GEAR BLACKMAGIC URSA CINE 12K LF Cine 12K LF, will soon be available at just £5015/$5495 in a choice of L, PL or locking EF lens mounts. This uses the same body design as the 6K Pyxis, with a 12,288x8040-pixel full-frame RGBW sensor that offers 16 stops of dynamic range, dual CFexpress media slots, 10G Ethernet and Blackmagic Cloud global sync. For this sort of price, you must
really want the larger form factor and heft of the Ursa Cine 12K LF, and have the money to pay for it.
Production ready The Ursa Cine 12K LF is a solid
camera, a complete redesign of the older Ursa built for the needs of high- end productions – its monolithic, yet modular carbon-fibre polycarbonate chassis screams cinema production. The camera feels solid, industrial and production-ready. The camera has three high- brightness LCDs, with a large flip-out monitor on the right-hand side that has intuitive touchscreen control. The rear has another screen, and the left side of the camera holds a third large screen to give a full crew visibility of all settings at a glance. There’s also a welcome return to clearly labelled physical buttons – a major plus for DOPs working on fast- paced shoots. The camera is heavy, but it’s the kind of purposeful weight that makes it well balanced on large shoulder rigs and robust enough for crane or car-mount use. Thermal performance is bolstered by a new quad-fan active cooling system. The Ursa Cine 12K is made to run hard all day in hot environments without skipping a beat. Make no mistake, the star of the show is Blackmagic’s new full-frame 36x24mm RGBW sensor. With a native resolution of 12,288x6480 pixels, it captures 12K at up to 100fps, without sensor crop. That alone sets it apart from everything else on the market – even Red’s high-end models. Blackmagic’s custom RGBW design delivers high dynamic range, cleaner
colour roll-off is natural, especially in highlights. In DaVinci Resolve, the camera pairs beautifully with the workflow, allowing accurate monitoring on-set and a smooth grading experience in post. Cinematic looks made easy A combination of full-frame and large-aperture lenses delivers that cinematic look filmmakers are always chasing, with shallow depth-of-field, three-dimensionality and creamy bokeh. The Ursa sticks to its efficient Blackmagic Raw (BRAW) codec, which enables high-resolution capture at manageable bit rates. Multiple compression options, from Q0 to 18:1, offer flexibility for high-end finishing and proxy workflows. Colour and ISO adjustments can be made non- destructively in post using Resolve, which comes free with the camera.
colour separation and great low-light performance, with clean shadows and good tonality even at ISO 1600. The native ISO is rated at 800, with a dual-gain architecture pushing usable range beyond that. You’re looking at 16 stops of dynamic range, which in practice means incredible retention of highlight and shadow detail. The sensor supports full in- camera downsampling to 8K and 4K, maintaining a true large format look even when you don’t need 12K. Detail is incredible – even in crop modes. You could shoot an interview on a wide lens and punch in for close-ups without sacrificing image integrity. This could save you from needing a second body or B camera entirely. The Ursa Cine uses Blackmagic’s Generation 5 colour science, and it’s more than just marketing hype. Skin tones are nuanced and pleasing, while
HIGH QUALITY
The kit comes complete with a carbon rig and bright EVF that’s very easy to use
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PRO MOVIEMAKER
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