Blackmagic Design URSA Broadcast and Fiber Converters

[@RodgerMudd]

Who rolls up the mile of cable to the truck? Great video.

[@saci.mohamed]

very smart the optical plug in the front

[@ians.4284]

What specific lens are you using on the URSA Broadcast in this video?

[@mayechisavali1919]

which price sir all cricket broadcasting equipment

[@eliotparker3768]

can the blackmagic studio fiber converter work with other brands of cameras? I'm a camera director for events and cant always choose my broadcast cameras.

[@vsevkrawczeniuk8019]

Yes, it is SMPTE compatible, I think you need an adapter though

[@mrtanatip]

DB25 for thirdparty(intercom,tally) behind basestation cannot use.

[@mrtanatip]

Can't use 4k 60p.

[@josephvanwyk2088]

Can someone explain to me why they keep making gain jumps from 200, 400, 800, 1600. (And I believe 12db is more like 2500iso) Are studio operators just lazy or don't they think the increments matter.

[@alanbam5590]

Stop calculation you noob.

[@markurban9113]

Even though it is true that this is cheapest broadcast setup on the market it is still easily above 20 000 USD for the full setup. And I must say, image from this camera is not that impressive especially in low light. I can have two or three XDCAMs from sony for this kind of money with much better image quality, but lacking studio functionality. Sadly It is hard to justify 60-80k USD investment into camera system which is not usable under all conditions. BMD is all about low-budget production, large tv stations will never buy this for multiple reasons and I am not sure if low-cost production can afford this product. With URSA Broadcast you are paying for convenience of hybrid/fiber multiplex and convenience is usually not priority for low-budget studios. However I am pretty sure that this will do great in controlled environment but everything really does these days... I really hope that next gen will have better sensor and then maybe we can justify the investment.

[@TDE-76]

Sorry, but you're way off on all accounts. I'm not sure what your experience is in broadcast TV but I can tell you from the get go that at least 5 of these were used in the broadcast of the world para-athletics in Dubai this year. How do I know? Because our company supplied the entire camera department. The low light isn't factored in professional broadcast setups as lighting is always apparent. Low light is only taken into consideration for non-professionals users who haven't got the budget to light, and if so then you shouldn't even be using a camera like this if you don't know what you're doing. BMD is NOT for low budget production? How on earth did you assume this? You do know that the BBC, ITV, Netflix and Amazon all have this camera on their recommended list of approved cameras? Also, would you say BMD's Davinci resolve is all about low budget production? I think not.

[@jeffsaffron5647]

​@@TDE-76 Mark has some good points, I had URSA broadcast rented for several jobs and image from it is really not good. I work as free lance camera operator for national TV in Europe, mostly shooting sports and I don't remember a time when we had any option to change lighting inside the venue. Big stadiums are often fine, but indoor venues are often difficult as light goes. Also this camera does not handle contrast well I can't image using it for football where half of the field is under shadow (which often is during a day matches). Also the fact BMD doesn't do any service after warranty is a big no no for TV stations where cameras are expected to last 10-15 years. I would pick 15 years old LDK 6000 over this any time.

[@jeffsaffron5647]

@@TDE-76 Also I think you are missing few details, we are talking about URSA Broadcast here not URSA Mini. Broadcast version is not among approved cameras for Netflix partnerhelp.netflixstudios.com/hc/en-us/articles/360000579527-Cameras-and-Image-Capture. Those are two different cameras with different sensor and different price. (Super 35 version is actually pretty good). You absolutely need low-light performance in broadcast camera, you can very rarely control the OB environment. For film work it does not matter as much. Also I checked the production you are mentioning (kzbin.info/www/bejne/nIjakquAisyEn9U) and as the image quality goes it is nothing to be proud about. Considering the even lighting it is very under-exposed, validating low-light performance we discussed above. For those who care about comparison in realistic settings here is production shot with URSA Broadcast (you can clearly see guys with these cameras) kzbin.info/www/bejne/rnrFnXxrp7t5fa8 Same venue shot on RED Weapon (kzbin.info/www/bejne/e3SThIGpZt-GapY). Have fun guys.