When the new URSA Mini Pro 4.6K G2 arrived at the cinema5D office this summer, we were quite curious to see if the lab results would show a difference as Blackmagic Design claims in their official press release that, “the second generation URSA Mini Pro features fully redesigned electronics and a new Super 35mm 4.6K HDR image sensor”. Also, we wanted to see how it fares in our latitude test versus the first generation URSA Mini Pro 4.6K G1. Curious to see the results? Read on… Last year when we tested the predecessor to the current G2, the UMP 4.6k G1 in ProRes and BRAW, we (back then) got the second-highest dynamic range result ever: 12.5 stops in ProRes, 12.6 stops for BRAW (for a signal to noise ratio of 2). See our article from December 2018 here. So, is the new G2 going to set a new standard in our lab? Read on for our results – also, please have a look at how we test dynamic range here. The test was performed in June 2019 – so I have to apologize to you, our readers that I didn’t publish it earlier. But, better late than never. Also, back this summer we hadn’t established our rolling shutter test yet, so this value is, therefore, missing in our results. Before the dynamic range test, I let the UMP G2 warm-up for 15 minutes and then performed the “black shading” sensor calibration with the lens cap on. The firmware version was 6.4. 4.6K G2 ProRes XQ ISO 800 Dynamic Range Results As a first step, I analyzed the 4.6k ProRes XQ dynamic range. At ISO800 the UMP 4.6K G2 comes in with a strong 12.6 stops of dynamic range at a signal to noise ratio of 2 according to our IMATEST analysis (13.5 stops at a signal to noise ratio of 1). This is almost exactly the same result that I got with the previous generation UMP 4.6K in December, within 0.1 stops. IMATEST dynamic range result of the URSA Mini Pro 4.6K G2 using ProRes XQ at ISO800. 12.6 stops are calculated for a signal to noise ratio of 2. The waveform plot below of the XYLA21 stepchart visually reveals about 12 stops above the noise floor. As can be seen, the noise floor looks quite clean, hinting at some form of noise reduction. Waveform plot of the XYLA21 stepchart URSA Mini Pro 4.6K G2 using ProRes XQ at ISO800. 12 stops can be identified above the noise floor. 4.6K G2 BRAW Dynamic Range Results Now, there is a little issue with BRAW and our standardized testing workflow, as we usually try to avoid any 3rd party software when extracting keyframes for our IMATEST analysis (other than ffmpeg) to avoid any kind of manipulation/influence of this software to the image. With BRAW this philosophy doesn’t work, as we have to use DaVinci Resolve to develop the files. ISO 800 BRAW constant bitrate 3:1 4.6K scaled to UHD Now, using ISO800 yielded 12.1 stops at a signal to noise ratio of 2 (13.2 stops for SNR = 1). Quite interestingly, this is about half a stop lower than the result we got on the UMP 4.6K tests in December last year. It seems that BLACKMAGIC decided for BRAW on the G2 to leave the image relatively untouched (whereas in ProRes a slight internal noise reduction seems to be present in the files – this is also the case for the BRAW UMP 4.6K files from last year). The same situation was found with the BMPCC4k when we initially tested it – also here, the ProRes files showed a higher DR than the RAW (CDNG in our tests). As our intention is to test the untouched files straight off the camera, we are not processing the BRAW files further, hence we will use the ProRes result instead. In general, as more and more raw capable cameras are hitting the market, we have to think about how we should test the raw modes. Of course, you can push around the BRAW files in post heavily – using noise reduction, for example, cleans up the lower stops nicely and highlight recovery would be another possibility to squeeze out even more dynamic range. For now, we rate the URSA Mini Pro G2 4.6K with a dynamic range of 12.6 stops at a signal to noise ratio of 2  (as its predecessor, the UMP 4.6K).   Latitude test of the URSA Mini Pro 4.6K G2 versus G1 Latitude, not to be confused with dynamic range, is the capability of a camera to retain color and detail when over- or underexposing the image. You can also view it as the margin a camera allows for exposure error. Hence, when testing dynamic range we basically set a threshold for acceptable noise (the signal to noise ratio of 2) whereas for latitude tests we judge how well a camera retains the colors and overall image quality. Which is subjective of course, as we do not have a mathematical procedure behind it (like IMATEST for the DR measurements). Latitude test setup with the URSA Mini Pro G1, G2, and the Panasonic S1 which we tested in the same run as well (you can directly compare the results to the URSA Mini’s by clicking here) Studio Setup For this test, we set up our cameras at the cinema5D studio as depicted above. We managed to put the UMP 4.6K G1 and G2 cameras quite close side by side. Camera Setup and color grade: Using waveform monitors, the skin (Johnnie) was exposed to a max. 60% luma value on the waveform, the white sheet of paper was around 65 on all three cameras. For all cameras this resulted in a starting point as follows: shutter 1/25, ISO 800 (640 for the Panasonic S1) f4.0 All cams were set to record UHD 25fps, both the UMP’s were recording 4.6K which was scaled in post-production to UHD. On both URSA’s (G1 with firmware 6.2 and G2 with firmware 6.4) we used the same Sigma 18-35mm f1.8 lens recording internal 4.6K BRAW constant bitrate 3:1. Both cams were allowed to warm up for 15mins, then a black shading (sensor calibration) was performed with the lens cap on. The color checker in the image was used to set the base grade (using the respective tool in Davinci Resolve) and deliberately, the same color grading settings were used on both cams to show differences (the G2 would have needed a higher tint value to begin with). Test procedure Starting with zero relative exposure, we set both URSAs to record, and successively reduced the exposure by increasing the shutter speed from 1/25th to 1/50th, then 1/100th , 1/200th then 1/500th and finally 1/1000th. Resulting in 0, 1, 2, 3, 4 1/3, 5 1/3 stops of underexposure. You might ask why 1/500th was used instead of 1/400th, well, the UMP’s don’t provide that shutter value – I should have used shutter angle instead. Next time. Then in postproduction using DaVinci Resolve I pushed up the underexposure by the exact value in the camera RAW tab for both the URSA’s. Results: URSA Mini Pro 4.6K G2 To give you an idea of how underexposed the images were, see below two images from the setup from the URSA G2 – the first one at zero settings, the second one at 5 1/3 stops underexposed. URSA Mini Pro 4.6K G2 at the zero studio setting URSA Mini Pro 4.6K at 5 1/3 stops underexposure Now, let’s push the massively underexposed UMP G2 image back to zero. URSA Mini Pro 4.6K G2 5 1/3 underexposed image pushed back to zero. Also, spatial and temporal noise reduction was applied (3 frames temporal, threshold 30 and spatial threshold 15). Unusable, as the vertical stripes cannot be removed by noise reduction. Ok, it looks like we went too far. URSA Mini Pro 4.6K G1 vs G2 Now, let’s look at the UMP G1 side by side to the new G2. In general, we can say that both cams start to show vertical stripes in the image, which become problematic at 3 stops of underexposure. The G1 starts to become pinkish, whereas the G2 becomes more and more greenish the more you underexpose. URSA Mini Pro 4.6K G1 vs. G2 at 3 stops underexposure. At the cusp of being usable, unfortunately, because of the vertical stripes. The G2 behaves a tad better in my opinion but becomes greenish. Not that it would make any sense, but here is another image from both cams at 4 1/3 stops of underexposure for your reference: URSA Mini Pro G1 and G2 at 4 1/3 stops underexposure, pushed back to zero using the camera raw tab in DaVinci Resolve. Not usable. Summary The URSA Mini Pro 4.6K G2 shows a strong 12.6 stops dynamic range reading at a signal to noise ratio of 2 – a really good value! But what we learn from this test as well is that you have to be careful when shooting underexposed – the vertical stripes can easily ruin your image already at 3 stops under. Are you shooting with any of the cameras mentioned in this article? What are your experiences? Let us know in the comments below.

Blackmagic Design have sent out invitations via email and posted teasers on social media inviting people to a live stream of “a press conference showing our latest camera and post production technology” today. What’s behind this Blackmagic Live Stream? Blackmagic Live Stream. Photo credit: Blackmagic While we don’t know what to expect from this Blackmagic Live Stream, one can presume that DaVinci Resolve 13 is a likely candidate for announcement, given that their invite specifically mentions their professional post-production software. There is, however, surprisingly little  information in the wild about this press conference. Some rumours have started circulating about a 4K update to their MFT Pocket Cinema Camera, with the addition of an H.265 codec. All we know is that we can’t wait to tune in and find out what Blackmagic have up their sleeves. Local times indicated below, to see what they have in store for us. Leave me your guesses in the comments below, and let’s see who gets it right! Los Angeles 12:00 pm PST Thursday 2nd March 2017 New York 3:00 pm EST Thursday 2nd March 2017 London 8:00 pm GMT Thursday 2nd March 2017 Tokyo 5:00 am JST Friday 3rd March 2017 Sydney 7:00 am AEDT Friday 3rd March 2017

The Blackmagic Design URSA Mini Firmware 4.0 is finally available for download as a public beta, and we were lucky enough to download and install it on both our 4.6K and 4K URSAs before its official release. This massive yet FREE update was first announced during NAB 2016, and will allow users to control their camera in a more precise and intuitive way. By the time you read this news piece, Sebastian will have already arrived in Switzerland and performed his first test flying the URSA Mini 4.6K on the new DJI M600 drone.  We managed to update the camera just before his departure, although we encountered some difficulties and needed 3 attempts on 3 different computers in order to succeed. (I can confirm that the problem was due to a faulty USB connector. Blackmagic Design sent us a replacement camera and the update went without a snitch.) Interestingly, the process was very straight forward with the URSA Mini 4K. Please share your experience with us in case you’re having some troubles too. Moving on, kudos to Blackmagic Design’s software developers for managing to create a neat and clear user interface which almost makes you believe you have a brand new camera to play with. The new layout is nice and logical, with very easy access to all major parameters. The new Heads Up Display includes most if not all settings needed for daily operation, saving the camera operator so much time from fiddling with the menu. As the list of improvements is very long and we could have dozens of pictures to demonstrate those changes, I’ll leave you to read what is new (see below) and urge anyone who has the URSA Mini to download the update and experience the (Black) magic by themselves. If you are a professional working with the URSA Mini in either 4K or 4.6K, don’t forget to share your experience working with the new firmware with us. Your feedback counts and will be shared with the relevant people at Blackmagic Design. To get the new Blackmagic Design URSA Mini Firmware 4.0 public beta, please click here. HIGHLY RECOMMENDED!  Blackmagic Design URSA Mini Firmware 4.0 Features Here is the full list of what’s new in Blackmagic Camera Setup 4.0 Public Beta for URSA Mini 4.6K and 4K:  Blackmagic URSA Mini 4.6K and 4K  • New URSA Mini OS. • New heads up display. • New menu system to allow faster operation. • New monitoring options separately configurable for different SDI outputs. • Added ability to load 3D LUTs (Look Up Table) for monitoring. • Added ability to save and load camera settings presets. New Heads Up Display Features • Swipe up or down to show and hide the heads up display. • Added pan-able focus zoom. • Added ability to change frame rate directly from heads up display. • Added ability to change iris from heads up display on electronic lenses. • Added ability to toggle timecode or duration from heads up display. • Added ability to toggle favorite off-speed frame rate quickly. • Added ability to change shutter angle from heads up display. • Added flicker free shutter angle suggestions. • Added manual shutter angle option for up to 2 decimal places. • Added indicators for genlock, timecode status, and sensor window in heads up display. • Added ability to change ISO from heads up display. • Added ability to change white balance from heads up display. • Added white balance presets including daylight, tungsten, fluorescent, mixed lighting, and overcast. • Added tint control. • Added auto white balance feature. • Added audio input and headphone level control from the heads up display. • Added media status page for formatting cards and media information. • Added ability to toggle battery indicator from heads up display. • Added monitoring option controls from heads up display including zebra, focus assist, frame guide and grids. New Metadata Features • Improved slate and metadata functionality. • Added lens data information to slate metadata. • Added auto-fill lens metadata from electronically controllable lenses. • Changed slate shortcut from a single tap to a sideways swipe on the LCD. New Record Features • Added additional ProRes resolutions for URSA Mini 4.6K including 4.6K 16×9, 4.6K 2.4:1, 4K DCI, 3K Anamorphic, 2K 16×9 and 2K DCI. • Added additional RAW resolutions for URSA Mini 4.6K including 4.6K 2.4:1, 4K 16×9, 3K Anamorphic, 2K 16×9 and HD. • Added option to select the preferred card for recording. New Monitor Features • Improved screen colorimetry for the built in LCD. • Added ability to switch 3D LUT on and off for each output individually. • Added ability to switch false color, zebras, focus assist, frame guides, grids and safe area guide on or off for each output individually. • Added clean feed toggle for each output. • Added program tally indicator for the built in LCD and Front SDI when using ATEM. • Added monitoring option for tally, crosshairs and centre dot as part of grids. • Added 14:9 frame guides. • Added configurable safe area guides. • Expanded options for focus assist to include red, green, blue, black and white as well as peaking. • Added option for viewing codec and resolution setting instead of meters on the built in LCD. New Settings Features • Added ability to program function buttons as a preset for frame rate, iris, white balance, ISO or shutter angle. • Added ability to program function buttons for Up or Down frame rate, iris, white balance, ISO or shutter angle. • Added ability to program function buttons as a toggle for clean feed, display LUT, frame guides, focus assist, false color, zebra, grids, safe area guides, off-speed and color bars. • Added flicker free shutter frequency selection for 50Hz or 60Hz. • Added support for drop frame timecode. • Added ability to trigger color bars from camera. • Added factory reset function. • Added hardware ID display. • Added software version display. New Presets Features • Added ability to create up to 12 global camera settings presets. • Added ability import and export camera presets to CFast media. New 3D LUT Features • Added ability to monitor with 3D LUTs. • Added ability to import 3D LUT from CFast media. • Added ability to store up to 6 custom 17 point or 33 point LUTs into the camera’s internal flash memory. • Added the ability to export one of the camera’s 3D LUTs to CFast media so you can pass the 3D LUT to a colorist or editor. • Added ability to delete 3D LUT from camera’s internal memory. New General Features  • Improved timecode functionality for external timecode and jam timecode. • Improved white balance performance. • Added option for single clip or all clip playback. • Added loop playback feature. Blackmagic URSA Viewfinder • Improved colorimetry for viewfinder. • Improved proximity sensor sensitivity. • Improved proximity sensor timeout settings. • Improved frame guide appearance. • Added support for URSA Mini OS metadata settings. • Added support for new frame guides, safe area guides and grids. • Added menu items for configuring overlay settings.

SlimRAW is a new app that lets you compress cinemaDNG files quickly and helps you save disk space. It works with Canon 5D mark III RAW footage as well as other RAW cameras like the Blackmagic cameras, Digital Bolex or Sony FS7. Remember the days when we shot RAW on the Canon 5D mark III? These days are not over and many people still use the Canon DSLR’s as RAW shooting machines with the Magic Lantern hack. We have an up to date guide on how to achieve this. SlimRAW takes a folder with cinemaDNG or regular DNG files and converts them in seconds. This saves you a ton of space. In our test the resulting files were reduced to 37.8% of the original size. We tested this with a 1 minute 5D mark III RAW sequence on a Mac Pro (quad) and it took 17 seconds to process. Workflow with 5D RAW: Shoot RAW with your camera. We created MLV files with our 5D mark III as per our tutorial. Convert the MLV files to cinemaDNG with the RAWmagic app (yes, the usable full version costs money) [UPDATE]: Apparently as of a few days ago, the newly updated RAWmagic app has lossless cinemaDNG output also. Choose the folder containing the cinemaDNG files as source and target folder. (This will overwrite the old files) We selected “overwrite” and “Premiere CC compatibility” and clicked “Start Job”. Imported the resulting cinemaDNG sequence in Premiere CC via the “Media Browser” tab. That’s it. Start editing and grading your losslessly compressed files natively. Since the firmware updates of the Blackmagic Cinema Cameras that now support losslessly compressed internal RAW recording, the app might not be so efficient for those cameras, but SlimRAW says that “slimRAW will generally achieve a bit better compression ratios since it is not limited by in-camera processing.”. The SlimRAW app costs $39 and is available here: www.slimraw.com Compress cinemaDNG with the following supported cameras: Digital Bolex D16 Blackmagic Design Cinema Camera (pre-firmware 2.1) Canon DSLR Magic Lantern raw (converted to CinemaDNG/DNG) Sony FS700/FS7 raw recorded through Convergent Design Odyssey 7Q/7Q+ Ikonoskop A-Cam dII Kinefinity KineMINI 4K, KineMAX 6K, KineRAW Indiecam indieGS2K and indiePOV (uncompressed 12-bit CinemaDNG video as exported by Indiecam Instant-RAW software) uncompressed DNG frame stacks from Fastec Imaging TS and HiSpec series cameras (10-bit in a 16-bit container and 8-bit) most other standard compliant uncompressed 8-, 12-, 14- or 16-bit CinemaDNG footage.

Compressed RAW recording has finally come to the original 2.5K Blackmagic Cinema Camera. While the other cameras have had the ability to record compressed RAW, the original version of the camera has lagged behind… until now. The 2.1 Firmware update for Blackmagic Cinema Cameras is now available for download, giving original BMCC users the flexibility of recording RAW while increasing recording times. How much does it save? After updating my camera I wanted to see the difference in recording time. I shoot onto a 240GB drive, which when shooting uncompressed RAW at 23.976 fps gives me about 30 minutes. But set to compressed RAW I now have about 46 minutes. That’s a nice little boost. And to be clear, compressed RAW has replaced uncompressed RAW as a recording option. You can’t select between the two. But compressed RAW recording isn’t the only new feature in the firmware update. One significantly useful feature is the expanded frame guide options. We may instinctively be able to tell where our action safe and title safe guidelines are, but when shooting on more cinematic formats, like 2.35:1, it may be not as instinctive. The new frame guide options include: Thirds, HDTV, 4:3, 2.40:1, 2.39:1, 2.35:1, and 1.85:1. You can also adjust the opacity of the guides as well. So if you’d like, you can completely black out areas outside of the frame. Here’s a complete look at all of the updates for the 2.K camera: New Blackmagic Camera Setup software Adds lossless compressed RAW support Adds support for more frame guide options Holding down MENU will bypass the Dashboard Peaking state is remembered after power cycle But other cameras received updates as well. Here’s the list of new features on other Blackmagic Cameras: Improvements for the Blackmagic Pocket Cinema Camera: New Blackmagic Camera Setup software Adds support for more frame guide options Adds Japanese and Chinese language menu support Holding down MENU will bypass Dashboard and go straight into settings Peaking state is remembered after power cycle Improvements for the Blackmagic URSA: New Blackmagic Camera Setup software Improved media formatting performance To download and install the firmware updates visit: blackmagicdesign.com/support/.

Watch previous episodes of ON THE COUCH & ON THE GO by clicking here! Visit our Vimeo and YouTube playlists, and subscribe to the podcast on iTunes!   In this second and final part of ON THE COUCH with post pro turned director whiz kid Hasraf “Haz” Dullul, we talked with him about his most recent production SYNC, a bleak vision of a future in which corporations have disconnected from the Internet due to the constant threat of cyber terrorism. Since we recorded this interview, the film has gone online in its entirety and was staff picked by Vimeo – see the film below. In the interview, we talked about the making of SYNC and how he achieved a Hollywood-level high-budget look on a production with a tiny budget. He explains how specific shots were created using many in-camera effects, minimizing the time needed in post production. He also says why he decided to go with Blackmagic cameras for this production and why he thinks they worked extremely well for his purposes. Watch all other episodes of ON THE COUCH so far by clicking here!       Please visit our sponsors’ websites to keep new episodes of ON THE COUCH coming! Thanks to G-Technology, Røde Microphones, Movidiam, FilmConvert & F&V.

Blackmagic firmware 1.9.7 has been announced, enabling in-camera formatting for the Blackmagic Cinema Camera and Blackmagic Pocket Cinema Camera. Last month, we discussed firmware 1.9.5 that provided the same formatting feature for the Blackmagic 4K Production Camera; we therefore knew that this update was only round the corner. It’s great to finally see these fundamental features now implemented into the cameras; as promised by Blackmagic these updates really have been regular and significant. Further information on the update from Blackmagic: “Customers also get the opportunity to choose between two disk formats, ExFAT and HFS+. The ExFAT is compatible with both Windows and Mac OS X so is a good choice when customers are working on Windows or working between Windows and Mac OS X platforms as both platforms natively will read the disk. When customers are working on Mac OS X exclusively, the HFS+ format is the native Mac OS format and this allows higher performance for Mac users as well as better error protection because HFS+ supports journaling. Allowing easy selection of the format to erase the disk, the new Blackmagic Camera Update 1.9.7 also includes the new dashboard menu that allows actions on camera functions to be selected quickly. Customers can choose to format disks, enable focus peaking, go to the settings page and other camera operations on nice big easy to use buttons.” Firmware update 1.9.7 is available for download now from the Blackmagic website.

Blackmagic Design created a lot of buzz with the introduction of their camera line in 2012 when the Blackmagic Cinema Camera was announced. Due to the popularity of these cameras there was also criticism raising in some areas and users had questions regarding things like firmware updates, quality control and design decisions. In our frequent visits to the tradeshows we often presented these questions to the technicians and spokespeople of Blackmagic and had very interesting conversations off camera that helped us understand some of their decisions. This time at IBC a few weeks ago we had our camera with us and sat down to have an honest chat with Tim Siddons from Blackmagic Design. We’re happy Tim took the time to answer all of our questions in detail and that we can share this with you, giving you some more insights than the usual product presentation talks. Please let us know what you think in the comments below. Do you have more questions for Blackmagic that we can ask next time we meet them? The sponsors for our Tradeshow coverage were: