![]() The Film dynamic range setting provides drastically improved images that can be color graded for a stunning cinematic film look. This allows for maximum flexibility in post while getting the most use from your cards. The Mini does offer a solution however: RAW 3:1 compression ratio at just 125MB/s. However, at a rate of 265MB/s, recording in CinemaDNG RAW can quickly chew through your media cards. The ability to record raw files offers full control while in post-production. The URSA Mini’s sensor is capable of recording raw sensor data in the CinemaDNG format onto CFast 2.0 cards at up to 60 frames per second. The 4K sensor captures 12 stops of wide dynamic range footage at up to 4000 x 2160 resolution, which surpases most high-end broadcast cameras. Both the 4K and 4.6K sensors deliver absolutely gorgeous images. The URSA Mini is outfitted with a cinematic Super 35mm image sensor. The Mini provides all the features you’d expect from a full-size cinema camera, only miniaturized to a more compact, lightweight design that allows ease of use for smaller crews and one-person operations. There’s plenty of ventilation on the top and bottom of the Mini, and the magnesium body also helps dissipate heat, helping to prevent the URSA Mini from overheating. The Mini, as the name implies, is essentially just a miniaturized version of the full size URSA. More than a few people at NAB came up to us while we were shooting wanting to get a peek. It’s completely black and looks like a mini-armored vehicle. It doesn’t hurt that it looks pretty cool, too. Wherever you take this camera, you’re going to look like a true professional. Carrying a camera around for as long as we did, it was nice to have the portability the URSA Mini offers in contrast to the full-sized URSA, not to mention there’s no need to buy an expensive heavy duty tripod as is the case with heavier cameras. The body is made from advanced magnesium alloys, providing ruggedness as well as a lightweight build and slimming it down to just a third of the weight of the full size URSA. If you know the URSA, you understand that “Mini,” in this case, is a relative term, considering the original URSA weighs in at a whopping 16lbs - the URSA Mini is a much more reasonable five pounds. The most obvious physical feature of the URSA Mini is its design. At the end of the day, image quality is what matters most, and the URSA Mini excelled in this category. Having a fast lens available helps mitigate this issue, but won’t eliminate it. ![]() However, this is a light-hungry camera and so does not perform well in low-light situations. As an added bonus, it comes with Davinci Resolve Studio - normally a $995 software package. It also has a wide 12 stops of dynamic range for impressive flexibility in post. It has a truly cinematic look and its super 35mm sensor allows for spectacular shallow depth of field with relative ease. The global shutter eliminates motion artifacts and flash banding. It shoots 4K RAW internally at up to 60 fps, providing absolutely stunning image quality. When it comes to image quality, the URSA Mini packs a punch for its price point. Our response to them: We love this camera, but we do have some reservations about the situations in which the URSA Mini would best perform. While shooting at NAB, we had a plethora of curious camera enthusiasts inquiring about how we liked the camera. For this review, assume we’re talking about the 4K EF mount model unless otherwise stated. ![]() There are several different models available from 4K to 4.6K each in EF, PL mounts and even an optional B4 mount kit, so there is an URSA Mini for everyone. We had the opportunity to test out the URSA Mini 4K EF mount, which we used to film our coverage of the NABShow 2016. With stunning image quality, relatively compact design and customization options for many situations, the URSA Mini will certainly garner a slice of the market. The URSA Mini was created to be used on feature films, television shows, commercials, indies, documentaries, music videos and more.
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