List price: $5,995
Originally released in 2017, the Blackmagic URSA Mini Pro was designed to as a solution for cinematographers wanting the internal power of the URSA Mini 4.6K in a form factor better suited for run-and-gun documentary filming. The camera marked a huge step forward for the URSA line, and Blackmagic itself as a rival to the biggest names in the digital cinema world. Soon thereafter, filmmakers began to adopt the camera into a number of mid-level and higher-end feature, documentary and music video projects.
With the URSA Mini Pro G2, techs can switch hit betweenfilmmaking during the week and IMAG duties on the weekend.
Earlier this year, Blackmagic announced the much-anticipated follow up to the camera with its new flagship URSA Mini Pro G2. In this hands-on review we’ll investigate all the new features of the device and how it compares to the much-loved original URSA Mini Pro. We’ll also explore how this camera could function in a number of ministry contexts.
A dedicated cinema camera
When examining the URSA Mini Pro G2 one central tenant to keep in mind is that this is first and foremost a camera designed for cinematic filmmaking. That means that features such as resolution, dynamic range, frame rates and codecs have been given prime consideration. Other areas like low-light performance and auto-focus aren’t as high on the priority list since the camera is designed for cinematic environments where dedicated lighting crews and focus pullers are part of the team. The original URSA Mini Pro introduced concessions like tactile controls and build-in ND filtering in order to make the camera more attractive to documentary filmmakers, but by and large it still needs to be regarded from a different perspective than something like a camcorder. This is an important distinction to make when evaluating whether the camera is right for the applications you’re intending it for.
The upgrades
While the G2 represents a big step forward from the popular original URSA Mini Pro, the differences between the two cameras arealmost entirely under the hood. The good news for current URSA Mini Pro users and those considering incorporating the camera into their workflows is that almost all accessories designed for the original camera should work seamlessly with the new G2 model. This also means that while the G2 is evolutionary in feel, it’s revolutionary in a few important ways. Powering the URSA Mini Pro G2 is a new Super 35mm 4.6K sensor, as well as redesigned internal electronics to support it. These improvements allow the camera to capture up to 120 frames per second in 4.6K, 150fps in 4K DCI, and a whopping 300 fps when filming in a cropped HD. The new sensor matches the original URSA Mini Pro’s 15 stops of dynamic range, a crucial part of what makes the camera’s imagery so similar to celluloid film.
The upgraded sensor’s performance is most striking in its improved light-gathering capabilities, with ISO settings that range from 100 to 3,200. The other major upgrade is in the camera’s new codec options, which include both ProRes and the new Blackmagic RAW, at bit rates from 10-bit 4:2:2 to 12-Bit 4:4:4. It records to CFast 2 cards, UHS-II SD cards and USB-C external drives for a wide variety of performance and price-point options. Producers wanting to take advantage of the camera’s highest frame rates and deepest bit-depths will need to lean toward the CFast 2 and USB-C options. The camera features a four-inch touchscreen LED for monitoring the image and controlling the camera, as well as a monochrome LCD external display for reading settings and audio levels. The full suite of exterior controls for on-the-fly settings adjustments remain largely unchanged from the previous version. The URSA Mini Pro G2 ships with a standard EF lens mount, but can be user-interchanged for separate PL, F or B4 mounts. It utilizes two SDI outputs and an input for timecode and genlock, with the SDI connection on the back allowing for full 4K/60fps output. On the audio side, it features a built-In mic and two XLR Inputs with phantom power and manual input volume control dials on the side of the camera body. It also comes with a power supply, but filmmakers needing portable power should plan on purchasing either a V-mount or Gold mount plate for using with third-party batteries.
Introducing Blackmagic RAW
Previously available only on ultra-high end RED cinema cameras, the ability to record in raw internally at a variety of different bit-depths is the real home run feature of the URSA Mini Pro G2. For user unfamiliar with the advantages of this style of capture, raw allows user to adjust setting like ISO and white balance in post production with no loss of image quality or dynamic range. The camera also gives shooters the ability to switch between constant bitrate settings, for predictable file sizes, or constant quality for the very highest in image fidelity. Having this feature at the sub-$10K price point is what sets the URSA Mini Pro G2 apart from every other cinema camera on the market today and represents a monster step forward for the URSA line.
The main calling card of Blackmagic cameras has always been their overall Image quality and color reproduction, and in this the URSA Mini Pro G2 does not disappoint. The images and colors coming from this camera are spectacular. While the camera boasts the same 15 stops of dynamic range, in our tests it certainly felt like it exceeded the performance of the original URSA Mini Pro in this area. We were amazed with how well we were able to hold onto highlights in even the most challenging shooting conditions. This improved performance no doubt comes from the inclusion of the Blackmagic RAW codec, which is amazing to use, especially when graded within DaVinci Resolve. We were especially impressed to find there were many cases where the Blackmagic RAW codec was actually more efficient than the ProRes option, while providing superior performance in post. As a new codec, Blackmagic RAW is still in the process of being adopted by most of the major editing platforms. As of October 2019 the codec works natively in Adobe Premiere with a plugin from Blackmagic, but the workflow itself is less than optimal. We crashed the program several times just trying to do basic editing and color grading. Filmmakers wanting to take advantage of the considerable benefits afforded this new codec should strongly consider utilizing Blackmagic’s DaVinci for post-production until Blackmagic RAW is supported natively by other editors. Fortunately, a free copy of the full version of DaVinci ships free with the camera.
In action
The URSA Mini Pro G2 is designed to mount on a tripod or to use in a shoulder-mounted configuration, as it’s a bit too heavy to use extended handheld work. Our review unit included the camera, URSA Viewfinder, shoulder mount and side handle, which is a configuration we’d definitely recommend for shooters planning on using the camera for documentary-style work. Once the camera’s rigged up to shoot this way, however, capturing usable imagery becomes far easier. In fact, cinematographers who prefer this style of filming will likely appreciate the URSA Mini Pro’s balance of portability with just the right amount of heft. In our experience filming run-and- gun with the camera, we loved having the choice between tactile and touchscreen controls. Once shooters internalize where the controls are on the camera, it feels great to be able to make quick adjustments without having to look. The touchscreen menu and layout is first-class, with many shooters believing it to be the best in the industry. Some users will miss the auto-focus and low-light performance of some other camera systems, but again, these aren’t features typically found in higher-end cinema cameras. The camera does have focus peeking, but for some reason the peeking also applies to the graphic overlays, which is distracting and makes it hard to see when you’re recording and when you’re not.
Optimized for ministry
As we mentioned at the beginning, the URSA Mini Pro G2 is a camera designed and optimized for narrative-style filmmaking, which means that teams needing the highest possible quality for things like scripted projects and testimonial projects will be most at home with this camera. The internal raw workflow afforded by the camera will also provide editors and colorists with the maximum amount of creative latitude in post-production, a big plus on film projects like these. Run-and-gun documentary work is a bit more of a mixed bag on this camera, since the external controls and built-in ND filters go a long way towards making the URSA Mini Pro G2 a great fit for experienced shooters.
The ability torecord in raw internally at a variety of different bit-depths is the real home runfeature of the URSA Mini Pro G2.
The lack of advanced auto-focus and low-light performance could present a challenge in certain types of scenarios. In our testing, however, we were pleased to discovery that the combination of the new sensor and Blackmagic RAW allowed us to push footage illuminated with a single camera into something very useful. With the camera’s multiple SDI outputs, an input for timecode/genlock and the ability to switch out lens mounts, one could make the case for the URSA Mini Pro G2 to switch hit between filmmaking during the week and IMAG duties on the weekend. A number of churches across the country already utilize Blackmagic control, switching and talkback through Atem systems; the URSA Mini Pro G2 could easily incorporate into these setups without breaking a sweat.
In conclusion
As we point out continually, there’s no such thing as a perfect all-in-one camera that does everything. In fact, features that are crucial for one type of application, broadcast ministry for example, can prove detrimental in a different setting, such as a film set. The URSA Mini Pro G2 lives firmly in the latter category.We came away from our time with the camera very, very impressed and excited by the new creative possibilities available to church film teams at such an aggressive price point of $5,995. With that in mind, ministry leaders will want to be sure to factor in basic costs like a media, side handle, and a battery mounting plate when planning a purchase. The Blackmagic URSA Mini Pro G2 is easily one of the best cameras on the market for filmmakers needing the great color, high frame rates, 4K+ resolution and internal raw capture. Alex Schwindt is a filmmaker and writer with over two decades of ministry experience. He’s also the creative director of Alex Schwindt Media, a boutique agency specializing in commercial, documentary and concept film and video.
