Thread: Blackmagicís URSA Broadcast: a S16mm Camera?

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  1. #1 Blackmagicís URSA Broadcast: a S16mm Camera? 
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    I know that the subject has already been discussed and some say all the good of this camera for a super 16 use. However, every time I look at the image of this camera, I find that the picture is bad. It's as if the sensor used came from a low-end stock. The image seems imprecise or cloudy, the colors are reminiscent of magazine ads when offset printing was not successful ... It's a shame because I'm still looking for a super 16 camera with a better resolution and better ergonomics to replace my BMMCC but I can not find. When will we have a real Ursa mini pro super 16 or at least a BMMCC g2 with a 2,8k sensor and 13 stops?

    https://www.provideocoalition.com/hi...-s16mm-camera/
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  2. #2  
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    IMO, many of the people who use this camera use HD broadcast lenses with it which limit the true potential of this system.

    Obviously that's how it's mostly meant to be used, but if you take off the B4 lens mount and put an EF, PL or F mount on it (it's a shame they never offered us a MFT mount) and use high-quality glass (and shoot 4K), you'll see a major difference.
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    What NorBro said, you need to put a good lens on the camera. I put PL mount on mine, and mounted a Duclos Tokina 11-16 Cine Zoom, works very nicely, as do my S16 Cine prime lenses.

    A MFT mount was not offered, as it would have required a different body with a much shorter FFD. The B4, PL, EF and Nikon mounts are all close in FFD measurements, and the existing Ursa Mini Pro body was used to keep the cost down.
    Cheers
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    Well, I'm talking specifically about this video which is showed as exemple of "how Blackmagic Ursa Broadcast is nice" with a super 16 Canon 8-64 zoom and PL mount.

    https://vimeo.com/349670159

    The author says "On separate shoots, I used a vintage Canon 8-64mm zoom and vintage S16mm prime lenses. The two types of lenses gave me two different looks and I took away a new tool to put into my tool belt. Check out the video of the URSA Broadcast and Super 16mm prime lenses above. I shot this all in UHD on Cinema DNGs."

    On this legendary cinema lens. Yes, legendary. I mean, if the lens is good enough for “Hurt Locker” it is good enough for me. I tested this lens in a more controlled environment. When a shooter wants flare the Canon 8-64mm can deliver a clearly definitive vintage vibe.

    When lens flare is not present then fringing is what you need to be watching for when using an older lens like the Canon 8-64mm. In my short test, and my longer experience with the Canon on other cameras, is this lens produced a fair amount of fringing. In a photo, this is easy to fix in Adobe Lightroom. In video, not quite as easy. So be aware."

    What's so strange because I used several times a Canon super 16 zoom 11,5-138 with a BMPCC and I never had this problem of "fringing". My image is much better, the comparison is absolutely impossible. Which makes me think that it is the camera sensor and not the lens that is the problem. When I look for other examples of film made by this camera, I find nothing in term of fiction.
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    Quote Originally Posted by bmpcc_bel View Post
    I know that the subject has already been discussed and some say all the good of this camera for a super 16 use. However, every time I look at the image of this camera, I find that the picture is bad. It's as if the sensor used came from a low-end stock. The image seems imprecise or cloudy, the colors are reminiscent of magazine ads when offset printing was not successful ...

    I highly recommend to watch "Resolution Demo Part 1 and 2" by Steve Yedlin.
    http://yedlin.net/ResDemo/

    At a certain point (high DR range, 4k resolution) all digital cameras just become a "Pixel Data collecting machine".
    So much can be don in grading (with raw footage, with high Dynamic Range).
    Bad Color Science can be a problem in consumer cameras like Canon, Sony, Panasonic. Baked
    in an 8bit ot 10bit file. But if you have 13, 14 stops dynamic range and raw you can match RED, ARRI and Blakcmagic
    pretty easy. No matter if it is BMMCC, Pocket 4K or URSA Mini.
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  6. #6  
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    Quote Originally Posted by S_Berger View Post
    I highly recommend to watch "Resolution Demo Part 1 and 2" by Steve Yedlin.
    http://yedlin.net/ResDemo/

    At a certain point (high DR range, 4k resolution) all digital cameras just become a "Pixel Data collecting machine".
    So much can be don in grading (with raw footage, with high Dynamic Range).
    Bad Color Science can be a problem in consumer cameras like Canon, Sony, Panasonic. Baked
    in an 8bit ot 10bit file. But if you have 13, 14 stops dynamic range and raw you can match RED, ARRI and Blakcmagic
    pretty easy. No matter if it is BMMCC, Pocket 4K or URSA Mini.
    Yep, I agree with you. That's why I think the problem IS the camera itself: BM Ursa Broadcast has only 12 stops of DR and probably a poor sensor inside. I've never find any exemple of good image with this camera. If anyone own this?

    Btw I've already seen this vidťo by Steve Yedlin, anyway very interesting. But I higly doubt he will obtain same comparaison with this BMD Ursa Broadcast...
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  7. #7  
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    In this video, we can see the bad image & color quality of this camera (beginning at 2:10): image is fringing with a strange blue/purple line around objects...

    https://www.youtube.com/watch?v=KV6TXTbPq1U
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    " I've never find any exemple of good image with this camera."

    followed by a weird example of strange blue color fringing footage. I see it, too.... but I donīt know what is going on there. Maybe some broadcast problems.

    After your "never find any example of good footage" I am out. Here and on VIMEO / youtube you can see 1000 of great examples
    done with ALL Blackmagic cameras. URSA, Old Pocket, BMMCC, and so on. You have to know the limits of those cameras.
    Moire with the old pocket and BMMCC and that it is not "true 1080p" (photosites). But you can get great images with it.
    IF you have problems... well maybe choose a RED or ARRI or whatever. I am out.
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  9. #9  
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    Quote Originally Posted by bmpcc_bel View Post
    Well, I'm talking specifically about this video which is showed as exemple of "how Blackmagic Ursa Broadcast is nice" with a super 16 Canon 8-64 zoom and PL mount.

    https://vimeo.com/349670159

    The author says "On separate shoots, I used a vintage Canon 8-64mm zoom and vintage S16mm prime lenses. The two types of lenses gave me two different looks and I took away a new tool to put into my tool belt. Check out the video of the URSA Broadcast and Super 16mm prime lenses above. I shot this all in UHD on Cinema DNGs."

    In video, not quite as easy. So be aware."

    What's so strange because I used several times a Canon super 16 zoom 11,5-138 with a BMPCC and I never had this problem of "fringing". My image is much better, the comparison is absolutely impossible. Which makes me think that it is the camera sensor and not the lens that is the problem. When I look for other examples of film made by this camera, I find nothing in term of fiction.
    I dont know what you are seeing there bud, but to me this footage looks lovely. Beauty is in the eye of the beholder. I'll take an UMB no problem. OK it is somewhat difficult now with the UMP G2 performing so well, but different cameras for different lenses really. If S16 is your kink I dont know what other digital camera other than an D16 is worthy of our beautiful S16 glass that some of us are keen on.
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  10. #10  
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    After your "never find any example of good footage" I am out. Here and on VIMEO / youtube you can see 1000 of great examples
    done with ALL Blackmagic cameras. URSA, Old Pocket, BMMCC, and so on. You have to know the limits of those cameras.
    Moire with the old pocket and BMMCC and that it is not "true 1080p" (photosites). But you can get great images with it.
    IF you have problems... well maybe choose a RED or ARRI or whatever. I am out.
    Hum. Yes, that's the subject of my question: is the Blackmagic Ursa Broadcast a super 16 camera? I looked in vain for an example of a super 16 film shot with the BM Ursa Broadcast and I did not find it. That's why I ask humbly. I suppose that everyone who has read the subject will have also understood that when we talk about "super film 16", it is not only a question of sensor size but especially of the cinematographic aspect of the image. What I have not found yet. But I don't despair that someone shows me among the 1000 great examples of film made by the BM Ursa Broadcast, a successful example of super 16 film rendering. Because if it's really a super 16 camera like BMPCC/BMMC and D16, maybe I'll buy this BM Ursa Broadcast.
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