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After 6+ months of use on various projects, here are the impressions on the Blackmagic Design Ursa Mini Pro cinema camera from two Ursa Mini Pro shooters: My brother Cary Judd and me. This is not a traditional in-depth review, but more of our overall impressions.
The wide shot of both of us was done with the Panasonic GH5 and the two single shots were shot on Ursa Mini Pro.
Find Cary Judd at https://www.facebook.com/thewormholeboise/
Links to gear discussed and used to record this session:
Ursa Mini Pro Cinema Camera (body only)
Ursa Viewfinder (we didn’t talk about this but I really like this viewfinder - clear, clean image with effective focus peaking, false color, and zoom buttons)
Ursa Mini Pro SSD Recorder (allows you to record to standard, affordable 2.5” SSD drives)
Anton Bauer 90Wh Battery (about 2 hours of life with viewfinder and SSD recorder)
V-mount Battery (Same as above but with a different mounting mechanism for cameras)
Sigma 24-70mm f/2.8 OS ART Lens (used on the single shot of Cary on my Ursa Mini Pro)
Panasonic GH5 (used to shoot the wide interview shots and product shots)
Panasonic 12-35mm f/2.8 Lens
Copyright 2017 by Curtis Judd
Ethics statement: Some of the links above are Amazon.com, B&H Photo, or other affiliate links.
Sorry about the hats. I did not intend for them to be as big a distraction as they are to many viewers. I was cold and they hid our lavalier microphones but also managed to divert many viewers attention from the topic of the Ursa Mini Pro. Lesson learned.
The hats are fine. The only tiny problem I have is with the orange things you have hung on the back wall. They are red on the close ups ! You can't talk about a camera designed for color grading and don't do a little of it yourself :p
Thanks for the review, that was a lot of great info. One hat would have been no problem, your brother was pulling it off, but i get it that your sound wouldnt have been as good , but think the lesson learned for filmmakers is about production design and is it helping to tell your story or distracting
Great summary! I was shooting on the ursa mini this week and have been blown away by how sharp the images are (especially compared to a dslr). Is this because for HD the camera does a full sensor read out and then down samples? Do any dslrs do this (e.g. The upcoming z6)? The images really are so much more detailed (in colour too, of course!), but I generally hugely prefer the nimbleness of a dslr...
@Curtis Judd very useful to know! The detail you get is really incredible - looks like a whole other resolution! I'm guessing it's too early to say whether the nikon Z series do this though? I have nikon glass and am resisting a switch!
Good questions. I believe that the Ursa Mini (and pro) goes into a windowed mode when shooting HD meaning it does not use the entire sensor but does a full readout of a portion of the sensor. Many of the older DSLRs do funky line skipping which can definitely result in moire issues and potentially some softness as well. The GH series from Panasonic and many of the Sony alpha cameras read out the entire sensor.
For those who don't know. Moiré patterns are the extra lines and patterns that appear when you have two similar, but slightly different patterns laid on top of each other. if you put the word moiré patterns into YouTube you'll get a video from Tom Scott that explains it a lot better
I bought an Ursa Mini Pro last December and have come across a strange sensor issue. I first noticed strange vertical lines in my mid day skies on some shots. Contacted BMD, they asked me to shoot a properly exposed clip at 4.6k Uncompressed raw to see if its a sensor issue or just compression artifacts. And when they received the clips they agreed something was wrong and asked me to ship it back. after a week of them trying to fix it they told me they couldn't fix it so they sent me a new one. Second one arrived I tested it, same issue. I went trough the process again and they noticed that indeed there was some artifacts. They guided me through a process of doing a thorough sensor calibration, warming up the camera for about an hour with the bodycap on and running a sensor calibration. It helped but the lines were still there and worst in prores and a strange band of light magenta on the bottom of the image. They then agreed to take it in for inspection and I shipped it to them. After another week they said they improved the image and they shipped it back to me. I got it back and the vetical lines were worse. After another week of going through the same process they sent a strange generic response of how the camera is performing within expectation and that FPN is normal when pushing dark images. Funny thing is that every frame they got from me was of bright day light sky and never anything dark. I asked them what dark images they were talking about and asked for them to help me fix the issue or find a solution because I had lost an important client because of this issue and I had just bought the camera new 5 months ago. As of now I have been dealing with this for over 4 months and Blackmagic Design is now just ignoring the problem and just giving me the run around. After begging, literally by email, they agreed to replace the camera once again and i haev a feeling that if the new camera has the same issue they are most certainly going to just say that its working as intended instead of just admitting to this as a sensor issue, like the first Production 4k camera fiasco about FPN that was denied and ignored until enough people voiced their frustration and they finally admitted that it is in fact the sensor and not user error.
here is a small sample of the first Ursa mini Pro I had.
Shoot outside, blue sky, native Iso( recommended by BMD), expose a little to the right( recommended by BMD), apply BMD 4.6k 709 Lut( recommended by BMD), and adjust color and contrast to your liking and 8 out of 10 chances are that you'll see vertical FPN in your sky and acording to BMD its within spec.
Second Ursa Mini Pro( i have a ton of examples of the second one, this was a quick one I did for the UMP group in Facebook)
In conclusion with an Ursa Mini Pro/4.6k: Be cautious with your darks, be cautious with your mid-to-highs , expose to the right always, and hope you don't have a defective sensor/have it within "spec"
Hello Dr. Sharma, The Ursa Mini Pro does not have a continuous autofocus feature at all. You can press a hold a focus button and it takes 3-5 seconds while the lens grinds and hunts for focus. It really was designed as a more traditional cinema camera where manual focus pulling is the expectation. I have not used the broadcast version of the camera so I’m not sure how it works in terms of focus. For industry leading autofocus and face tracking, I’d recommend looking at the Canon C200 or C300 series of cameras. Best wishes!
Thank You for your prompt reply.
1. Does that mean that it won't lock on to the subject?
2. There is Ursa broadcast version out? Is that better, since I am planing to do more live workshops in future.
3. Since most of my work is live workshops or sometimes I shoot for my vlog on my own, do you recommend buying a URSA. If not, what would be your recommendation for a good video camera that I can use for at least a couple of years.
Thank You for your time. I appreciate your work.
Would you recommend buying or would buy an ursa mini pro 4.6k if you need one now over all others including c200?
I am also looking into good used Blackmagic production camera 4k until BMPCC 4K comes out.
Of course BM cannot compare with C200 or others for auto focus and low light but for everything else ursa mini pro looks great.
I have seen people shoot weddings and other events and features regularly very successfully with ursa mini pro.
For its price, features, ergonomics and video quality ursa mini pro seems great.
I returned my GH5S due to limitation of codecs and autofocus issues at its price point.
Thank you again very much Curtis.
I'll reconsider GH5S and check out more stuff on UM and production 4k. C200 would have been perfect for the price if it had internal 10 bit 422 and prores etc and twin cfast card slots for back up. Also am looking into FS7 1.
UMP still all the way for price, features, quality etc with a little help of external lighting.
Thanks & Regards.
I don't have first hand experience with the 4K production camera so I'm not sure. As far as low light is concerned, I usually light in my work so it isn't an issue for me. But if your only option was to work with whatever light was already there, then yes, I would expect to run into some pretty noisy results.
A Panasonic GH5s is worth considering for event work. Definitely less expensive on its own, but can be outfitted with an ATOMOS recorder to get the ProRes codecs and it does internal 4:2:2 10-bit. The only thing you'd give up is raw and the larger super35 sensor size.
Thanks very much Curtis
I really like the UMP but people advice against it for events mainly due to its low light and autofocusing issues other than that it's definitely a great cinema camcorder with great codecs and ssd recording. Does it really suffer in low light?
Sorry but one last advice if you can, would you consider a good used Blackmagic production camera 4k for now for some events and music as well as narrative films instead of buying expensive UMP or c200 etc?
Would it be a decent choice?
Thanks again Curtis.
Hi Amit, for shooting events, I would prefer the C200 or FS5mkII. The Ursa Mini Pro isn't very "mini" once it is rigged out. The beauty of the C200 and FS5 is that you can operate them handheld with a very minimal build out. Then of course they can also be used for narrative film.
That being said, I don't do a lot of event, on-the-shoulder work so the UMP fits nicely. I do mostly educational and corporate work so I've almost always got the camera on sticks. Love the codecs and recording to SSD. The option to shoot RAW is, of course, quite useful though not something I do all the time.
So for me, the decision would come down to what one shoots most often. If events, I'd probably want to rent a C200 or FS5 just to see how that works.
On the other hand, if you like to combine your workouts with shooting events, the UMP could be a great choice. ;-)
Curtis Judd Hello and thanks very much for your kind and quick reply.
I have watched many comparison videos between UMP and c200 and read on forums and now fs5 ii is coming up as well as you mentioned.
I really like the UMP mainly due to its special film like look and codecs and ssd recording etc. I'll be using either of these cameras for events as well as for feature films and music videos and I have also preordered the upcoming BMPCC 4K.
I believe c200 yet don't have 10 bit 422 internally but I like it's build quality and size mainly it's low light and autofocusing capabilities.
For price, features etc I still think UMP might be better but then I need your advice as you are a pro on this topic with lots of experience.
Out of these 3 and others, for feature films and events which one would you buy and why?
Thanks again very much for your time.
Thanks for this video! Did you shoot this video on two Ursa Minis? I'm curious (not criticizing) why the color was so different between the two. The angled shot seemed to capture the reds better. The 2-shot seemed too cyan, with a hint of green. Very helpful information in this video.
Thanks Remus. Which term would you recommend in lieu of "Run 'n gun?" I agree that it is not my favorite term but seems to be used widely amongst camera operators. I'd prefer a term that is more accurate and less colloquial.
As for the stocking hats, I'm sorry. It was not my intention for these to become as big a distraction as they evidently have.
Nice explanation of BMUMP! Stocking hats are a bad look. I think 'run and gun' is a messy term. Everyone uses it who make camera vids/reviews/tutorials. The problem is its not well-defined and it sounds fadish. Love your reviews!!
The beanies (stocking hats) make my head itch just looking at them. Chicks hat them. Wearing a stocking hat indoors is like wearing a condom when ur walking ot work. run-n-gun as a phrase has had its day and that day was 2005. Its vague and wierd. We're not 'gunning'. I've nothing against 2nd amendment but we're capturing images, not shooting bullets.
Hi Joseph, I assume you are asking about the SSD recorder add on and where to find it? If so, B&H has it here: https://bhpho.to/2Cs5eNP
If you are asking how to configure the SSD recorder, it is a matter of first attaching it to the Ursa Mini Pro (the screws are torx, not allen/hex). Then you connect the two cameras. Then on the camera's screen, you select the SSD recorder as the card to record to. Best wishes!
First let me say that I am by no means unhappy with the Ursa Mini Pro like every camera, it has its weaknesses. First let me outline those and then explain why the C200 might have been a better option for my particular circumstances. Weaknesses:
- While it's name is "Mini", the UMP is anything but mini once it is kitted out. It is not light weight either.
- While the UMP has a lower price on the body, once you add a viewfinder, you're in the same price range as the C200.
- Not great in low light and only goes to ISO 1600. This is sort of a hot-button topic and I usually light for my shoots so it is not generally an issue for me. But on the rare occasion that I do need a little more ISO, it would be nice to have it and avoid the rare, but somewhat unpredictable noise that results at ISO 1600.
- Burns through batteries. I get 4 hours on a 150wH Anton Bauer whereas my friend Jacob gets about the same time on a much, much smaller proprietary Canon battery.
- I like the Canon color science better than the UMP color science in most cases. This is highly subjective
The C200 is much smaller and quite a bit lighter. I have found over time that I very rarely need raw. In some respects that makes the UMP a better option, but I'm betting that for many of the day-to-day jobs I do, even the low bitrate Canon codec would be enough and the raw light is there for those special shots where I need more latitude and control over the image.
The UMP is better suited for shoulder shooting but I have also found that I rarely ever need to do that for my work. Having a smaller camera I could hold in my hands would work just as well or even better.
I'm not trying to suggest that one of these cameras is better than the other because I don't think that's the case, it is more a matter of finding which fits your projects and workflow better than the other, which factors are highest priority for you, etc.
I hope that gives some context...
For the record, in talking with Cary, I'm pretty sure he would still choose the UMP for his work shooting music videos and in the context of his post workflow.
I am obviously new to Raw recording. So let me ask, Is it possible to shoot in Raw at a lower resolution, say HD 1080, on either the UMP or Canon C200 in order to minimize file size for projects that you want the grading capabilities of Raw but may not need 4K? Is this possible? Would this be a silly waste or would it be a proper idea?
Thanks. You are greatly helping me understand the capabilities of the cameras I am considering. Though I started as a film shooter and still own my 16mm Aaton, I've been shooting mostly Canon DSLR lately and am trying to figure which camera might best allow me to expand my potential market. I'd like to be able to move from Facebook/web vids to Corporate, Commercials, Music Vids etc. Trying to avoid ending up with another paperweight like my Aaton. I guess every piece of gear becomes obsolete sooner or later.
One of the better "reviews" of the UMP I have enjoyed so far. Did I understand from this that you can record raw on the SSD and simultaneously record proxy files on the SD cards? other quality Pro Res on the SD?
Hi John, thanks. No, the UMP is not capable presently of recording separate proxy files at the same time it records raw or ProRes, unfortunately. This is not a good camera for proxy workflow unless you don't mind making the proxies from raw or ProRes in post before the edit.
Question: If you get the big LCD "studio monitor" (or whatever they call that gizmo), can that do everything the "eyepiece viewer" accessory supports? Also, does one or both of them let you view the image magnified 4x or more so you can absolutely, positively get perfect focus?
Hello there, loved your impressions. I'm kind of new to cinematography and I was wondering if you could answer a question. I understand that with this camera a lot of the work is done post production, at least to get it to a cinematic look.
But when you say its not that great for low light, do you mean it would be a bad camera for lets say a horror/vampire/night movie or are you saying that as long as you step it up on the lighting department and do your due diligence, you'll be alright?
My take is that if you light, this camera does great, even for low-key work like in a horror movie. When most people talk about "low light performance," they often talking about situations where they just use existing light in a place where there isn't much light at all. You can still get a very dark look if you light properly.
Thanks Curtis, great video. One issue I have not yet been able to sort out on my Ursa Mini Pro is working to a fixed line level audio input. For those who don’t know, Mic inputs on the Pro allow levels to be adjusted (as you would expect) but for some reason line level inputs (like from an audio mixer) are fixed and cannot be adjusted. This has my sound man pulling his hair out when he sends a tone and cant balance it! Any thoughts on this as I know you work a lot with sound?
Hi Si, Let me do some experimenting when I have a little time. I'm generally using the inputs as AES digital in where this is not an issue. That's the ideal solution but I understand that some mixers don't have digital output options.
Agree on all fronts. And looking at the amount I earn from my jobs, a $6000 camera body was about the sweet spot to ensure I actually make some money rather than just pay for gear. I'd like to say that lenses and audio gear and lighting is a much better place to invest, with the camera falling to priority just below these. The truth is that I've actually done that on the lighting and audio gear front, but I haven't spend as much on lenses (still shooting with a full complement of very old, manual aperture Nikon lenses and one EF mount Sigma photo zoom). That's why you haven't seen any Curtis Judd lens reviews. :) My experience is that it'll be tough to get 8 years from a camera. Even my 2.5 year old Panasonic needed a repair that involved sending it to Texas for 8 weeks.
From my point of view, you can expect the most service years from the following in this order. Things closer to the top are probably better investments in terms of years of service vs price paid (assuming you buy pro and not consumer grade):
2) lenses (assuming mounts don't change or can be adapted)
2.5) audio recorders
3) Wireless audio gear
4) cameras - these break earlier than the others and technology is moving a lot faster here than with the others
The more I look at cinema rigs, from the camera to the lenses to the rigging and to the audio, not to mention the batteries, data storage (and processing), and lights, the more the camera seems like just a part of a modular system, i.e., if you can start out with a good plan. Otherwise, you're constantly changing stuff you should hopefully only have to buy once, mistakes or evolution aside. And considering how fast technology is changing, it seems that if you can get five to eight years from the camera, you're ahead of the game. Hence, isn't the cost of the camera more a matter of amortization than "how much" in isolation, especially considering how much extra work one camera may cause over another? Also, I don't think you've ever done a video on lenses. It would be interesting to hear your philosophy on the question of whether it's wiser to spend more on the camera or the lenses.
Great Review, but I think in todays camera, Technology is here for low light, and all video camera should function at the top, its like having a phone with only one camera on the front. when all phones have camera on the front and back in today Tech.
I understand but also note that with high ISO there are engineering tradeoffs. Arri Alexa doesn't do great at high ISO and despite that DP's on features and TV shows use them again and again because of the other qualities of the picture they produce (dynamic range, color quality, highlight rolloff, etc.) That's why most DPs have NOT switched to shooting with Sony A7sII as their primary cameras (though many of them are happy to use them for certain shots).
I'm looking into upgrading to a new camera from my Nikon D610. Would love the Ursa Mini Pro but my budget is only $4000. I was looking at the Nikon D850 or Panasonic GH5 or would you save up for the Ursa mini pro?. Can you give me any suggestions on stepping up to a 4k camera to shoot a feature film. I have a set of Nikon AIS lenses (28mm, 50mm, 85mm, 105mm). I respect your opinion on which route would you take if you was in my shoes?
Hi Staylo, That's a tough call. You've identified 3 very different cameras with different sensor sizes. I'd probably go for the GH5 and that's coming from an owner of the D750, Ursa Mini Pro, and GH5. I'd scratch the UMP due to cost ($6000 is the base cost and you'll still need batteries, media, adapter, possibly shoulder rig, cinema/eng tripod quick release, etc.) I'd scratch the D850 from an ergonomics point of view and use the D610 for shots where I want the full-frame sensor look (i.e., "beauty and hero shots"). The GH5 with an adapter for those AiS lenses can produce some very nice pictures. Best wishes!
+Curtis Judd......Meanwhile I could use some winter. it was 43 celsius (109.4 fahrenheit) the other day....and may be even hotter these coming days (not a good time to be a sony user, I have my umbrella on hand......for the sun though, not the rain). thanks for the great video BTW
re editing in Resolve/something else... what did you edit in? FCP? If so what do you think of the new 10.4 colour system? Would that mean you wouldn't round trip to resolve? If you even did that? Maybe a video on how you edit, on what, and why? Happy New Year, BTW!
Might be worth checking 10.4 as the new colour wheels and grading just got much better in FCPX. You can now use LUTS easily in FCPX, too. Might save a lot of faffing around round tripping! ALTHOUGH.... there does seem to be an anomaly with it. See Simon Ubsdell's YT channel for info on an oddity with the new colour correction tools...https://www.youtube.com/watch?v=8lU35F1Q2Q4 and then the follow up.
Hi Tim, I still mostly edit with FCPX. For short pieces, I usually grade in Resolve, output to ProRes, then cut in FCPX. That's just for short pieces where I generally just have one take of the main storyline and B-roll. I generally only color the main storyline in Resolve. Then in the final edit, I'll do a final color pass using Color Finale in FCPX. Happy new year!
Hey guys, I've been overly enjoying this camera for a few months now. Great video, well said. I would like to comment on the "low light" matter. An other guy said in his video "There is a difference between "low light" and "no light."" I tried the Ursa mini pro at night outside with only the street lamps or in the park with the solar lamps - no issues with this camera. In the park i even had one ND filter up by mistake, forgot to take it off. The noise you might get is very well cleaned with Resolve. I recommend this camera to anyone who is contemplating over it. Forget Sony FS7, RED Raven or whatever... Upwards of this the next stop maybe is an Amira and that is many times the price. :)
Hi Simon, I did consider RED for a short time, but was too much for my budget. There is a link to a review of the audio inputs I did in the upper right corner of the video. Since then I have also used the AES feature of the inputs which is an amazing feature if you've got a mixer with AES digital output. I am able to get Sound Devices sound quality directly into the UMP without any syncing in post!
I'm on my second viewfinder and my second lcd screen with my Ursa Mini Pro. Obviously there is a quality control issue with these cameras. Image quality is superb. I had the same screen issue with mine, and they said they replaced the lcd. I haven't had the problem since. My experience with customer service was not so great this last time (the lcd screen). I was without a camera for two weeks. I asked for a loaner while they were fixing mine and they said no. It also cost me $100 in shipping with the insurance. Not happy about that at all.
Hi Curtis, thanks for your amazing videos. I have a question. What’s the best video exporting setting for pal 25 fps 576*720? I shooting HD 1080*1920 59.94 fps. Is the target bit rate in premiere some to do with the quality?
Ah, there's the issue: Converting from 59.94 to 25 will stutter because the conform is not evenly divisible. You want to look into tutorials on how to conform from 59.94 to 25 fps. I'm not familiar with the intricacies or even possibilities of making that clean and smooth. Best wishes!
Curtis Judd ، the original footage is very smooth it’s 59.94 fps but when exporting to PAL the problems starts to happen. Thanks for your time and tips, it really helps a lot. I learned a lot from you.
Hi Edmond, yes, the target and max bitrates place limits on the quality. It depends on how much action there is in the footage. If it is more of a talking head or interview type of piece where the camera isn't moving, you could go with a fairly low target and max and still get good results. I would experiement starting with 10mbps.
Hi Allen, I mounted the mics to our foreheads near the hairline using Rycote Stickies and then pull the hats over the mics. My favorite place to hide lavs because it makes them into tiny, self booming mics. Sounds better than mounting on the chest in most cases.
Hi Curtis. Excellent insights! I debated between this camera and the C100 mkII after the price drop. I've heard some concerns about the Ursa Mini Pro outside of controlled conditions and I ultimately went with the Canon for its versatility. But it sounds like the Ursa produces some wonderful images.
With that being the case, what do you personally prefer: a camera that can do a little bit of everything like the C100 or a camera like this that can produce some wonderful cinematic images?
Hi David, thanks! I prefer a camera that efficiently and elegantly works in the type of shooting the owner does. If one needs autofocus as a priority, the Canons will undoubtedly be a better choice. For me, working with ProRes is central to my corporate video workflow. The AES digital inputs for sound and timecode inputs also fit my audio priorities so they were factors too. I have been tempted a thousand times to add a C100mkII to my kit and may still! But either way, I think it comes down to the shooter’s priorities and projects. They’re both great cameras.
Hi Kenneth, we each wore a lavalier microphone under our hats at the top of the forehead. Mine was a Voice Technologies VT500, Cary's was a Sanken COS-11D. Both were transmitted wirelessly with Sennheiser G3 systems to a Sound Devices 633. Links below for details. Thanks for asking!
Voice Technologies VT500 Lavalier: https://bhpho.to/2zyUfAo
Sanken COS-11D Lavalier: https://bhpho.to/2Biex11
Sennheiser G3 Wireless kit: https://bhpho.to/2Bif3w2
Sound Devices 633 Recorder/Mixer: http://bit.ly/2tEHGRa
I can’t for the life of me remember if we added any lights. That’s the audio room at the Wormhole and it has two east facing 4’x6’ frosted windows. I get a few hours in the late morning/early afternoon that make for great light conditions.
Curtis, did we end up using any extra lights?
I am also experiencing random LCD freezes since the last two updates. I have 2 UMPro's, one sometimes freezes completely and a power down and letting it cool is the only fix. Not funny on set. Will RMA, but still love the cam.
This kind of freeks me out . I have a video Productions company (just started) . We do live music videos and do takes also. But if a camera started (stopping) from over heating it would ruin the shoot.
Hey Curtis fantastic overview! But tell me how you got those Anton Bauer G90 batteries to charge, I recently bought them and none of my chargers can change them. Anton Bauer sold me a firmware chip assuring me that's all I needed for my twin charger and nothing. Do I need the newer Anton Bauer performance charger or something?
I though it was interesting when you described colour adjustment at the end of the vid- Personally I'm not a fan of LUTs, and have no problem working with "milky" looking log footage. I tend to use (read "always" use) a colour chart when slating, and shoot in S-log (or even the Technicolor Log if shooting with a DSLR); then the first thing I do in Resolve is correct with the chart to get what I call "Really-real-reality". I find it very fast, and the results are stunning, every single time. After that I'm doing colour-correction to either correct/balance the look, or to adjust the mood of the piece. I've yet to hear about anyone using this kind of workflow, but I seem to get amazing results with it. Did I mention it's fast? ;) Any thoughts?
Hi Ross, I only use the LUT to manage the color transforms. I still do all the grading to optimize the lift, gamma, and gain, etc. Using a color chart is another way to do it that is completely legitimate though doesn't necessarily take into account all of the color science and non-linear transforms of the camera being used. That said, I do it sometimes as well and it can be a nice complement to using the stock LUT to manage the color transforms: https://youtu.be/xJjY3Djj0Wg
Thanks! I added a link to a separate piece where I evaluated the microphone inputs. The analogue preamps are noisy but the fact that the inputs also support AES digital in is very useful. I can use my Sound Devices 633 to do the heavy lift and then send a digital AES signal to the Ursa Mini Pro to record with picture. Very nice.
Considering how Blackmagic focused on features and ergonomics going from the Mini to the Pro, would simple ergonomic and feature changes you discussed be enough for you to want to upgrade from your current setup assuming all specs stay the same. Usually, people don't make the switch unless there are sensor or software specs that justify the cost of switching, but since Blackmagic seems to be settling on what they are already offering, what would be the tipping point for you that would tempt you to upgrade?
Fine question Jesse. I don't know since I did NOT buy the Mini but waited for the Pro. Actually, I was waiting for the C100mkIII but when the Pro was announced, decided to go for it.
Whether ergonomics alone would be enough to upgrade, I think that depends on how much those features are worth to a particular shooter and how much one could sell their original Mini for. I opted NOT to buy the Mini because it would have been too time consuming to shoot with for my particular type of work. The Pro solved most of those problems for me.
Sechskies Eun Ji Won and rookie singers Lee Soo Hyun and Kim Eun Bi performed the third OST single titled "Love Song". The rookies, who are both training to debut in HYWY Entertainments girl group HYWY Girls, joined the veteran to sing about falling in love with an unlikely person. The rhythmic medium temp track is the perfect tune to make your spring days even brighter.
As a child, there was a portrait in our family home in Paris that I always loved. Today, it’s known as Maya with Doll – but to me it was just a portrait of my mother, albeit a remarkable one. “Your grandfather was a painter,” she would say, whenever the subject of the canvas, one of many that hung around the house, came up in discussion. It was only when I began school, and whispers about my heritage started to follow me, that I realised what an understatement that was. My grandfather was far more than a painter. He was the defining figure of 20th-century art – and, as I would learn later from years of academic study, a true genius. It was a revelation that would shape the course of my life in many ways. When Picasso died – in 1973, the year before I was born – he left behind 45,000 works, not to mention personal objects and correspondence.