Blackmagic URSA Mini Pro Released
Blackmagic’s new camera is here.
Contrary to the rumors and to all of our expectations and speculation it was not a new Pocket Cinema Camera, but the next step forward in the Ursa line of cameras.
March 2nd, 2017 – Blackmagic Design releases their new Ursa Mini Pro. As they say “The world’s first digital film camera with professional broadcast camera features and controls!”
At Veuwr we’ve used the full-size Ursa for quite a few projects – just a few days ago we used it to for a promo video we did for a clothing line based out of Alachua, FL (home base for us). We found the Ursa to be a very good camera, with it’s own set of flaws. The full-size Ursa suffered from a fairly heavy case of the common issue where the sun was purple (the client actually ended up liking the effect) and the weight of the camera was completely unacceptable. We had a team of 3 handling the audio and video for the shoot and at times it got to the point where we wanted to stop using the heavy Ursa.
Now that the Ursa Mini Pro is out we are actually very excited for it.
25.34mm x 14.25mm (Super35) Sensor
15 stops of dynamic range
Frame rates of 23.98, 24, 25, 29.97, 30, 50, 59.94 and 60 fps supported.
Built-in 2 stop, 4 stop, and 6 stop ND filters
4″ LCD touchscreen
Focus button turns on peaking, auto focus available using compatible lenses. 4608 x 2592, 4608 x 1920 (4.6K 2.40:1), 4096 x 2304 (4K 16:9), 4096 x 2160 (4K DCI), 3840 x 2160 (Ultra HD), 3072 x 2560 (3K Anamorphic), 2048 x 1152 (2K 16:9), 2048×1080 (2K DCI), 1920 x 1080Compatible with EF and PL mount lenses
Congratulations Blackmagic! We hope you guys are able to ship the camera on time and without the regular delays and hardware and software issues. We hope! We’re rooting for you and are your biggest supporters.
Coming in at a price of $5,995 before lenses and accessories I personally think the camera is of good value. Compared to the competition you can’t really do cheaper without skimping on quality.
Live Streaming in the US. Still a industry in its childhood, but one that can’t be done without.
Music festivals in the United States are very popular and well attended, but much of the social media buzz which is generated surrounding these events is created by those not actually at the event, meaning there’s a significant void to be filled by live streaming.
Few industries in the US reach as many people as music festivals, with 1 in 10 Americans attending at least one every year. That means 32 million people attend at least one of the 800 festivals spread across the country, and many attend multiple events. The under-40 crowd is willing to go to greater lengths than ever to see a litany of their favorite artists in one place, traveling 903 miles on average to go to a festival. With VIP ticket prices for major festivals in the thousands, general admission can be as high as $400-$500.
So what does all this mean for livestreaming?
Social media is quite possibly the biggest driver behind the rapid growth of US music festivals. Events like Coachella, Burning Man, and Electric Daisy Carnival each generate millions of tweets. One may not realize how much of this social media buzz is created by people who are not physically in attendance. In a study of 20 million social media conversations, Eventbrite found that 23% of these posts were made by fans who weren’t physically at the show, meaning an additional 4.6 million people tuned in remotely via livestreams (Youtube, Twitch, etc). This is a particularly noteworthy number, simply considering the potential to monetize that large group of dedicated fans.
Consider EDC, for instance, the largest festival in the US with an estimated 150,000 attendees per day. Over the event’s 3 days, EDC’s overall attendance number is somewhere in the neighborhood of 500,000 people. To put that in perspective, the largest music festival in the country is still 9x smaller than the 4.6 million people who tune into festivals via livestreams. This is an untapped audience that festival can market and sell to.