Continuing with our lead in to Band Pro’s One World Open House, we look at Blackmagic Design and their trend this year of shrinking their family of cameras, while expanding DaVinci Resolve to a full blown NLE. From the URSA Mini to the twin Micro Cinema Camera and Micro Studio Camera, Blackmagic’s year has been filled with miniaturization in form but certainly not function.
The URSA Mini
When the Blackmagic URSA was first announced/released, many people’s reactions were essentially “That’s great! But it’s way too big, I’ll never use that beast!” Despite being a beast in both function and size (Ursa is latin for bear after all), the camera was just too much for some people to get behind. Enter the URSA Mini. This little guy made the power of the URSA much more accessible, with a more ENG, run and gun form factor. The only major differences between it and its bigger relative are the URSA’s ability to shoot higher framerates at higher resolutions, as well as the URSA’s upgradable sensor. Shooters who don’t need those two features will find everything they need in the smaller and more ergonomic URSA Mini.
Most recently we spoke with filmmaker Marco Solorio of One River Media, who actually works quite closely with Blackmagic Design on testing their cameras. As one of the first people to use the URSA Mini for production, we spoke with Marco at Blackmagic Day L.A. about his experience. You can find that interview here: Blackmagic Day L.A. 2015: Marco Solorio Talks About The Newly Released Blackmagic URSA Mini
The Micro Studio Camera & Micro Cinema Camera
Surprising at the time of their announcement at NAB 2015, the release of the two Micro Cameras became clearer in the bigger picture of Blackmagic’s camera size scale down. However that scale down in size doesn’t hamper the little guys’ power. Between the digital film camera that is the Micro Cinema Camera and the Ultra HD Micro Studio Camera, these two cameras expand beyond the studio and into pretty much any realm you can imagine. Their form factor makes it easy to load up a studio with any number of them, but the Micro Cinema Camera makes a great drone camera. As with many Blackmagic Cameras, the two Micro Cameras maximize their power and form factor to be perhaps the most verssatile of Blackmagic Cameras yet.
Though we haven’t talked about them too much in the past, the best look we got of them was at CineGear 2015 with Blackmagic’s wonderful Tina Eckman. You can find that interview here: CineGear 2015: Blackmagic Design’s URSA Mini & Micro Cameras
DaVinci Resolve 12
One of Blackmagic Design’s crowning achievements of 2015 has got to be DaVinci Resolve, specifically update 12.1. With 12.1 Blackmagic turned the corner and made DaVinci Resolve a full blown NLE, providing a complete beginning to end Blackmagic Design workflow. Love it or hate it, the evolution is astounding and welcome in a post world ruled by one or two other NLEs. Plus, Blackmagic hardly seems done updating, meaning the program will only continue to grow as an alternative editor in the years to come.
We recently covered the latest release of DaVinci Resolve, 12.1, about a month ago. So more details on it can be found here: DaVinci Resolve 12.1: Remote Rendering, Native Display Support & More
This is but a small portion of Blackmagic Design’s efforts in 2015, but as you can see it’s quite substantial. We’ll be meeting with them at Band Pro’s One World Open House to review 2015 and see what they may have in store for 2016.
Those wanting to attend Band Pro’s One World Open House need only follow the linked banner to the right below. Having attended for several years now, I can say it’s a great time to find out what a number of companies have in store for the coming year. Plus it’s free, so there’s no barrier but distance to stop you.