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Articles: Digital Photography Review (dpreview.com)
Posts Tagged ‘HIGHEND’
Video: Turn almost any mirrorless or DSLR camera into a high-end Zoom webcam on macOS
13
May
Fuji X-Photographer Kim Farrelly recently published a video explaining how to use a mirrorless or DSLR camera as a webcam with Zoom without using a capture card. The tutorial is only applicable to macOS, enabling photographers who are now working from home to utilize the camera hardware they already own rather than having to purchase a standalone webcam, which are increasingly hard to find.
Though the tutorial may seem a bit intimidating to users who are less tech-savvy, it’s fairly simple. Firstly, users are advised to check whether their camera supports tethering and live view, something that can be done on the Capture One website.
Assuming the camera does support these functions, the user must first download Zoom followed by XCODE from Apple onto their computer using the following command in the Terminal application:
- xcode-select –install
After Xcode is installed, use the following command in terminal to open up access to use external cameras with Zoom:
- sudo codesign –remove-signature /Applications/zoom.us.app/
The path in the second line of code must be the same as the path where Zoom is installed on the Mac. By installing Xcode and executing these two lines of code, Farrelly explains that Zoom will be able to use external webcams — or, in this case, a mirrorless or DSLR camera.
The process requires two additional applications called Camera Live and CamTwist, in that order, as well as a USB cable for tethering the camera to the computer. Farrelly explains that Camera Live version 13 works “100%” with his Fuji X-T2, but it’s unclear whether this version is needed for every camera model.
Farrelly walks viewers through this entire process, including some notes and links in the video’s description on the processes that will ‘piggyback’ each application so that the camera can ultimately be used as a webcam for Zoom video calls. Viewers who experimented with the process also dropped some additional tips, such as adding a zoom effect in CamTwist in order to remove the black bars from the video feed.
Articles: Digital Photography Review (dpreview.com)
Omnivision launches high-end 1/1.7″ 64MP smartphone image sensor
21
Feb
 |
OmniVision might not be the most well-known image sensor maker, but the company is among the sector’s big players and its imagers can be found in a wide range of smartphone cameras.
Now Omnivision has launched a new image sensor that is set to compete with some high-end models from Sony and Samsung. The OV64C is Omnivision’s first 1/1.7? 64MP sensor with a 0.8-micron pixel size and is built on the company’s PureCel Plus stacked die technology.
It features 4K video recording with electronic image stabilization as well as an on-chip 4-cell color filter array and hardware re-mosaic, which allows for full-resolution 64MP Bayer output. In low light, the sensor can use pixel binning methods to output 16MP images with lower noise levels and better dynamic range. It also offers a 2x digital zoom crop at 16MP resolution and fast mode switch.
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Other features include type-2 2×2 microlens phase detection autofocus, 8K video at 30 fps and 3-exposure, staggered HDR timing for up to 16MP video modes. Omnivision says the OV64C is designed for use in smartphone main cameras. Samples are available to industry customers now, so we should be able to see what the new chip can do when implemented in a smartphone within the next few months.
Articles: Digital Photography Review (dpreview.com)
‘Future lenses for today’: Sony’s Yasuyuki Nagata talks high-end optics
11
Jun
 |
| Yasuyuki Nagata, Head of Sony’s global Interchangeable Lens business, pictured at the press event where US journalists got our first look at the new G Master 600mm F4. |
We were in New Jersey recently, for the unveiling of two new Sony lenses – the G Master 600mm F4 OSS, and the more enthusiast-focused 200-600mm F5.6-6.3 G OSS. During the event, we spent some time with Yasuyuki Nagata, head of Sony’s global interchangeable lens business, to discuss the new products, and Sony’s approach to mirrorless lens development.
These products use technologies developed for the 400mm F2.8 – how has that product performed in the market?
The sales have been much higher than we expected – more than double. We thought at the first stages of development for the lens that there were only a few people who would shoot sports with our products – for example only Alpha 9 users, or photographers who shoot smaller small sporting events. But after we launched the 400mm, we have seen demand from many of the top sports photographers working at large events.
Do you have a sense of how many professional photographers are using that lens, versus enthusiasts?
Almost 70% of the [customer base] for that lens are professionals. But we have prioritized allocation for agency photographers. Availability is still capped – there is a long waiting list.
Who do you see as the target market for the new lenses?
Compared to the 400mm, the 600mm is more targeted at high-end amateurs. Photographers that shoot birds, wildlife, aircraft. Maybe 70-80% will be wildlife photographers. That’s why the market is bigger for the 600mm than the 400mm.
The 200-600 will appeal to the same audience [to some extent] but some people who use those kinds of lenses will use them with APS-C cameras. To get more reach.
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| The new GM 600mm F4 is a big lens, but it’s the lightest in its class, coming in at just 10g less than the similarly-styled Canon EF 600mm F4 III |
What are the specific differences between the two new lenses that account for the difference between ‘G’ and ‘GM’?
With G Master lenses we always include the latest, innovative technologies. We never compromise. Always the latest technologies. With the 200-600mm, there are some compromises, for example in the materials, or the body. We didn’t use magnesium-alloy, or the [newer XD linear autofocus] actuator.
The key concept is ‘future lenses for today’
Affordability is also important for the G series, to expand the size of the market. And sometimes it’s practicality. We don’t actually need to use the XD linear actuators with a small focusing group for example [like the one in the 200-600mm].
What were the major priorities for the design of the 600mm?
Basically we’re targeting the best of the best. Without compromise. Every time we plan to make a G Master series lens, we aim for ‘no competition’. Which means the highest spec. We don’t compromise on anything. Autofocus, image quality, light weight. What I mean by that is we develop new technologies every time. So there’s not a particular standard for G Master, we just include innovative technologies every time. Technologies that didn’t exist before.
We’re always listening to our professionals. And after we launched the 400mm, a lot of professionals told us they wanted a 600mm. We also consider camera bodies that will come in the future as well. The key concept is ‘future lenses for today’.
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| All of the main controls on the 600mm F4 are the same size, and in the same position as those on the 400mm F2.8. This is deliberate, and intended to make it as easy as possible for photographers to use the lenses alongside one another at events. |
So when you’re designing a lens like this are you planning for even more focus calculations per second and faster frame rates than the a9 can achieve, for example?
Yes.
If we assume that this is a lens that will be used by a lot of a9 photographers, what kind of camera do they want next?
They always request more speed, less weight, greater usability. I think that every professional photographer wants something different. We gather all those voices and we use that feedback to plan what we should do.
When you develop a lens like the 200-600mm, how important is the requirement for video shooting?
It must support video functions. Convergence from the video side is a very obvious trend, even in the US market. That’s why we use linear action autofocus actuators. Part of it is mechanics, and part of it is optics.
The integration with our camera bodies is much better than our competitors
In zooms we’re always trying to reduce focus breathing for example, and axial shift. All of the characteristics in zooms which [can] make it a challenge to use them for video.
How would you summarize the competitive advantages of these new lenses compared to existing products on the market?
If you shoot seriously, the 600mm is for you. The spec of the lens itself, its weight and its resolution is perhaps almost the same [as the current best competitive alternative]. But the integration with our camera bodies is much better than our competitors, I think. So if photographers want to maximize the performance of their camera body, they should use this lens. At this moment, there is no competition to the Alpha 9. Its performance is the best.
The 200-600mm is a more comfortable lens to carry, at a reasonable price. We want many customers to use the 200-600mm. And we made it compatible with our tele-converters. We want to expand that field.
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The 200-600mm F5.6-6.3 is a pretty long lens, but a lot of that length is the removable hood. Unlike most lenses of its kind though, the zoom is internal, so it doesn’t get longer when zoomed in. |
How much difference does the body make to lens focus performance? For example if someone is using a first generation Sony Alpha 7, how different will their experience of this lens be to someone using an a9?
It will be a totally different experience. We’re always saying that we try to see the future of cameras, and this lens is capable of much [faster] performance than the current specs of the a9. So this lens will be able to keep up with the next generation. It has much more potential [than the specifications of the current generation cameras].
Is the speed of electronic communication between the camera and lens a big part of that?
Yes. We hear some manufacturers talking a lot about the number of channels of communication between camera and lens, but if the autofocus actuators in the lens can’t keep up, it doesn’t matter.
The biggest challenge is keeping the size and weight down
When we design lenses we’re always thinking about the camera bodies. Compatibility between the mechanical parts, electrics, even software. These lenses are designed specifically for our mirrorless cameras.
What are the major challenges in making such a small, lightweight lens with such a fast autofocus actuator?
The biggest challenge is keeping the size and weight down. The optical components are determined largely by [the constraints of] optical physics. There aren’t any magic technologies to reduce the size of optical elements, and the diameter of the elements can’t be reduced because it determines the F number. The electronic parts on the other hand, like the autofocus unit, we can introduce innovative technologies which make the difference. Size and weight is the most difficult thing.
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| This schematic shows the weight distribution of the older 400mm F2.8 compared to the last-generation 500mm F4 for the DSLR A-mount. The new 600mm F4, like the 400mm, concentrates is weight towards the center-rear of the lens, which helps a lot when shooting with a monopod or for hand-held work. |
What does Sony need to do with its optical lineup to become the number one manufacturer in terms of sales?
I can’t disclose future plans, but there are a lot of opportunities, both on the telephoto side and the wide-angle side. Every segment of the lineup, there are opportunities to expand.
What is the attachment rate for teleconverters with the 400mm F2.8?
It’s at least 10%. Teleconverter compatibility was a big priority with these new 200-600mm and 600mm lenses.
Clearly the GM line is where the premium technologies are introduced – will they filter down into consumer products?
It’s possible, depending on timing. Over time we’ll introduce new technologies, and then the [existing] technologies will cascade down, one by one. Lenses are on the market for a long time, not like bodies which can launch every couple of years. But lenses it’s easily more than five years. It’s very hard to compare the camera and lens markets.
You talk about these lenses as being designed for the next generation of cameras – how long do you think these lenses will stand as benchmark performers?
Much longer [than camera bodies], I think maybe about 10 years.
Editor’s note: Barnaby Britton
When I last spoke to Mr. Nagata in 2017, he spoke of the increasing importance of professional photographers to Sony, and his ‘dream’ of seeing Sony cameras and lenses at the Tokyo Olympics in 2020. With the new G Master 600mm F4, he and his designers have taken one step further towards that goal, providing a lens which – like the G Master 400mm F2.8 – represents an almost symbolic position in any ‘serious’ camera system’s lens portfolio. It’s clearly very important to Sony that the brand is taken seriously by professional sports and wildlife photographers, and with lenses like these – and cameras like the all-powerful a9 the company is making a very strong case.
In my opinion, the a9 is the most effective camera on the market today for shooting sports. A lot of people will argue the point, but I think the technical evidence, if you care to go looking for it, is clear. That doesn’t mean that overnight, professionals will ditch their Canon and Nikon gear for Sony, of course. Without the lenses – and the professional service support – that they need, the a9 is little more than a curiosity. According to Mr Nagata, the entire concept of the G Master lens lineup is ‘future lenses for today’. This means two things. Firstly, that the lenses should offer the kind of image quality which won’t look out of date in a number of years, and secondly, that they’ll be able to keep up with – and take advantage of – future Sony camera technologies.
Older D/SLR lenses were not designed for 20fps capture using on-sensor phase-detection autofocus
The a9 is a seriously powerful camera, capable of communicating with compatible lenses at a rate of sixty times per second, but at some point it will be replaced by something even more powerful, with a higher sensor resolution, and capable of even greater performance. A lens like the G Master 600mm F4, with its twin high-speed ‘extreme dynamic (XD)’ linear focus motors, has to be designed with this kind of development in mind.
While Mr. Nagata is perfectly candid that in terms of image quality and basic specs alone, it might look similar to existing lenses from other manufacturers (the newest version of Canon’s EF 600mm F4 being the most obvious reference point), those older D/SLR lenses were not designed for 20fps capture using on-sensor phase-detection autofocus. ‘No competition’ indeed…
Slightly further down the lineup, the 200-600mm F5.6-6.3 is a more mass-market lens. Despite its lower positioning, it’s actually likely to be more important to, and more widely used by, enthusiast photographers and DPReview readers. It’s not a small lens, but the internal zoom and focus keep it relatively compact when out and about, and in my experience of shooting with it, the versatility – and sharpness – is impressive. This is the kind of lens that Sony has to release, in order to ‘expand the size of the market’ and hit Canon and Nikon where it hurts – in the high-end enthusiast market segment.
Articles: Digital Photography Review (dpreview.com)
EIZO releases ColorNavigator 7 calibration software for high-end monitors
23
Jan
 |
High-end display company EIZO has released ColorNavigator 7, the latest version of its calibration software for the ColorEdge series of LCD monitors. ColorNavigator 7 brings a number of features designed for graphics professionals who need consistent, accurate image quality for print, video, and other visual projects.
ColorNavigator 7 supports scheduled monitor recalibrations and maintains the calibration settings across multiple PCs by saving the info to the monitor itself. In addition to the scheduled automatic calibration, select EIZO monitor owners can use ColorNavigator 7 to manually adjust grayscale balance and hue/saturation across all primary and secondary colors.
Other features in the update include a color mode populated based on the display’s OSD menu, plus Film Emulation with 3D LUT to match a film look on the monitor. ColorNavigator 7 supports Windows 7 and higher, macOS 10.11 and higher, and Red Hat Enterprise 7 64-bit.
The software is free to download and is compatible with the following ColorEdge monitor models: CG3145, CG319X, CG318-4K, CG248-4K, CG279X, CG277, CG2730, CG247X, CG2420, CG247, CX271, CX241, CS2730, CS2420, CS270, CS240, CG276, CG275W, CG246, CG245W, CX270, CX240, CS230
Articles: Digital Photography Review (dpreview.com)
Sony launches the Xperia XZ3 high-end smartphone
31
Aug
 |
Sticking to its usual 6 months cycle, Sony has launched a new model in its high-end XZ smartphone line. The Xperia XZ3 follows on from the XZ2 which was released earlier this year. The new device is more evolution than revolution and the major differences to the XZ2 are an updated screen, a bigger battery and a slightly modified body design.
The new 6-inch OLED display supports HDR and comes with a 2880 x 1440 pixel resolution. It is protected by Gorilla Glass 5 that is curved at the edges to integrate smoothly with the aluminum body. The bezel dimensions have also been reduced, allowing for an improved display/body ratio.
Probably thanks to the marginally larger device body Sony has been able to use a beefier 3330 mAh battery which, compared to the XZ2’s 3180 mAh unit, should deliver a slightly improved battery life. Sony has also improved the S-Force front speakers, offering better base and treble as well as a 20% increased overall volume.
At 1/2.3″ the sensor is comparatively large for a smartphone camera and is combined with a 25mm equivalent wideangle lens and F2.0 aperture
Other specs include a Snapdragon 845 processor, 4GB of RAM and 64GB of storage, all wrapped up in a IP68 water and dust resistant body. At least on paper the rear camera specification has not changed for the new model and the XZ3 comes with the same 19MP camera module as the XZ2. At 1/2.3″ the sensor is comparatively large for a smartphone camera and is combined with a 25mm equivalent wideangle lens and F2.0 aperture. Predictive PDAF, laser AF and 4K video recording are on board as well.
The front-facing unit has been updated, however, and now comes with a higher 13MP resolution and faster F1.9 lens. The Xperia XZ3 will b available from October 17 for $ 900. More information is available on the Sony Mobile Blog.
Articles: Digital Photography Review (dpreview.com)
Lemuro launches line of high-end iPhone accessory lenses
02
Jun
 |
With a few exceptions, like Moment or Zeiss products, accessory lenses for smartphones tend to be rather cheap and more often than not, produce low quality images. For those photographers who don’t mind spending a bit more on high-quality accessory lenses, there is now a new alternative: German brand Lemuro has launched a Kickstarter campaign to fund mass production of its line of iPhone accessory lenses.
Currently four Lemuro lenses are on offer: a 60mm equivalent tele “portrait” lens, a 25mm 10X macro lens, a 18mm equivalent wide angle lens and an 8mm equivalent fisheye.
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The lens bodies are crafted from aluminum and attach to a leather-clad protective case via a metal lens mount. Currently cases are available for the iPhones X, 7, 7 plus, 8 and 8 plus but Lemuro says Android cases are in the making and should be expected later in 2018.
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Lemuro’s campaign is already fully funded, so, barring any unforeseen complications, production will go ahead. You can still pre-order on Kickstarter until June 22 and a pledge of of 75 Euros (approximately $ 88) will get you the starter kit with one case and lens. The pro kit with case and all four lenses will set you back 225 Euros (approximately $ 262). Delivery of the Kickstarter orders is scheduled for November 2018.
You can find more information and sample images on the Lemuro Kickstarter page.
Articles: Digital Photography Review (dpreview.com)
Eizo unveils ColorEdge CG319X DCI-4K HDR monitor for high-end video and photo editing
10
Apr
 |
High-end monitor maker Eizo has just unveiled the ColorEdge CG319X: a 31.1-inch DCI-4K HDR display with a 4096 x 2160 resolution, built-in calibration sensor, and 98% DCI-P3 coverage. The new ColorEdge model builds upon the previously launched CG318-4K, adding multiple new features including hybrid log-gamma (HLG) support and a perceptual quantization (PQ) curve for HDR video editing.
According to the company, the CG319X’s panel offers images that “appear more true to how the human eye perceives the real world.”
The new ColorEdge model is targeted at pro-tier post-production work, offering a variety of features beyond what is available on typical consumer displays. For one, the CG319X has an integrated calibration sensor that has been upgraded so that it can recalibrate your monitor even while you’re using it. To facilitate this, the user selects a time during which the sensor will swing onto the screen, using up “minimal space” so that work can continue.
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| The CG319X comes with this built-in calibration sensor, which has been updated so it can recalibrate your display even if the monitor is in use. |
This model also offers 98% DCI-P3 color space reproduction, a 1500:1 contrast ratio, and a retardation film that maintains tone depth when viewing the monitor from an angle. Finally, because temperature changes can affect an LCD’s brightness and color, Eizo has built a temperature sensor into the CG319X, which allows the display to adjust as necessary when the ambient temperature of the room changes.
The ColorEdge CG319X also features two HDMI ports, two DisplayPort inputs, DCI-4K/60Hz using HDMI or DisplayPort 1.2, 3D LUT, 10-bit simultaneous display from 24-bit LUT, 4K zoom, aspect ratio markers, luminance warning, an ergonomic stand, light-shield hood, built-in carrying handle, 5-year manufacturer’s warning, and support for the following cinema and broadcast preset modes:
- EBU
- Rec. 2020
- Rec. 709
- SMPTE-C
- DCI
- PQ
- HLG
Eizo will start shipping the ColorEdge CG319X monitor next month in some regions; US shipments start in June. Price is still TBD.
Press Release
EIZO Releases 31.1″ DCI-4K Monitor with HDR Gamma Support for Media and Entertainment
Hakusan, Japan, April 5, 2018 – EIZO Corporation (TSE: 6737) today announced the new ColorEdge CG319X – a 31.1-inch monitor with DCI-4K resolution (4096 x 2160) and HDR gamma support for the professional post production workflow. It is the successor model to the CG318-4K with several upgraded features.
Distinguishing it from its predecessor, the ColorEdge CG319X comes equipped with HLG (hybrid log-gamma) and the PQ (perceptual quantization) curve for displaying and editing HDR (high dynamic range) video content. The optimized gamma curves render images to appear more true to how the human eye perceives the real world compared to SDR (standard dynamic range). Having a monitor equipped with HDR gamma support ensures professional creators can reliably display HDR content during the editing process so it is ready for color grading at the end of the workflow.
ColorEdge CG319X is equipped with an upgraded built-in calibration sensor, which allows the user to continue to operate the monitor even during recalibration. The sensor swings onto the screen at a time designated by the user and takes up minimal space so work remains uninterrupted.1 A built-in sensor eliminates the need for a third-party calibration device and ensures the screen stays color-accurate.
The monitor’s wide color gamut reproduces 98% of the DCI-P3 color space used in the media and entertainment industry. In compliance with the DCI standard, the ColorEdge CG319X offers a high contrast ratio of 1500:1 for producing true blacks that are otherwise difficult to display on a typical LCD monitor. In addition, it is equipped with a retardation film which allows tones to retain their depth even when viewed from an angle.
The color and brightness of an LCD monitor can be affected by changes in ambient temperature of the monitor itself. The ColorEdge CG319X is equipped with an internal temperature sensor which detects those changes and adjusts the monitor so gradations, color, brightness, and other characteristics continue to be displayed accurately. The algorithm used in the AI (artificial intelligence) 2 of the monitor allows it to perform this temperature detection and adjustment even at high brightness levels for providing a truly accurate viewing environment. In addition, EIZO’s patented digital uniformity equalizer (DUE) technology also counterbalances the influences that a fluctuating temperature may have on color temperature and brightness for stable image display across the entire screen. The monitor also provides noiseless, fanless operation while still maintaining low heat output without impacting performance.
Additional Features
- 3D LUT for individual color adjustment on an RGB cubic table
- 10-bit simultaneous display from a 24-bit LUT for smooth color gradations 3
- DCI-4K resolution at 60 Hz via DisplayPort 1.2 or HDMI input
- Broadcast and cinema preset modes: EBU, Rec. 2020, Rec. 709, SMPTE-C, DCI, PQ, and HLG
- Two DisplayPort and two HDMI inputs
- Ergonomic stand which meets IEC/EN 62368-1
- Light-shielding hood included
- 5-year manufacturer’s warranty 4
EIZO will be showing the ColorEdge CG319X for the first time at the NAB Show 2018 in Las Vegas, USA from April 9 – 12. Visit Booth SL15713 to see the product.
Product Information
- ColorEdge CG319X
Availability
The ColorEdge CG319X will begin shipping in May, 2018. Date of availability varies by country so contact the EIZO group company or distributor in your country for details.
Articles: Digital Photography Review (dpreview.com)
Photography Equipment Comparisons – Entry-Level Versus High-End Gear Does it Matter?
16
Feb
Photographers tend to get obsessed with having the latest, greatest toys. But does it matter which camera or bits of equipment you use? If so, how much? Or is it more about how you use it, and the skills you possess?
Let’s take a look at three video comparisons of some of the top level photography equipment available and some entry-level options.
Rich photographer – poor photographer
I like the play on words here, hinting at the concept of the “Rich Dad Poor Dad” series of books by Robert Kiyosaki. In the video, the guys over at f-stoppers do a portrait shoot with two different sets of lighting equipment. One which costs nearly $ 10,000, and the “poor man’s” version which will run you about $ 425.
Can you see a difference in the final portrait results? No, I can’t see much difference either.
$ 1100 versus $ 5499
In this second video, Peter McKinnon looks at the virtues of both the Canon 80D ($ 1099) and the Canon 1Dx Mark II (Note: at the time of writing, this camera is listed at $ 5499). Is the latter worth five times as much? You decide.
If you are a sports shooter, you may need the extra frames per second rate the 1DX offers. But if you’re a wildlife photographer you may prefer the extended reach of the crop sensor in the 80D. Portrait photography can be done with either, but you likely don’t need to spend the extra money on the 1DX if that’s what you shoot.
Note: when the video was made the 1DX was likely priced higher, so please note the difference in prices in the video to current pricing.
Camera shootout – it’s not about the gear
In this last video let’s see what happens if two professional photographers each pick up an entry-level Canon Rebel T3i and hand their Canon 5D Mark IV to an amateur. They do a little shootout with the same model, in the same lighting conditions and studio. Let’s see who comes out on top.
The Canon T3i is discontinued, the price for the current model, the T6 is $ 449 with the 18-55mm lens. The Canon 5D Mark IV is $ 3299 + $ 1699 for the 35mm f/1.4 lens shown in the video = total $ 4998.
Your thoughts?
So what are your thoughts after watching the videos? Have you made the decision to invest in high-end lenses or a full frame camera body? If so, have you found it to fill your needs better – was it worth it? Let’s discuss in the comments below.
The post Photography Equipment Comparisons – Entry-Level Versus High-End Gear Does it Matter? by Darlene Hildebrandt appeared first on Digital Photography School.
Blackmagic launches 4K broadcast camera for price of a high-end DSLR
10
Feb
 |
Video camera maker Blackmagic Design has announced the “world’s most affordable and flexible professional” camera aimed at broadcast and studio film makers. The URSA Broadcast shoots Ultra HD resolution, uses an interchangeable lens mount and costs just $ 3,495.
The camera comes with the B4 lens mount, but this can be switched so the camera can accept PL, F or EF lenses. Users can load relatively low-cost SD or CFast media to record their footage, with the camera offering two slots for each format. Lossless 12-bit CinemaDNG Raw recording is possible for projects that require the best quality, while broadcast footage can be shot in 10-bit DNxHD 220X, DNxHD 145 or ProRes formats with metadata.
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Blackmagic says the URSA Broadcast produces vibrant colors and accurate skin tones so that footage is ready to use straight from the camera, while an extended video dynamic range ensures a wide range of brightness values can be recorded. Three ND filters are built-in and can be dropped into the light path at the turn of a dial. The strengths offered are ¼, 1/16th and 1/64th stops, and each comes with IR compensation to maintain matchable colors from different situations.
The handling of the camera concentrates on placing controls on the outside of the body rather than in menu systems, and the company claims that should any button or control point fail during a job its function can be switched to another button as redundancy has been built into the design.
The Blackmagic Design URSA Broadcast is available now. For more information see the Blackmagic website.
Press release
Blackmagic Design Introduces URSA Broadcast
The world’s most affordable and flexible professional HD and Ultra HD broadcast camera for live production and studio programs, at the same price as a DSLR camera!
Fremont, California, USA – February 1, 2018 – Blackmagic Design today announced Blackmagic URSA Broadcast, a new high end, professional broadcast camera designed for both studio programming and live production. URSA Broadcast works with existing B4 broadcast HD lenses, can be used for both HD and Ultra HD production, features a 4K sensor, extended video dynamic range, traditional external controls and buttons, built in optical ND filters, dual CFast and dual SD card recorders, and much more. Blackmagic URSA Broadcast is available now for only US$ 3,495 from Blackmagic Design resellers worldwide.
URSA Broadcast is like two cameras in one, an incredible field camera for ENG and programming work, as well as a professional studio camera. The camera features traditional broadcast controls along with exceptional image quality, all in a compact design that is ideal for fast paced, fast turn around production work. The key is URSA Broadcast’s new extended video mode which captures incredible looking video with accurate skin tones and vibrant colors. That means customers don’t have to color correct images before going to air, making URSA Broadcast perfect for news, live sports, studio talk and game shows and more. URSA Broadcast lets customers shoot, edit and get stories on air faster than ever before.
URSA Broadcast is also designed to work with the equipment and systems traditional broadcasters already have. For example, customers can use their existing B4 HD and Ultra HD lenses with URSA Broadcast. Unlike other broadcast cameras, URSA Broadcast records onto inexpensive standard SD cards, UHS-II cards and CFast cards, and records 1080i or 2160p video into standard .mov files, with .mxf to be added in future updates. URSA Broadcast records using DNx145, DNx220X or ProRes, so video doesn’t need to be copied or transcoded. This makes it fast to work with video from URSA Broadcast because it’s compatible with virtually all existing broadcast systems and editing software.
The B4 lens mount and matching sensor on URSA Broadcast enables wide depth of field, so broadcast customers can shoot without constantly chasing focus. The lens mount features high performance optics with spherical aberration correction specifically designed to match the camera’s sensor. The ?” mount lets customers use existing HD lenses or Ultra HD lenses. Because B4 lenses are par-focal and have an extremely wide depth of field, images stay in focus when zoomed in and out. That lets customers work faster because they don’t need to change lenses or refocus between close up, medium and wide shots. URSA Broadcast also supports full electronic B4 lens control so customers can adjust focus, iris and zoom using the camera’s controls, or remotely from an ATEM switcher or ATEM Camera Control Panel. In addition, the standard B4 lens mount can be swapped with optional EF, F and PL mounts so customers can use everything from inexpensive high quality photographic lenses all the way up to massive cinema lenses.
URSA Broadcast features a high quality 4K image sensor and a new extended video mode with better dynamic range and color fidelity. The sensor is designed for both HD and Ultra HD, producing images with fine texture and detail, accurate skin tones, vibrant color and high dynamic range. The images from URSA Broadcast have been designed to be used without additional color correction. This makes editing faster, which is crucial in the fast paced broadcast world. The high resolution sensor is a huge advantage, even when working in HD, because it enables sub pixel image processing and superior anti-aliasing, resulting in super sharp images.
URSA Broadcast is designed to be the toughest and most fully featured camera available. It includes everything customers need in a compact handheld magnesium alloy body that’s durable and light enough to use anywhere. There’s an external high visibility LCD status display for viewing critical shooting information, a foldout touch screen for reviewing shots without needing an extra on-set monitor, professional connections such as 12GSDI, XLR audio, built in high quality stereo microphones and more. Plus, every single control on the camera has a redundant backup, including the power, so if anything should go wrong in the field, the camera can still be used.
URSA Broadcast also features built in neutral density (ND) filters with IR compensation for quickly reducing the amount of light that enters the camera. The ¼, 1/16th and 1/64th stop filters are specifically designed to match the colorimetry of the camera and provide additional latitude, even under harsh lighting conditions. That means customers can use different combinations of aperture and shutter angle to achieve shallower depth of field, or specific levels of motion blur, in a wider range of situations. The IR filters evenly compensate for both far red and infrared wave lengths to eliminate IR contamination. The ND filters are true optical filters with a precision mechanism that quickly moves them into place when the ND filter dial is turned.
Blackmagic URSA Broadcast puts control buttons, switches, knobs and dials on the outside of the camera, giving customers direct access to the most important camera features. The controls are laid out in a logical order that makes them easy to remember so operators can use the camera without having to look at the buttons, hunt through menus, or take their eye off of the action. URSA Broadcast also features a high visibility LCD status display which shows important information such as timecode, shutter and lens settings, battery, recording status, and audio levels. The status display features a backlight and is designed to be clearly visible in both dimly lit studios and outside in direct sunlight.
URSA Broadcast features both dual CFast 2.0 recorders and dual SD/UHS-II card recorders. Both types of media are standard, non-proprietary, inexpensive and readily available at most computer and camera stores. Customers can record 10bit broadcast quality DNxHD 220X, DNxHD 145 or ProRes files with metadata, making it is easy to integrate URSA Broadcast into existing broadcast systems and workflows. URSA Broadcast can even record lossless 12bit CinemaDNG RAW files for high quality programming and post production. With dual slots for each media type, URSA Broadcast gives customers redundant recorders and non-stop recording. When the first card is full, recording automatically continues onto the next card so the full card can be swapped while recording continues on the other.
All of the connections on URSA Broadcast are standard television industry connectors so customers don’t need expensive, proprietary cables. The camera features multi rate 12GSDI connections for video output and return program feed input. Both connections automatically switch speed so they work with all HD and Ultra HD formats up to 2160p60 over a single cable. In addition, URSA Broadcast features HD-SDI monitoring out, 2 LANC inputs, balanced XLR audio with phantom power, and timecode/reference input. A 12 pin Hirose connector provides analog and digital broadcast lens control for powering and controlling SD, HD and Ultra HD lenses. There’s also a 4 pin XLR 12V DC power output and HD-SDI monitor output that can be used with Blackmagic viewfinders or any third party viewfinders and monitors.
Blackmagic Design also makes a complete set of professional camera accessories designed to work perfectly with URSA Broadcast. Customers can add a Blackmagic URSA Viewfinder or a large 7 inch Blackmagic URSA Studio Viewfinder. There are microphone mounts, standard V-Lock and Gold battery plates, optional lens mounts and more. The all new Blackmagic Camera Fiber Converter, Blackmagic Studio Fiber Converter and ATEM Camera Control Panel let customers create a complete broadcast camera chain that costs hundreds of thousands of dollars less than traditional camera chains. The fiber converters let customers extend their cameras and power them from up to 2 km away using industry standard SMPTE fiber cables. It includes 1 Ultra HD camera feed, plus 3 HD return feeds, common live camera controls with multiple channels of talkback, and standard television industry talkback headset connections, all in a compact IP video based design that allow it to be connected and controlled from a live production switcher.
“URSA Broadcast lets customers get the most out of their investment in cameras and lenses because it can be re-purposed and used on every type of project, whether it’s out in the field or in the studio. It’s like getting two cameras in one.” said Grant Petty, CEO, Blackmagic Design. “URSA Broadcast is exciting because it makes high end broadcast camera technology available to everyone from AV and web producers all the way up to professional broadcasters, for the same price as a common DSLR!”
Blackmagic URSA Broadcast Key Features
- 4K sensor, extended video dynamic range, traditional external controls and buttons, built in optical ND filters, dual CFast and dual SD card recorders,
- Advanced HD and Ultra HD broadcast camera with B4 mount.
- New extended video mode with better dynamic range and color fidelity producing images with amazing texture and detail, accurate skin tones, vibrant color and high dynamic range.
- Full electronic B4 lens control support for adjusting focus, iris and zoom using the camera’s controls, or remotely from an ATEM switcher or ATEM Camera Control Panel.
- Built in dual SD/UHS-II and CFast card recorders allow unlimited duration recording in high quality.
- Records 1080i or 2160p video into standard .mov files using DNx145, DNx220X or ProRes for compatibility with existing broadcast systems and workflows. Standard .mxf will be added in future updates.
- Support for DNxHD 220X, DNxHD 145, Apple ProRes 4444 XQ QuickTime, ProRes 4444 QuickTime, ProRes 422 HQ QuickTime, ProRes 422 QuickTime, ProRes 422 LT QuickTime and ProRes 422 Proxy QuickTime, CinemaDNG RAW, CinemaDNG RAW 3:1, CinemaDNG RAW 4:1.
- High quality clear, 1/4, 1/16th and 1/64th stop neutral density (ND) filters with IR compensation designed to specifically match the colorimetry and color science of URSA Broadcast.
- Fully redundant controls including external broadcast controls which allow direct access to the most important camera settings such as external power switch, ND filter wheel, ISO, shutter, white balance, record button, audio gain controls, lens and transport control, high frame rate button and more.
- Interchangeable lens mount with B4 mount included as standard. Optional EF, PL and F mount available separately.
- Status display for quickly checking timecode, shutter and lens settings, battery, recording status, and audio levels.
- Features all standard connections, including dual XLR mic/line audio inputs with phantom power, 12GSDI 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 4 pin 12V DC power connection.
- Built in high quality stereo microphones for recording sound.
- 4 inch foldout touchscreen for on-set monitoring and menu settings.
- Blackmagic SDI Control Protocol for external control or iPad control via Bluetooth®, 2 x 2.5mm LANC for lens and record control.
Availability and Price
Blackmagic URSA Broadcast is available now from Blackmagic Design resellers worldwide for US$ 3,495.
Blackmagic URSA Broadcast Accessories
- Blackmagic Camera Fiber Converter.
- Blackmagic Studio Fiber Converter.
- ATEM Camera Control Panel (available May/June 2018).
- Blackmagic URSA Broadcast Shoulder Kit features built in rosettes, rail mounts, viewfinder mount, integrated tripod quick lock release and top handle.
- Blackmagic URSA Viewfinder is a high resolution viewfinder that includes a full HD OLED display and true glass optics for perfect focus.
- Blackmagic URSA Studio Viewfinder featuring 7” screen, variable tension mounting points, easy grip handles, external controls and more.
- URSA VLock Battery Plate provides a VLock compatible plate for attaching third party batteries.
- Interchangeable EF, F and PL lens mounts.
Articles: Digital Photography Review (dpreview.com)