Tagged: Review

fotodiox flapjack (1 of 6)

After years of seeing others move towards LED lighting, I’m finally starting to catch up. When large LED panels first hit the market, I wasn’t really a fan of the light quality, but these days even very affordable LED lights provide very decent light. I just finished reviewing those extremally affordable $40 edge lit V-Pad 150 panels, Now I want to take a look at a much more expensive offering from Fotodiox Pro Flapjack.

Fotodiox Pro Flapjack (1 of 2)

The Fotodiox Pro Flapjack comes in a somewhat large form fitting case. Included in the kit is the LED light panel, a Dual battery charger, a single Sony NP-F750 style battery, a car power adapter, and a very robust ball head cold shoe adapter. While the case is nice, I would have happily traded it out for an extra battery or two.

fotodiox flapjack (4 of 6)

At a price of $245, the Flapjack provides you with a color temperature range of 3200k to 5600k and the ability to adjust dim the output from 100% all the way down to 10%. You also have a design that is more refined than the V-Pad 150 panels with a nice backlit LCD screen provides battery information, color temperature, and output information.

Fotodiox Pro Flapjack (2 of 2)

While the frame of the Flapjack isn’t waterproof, it is made out of aluminum and there aren’t any direct vent ports to the outside world. So if you do end up running through a little bit of light rain you’ll probably be ok. Build quality is fairly solid for a light in this price range, but remember the frame is the only thing made out of metal, the battery adapter and indication panel is entirely plastic. So if you drop it on it’s back, you’ll likely break something.

fotodiox flapjack (3 of 6)

I don’t know if the metal housing and LED indicator alone are enough to make the Flapjack worth the price. That said, the Flapjack is noticeably brighter than it’s $40 competitor, but is it $200 worth of brightness? I’ll post more once I’ve finished the full review.

The post Fotodiox PRO 7″ flapjack C-200RS – First impressions appeared first on DSLR Film Noob.

All credit is given to author DSLR Film NoobDeejay

The camera which Panasonic can’t decide what to call (GX80 in Europe, GX85 in the US and GX7 Mark II in Japan!) really excites me. It’s the first time that anyone has put 5 axis in-body stabilisation in a 4K camera which exceeds the performance of the stunningly good Olympus 5 axis system. It’s not quite as effective [...]

All credit is given to author EOSHDAndrew Reid (EOSHD)

I feel that Sigma are now one of the most innovative of Japanese manufacturers, certainly the most adventurous. Just look at the products. There are 3 Sigma creations I’ve invested in recently that have blown my socks off and bazooka’d the tea out of my cup… Up until now I had considered the Canon 24mm F1.4L my favourite [...]

All credit is given to author EOSHDAndrew Reid (EOSHD)

Atomos has had a string of announcements over the last couple of months, most notably three new 1500-nit, HDR-ready field monitors/recorders. I got hold of one of the first batch of their Shogun Flame units in for review.

Shogun_Flame_Review_18

When the Atomos announced the Flame series (Shogun, Ninja and now Inferno), I was very intrigued.

I’ve been a long-time user of Atomos recorders, and have owned the original Atomos Shogun since not long after it came out a few years ago.

I had a feeling of what to expect with the Flame recorders: daylight viewable display, dual battery port, better build, HDR view, these things looked nice.

Shogun_Flame_Review_3

Before I get into my review fully, here’s my TL DR (too long, didn’t read):

The Atomos Shogun Flame is a worthy upgrade to the original Shogun. Whilst the original 7” monitor/recorder was great value, there were many points where a mark II could improve on.

The Shogun Flame addresses some key issues and then some. Dual battery slots and a better build are reasons enough to upgrade, but the addition of a 1500-nit, 10-bit panel really puts the Flame line in a different class to the original Shogun and Ninja Assassin.

And that’s even before we get to the new HDR view feature. Whilst on the surface it seems a little gimmicky, it has proven to be a genuinely handy tool for monitoring super flat log sources like Sony S-log.

However, I personally feel 7” is still too big of a display for on-camera monitoring, especially on smaller cameras like the Sony Alpha series. A smaller 5.5” version would’ve been a much more ergonomically sound decision.

Shogun_Flame_Review_4

Atomos Shogun Flame Review

For the full list of features of the Shogun and Ninja Flame, check out my original news post here.

Here are the key features I picked up on as an update to the original Shogun, and the ones everyone will most likely be interested to hear about:

  • 1500-nit Daylight View Display
  • 10-bit Panel
  • HDR View Feature
  • Improved Build Quality
  • Dual Battery Slots

And here is a list of downfalls of the original Atomos Shogun that I was hoping would be addressed with the Shogun Flame:

  • Poor on-camera form factor
  • Glare-prone screen
  • Poor power performance
  • Some batteries sit loose in the mount
  • Delicate Build Quality

Lets see how the new features line up and how many of the above issues have been addressed.

Shogun_Flame_Review_2

Daylight Viewable Display

This feature is a huge selling point for me. I’ve been after a daylight viewable display for some time now for Movi operation, as I find hoods and gimbals don’t get on. Add to this the Shogun Flame’s ProRes recording capabilities, and you have a huge plus.

It’s not just marketing jargon, this thing really is bright.

Matt Allard from NewsShooter proved with a light meter that the claim of 1500 nits was an accurate, but you can see below just how that translates in the real world.

Shogun_Flame_Review_6

Comparing the Atomos Shogun and Atomos Shogun Flame you can see just how much easier it is to see the latter in daylight environments.

Shogun_Flame_Review_7

Both monitors were receiving the same test pattern from a single Atomos H2S converter at their respective most bright setting.

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It seems that the viewing angle of the Shogun Flame is also improved. I wouldn’t say that glare is any more controlled (both are glossy displays), but the increased brightness often creates the perception that it is in fact better.

Shogun_Flame_Review_14

The Modes

One thing Atomos mention in their marketing is the choice to switch between HDR mode and daylight viewable mode. In fact there are four modes: Native Source Video, Atom HDR, Log To Video and Custom Look.

Shogun_Flame_Review_22

Native Source is simply what the monitor receives from the camera, without any further processing. Every viewing feature is greyed out here except for the brightness scale.

AtomHDR is the new HDR feature, I’ll come to this in more detail, but here you can choose your camera type, gamma and gamut as well as enable soft clip and Viewing Environment (brightness).

Log To Video has the same camera/gamma/gamut choices as AtomHDR, but also converts your signal into a Rec709 profile, just like the pre-loaded LUTs do on the original Shogun.

Custom Look is where you have the option to load in custom LUTs. This is the only mode that allows you to record the look, output the look downstream and review the look in split screen mode. You cannot burn in the AtomHDR or Log To Video modes.

My understanding was that there would be an obvious switch in brightness between AtomHDR and the three other modes. In other words, you could either have 1500 nits of brightness or HDR view. However the reduction in brightness is not very apparent at all. In fact, under circumstances such as with super flat images, AtomHDR mode often looks brighter than Native Source mode!

Shogun_Flame_Review_13

AtomHDR View in depth

When I first read about this feature, the first thing that came to mind was “gimmick”. What sounds like some brand new exciting technology is, in essence, just a specific LUT that makes use of the high dynamic range of a log image on a 10-bit panel.

Plugging in my Canon C100 Mark II and playing around, I struggled to see value in the new feature: it added too much colour and contrast, and it was really hard to gauge exposure.

However, after further experimenting in this mode with S-log on the Sony A7RII, I’ve changed my mind.

Shogun_Flame_Review_17

The Shogun Flame includes support for Arri, Sony, Canon and Panasonic log modes. For super-flat log profiles such as S-log, this is a very nice way to expose, view and shoot. C-log is less flat, making this mode less necessary.

The mode adds vibrancy and contrast without comprising the dynamic range too much. This is a headache I regularly struggle with as an operator: view the log feed from the camera and put up with a super flat & ugly image, or convert it to Rec709 to see some contrast and accept that you’re not viewing all of your available dynamic range.

Sure, you can go ahead and make your own custom LUTs that do this, but it’s nice to have a device that has done the groundwork already and has a formula that works for a variety of log formats.

Watch Your Exposure

There’s one fundamental feature that makes the AtomHDR mode a very useful viewing tool, and whose absence would make this mode a bit redundant.

That is that the waveform monitor is not affected when switching between viewing modes. In other words, what you see on the waveform monitor is what you’re recording, not what you’re viewing.

Shogun_Flame_Review_16

Exposing in AtomHDR mode should come with great caution: if you don’t know what you’re doing it is very easy to mis-expose. For example, let’s look at the Viewing Environment. While it seems to adjust the luminance of the screen in Native Video Mode, it works differently within AtomHDR, where it looks like a shift in mid point, creating the illusion that you are changing the exposure of the camera.

Shogun_Flame_Review_24

The key is to use the waveform monitor. Expose in Native Source Mode using the waveform monitor first, then switch to AtomHDR and adjust your Viewing Environment until you’re happy with the luminance of the screen.

Power Consumption and Implementation

For me, the biggest drawback on the original Shogun was the combination of hungry power consumption and a single battery slot. In addition, I’ve found quite a few batteries that don’t sit snuggly on the battery mount. Conclusion: power is not so much fun on the Shogun.

The Atomos Shogun Flame has two battery slots: instant win. They also feel sturdier, and I found little to no play with the batteries from my original Shogun.

Shogun_Flame_Review_19

However, I assumed the increased brightness panel on the Flame and the inclusion of two battery slots would translate as greater power consumption on what was already a thirsty system.

To test this, I conducted an unscientific experiment. Using my Atomos H2S, I sent the same test pattern signal to both 7” recorders, and set both screens to their brightest most modes. I attached two new batteries I’d bought from the same supplier at the same time (both fully charged).

Shogun_Flame_Review_5

I then hit record simultaneously and left them running; the monitor with the longest recording would obviously have a better power consumption.

I expected the Shogun Flame to be a good 30% worse in power consumption, but to my surprise, it cut out only 6 minutes earlier than the original Shogun.

This was of course unscientific. There could be a small discrepancy between the batteries and so on, but if there were any glaring differences, I’d have been sure to have found them here.

Also, the option to hot swap batteries on the Shogun Flame makes it a much better system, without any evident detrimental effects from the added brightness.

One thing that hasn’t been addressed is that the monitor still gives the impression to be running out of battery long before it actually is.

Shogun_Flame_Review_23

You get a red battery warning at around the 6.5 volts, which is unnecessary as you often have a lot longer than you think.

It would be nice for the battery indicator to have an amber period to fix this: Green>Amber>Red.

Build Quality

Shogun_Flame_Review_9

Atomos made a point of stating that the build quality had been improved on the Flame line.

The original Shogun does indeed feel delicate. I’ve handled a few different units over the years and each has had its quirks, with buttons not quite sitting straight, edges that are starting to split, or vents that feel vulnerable.

The Shogun Flame definitely feels like an upgrade in this regard: it feels stronger and the vents are less exposed.

The rubber edges are a nice touch also, although personally I really don’t like the garish yellow/red. I keep the frame of the hood on all the time, which adds protection and hides the yellow.

Shogun_Flame_Review_10

It’s certainly not bulletproof. You can see exposed wires through gaps. In this regard, my SmallHD 502 feels like a step up in build for sure.

Boot Up Time & Fan

Boot up time for the Atomos Shogun Flame takes around 10 seconds, considerably more than the 2-3 seconds of the original Shogun.

On boot up there’s also a loud fan noise, which drops to an almost inaudible level once the device is ready. It does, however, sound louder than the original.

Other Features

Having used Atomos products for so long it’s often easy to overlook the many features that are packed into these devices.

So far I’ve listed features that make the Atomos Shogun Flame a standout upgrade to the original Shogun. However, if you haven’t used the previous monitor and are perhaps new to Atomos recorders in general, here are some of its handy features:

  • HDMI/SDI cross conversion
  • Trigger start/stop for various cameras
  • 4K>HD down conversion
  • Pull Down for Interlace to Progressive Conversion
  • Pre-Roll
  • Timelapse
  • Timecode Config and retrieve from source
  • Apple ProRes 422, LT and HQ Recording
  • Avid DNxHD 220x, 220,145 and 36
  • 1080 up to 120p
  • 4K up to 30p
  • Customizable Scopes (waveform, RGB parade, vectorscope, luma overlay)
  • Customizable Peaking, False Color, Zebra, Focus Zoom
  • Aspect Ratio Overlays, Anamorphic De-squeezes
  • Metadata tagging
  • Image flip, Display off when locked
  • Custom LUT, Rec look and Send Look Downstream

Shogun_Flame_Review_1

Accessories

Like the original Shogun, the Shogun Flame package comes with an array of accessories, including hard drive caddies, USB 3 reader, charger, and AC cable.

The hard case as standard is great; the Shogun Flame’s mandatory yellow colour… not so much.

There are a few other changes; one is the inclusion of D-tap out as standard. This comes in the form of a lovely coiled D-tap to jack cable, which in previous incarnations was a separate dummy battery.

Shogun_Flame_Review_20

The hood also comes as standard which is nice.

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And, most importantly, the charger is vastly improved. Whilst original Shogun users were moping about on the floor after a triple whammy of an ill-fitting, single battery that drains faster than you can drop an anvil, they were dealt with a killer blow with the charger. It replenished batteries in periods closer to days, not hours: it literally took days to charge large NP-F970 sized batteries.

The new charger is much better; it displays a proper indicator and supposedly charges 3 times faster, although I reckon maybe even quicker.

Shogun_Flame_Review_21

What I don’t like, however, is that it comes with a large and hassle-to-travel-with AC/DC convertor. I fixed this by simply buying an all-in-one plug adaptor with the same specs.

Shogun_Flame_Review_11

Summary

I think Atomos has done a fantastic job in updating their very popular 4K field monitor/recorder line.

Previous problems mostly revolved around build and power, and these have been addressed as well as adding a great body of new features like 10-bit processing, AtomHDR and 1500-nit daylight viewing.

I still think the format is fundamentally flawed; 7” is too big and heavy in most scenarios as an on-camera monitor.

I would have loved to see the Shogun Flame and Ninja Flame in 5.5” form, and the Inferno in 7”. I think this would have made much more sense ergonomically (albeit more expensive to produce multiple panels).

Beyond the fancy marketing, I think there’s definitely a use for AtomHDR in viewing a high dynamic range image that doesn’t look flat and boring. But just be careful with how you expose the image.

I’d love to see the Shogun Flame alongside a SmallHD 702 in daylight. If you own the latter and are based in London, do give me a shout and we can compare.

Shooting with the Shogun Flame so much over the last few weeks has laid good ground for a solid opinion, but there’s still a lot more to check out and cover. If there’s anything you want to know, please let me know in the comments below; I’m definitely keen to try out more log modes in AtomHDR.

The post Atomos Shogun Flame Review – An In-the-Field Operator’s View appeared first on cinema5D.

All credit is given to author News – cinema5DTim Fok

Bestlight Vpad-150 (2 of 7)

It isn’t often that a low price LED panel ends up being very impressive, but the Vpad-150 Edgelit LED panel actually is. At a price just under $40, you get a bi-color edgelit soft LED panel that puts out a supprising amount of light for the price.

However, while the price is low, the Vpad-150 Edgelit LED panel doesn’t come with a wall wort (i’ve been using these for $5) or Sony NP battery. Still, decent build, quality light at a CRI of 93, and a lot of value for under $40. Even with a few extras you’re still getting a really decent light panel for under $50. I’d recomend these for fill lights, prodcut lighting, and on site reporting.

The post Vpad-150 Edgelit LED panel review appeared first on DSLR Film Noob.

All credit is given to author DSLR Film NoobDeejay

Mefoto Globetrotter Tripod (1 of 10)

I’ve been using the Sirui N1004 travel tripod for the last 5 years and it has been a great tripod that’s stood up to a lot of abuse in multiple countries. The Sirui N1004 even came with me to NAB this year. But after all this time, the N1004 has started to show it’s age. The foam grip is starting to come apart, legs are starting to flop around, and the aluminum isn’t as light as some carbon fiber options which led me to check out the Mefoto globetrotter I came across at NAB.

Mefoto Globetrotter Tripod (2 of 10)

The Mefoto globetrotter is about 2.5 inches shorter than my old Sirui N1004 and ruffly 1 1/2 pounds lighter. At the same time, the Mefoto globetrotter manages to stretch a few inches higher than the N1004. That said, the Mefoto globetrotter is almost double the price so what does that $399 price tag get you?

Mefoto Globetrotter Tripod (5 of 10)

First, the reduced weight of the Mefoto globetrotter includes a pretty decent ball head with an Arca style Quick Release Plate. The globetrotter also manages to support up to 26.5 pounds yet still manages to fold into a 16-inch form factor.

The included ball head provides easy to use controls and allows you to twist, tilt, and rotate in whatever direction you like. The design also allows you to invert the tripod head for low angle shots.

Mefoto Globetrotter Tripod (7 of 10)

Build quality is also top notch. The leg twist locks are very beefy and operate very smoothly on the Mefoto globetrotter. The legs also have a little more friction and tend to stay in place when you adjust them and the carbon fiber feels a bit more solid than my old Sirui N1004.

Mefoto Globetrotter Tripod (10 of 10)

Both the Sirui N1004 and the Mefoto globetrotter can be converted into a monopod, however, the Mefoto gives you an extra 14 inches of height compared to the N1004. The thickness of Mefoto’s carbon fiber legs also seems to make a noticeable difference in stability.

Does the difference between the Sirui N1004 and the Mefoto globetrotter warrant a $180 price difference? I would say it depends on what you need. As a shooter who travels almost every month, for me, the upgrade is worth it. However, if you only travel, hike, or fly occasionally, the Sirui N1004 provides a far better value.

Will I replace my Sirui N1004 with the Mefoto globetrotter? Right now it is up in the air, but I’ll be spending a lot of time with the globetrotter over the next few weeks. We’ll see which one I end up keeping.

The post Mefoto globetrotter carbon fiber Travel tripod appeared first on DSLR Film Noob.

All credit is given to author DSLR Film NoobDeejay

Sony A7s II cage (1 of 1)

If you’ve been a DSLR or Mirrorless shooter for any length of time, camera cages are a way of life. Over the years, I’ve wondered between huge bulky 15mm rail setups and shoulder mount rigs, but in the last 5 years or so I’ve settled into a minimalist approach to camera rigs. That’s why Smallrig has started to dominate my camera mounting kit.

I could use something crazy like the Varavon Zeus that literally dominates the camera frame with giant handles and mounting options. However, while a huge rig gives you a lot of options for mounting, sometimes you need to take a step back and think about what you really need to mount on your camera and how you plan to use it. Do you need more than 3 cold shoe mounts? Are 3 handles the right number or can you live with one? Do you really need a set of 15mm rails in order to survive? Do you want to carry around an extra 5 to 10 pounds of weight all day? Would you want to spend more money on mounting your camera then the camera itself? If you answered no to those questions, the $68 Sony A7s II cage from Smallrig might be the one for you.

Sony A7s II cage (6 of 10)

First of all, I like to keep the right side of my Sony a7s II clean and free from obstruction. The a7s II comes with a very nice hand grip, especially when compared to the original a7s, and all of your camera controls are on that side of the camera so why cover it up? The Smallrig cage works perfectly with this concept, leaving the right side of your camera open and clear.

Sony A7s II cage (2 of 10)

I also don’t want my camera to be able to float or spin inside of its mount. So Smallrig has designed the a7s II cage with tabbed wings and a rubber grip that presses up against your camera and keeps it held in place.

Sony A7s II cage (10 of 10)

From the base design of the Smallrig Sony a7s II cage, I’ve only made a few upgrades. First, I like to have a handle opposite the body grip for handheld shooting. With that in mind, I’ve attached the $43 Smallrig V7 handle via a $18 10cm nato rail. On top of that handle, I have a single cold shoe adapter which gives me a total of two cold shoe mounts on the handle.

Sony A7s II cage (9 of 10)

To finish things up, I’ve added a single 4cm nato rail to the top of the a7s Cage. This allows me to easily switch between top grip and two-handed control of the camera.

Sony A7s II cage (8 of 10)

Just make sure you mount your 4cm nato rail in the correct position. I’ve been shooting with the Sony k1m-xlr audio adapter so I needed to place the nato rail in a spot that allowed me to balance the camera, yet stay out of the way of the k1m’s smart hot shoe adapter.

Complete configuration:

Sony A7s II cage final (1 of 1)

So to recap, that’s just under $160 for a rig that will get you through around 80% of your shots and it requires almost zero setup. This Smallrig configuration leaves you with a total of up to 3 cold shoe mounts if you use one of these or two if you don’t. The layout also balances nicely with a monopod attached to the rig and it is actually the configuration I received so many questions about at NAB this year.

Devin and I were able to carry this around in one hand on the showroom floor, shooting a bit of B-Roll or the occasional booth interview without slowing us down or getting in the way of the constant crowds and congestion at NAB.

While this Smallrig configuration doesn’t solve every problem out there, it likely meet most’s needs (mine included) for far less than some of the other options out there.

The post Smallrig Sony a7s II $68 cage Review appeared first on DSLR Film Noob.

All credit is given to author DSLR Film NoobDeejay

Saramonic Transmitter (1 of 1)

Remember that Saramonic dual channel receiver lav kit I reviewed a few months back? First of all, Saramonic has fixed the channel mixing issue. You can now isolate the two transmitters by sending the signal to the left and right channel of your camera’s input. Which means for $399 you can buy a very decent dual channel 2 lav kit with a receiver that’s the size of a transmitter pack. Second I wanted to point out that if you’ve already bought the UWMIC10 base kit (1 transmitter and 1 receiver for $269) you can now buy a second transmitter for $129.

Devin and I used this kit throughout NAB this year and it worked great. At $399 for a dual channel wireless kit, Saramonic has one of the best value to price options on the market period and now that they’ve fixed my main gripe about the receiver unit (channel mixing), this kit is now my top pick for budget filmmakers and pretty much any filmmaker really. I’m not getting rid of my Sennheiser g3 sets but with two channels in such a small package the Saramonic dual channel system is now my run and gun favorite. I was really impressed with audio quality of the kit mics and even more impressed with how it held up throughout one of the most saturated UHF locations you could be in (NAB 2016). Great stuff!

The post Saramonic UWMIC10 Bodypack Transmitter TX10 for $129 appeared first on DSLR Film Noob.

All credit is given to author DSLR Film NoobDeejay

So, we won’t be doing a Blackmagic URSA Mini 4K review, but we have our opinions of it. Opinions that are apparently very similar to FrameFury, and they did a fantastic job reviewing it, so here it is.

It’s a pretty comprehensive review broken down into a few sections, I’ve taken the liberty of pulling those out for you below.

Blackmagic URSA Mini 4K ReviewBlackmagic USRA Mini 4K_2

0:27 TL;DR (Too Long Didn’t Read)
01:36 Background
02:50 Image Quality
06:39 Form Factor
08:07 Functionality
14:49 – Light Sensitivity
17:03 Power
18:08 EVFs
19:09 Workflow
20:22 Audio

 

 

A lot is covered, much of which we as a team we agree with, here are some pros and cons (in no particular order) I’ve pulled from the review that we concur:

Pros:

  • Great on-the-shoulder form factor
  • Fantastic OLED viewfinder
  • ProRes is a very easy post workflow
  • Incredible price>image ratio
  • Global Shutter
  • CFast Cards
  • Universal Battery Mounting Options

Cons

  • No ND Filters
  • Poor in Lowlight (anything above 400)
  • Same Sensor as AJA Cion (DR not as described)
  • No Shutter Speed (Shutter Angle only)
  • No LUT send to EVF
  • Clunky XLR ports
  • Poor Pre-amps
  • Menu On/Off behind LCD Screen
  • Clunky Touchscreen Display

For me personally, the last point is killer for me. I simply can’t own/hire a camera that I can’t operate instinctively, knowing the technology won’t slow me down on set. I became increasingly frustrated with how long it took to adjust simple procedures like switching between standard/higher framerates and audio levels in the touchscreen menu.

 

Blackmagic USRA Mini 4K_1

That said, with enough light the image is fantastic and very easy to deal with in post.

Fame Fury epitomise Blackmagic in two simply sentences:

“[Blackmagic are]…a younger, smaller disruptive company that offers powerful products with unbeatable prices”

“[Blackmagic are]… the worst company at delivering products on schedule & sometimes their products suffer from defects and glitches”

Like any camera, the Blackmagic URSA Mini is a tool that is compatible for certain roles, and not for others. This and the 4.6K would be perfect indie filmmaker tools, best bang for buck that with patience, you can get some fantastic results.

I would not trust this on a commercial shoot, one where a glitch (frame freeze, accidental power down) or slow touchscreen menu means you’re wasting a lot of peoples time and money.

Hopefully reviews like this help you decide a little more whether this is the right tool for you. But like any online content, it is not the be-all-and-end-all, it is merely a well educated point of view that should be second only to personal experience and opinion.

via/ FameFury

The post Blackmagic URSA Mini 4K Review By Frame Fury appeared first on cinema5D.

All credit is given to author News – cinema5DTim Fok

So, we won’t be doing a Blackmagic URSA Mini 4K review, but we have our opinions of it. Opinions that are apparently very similar to FrameFury, and they did a fantastic job reviewing it, so here it is.

It’s a pretty comprehensive review broken down into a few sections, I’ve taken the liberty of pulling those out for you below.

Blackmagic URSA Mini 4K ReviewBlackmagic USRA Mini 4K_2

0:27 TL;DR (Too Long Didn’t Read)
01:36 Background
02:50 Image Quality
06:39 Form Factor
08:07 Functionality
14:49 – Light Sensitivity
17:03 Power
18:08 EVFs
19:09 Workflow
20:22 Audio

 

 

A lot is covered, much of which we as a team we agree with, here are some pros and cons (in no particular order) I’ve pulled from the review that we concur:

Pros:

  • Great on-the-shoulder form factor
  • Fantastic OLED viewfinder
  • ProRes is a very easy post workflow
  • Incredible price>image ratio
  • Global Shutter
  • CFast Cards
  • Universal Battery Mounting Options

Cons

  • No ND Filters
  • Poor in Lowlight (anything above 400)
  • Same Sensor as AJA Cion (DR not as described)
  • No Shutter Speed (Shutter Angle only)
  • No LUT send to EVF
  • Clunky XLR ports
  • Poor Pre-amps
  • Menu On/Off behind LCD Screen
  • Clunky Touchscreen Display

For me personally, the last point is killer for me. I simply can’t own/hire a camera that I can’t operate instinctively, knowing the technology won’t slow me down on set. I became increasingly frustrated with how long it took to adjust simple procedures like switching between standard/higher framerates and audio levels in the touchscreen menu.

 

Blackmagic USRA Mini 4K_1

That said, with enough light the image is fantastic and very easy to deal with in post.

Fame Fury epitomise Blackmagic in two simply sentences:

“[Blackmagic are]…a younger, smaller disruptive company that offers powerful products with unbeatable prices”

“[Blackmagic are]… the worst company at delivering products on schedule & sometimes their products suffer from defects and glitches”

Like any camera, the Blackmagic URSA Mini is a tool that is compatible for certain roles, and not for others. This and the 4.6K would be perfect indie filmmaker tools, best bang for buck that with patience, you can get some fantastic results.

I would not trust this on a commercial shoot, one where a glitch (frame freeze, accidental power down) or slow touchscreen menu means you’re wasting a lot of peoples time and money.

Hopefully reviews like this help you decide a little more whether this is the right tool for you. But like any online content, it is not the be-all-and-end-all, it is merely a well educated point of view that should be second only to personal experience and opinion.

via/ FameFury

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