DJI has officially entered the FPV (first-person-view) drone market. Typically, remote pilots interested in the type of immersive flight experience FPV drones provide, including the ability to maneuver through tight spaces and in close proximity to objects, all while performing aerobatics such as flips and rolls, had to also master an entirely different set of skills.
Soldering, understanding how to configure an RC controller specifically for a drone, learning how frequencies work, and installing the right motors are just a few disciplines a would-be FPV pilot must undertake to create a safe and effective FPV flight system.
Some people who delight in these challenges will always enjoy the process of building, but DJI is betting many more people will want to cross over to FPV with an intuitive solution, and its FPV drone is ready to fly right out of the box for $1299. As an added bonus, the system is equipped with GPS, obstacle avoidance sensors, and a Return To Home feature – ensuring that beginners will be less likely to crash or lose their drone.
DJI tells us it set out to create a cinematic FPV drone and combined elements of its Mavic series with the features and functionalities of traditional FPV drones. Is this a product that will appeal to a broader audience, especially beginners? Or, are there downsides that would make some users look at more traditional drone models?
We had the opportunity to test DJI’s new FPV drone, so read on to discover if this is your ideal introduction to the world of FPV.
Obstacle avoidance sensors on front and bottom of aircraft
OcuSync 3.0 (O3) transmission system for 10km range, dual frequencies, 50 Mbps bitrate
20-minute max flight time
140 kph (87 mph) max speed
Memory card holder in goggles in case drone is lost
Here is a basic comparison chart to get an idea of the difference between a traditional FPV drone and what DJI offers.
Traditional FPV drones
DJI FPV
Flight modes
Angle, Horizon, Acro
Normal, Sport, Manual
GPS
No
Yes
Obstacle avoidance
None
4 stereoscopic sensors + an auxiliary light
Camera
Customizable
Built-in 4K/60p with 150º FOV and RockSteady EIS
Assembly
Requires in-depth knowledge of parts, radio frequencies, ESCs, motors, assembly, soldering
Already assembled and ready to fly right out of the box
Flight assistance
None
Return To Home, Emergency Brake and Hover
Auto-stabilization
None
Available for ‘N’ and ‘S’ modes
Flight time
3 – 10 minutes
Up to 20 minutes
Battery type
Lithium Polymer (LiPo)
Intelligent Flight
Transmission
Analog, short-range, lower quality
Live digital video feed at 810/120p, low-latency
The hardware
I tested the DJI Standard FPV Combo ($1,299), which includes the drone, FPV Goggles V2, and the remote controller 2. As usual, DJI offers an additional ‘Fly More’ combo that includes two extra batteries and a 3-battery charging hub for $299.
The goggles, which are 202x126x110mm with all four antennas attached, activate with the help of an 1800 mAh 9V battery that’s connected by a USB-C power cable. Lasting an estimated 110 minutes between charges, it’s light enough that it can hang down by your side while in operation. Still, I typically put the battery in the pocket of a coat I was wearing as an extra measure to ensure the battery didn’t get disconnected.
DJI’s FPV drone features a new OcuSync 3.0 transmission system. It boasts a 10 km (6.2 mile) range, dual-frequencies, a 50 Mbps bitrate, and three options for first-person-viewing – a Low-latency HD mode for near-real-time feed and clear image, Smooth mode for higher frame rates and decreased latency, and Audience mode. The latter option allows others wearing V2 goggles to join in and view your real-time feed.
4K/60p footage with the camera facing upward. FPV mode through the goggles is very smooth, thanks to OcuSync 3.0 transmission.
The FPV drone will also operate on DJI’s Fly app, introduced in 2019 for the Mavic Mini. It’s cleaner and more pared down for a superior user experience. The app is still in beta and wasn’t available for testing with the FPV drone. Nevertheless, I activated all of the drone’s features through drop-down menu items in the goggles.
The joystick-type button on the top lower-right-hand corner will guide the pilot through numerous settings and features for both the remote and camera. The goggles receive up to 810/60p video transmission in high-quality mode and less than 28 milliseconds of latency, or 120 fps in low-latency mode.
V2 of DJI’s remote controller is ergonomically friendly and gives you immediate access to features you’ll need including Return to Home, a gimbal wheel that can pitch the camera upwards and downwards at 90-degree angles, the ability to switch back and forth between flight modes, plus a button to stop the drone and put it in a stable hover if control of the drone is suddenly lost. You can also lock the gimbal at an upward or downward angle.
One note: I did not receive the hand motion controller due to shipping delays. This review will be updated once I’ve tested it out.
Photos and Video
The camera uses a 12MP, 1/2.3” sensor, providing a 150º FOV, and is mounted on a 1-axis gimbal. Capable of capturing stills and video up to either 4K/60p, or 1080p/120p for 4X slow motion, at 120 Mbps, the camera uses an electronic roll axis and RockSteady image stabilization. While it provides smoother imagery than most FPV drones, it’s not comparable to the 3-axis mechanical image stabilization offered up in DJI’s other series of photography drones, including the Mavic.
DJI’s FPV drone takes decent photos at times. If you’re serious about aerial photography, though, the Mavic 2 Pro is a better investment.
Remote pilots can capture .JPG and images or .MP4 and .MOV clips all in the same flight. It’s easy to toggle back and forth between these modes. While the photos I captured are decent enough, there were times when the drone was tilted, resulting in photos with crooked horizons. Also, photo resolution is limited to 3840×2160, the same as 4K video. Anyone serious about drone photography will probably want to look at a more-photo-centric model; the FPV drone is fun to fly but is not a replacement for traditional photography drones.
There’s a fair amount of fisheye distortion from the FPV drone’s wide lens, though a distortion correction function in the camera menu can be applied.
I typically enjoy recording aerial videos with the gimbal tilted down. With the wide FOV on the FPV drone, it is likely parts of the propellers will become visible. I also noticed some fisheye effect in some of my clips. To prevent this, you can either tilt the gimbal up as the aircraft moves forward or adjust settings through the goggles. To do this, access Advanced Camera Settings in the Camera menu and select Distortion Correction.
In-flight
Obstacle avoidance and flight modes
There are four obstacle avoidance sensors on the FPV drone – two in the front of the aircraft and two on the bottom with an auxiliary light that helps with precision movement in low-light environments. Obstacle avoidance sensors only work when the drone is flown in ‘N’ or Normal mode. This mode is suitable for beginners and highly recommended for those flying an FPV drone for the first time.
An auxiliary light helps with precision in low-light conditions.
You’ll also be limited to flying to 50 km/h (31 mph) in normal mode. The drone is stabilized the entire time and will slow down if it approaches a forward or downward-facing obstacle. ‘S’ or sport mode disables obstacle avoidance sensors and ups the excitement factor. The drone can travel up to 97 km/h (60 mph) and can perform pitches and rolls at limited angles, all while maintaining altitude and stabilization for the entire flight.
In normal mode, you can’t fly quite as aggressively, but obstacle avoidance sensors are active. This is a good setting for first-time FPV fliers.
‘M’ or manual mode is reserved for the experts. One may believe, at first, that manual mode can be triggered through the remote with the press of a button. It’s a bit more complicated. Operating a drone in Acro mode is challenging, to say the least. While flipping and rolling a drone looks fun, in reality, it’s easy to get disoriented. DJI anticipated the potential hazard of a first-time user accidentally activating manual mode from the remote controller.
You can crank the speed up to 97 km/h (60 mph) in Sport mode, though that still falls short of the 140 km/hr (87 mph) you can achieve in Manual mode.
As a result, users can only activate manual mode with a series of steps from the menu options through the goggles. Add in the fact that you can fly up to 140 km/hr (87 mph) in this mode, and it’s easy enough to lose control, even when Emergency Brake and Hover can still be activated.
DJI’s Virtual Flight app simulator was created so pilots could practice FPV maneuvers without a crash risk. Nevertheless, without a lot of flight experience, an accident is still a strong possibility. Practicing in an open space such as a field or park cannot be recommended enough.
Odds and Ends
Looking at DJI’s FPV drone, the battery is noticeably massive in scale and helps balance out the aircraft. At 2000 mAh, DJI’s Intelligent Flight batteries offer up to 20 minutes of flight time – a huge improvement over typical FPV drones. As a bonus, they’re not the typical LiPos that can catch fire if overcharged or not stored properly.
DJI’s Intelligent Flight batteries offer up to 20 minutes of flight time – a huge improvement over typical FPV drones.
A flap under the camera houses ports for a MicroSD card and USB cable should you want to make updates to your drone through your computer. There is also a MicroSD slot located on the goggles. If you lose your FPV drone, you’ll still retain a memory card. This is an incredible new feature for those concerned about losing their imagery in the event of an accident. I hope DJI implements this concept in some way on future models.
What’s it like to fly?
In both ‘N’ and ‘S’ modes, DJI’s FPV drone is a great deal of fun to fly. It’s also an incredibly reassuring experience. Besides the Return to Home button, there is a bright white ‘H’ that pops up in the goggle’s viewfinder. It marks where you are relative to your launch point at all times. The system is also equipped with ADS-B technology. During a recent flight, I was immediately notified when a helicopter was nearby and was given ample time to adjust my flight path and altitude.
One downside is that even though this FPV drone is relatively compact, it is quite noisy. It emits a high-pitched squeal that can be heard from several hundred feet away. Flying discreetly is out of the question. During one of my first flights, my daughter joked if it was the drone or ‘the ice fishers on the frozen lake screaming.’ DJI has worked tirelessly on improving ESCs and designing more aerodynamic propellers. Curiously, these updates weren’t applied to the FPV drone.
Conclusion
Anyone hesitating to enter into the world of FPV because they didn’t have the time or patience to learn about all the factors that go into building a capable system will naturally want to try out DJI’s latest release. As mentioned at the beginning of this review, it’s an out-of-the-box product that can be activated almost immediately. When you add in fail-safe features, including GPS, Return to Home, Emergency Brake and Hover, it makes it that much more enticing to dive in.
That being said, there are a few concerns that come to mind. Traditional FPV drones are known for being resilient. Lightweight and constructed out of flexible materials made of carbon fiber, for example, they can crash into objects and require a motor replacement or a bit of soldering. DJI’s FPV drone consists of a tough plastic shell that will break with a high enough impact.
DJI’s ‘Fly More’ combo for the FPV drone includes two extra batteries and a 3-battery charging hub for $299.
The ability to truly freestyle, fly close to objects, and through narrow spaces is part of what makes FPV flight exhilarating. If you feel like you’re going to significantly damage your drone and ship it off for repair every time it collides with an object, the true joy of flying FPV will be stifled to a degree.
I had the unfortunate experience of crashing my DJI FPV loaner in manual mode, and it needed to be sent back to DJI for repairs. Even if I possessed the skills required to build and repair FPV units, it wouldn’t have been possible for me to do it myself. People who like to customize their builds and tinker likely won’t want to be at the mercy of one manufacturer when it comes to repairs or parts replacement.
Another issue that will bug some purists is the inability to replace or use more than the camera built into DJI’s FPV drone. It isn’t designed to carry an additional payload. Pilots won’t be able to attach a GoPro or OSMO Action camera, for example. The lack of flexibility in the camera is limiting and will be a turn-off for some FPV filmmakers.
I had the unfortunate experience of crashing my DJI FPV loaner in manual mode and it needed to be sent back to DJI for repairs.
Geofencing is another longstanding feature of DJI’s that rubs some people the wrong way. While all pilots need to be safe and compliant, some have switched to other drone brands to avoid and restrictions it brings up altogether. Even if you remain low to the ground, the drone will not take off if the airspace is considered restricted.
What will appeal to almost anyone is the long-range flight this drone offers. FPV is traditionally associated with close range and choppy analog feeds. If you stray too far from your home base, you run the risk of losing connection completely – which is a potential hazard. With DJI’s FPV drone, you can fly much longer distances so long as you remain within visual line of sight.
DJI’s FPV drone is certainly going to appeal to those who want to get into this style of flying. Purists who’ve already built advanced FPV drones that are resilient and carry their preferred camera will likely pass on this one. My main concern is that most remote pilots new to FPV won’t truly be prepared to operate in manual mode. While flips and rolls look exciting, it takes a lot of practice and perseverance to get the right feel for it. DJI Care Refresh is available in any event.
What we like
GPS, Emergency Brake feature, Return to Home, Hover
OcuSync 3.0 for clear transmission and long-range
4K/60p video
Modes to suit beginner and advanced pilots
Activates and is ready to fly right out of the box
What we don’t
Lack of ability to switch out cameras
Extremely loud
Will likely need to be sent to DJI for repair if crashed
The Sony FE 16-25mm F2.8 G is a relatively compact wide-angle zoom E-mount lens aimed at street and travel photographers.
We were able to get our hands on the lens for a day and figured most readers would be curious to see some street and architectural photography out of this lens, so we hit the streets of downtown Seattle and ducked into the Seattle Public library when the weather turned ugly.
Note: Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don’t abuse it.
Gear in this story
The Panasonic Lumix S5II launched the second generation of Panasonic’s full-frame mirrorless camera system and was the first Panasonic to feature phase detect autofocus. As our review reveals, it’s a heck of an all-around camera for both still and video shooters.
The latest Lumix puts a Four Thirds sensor in a full-frame body with boosted AF and a wealth of stills and video capabilities to create a Swiss Army Knife of a Micro Four Thirds camera.
The fourth camera in Leica’s SL series of full-frame mirrorless cameras sees the 60MP BSI sensor from the Q3 and M11 models arrive with a significant interface redesign.
The Fujifilm X100VI is the sixth iteration of Fujifilm’s classically-styled large sensor compact. A 40MP X-Trans sensor, in-body stabilization and 6.2K video are among the updates.
The Nikon Zf is a 24MP full-frame mirrorless camera with classic looks that brings significant improvements to Nikon’s mid-price cameras. We just shot a sample reel to get a better feel for its video features and have added our impressions to the review.
What’s the best camera for around $2000? This price point gives you access to some of the most all-round capable cameras available. Excellent image quality, powerful autofocus and great looking video are the least you can expect. We’ve picked the models that really stand out.
What’s the best camera for travel? Good travel cameras should be small, versatile, and offer good image quality. In this buying guide we’ve rounded-up several great cameras for travel and recommended the best.
If you want a compact camera that produces great quality photos without the hassle of changing lenses, there are plenty of choices available for every budget. Read on to find out which portable enthusiast compacts are our favorites.
‘What’s the best mirrorless camera?’ We’re glad you asked.
Above $2500 cameras tend to become increasingly specialized, making it difficult to select a ‘best’ option. We case our eye over the options costing more than $2500 but less than $4000, to find the best all-rounder.
Sony has announced the FE 16-25mm F2.8 G, a fast, compact wide-angle zoom designed as a twin to the recent FE 24-50mm F2.8 lens.
The 16-25mm is roughly the same dimensions as the 24-50mm and offers essentially the same features. This makes it a little longer but narrower than the existing 16-35mm F4.
The design is made up of 16 elements in 13 groups, including three extra-low dispersion elements to rein in chromatic aberration and four aspherical elements (one of which is an ED aspheric), helping to keep the lens compact. The optical performance is better than the original 16-35mm GM, and not far behind the newer GM II, the company says.
It uses twin linear motors to drive its internal focus design and doesn’t require the additional power of Sony’s XD linear motors, the company tells us. It is fully compatible with the a9 III’s 120fps modes.
Image: Sony
The 16-25mm can focus as close as 0.17m (6.7″) at the 16mm or 0.22m (8.7″) at the 25mm end in manual focus mode. These figures increase to 0.18 and 0.24m in autofocus mode, decreasing the 0.23x maximum magnification to 0.2x.
Like the 24-50mm, it has an aperture ring with a switch to enable or disable the clicks between positions. Other than this, there’s an MF/AF switch and a customizable focus hold button on the side.
Focus breathing is fairly minimal, according to the demonstration we were shown, and this can essentially be eliminated when used with a camera that supports Sony’s focus breathing compensation function. The lens is also compatible with the company’s ‘Dynamic’ IS feature that relies on extensive communication of gyro data between the lens and camera.
The Sony FE 16-25mm F2.8 G will be available from May 10th at a manufacturer’s recommended price of around $1199.
Sample gallery
Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don’t abuse it.
Press Release:
Sony Electronics Announces a Compact Wide-Angle FE 16-25mm F2.8 G Zoom Lens
A constant F2.8 full-frame E-mount lens that offers high-resolution image quality, a wide-angle zoom range and excellent portability
SAN DIEGO. April 16, 2024 – Sony Electronics is pleased to announce the FE 16-25mm F2.8 G (SEL1625G), a large-aperture wide-angle zoom lens compatible with Sony’s α™ (Alpha™) E-mount cameras. This latest addition delivers sharp imagery from 16 mm through 25 mm while maintaining a maximum aperture of F2.8 over the entire zoom range. The FE 16-25mm F2.8 G is the smallest and lightest constant F2.8 zoom lens that Sony has produced to date. The compact design is a signature feature of Sony’s G lens series and makes it a highly portable lens option.
The FE 16-25mm F2.8 G’s wide-angle lens offers photographers and videographers an expanded range of creative expression, allowing them to capture a variety of subjects including landscapes, architecture, portraits, and selfie-shooting. This new addition follows the FE 24-50mm F2.8 G standard zoom lens announced February 2024, both offering many of the same characteristics including filter diameter, aperture, and compact size and weight.
“The FE 16-25mm F2.8 G was designed to offer creators a wide-angle lens option that perfectly balances large-aperture, compact form factor, and high-image quality. This is the 73rd addition to our E-mount lens line-up, and just another step in our commitment to providing photographers and videographers with the perfect lens solutions for their specific needs,” says Yang Cheng, Vice President, Imaging Solutions, Sony Electronics Inc. “The FE 16-25mm F2.8 G is a fantastic lens with high-resolution performance, beautiful bokeh, and high precision autofocus. It is a perfect companion to the Alpha 7C R and Alpha 7C II compact full-frame camera bodies, and together they offer an unbeatable lightweight set-up.”
Key Features of FE 16-25mm F2.8 G
The FE 16-25mm F2.8 G features an impressively compact and lightweight design with a width of 74.8mm (about 2.94 in), length of 91.4mm (about 3.58 in), filter diameter of φ67 mm, and weight of approximately 409g.
This lens incorporates advanced optical technology to deliver exceptional image quality across the entire frame. By incorporating three Extra-Low Dispersion (ED) elements and four aspherical lenses (including one ED aspherical lens), the lens design effectively minimizes various optical aberrations, including chromatic aberration.
The FE 16-25mm F2.8 G combines an 11-blade circular aperture and the optimization of spherical aberration to produce the signature smooth bokeh known to the G lens series. Moreover, it offers functional close-up shooting capabilities with a minimum shooting distance of 0.18m and a maximum magnification of 0.20x when using autofocus (AF)i.
The lens is equipped with two linear motors that enable exceptional autofocus performance, delivering high-speed, high-precision, and quiet focusing capabilities, even when capturing fast-moving subjects. These linear motors ensure swift and accurate focusing, allowing photographers and videographers to maintain sharpness and clarity in their images and videos, even in challenging shooting situations. Furthermore, it supports high-speed continuous shooting with AF/AE tracking of up to 120 frames per second, a feature capable of being used when paired with the Alpha 9 III full-frame mirrorless cameraii.
The FE 16-25mm F2.8 G excels in video performance, ensuring smooth and precise focusing even when shooting high-frame-rate videos such as 4K120p or FHD240piii. The lens is equipped with linear response manual focus (MF), allowing videographers to make precise focus adjustments with ease. Additionally, it supports in-body Active Mode Image Stabilizationiv and Focus Breathing to optimize video capture.
The lens is equipped with practical and user-friendly functionality including a customizable focus hold button, aperture ring, aperture click ON/OFF switch, and a focus mode switch. The FE 16-25mm F2.8 G’s design is dust and moisture resistantv, and includes a fluorine coating to further prevent dirt from sticking to the front surface of the lens.
Pricing and Availability
The FE 16-25mm F2.8 G will be available for pre-sale April 17, 2024, and purchase May 10, 2024. It will retail for approximately $1,199.99 USD and $1,599.99 CAN, at a variety of Sony’s authorized dealers throughout North America.
i Maximum magnification is 0.2x (AF)/0.23x (MF) with a minimum focus distance of 0.18 m (0.59ft) (AF) / 0.17 m (0.56ft) (MF) at the 16 mm end of the range and 0.24 m (AF) (0.79ft) / 0.22 m (0.73ft) (MF) at the 25 mm end of the range for superb wide-angle close-up performance. ii Sony test conditions. Maximum continuous frame rate may be lower in some shooting conditions. Continuous shooting speed may vary depending on the lens used in AF-C focus modes. Visit Sony’s support web page for lens compatibility information. iii Depends on the camera used. iv Compatible models only. v Not guaranteed to be 100% dust and moisture proof.
Blackmagic Design has unveiled its latest URSA Cine camera, a 12K camera with support for interchangeable Arri PL, Arri LPL, Canon EF and Hasselblad lens mounts. It features a large sensor, propriety memory and a slew of industry-standard connections.
At the heart of the URSA Cine 12K is a RGBW 36x24mm 12K sensor, which Blackmagic Design says can support resolutions from 4K to 12K. It also claims the sensor can capture 16 stops of dynamic range, the most ever for a Blackmagic Design camera. It can shoot open gate 12K from its full 3:2 region at up to 80p or from a 16:9 full-width region at up to 100p.
The Ursa Cine 12K uses the same RGBW pixel layout as the existing, smaller-sensor URSA Mini Pro 12K. This devotes half of its resolution to capturing luminance (detail) data and then divides the remaining pixels equally between red, green and blue. The array is specifically designed so that it can be sub-sampled to deliver 8K or 4K footage from 12K capture, without the need for cropping.
The other significant change is how the camera stores data. The camera comes with a propriety ‘high-speed memory module,’ a decision Blackmagic Design says they made to “eliminate all the problems of media cards” to ensure a more reliable and faster data pipeline. It comes with an 8TB module and can capture 4 hours of Blackmagic RAW in 12K or 20 hours in 4K. An additional 8TB modules will cost $1695, and a 16TB version is also being worked on. An optional ‘Blackmagic Media Module CF’ unit can also be used to add dual CFexpress slots.
Image: Blackmagic Design
To transfer footage from the module, there are docks for direct download, or you can utilize the camera’s 10G ethernet port, Wi-Fi with SRT (Secure Reliable Transport) streaming, or the industry-standard Lemo and Fischer connections. Using the latter options, Blackmagic Design says the transfer rates are near real-time, which should aid remote viewing and logging of footage.
On the capture front, the camera uses 12K Blackmagic RAW and captures Full HD H.264 proxies simultaneously allowing faster cloud sync and post-production workflows. Various settings are supported, ranging from 12K/80p open gate to 8K/224p (2.4:1) and 4K/240p. In addition to its 3:2 open gate mode, it can shoot 16:9, 17:9, 2.4:1 and 6:5 anamorphic. There’s also support for Super35 9K in the same aspect ratios, providing compatibility with older cinema lenses.
Not mentioned in the press release but teased in a video demo, Blackmagic shared it is working on a URSA Cine 17K. The new camera won’t be available until the end of 2024, and pricing has yet to be determined. The 17K version will use a 50.8×23.3mm sensor (essentially a wider version of the sensor in the 12K model), which makes it close in size to 65mm 5-perf film (23mm). The larger sensor rules out the use of the Canon EF mount, so the camera will likely use Arri PL and Hasselblad mounts.
All current URSA Cine 12K features will be carried over into the 17K version, except for built-in 2/4/6 stop ND filters. Blackmagic says the 17K sensor is too large for the ND filters to fit.
Pricing and availability
The Blackmagic URSA Cine 12K is now available for $14,995. Accessories, such as a viewfinder, lens mounts, grips and rails, can be added as add-ons to customize your build. Blackmagic says initial shipments will be limited to “high-end customers.”
Press Release
Blackmagic Design Announces New Blackmagic URSA Cine 12K
Las Vegas, Nevada, April 12, 2024 — Blackmagic Design today announced Blackmagic URSA Cine 12K, a revolutionary new digital film camera that introduces new advanced technologies with total integration into the post production workflow. This new model includes a new large format RGBW 36 x 24mm sensor with larger photo-sites for 16 stops of dynamic range, interchangeable PL, LPL and EF lens mounts, and industry standard Lemo and Fischer connections. Blackmagic URSA Cine 12K comes with 8TB of high performance storage built in and also includes high speed networking for media upload and syncing to Blackmagic Cloud. Blackmagic URSA Cine 12K is available immediately from Blackmagic Design resellers worldwide from US$14,995.
The Blackmagic URSA Cine 12K will be demonstrated on the Blackmagic Design NAB 2024 booth #SL5005.
URSA Cine features a revolutionary new sensor designed for incredible quality images at all resolutions from 4K to a massive 12K. The larger sensor builds on the technology of URSA Mini Pro 12K with larger photo-sites leading to an astounding 16 stops of dynamic range. The unique RGBW architecture provides equal amounts of red, green and blue pixels. This means it is optimized to deliver incredibly rich colors at all resolutions and provide the ultimate in image quality and flexibility.
URSA Cine is designed to meet the demands of any high end production. The evenly weighted camera body is built with a robust magnesium alloy chassis and lightweight carbon fiber polycarbonate composite skin to help customers move quickly on set. Standard Lemo and Fischer connectors let customers control the camera remotely while providing power for lens motors and other accessories. Customers also get 12G‑SDI out, 10G Ethernet, USB-C, XLR audio and more.
The full sensor area gives customers a stunning 3:2 open gate image which lets customers reframe their shots in post production. Or customers can use the large sensor area to shoot anamorphic and deliver in a range of aspect ratios with 1.3, 1.5, 1.6, 1.66, 1.8 and 2x de-squeeze factors. Plus, customers can shoot in 4K, 8K or 12K using the entire sensor without cropping, retaining the full field of view of their lenses. There are even 9K Super 35 4-perf, 3-perf and 2-perf modes for full compatibility with classic cinema lenses.
Different projects require different lenses which is why URSA Cine features an interchangeable lens mount. Customers can quickly switch between PL, LPL, EF and Hasselblad mounts. Plus, each mount has contact pins to read lens metadata for monitoring and for use in post production.
URSA Cine lets crews work faster on set with multiple monitoring options. The fold out monitor has a large 5″ HDR touchscreen on one side and an external color status LCD on the other. On the right side of the camera, there’s a dedicated assist station with a second 5″ HDR touchscreen which allows crew to work around the camera without needing external monitors. There’s even a dedicated focus puller’s mode to help customers get perfect focus.
The wide range of industry standard connections on URSA Cine make it perfect for high end cinema production. The 7 pin Lemo and 3 pin Fischer connectors at the front provide record start/stop and 24V power so are ideal for on board accessories such as focus motors. Camera power is provided by a standard 24V 8 pin Lemo connection, plus there’s an additional 2 pin Lemo 12V connection at the rear for lower voltage accessories.
Blackmagic RAW files store camera metadata, lens data, white balance, digital slate information and custom LUTs to ensure consistency of image on set and through post production. URSA Cine records to the included Blackmagic Media Module 8TB, allowing customers to capture over 4 hours of Blackmagic RAW in 12K or a massive 20 hours in 4K.
URSA Cine includes a high performance, optical low pass filter that is precisely matched to the sensor. The OLPF also incorporates updated IR filtering that improves far red color response which, when combined with Blackmagic RAW processing for the URSA Cine, preserves color and critical image detail for new levels of image fidelity.
URSA Cine is the first digital film camera with ultra fast high capability Cloud Store technology built in. Blackmagic Media Module is fast, rugged and includes a massive 8TB of storage. The high speed storage lets customers record at the highest resolutions and frame rates for hours and access their files directly over high speed 10G Ethernet. Or customers can use the media customers already own with the optional Blackmagic Media Module CF, which has dual CFexpress slots.
Blackmagic Media Dock accelerates post production workflow by making it faster and simpler to start editing and color correction. Mount up to three Blackmagic Media Modules for high speed access to media from multiple URSA Cine cameras all at the same time. The four high speed 10G Ethernet ports allow up to four separate edit workstations to connect directly and it is extremely fast, even when a lot of users are connected at the same time.
URSA Cine supports creating a small H.264 proxy file in addition to the camera original media when recording. This means the small proxy file can upload to Blackmagic Cloud in seconds so their media is available back at the studio in real time. The ability to transfer media directly into the DaVinci Resolve media bin as editors are working is revolutionary and has never before been possible.
Now customers can live stream from film sets. URSA Cine features a built hardware streaming engine that supports RTMP and SRT streaming to major platforms or directly to clients. Simply connect to the internet via Ethernet, high speed wifi or even connect a 4G or 5G phone for mobile data.
URSA Cine supports the optional Blackmagic URSA Cine EVF to make outdoors and handheld shooting accurate and easy. Customers get an integrated high quality 1920 x 1080 color OLED display with built in proximity sensor, 4 element glass diopter for incredible accuracy with a wide focus adjustment. A built in digital focus chart ensures customers get perfect viewfinder focus setup.
URSA Cine includes an 8-pin Lemo power connector at the back of the camera that works with 24V and 12V power supplies. That means it’s easy to use the camera with existing power supplies, batteries and accessories. URSA Cine comes with a massive 250W power supply and B Mount battery plate so customers can use a wide range of high voltage batteries from manufacturers such as IDX, Blueshape, Core SWX, BEBOB and more.
URSA Cine comes with everything customers need to get started on set. Every camera comes in a rugged Pelican case with custom foam cutouts that precisely and securely fit the camera and its accessories. The PL lens mount comes preinstalled on the camera body, plus customers get an interchangeable locking EF mount for a strong and secure attachment when using heavier cine lenses. Customers even get a massive 8TB Media Module preinstalled, formatted and ready to record. Customers also get a top handle, antennas for high speed wifi, baseplate, 24V power supply and high voltage B mount battery plate for quick set up.
“We wanted to build our dream high end camera that had everything we had ever wanted,” said Grant Petty, Blackmagic Design CEO, “Blackmagic URSA Cine is the realization of that dream with a completely new generation of image sensor, a body with industry standard features and connections, and seamless integration into high end workflows. There’s been no expense spared in designing this camera and we think it will truly revolutionize all stages of production from capture to post!”
Blackmagic URSA Cine 12K Features
Cinematic large format sensor with a massive 16 stops of dynamic range.
Lightweight, robust camera body with industry standard connections.
PL and locking EF mounts included with optional LPL mount available.
Blackmagic RAW for real time 12K editing.
Generation 5 Color Science with new film curve.
High performance OLPF for reduced moire and aliasing.
Build in ND filters for shooting in varying conditions.
Shoot up to 80 fps in 12K, 144 fps at 8K and 240 fps at 4K.
High performance Blackmagic Media Module 8TB for recording included.
Recording media compatible with the Blackmagic Media Dock.
High speed wifi, 10G Ethernet or mobile data for network connections.
Built-in RTMP and SRT live streaming.
Optional Blackmagic URSA Cine EVF.
Includes DaVinci Resolve Studio for post production.
Availability and Price
Blackmagic URSA Cine 12K is available now from US$14,995, excluding local duties and taxes, from Blackmagic Design resellers worldwide.