Just 6 weeks ago, Blackmagic Design’s CEO Grant Petty introduced a bunch of updates to their lineup including a new generation of the popular URSA Mini Pro camera, called G2 (read: generation 2). As you can tell from its name this is not a completely new camera but an update to the existing URSA Mini Pro, which will be replaced by the URSA Mini Pro G2. Watch our interview with Blackmagic’s Craig Heffernan for all the details. Blackmagic URSA Mini Pro G2 This camera is labeled G2, so what’s new here? Well, sometimes when it’s about updating software features, the hardware needs to be upgraded as well to do justice to these improvements and that’s exactly the case with the URSA Mini Pro G2. In order to enable higher fps recording Blackmagic engineers have deployed an updated 4.6K sensor (a different build of the same sensor, as Craig Heffernan puts it). It comes with advanced processing and a streamlined image pipeline throughout the camera. This enables for higher frame rates and faster sensor read-out (less rolling shutter). Furthermore the camera now supports Blackmagic Color Science 4 and it also can handle 3D LUTs now. All the accessories of the original URSA Mini Pro will fit the G2 model, it simply replaces the original model in that respect. Same goes for pricing, the G2 comes in at exactly the same price as the original URSA Mini Pro. Improved High-Speed Recording The new high frame rates include the following modes, depending on which format you’re recording to: Frame rates in Blackmagic RAW: 120 fps in 4.6K in Blackmagic RAW 150 fps in 4K DCI in Blackmagic RAW (windowed) 150 fps in UHD 4K in Blackmagic RAW (windowed) 300 fps in HD in Blackmagic RAW (windowed) Frame rates in ProRes: 80 fps in 4.6K in ProRes 120 fps in UHD in ProRes (windowed) 240fps in HD in ProRes (windowed) There’s already some sample footage to see for yourself, hop over to our article here. Audio Enhancements Blackmagic also worked on the audio section of the camera. The URSA Mini Pro G2 now offers an enhanced audio processing and hopefully the dreaded (and audible) delay when monitoring the audio through the camera is now a thing of the past. Blackmagic RAW vs ProRes RAW Yes, the URSA Mini Pro can record straight to ProRes. But no, it can’t do ProRes RAW. That’s the way things stand at the moment. Blackmagic are quite happy with their own RAW format since it integrates seamlessly with their cameras and their post production tools, namely DaVinci Resolve 16. So there are no current plans to implement ProRes RAW but of course that could change any minute, who knows what the future holds. If you’re in the market for a new camera, this might be worth a ver close look. The URSA Mini Pro G2 is a significant update to the original camera and establishes a base for further firmware updates in the future. Link: Blackmagic Design What do you think about the URSA Mini Pro G2? Share your thoughts in the comment section below!

The Blackmagic URSA Mini Pro 4.6K G2 is the new version of the popular URSA Mini Pro. The camera was announced earlier this month, and the first footage was recently released. Let’s take a quick look at it! Wildlife Footage The Blackmagic URSA Mini Pro 4.6K G2 is a brand new camera and is still in the preorder stage. However, it looks like Blackmagic already sent some early units to a bunch of select filmmakers. Wildlife cinematographer Garth De Bruno Austin is one of them, and he just posted a video showing the camera’s slow-motion capabilities. The video is entirely shot using Blackmagic RAW 4.6K/2K, using Sigma 18-35mm and 70-200mm lenses. The footage was shot in 120 (4.6K) and 300 (2K cropped sensor) frames per second. The first footage looks very promising. Of course, Garth is a very talented filmmaker, plus the locations and animals are gorgeous. Indeed, there is a lot of details in the footage, and the image doesn’t look “soft” in the slow-motion mode like other cinema cameras. To me, there is no moiré or other artifacts visible, even though the scenes featuring the elephant and the fine grass detail are usually really complex to render for a camera sensor. Also, Blackmagic Color Science 4 looks like a significant step-up in color rendition; the skin tones look very appealing. I can’t wait to see more footage from the URSA Mini Pro 4.6K G2 to appear. Image courtesy of Blackmagic Design URSA Mini Pro 4.6K G2 Specs The original URSA Mini Pro was already a powerful camera with built-in ND-filters, XLR audio, and plenty of recording formats available. The URSA Mini Pro 4.6K G2 brings some new features like: Super 35mm 4.6K sensor with Blackmagic Design Generation 4 Color Science. Project frame rates up to 60 fps and off-speed slow motion recording up to 120 fps in 4.6K, 150 fps in 4K DCI and 300 fps in HD Blackmagic RAW. Support for Blackmagic RAW files in Constant Bitrate 3:1, 5:1, 8:1 and 12:1 or Constant Quality Q0 and Q5 as well as ProRes 4444 XQ, ProRes 4444, ProRes 422 HQ, ProRes 422, ProRes 422 LT, ProRes 422 Proxy recording at 4.6K, 4K, Ultra HD and HD resolutions. Fifteen stops of dynamic range. 2, 4 and 6 stop neutral density (ND) filters with IR compensation. Interchangeable lens mount with EF mount included as standard. Optional PL, B4 and F lens mounts available separately. Built-in dual C-Fast 2.0 recorders and dual SD/UHS-II card recorders allow unlimited duration recording in high quality. High-speed USB-C expansion port for recording directly to an external SSD or flash disk. Standard connections, including dual XLR mic/line audio inputs with phantom power, 12G-SDI output for monitoring with camera status graphic overlay and separate XLR 4 pin power output for viewfinder power, headphone jack, LANC remote control, and standard four pins 12V DC power connection. 4-inch foldout touchscreen for on-set monitoring and menu settings. Includes a full copy of DaVinci Resolve software color grading and editing software. What do you think of the first footage from the Blackmagic URSA Mini Pro 4.6K G2? Do you consider buying the camera? Let us know in the comments below!

Blackmagic Design just announced the URSA Mini Pro G2, the second generation of its flagship shoulder camera, plus the long sought-after Blackmagic RAW update to the Blackmagic Pocket Cinema Camera 4K. To get an extensive run-down of all the new products and features that Blackmagic Design introduced today, watch CEO Grant Petty in this 35 minute video below: But if you want to save some time, you can also read my summary here: Blackmagic URSA Mini Pro G2 This is the new second generation of the popular URSA Mini Pro. It replaces the previous model and while it looks similar, Blackmagic have redesigned all the electronics inside the camera and it includes a new generation 4.6K sensor. Blackmagic claims that this camera has 15 stops of dynamic range. (Here’s our dynamic range test of Blackmagic RAW on the original URSA Mini Pro in case you missed it.) The new electronics allowed them to ramp up the camera frame rates. They have doubled the frame rate in Blackmagic RAW and in ProRes. Frame rates in Blackmagic RAW: 120 fps in 4.6K in Blackmagic RAW 150 fps in 4K DCI in Blackmagic RAW (windowed) 150 fps in UHD 4K in Blackmagic RAW (windowed) 300 fps in HD in Blackmagic RAW (windowed) For the higher frame rates, you will need 12:1 compression. Frame rates in ProRes: 80 fps in 4.6K in ProRes 120 fps in UHD in ProRes (windowed) 240fps in HD in ProRes (windowed) The read-out from the sensor is faster which results in less rolling shutter. Image calibration on the camera was upgraded: new black calibration, improvement to the Version 4 Color Science and 3D LUTs are now integrated. The camera already runs Blackmagic RAW 1.3. This version integrated 3D LUTs into the Blackmagic RAW footage itself, which can be read out by the latest version of DaVinci Resolve. It’s in the file, but it’s not burned in, it can be switched on and off. This feature can be accessed by any software that uses the Blackmagic RAW SDK 1.3. Blackmagic have also improved the audio circuitry for quad-XLR audio inputs. I really hope that means that also audio monitoring will be improved with this new camera because I think one of the biggest downsides of the original URSA Mini Pro was the noticeable lag in audio monitoring through the mini jack, which made monitoring audio on this camera (while recording) a quite jarring experience. The URSA Mini Pro G2 can also do USB-C recoding to flash disks now, just like the Pocket Cinema Camera 4K. With regards to lenses, the EF Mount is interchangeable to PL (optional purchase mount) and even B4 broadcast lenses. In addition to the improvements above, Blackmagic has enhanced the displayed information on heads-up display (like for example ND status), and it’s now also easier to format media. Here’s my review of the original Blackmagic URSA Mini Pro, in case you missed it: Blackmagic Pocket Cinema Camera 4K goes Blackmagic RAW When first introduced in September last year, Blackmagic RAW was only made available for the URSA Mini Pro. It’s a compressed 12-bit RAW format that’s easier to use than traditional RAW formats – footage comes in a single file and it uses about as much (constant) data as a ProRes 422 HQ file (which is only 10-bit and a much older format). Of course, everyone wanted to see Blackmagic RAW on the long-anticipated Pocket Cinema Camera 4K as well, and now is the time that Blackmagic is introducing it to that camera. The Blackmagic RAW update for the Pocket 4K comes as part of the Blackmagic Camera 6.2 update which is freely available from their website. The new format means that you can record the highest available quality and resolution on that camera at a lower data rate – for example, you can fit 2 hours of Blackmagic RAW footage in 4K on one 256GB SD UHS-II card. Blackmagic RAW 12:1 makes it even possible to record 4K DCI images to an SD card, which wasn’t possible before. The RAW compression rates that are available in the camera are 3:1, 5:1, 8:1 and 12:1 in constant bit rates, or alternatively you chose constant quality between “Q0” and “Q5” settings. That means that you can prioritize either image quality or file size by choosing one of the two options to set your quality – essentially toggling between a constant and a variable bitrate mode, while still remaining in the (supposedly) superior Blackmagic RAW codec. Here’s our initial video about Blackmagic RAW from IBC 2018: Blackmagic Design Generation 4 Color Science The update also introduces Blackmagic Design Generation 4 Color Science into the camera, which, according to the company, “is used for superior imaging that results in extremely accurate skin tones and gorgeous, lifelike colors”. We’ll take a look at how it compares to prior versions, but I personally was pretty happy about Blackmagic skin tones all along. If you haven’t seen our full extensive Blackmagic Pocket Cinema Camera 4K video review before, please watch it below! No More DNG RAW on URSA Mini Pro G2 and Pocket 4K What comes as a bit of a surprise is that Blackmagic will no longer offer cinema DNG recording on the new URSA Mini Pro G2, the Pocket 4K or the original URSA Mini Pro, with the new camera update. Grant Petty mentions some patent issues in the video above, but quickly moves on to say that cDNG is an obsolete format anyway, considering the file size of the individual DNG files that are generated. While he might be right (DNG is eating up storage in no time which makes it really hard to shoot even for a lot of professional productions), there certainly will be a considerable disappointment by many users who have had to rely on this feature in the past. After all, the USP of Blackmagic cameras has been their ability to record RAW footage at a very low hardware cost … and while it’s true that now we have Blackmagic RAW as the new codec, some people might still prefer the individual still photo file structure of DNG files for their workflow, especially when we are talking about CGI intense post-production workflows. We’ll see how the market and the communities react to this announcement. Are you a Blackmagic camera user? Do you have or plan to own a Pocket 4K or URSA Mini Pro G2 in the future? What do you think about their discontinuation of DNG in their cameras? Let us know in the comments below!

The BMPCC4K is a popular camera, no doubt about it. And a popular camera builds a market for third-party accessories. Just like many other manufacturers before them, Zacuto has just released their version of a dedicated cage for the Blackmagic Pocket Cinema Camera 4K. The Zacuto cage features a comfortable strap which keeps your hand snug to the camera. The trick is the “no-cage” design, you shouldn’t even notice that there’s a cage at all while holding the camera. Multiple 1/4 20″ threaded mounting holes can be found all over the cage for mounting additional accessories. The top plate incorporates a Z-Rail (read: NATO rail) which can be used for balancing a top handle for example. As a nice touch, the rail is embedded (but can be moved back and forth) in the cage so the top plate is completely flat. On the other side of this BMPCC4K cage there is another NATO rail that stabilizes the cage itself and allows a second handle to be fitted. The cage also comes with strain relief clamps and right angle adapters for both the USB and HDMI connectors. Please note: The images in this article show a 3D-printed prototype of the actual cage. The real cage will be made out of anodized aluminum. Zacuto BMPCC4K Cage For mounting this BMPCC4K cage to a tripod or rig the bottom of the cage offers two ¼” 20 threads and one 3/8″ 16 thread. This opens the door for either a third party tripod plate to be mounted but you also can use the built-in Arca Swiss plate to mount the cage to any Arca Swiss compatible quick release mounting base. The cage comes with a left wooden handgrip but you can mount any grip you like via the NATO rail on the left hand side of the cage – or no grip at all. An optional accessory for the BMPCC4K cage is the dedicated SSD holder which mounts to the top plate via two allen screws and holds a Samsung T5 SSD securely in place. Additionally the SSD holder offers a coldshoe for mounting more accessories. Another (future) optional accessory will be a rod support for attaching 15mm rods to the cage and build a fully-fledged rig from there. Other Options Zacuto is a bit late to the party here. Other companies already have their BMPCC4K cage offerings ready. Click on one of the following links for our corresponding article: 8Sinn (link) LockCircle HiPock (link) Tilta modular cage (link) Shape / Wooden Camera / SmallRig (link) Vocas C-Cage (link) As stated above, the popular BMPCC4K creates quite a market for dedicated camera cages and accessories. Which one is the best? I don’t know but I can tell from personal experience that Zacuto gear is well-build, rugged cleverly thought out. I like the “no-cage” approach but in order to really pick the best cage you have to try them all, which is not always an easy thing to do, obviously. Link: Zacuto Do you have any experiences with one of the above (or any other) cages for the BMPCC4K? Share your experiences in the comments below!

Blackmagic Design has issued Blackmagic Camera 6.1 Update, adding a few features, and lots of improvements and fixes for issues with company’s popular Blackmagic Pocket Cinema Camera 4k. Among the most eagerly awaited fixes in the BMPCC 4K firmware update is the one where the camera shuts down arbitrarily, with the battery around the 20% mark, or even earlier. Davinci Resolve has also been updated to 15.2.3 bringing some improvements to multicam workflows and performance. Here’s what you need to know. The BMPCC 4K has been one of Blackmagic’s most coveted cameras and has generally received very positive reviews. Among the less positive aspects of the camera was battery life and with regards to battery life one issue in particular, where the camera shut down with 20% capacity still remaining on the battery. Apparently this issue was more common with 3rd party batteries and some reviewers even reported shutdowns with higher percentages remaining – sometimes as high as 30% or more (see our own review here). This had people questioning the cameras reliability and stability in general, as particulary when recording in ProRes the file that was being recorded when the camera shut down was most commonly lost. The BMPCC 4K firmware update contained in Blackmagic Camera Setup 6.1 seems to address this rather pressing issue and many more. Another issue that was reported in Blackmagic Forums was the camera containing seemingly dead pixels. As it turns out, those pixels mostly weren’t dead (as in not able to detect light and thus black), but rather programmatically stuck to one color – a software issue. Blackmagic added Pixel remapping to solve this issue. Here’s a full list of issues that were added to the BMPCC 4K firmware update: Added support for pixel remapping in camera. Added 2:1 monitoring frame guide. Improved media formatting user interface. Improved audio monitoring latency performance. Improved auto focus performance. Improved signal to noise ratio performance of camera internal microphone. Improved power efficiency for improved battery life. Improved 3.5mm audio input selection interface. Improved AV sync performance. Fixed an issue where time and date is not updated on camera when connected to the Blackmagic Camera Setup utility. Fixed an issue where the 3.5mm audio input level is 6dB lower than expected. Fixed an auto focusing issue with Lumix 20mm f/1.7 lens. Fixed an issue where some USB-C external SSDs were not detected when connected before camera is powered up. Fixed an issue where some batteries might shut off earlier than expected. Fixed an issue where low battery indicator is not displayed appropriately. Fixed an issue with camera not being detected by host computer when connected to certain USB ports. Updated dynamic range and ISO chart in user manual. Other cameras were not updated with this release of Blackmagic Camera Update. DaVinci Resolve 15.2.3 DaVinci Resolve has had a very good year. The application, which was already the de-facto king of color grading software has made significant strides as an allround NLE, massively improving the editing interface and capabilities contained in it, as well as adding the Fairlight and Fusion tabs to its repertoire. With a update cycle that steady and heavyweight it was about time to have a release which addresses only smaller issues and focuses on improvements of stability and performance. This is what version 15.2.3 seems to be. Here’s a list of improvements: Improved UI responsiveness and playback performance on the Edit and Fairlight pages Improved playback performance on MacOS when processing using Metal Improved multicam playback performance Improved performance for ganged playback on the Edit page Improved save performance for projects with live save enabled Improved color consistency with QuickTime player on MacOS when display color profiles is enabled Improved support for H.264 and H.265 hardware acceleration on Windows laptops Added support for decoding DNxHD clips on Linux systems with AMD processors Added support for additional shortcuts when using the cinema mode viewer Multiple performance and stability improvements What do you think about the updates Blackmagic has released? Can you verify the fixes to the BMPCC 4K’s battery problems on yours? Let us know in the comments!

The DriveMount is a new Kickstarter project – an aluminum case, which allows you to attach a standard 2.5″ SSD to a 1/4″-20 screw hole (like the one on top of the Blackmagic Pocket Cinema Camera 4K). Depending on the pledge you choose, the bundle will come with a USB-C cable, standard 1/4″-20 threaded mount, standard Shoe Mount, 15mm Rail or even a 500GB SSD.  The Blackmagic Pocket Cinema Camera 4K has already been on the market for a couple of months now. For more information about the BMPCC 4K, you can check out the comprehensive review that my colleague Nino did in October. The one feature of the new BMPCC 4K that is relevant for this article right now, is the ability to record to an external SSD via USB-C port. Many filmmakers were really thrilled when this feature was first announced, because SSDs are a great speed-size-price package. Why Record to SSD? The new Blackmagic Pocket Cinema Camera 4K can record to either SD cards, CFast 2.0 cards or SSDs. SD cards are relatively cheap, but their write speed does not allow for highest quality (Cinema DNG RAW 270MBps) recording. CFast 2.0 cards are fast enough for whatever the BMPCC 4K sends their way, but they are quite expensive. Last but not least, SSDs are fast enough and they are significantly cheaper than CFast 2.0 memory cards. Please note that we are comparing prices-per-GB here. One question arose: “How to conveniently and securely attach SSDs to the camera?” By the time the Blackmagic Pocket Cinema Camera 4K has started shipping, there have already been a few cages available. Other cage manufacturers introduced their versions shortly after. Now, there are a lot of options when it comes to rigging the BMPCC 4K. We already reported about: 8Sinn LockCircle Tilta Shape, Wooden Camera, SmallRig This is not a comprehensive list, as there are probably even more options by now. Important is that some of the cage manufacturers already considered the SSD mounting option and offer solutions for that. I particularly like Tilta’s approach with their screws-secured USB-C cable. DriveMount – 2.5″ SSD Mounting Solution There is a new product on Kickstarter from SoulCow (two independent filmmakers Ethan Soule and Ben Cowper), called DriveMount and it allows mounting a standard 2.5″ SSD to any 1/4″-20 screw hole. Because the Blackmagic Pocket Cinema Camera 4K happens to have one 1/4″-20 mounting point on top, this is a convenient way to mount an SSD right there, without any cage. It can, of course, nicely complement any BMPCC 4K cage too, as these always have plenty of 1/4″-20 mounting points. The DriveMount is made out of black aluminum. It features sliding rails for the mounting point, so the case itself can be repositioned if necessary. The advantage I see here is using standard external 2.5″ SSDs, as they are the cheapest option given the capacity. As an example: a 500GB 2.5″ internal SSD costs around $100,- whereas 512GB CFast 2.0 cards start at more than $500,-. The enclosure of a USB-C cable raises the cost of an SSD, yet with DriveMount you won’t need to worry about any of that. The enclosed cable features the SATA connector on one end and USB-C on the other. When taking advantage of the “early backer discount”, the DriveMount case (with the cable) costs $100,- and there are still a couple of those available. When this offer (25 pieces) runs out, the price for a basic package will be $120,-. The DriveMount Shoe Bundle including a cold shoe adapter costs $130,-. The DriveMount Rail Bundle with a 15mm rods adapter costs $150,-. And finally, the DriveMount SSD Bundle with a 500GB SSD will set you back $175,-. Once again, the Kickstarter campaign can be found here. There is still time until the end of 2018 to back this project and get the DriveMount. Please remember: Kickstarter is not a shop and you don’t buy things there. You simply support the manufacturer with your money and as a benefit – if everything goes smoothly – you’ll get the final product at a discount. Links: soulcow.net | DriveMount Kickstarter campaign What do you think of the DriveMount SSD mounting solution? Do you use SSD recording with the BMPCC 4K? Let us know in the comments underneath the article.

EDIT: Based on multiple comments made by our audience suggesting that the original results of the URSA Mini Pro 4.6 Dynamic Range tests may be flawed since we did not execute camera black shading prior to the tests, we decided to rerun it. Our workflow was as follows: Let the UMP 4.6 warm up for about 15min, perform black shading in the menu with the lens cap on and then repeat the tests at 5600k WB. As can be seen from the above IMATEST screenshot, we are getting exactly the same results as before (SNR = 2): shooting ISO 800 BRAW 4.6k (scaled to UHD) gives us 12.6 stops of dynamic range at a signal to noise ratio of 2 (13.7 for a signal to noise ratio of 1 without further post processing like highlight recovery or noise reduction in DaVinci Resolve 15.2. Shooting ProRes also gave the same results as in the initial test. One thing however did change after black shading – the shadows that were a bit blueish in the original tests became black. (Thanks to doing black shading). Nevertheless, thank you all for your suggestions, keep them coming in the future as we all can learn from each other! Original Article: When Blackmagic RAW (BRAW) was announced a while ago, I was curious to get my hands on a BMD URSA Mini Pro and test it’s dynamic range with this new codec. The combination of having the full flexibility of 12bit RAW and smaller file sizes at the same time is a real innovation of BMD. How does it fare on the UMP 4.6? A while ago BMD was so kind to send us the URSA Mini Pro 4.6 but unfortunately, we were all out traveling yet there was time to install the new firmware 6.0 and test the dynamic range at ISO 800 and 3200 using our test setup described here. One note upfront: I was very surprised to see the playback performance of BRAW in DaVinci Resolve Studio 15.2. I am using an I7-4720HQ Laptop with 16GB RAM and a GTX980M graphics card, and 4.6k ProRes XQ resulted in ~7 frames / second playback (fps), 4.6k RAW DNG (lossless) resulted in ~11 fps, whereas BRAW had smooth 24 fps playback in a UHD timeline! Hence, not only smaller filesizes with BRAW but also vastly improved playback – a real winner combination. 4.6k ProRes XQ ISO 800 dynamic range results As a baseline, we started first with our standardized testing procedure analyzing the 4.6k ProRes XQ dynamic range. Here, at ISO 800 the UMP 4.6 does not disappoint and comes in with a strong 12.5 stops of dynamic range at a signal to noise ratio of 2 according to our IMATEST analysis (13.6 stops at a signal to noise ratio of 1). I also tested ISO 400, which yielded slightly lower results. This is the best result in our recent 2018 testing, coming in half a stop higher than the Sony FS7. However, quite far from the 15 stops that Blackmagic Design claim. Anyways, we are going to test BRAW subsequently, so let’s see. The noise floor looks very clean, looks like some internal noise reduction is going on here. Fig.1: Step chart waveform plot of the UMP 4.6k ProRes XQ at ISO 800: a little more than 12 stops can be discerned above the noise floor (code values scaled to 8bit). 4.6k 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 – the latest version 15.2 Studio in our case. ISO 800 BRAW constant bitrate 3:1 4.6k scaled to UHD Now, using ISO 800 yielded again the best results, with the dynamic range coming in at an even stronger 12.6 stops at a signal to noise ratio of 2 (13.7 stops for SNR = 1). However, this slight difference to ProRes might be also a result of scaling the 4.6k BRAW file to UHD (3840×2160) – as there is no 4.6k timeline preset in DaVinci Resolve (for exporting keyframes to IMATEST). Fig.2: Step chart waveform plot of the UMP 4.6k ISO 800 BRAW. Again, a bit more than 12 stops can be identified visually above the noise floor. NOTE: DaVinci Resolve offers a “highlight recovery” option for BRAW, which can reconstruct the RGB channels even if one channel is already clipped. Together with the noise reduction features, you can heavily post-process the BRAW files – I just tried around a little bit and was able to reach around 13 stops for SNR = 2 (14 stops for SNR = 1). However we don’t count this result as our intention is to test the untouched files straight off the camera – this is not a post-processing contest, it is about a standardized result using a standardized workflow for all the cameras we test. ISO 3200 BRAW constant bitrate 3:1 4.6k scaled to UHD For ISO 3200 we counted 11.7 stops for an SNR = 2 (12.9 stops for SNR = 1), again without post-processing. Playing around with the highlight recovery option and noise reduction, I was able to get around 12 stops for SNR = 2 (13 stops for SNR = 1). Noise kicks in, hence about one stop is lost vs ISO 800. This is still a very good result. Fig.3: Step chart waveform plot of the UMP 4.6k at ISO 3200: noise kicks in, and about one stop is lost vs. ISO 800, leading to around 12 stops of dynamic range. 4.6k RAW DNG (lossless) dynamic range results Similar to BRAW, we have to develop the RAW DNG files in DaVinci Resolve in order to export keyframes for analysis in the IMATEST software. Interestingly, the dynamic range results of the Cinema DNG files without postprocessing are lower than with ProRes and also BRAW, coming in slightly above 11 stops untouched (SNR = 2). The DNG files exhibit much more noise than BRAW and ProRes, hence leading to a lower dynamic range reading in IMATEST. This is a similar phenomenon as we observed with the BMPCC 4k. Using postprocessing like the highlight recovery feature in Resolve along with noise reduction lifts it above ProRes and BRAW (I played around and was able to get more than 13 stops at an SNR = 2, and almost 14 stops for SNR = 1). Fig. 4: dynamic range comparison of the UMP 4.6k (BRAW) ISO 800 result with other cameras. It fares very well, coming in one stop higher than the BMPCC4k. Conclusion When testing the various codecs on the UMP 4.6k there are clear signs of internal noise reduction going on in ProRes and BRAW, very similar to what we observed with the BMPCC4k (please watch particularly the end of our BMPCC4K review for an insight into our testing procedure for dynamic range). Speaking of the BMPCC4k, the UMP4.6k overall comes in one stop higher with regards to the dynamic range. Impressive. However, I cannot reproduce the 15 stops dynamic range that Blackmagic Design are claiming, even at a signal to noise ratio SNR = 1 the maximum I was able to squeeze out by heavy post-processing was about 14 stops. In contrast to this, I was able to confirm the 13 stops for the BMPCC4k at SNR = 1, thereby confirming Blackmagic’s statements. Therefore the untouched BRAW ISO 800 SNR = 2 (or 1/SNR = 0.5) dynamic range result will be the cinema5D reference for future dynamic range comparisons with other cameras. We know that many of you are waiting for an overview chart of all our dynamic range and other technical tests, and please stay tuned for a bit, we are still working on it. There’s a lot of parameters to think about, and also it’s not so easy to display elegantly on our site – however it won’t be long until we will share it with you! You can find Nino’s Ursa Mini Pro Hands-On video review by clicking here and Johnnie’s review and “real world footage” by clicking here. Did you already work with the URSA Mini Pro 4.6 in RAW recording mode? If yes, What is your impression? Please share your experience with us in the comments below.

Edit: Adding the Panasonic GH5s to our list. Simply left it out by mistake as I was already testing it during 2017…. Here at cinema5D we feel lucky enough to test, review and share our unbiased honest professional opinion with our filmmaking community. The reward is the trust we get from our audience. This leads me to our “Best Mirrorless Camera for 2018” list. EVERY camera in this list was tested by us inside-out and in regards to the winner, we welcome you to comment below. Rest assured that 2019 will be EVEN MORE exciting, but for now, let’s say goodbye to 2018….  2018 is slowly but surely fading out and I hope you will agree that this year was one of the best for the aspiring (independent) filmmaker when it comes to the choice of production equipment and especially high quality mirrorless cameras. During this year, almost every major camera manufacturer released shiny new toys, but for the sake of this article, we will only concentrate on large sensor mirrorless cameras ranging from micro 4/3 inch to full frame sensor sizes. We are also fully aware that at times we will be comparing “apples to oranges” as some of our final candidates were simply designed to win the hearts of different users, yet as independent (and at times “on the budget”) filmmakers we at cinema5D tend to believe that one will be investing his/her hard earned cash on only a single camera that might serve him/her best. Full Frame Category Winner – Sony a7 III It’s funny to think how February 2018 looks so far away, but that was the time when I first saw the camera and had a chance to play with it a bit. Already then it was clear that Sony had created something unique when it comes to sensor size, performance and price point. My assumption was reassured after reviewing the camera a month later. The new Sony a7 III turned out to be a camera that redefines the word “basic model” (This is how Sony referred to it), and if this is what Sony puts in a basic camera (features and quality/performance wise), then there is certainly something to look for during 2019. (cough cough, Sony a7S III)… Here is how I concluded my opinion about the camera after reviewing it: Sony a7 III Conclusion: The key element for me is the right balance between its price and specifications. Sony did a really good job in packing a lot of technology into a well-priced full frame mirrorless camera body. In my opinion, this is a great all-round shooting device with a good level of video performance and a nice stills functionality (at least this is what I heard from colleagues who have tried the camera and are shooting photos professionally). Our desires for 4K higher frame rates like 50/60p, higher bit rate,  colour depth and maybe even a built-in ND filter will have to wait for the next round of announcements. Full Frame Running Candidate – Canon EOS R: I recently reviewed the new Canon mirrorless camera and while technically it is being regarded as a full frame camera, when it comes to shooting video, the image is heavily cropped but for the sake of order let’s leave it here, in the full frame category…. All in all it performed well but I’d be curious to see what Canon has under its sleeve for 2019. The people from Canon we talked to emphasized the fact that this is a “first generation” mirrorless camera so hopefully, some of its shortcomings can be fixed on the next model to come. Missing from our list – Nikon Z6 and Z7: We simply haven’t had a chance to test those cameras yet but as good as they might be for shooting video, when looking at recent mirrorless cameras sales figures coming out of Japan and the declining shares of Nikon, I have to have my doubts if any of those new cameras will really be a turnaround for Nikon in the ever-evolving mirrorless video shooting market. APS-C Category Winner – FUJIFILM X-T3 FUJIFILM was very busy bringing nice well-budgeted filming tools for the independent filmmaker during 2018. In February they introduced the X-H1 which combined high-quality video performance and in-body stabilization system. Later in September, the X-T3 was released. While the X-H1 is a good camera, the X-T3 has managed to become one of my favorite working tools for the following reasons: Ease of handling, picture quality and autofocus performance (just to name a few). In general, this camera feels like a “Swiss Army Knife” when it comes to flexibility and choice of resolution/frame rates and such. Last but not least: the price. This camera gives competitors a run for the money when it comes to video and photo performance. FUJIFILM really managed to create and deliver an affordable high-quality working tool. What is really missing in order to make this little camera even more capable is an internal body stabilization system but even without it, with the right choice of lenses, (Especially for run&gun situations), this camera really shines! Here is how I concluded my opinion about the camera after reviewing it: FUJIFILM X-T3 Conclusion  It is no secret that FUJIFILM is heavily invested in making affordable cinema lenses for E (Sony) and X (FUJIFILM) mounts (MK and MKX series of lenses). In my opinion, this is guaranteeing us that FUJIFILM will not stop here. Furthermore, by introducing the first ever APS-C sensor size camera that can shoot 10-Bit video internally, FUJIFILM is positioning itself at the forefront and becoming a serious candidate to consider when thinking of shooting video on a mirrorless camera. It is one of those companies that have no higher video market share to protect and as such, they are free to move forward as fast as their R&D capabilities and budget allows. This particular camera should get some love and attention from the filmmaking community. For users who are heavily invested in lenses from other brands, I can only hope that some sort of a program can be established by FUJIFILM or alternatively, some other solution can be found in order to make people actually try it. We hear a lot about the love for a particular  “colour science”. This camera can easily produce “analogue looking” images and furthermore, if you take photos with it, in my opinion, it is the one that looks the least digital. APS- C Running Candidate – FUJIFILM X-H1 As I wrote above, this is a very nice camera with the advantage of having an internal body stabilisation system but other than that,  it can not compete in terms of picture quality and autofocus performance with the newer X-T3. Micro 4/3 Category Winner – Blackmagic Design Pocket Cinema Camera 4K Announced during April this year, this much anticipated new Pocket Cinema Camera has already been shipping since October and with no doubt, it managed to capture the attention of many, mostly because of its capabilities in shooting RAW and ProRes in a small package, exceptionally nice images, and a very attractive price.  When I mentioned “comparing apples to oranges”, I was referring to this camera. Some of its shortcomings like the absence of an in-body stabilization system and the absence of a continuous autofocus function are regarded by some as “not needed” as the word “Cinema” should already indicate to what target users Blackmagic design aimed when designing the camera. This might be true, but when looking at a saturated competitive market, I think it will be wise to look beyond the “Cinema” badge and evaluate the camera and what it can do opposed the other alternatives out there. I’m fully aware that the last sentence alone might cause some people to respond and question if the BMPCC 4K and the FUJIFILM X-T3 (for example) can be even compared. Again, as I see most of the people spending their money and buying ONE production tool, my clear answer is YES! Here is how Nino concluded his opinion about the camera after reviewing it: BMPCC 4K Conclusion There are many more things to say about the Blackmagic Pocket Cinema Camera 4K, but please do watch the video if you haven’t seen it yet, as many things are covered there in more detail. Blackmagic really did their homework with this one and listened to as many customers as possible when designing the successor to their original Pocket Camera. The image out of it is beautiful and “cinematic”, the dynamic range is better than the one of similar cameras in the market right now, and it’s just very enjoyable shooting with it. It’s not a perfect camera of course, but it has a lot to offer. Micro 4/3 Running Candidate – Panasonic GH5s Amazing how time is flying. I tested the GH5s at the end of 2017 and published our review at the beginning of January 2018….All in all, it is a very solid camera with a much enhanced lowlight performance over the original GH5. The questionable autofocus system was greatly improved later this year when the latest firmware was introduced. Another thing that bothered some users was the absence of IBIS. As the GH5 has it, many were hoping to see this feature being implemented in this camera also but for different reasons that never happened. Here is how I concluded my opinion about the camera after reviewing it: In my opinion, the new Panasonic GH5S is a very capable camera and a more versatile shooting tool than the original GH5 – unless you are a photographer. The lacking IBIS is a let-down. FUJIFILM X-T3 is our winner for best large sensor mirrorless camera for 2018 Best Mirrorless Camera for 2018 – FUJIFILM X-T3 is the Overall Winner! All the mentioned cameras above are extremely capable filming devices so coming to a final conclusion was not an easy thing to do, BUT, when combining our actual shooting experience, general performance and price point, then the FUJIFILM X-T3 comes up as the best large sensor mirrorless camera for 2018. On a personal note: Since its introduction, I’ve shot several projects with it around the world and was not let down even once. I LOVE its small size, I love having an EVF and I love its versatility. It allows me, as an independent freelance filmmaker, to fulfill (almost) any request coming from a producer/director, be it concerning a resolution/frame rate/color depth and such. Sure it is not perfect but for the cost it is doing a great job for what it is. Last but not least: This article is all about different shooting tools. One should not forget that at the end of the day it is the storytelling that will win over an audience. Happy shooting and a happy new year (almost!) from the cinema5D team What is your favorite large sensor mirrorless camera for 2018? Please share with us your thoughts in the comment section below.