In this Cinematography Tip, DP Shane Hurlbut, ASC, shares his on-set methodology for “taking the edge off” a sharp sensor. We’re not talking about degrading the image. This is about using subtle filtration to add a layer of cinematic character. Using a side-by-side comparison of Cooke S7/i and DJI lenses on a DJI Ronin 4D, Shane demonstrates a practical, real-world approach to controlling sharpness and enhancing your visual storytelling in-camera.

The Challenge: Balancing Sharpness and Cinematic Character

To demonstrate this technique, Shane sets up a comparison between two very different lens sets mounted on a DJI Ronin 4D 6K camera.

First, the Cooke S7/i prime lenses. Right away, Shane notes their classic characteristics: a neutral color profile and what he calls a “beautiful, cinematic, lyrical narrative distortion.” 

This is the famous “Cooke Look,” where the background is pushed further away, making the foreground subject feel more prominent and three-dimensional. He also observes that the Cooke is a significantly sharper lens with about a third to a half-stop more detail in the shadows, showcasing its quality and latitude.

Second, the DJI lenses. In comparison, Shane sees a warmer, more red-yellow tint and a flatter image that compresses the background, bringing it closer to the subject. While a perfectly functional lens, it lacks the sharpness and dimensionality of the Cooke.

This presents a clear challenge: the Cooke lens is very sharp, and the DJI 6K sensor is also very sharp. The combination can feel too harsh. The DJI lens, while less sharp, could still benefit from a touch of softening to give it a more cinematic quality. The goal is to use filtration to bring both looks into a beautiful, organic space.

The Solution: Tiffen Soft Glow Filters

For this specific task of subtly “taking the edge off,” Shane turns to the Tiffen Soft Glow filters. These are not heavy, atmospheric filters like a Pro-Mist or Black Fog. Instead, they are designed for a more delicate touch. Their primary function is to gently lift the overall contrast of the image and bloom or “glow” the highlights, all without creating a milky or foggy haze.

Shane’s methodology is precise. Since the Cooke lens is inherently sharper, he applies a stronger Soft Glow 1 filter. The effect is immediate but subtle. 

“I love what it’s doing to the clipping practical,” he notes, pointing to a background light. “It’s just blooming it ever so slightly. It’s kind of taken the edge off of that super sharp quality… and it just makes it look more cinematic.”

For the less-sharp DJI lens, he uses a weaker Soft Glow 0.5 filter. 

This demonstrates a key principle: you must tailor your filtration to the specific characteristics of your lens. 

The goal was to balance the two looks, giving the DJI lens a similar cinematic softness without making it feel mushy or out of focus.

The Fundamental Rule: Scaling Filter Density to Focal Length

This is one of the most crucial takeaways of the lesson. Shane shares a fundamental rule of filtration that every filmmaker must know: “Wider the lens, the higher the number. Tighter the lens, the lower the number.”

What does this mean? A telephoto lens (like a 100mm) magnifies a small portion of the filter’s glass, so the diffusion effect is amplified. A weak 1/8 or 1/4 strength filter will have a very noticeable effect on a long lens. 

Conversely, a wide-angle lens (like an 18mm) sees a much broader area of the filter, so the effect is diminished. To see a similar level of diffusion on a wide lens, you would need to use a much stronger grade, like a 3, 4, or 5. Understanding this inverse relationship between focal length and filter strength is essential for maintaining a consistent look as you change lenses on set.

The Bottom Line: Controlling Sharpness with Intention

In the age of incredibly high-resolution digital sensors, sharpness is a given. The true art of modern cinematography often lies in how you control that sharpness. This lesson from Shane Hurlbut, ASC, is a powerful demonstration of how to use subtle filtration as a creative tool. 

By understanding the personality of your lenses and filters, and by applying the crucial rule of scaling density to your focal length, you can move beyond the clinical “digital edge.” You can soften contrast, bloom highlights, and add an organic, cinematic character to your images right in the camera, giving you a more beautiful and intentional image to work with in post-production. 

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Unlock the Full Masterclass Lesson!

To see Shane’s full on-set process and learn more about mastering the tools of cinematography, explore our comprehensive Camera Lenses & Filters Masterclass.

TIFFEN FILTERS:

• Tiffen Black Fog
• Tiffen Night Fog
• Tiffen Soft Glow 
• Black Pro-Mist Filter
• Tiffen Black Soft Glow
• Tiffen Golden Glow
• Tiffen Soft Glow Screw-In Camera Filter
• Tiffen Night Fog Filters Screw-In Camera Filter
• Tiffen Black Soft Filters Screw-In Camera Filter

Click here for the Complete Wishlist of gear used in this Cinematography Tip!

The post Cinematography Tip: Softening Digital Sharpness with Diffusion Filters appeared first on Filmmakers Academy.

In this Cinematography Tip of the Day, DP Shane Hurlbut, ASC, showcases on-set filter testing. He puts three popular Tiffen diffusion filters—Night Fog, Black Fog, and Soft Glow—through their paces, demonstrating their unique characteristics on both wide and telephoto lenses. This article explores that process, designed to help you understand the personality of each filter and choose the right tool for your story.

The Testing Methodology: “Break It to Find the Sweet Spot”

Shane begins with his core philosophy for testing filters: always start with the strongest grade to “break it.”

“If you go too little,” he explains, “then you really don’t know what the true effect of this filter is.”

By applying the heaviest strength first, you can clearly see the filter’s maximum impact on the image. This gives you a strong baseline, from which you can then dial it back incrementally to find that perfect “sweet spot” where the effect is present but not overpowering.

Filter Breakdown on a Wide Lens (21mm Optimo Prime)

The test begins on a 21mm lens to see how the filters perform on a wider field of view.

Tiffen Night Fog:

Shane describes this filter as “specular,” acting similarly to a White Pro-Mist. It aggressively blooms highlights and lifts the shadows.

Tiffen Black Fog:

This filter has a different character. Instead of a white, milky haze, it feels more like “black dust,” retaining deeper blacks while still blooming highlights.

Tiffen Soft Glow:

Shane compares this filter to Glimmerglass, noting its subtlety.

Filter Breakdown on a Telephoto Lens (100mm Optimo Prime)

Shane reiterates a crucial rule of thumb:

“Wider lenses, higher number. Longer lenses, smaller number.”

Because a telephoto lens magnifies a smaller portion of the glass, the diffusion effect is amplified, requiring a much lighter grade.

The Bottom Line: Choosing the Right Tool for the Feeling

This head-to-head comparison reveals the distinct personality of each filter. 

Night Fog is your tool for a heavy atmospheric effect, aggressively blooming highlights, and lifting shadows for a foggy or dreamlike state. 

Black Fog is a more subtle choice for adding atmosphere and softness while protecting your rich blacks. 

Soft Glow is the most delicate. It’s a finishing filter that adds a subtle polish, depth, and dimension without a heavy haze.

The key takeaway is that filtration is a nuanced art. It requires testing, understanding the relationship between focal length and density. And it’s about always choosing the filter and strength that best serve the emotion of your story.

For more expert advice and lighting breakdowns, subscribe to our channel and watch our full library of Cinematography Essentials.

Tiffen Filters:

• Tiffen Black Fog
• Tiffen Night Fog
• Tiffen Soft Glow 
• Black Pro-Mist Filter
• Tiffen Black Soft Glow
• Tiffen Golden Glow
• Tiffen Soft Glow Screw-In Camera Filter
• Tiffen Night Fog Filters Screw-In Camera Filter
• Tiffen Black Soft Filters Screw-In Camera Filter

The post Diffusion Filters: Night Fog vs. Black Fog vs. Soft Glow appeared first on Filmmakers Academy.

The answer is a resounding yes.

We are in a revolution in the lighting world. High-powered LEDs are now ready to challenge the reigning champions. In this Cinematography Tip, we’re putting the legendary ARRI M90 HMI head-to-head with the Nanlux Evoke 5000B LED. I’ll walk you through a series of tests that reveal the frustrations of older tech and the incredible versatility of the new, showing you why modern LEDs are increasingly replacing HMIs in my arsenal.

THE BENCHMARK: UNDERSTANDING THE ARRI M90 HMI

To understand the evolution, we first need to appreciate the benchmark. The ARRI M90 is a powerful 9,000-watt HMI known for its incredible punch. 

In our test, positioned 30 feet away, it delivered a reading of f/45 and three-tenths at 800 ISO and 24fps when set to its full 15-degree spot. It has the power to rip through backgrounds and fill huge diffusion frames.

However, this power comes with classic HMI challenges.

THE HMI CHALLENGE 1: CUTTING AND SHADOW QUALITY

The M90 uses a parabolic reflector, which creates a beautiful beam but is notoriously difficult to control for a clean, hard shadow. In our test, we brought in a 4×8 piece of foam core to create a cut. 

At full spot, the M90 produced six distinct, soft-edged shadows. This messy cut is far from ideal when you need a sharp, defined line of light on a wall or across an actor. Even when adjusted to a 45-degree beam, it still produced four separate shadows.

THE HMI CHALLENGE 2: HEAT AND EXPENDABLES

The second major issue is heat. When we tried to add a Rosco 179 Chrome Orange gel to create a golden glow, it began to smoke and melt almost instantly. The only solution is to use a heat shield and create distance, which is cumbersome. 

As I’ve seen throughout my career, this intense heat means you “end up blowing through gel left and right,” creating significant and often wasteful expendable costs on your production.

THE CONTENDER: THE VERSATILE NANLUX EVOKE 5000B LED

Now, let’s turn to the Nanlux Evoke 5000B. This high-powered LED is designed to compete directly with large HMIs. While the M90 has about 1 1/3 stops more power at its absolute tightest spot, the Nanlux offers a suite of accessories—including 30, 45, and 60-degree reflectors, a Fresnel, a bare bulb attachment, and a parabolic beam attachment—that give it unparalleled versatility. With its parabolic attachment, the 5000B was able to perfectly match the M90’s output at a 30-degree beam angle.

This is where the advantages of the LED become clear.

SOLVING THE SHADOW PROBLEM

When we put the Nanlux 5000B through the same shadow test, the results were dramatically different. Using the Fresnel attachment, it produced one beautiful, hard shadow—a clean, perfect cut. Even with just the 30-degree reflector, which I expected to create multiple shadows like the M90, it still produced a surprisingly clean, hard cut. 

For the absolute hardest shadow possible, similar to taking the lens off an old tungsten Tweenie, the Nanlux offers a bare bulb attachment. This gives you ultimate control over your shadow quality, a level of precision the HMI simply cannot match.

SOLVING THE HEAT PROBLEM

With the 5000B, heat is a non-issue. We placed the same 179 Chrome Orange gel right in front of the 30-degree reflector at full power. The result? A beautiful, golden glow with absolutely no smoking or burning. This saves time, reduces expendable costs, and is significantly safer on set.

BEYOND THE BASICS: THE LED ADVANTAGE IN CONTROL & EFFICIENCY

The benefits of modern LEDs like the Nanlux 5000B extend even further, solving some of the most persistent frustrations of working with HMIs.

PRECISION COLOR CONTROL

One of the biggest challenges with HMIs is color consistency. As an HMI bulb ages, it shifts green. A new bulb might be slightly magenta. You’re constantly adding gels to try and balance it to a perfect 5600K. The Nanlux, however, is incredibly stable. 

In our tests, we dimmed it all the way down to 1% output, and it maintained a perfect 5600K color temperature with a negligible .1 magenta shift. This is unheard of with most LEDs, which often go significantly green at low intensities. The ability to dial in your color temperature (from 2700K to 6500K) and precisely adjust your tint (+/- Green/Magenta) gives you complete creative control without ever touching a gel.

SIMPLICITY AND EFFICIENCY

Look at the M90 setup, and you’ll see the head, a long head cable, and a separate, heavy ballast. This creates multiple variables and points of failure. If the light doesn’t strike, is it the bulb? The cable? The ballast? 

With the Nanlux 5000B, the ballast is built directly into the light head. There are no head cables to run and no separate ballast to move. This streamlines the setup process, reduces the number of variables, and makes the entire system more efficient and reliable.

THE BOTTOM LINE: A NEW ERA OF LIGHTING

While the ARRI M90 is a legendary light with incredible power, this comparison makes the evolution clear. The Nanlux Evoke 5000B LED offers vastly superior versatility and control. You can shape it into a Fresnel, a PAR, a mole beam, or a bare bulb source. You have precise, stable control over color temperature and tint. And its efficient, all-in-one design simplifies the on-set workflow, saving time, money, and labor.

The cinematography tip is this: it’s time to re-evaluate our reliance on older technology. For many on-set applications, the creative control, stability, and efficiency of modern high-powered LEDs now outweigh the brute force of traditional HMIs.

JOIN FILMMAKERS ACADEMY AND SAVE $50!

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This episode is proudly lit exclusively by Nanlux-Nanlite Lights and sponsored by B&H and Hollyland.

Featured Nanlux Lighting

The post Cinematography Tip: Are LED Lights Replacing HMIs? appeared first on Filmmakers Academy.

Talent, passion, and technical skill are essential, but on their own, they aren’t enough to build a sustainable career. In today’s rapidly evolving industry, survival and success are built upon two fundamental pillars: continuous craft improvement and access to a professional community and consistent opportunities.

This article explores why these two pillars are non-negotiable and how choosing the right platforms to support them can make all the difference.

THE CRAFT – NEVER STOP HONING YOUR SKILLS

The technology, techniques, and even the language of filmmaking are constantly changing. Staying relevant and competitive means being a lifelong student. It’s about going beyond the basics and diving deep into the why behind the craft—understanding not just what button to press, but why one lighting choice creates intimacy while another creates dread.

This is the core philosophy of Filmmakers Academy. Our platform is built to provide that continuous, deep-dive education. Through our masterclasses, mentorship, and in-depth lessons, we focus on empowering you with the knowledge that transforms your work from good to great. Honing your craft is the first, essential investment you make in yourself.

Photo Courtesy of Jericho Patrick

THE CONNECTION – FINDING YOUR CREW & YOUR NEXT GIG

Here’s the second, equally crucial truth: your skills are only as valuable as the opportunities you have to use them. The old adage, “it’s not what you know, but who you know,” can feel transactional and intimidating. Let’s reframe it: great filmmaking happens when talent meets opportunity meets community.

But finding that community and those opportunities is a huge challenge. Sifting through generic job sites, cold-emailing producers, and trying to network on noisy social media platforms can feel like shouting into the void. How do you find real, vetted job opportunities? How do you connect with other serious, passionate professionals who share your vision?

THE SOLUTION – A PARTNERSHIP FOR THE MODERN FILMMAKER

This is precisely why we at Filmmakers Academy are thrilled to announce our collaboration with FilmLocal, a platform built with a fundamental understanding of what working filmmakers truly need. We believe in providing the best education on the craft, and FilmLocal excels at connecting that craft to the real world of production.

This partnership is a natural extension of our philosophy. While we provide the “what you know,” FilmLocal provides the “who you know” and the “where you go next.”

Photo Courtesy of Jericho Patrick

WHY THIS KIND OF COMMUNITY MATTERS NOW MORE THAN EVER

There’s a beautiful paradox in our work: we often create in solitude—writing in a quiet room, editing in the dark—yet our greatest breakthroughs happen through connection and collaboration. As of August 2025, the industry is still finding its footing after a period of immense change. In this climate, focused, professional communities are more valuable than ever.

Platforms like Filmmakers Academy and FilmLocal cut through the noise. They provide dedicated spaces for growth and opportunity, connecting you with the education and the people who can elevate your work and advance your career.

YOUR CREW AWAITS

We believe every member of our community can benefit from what FilmLocal offers. This partnership isn’t just about finding jobs—though the opportunities are substantial. It’s about joining a global community of storytellers who understand that filmmaking is both a solitary art and a profoundly collaborative endeavor.

Ready to explore?

• Discover FilmLocal: filmlocal.com
• Join the Community: filmlocal.com/memberships
• Browse Opportunities: filmlocal.com/film-production-jobs

Your stories matter. Your growth matters. And sometimes, the difference between a project that stays in your imagination and one that reaches the world is knowing exactly where to find the right people and the right opportunities.

The post 2 Things Every Filmmaker Needs to Survive & Thrive appeared first on Filmmakers Academy.

Thankfully, those days are over. Modern wireless video monitors have become one of the most transformative tools on a film set, fundamentally changing how we collaborate and create. By cutting the cord, these devices unlock a more dynamic, efficient, and creative way of filmmaking. 

Let’s explore the FIVE BIGGEST REASONS a powerful wireless monitor will revolutionize your set, using the versatile Hollyland Pyro 5 as a perfect example of this evolution.

1. TRUE CREATIVE FREEDOM AND COLLABORATION

The most immediate benefit of a wireless monitor is freedom of movement. No longer tethered to the camera, a director can step away to watch the actors’ live performances, a cinematographer can move around the set to check lighting from different angles, and a producer or client can view the take without hovering over the operator. This physical separation allows each department head to focus on their specific role while staying visually connected.

The Hollyland Pyro 5 enhances this freedom with its robust dual-band 2.4G/5G transmission system. Featuring Auto Frequency Hopping technology, it constantly scans for the clearest channel, ensuring a stable, interference-resistant signal up to 400 meters (over 1,300 feet). This reliability means you can trust the feed whether you’re across a large room or down the street, fostering a more flexible and collaborative on-set environment.

2. GAIN PROFESSIONAL IMAGE CONTROL, RIGHT IN YOUR HANDS

A wireless monitor serves as a professional image analysis tool. Modern monitors provide the essential scopes and overlays that cinematographers rely on to ensure perfect focus, exposure, and color.

The Pyro 5 excels here, offering a suite of advanced image analysis tools like Waveform, Focus Assist, Zebra Patterns, and False Color. Crucially, it also supports 3D LUTs, allowing you to preview your final color grade on set. This ensures that what you see is what you’ll get in post. But the Pyro 5 takes it a step further with a game-changing direct camera control feature. From its 5.5-inch touchscreen, you can remotely adjust your camera’s shutter, aperture, ISO, and even focus mode. This transforms the monitor from a passive viewing device into an active command center, offering a level of control previously reserved for much more expensive systems.

3. EMPOWER YOUR ENTIRE CREW WITH MULTI-PERSON MONITORING

A single remote monitor is great for the director, but what about the 1st AC, script supervisor, producer, and client? Professional wireless systems are built to distribute a signal to multiple people simultaneously, creating a true, modern “video village.”

Photo Courtesy of Jeremy Pavia

This is a core feature of the Pyro 5, which includes a Broadcast Mode. In this mode, a single transmitter can send a stable signal to up to four receiver units simultaneously. This means the focus puller can have their own monitor for critical focus, the director can have theirs for performance, and the script supervisor can have another for continuity, all seeing the same low-latency feed. For productions with multiple Pyro systems, the Lock Pairing feature ensures each receiver stays securely connected to its designated transmitter, preventing signal mix-ups on a busy set.

4. STREAMLINE YOUR WORKFLOW FROM PRODUCTION TO POST

Modern wireless monitors are evolving into multi-tasking production hubs that can dramatically speed up your entire workflow. They are no longer just for on-set viewing. In fact, they are now active participants in the post-production pipeline.

The Hollyland Pyro 5 is a prime example of this evolution. It features efficient Proxy Recording, allowing you to record lightweight proxy files directly to an SD card or USB drive while you monitor the shot in real-time. These proxy files now include timecode that is perfectly synced with your camera, making them immediately ready for an editor to start cutting. This ability to record and edit almost simultaneously is a huge time-saver. 

Furthermore, with RTMP live streaming support, the Pyro 5 allows you to stream your feed directly to platforms like YouTube or Zoom, perfect for remote client viewing or live broadcasts without complex setups.

5. SEE CLEARLY, NO MATTER THE CONDITIONS

One of the biggest challenges of on-set monitoring is visibility, especially when shooting outdoors in bright daylight. A standard monitor screen can be easily washed out, making it impossible to judge focus or exposure accurately.

Photo Courtesy of Ryan Joseph

A professional wireless monitor must have a high-brightness screen. The Pyro 5 is built for these challenging conditions, featuring a 1500-nit daylight-viewable screen. This high level of brightness ensures the image remains crisp, clear, and readable even in direct sunlight, eliminating the need for bulky sun hoods and allowing you to make confident creative decisions, no matter where your shoot takes you.

THE BOTTOM LINE: MORE THAN A MONITOR, IT’S YOUR ON-SET HUB

A modern wireless monitor is one of the most revolutionary investments you can make for your productions. It breaks down the physical barriers on set, enhances collaboration, provides essential image control, and streamlines your entire workflow. And a versatile tool like the Hollyland Pyro 5 exemplifies this shift, combining the functions of a high-brightness monitor, a reliable wireless transmitter/receiver, a camera controller, and a proxy recorder into one compact device. By cutting the cord, you’re not just getting a remote view; you’re unlocking a more efficient, collaborative, and creative way of filmmaking. 

Other Hollyland Gear Articles:

• Cosmo C2: Best Budget Wireless System
• Lark M2S: Ultra-Compact Wireless Microphone
• Hollyland Solidcom Releases
• Hollyland VenusLiv V2: Democratizing Live Streaming
• Pyro 7: Next Gen On-Set Collaboration

TAKE A LOOK AT OUR OTHER FAVORITE HOLLYLAND GEAR!

The post 5 Reasons a Wireless Monitor Will Revolutionize Your Film Set appeared first on Filmmakers Academy.

CINEMATOGRAPHY TIP: CREATE EFFICIENT LIGHTING CONTROL

VISUALIZING LIGHT IN REAL-TIME: THE POWER OF LIVEPLOT

Imagine having a visual representation of your entire lighting setup. Particularly, right on an iPad using the lighting control app with the power to display the intensity levels of each individual light in real-time. That’s precisely what LivePlot offers. Instead of relying solely on verbal cues and physical checks, the cinematographer, gaffer, DIT, and programmer can all see a live digital map of the Blackout lighting landscape.

As Blackout programmer Ian Peterson adjusts the intensity of backlight units, Shane’s iPad instantly reflects those changes. Moreover, this immediate visual feedback is a game-changer for several reasons, including enhanced communication, increased efficiency, real-time problem-solving, and providing an invaluable overview for complex setups.

Shane emphasizes that as budgets and schedules tighten, this level of real-time visualization becomes absolutely crucial for maintaining quality and staying on track. Consequently, the ability for the entire crew to operate from the same visual information fosters a more collaborative and efficient workflow.

TACTILE PRECISION: INTRODUCING THE BLACKOUT NAVIGATOR

While the iPad interface of Blackout offers incredible mobility, Ian introduces the new Blackout Navigator, a dedicated lighting control panel designed to provide tactile control. Overall, this innovative piece of equipment bridges the gap between the intuitive touch interface and the precision of physical controls. That is to say, the Blackout Navigator gives you a physical lighting remote control switch for every function. 

The Blackout Navigator features backlit encoders for precise, hands-on control and motorized faders that offer the familiar feel of traditional lighting consoles. One of its most ingenious features is a built-in Wi-Fi router. Ian demonstrates how he can unplug the iPad from a wired connection, and the Navigator seamlessly takes over. Therefore, this enables true light control by remote, allowing untethered movement around the set to visually assess the lighting from various angles. In other words, a crucial aspect of a cinematographer’s work.

Shane immediately appreciates the “easy and effortless” nature of adjusting light levels using the Navigator. The tactile feedback allows for subtle and precise adjustments without having to look directly at a touchscreen. This hands-on control empowers cinematographers to fine-tune their Blackout lighting with greater intuition and speed.

SHANE’S TIP: EFFORTLESS CONTROL IS A GAME CHANGER

Shane’s key takeaway (and the Cinematography Tip of the Day) is to make lighting work for you and your needs with the right tools. For instance, the sheer ease and effortlessness that this lighting console brings to on-set lighting control makes it essential.

So, he demonstrates this by directing Ian to adjust the background lights and bring up the fill lights. The speed and accuracy with which these adjustments are made highlight the efficiency gains. 

Meanwhile, Shane underscores that having this level of immediate visual and tactile control is a game-changer for cinematographers. Above all, it allows them to focus on the creative, work more intuitively, and collaborate seamlessly with the entire team.

THE BOTTOM LINE:

In short, the Blackout lighting system, centered around its powerful lighting console and intuitive app, represents a significant leap forward in on-set lighting control. Shane Hurlbut, ASC, clearly sees the immense value in this technology, highlighting its potential to enhance efficiency, improve communication, and ultimately empower cinematographers to focus on their creative craft. By providing real-time visual and tactile feedback, Blackout is proving to be a true game-changer for film makers working under the pressures of an ever-changing landscape of film production.

JOIN FILMMAKERS ACADEMY AND SAVE $50!

Ready to take your filmmaking skills to the next level? Join the Filmmakers Academy community and gain access to exclusive content, expert mentorship, and a network of passionate filmmakers. Use code FABLOG50 to save $50 on your annual membership! 

This video is proudly lit exclusively by Nanlux-Nanlite Lights and sponsored by B&H and Hollyland. 

The post The Future of Lighting Control: Blackout LivePlot appeared first on Filmmakers Academy.

WHAT IS A LAV MIC?

Photo by Looking for Feferences

Lavalier microphones are incredible tools. They get the mic close to the talent, offering intimacy and clarity that a boom can’t always achieve. But they are deceptively tricky. 

Over the years, I’ve made just about every mistake you can make with a lav mic. This article is about the hard-won lessons learned from those mistakes and how a new generation of tools is finally solving the problems that have plagued us for decades.

THE CARDINAL SIN: BAD LAV PLACEMENT

The first and most common mistake is improper placement. You can’t just clip it on and hope for the best. The goal is to get a clean, natural sound, free from interference. This means avoiding the “big three” placement problems.

This is where modern design really helps. For years, lav transmitters were bulky, and the mics themselves were cumbersome to hide. But new systems are changing that. Take the Hollyland Lark Max 2, for example.

Hollyland Lark Max 2

The transmitter itself is a tiny, 14g microphone with a novel hover-clip and magnet system. This makes it incredibly easy to place discreetly and securely without complex rigging, minimizing clothing contact and the associated rustle right from the start.

LAVALIERE CLIPPING, DISTORTION & BAD LEVELS

The second terror is discovering your audio is digitally distorted or “clipped” in post. This happens when the audio signal is too loud for the recorder to handle, resulting in a harsh, irreparable sound. Setting the gain (the input level) is a delicate balancing act, especially with dynamic performances that go from a whisper to a shout.

For decades, the solution was to record a “safety track” at a lower volume and hope for the best. But the real game-changer is 32-bit float recording. Think of it as the RAW video of the audio world. It captures such a massive dynamic range that it’s virtually impossible to clip. If the audio is too loud, you can simply lower the volume in post without any distortion.

This is a feature that used to be reserved for expensive, dedicated audio recorders. Now, systems like the Lark Max 2 have it built directly into the transmitter. It offers 32-bit float internal recording, serving as a bulletproof safety net. Even more revolutionary, it boasts the first 32-bit full-chain audio transmission, meaning you can capture that unclippable audio directly into your camera in real-time. For those who prefer a more straightforward approach, the system also has an intelligent Automatic Gain Control (AGC) that prevents clipping automatically, ensuring your audio remains balanced and stable.

LAV MIC INTERFERENCE & LOST FILES

What’s worse than bad audio? No audio. This can happen due to wireless dropouts from RF interference or the cardinal sin of a crew member forgetting to hit record on the main audio device.

Photo courtesy of Hollyland

The solution here is twofold. First, you need a reliable wireless system. The Lark Max 2 uses 2.4 GHz frequency hopping technology to automatically find and switch to clean channels, ensuring a stable signal up to an impressive 1,115 feet. 

Second, you need a backup. The Lark Max 2 transmitters have 8GB of internal storage, providing up to 14 hours of backup recording. This means that even if there’s interference or the main recorder fails, you have a pristine copy of the audio saved directly on the transmitter. It’s an absolute lifesaver.

THE MONITORING PROBLEM: “ARE WE GOOD ON SOUND?”

Traditionally, monitoring audio on set can be awkward. The sound mixer is tethered to their bag, and the camera operator is often deaf to the audio being recorded, trusting that everything is okay. Plugging headphones into the camera restricts movement and can be impractical.

Photo courtesy of Hollyland

This is where the Lark Max 2 introduces something truly revolutionary for camera operators: wireless audio monitoring. The receiver can transmit the camera’s audio feed directly to a set of comfortable, open-ear OWS (Open Wearable Stereo) earphones. This is an incredible feature. It empowers the camera operator to move freely around the set while hearing the exact audio being captured, ensuring there are no surprises in post. You stay immersed in your surroundings while being fully aware of the audio quality.

THE NOISE NIGHTMARE & THE SYNCING STRUGGLE

“We’ll fix it in post” is one of the most dangerous phrases in filmmaking, especially when it comes to background noise. While post-production tools are powerful, getting clean audio on set is always the priority.

Photo courtesy of Hollyland

This is another area where the Lark Max 2 tackles this obstacle with built-in AI Noise Cancellation. This is an intelligent algorithm that separates speech from background noise, delivering clearer audio directly from the source. With stepless adjustment, you can dial in the perfect amount of noise reduction for your environment.

Furthermore, the tedious process of syncing multiple audio and video sources is simplified with the Lark Max 2’s built-in frame-level timecode system. This ensures that the camera footage and the internal audio recordings are perfectly aligned, saving countless hours of frustration in post-production.

THE BOTTOM LINE: A MODERN WORKFLOW FOR A CLASSIC PROBLEM

Recording clean, reliable lavalier audio has always been a challenge, requiring a combination of technical skill, on-set experience, and a bit of luck. The core principles of good mic placement remain essential. However, modern systems like the Hollyland Lark Max 2 are elegantly solving the technical pain points that have plagued filmmakers for decades.

Hollyland Lark Max 2

With features like 32-bit float recording, internal backups, wireless monitoring, AI noise cancellation, and built-in timecode, the margin for error is drastically reduced. These tools don’t replace skill, but they provide an incredible safety net, freeing you up from technical anxiety so you can focus on what really matters: capturing the performance.

WHY HOLLYLAND?

In today’s film industry, a seamless wireless workflow is a necessity for clear communication, pristine audio, and reliable video monitoring. And we need it now more than ever before. Hollyland has emerged as a true game-changer by making professional wireless integration accessible to filmmakers of all levels. 

They’ve built a reputation by directly addressing common on-set frustrations: for crystal-clear crew communication, there’s the Solidcom C1 Pro intercom; for capturing clean dialogue, the Lark Max microphone system offers exceptional quality; and for stable, low-latency video feeds, the 4K Pyro transmission system provides a dependable solution.

What makes Hollyland’s approach so impactful is its focus on value and reliability. Their products are engineered to be user-friendly, durable, and, most importantly, affordable. By investing in quality wireless gear that just works, filmmakers can dramatically improve their on-set efficiency, reduce setup times, and ultimately elevate the quality of their productions. Hollyland has become an indispensable part of the modern filmmaker’s toolkit, proving that a professional wireless workflow is no longer out of reach.

Other Hollyland Gear Articles:

• Cosmo C2: Best Budget Wireless System
• Lark M2S: Ultra-Compact Wireless Microphone
• Hollyland Solidcom Releases
• Hollyland VenusLiv V2: Democratizing Live Streaming
• Pyro 7: Next Gen On-Set Collaboration

TAKE A LOOK AT OUR OTHER FAVORITE HOLLYLAND GEAR!

The post Struggling with Your Lav Mic Sound? (How to Fix It?) appeared first on Filmmakers Academy.

“I want to be a filmmaker. Where do I start? What camera should I use?”

This is one of the most common questions cinematographers like Shane Hurlbut, ASC, get from aspiring storytellers. His answer is often surprising: start with the powerful cinema camera already in your pocket. Modern smartphones, especially the iPhone, have incredible imaging capabilities, but they lack the ergonomics, connectivity, and control needed for a professional workflow.

However, a new ecosystem of innovative third-party gear is changing the game, transforming the iPhone from a simple device into a viable, professional filmmaking tool. In this article, Shane Hurlbut breaks down how to build a fully functional iPhone cinema rig using the Tilta Khronos system and other essential accessories, solving the key problems that have traditionally held phone-based filmmaking back.

WATCH THE FULL EPISODE:

THE CORE PROBLEM FOR IPHONE FILMMAKERS:

While the iPhone camera sensor and processor are incredibly powerful, the device itself is designed for casual use, not for a film set. This creates several key challenges:

1. Ergonomics & Stability: Holding a thin, slippery phone steady for cinematic shots is nearly impossible.
2. Power: The internal battery drains quickly when shooting video, especially with the screen at full brightness.
3. Connectivity: There are no built-in HDMI outputs for professional monitoring or extra USB ports for accessories.
4. Storage: Recording high-quality video formats can quickly fill the phone’s internal storage.
5. Light Control: There’s no native way to attach professional filters like Neutral Density (NDs) or polarizers.

A professional setup needs to solve all of these issues.

BUILDING THE RIG: THE TILTA KHRONOS ECOSYSTEM

The foundation of Shane’s professional iPhone rig is the Tilta Khronos cage. It features integrated power contacts that turn the entire cage into an active, powered hub, allowing various modules to communicate with each other and the phone. 

SOLVING ERGONOMICS & POWER: THE BATTERY HANDLE

The first and most crucial addition is a handle. As Shane demonstrates, this instantly provides stability for smoother handheld shots. But its real genius is the built-in battery. 

“You don’t have to worry about trying to hook up some external battery,” Shane explains. “It’s all within the handle.”

This solves two major problems at once, providing both a secure grip and extended power for longer shoots.

SOLVING CONNECTIVITY: THE I/O MODULE

Next, Shane adds a small module that clips onto the cage with an SSD holder, providing extra USB-C ports and an HDMI output. This is a game-changer, allowing you to connect professional accessories that are otherwise incompatible with a standard iPhone. 

SOLVING CONTROL: THE BLACKMAGIC CAMERA APP

The handle goes beyond juicing up your camera system. Its buttons can control different camera apps. A double-click for a green light syncs with the native Apple iPhone app, but a second double-click for a red light engages the Blackmagic Camera app. 

Shane emphasizes the importance of this: “[The Blackmagic app] enables me to have all my settings… the lens that I select, the shutter speed, the ISO, everything that a professional camera gives you. Now I have in the palm of my hand.”

ELEVATING THE IMAGE: PROFESSIONAL ON-CAMERA TOOLS

With the core rig established, the next step is to add tools for cinematic image control.

CONTROLLING LIGHT: A PROFESSIONAL FILTER SYSTEM

To control light and achieve a cinematic depth of field, you need Neutral Density (ND) filters. The Khronos system features a magnetic filter tray that clips securely over the iPhone’s lenses. 

Shane notes the importance of the design: 

“There’s no way that light can get in… you don’t want any light to go in between this and your neutral density filter.” 

This system allows you to easily add NDs, polarizing filters, and diffusion filters, giving you the same creative light control you’d have with a traditional cinema camera.

STAYING COOL AND STABLE

For long takes, iPhones can overheat. The Khronos system addresses this with a magnetic cooling fan module that draws power from the cage and handle. It features two fan speeds to keep the phone operating at optimal temperature. 

For added stability, a top handle can be added, creating what Shane calls his “‘man cam‘ days back in Act of Valor,” providing a solid two-handed grip for dynamic shooting.

THE PRO WORKFLOW: INTEGRATING YOUR EXISTING GEAR

This is where the rig truly transforms from a powerful vlogging setup to a professional production tool, designed for filmmakers who already have other gear.

KONDOR BLUE & ANGELBIRD: USING YOUR PRO MEDIA

Shane reveals a brilliant adapter made by Kondor Blue and Angelbird. 

“You don’t have to go out and buy another SSD,” he explains. 

This device is a card reader that plugs into the rig, allowing you to record directly onto the professional media you already own, such as CFexpress cards. This not only saves money but also streamlines your data workflow, integrating your iPhone footage directly with your professional media pipeline.

HOLLYLAND & NUCLEUS NANO: INVOLVING THE CREW

To complete the setup, Shane adds a Hollyland 5-inch monitor via the HDMI out. This isn’t just for a bigger view; it’s for collaboration. 

He explains, “This is also sending this to my focus puller so she can pull focus from the Nucleus Nano remote follow focus.” 

By adding an external monitor and a remote follow focus system, the iPhone rig is no longer a one-person operation. It becomes a tool that a professional crew, including a dedicated 1st AC (focus puller), can work with, just like any other cinema camera on set.

THE BOTTOM LINE: MORE THAN JUST A CAGE, IT’S A SYSTEM

What Shane Hurlbut, ASC demonstrates is a complete ecosystem that elevates the iPhone from a consumer device to a legitimate filmmaking instrument. By systematically addressing the core limitations of ergonomics, you can create a powerful, versatile, and professional-grade rig. 

Power? Check. Connectivity? Check. How about storage and control? Check and check. All thanks to the Tilta Khronos system combined with the smart accessories from Kondor Blue. 

This is another milestone in the ongoing democratization of filmmaking, empowering creators with new tools to tell their stories without compromise. Want to be a filmmaker? Now, there’s no excuse. It’s never been easier. 

JOIN FILMMAKERS ACADEMY AND SAVE $50!

Ready to take your filmmaking skills to the next level? Join the Filmmakers Academy community and gain access to exclusive content, expert mentorship, and a network of passionate filmmakers. Use code FABLOG50 to save $50 on your annual membership! 

This video is proudly lit exclusively by Nanlux-Nanlite Lights and sponsored by B&H and Hollyland. 

EQUIPMENT LIST

The post Build a Pro iPhone Rig with Tilta Khronos appeared first on Filmmakers Academy.

In this final segment, Shane Hurlbut, ASC, and senior colorist Dave Cole push the sensor to its absolute limits in a real-world over/under exposure test. Afterward, Shane shares his insights on the revolutionary sensor technology that makes this performance possible and discusses the camera’s potential impact on the industry.

Keep reading to see how the camera renders detail, handles contrast, and captures emotion across a vast exposure range. Or watch the video below and prepare to go down the rabbit hole!

This article covers the final segment of the demo. To get the complete picture, including the initial impressions, ISO/compression tests, and detailed feature breakdowns from Parts 1, 2, and 3, watch the full FREE demonstration! 

CHECK OUT THE FULL DEMONSTRATION!

THE OVER/UNDER TEST: PUSHING LATITUDE TO THE LIMIT

To truly understand a camera’s dynamic range, you need to see how it performs in a challenging, real-world scenario. Shane and Dave designed a cinematic “oner” scene featuring actors moving through an office space with extreme contrast — from deep shadows (-6 stops under) to bright window highlights (+6 stops over). This allowed them to analyze how the URSA Cine 12K LF latitude captured detail and rendered tones across its entire latitude.

SHADOW PERFORMANCE: SEEING INTO THE DARKNESS

The test began with the actress entering a dark area, exposed at a remarkable six stops under. Even at this extreme underexposure, Dave Cole noted that significant information was still present in the file.

Without Correction | Pushing Up Exposure in DaVinci | With Correction

When pushing the exposure up in DaVinci Resolve, detail emerged, though accompanied by expected noise. Crucially, the fall-off into black was smooth, avoiding harsh clipping or clamping. 

Even at five stops under, the noise character remained pleasing, with minimal problematic colored noise. 

Without Correction | With Correction

Pushing the image just two or three stops revealed a usable, moody image with detail. At four-and-a-half stops under, the image looked remarkably clean. 

Without Correction | With Correction

Here’s the shot with Dave’s correction reduced by 50% to retain more of the shadows…

And here’s the shot with Dave’s correction reduced by another 25%…

This here, demonstrated the sensor’s impressive ability to retain information deep in the shadows. The URSA Cine 12K LF offers incredible flexibility if needed in post. As Shane observed earlier, while the sensor “loves light,” it handles underexposure gracefully.

HIGHLIGHT PERFORMANCE: HOLDING ONTO THE BRIGHTS

As the actors moved towards brighter areas, the test pushed into overexposure. At two and three stops over, the camera handled the highlights beautifully, rendering skin tones naturally with a pleasing roll-off. 

Without Correction | With Correction

Even the practical lamps in the scene held detail well, avoiding the harsh, electronic clipping often seen in digital highlights. 

Here’s how the URSA Cine 12K performs at -3.5 stops with only practical light sources…

Without Correction | Pushing Up Exposure in DaVinci | With Correction

At the coffee machine he is -2 stops. 

Without Correction | Pushing Up Exposure in DaVinci | With Correction

The team identified the limit at around six stops under, where highlight detail, particularly on brighter skin tones or specular sources, began to clip noticeably. 

Without Correction | Pushing Up the Exposure in DaVinci

Then, when the light turns on, it’s at -1.5 stops. 

Without Correction | Very Slight Correction

However, reaching a full five stops over while retaining significant detail in bright window sources and skin highlights is an impressive feat, showcasing the camera’s wide latitude and gentle highlight roll-off, reminiscent of film. Dave Cole concluded, “That’s a lot of usable range… This is really impressive.”

Watch the video to see how the URSA Cine 12K LF latitude as they continue to track down the hallway into additional lighting scenarios!

A DIFFERENT APPROACH: RGBW VS BAYER

Shane emphasized that Blackmagic didn’t just follow the norm. Unlike most cinema cameras (ARRI, RED, Sony) that use traditional Bayer pattern sensors (typically a 2×2 grid with double the green photosites), the URSA Cine 12K LF employs a unique RGBW sensor with a 6×6 grid pattern. 

In this design, half the photosites are dedicated to capturing pure luminance (White), while the other half are equally divided among Red, Green, and Blue.

THE POWER OF WHITE PIXELS: SENSITIVITY WITHOUT DUAL ISO

Why this radical design? According to Shane, the white pixels are the key. They let in significantly more light (he estimates 3x more) than filtered color pixels. This inherently boosts the sensor’s overall light sensitivity and is a major contributor to the camera’s impressive low-light performance and wide dynamic range (the 16 stops discussed earlier). 

This enhanced sensitivity allowed Blackmagic to achieve excellent results without implementing a Dual Native ISO system. Thereby, it maximizes the total dynamic range available at the sensor’s optimal native sensitivity (around ISO 800). The over/under test confirmed this, showing usable detail an incredible nine stops down in the shadows (6 stops under + 3 stops push).

PIXEL BINNING EXPLAINED: SMART DOWNSCALING 

The 6×6 grid also enables sophisticated pixel binning. When downscaling from 12K to 8K or 4K, instead of just throwing pixels away (“pixel skipping,” which can cause moiré and artifacts), the camera intelligently combines data from diagonal pairs of photosites (two Reds together, two Greens, two Blues, and two Whites). 

Shane highlighted the remarkable result: a resolution loss of only 0.7% when going from 12K to 8K RAW. This process not only preserves incredible detail but also maintains the full dynamic range. It also speeds up the sensor readout at 8K, further minimizing rolling shutter.

THE WORKFLOW ADVANTAGE: A 50MM IS ALWAYS A 50MM

Crucially, this pixel binning happens across the entire sensor area. Unlike sensor windowing or cropping used by some cameras, the URSA Cine 12K LF maintains the same field of view regardless of the chosen resolution (12K, 8K, or 4K). As Shane put it, “a 50 is a 50.” This consistency simplifies lens choice and shot planning dramatically on set, eliminating the need for complex crop factor calculations when switching resolutions. 

DISRUPTIVE TECHNOLOGY: ECHOES OF THE DSLR REVOLUTION?

“Blackmagic has reinvented sensor technology,” Shane declares, “and this is disruptive… I really haven’t felt this since I picked up the Canon 5D in 2009.”

Overall, the “Official Demo” of the Blackmagic URSA Cine 12K LF concludes with palpable excitement. And why shouldn’t it? Compared to the potential impact of the Canon 5D Mark II and the DSLR revolution that Shane helped pioneer, the URSA Cine 12K seems like the next big thing for filmmakers who want a powerful camera system at an affordable price tag. 

Shane sees the camera’s combination of groundbreaking sensor technology, high performance, professional features, and aggressive price point as truly disruptive. He believes it will push other manufacturers to innovate and potentially make high-end features more accessible, much like how DSLRs forced traditional camera companies to adapt. He even linked it to the subsequent vintage lens rehousing boom, suggesting that democratizing high-end capture technology fuels creativity across the board. 

THE BOTTOM LINE (PART 4): LATITUDE, INNOVATION & IMPACT 

This final segment of the demonstration powerfully showcases the Blackmagic URSA Cine 12K LF Latitude along with its impressive capabilities. The over/under tests confirm its exceptional, highly usable dynamic range, retaining detail deep into the shadows and rolling off highlights gracefully. 

Shane Hurlbut, ASC’s passionate breakdown reveals the innovative thinking behind the unique RGBW sensor and pixel binning technology — choices designed not just for high resolution, but for maximizing latitude, workflow efficiency, and overall image quality across multiple resolutions without compromise. It paints a picture of a camera poised to make a significant impact on the industry.

WATCH THE FULL OFFICIAL DEMO — FREE!

You’ve now seen the deep dive into the crucial latitude tests and the fascinating sensor technology! To get the absolute full picture and witness every test and analysis, watch the complete, unedited Blackmagic URSA Cine 12K LF Official Demo FREE on the Filmmakers Academy platform. See Parts 1, 2, and 3 covering first impressions, specs, media, ISO tests, compression tests, ergonomics, controls, lens handling, monitoring, connectivity, and more — all leading up to these conclusive Part 4 tests!

CLICK HERE TO WATCH THE FREE OFFICIAL DEMO NOW!

The post URSA Cine 12K LF Latitude Tests & Sensor Tech appeared first on Filmmakers Academy.

Blackmagic URSA Cine 12K LF Test Footage:

• Over & Under Test (No Audio)
• Over & Under Test (with Audio)
• Skin Exposure Test
• Compression Test
• Keslow Camera Day Exterior Camera Test
• Keslow Camera Day Exterior Camera Test: Side by Side Comparison 

(Want the full picture? See the comprehensive tests and much more in the full FREE Official Demo!)

CHECK OUT THE FULL DEMONSTRATION!

WATCH PART 3: ERGONOMICS, PERFORMANCE & CAMERA CONTROL

Blackmagic URSA Cine 12K Dynamic Range

What is the dynamic range of the Blackmagic URSA Cine 12K?

The Blackmagic URSA Cine 12K LF delivers a significant 16 stops of dynamic range. This impressive latitude is achieved thanks to its large, full-frame sensor featuring bigger individual photosites (“light buckets”) compared to the earlier Super35 URSA Mini Pro 12K. These larger photosites capture more light, boosting sensitivity and extending the recordable range from shadows to highlights. Blackmagic intentionally maximized this overall range around the native ISO 800, choosing not to implement a dual native ISO system.

CAMERA CONTROL: FLEXIBILITY ON SET AND OFF

Modern productions demand flexible control options, and the URSA Cine 12K LF delivers. For quick adjustments or situations where complex rigging isn’t needed, Bluetooth control via the Blackmagic Camera Control app allows for tweaking settings like white balance, tint, ISO, shutter, and even lens parameters (iris, focus, zoom) on active lenses directly from a smartphone or tablet.

For more demanding professional workflows requiring robust, long-range control, the camera supports REST API communication. This allows sophisticated control over Wi-Fi or hardwired Ethernet. Crucially, Blackmagic has also implemented serial control via a 7-pin Lemo connection. This offers another industry-standard method for remote operation, essential for integration with professional focus systems and other hardware.

Adding to the tactile control are 13 programmable function buttons — seven on the camera body and six accessible via the EVF/side monitor interface. Cinematographers and assistants can assign frequently used functions like false color toggles, LUT activation, focus magnification (zap), overlays, or recording triggers to these buttons. This dramatically speeds up operation without needing to dive into menus.

ERGONOMICS & MONITORING: A CINEMATOGRAPHER-FOCUSED DESIGN

Handling the camera reveals a design philosophy geared towards professional users. Shane noted the camera felt reminiscent of operating classic film cameras. It offers comfortable balance and intuitive adjustments, especially for handheld work. The high-resolution Full HD OLED Viewfinder drew particular praise. 

“This viewfinder is one of the nicest viewfinders I’ve ever looked through. I can expose with this viewfinder.” —Shane Hurlbut, ASC

Its clarity, 24-bit color, and ability to detach, extend, or reposition offer incredible flexibility for different operating styles.

Further enhancing crew workflow are the five independent display outputs. These include the main fold-out LCD, the assistant-side LCD, the EVF/Pyxis monitor output, and two 12G-SDI outputs. Each can be independently configured to show clean feeds, LUTs, overlays (like frame lines, focus peaking, false color, histograms), or status text. 

This feature ensures every crew member sees exactly what they need. The high brightness 1500-nit displays are easily viewable in daylight and fully HDR capable, allowing for accurate monitoring in High Dynamic Range workflows when paired with compatible monitors and LUTs. Navigation is handled through the famously intuitive Blackmagic OS touchscreen interface. In fact, many praise it for its speed and ease of use compared to multi-layered menus on other systems.

Blackmagic also introduced improved mounting hardware. This includes a new side-loading dovetail plate and through-rods. Thankfully, this eliminates the frustration of needing specific rod lengths for different builds. The increased number of robust 3/8″-16 mounting points alongside standard 1/4″-20 threads provides more secure rigging options for heavier accessories.

LENS HANDLING: MOUNTS, NEUTRAL DENSITY & ANAMORPHIC FLEXIBILITY

Lens choice is paramount, and the URSA Cine 12K LF offers significant versatility. It comes standard with interchangeable PL and EF mounts, both pre-shimmed for accuracy. Optional LPL and Hasselblad mounts are also available, covering a vast range of cinema and vintage glass. Swapping mounts is a simple four-screw process.

A major upgrade is the built-in, motorized internal ND filter system. Using high-quality optical glass, it provides 2, 4, and 6 stops of neutral density, controllable directly on the camera or remotely. This is a massive time-saver compared to handling external filters, especially in fast-changing light conditions like exterior shoots or live events. 

Importantly, the ND filters are IR-corrected, preventing infrared pollution that can cause color shifts at higher ND values. The camera also features a high-performance OLPF (Optical Low Pass Filter) matched to the sensor to reduce moiré and aliasing while improving color fidelity.

Anamorphic workflows are fully supported with six built-in de-squeeze ratios (1.33x, 1.5x, 1.6x, 1.66x, 1.8x, 2x) viewable directly on all monitors. The chosen ratio is embedded in the metadata, ensuring seamless integration with post-production software like DaVinci Resolve.

WORKFLOW & CONNECTIVITY: BUILT FOR PROFESSIONAL PIPELINES 

Reinforcing its professional focus, the URSA Cine 12K LF features a robust build using magnesium alloy and carbon fiber components. Connectivity is comprehensive, featuring industry-standard Lemo and Fischer ports for power and remote start/stop, multiple 12G-SDI outputs, XLR audio inputs with phantom power, Timecode I/O, and versatile USB-C ports (for control, powering accessories, updates, and even video output with the right cable).

The camera is designed for a 24V power workflow for optimal performance, especially when powering multiple accessories, although it can operate on 12V with limitations. It ships standard with a B-mount battery plate, but optional V-mount and Gold-mount plates are available.

A significant workflow enhancement is the ability to simultaneously record full-resolution Blackmagic RAW (BRAW) files alongside lightweight H.264 HD proxy files. These proxies share identical timecode and metadata and can be automatically uploaded via Wi-Fi, Ethernet, or a connected phone to Blackmagic Cloud. Thus, allowing editors to start working almost immediately.

The camera’s built-in gyroscopes capture crucial motion data (tilt, roll, yaw) per frame. Combined with lens metadata gathered from smart mounts (like Cooke /i or Zeiss eXtended Data via PL, or electronic EF lenses), this provides invaluable information for VFX tracking, stabilization, and matching shots in post — a point Shane emphasized as critical for efficient onset management and modern post-production pipelines.

PERFORMANCE: HIGH FRAME RATES & DYNAMIC RANGE INSIGHTS

What is the Blackmagic URSA Cine 12K LF frame rate? 

Beyond its 12K resolution, the URSA Cine 12K LF delivers impressive high frame rate (HFR) capabilities without cropping the sensor (unless choosing specific aspect ratios). It achieves 80 fps at 12K Open Gate, 100 fps at 12K 17:9, 120 fps at 12K 2.4:1, and a remarkable 224 fps at 8K 2.4:1. Tor Johansen noted that shooting in 8K offers the benefit of an even faster sensor readout. This further minimizes rolling shutter.

What is the dynamic range of the Blackmagic URSA Cine 12K LF? 

This performance, including the previously discussed 16 stops of dynamic range, stems from the new full-frame sensor design. Its larger physical size compared to the Super35 sensor in the Mini Pro 12K allows for larger photosites (“light buckets”). What this does is increase sensitivity and dynamic range. Tor confirmed Blackmagic opted against implementing a dual native ISO system specifically to maximize the overall dynamic range available at the sensor’s native sensitivity (centered around ISO 800).

THE BOTTOM LINE (PART 3): A TOOL DESIGNED FOR THE PROS

This segment of the demonstration clearly positions the Blackmagic URSA Cine 12K LF as a camera built with the needs of professional cinematographers, assistants, and demanding workflows firmly in mind. From the robust connectivity and intuitive controls to the flexible lens handling, sophisticated metadata capture, HDR monitoring, and impressive high frame rate performance, the features go far beyond just the headline resolution. It represents a significant evolution for Blackmagic, offering a powerful, versatile, and thoughtfully designed tool for high-end cinematic production.

WATCH THE FULL OFFICIAL DEMO — FREE!

You’ve now explored the specs, image quality, controls, and performance features. But how does the URSA Cine 12K LF really handle challenging lighting? The crucial Over/Under exposure latitude tests are revealed in the concluding segment of our demonstration.

Blackmagic URSA Cine 12K LF Tests:

• Over & Under Test (No Audio)
• Over & Under Test (with Audio)
• Skin Exposure Test
• Compression Test
• Keslow Camera Day Exterior Camera Test
• Keslow Camera Day Exterior Camera Test: Side by Side Comparison 

Watch the complete, unedited Blackmagic URSA Cine 12K LF Official Demo FREE on the Filmmakers Academy platform to see it all — from the initial unboxing to the final verdict, including Parts 1 & 2 and the must-see latitude tests!

CLICK HERE TO WATCH THE FREE OFFICIAL DEMO NOW!

The post URSA Cine 12K LF Ergonomics, Performance & Control appeared first on Filmmakers Academy.

URSA CINE 12K LF SKIN TONES – PART 2

Joined by senior colorist Dave Cole (Fotokem) and Blackmagic’s Tor Johansen, Shane Hurlbut, ASC, puts the URSA Cine 12K LF head-to-head with its predecessor, the URSA Mini Pro 12K, in a series of meticulous tests. As Shane emphasizes, “It’s the skin. That’s where the emotion is.” Let’s see how the new flagship fares.

(Want the full picture? See the comprehensive tests covering Over/Under tests and much more in the full FREE Official Demo!)

CHECK OUT THE FULL DEMONSTRATION!

SETTING THE STAGE: A NEUTRAL BASELINE

Before diving into comparisons, Dave Cole established a neutral baseline. Using the standard Blackmagic Gen 5 Film to Extended Video LUT (the same used for on-set monitoring), he performed a slight balance adjustment based on a gray card. This ensures the tests accurately reflect the camera’s native image capture without creative grading influencing the results. 

Shane also noted the importance of compensating for any color shift from diffusion used on the lighting (in this case, Magic Cloth required cooling the 5600K sources to around 6100-6400K to achieve a true 5600K on camera).   

An interesting discovery during setup involved the camera’s internal ND filters. While the URSA Mini Pro 12K showed minimal color shift with its NDs engaged, the URSA Cine 12K LF exhibited a noticeable magenta shift. Dave Cole easily graded this out, but Shane highlighted the importance of discovering such nuances during testing. 

For cinematographers striving for maximum consistency in dailies (crucial for maintaining a director’s vision throughout post), knowing this allows them to preemptively adjust the camera’s tint settings when using the internal NDs.

ISO PERFORMANCE: FINDING THE SWEET SPOT

The team rigorously tested both cameras across their primary ISO range, evaluating performance at 400, 800, 1600, and 3200 ISO to gauge sensitivity, skin tone rendering, and noise characteristics. 

URSA CINE 12K LF

The results for the URSA Cine 12K LF were particularly impressive regarding consistency. Skin tones remained remarkably stable across the different sensitivity settings. At ISO 400, the image was exceptionally clean, perhaps even bordering on too clean according to Dave Cole. 

ISO 800 quickly emerged as the clear “sweet spot,” delivering a beautiful balance between sensitivity and a subtle, pleasing organic texture that felt inherently filmic. 

As the ISO increased to 1600, the texture became more noticeable but stayed pleasant and aesthetically pleasing, successfully avoiding harsh digital noise artifacts. 

Even pushed to 3200 ISO (tested with the internal ND engaged), while the noise structure was more apparent, the overall tonality across the skin held remarkably consistent. 

KEY TAKEAWAY OF THE URSA CINE 12K LF

Shane Hurlbut’s key takeaway reinforced this: the URSA Cine 12K LF sensor “loves light” and truly shines when exposed properly, especially around its native 800 ISO.

URSA MINI PRO 12K

While the URSA Mini Pro 12K still delivered respectable results, the direct comparison highlighted noticeable differences. When examining the footage pixel-for-pixel (zoomed 1:1 from the 12K source), the Mini Pro’s image appeared slightly less sharp and lacked the subtle “creaminess” observed in the LF’s skin tone rendering. 

More significantly, the character of the noise differed between the two sensors. The Mini Pro tended to exhibit more noticeable colored noise, or chroma noise, particularly as the ISO climbed. 

In contrast, the noise pattern from the URSA Cine 12K LF presented more like monochrome, organic film grain, which is generally considered more aesthetically pleasing and less distracting. 

This difference in noise handling gives the URSA Cine 12K LF a distinct advantage in overall image texture and perceived quality, especially at higher sensitivities.

COMPRESSION UNDER PRESSURE: HOW DOES BRAW HOLD UP?

Next, the team put Blackmagic RAW (BRAW) compression through its paces on the URSA Cine 12K LF. They tested ratios from a visually lossless 3:1 up to a highly efficient 18:1, comparing these against the Mini Pro (which started its reliable range at 8:1 due to media limitations on CFast). 

These tests were crucially conducted across various ISO settings to understand the critical interaction between compression and noise levels.

VISUAL IMPACT

Visually, BRAW performed remarkably well on the URSA Cine 12K LF across the tested range. Even at a significant 12:1 compression, fine details, such as the texture in fabrics within the scene, remained clearly visible and well-defined.

It was only when pushing to the highest 18:1 compression level that a subtle softening or loss of the very finest texture became apparent upon close “pixel peeping,” a testament to BRAW’s efficiency.

COLOR CORRECTION ROBUSTNESS (KEYING TEST)

To further gauge the robustness of the codec for demanding post-production work, Dave Cole performed a technical hue key test. 

Pulling a clean key based on color (hue) is often more challenging with compressed footage than keying based on brightness (luminance), as color information can be more susceptible to compression artifacts. 

Impressively, Dave found that even the heavily compressed 18:1 BRAW files from the URSA Cine 12K LF held up surprisingly well during this stress test. There was no significant “chunkiness” or artifacting in the keyed areas. This indicated that the files retain sufficient color information for complex grading, VFX work, and other manipulations even at higher compression ratios.

ISO INTERACTION

Regarding the interaction between ISO and compression, the tests confirmed expectations: noise naturally increases as you raise the ISO. 

However, the BRAW compression itself didn’t drastically worsen the character of that noise on the URSA Cine 12K LF. The pleasing, filmic noise texture observed at various ISOs remained largely consistent across compression levels. 

It was only at the most extreme combination tested — pushing the sensor to 3200 ISO and using 18:1 compression — that the noise structure began to appear slightly “blockier” or less organic. 

These comprehensive results highlight the impressive efficiency and robustness of Blackmagic RAW on the URSA Cine 12K LF, offering filmmakers significant flexibility in balancing image quality with manageable file sizes.

THE BOTTOM LINE (PART 2): QUALITY, CONSISTENCY & EFFICIENCY

These meticulous tests reveal the strengths of the URSA Cine 12K LF’s image pipeline. The sensor delivers pleasing, consistent skin tones across its usable ISO range, with ISO 800 being a standout performer. 

The noise texture is handled beautifully, rendering more like organic film grain than distracting digital noise, especially compared to its predecessor. 

Furthermore, Blackmagic RAW proves its efficiency. It allows for significant compression with minimal visual degradation. Plus, it retains enough information for robust color correction, even at higher ratios.

But these tests are only one facet of the camera’s performance. How does it handle extreme over and under exposure? What about ergonomics, monitoring, and high frame rates?

WATCH THE FULL OFFICIAL DEMO — FREE!

This article focused on the critical ISO and compression tests. To get the complete picture, including the revealing over/under exposure latitude tests, detailed walkthroughs of the camera body, ergonomics, connectivity, ND filters, monitoring, LUTs, high frame rates, and the full discussion on the RGBW sensor technology, you need to watch the full demonstration.

Join Shane Hurlbut, ASC, Dave Cole, and Tor Johansen for the complete Blackmagic URSA Cine 12K LF Official Demo, available FREE exclusively on the Filmmakers Academy platform. See the results, understand the potential, and empower your next creative decision.

CLICK HERE TO WATCH THE FREE OFFICIAL DEMO NOW!

The post URSA Cine 12K LF Skin Tones, ISO & Compression appeared first on Filmmakers Academy.

This article covers the first part of our deep-dive “Official Demo,” where cinematographer Shane Hurlbut, ASC, and Blackmagic Design’s Tor Johansen get hands-on, exploring the camera’s physical characteristics, media capabilities, and foundational technology. We compare it to its predecessor, the URSA Mini Pro 12K, and see how it stacks up against industry benchmarks. This isn’t just a spec rundown. Rather, it’s about understanding the why behind the design choices and how they impact you, the filmmaker.

(Want the full picture? See the comprehensive tests covering image quality, ergonomics, and much more in the full Official Demo!)

CHECK OUT THE FULL DEMONSTRATION!

FIRST IMPRESSIONS: BUILD, BOOT-UP & PHYSICAL FEEL

Right away, the URSA Cine 12K LF feels different. It presents a more substantial, professional build than the URSA Mini Pro line. Constructed from magnesium alloy and carbon fiber, it finds a good balance between durability and weight. The body weighs around 8 pounds, about two pounds heavier than the Mini Pro 12K, but still very manageable for various setups, including handheld.

Photo by Jericho Patrick

Measuring roughly 6.25″ wide x 6.25″ high x 10.5″ long, it’s slightly larger than the Mini Pro. This increased size accommodates better cooling, a more robust internal structure, and a more ergonomic layout with ample buttons and professional connections.

Boot-up time is a small but crucial detail on set. The URSA Cine 12K LF boots in a respectable 8 seconds. While the older Mini Pro 12K is slightly quicker at 6-7 seconds, both are significantly faster than many other professional cinema cameras that can take 20-30 seconds. In those moments when the director yells “Roll!” unexpectedly after a battery swap, a quick boot-up matters.

MEDIA & STORAGE: TAMING THE 12K BEAST

Recording 12K RAW, especially at high frame rates, generates enormous amounts of data. Blackmagic tackled this head-on with a new, custom-designed 8TB Media Module (with a 16TB option coming). This isn’t just about capacity; it’s about speed. The module boasts a sustained write speed of 6 gigabytes per second. 

Why is this speed critical? It ensures the camera can reliably record at its highest quality settings — maximum resolution, minimum compression, high frame rates — without dropping frames, an issue that plagued earlier high-resolution cameras using standard media like CFast.

Photo by Jericho Patrick

Blackmagic clearly understands that the recording medium is just as vital as the sensor itself. This proprietary solution ensures reliability. Another workflow advantage: the URSA Cine 12K LF requires no user black shading or pixel mapping, saving valuable time on set and simplifying camera prep.

RECORDING TIMES, COMPRESSION & BIT RATES: FLEXIBILITY IS KEY

Blackmagic RAW (BRAW) offers a fantastic balance between image quality and file size efficiency. The URSA Cine 12K LF provides various compression levels, from a visually lossless 3:1 ratio up to a highly efficient 18:1. This gives filmmakers tremendous flexibility. Need maximum quality for VFX plates? Shoot 3:1. Need to record for extended periods for a documentary? 18:1 works remarkably well.

On the 8TB module, 12K RAW at 3:1 compression yields about 2.2 hours of record time, while 18:1 stretches that to an incredible 13 hours. Planning your media needs is crucial, and Blackmagic offers an online calculator to help estimate recording times based on resolution, frame rate, and compression.

Even at its highest quality settings, BRAW keeps bit rates manageable compared to some other RAW formats (the camera maxes out its output at 4GB/s in extreme scenarios). This efficiency translates directly to a smoother post-production workflow, requiring less demanding hardware for editing and grading.

ROLLING SHUTTER: ALMOST GLOBAL PERFORMANCE?

A key question for any camera is its rolling shutter performance. Unlike a global shutter (which captures the entire frame instantly), a rolling shutter scans the image sequentially. This can cause the “jello effect” with fast motion. The URSA Cine 12K LF uses a rolling shutter, but Blackmagic has mitigated the issue significantly with an exceptionally fast sensor readout speed.

How fast? Fast enough that rolling shutter artifacts are minimized to the point of being nearly imperceptible in most shooting situations. The faster the sensor reads the image from top to bottom, the less distortion occurs. Furthermore, shooting in 8K mode leverages the camera’s pixel binning, making the effective readout speed even faster, further reducing any potential rolling shutter issues. 

While not technically a global shutter, the performance is remarkably close, offering a practical solution for confidently shooting action and dynamic movement without significant distortion concerns. For those wanting extreme technical detail, resources like CineD offer in-depth rolling shutter measurements.

THE BOTTOM LINE (PART 1): A SOLID FOUNDATION

This initial look reveals the Blackmagic URSA Cine 12K LF as a thoughtfully designed, professional cinema camera. The robust build, innovative high-speed media solution, flexible recording options, efficient BRAW codec, and impressive rolling shutter performance lay a strong foundation. It’s clear that Blackmagic isn’t just adding features; they’re addressing real-world filmmaking challenges and building an ecosystem designed for high-end production.

But this is just the beginning. How does the image actually look? How does it handle extreme exposure? What about ergonomics and lens compatibility?

WATCH THE FULL OFFICIAL DEMO — FREE!

This article covers just the first part of our comprehensive deep dive. To see the complete picture – including in-depth image quality tests with senior colorist Dave Cole, analysis of ISO performance, over/under exposure tests, detailed breakdowns of ergonomics, ND filters, high frame rates, dynamic range, and much more – you need to watch the full demonstration.

Get exclusive access to the complete Blackmagic URSA Cine 12K LF Official Demo, featuring Shane Hurlbut, ASC, Dave Cole, and Tor Johansen, absolutely FREE on the Filmmakers Academy platform. See the tests, understand the tech, and discover if this camera is right for you!

CLICK HERE TO WATCH THE FREE OFFICIAL DEMO NOW!

Blackmagic Cameras:

Blackmagic Design URSA Cine Immersive Camera

The post URSA Cine 12K LF Specs, Media & Workflow appeared first on Filmmakers Academy.

What sets Blackmagic apart? It’s a combination of factors: disruptive pricing, innovative technology, and a commitment to putting powerful tools in the hands of filmmakers of all levels. They’ve essentially democratized access to features and image quality that were once the exclusive domain of high-end productions. 

But with a growing lineup of cameras, choosing the right Blackmagic model can be a challenge. This guide will break down their evolution and their key camera systems and help you find the perfect fit for your needs.

More Articles on Blackmagic Cameras:

• Blackmagic PYXIS Monitor: Full Camera Control & Versatility
• Camera Sensor Comparison: URSA Cine 12K vs RED V-Raptor vs Alexa 35
• Blackmagic URSA Cine 12K: The Future is Modular

BLACKMAGIC DESIGN: A BRIEF HISTORY OF DISRUPTION

Blackmagic Design wasn’t always a camera company. They started by creating high-end post-production tools, most famously their DaVinci Resolve color grading software. This deep understanding of the post-production workflow gave them a unique perspective when they decided to enter the camera market.

Their first camera, the original Blackmagic Cinema Camera (BMCC) released in 2012, was a shock to the industry. It offered RAW recording capabilities at a price point far below anything else on the market. While it had its quirks (ergonomics weren’t its strong suit), it proved that high-quality digital cinema didn’t have to cost a fortune.

Since then, Blackmagic has steadily expanded and refined its camera lineup, learning from each iteration and consistently pushing the boundaries of what’s possible at a given price point. They’ve moved from being seen as a “budget” option to a serious contender in the professional cinema camera market, with cameras used on everything from indie films to major Hollywood productions.

BLACKMAGIC CAMERA LINEUP: A SYSTEM FOR EVERY NEED

Blackmagic’s current camera lineup can be broadly divided into several categories, each with its own strengths and target user.

1. POCKET CINEMA CAMERAS (BMPCC): COMPACT POWERHOUSES

The Pocket Cinema Camera line is all about portability and affordability without sacrificing image quality. These cameras are surprisingly small, making them ideal for run-and-gun shooting, documentaries, vlogging, and situations where a discreet camera is needed.

BMPCC 4K

The original Blackmagic Pocket Cinema Camera 4K (BMPCC 4K) shocked the industry. It offered internal RAW recording (Blackmagic RAW) and ProRes at 4K, a Micro Four Thirds sensor, and a vast lens selection, all at an unprecedented price.

BMPCC 6K

Blackmagic Pocket Cinema Camera 6K (BMPCC 6K) upped the ante with a larger Super 35 sensor for a more cinematic look and 6K resolution for greater detail. It adopted the popular Canon EF lens mount. The BMPCC 6K G2 followed as an improved iteration.

BMPCC 6K G2 & BMPCC 6K PRO

The Blackmagic Pocket Cinema Camera 6K Pro (BMPCC 6K Pro) represents the line’s evolution. It retains the compact form but adds crucial features like built-in ND filters and a brighter HDR screen. An optional EVF further enhances usability.

BMPCC 6K PRO adds built-in ND filters, a brighter HDR screen, and the option for an EVF, making it a more complete and versatile camera.

The Pocket Cinema Camera line isn’t just about individual models; it’s about an ecosystem. Blackmagic’s tight integration with DaVinci Resolve and the highly efficient Blackmagic RAW (BRAW) codec streamline the post-production workflow. What began as a “budget” option has matured into a serious contender, offering portability, image quality, and affordability in a unique combination. The versatility of the cameras allows them to be fully rigged or shot handheld.

2. URSA MINI PRO: THE VERSATILE WORKHORSE

The URSA Mini Pro series represents Blackmagic Design’s commitment to providing a versatile, robust camera system for professional production environments. These cameras bridge the gap between the compact Pocket Cinema Cameras and the flagship URSA Cine line, offering a compelling blend of features, performance, and ergonomics. They’re designed to be the workhorses of film sets, documentaries, and broadcast studios.

The URSA Mini Pro cameras are significantly larger than the Pocket cameras, and for good reason. This larger form factor accommodates essential professional features: built-in ND filters (crucial for controlling exposure in varying light conditions), professional audio inputs (XLR with phantom power), and a more traditional cinema camera body with ample space for controls and connections. One of the standout features is the interchangeable lens mount, allowing you to use PL, EF, F, and even B4 lenses (with the appropriate mount), providing incredible flexibility for different projects and lens choices.

URSA MINI PRO 4.6K G2

The URSA Mini Pro 4.6K G2 quickly became a favorite among filmmakers. Its Super 35 sensor delivers exceptional image quality, with a claimed 15 stops of dynamic range, capturing impressive detail in both highlights and shadows. It also boasts high frame rate capabilities, making it suitable for slow-motion work.

URSA MINI PRO 12K

The URSA Mini Pro 12K marked a significant technological leap. While its 12K resolution is impressive, the real innovation lies in its unique sensor design. This sensor allows for in-camera scaling to 8K or 4K without cropping the image, preserving the full field of view of your lens at any resolution. This flexibility, combined with Blackmagic RAW recording, makes it a powerful tool for a wide range of productions, from high-resolution cinema to projects where efficient workflow is paramount. The URSA Mini Pros offer a robust design that’s made for versatility.

3. URSA BROADCAST: DESIGNED FOR LIVE PRODUCTION

The URSA Broadcast line departs from Blackmagic’s cinema-focused cameras, designed specifically for the demanding world of broadcast and live production. These cameras prioritize features essential for live workflows, multi-camera setups, and the specific needs of broadcast studios and ENG (Electronic News Gathering) teams.

The defining characteristic of the URSA Broadcast cameras is their B4 lens mount. This is the industry standard for 2/3-inch broadcast lenses, offering a wide range of zoom ratios, excellent optical quality, and parfocal performance (maintaining focus throughout the zoom range). This is crucial for live events where quick and precise zooming is essential.

Beyond the lens mount, Blackmagic Design packs the URSA Broadcast cameras with features tailored for live production.

URSA BROADCAST G2

The URSA Broadcast G2 represents the latest iteration, offering a versatile platform for both studio and ENG applications. Its robust design, professional connectivity, and integration with Blackmagic’s broadcast ecosystem make it a powerful and cost-effective solution for live events, news gathering, sports broadcasting, and studio productions. It offers the best of both worlds for those who do broadcast work and also ENG.

4. URSA CINE: THE NEW FLAGSHIP

The URSA Cine line firmly establishes Blackmagic Design as a major player in high-end digital cinema. These cameras aren’t incremental updates; they represent a significant leap forward, built around groundbreaking sensor technology and designed for the most demanding productions. The URSA Cine series combines exceptional image quality, unparalleled resolution flexibility, and seamless workflow integration, challenging the status quo of the industry.

At the heart of the URSA Cine 12K LF and 17K 65 models lies a revolutionary RGBW sensor, a departure from traditional Bayer pattern designs. This unique 6×6 grid incorporates white (W) photosites alongside red, green, and blue, dramatically increasing light sensitivity and delivering an impressive 16 stops of dynamic range on the 12K LF model. This translates to incredible detail and latitude in both highlights and shadows.

The URSA Cine series offers unprecedented resolutions: a stunning 12K on the LF model and a staggering 17K on the 65mm model. This provides filmmakers with immense creative flexibility, allowing for extensive reframing, detailed visual effects work, and superior image quality through oversampling, even when delivering in lower resolutions. Adding to this flexibility is in-sensor scaling. The URSA Cine cameras can shoot at various resolutions without cropping the sensor, preserving the full field of view of the lens.

Beyond the sensor, the URSA Cine cameras are built for professional workflows. Robust construction, multiple mounting points, and professional connections (12G-SDI, XLR audio) are standard. Deep integration with DaVinci Resolve streamlines the post-production process. Blackmagic offers a box-style design with the PYXIS. Furthermore, Blackmagic continues its commitment to innovation with the URSA Cine Immersive, the world’s first commercial camera specifically designed for capturing Apple Immersive Video. The URSA Cine is more than a camera, it’s a statement.

KEY FEATURES:

5. STUDIO CAMERAS: AFFORDABLE LIVE PRODUCTION

Blackmagic Design’s Studio Cameras are purpose-built for live production, offering a tightly integrated and surprisingly affordable solution for multi-camera setups. These cameras move beyond the traditional, component-based approach to broadcast cameras, integrating essential features directly into a compact and user-friendly design.

The core of the Studio Camera concept is integration. A large, bright viewfinder, tally lights (for on-air indication), and talkback (for communication with the director) are all built-in, eliminating the need for external accessories and simplifying setup. A single operator can remotely control focus, iris, zoom (with compatible lenses), color balance, and other parameters from a central control panel or even via software.

Image quality is not compromised. The cameras feature 4K and 6K sensors, delivering sharp, detailed images and excellent color accuracy. They utilize the Micro Four Thirds lens mount (with the 6K Pro offering an EF mount), providing access to a vast range of lenses.

Blackmagic’s Studio Cameras, combined with their ATEM switchers and DaVinci Resolve software, create a complete, integrated ecosystem for live production and post-production, making professional-quality broadcasting accessible to a much wider range of users.

WHICH BLACKMAGIC CAMERA IS RIGHT FOR YOU? (BEST FOR… SCENARIOS)

Choosing the right Blackmagic camera depends heavily on your specific needs and budget. Here’s a breakdown of which cameras excel in different scenarios…

THE BLACKMAGIC ECOSYSTEM: MORE THAN JUST CAMERAS

One of the key advantages of choosing Blackmagic Design is its integrated ecosystem. Their cameras are designed to work seamlessly with DaVinci Resolve, their industry-leading editing, color grading, visual effects, and audio post-production software. 

This tight integration simplifies the post-production workflow and ensures optimal image quality. Blackmagic RAW (BRAW), their proprietary codec, offers a great balance between image quality and file size, making it a versatile choice for various projects.

THE FUTURE OF BLACKMAGIC CAMERAS

Blackmagic Design has shown a consistent commitment to innovation and pushing the boundaries of what’s possible in digital cinema. They listen to their users, constantly refine their products, and aren’t afraid to disrupt the status quo. 

It’s safe to say that Blackmagic will continue to be a major player in the camera industry, offering powerful and affordable tools to filmmakers of all levels. The recent release of the URSA Cine line, particularly the groundbreaking 17K 65mm model, demonstrates their ambition to compete at the very highest end of the market. They are no longer just a “budget” option. They are a serious contender for any production, regardless of scale.

SEE THE URSA CINE 12K LF IN ACTION!

Don’t miss this exclusive opportunity to witness the power of the Blackmagic URSA Cine 12K LF firsthand. Join Filmmakers Academy and Blackmagic Design for a free, live demonstration on Tuesday, March 25th, 2025.

Cinematographer Shane Hurlbut, ASC, along with colorist Dave Cole and Cinematography Product Specialist Tor Johansen, will put the camera through its paces, answering your questions live. Plus, you could win a Blackmagic PYXIS camera or other great prizes!

Blackmagic Cameras:

Blackmagic Design URSA Cine Immersive Camera

The post A Guide to Blackmagic Cameras 2025 appeared first on Filmmakers Academy.

We’ll break down the technology behind the Blackmagic URSA Cine 12K LF, RED V-Raptor, and ARRI Alexa 35, but we’re going beyond the specs. We’ll explore why each company made their design choices — the engineering decisions that shape your dynamic range, your color, your creative options. It’s not about numbers; it’s about finding the perfect tool to bring your cinematic vision to life.

UNDERSTANDING CAMERA SENSORS

The sensor is the heart of any digital camera, the digital equivalent of film. It captures the light projected by the lens and converts it into a digital image. The sensor’s size, resolution, and underlying technology determine much about your final image. This includes detail, sharpness, dynamic range (the ability to capture detail in both highlights and shadows), low-light performance, and even the overall “look” of the image.

Two main sensor technologies dominate the cinema world: Bayer pattern sensors and RGBW sensors. 

Bayer pattern sensors, the most common type, use a grid of tiny red, green, and blue filters over the sensor’s light-sensitive elements (photosites). There are usually twice as many green filters as red or blue, mimicking our eyes’ sensitivity to green light. 

RGBW sensors add a white (W) photosite, capturing pure brightness information to boost light sensitivity and dynamic range.

BEST SENSOR FOR RESOLUTION FLEXIBILITY: BLACKMAGIC URSA CINE 12K LF

Blackmagic is known for pushing boundaries, and the URSA Cine 12K LF continues that trend. Its sensor uses a unique RGBW approach. Instead of simply replacing some green pixels with white ones, Blackmagic employs a clever 6×6 grid pattern. Half the photosites are white, and the other half are evenly split between red, green, and blue.

Blackmagic URSA Cine 17K 65mm (left) vs 12K S35 (right) sensors

12K RESOLUTION AND DYNAMIC RANGE

This design offers incredible detail, as 12K resolution is massive. While it’s more than most delivery formats require, it provides incredible flexibility in post-production. You can crop, reframe, stabilize, and even create multiple shots from a single take without sacrificing image quality. 

The white photosites are incredibly sensitive, capturing a lot of light. This contributes to the camera’s impressive 16 stops of dynamic range, allowing you to retain detail in both the brightest highlights and the darkest shadows.

IN-SENSOR SCALING AND PIXEL BINNING

The 6×6 grid also enables in-sensor scaling. The URSA Cine 12K LF can shoot in 12K, 8K, or 4K without cropping the sensor or changing your field of view. It achieves this through “pixel binning,” intelligently combining groups of photosites to create larger, more sensitive “super-pixels” at lower resolutions. 

Imagine a mosaic made of tiny tiles. In 12K mode, you see every single tiny tile. In 8K or 4K, the camera groups those tiles together, creating a larger, but still incredibly detailed, picture. This also increases sensitivity in lower resolutions, improving low-light performance.

THE ROLE OF OVERSAMPLING

Even if you’re delivering in 4K, shooting in 12K or 8K on the URSA Cine 12K LF provides advantages through “oversampling.” Capturing more pixel data than needed and then intelligently downsampling results in a cleaner, sharper, and more detailed image with reduced noise. 

It’s like having extra information to work with. It’s important to remember that it’s not just about the sensor. The camera’s internal image processing is crucial for handling the massive amounts of data from the 12K sensor and producing beautiful, usable footage.

BEST SENSOR FOR HIGH-SPEED ACTION & VFX: RED V-RAPTOR (GLOBAL SHUTTER MODEL)

RED has long been a favorite for action and visual effects, and the V-Raptor continues that tradition. While the original V-Raptor used a rolling shutter, the newer V-Raptor [X] with Global Shutter is a game-changer. It uses a 35.4-megapixel full-frame CMOS sensor (Bayer pattern) that shoots 8K.

The global shutter reads the entire sensor simultaneously, eliminating the motion distortion (“jello effect”) that can occur with fast-moving subjects or camera movements. This is crucial for action sequences, sports, and visual effects work. 

The V-Raptor also boasts impressive high frame rates (e.g., 120fps at 8K), perfect for stunning slow-motion footage. The V-Raptor XL adds a built-in, motorized ND filter system (2 to 7 stops), which is incredibly convenient for run-and-gun shooting. This allows you to quickly adjust to changing light without external filters. There is also an 8K S35 version for Super35 lenses.

BEST SENSOR FOR CLASSIC “FILM LOOK” & COLOR ACCURACY: ARRI ALEXA 35

ARRI is a legendary name in cinema, and the Alexa 35 is their latest flagship. It uses a 4K Super 35 sensor (Bayer pattern). While it doesn’t have the highest resolution, the Alexa 35 prioritizes image quality and a “film-like” aesthetic.

ARRI completely redesigned its color science for the Alexa 35, resulting in an incredibly accurate and natural-looking color rendition with beautiful skin tones and subtle tonal gradations. This is known as “REVEAL Color Science.” 

ARRI also claims 17 stops of dynamic range, and the Alexa 35 is renowned for its ability to hold detail in both highlights and shadows. The camera features “ARRI Textures,” which are essentially in-camera “looks” that you can apply to your footage, offering more creative control over the image before post-production. 

The Alexa 35 is also known for its user-friendly design, robust build quality, and sophisticated cooling system to keep everything running smoothly. ARRI emphasizes that dynamic range isn’t just about seeing into shadows and highlights. It’s also about accurately capturing saturated colors. The Alexa 35 is designed to handle bright, vibrant colors without clipping or distortion.

CAMERA SENSOR COMPARISON: URSA CINE 12K LF, RED V-RAPTOR, ALEXA 35

How do these impressive cameras really compare? The table below breaks down the key specifications – resolution, dynamic range, sensor size, and more – allowing for a direct, side-by-side comparison of the URSA Cine 12K LF, RED V-Raptor, and Alexa 35.

THE BOTTOM LINE

There is not any single camera sensor that works best since they all have distinct features. The Blackmagic URSA Cine 12K LF is a very versatile camera that can be used for many styles. However, the RED V-Raptor excels in capturing action and movement. Whereas the ARRI Alexa 35 is known for its exceptional image quality. 

The key takeaway? Understand your project’s needs, your creative vision, and the strengths of each camera system. Choose the tool that best helps you tell your story. Don’t get lost in the numbers; focus on the images.

GET READY FOR AN IN-DEPTH LOOK: FILMMAKERS ACADEMY REVIEWS THE URSA CINE 12K

Want to see the Blackmagic URSA Cine 12K LF in action before anyone else? Filmmakers Academy and Blackmagic Design are hosting a free, live, interactive demonstration on Tuesday, March 25th, 2025.

Shane Hurlbut, ASC, colorist Dave Cole, and Cinematography Product Specialist Tor Johansen will lead a comprehensive camera test, covering everything from setup and recording to image quality and workflow. You’ll get expert insights, see real-world examples, and have a chance to ask questions live.

Plus, there will be giveaways, including a Blackmagic Design Pyxis Camera, a Pyxis Monitor and Filmmakers Academy gift cards!

Register now for this free event: Blackmagic URSA Cine 12K LF “Official Demo.” The live stream and on-demand video will be available after the event, with exclusive access on the Filmmakers Academy platform for one month before it’s posted publicly on our YouTube channel.

Blackmagic Cameras:

Blackmagic Design URSA Cine Immersive Camera