am getting by with the 14 pound Classic, with an 80w power draw and no internal ND's though, definitely worth it. 🤣🤣

Rather you than me! Think I'd rather go for at least an AMIRA, if I was crazy enough to buy an ARRI for myself. 

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25 minutes ago, IronFilm said:

In my world, the ARRI Mini is still much more common than either of the LFs are. Yesterday's TVC (promoting a big new show coming up) was shot on the original ARRI Mini. 

Although this weekend I'll be working on a documentary being shot on 2x Mini LF (but it's been a fair few months since I last worked with a Mini LF).

Rather you than me! Think I'd rather go for at least an AMIRA, if I was crazy enough to buy an ARRI for myself. 

Interesting. I was on a short and they opted to rent the Mini LF over the mini that the DP owned. I am guessing it was a good deal more expensive. Australia might be a bit different though. I would be content with the OG mini, but I feel like it doesn't carry the weight it used to anymore in the US.

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Ursa mini broadcast Mark 2 is a very interesting camera as well. The Pocket 6K in a Ursa mini pro body, with exchangeable mounts, such as b4 for the tasty broadcast zooms for 2/3inch sensors, EF and PL. UMP Pro 4.6 are getting into 2.5K USD region. Regarding image quality- I think a GH5 is pretty much all one needs for spectacular images and some love to develop passion, skills and art for the moving image. Just saying, because people are dissing the mft image, when it is indeed pretty spectacular. Getting off topic. Well..:)

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2 hours ago, TomTheDP said:

Interesting. I was on a short and they opted to rent the Mini LF over the mini that the DP owned. I am guessing it was a good deal more expensive.

Maybe they'd ran out of other ways to spend the short film's budget! haha

 

2 hours ago, TomTheDP said:

Australia might be a bit different though.

NZ!!

2 hours ago, TomTheDP said:

I would be content with the OG mini, but I feel like it doesn't carry the weight it used to anymore in the US.

The original ARRI S35 sensor has a little bit more life in it still, until the new ARRI S35 4K sensor comes out! (assuming it isn't a flop?? I presume they'll not hold back in making sure the transition over to their first new sensor is a major success)

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2 hours ago, IronFilm said:

Maybe they'd ran out of other ways to spend the short film's budget! haha

 

NZ!!

The original ARRI S35 sensor has a little bit more life in it still, until the new ARRI S35 4K sensor comes out! (assuming it isn't a flop?? I presume they'll not hold back in making sure the transition over to their first new sensor is a major success)

oops I am not sure why I thought you were in AU

Yeah I am waiting on that new ARRI, should be very interesting.

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2 hours ago, IronFilm said:

The original ARRI S35 sensor has a little bit more life in it still, until the new ARRI S35 4K sensor comes out! (assuming it isn't a flop?? I presume they'll not hold back in making sure the transition over to their first new sensor is a major success)

I can't remember where I saw it, but somewhere I saw someone from ARRI saying they have been working on the new sensor for years and had one ready to go years ago but the quality wasn't up to their standards and so they went back to R&D.  The message was that they weren't in any hurry (as they had 4K+ in the LF) and that quality is their highest priority.

It makes sense too - they could easily have released a 4K S35 sensor by now (or a decade ago) if quality wasn't their highest priority.

I think ARRI (and their IQ) pairing 4K (and instant Netflix approval) with S35 (and all the lenses that are out there) will be a very popular option.  It'll be the "safe" option in a world where 4K is a magical number for cameras (despite not being so for eyeballs).

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Feel that ARRI would have liked to have released their S35 4K camera a lot earlier if they could have. And that the ALEXA LF and Mini LF were simply stop gap measures aimed to stem the losses of productions switching over to RED/Sony/Panasonic because they had true 4K cameras and ARRI didn't.

I thought they were ready to go with their plans for a new S35 4K for last year or even the year before? As I remember ages ago, ARRI put out an announcement that it will be "next year".

But I presume covid and other hiccups has put their release plans on ice for a little while ago. 

 

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