Included together with the camera’s body was a Sigma 18-35mm 1:1.8 DC optic with EF mount. This was first noticed when we received the camera (in an airtight case) to get a closer look to its performance and technical data. And number two, the placement of access buttons on the camera does not offer immediate response in situations where an ENG (electronic reporting) recording can be found.
But it is harder for this device to make headway in the field of street side features or news features for two main reasons: number one being the weight of the body, which a whole range of gadgets must be attached to in order for this camera to reach full operating and handling capabilities. It must be pointed out that it finds its natural place in cinema production processes (take-to-take shooting) and in TV (multi-camera programs). It is robust and features interchangeable optics.
URSA Mini Pro 4.6K G2 is a digital, modular-body, CTV (cinema & television) camera that weights 2.30kg (about 5 lbs). URSA Mini Pro 4.6K G2 is the second generation of URSA Mini Pro. Therefore, it is easy to see this manufacturer’s evolution towards a more compact, lightweight, professional camera featuring enhanced technical performance. This is the update of one of Blackmagic’s product ranges born in NAB 2014 under the URSA name, which saw its first variant in the successful URSA Mini Pro. Thus, a great opportunity for URSA Mini Pro 4.6 G2, a camera catering to the needs of today’s audiovisual market. With the presentation of the URSA Mini Pro 4.6K G2 camera in the industry (March 2019), manufacturer Blackmagic contributed its bit towards more evident convergence and unification of results (in terms of images achieved) both for the world of cinema and television production environments.īlackmagic has succeeded in interpreting the changes taking place in audiovisual production and the demands viewers themselves are making now. Both were quite distinct in a time when image capture and handling processes were still analogue. That date should be highlighted on many accounts, and particularly as it crossed the line existing between two professional areas as cinema and television. In 2002, the film Star Wars: Episode II – Attack of the Clones, (a project by American filmmaker George Lucas), which was fully shot digitally, marked the first steps in industrial convergence of the audiovisual sector towards digital technology. Lab test performed by Carlos Medina, Audiovisual Technology and Camera Expert and Advisor.
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