The Blackmagic URSA Cine 12K can (and will) give a fight to top-notch cinema cameras like RED V-Raptor, Sony VENICE, and ARRI ALEXA. And it will win this fight for a fraction of the price. Mark our words.
Blackmagic’s first high-end cinema camera
We do think that Blackmagic Design has finally nailed it as a cinema camera manufacturer. Blackmagic works and operates like a high-tech company rather than a conventional/conservative manufacturer of cinema products, although its post-production software (DaVinci Resolve) is the industry standard in its field. Nevertheless, the company’s cinema cameras were not accepted well among high-end productions for many reasons. However, this is about to change thanks to its new revolutionary cameras: The Cine 12K, and the URSA 65. We assume that both of them can give a fight even to the mighty ARRI ALEXA (LF and 65 as well). The URSA Cine 12K is being utilized by testers (experienced cinematographers and filmmakers) who praise the camera for its professional capabilities.
Made for high-end productions
The URSA Cine 12K is armed with almost all the features needed for high-end productions. Having standard power and professional connections such as 3-pin Fischer RS with 24v and the 2-pin Lemo 12v, means this camera easily connects with industry standards. It’s the little things that help to improve the URSA Cine over its predecessor like the electronically controlled NDs. You can also swap the lens mount from PL to LPL in a snap. Furthermore, this camera can shoot Super 35 (4-perf equivalent) in 9K at 100fps and FF 8K and 4K (2.4:1) at 220fps. With that extra resolution, you can even shoot 12K 3:2 open gate at 80 fps and 12K 2.4:1 (12,288 x 5112) at 120 fps. The amazing thing is, being able to shoot in 4K, 8K, or even 12K, using the entire sensor without cropping and still retaining the full field of view of your lenses. Moreover, the URSA Cine 12K is sturdy. The overall image quality looks great and tough enough for heavy post-production color grading and workflow. Additionally, it has a very fast sensor and excellent Readout Speed values (almost zero rolling shutter artifacts). And the price…
Democratizing high-end cinematography
Yes, we know.. we used the phrase ‘high-end’ too much in the article. But it seems that the URSA Cine 12K is worth it, as it democratizes high-end (again…) cinematography for independent filmmakers who can not afford to buy an ALEXA or VENICE. Now they can buy the URSA Cine 12K for a fraction of the price and get close and even better results. And we even didn’t mention the URSA 65 that will democratize medium-format cinematography. Yes, it will take time till Hollywood endorses the URSA Cine 12K (and URSA 65 for IMAX productions), but we advise Hollywood to start checking it. Its images will look beautiful on the big screen. Grant Petty did it in the post-production world, and now he will do it in the professional cinematography world, as he invented a solid contender to the ALEXA and VENICE.
