Blackmagic URSA Mini Pro 12K Announced – Super35, Up to 12K 60FPS in BRAW

July 16th, 2020
Blackmagic URSA Mini Pro 12K Announced - Super35, Up to 12K 60FPS in BRAW

Blackmagic Design has just announced a new production camera – Blackmagic URSA Mini Pro 12K. It has a super35 sensor and shoots BRAW full-sensor readout in 12K up to 60fps, 8K up to 110fps, or 4K in super16 crop mode up to 220fps. Apart from internal dual CFast and SD UHS-II card slots, there is a USB-C connector for recording on external drives. The camera comes with a PL lens mount which is interchangeable to EF or F mount. There is internal ND filter as well. The URSA Mini Pro 12K will be available in July 2020 for $9,995.

New Blackmagic URSA Mini Pro 12K. Source: Blackmagic Design

After announcing “only” the new ATEM Mini Pro in their live stream in April, Blackmagic Design disappointed some of their customers waiting for a new camera. This time the company really announced a new camera – so let’s take a short look at it.

Blackmagic URSA Mini Pro 12K

In the live stream, Grant Petty first announced two new Video Assist 3G and new Ultra Studio Recorders 3G. Then he proceeded to a new camera and I have to say that I was surprised. He announced a new production camera – URSA Mini Pro with 12K video resolution.

12K resolution with 6K crop. Source: Blackmagic Design

The camera has a super35 sensor with 12,288 x 6,480 resolution and DCI 17:9 ratio. That is a ridiculous 80 megapixels in each frame. Grant Petty explained Blackmagic went for 12K so that filmmakers can easily reframe shots for 8K or 4K delivery. The ultra-high-resolution should also be useful for VFX and high-end green screen work. The sensor is brand new, it has a new color science, and according to Blackmagic Design, it is the first sensor designed especially for BRAW. BMD says the sensor has up to 14 stops of dynamic range.

New Blackmagic URSA Mini Pro 12K. Source: Blackmagic Design

From outside, the camera looks the same as older URSA models, but the internals is brand new according to Blackmagic Design. The camera comes with PL-mount but offers an interchangeable lens mount to Canon EF mount or Nikon F mount.

The sensor’s native resolution is 12K but it can record in lower resolution without crop and without binning as well. The supported full-sensor recording modes in Blackmagic RAW are as follows:

  • 12K up to 60fps
  • 8K (8192 x 4320) up to 110fps, 8192 x 3408 up to 140fps
  • 6K up to 110fps
  • 4K (4096 x 2160) up to 110fps full-sensor or up to 220fps in super16 crop mode

New Blackmagic URSA Mini Pro 12K. Source: Blackmagic Design

The camera has internal ND filters, Dual CFast card slots, Dual UHS-II SD card slots, 12G SDI output, and USB-C port for recording on external SSDs. An interesting feature is that the camera can record on two CFast or SD cards at the same time which offers up to 900MBps (500MBps for SD) recording speed. Dual card recording (called “Record RAW on 2 Cards”) means that every second frame gets saved on each card. If you lose one card, you still get a usable file, but with only half the frame rate.

Blackmagic RAW 12-bit format has been updated as well. There is a new film curve for BRAW – generation 5. BMD says it should offer better highlight roll-off, better skin tones, and more flexibility in post. Grant Petty also demonstrated how he edits the 12K footage on a laptop and in multi-cam mode on a Mac Pro. There are new Q1 and Q3 quality level settings and the new 18:1 constant bitrate setting.

New Blackmagic URSA Mini Pro 12K. Source: Blackmagic Design

The new Blackmagic URSA Mini Recorder lets users record 12-bit Blackmagic RAW files onto 2.5″ SSDs, including the latest U.2 NVMe Enterprise SSDs for data transfer speeds of up to 900 MBps. The recorder is designed to attach directly to the back of the URSA Mini Pro between the camera and the battery and it is controlled via the USB-C.

New Blackmagic URSA Mini Recorder. Source: Blackmagic Design

Pricing and Availability

BMD says they will first ship the camera to selected high-end DPs to get feedback from them and then it gets shipped to all other customers in few weeks. The price for the camera body will be $9,995. The URSA Mini Recorder will cost $395. The updates for DaVinci Resolve to work with 12K are coming soon. The camera, of course, includes a full version of the DaVinci Resolve Studio.

What do you think about the new Blackmagic URSA Mini Pro 12K? Let us know in the comments underneath the article.

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Daniel
Daniel
GuestJuly 16th, 2020

I love BM, but I rather would have seen a full frame 8K Camera in a lighter body, 16 bit RAW and 16+ Dynamic range. So many pixel on a small sensor? There is not a lot of glass who can ever resolve this resolution. The max they say is about 30 MP not 80. That’s why Canon and others come out with new glass.

 s saur
s saur
MemberJuly 16th, 2020

BlackMagic Raw, BRaw, is 12bit log, like Arri Raw, and when unpacked, in editing software, is 16bit.
The full-frame, lower resolution version is coming out.
The full sensor read out technology is the breakthrough here; it will be on smaller cameras soon. Also, the Gen5 color science.

Jilt Wilcomb
Jilt Wilcomb
GuestJuly 17th, 2020

Arri Raw is a real raw codec, unlike BM’s.

Eugenia L
MemberJuly 16th, 2020

I agree with you. This sensor seems to be (I assume) a 4x stitched cellphone censor. That’s why they are able to read the sensor so fast (because they read each one of these small sensors independently). They basically used the same trick as the Alexa LF, but with smaller sensors instead (Samsung manufactures these kinds of sensors btw). The best lenses we have today can resolve 12k, but only at around f/4, which is a little too stopped down for narrative cinematography. Wide open they will be hit by softness and aberrations and at f/8 onwards, with diffraction. Honestly, I don’t think anyone asked for 12k. This is the first big blunder from Blackmagic strategically-wise.

 Paul Corneille
Paul Corneille
MemberJuly 17th, 2020

Narrative cinematographer use most of the time f5.6 stop BS about DoF.

Eugenia L
Member1 day ago

When I wrote that comment above, the info wasn’t there about BMD designing their very own sensor (only that it was new, but it could have been any manufacturer).

wallard
wallard
GuestJuly 16th, 2020

No one bitching who actually understand what the sensor is.

New symmetrical color pattern, full RGB quality, NOT a Bayer pattern.

 Mercy Warhol
Mercy Warhol
MemberJuly 16th, 2020

not pixels.

Jilt Wilcomb
Jilt Wilcomb
GuestJuly 17th, 2020

Yep, although I disagree with full-frame. Full-frame is overly fussy to focus for motion-picture use and doesn’t match 35mm cinema.

BMD should have plowed resources into making a new sensor, but one that addresses its longstanding lack of LOW-LIGHT performance. BMD’s shadow performance has always sucked.

Another blunder may have been flange distance: If you can’t eventually adapt this thing to the growing population of lenses designed for mirrorless cameras, that’s a failure. Today you simply shouldn’t build a camera whose body makes it impossible to mount a lens with short flange distance. You can adapt the other direction (out), making just about any lens fair game with an adapter if you don’t mess up the design of the camera body.

Jan Hermann von Bayern
MemberJuly 16th, 2020

Quite interesting to see 9 layers of 12K video on a Mac Pro. Interesting how each camera manufacturer has their own path. Every year cameras get more amazing.

 Gray Anderson
Gray Anderson
MemberJuly 16th, 2020

honestly insane!

 David Ford
David Ford
MemberJuly 17th, 2020

I do find it crazy the amount of hate and bad wishes cameras have thrown at them (same sometimes goes the other way) despite not being released, nobody having actual hands-on experience and nobody really knowing how the footage performs and behaves. I think I’m safe in saying that if this camera came out and somehow looked more ‘filmic’ and detailed (whatever that’s supposed to mean) than the Alexa line, that people would start using it despite brand-name, resolution and any other technicality. Just to clarify I’m not sure that this is what will happen with this, the point is, don’t knock a camera until you’ve got actual hands-on evidence to!

I still deliver most of my work in 1080p but I can’t believe that 1080p will not become obsolete going into the future. The only reasons that I would possibly NOT want more resolution is firstly if will inhibit the image in some way (DR, Noise etc.), secondly is storage space and thirdly is computer processing ability. We can’t really know how much if at all it will impact on IQ, BM did say it’s a brand new way of structuring sensors but storage capacity and processing they have specifically addressed with BRAW. It isn’t like working with CDNG files anymore. I don’t know why anyone would turn down extra resolution if they didn’t incur a penalty???

The argument about not having lenses that resolve certain resolutions is a bit of a duff one as well. Unfortunately a lot of that is manufacturer marketing. Due to a lens being an analogue device, even the crummiest vintage lens will resolve 12k, of course it won’t be as sharp as a modern cine prime but it will still absolutely resolve the pixels. You didn’t watch the Joker thinking, wow what a shame only a few of those pixels are resolved on that vintage glass they’re using did you?!?

This is however where I might slip into the camp of agreeing that FF might have been a handy decision. I’m personally a S35 guy, I like the look and feel and compatibility with lens selection. However, if BM had gone to the FF region with this, it would have helped the camera to resolve more detail by being able to use more of the glass FF lenses. But… S35 is still a standard in feature film and the majority of lenses that I feature film might choose to shoot on will only have a S35 image circle.

I don’t think it’s wrong for people to realise that this camera might well not be for them but BM seem to strive very very hard to bring an amazing value proposition to the market. They’ve done it again with this URSA and I don’t think anyone should really be complaining about that?

 Gray Anderson
Gray Anderson
MemberJuly 16th, 2020

uh… is this a joke?

 s saur
s saur
MemberJuly 16th, 2020

The full-readout “symmetrical” sensor is amazing! Incredible how you can get full sensor at 12k, 8k, 6k and 4k, AND record in BRaw at every resolution. This is an amazing breakthrough! I don’t really need 12k, but the VFX team will love it. That’s also an insane amount of cropping in, if needed. I’m most excited about the Gen5 color science and how BlackMagic designed the sensor for DaVinci Resolve. I’m looking forward to seeing this camera tested with Arri Alexa LF footage, as well as, Canon C300iii. I suspect it’s a different look from Arri, but appears to be superior to C300iii. Some of the 12k footage did not look as organic as Ursa 4.6k G2 footage, but we need more tests, and will be renting this camera when available for my own tests.
I’m hoping this technology will find its way into the Pocket cameras; a Super35 Pocket4k, with this sensor design, would be a gift to all indie filmmakers.
BlackMagic gives us so much, for so little.

 Paul Corneille
Paul Corneille
MemberJuly 17th, 2020

VFX team here and we definitely love 12K ????

 alex dukay
alex dukay
MemberJuly 16th, 2020

AMAZING! – I will no longer shoot anything with my iPhone :)

Cinematic elements
Cinematic elements
GuestJuly 17th, 2020

I would love it if you could interview BlackMagic and discuss the incredible new technology in their (non-bayering) “symmetrical” sensor.
And how they are able to provide full sensor readout, in Raw at 12k, 8k, 6k and 4k, it’s like having 4 cameras in one. (https://t.co/ZuGGnuQmCb)

 Paul Corneille
Paul Corneille
MemberJuly 17th, 2020

One of the spec is that the sensors is capable of on-chip scale down resolution from the native 12k.
You don’t only get a full.sensor 4k but you get a 4k downsampletd from a 12k readout.

 Jon Collins
Jon Collins
MemberJuly 16th, 2020

Never have you seen so many student films in such high definition…

Christopher Dobey
MemberJuly 17th, 2020

Thank you BMD for pushing forward! given that an 8-core MacBook Pro can handle 12K BRAW but an 18-core iMac Pro can’t handle 5.9K Canon RAW (different types of compressed/uncompressed RAW yes) is impressive.

After watching the Seven Worlds, One Planet series in 4K HDR, I completely understand and see the benefits of filming in 8K and delivering in 4K (i.e. super sampling). So therefor the same goes for all 8K deliverables from here on out with the introduction of 8K TV’s and footage acquired in 12K. I must wonder though how dynamic range will be impacted with 12K crammed into a Super 35 sensor area.

Blackmagic if you’re listening – I’m still interested in a Full Frame 8K camera with a smaller ‘pocket’ type form factor : )

P.S. – Someone please slap a Zeiss Otus 85mm on the EF mount and see if all 12K can be resolved!

Timothy Crowe
Timothy Crowe
GuestJuly 16th, 2020

Man, I had to double check it’s not April 1st! This is just insane!

Steven
Steven
GuestJuly 16th, 2020

I would have rather heard that bm has solved the fixed pattern noise issues with the previous.

Jilt Wilcomb
Jilt Wilcomb
GuestJuly 17th, 2020

AMEN.

Chris Santucci
MemberJuly 17th, 2020

This is perfect for all that web content being produced.

 Paul Corneille
Paul Corneille
MemberJuly 17th, 2020

Is a camera for VFX studios not for YouTubers, yes VFX still exists we are not yet been replaced by any smartphone AI

 Henry Eckstein
Henry Eckstein
MemberJuly 17th, 2020

Actually, what we HAVE HERE is a 79.6 megapixel 60 fps BURST RATE sports, action, wildlife pro-level STILLS CAMERA that can get top end imagery good enough to be printed in National Geographic all for probably less than a fully kitted-out Canon 1Dx Mk3!

You ALSO NOW HAVE a 79.6 pro-level portraiture and landscape camera that’s getting into Phase-One/Hasselblad territory AND it can do video when you want or need it to!

If I was a modern sports/action/wildlife stills shooter, I would SERIOUSLY be looking at this camera to get my sidelines and goalkeeper action shots or wide landscapes or long-lens wild lion photos for PRINT and WEB use. Out of the 60 frames per second, I could EASILY find that perfect shot and do a simple colour grade for my magazine editors.

In fact, If Tokyo 2021 Olympics DOES go ahead, I might just use this VIDEO CAMERA as my main action sports stills camera!

All I need to make sure I do is use the best prime lenses or Sports Zooms I can afford! I would shoot at 1/400th to 1/2000th of a second shutter speed depending upon the sport at ISO 1600 or ISO 3200 and do a 12-bit down to 10-bit HDR colour grade right then and there at the venue on my laptop before sending off my favourite stills to UPI, AP, SI, etc. etc.

That two weeks will completely pay for the entire system right there!

V

Jacob Schuhle Lewis
Jacob Schuhle Lewis
GuestJuly 18th, 2020

Love black magic, but this is definitely not Phase One territory, or a good sports camera. The sensor in this is about 6 times smaller than medium format, in a package that weighs a few times more than a Hasselblad, even without the battery, Evf, etc. Oh and crappy autofocus.

 Henry Eckstein
Henry Eckstein
MemberJuly 19th, 2020

I haven’t shot autofocus in DECADES! It’s all manual iris, manual focus and servo zoom for me! The key to a GOOD SHOT is ALWAYS anticipating the action no matter the sport. I know its kinda not fair since I have 30+ years of both professional stills photography AND broadcast video experience BUT I can get good imagery with ANY camera be it an 8 megapixel decade old smartphone to a $100,000 medium digital or large format film kit!

 Wayne S
Wayne S
MemberJuly 22nd, 2020

:) I had an $80 hd fixed lens pocket cam I used to get nice footage on. .I might publish a short doco on riding ferries and trains using footage I shot on it one day. It was that nice. If you know what you are doing you can just get more out of a camera.

I was going to joke with Jacob about medium format people buying it for portrait photography, if they can find an adaptor :)

 Henry Eckstein
Henry Eckstein
Member14 days ago

Since you’re saving a TONNE of money vs a Hasselblad/Phase One, why not just go buy some Zeiss Otus series prime lenses (i.e. any one or all of the 28mm, 55mm, 85mm and 100 mm) which are ULTRA SHARP and FANTASTIC for portraiture and landscapes!

Of course they are ALL-MANUAL lenses (i.e. focus and iris) so you MUST know about HOW to properly use your ISO settings with the iris and use your MANUAL focus by ANTICIPATING when a subject will come into the frame properly in focus. This is where you use that 12K video camera and turn it into a 60 fps BURST RATE stills camera!

Blackmagic I think has delivered the FUTURE of STILLS PHOTOGRAPHY! Why pay $25,000+ US on a Phase One when I can buy this for $10,000 US and use the other $15,000 to buy BETTER LENSES !!! I can use my video/stills editing software’s computational photography algorithms to get SUPERB QUALITY out of those smaller sensors!

One of my friends has been using the old Canon 5DS (and earlier cameras!) to make stacked multi-image 500+ megapixel landscape photos that he prints onto actual cloth WALLPAPER which he has licenced to wallpaper manufacturers which can turn your bedrooms and living rooms into settings that look like you’re sleeping in the middle of a Swiss Alps alpine meadow or the middle of the African Savannah with the lions and zebras!

He has made a pretty penny out of that “job” for the last 10 years and this Blackmagic 12K camera will make that EVEN EASIER and CHEAPER to do in addition to getting actual higher image quality!

Kudos to Blackmagic!

THIS IS WHAT WE NEED NOW FROM BLACKMAGIC DESIGN:

Go make us an ultra Large 70mm by 48mm (3:2 aspect ratio) Medium Format Sensor DCI 8k 8192 by 5462 pixels (i.e. 44.7 megapixels) at 16 bits per colour channel (48 bit RGB colour) on a slightly larger Blackmagic Pocket Camera Body with a LARGER MORE POWERFUL BATTERY GRIP AND include a high-quality 50mm f/1.2 lens in the kit package for a decent price and WE WILL BUY IT !!!!

V

 Wayne S
Wayne S
MemberJuly 22nd, 2020

At last somebody who gets it. I imagine there might be a few medium format people around on the lookout for a speed booster. :)

 lawrence donaldson
lawrence donaldson
MemberJuly 16th, 2020

my eyes are watering,220fps 4k,dual,c fast,meaty specs indeed meantime bmpc 6k update anyone.

 alex dukay
alex dukay
MemberJuly 16th, 2020

AMAZING! I will no longer shoot with my iPhone

 Dan Hyman
Dan Hyman
MemberJuly 17th, 2020

I dont know. The proof will be in the footage. As many have stated, I would have loved to see a full frame sensor at 4, 6, or 8K, but maybe more pixels will produce a ridiculous image with tons of dynamic range. New color science is interesting, cant wait to see some skin tone footage and how the camera processes highlights and shadows. Either way, this camera will need a some serious storage for those shooting with it regularly.

 Henry Eckstein
Henry Eckstein
MemberJuly 19th, 2020

Actually, at super-35 size the photosite sensors will be so small the actual dynamic range will be quite low BUT so long you use a fast lens (f/1.2 to f/2.4 primes) and an ISO 1600 and below, you’re good to go! I would shoot full RAW and use Davinci Resolve to boost and get my colours and luminance levels just right without too much image noise. With an f/1.2 35mm prime lens my “Golden Hour” mountain landscape STILL PHOTOS (i.e. video frame grabs) will be STUNNING at 12-bit raw with this 12k camera.

Pretty much what Blackmagic has done is probably made one of the most versatile and inexpensive combined 80 megapixel STILL PHOTO CAMERA and 60 fps video camera ever made!

With the $15,000 I just saved over a Phase One camera, i can now buy me some AWESOME Leica Summilux or Zeiss Master Prime Cine Glass for my “Best-in-Class” prime lenses!

V

adam baker
adam baker
Guest12 days ago

This is a VIDEO camera.. not a Stills camera… You must not too much about photography and how video cameras work.. Theres something called the 180 degree rule and motion blue.. Look it up.. with photography, you shoot a lot of times to freeze action which eliminates motion blue.. Also w landscape and architectural photography you need to be able to freeze motion and also work with technical cameras like what u discuss about, it does angles and you can do a lot with technical camera and freeze the action.. typically your talking 1/48 of a sec shutter for 24p … you 2x frame rate.. so 60p = 1/120 and so on..

Cameras can shoot 1/4000 and 1/8000 of a second… For long exposure you need to keep it completely still.. Also this things is gonna weight prob 10+ lbs with lenses.. You might as well look into Large Format 4×5 analog FILM photography or 8×10 like Ansel Adams if you want high MPx shots.. Go look up 8×10 FILM shots… that will get you 1000 MPX prob.
IDK what it is but its very high..

What your talking bout makes no sense… Its a video cinematic camera under controlled lighting! it won’t be a low light beast… get a7siii for low light. GL..

Eugenia L
MemberJuly 17th, 2020

Could someone at Cinema5D redo the dynamic range tests on the BMPCC 4k to compare it with the new one? The new color science is backwards compatible with older BRAW cameras (like the BMPCC 4k), and it adds MASSIVE gains in terms of DR. Screenshots and videos here: https://forum.blackmagicdesign.com/viewtopic.php?f=2&t=117852
It also fixes the well known red oversaturation problems in neon colors (e.g. stop lights), and the yellow tint.

 Wayne S
Wayne S
MemberJuly 22nd, 2020

Good point Eugenia. As you know, I’ve been talking about ways to extend dynamic range on Dimitry’s threads a while ago. BM has started saying the same things. When doing it with this at 4k, it should be even more as the for colours act like four density filters. The actual dynamic range; of the sensor is 14 stops (probably reasonably clean), but that is not the range after filtering I Hope. There is mention of ND use on some pixels. The clues where there. If you listen to JB long enough clues seep through the cracks. He was not impressed by the use of ND filter tiles on chips, so obviously they were testing it. However, obviously there are things you can do.

The new colour science range on the 4k pocket is likely to be 15+ stops max. Silicon has around 17 stop range, but noise ruins it. Photo site size will not be the determining factor of range. You could design a one atom sensor to have beyond 40 stop range with my designs. Now, with highlight recovery, maybe be able to extend it further on the pocket.

Now. On this camera, I wonder if 20 stops is possible using all techniques on a low resolution. But I don’t know if BM gets this, even the Red guys don’t get it a lot of times, I find from personal experience.

Steve
Steve
GuestJuly 17th, 2020

Question….. Do the URSA cameras allow “tap to focus” via the touch screen or an external touch monitor when you attach a AF lens? I shoot on a gimbal and can focus that way on my Zcam E2 cinema Camara, but it only has 120 fps at 4K. I’d purchase this camera for the 8K high frame rates if it’s able to focus in this way. TIA

Mao Ruisen
Mao Ruisen
GuestJuly 19th, 2020

它依旧使用CFast2.0的卡,为什么不考虑更换CFExpress存储卡? It still uses CFast2.0 cards, why not consider replacing the CFExpress memory card?

 João Augusto Quint de Souza
João Augusto Quint de Souza
MemberJuly 19th, 2020

What a breakthrough in modern cinema cameras. Awesome!

 Wayne S
Wayne S
MemberJuly 22nd, 2020

For Gunther,

This camera may have a lot of latitude potential in lower resolutions as each tile colour is acting like a seperate ND filter. The whites probably allow better control of highlights and clouds, two of the biggest things. So, putting highlight recovery on a latitude test shooting at lower resolutions, and when downscaling should be interesting.

Note. The toning on Grant Petty’s face in the photo is in a lot of error. What was that shot on?

 Christopher O'Toole
Christopher O'Toole
MemberJuly 17th, 2020

Okay, this is stupid crazy! 12K!!!!! However, just how useful will this 12K be? Hollywood is still downresing the footage from the original resolution, to 2K to do VFX work and then upresing it to export so technically, 4K movies are only 2K. (For example, John Wick 3 Parabellum comes in 4K yet it was only shot in 3.2K).
So the only reason to shoot in 12K would be to do some pretty heavy cropping in but, there are so many things that would limit the usability to crop in post because of things like sensor size, glass etc. The frame rates are insane for the resolution but, you pay with a HUGE sensor crop. 4K in 220 FPS (Probably highest frame rate for 4K to hit the market except the phantoms) and yet, you have to crop all the way in to Super 16 to shoot in 4K p220! I agree with the comment down below, I would have much rather seen an 8K FF sensor than a 12K S35 sensor. Or for that matter, a 6K FF sensor.
Also, 14 stops of dynamic range? Come on! That’s old school. The new Canon EOS R5 can do that!

Now in saying all of this, I don’t mean to slander or belittle BMD. They’re a great company that is coming out with crazy technology. I just think that this camera is not as good as it first smacks to be.

 Jean-Claude Flaccomio
Jean-Claude Flaccomio
MemberJuly 18th, 2020

Why do you do this?!
Why not make a new native S35 sensor in 6k or 8k and especially in dual iso 800/4000 with 15/16 dynamics? simply !!!
In addition the cfast2 cards are too limiting on the G2 then on the 12K …
I do not understand very well … Not to mention the poor management of diffractions, the extremes in low light and high light … Too bad the G2 was not far, it was enough to upgrade to a new sensor, as was promised. ..

Andreas Schwarz
MemberJuly 17th, 2020

12K….perfect for vlogging! Resolution is so overrated these days…ARRI will release a 4K Kamera next year….thats, what is exiting!

Evan Brandt
Evan Brandt
GuestJuly 17th, 2020

You must not understand the technological impact this will have. This isn’t just a 12k camera. It’s also an 8k camera, 6k, and 4K.

Andreas Schwarz
MemberJuly 17th, 2020

Very dissapointing the direction BMD went in… I am afraid, they will fall behind the competition with other manufactors…..

Brian Hickey
Brian Hickey
GuestJuly 17th, 2020

The downsizing and re-framing is where this will shine… Not to mention it is now the fastest hi-res sports photography camera. blitz the record button for a second at high shutter speeds and you have 60 frames of 80 mpixel stills to select from … let alone amazing video too boot!

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