“Argentinean cinematographer and filmmaker, Guido Pezz recently shot and directed “An Island Off An Island”. For the past 20 years, Jenene and John have carried on a simple life together on Bruny; an island off the island of Tasmania, located at the bottom of Australia. This film is an intimate portrait about life away from the distractions of the outside world.”
"I have always been fascinated by people who live on islands, isolated away from the world. When you arrive here, you can’t help but ask yourself, is this a place I’d like to live? After you have been there a couple of days, you’re constantly thinking this in the back of your mind. Shooting at a place like Bruny Island is difficult to explain. There were no epic mountains or rocky outcrops to focus on. Bruny Island is more about what it feels like to live there; and so that is what I was trying to capture. I wanted to translate the essence of living there as authentically as I could.”
Director, Cinematographer
Guido Pezz
Editor, Colorist
Guido Pezz
“This scene was shot at Sheepwash Bay on Bruny Island, with Tasmania just showing through the clouds in the background. I shot this in June in the middle of winter in Australia to get the right light. Bruny Island is at 43 degrees latitude south, so the sun is very low at this time of year. As you can see, this was shot at sunset which was between 4:30 PM to 5:00 PM.“
Camera Blackmagic URSA Mini Pro 12K OLPF
Codec Blackmagic RAW in Constant Bitrate 3:1
Sensor 12K Super 35 (12,288 x 6480) 80 megapixels per frame
8K full frame oversampled to 4K
Lenses DZOFilm Vespid 25mm T1.5 @ T2.8
Frame Rate 24 fps
ISO 800
Shutter 180 degrees
White Point 5600K
LUT Blackmagic Gen 5 Film to Extended Video
NDs Internal and NiSi C5 matte box with variable ND
Color Science Generation 5 Color Science
Shot on tripod
Download Camera Original File (1.74 GB) Download Graded File (63.3 MB)
“With this interview scene, I had John sitting at a pottery wheel in this very darkened space. Most of the lighting came from a single window to the left side of his face. I used a lot of negative fill to create the contrast and darkness on his right cheek. Without it, I wouldn't have achieved the desired contrast ratio.“
Camera Blackmagic URSA Mini Pro 12K OLPF
Codec Blackmagic RAW in Constant Bitrate 3:1
Sensor 12K Super 35 (12,288 x 6480) 80 megapixels per frame
8K full frame oversampled to 4K
Lenses DZOFilm Vespid 50mm T2.1 @ T.4
Frame Rate 24 fps
ISO 800
Shutter 180 degrees
White Point 5600K Spotlight 3200‑3800K
LUT Blackmagic Gen 5 Film to Extended Video
NDs Internal and NiSi C5 matte box with variable ND
Color Science Generation 5 Color Science
Shot on tripod
Download Camera Original File (649.8 MB) Download Graded File (17.9 MB)
“The pottery scene was shot in the same location as the ’The Baker’ at the pottery wheel under the window. Although it was shot on a different day, it was shot at the same time so that the shadows cast by the window were the same. The biggest difference was the location of the spotlight, which for this scene was in front of Jenene so that I could have a small highlight on her right hand.“
Camera Blackmagic URSA Mini Pro 12K OLPF
Codec Blackmagic RAW in Constant Bitrate 3:1
Sensor 12K Super 35 (12,288 x 6480) 80 megapixels per frame
8K full frame oversampled to 4K
Lenses DZOFilm Vespid 90mm Macro T.2.8 @ T5
Frame Rate 24 fps
ISO 800
Shutter 180 degrees
White Point 5600K Spotlight 3200‑3800K
LUT Blackmagic Gen 5 Film to Extended Video
NDs Internal and NiSi C5 matte box with variable ND
Color Science Generation 5 Color Science
Shot on tripod
Download Camera Original File (766.1 MB) Download Graded File (28.1 MB)
“With every scene, I was going for a sense of isolation. And so with the greenhouse shot, I liked this elevated camera angle as it feels like she is on her own. The greenhouse has all of these windows on the side that were covered in sea spray. The roof was opaque plastic which worked like a massive light diffuser for me. So it was the perfect location for shooting.“
Camera Blackmagic URSA Mini Pro 12K OLPF
Codec Blackmagic RAW in Constant Bitrate 3:1
Sensor 12K Super 35 (12,288 x 6480) 80 megapixels per frame
8K full frame oversampled to 4K
Lenses DZOFilm Vespid 25mm T2.1 @ T.2.8
Frame Rate 24 fps
ISO 800
Shutter 180 degrees
White Point 5600K
LUT Blackmagic Gen 5 Film to Extended Video
NDs Internal and NiSi C5 matte box with variable ND
Color Science Generation 5 Color Science
Shot on tripod
Download Camera Original File (1.64 GB) Download Graded File (40.9 MB)
British cinematographer, Ben Davis BSC., is well known for his work on Hollywood blockbusters and beautifully crafted independent films. Ben recently shot Banshees of Inisherin on Achill Island off the coast of Ireland. Ben talks about his work with Martin McDonagh and why they chose to use a Blackmagic URSA Mini Pro 12K as one of the production cameras.
“Martin’s parents both come from this part of Ireland. And so I really think he was keen to present a vision of Ireland that offset some of the drama that was going on in the film. He wanted the scenery to be amazingly beautiful in order to explain why some of the locals wanted to stay on the island, and why others were intent on leaving.”
Director
Martin McDonagh
DOP
Ben Davis, BSC.
ACO
Des Whelan
Camera Assistant A
Eoghan Fleming
Camera Assistant B
Louise MacEllin
Digital Supervising Colorist
Adam Glasman
Colorist
Darren Rae
Camera Blackmagic URSA Mini Pro 12K
Codec Blackmagic RAW in Constant Bitrate 12:1
Sensor 12K Super 35 (12,288 x 6480)
80 megapixels per frame
8K full frame, cropped aspect ratio 2.40:1
Lenses Century Optics 17-35mm at T 3.1 and vintage Cooke Panchros Classics
ISO 400
LUT Goldcrest custom film emulation LUT
Color Science Science Generation 5 Color Science
Camera Blackmagic URSA Mini Pro 12K
Codec Blackmagic RAW in Constant Bitrate 12:1
Sensor 12K Super 35 (12,288 x 6480)
80 megapixels per frame
8K full frame, cropped aspect ratio 2.40:1
Lenses Century Optics 17-35mm at T 3.1 and vintage Cooke Panchros Classics
ISO 400
LUT Goldcrest custom film emulation LUT
Color Science Science Generation 5 Color Science
‘Of Two Lands’ founder, Florent Piovesan is a French Australian filmmaker currently based in the French Alps. As part of his popular YouTube Channel, he has nearly two hundred videos that showcase all things filmmaking alongside of his travels. ‘Our Perfect Day’ is a 240fps 4K resolution camera test, shot on Blackmagic’s URSA Mini Pro 12K using a Sigma Art lens.
“I had the Blackmagic URSA Mini Pro 12K as loan for shooting some 12K and 8K 120fps footage. I shoot most of my commercial and documentary work on a Blackmagic Cinema Pocket Camera 6K, so I was pretty intrigued to see what double the resolution would give you.”
Director
Florent Piovesan
Cinematographer
Florent Piovesan
Colorist
Florent Piovesan
Location
French Alps
“I wanted to do some close up shots of my wife walking in extreme slow motion. Because her boots are branded, I really wanted to know if you could still see the Danner logo with the movement of her legs. So the test with this shot was to see if the URSA Mini Pro 12K could keep all of the detail on the leather of her shoes, throughout those walking movements in the snow.”
Camera Blackmagic URSA Mini Pro 12K
Codec Blackmagic RAW in Constant Bitrate 12:1
Sensor 12K Super 35 (12,288 x 6480)
80 megapixels per frame
4K Super 16 (4096 x 2160)
Lenses Sigma 18-35mm f.1.8 EF @ f.2.8 with ND
Frame Rate 240 fps
ISO 400
Shutter 180 degrees
Color Science Science Generation 5 Color Science
Hand-held
Download Camera Original File (618 MB) Download Graded File (78.2 MB)
“Where we were shooting this footage is right outside our house in the French Alps. We are at 700 metres above sea level, so it is ridiculously bright. Looking at my wife’s face, it is almost like I have a soft box on her. The day was overcast giving everything thing this soft grey caste.”
Camera Blackmagic URSA Mini Pro 12K
Codec Blackmagic RAW in Constant Bitrate 12:1
Sensor 12K Super 35 (12,288 x 6480)
80 megapixels per frame
4K Super 16 (4096 x 2160)
Lenses Sigma 18-35mm f.1.8 EF @ f.2.8 with ND
Frame Rate 240 fps
ISO 400
Shutter 180 degrees
Color Science Science Generation 5 Color Science
Hand-held
Download Camera Original File (1.01 GB) Download Graded File (89.3 MB)
Matteo Bertoli is an Italian filmmaker based in Lisbon, Portugal, who has lived in the US for six years. Matteo is a well known Youtuber with over 56 thousand subscribers and the co-founder of Buttery Films and Buttery LUTS with Raffy Vesco. Matteo talks about a spec commercial he shot on the URSA Mini Pro 12K.
“For a while now, I’ve been wanting to show what can be done with the URSA Mini Pro 12K. The community of filmmakers who follow me on YouTube, are always interested in what you can do when shooting without much equipment and with a very small crew.”
Director
Raffy Vesco
Director
Matteo Bertoli
DOP
Matteo Bertoli
Gaffer
Antone Axten
Underwater Camera Operator
Jacqueline Lehr
Editor
Matteo Vigani T2 Films
Sound Mix
Daniele Macchini
BTS
Daniele Macchini
“I think this is a great shot that shows how the URSA Mini Pro 12K renders these really smooth skin tones while still picking up the hard reflective qualities of the watch case. When this was shot, we had this super low sunset. You can see the light is reflecting off the edge of the watch on the boy’ ”
Camera Blackmagic URSA Mini Pro 12K
Codec Blackmagic RAW Constant Bitrate 12:1
Sensor 12K Super 35 sensor
8K 6:5 Anamorphic (5,120 x 4,272)
2x Squeeze Ratio
Lenses Cooke Anamorphic 50mm T2.3 PL mount
Frame Rate 48fps
ISO 800
Shutter 180 degrees
Color Science Generation 5 Color Science
LUT Buttery LUTS Rec 709
ND Filters Internal NDs 6 stops
Download Camera Original File (239 MB) Download Graded File (579 MB)
“The plan with all of these shots was for a natural progression throughout the day. Starting with sunrise and then sunset. But it didn’t quite work out that way. When we arrived at Dana Point early in the morning it was all fogged in. With the early morning fog, the pre-morning light was more like night-time. It was very dark, which is not what we planned for.”
Camera Blackmagic URSA Mini Pro 12K
Codec Blackmagic RAW Constant Bitrate 8:1
Sensor 12K Super 35 sensor
8K 6:5 Anamorphic (5,120 x 4,272)
2x Squeeze ratio
Lenses Cooke Anamorphic 50mm T2.3 PL mount
Frame Rate 24fps
ISO 800
Shutter 180 degrees
Color Science Generation 5 Color Science
LUT Buttery LUTS Rec 709
ND Filters Internal NDs 0 stops
Download Camera Original File (302 MB) Download Graded File (189 MB)
“This shot was mid morning, so I had to make it feel a bit darker than it really was. And so I shot this with two stops of internal ND at ISO 800. I was lucky that this was shot on the morning that it was foggy, so it was easy to fake it to look like it was very early in the morning.”
Camera Blackmagic URSA Mini Pro 12K
Codec Blackmagic RAW Constant Bitrate 18:1
Sensor 12K Super 35 sensor
8K 6:5 Anamorphic (5,120 x 4,272)
2x Squeeze ratio
Lenses Cooke Anamorphic 50mm T2.3 PL mount
Frame Rate 48fps
ISO 800
Shutter 180 degrees
Color Science Generation 5 Color Science
LUT Buttery LUTS Rec 709
ND Filters Internal NDs 4 stops
Download Camera Original File (136 MB) Download Graded File (235 MB)
“This was shot about 5.30-6pm in the afternoon. I would characterise this time of day in California as pre-sunset. Although this is such a high contrast shot there is also a depth to it. You can see all of the surface detail on the boy’s surfboard including the smooth wet area where it’s reflecting in the sunset.”
Camera Blackmagic URSA Mini Pro 12K
Codec Blackmagic RAW Constant Bitrate 12:1
Sensor 12K Super 35 sensor
12K 6:5 Anamorphic (7,680 x 6,408)
2x Squeeze ratio
Lenses Cooke Anamorphic 50mm T2.3 PL mount @ T 6.5
Frame Rate 48fps
ISO 400
Shutter 180 degrees
Color Science Generation 5 Color Science
LUT Buttery LUTS Rec 709
ND Filters Internal NDs 6 stops
Download Camera Original File (573 MB) Download Graded File (341 MB)
Austrian based agency and production company, Freystil, created the latest Austrian Kia car commercial with the Blackmagic URSA Mini Pro 12K. Founder and CEO, Michael Frey talks about why he has founded his company on the URSA Mini Pro 12K and BMPCC 6K cameras.
“I started my company three years ago with zero budget. I had nothing. My goal was to make high-quality content affordable and to give Austrian customers the most flexible content bundles we could. I wanted to create a completely different type of production and post production facility, here in Austria.”
Production Company
Freystil Content Agentur
“With this scene of the car headlight, I have to point out the 12K camera again. You just see everything, every little detail. Although we had the car being washed continuously there were a lot of people touching the car all day long, including the KIA mechanics. These are things you have to really think about when shooting in 12K. You do see everything!”
Camera Blackmagic URSA Mini Pro 12K
Codec 8K 16:9 Blackmagic RAW in Constant Bitrate 8:1
Sensor 12K Super 35 (12,288 x 6480) 80 megapixels per frame
Lenses XEEN CF Pro Cine Lens 50mm T1,5 ND 2 @ T2.8
Frame Rate 60 fps
ISO 400
Shutter 125 shutter
Color Science Generation 5 Color Science
“For this shot we decided to used a PL mount probe lens attached the URSA Mini Pro 12K camera. We used a slider with the car seats folded back as low as possible. The dashboard effects that you see in the spot, is the start display when you start up the Kia. This was an important shot, and so we spent a whole day just doing the dashboard scene.”
Camera Blackmagic URSA Mini Pro 12K
Codec 8K 16:9 Blackmagic RAW in Constant Bitrate 5:1
Sensor 12K Super 35 (12,288 x 6480) 80 megapixels per frame
Lenses Laowa 24mm f/14 Probe Macro Lens 24mm
Frame Rate 30 fps
ISO 500
Shutter 60 shutter
Color Science Generation 5 Color Science
“For the interior shots of the car, the URSA Mini Pro 12K turned out to be a blessing for us. Simply because we could shoot in 12K and then crop-in later in post. We had to work relatively quickly with these interior scenes. So shooting 12K gives us the opportunity to shoot with the same lens, and then just crop in and adjust in post production.”
Camera Blackmagic URSA Mini Pro 12K
Codec 8K 16:9 Blackmagic RAW in Constant Bitrate 8:1
Sensor 12K Super 35 (12,288 x 6480) 80 megapixels per frame
Lenses XEEN CF Pro Cine Lens 50mm T1,5 ND 2 @ T2.8
Frame Rate 60 fps
ISO 400
Shutter 125 shutter
Color Science Generation 5 Color Science
“We actually shot this scene spontaneously whilst driving from one shooting location to another. I had Enzio Samaden, our media specialist, sit in the back seat with the window open shooting handheld as we drove through Salzburg. We managed to get this scene in just two takes.”
Camera Blackmagic URSA Mini Pro 12K
Codec 8K 16:9 Blackmagic RAW in Constant Bitrate 12:1
Sensor 12K Super 35 (12,288 x 6480) 80 megapixels per frame
Lenses Objektiv 50mm PL Prime (no ND) @ T2.8
Frame Rate 60 fps
ISO 400
Shutter 125 shutter
Color Science Generation 5 Color Science
Seattle-based director and cinematographer, Note Suwanchote recently did a 12K and 8K camera test in Blackmagic RAW, using the Blackmagic URSA Mini Pro 12K. Note talks about the image quality for the new 12K sensor and how easy it is to shoot using Blackmagic’s RAW codec.
“There is a giant rock formation at Cannon Beach in Oregon, called ‘Haystack’ where they shot, ‘The Goonies’, ‘Twilight’ and ‘Point Break’. It’s one of those places I have always wanted to shoot. The other location is Rialto Beach in Washington, which is about a four hour drive north of me. I had seen beautiful photographs of both locations and I thought they would be perfect for shooting test footage with the Blackmagic URSA Mini Pro 12K.”
Cinematographer
Note Suwanchote
Camera Blackmagic URSA Mini Pro 12K
Codec Blackmagic RAW 12K ‑ 12:1
Sensor 12K Super 35 Sensor (12,288 x 6,480)
Lenses Sigma 18 ‑ 35mm Art EF mount
Filter HOYA IR
Frame Rate 24fps, 33fps & 60fps in 12K
ISO 400, 640, 800
Color Science Generation 5 Color Science
Camera Blackmagic URSA Mini Pro 12K
Codec Blackmagic RAW 12K ‑ 8:1
Sensor 12K Super 35 Sensor (12,288 x 6,480)
Lenses Sigma 18‑35mm Art EF mount & Nikon 85mm 1.8 Non-AI F mount + ISCO Ultra Star Red (2x anamorphic mode) + Rapido FVD‑16A
Filter HOYA IR
Frame Rate 24fps, 33fps & 60fps in 12K
ISO 400, 640, 800
Color Science Generation 5 Color Science
Cinematographer Vance Burberry recently shot the launch film for James Perse’s Robertson Boulevard flagship store in Beverly Hills. Vance talks about shooting this architecturally inspired black & white commercial for this Californian fashion and homewares designer.
“As it happens, Julian Metter was directing this cool commercial for James Perse. Both Julian and James wanted something really stylish in black & white, a bit like an architectural piece. James Perse is very creative with great artistic sensibilities. He is also heavily into his architecture, so keeping the architectural integrity of his flagship store was very important.”
Director
Julian Metter
Cinematographer
Vance Burberry
Executive Producer
Lindha Narvaez
Colorist
Marshall Plante, Olio Creative
Production Company
Milkt Films
Client
James Perse
Camera Blackmagic URSA Mini Pro 12K
Codec 8K 16:9 Blackmagic RAW in Constant Bitrate 8:1
Sensor 12K Super 35 (12,288 x 6480)
80 megapixels per frame
Lenses Cooke S4 25mm Prime Lens
Frame Rate 23.976 fps
ISO 800
Shutter 180 shutter
Color Science Generation 5 Color Science
LUT Custom de-saturated viewing LUT
Camera Blackmagic URSA Mini Pro 12K
Codec 8K 16:9 Blackmagic RAW in Constant Bitrate 8:1
Sensor 12K Super 35 (12,288 x 6480)
80 megapixels per frame
Lenses Cooke S4 32mm Prime Lens
Frame Rate 23.976 fps
ISO 800
Shutter 180 shutter
Color Science Generation 5 Color Science
LUT Custom de-saturated viewing LUT
Cinematographer, John Brawley recently conducted the first tests on the Blackmagic URSA Mini Pro 12K camera. John talks about using this camera for the first time, while he was shooting the episodic drama ‘The Great’. He then explains the background to ’Twelve’, which was his 4K, 8K and 12K camera tests on Zeiss Supreme lenses.
“I guess my initial reaction when I first saw this camera, was wow ‑ 12K!”
“I understand for a lot of cinematographers the starting point will be, why do I need to shoot in 12K? And, that the pursuit of more pixels alone, does nothing to improve the quality of the pixel pipeline. From what I can see, the way Blackmagic started on this problem, was to firstly understand how to make better pixels and then to see how many pixels you could get from their new sensor architecture! What they’ve discovered is by increasing pixel density they could actually get rid of those aliasing and structural issues we’ve been suffering.”
Cinematography
John Brawley
Camera Blackmagic URSA Mini Pro 12K
Codec Blackmagic RAW in Constant Quality Q5
Sensor 12K Super 35 (12,288 x 6480)
80 megapixels per frame
Lenses PL mount, Zeiss Supreme 100mm @ T4
Filter Internal 4 stop ND
Frame Rate 12K at 24fps
ISO 800
Shutter 180 shutter
Color Science Generation 5 Color Science
Camera Blackmagic URSA Mini Pro 12K
Codec Blackmagic RAW in Constant Quality Q1
Sensor 12K Super 35 (12,288 x 6480)
80 megapixels per frame
Lenses PL mount, Zeiss Supreme 50mm @ T2
Filter Internal 2 stop ND
Frame Rate 12K at 24fps
ISO 500
Shutter 180 shutter
Color Science Generation 5 Color Science
Cinematographer, Vance Burberry teamed up with Cristina Piemonte to create this cool piece for Seniesa “Superbad” Estrada, WBA Flyweight World Champion and currently one of the biggest names in women’s boxing. Vance Burberry is a highly notable cinematographer with a career spanning thirty years shooting music videos, commercials, underwater work and feature films.
"The boxing gym we shot at was in East Los Angeles. Seniesa has since become the WBA Flyweight World Champion and this was the very same gym that she had trained in for the last two and a half months."
Director
Cristina Piemonte
Cinematography
Vance Burberry
Colorist
Marshall Plante, Olio Creative
Executive Producer
Lindha Narvaez
Production Company
Milkt Films
Camera Blackmagic URSA Mini Pro 4.6K G2
Codec Blackmagic RAW Constant Bitrate 3:1, 8:1
Lenses PL mount. Sigma Cine 20mm, 35mm, 40mm and 85mm @ T4, T3.5
Frame Rate 4.6K 23.98, 60 and 120fps.
ISO 800
Accessories D-Box power with 12v 2 pin Lemo, Tilta Nucleus M remote follow focus, Bright Tangerine matte box and manual follow focus system
Camera Blackmagic URSA Mini Pro 4.6K G2
Codec Blackmagic RAW Constant Bitrate 3:1, 8:1
Lenses PL mount. Sigma Cine 20mm, 35mm, 40mm and 85mm @ T4, T3.5
Frame Rate 4.6K 23.98, 60 and 120fps.
ISO 800
Accessories D-Box power with 12v 2 pin Lemo, Tilta Nucleus M remote follow focus, Bright Tangerine matte box and manual follow focus system
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