One of the amazing developments with this new sensor is the ability to shoot the same full sensor raster or size at different resolutions without having to crop.
Typically when shooting at different resolutions we’d expect that the sensor would have to window or crop.
Here’s some examples shot using the in-camera scaling, shooting at 8K, 4K with some frame rate variations as well.
I also included a 4K Super 16 crop shot that was shot at 220 FPS.
Apologies for my grading skills, there’s a little bit of a difference shot to shot, but that’s down to my lack of skill in these things more than anything.
Like any new camera, it does take a while to learn how to get the most from the grading of these shots. Remember that this was shot with an early pre-production prototype, using older boards so the noise and colour isn’t final.
I also tried a couple of different looks with the last few sequences. I personally think the 8K 60 FPS material was especially lovely.
I really enjoyed the colour and nuance. I feel like I am seeing more colour variations in the actors faces. Seeing the blues and pinks of the late sky, the colours from their clothes and environments.
Let me know your thoughts, ask some questions and enjoy !
Actors are…
Robert Hamilton @roberthamilton_official
Stephen mascoe
Miriam Miano @miriamiano
Kat green @katharinegreen
johnbrawley 
Thank you for sharing, John. I really appreciate this, very interesting.
Thanks for the detailed and very finely drawn footage. They are very appealing
You write…”One of the amazing developments with this new sensor is the ability to shoot the same full sensor raster or size at different resolutions without having to crop.”
How is the crop technically implemented? What exactly is special about it?
Is it pixel binning? Or another, better and newer technique?
Best regards, Uli
Because of the highly symmetrical nature of the sensor and the way the BRAW codec can work with that sensor, they’re able to do RAW at full sensor size.
could you see yourself using this over an alexa or red on a large production ?
On the shows that I do there’s two ways to look at that question.
1. Look.
Yes for sure, in terms of look, you can creatively use a camera like this and the performance is “up there” with other cameras like Alexa in terms of DR and ISO.
2. Practicability
For me and the way I like to use a camera and need to user a camera on a big set, there are still some feature limitations compared to cameras like an Alexa. For example, in the EVF, there’s no “look around”. The operator on an Alexa can see 15% more than the image being recorded. That way they know the boom is ABOUT to be in shot before it actually IS in shot. Or you can customise what information you want on the status text output. So right now I’m forced to look at the damn audio VU’s even though I never care about sound, and no sound is being recorded in the camera. But I can’t turn that information OFF in the overlay. I can turn the WHOLE overlay off of course, but i do want some information like maybe Battery or media status. So you don’t have the same level of customisation there.
I’d love for there to be a way to integrate the camera with a Preston MDR or a WCU so I don’t have to use an third party box that attaches to the camera so that the focus puller can work remotely on the camera.
It’s these kind of practical limitations that now hold the camera back as a choice as a primary camerA over the image quality.
JB
I wish the industry would come up with a common meta and signaling specification so we can have a single connection from a cable that can be pass thru power, audio, lens control, video, meta etc. Then manufactures can make add on modules that can tie into the data and read/alter the data down the chain. Along with that a standard control system for controlling all type of common qualities with the camera/lens like on screen displays, luts etc.
That’s a great idea. And make it intra frame frame. A lot of metadata is only for the clip overall….
JB
Unfortunately I have no practical experience with an ARRI or big productions, sorry.
I’m trying to understand what’s so special. Is it a form of pixel binning at the sensor level? Or is there a special chip directly behind the sensor in the signal chain that scales down?
Best wishes, Uli
Those skin tones are absolutely gorgeous. Can’t wait to get my hands on the 12k!
Yeah thanks Adam, I think once you go past the 12K number, it’s nice to look at these skin tones and realise how nice they are to work with.
JB
Absolutely amazing footage, well done John and BMD
You have mentioned about the lens choice and why you chose Zeiss Supreme Prime lenses. Also mentioned that this camera is kind of a “lens-checker”. Does this mean that you’ll need expensive glass to get the best out of this camera? Should people who use CP.3 or vintage glasses like Contax or Leica R stay away?
I don’t think so, even if only judging from my experience with photography on a Sony A7RII. Many lenses in my Zeiss Contax collection look like not yet being challenged by that, since I can still spot moiré.
Stunning footage, John. A far cry from 2.5K Cinema Cam🎥 👍
Thanks for the post,
I noticed some vertical noise going on in the model’s neck in the 4K 220fps shot
And in her black top in the following interior 4k shot(s)
Is this due to shooting in 4k do you think? Or an ISO/exposure issue? Just about every other shot is looking clean in term of noise, especially as the resolution increases
Hi Mike.
I think anytime you window a sensor the image becomes a bit compromised.
I think the full 4k looks fine as well, so I’d put this down to being a windowed shot.
I find similar issues on the G2 when I window it.
JB
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I have just been doing a lot of Ursa 12k tests and stared to look around and see what others have shot. Do you have the RAWLITE OLPF mod on all your Blackmagic cameras? Are they your personal cameras or do you have a rental house you work with that has the modded cameras?
I’m shooting mostly with OLPFs yes.
Some from RAWLITE and some from others.