Why Use A Broadcast Camera?! Blackmagic Design URSA Broadcast with Fujinon LA16x 4K Lens | Review

Hey, what’s going on, everyone? Joel Wallis here. So today I’m going to talk about the
Blackmagic, the URSA Broadcast camera with the Fujinon 8 to 128 millimeter lens. And this lens is only available with the
Blackmagic URSA Broadcast Camera as a bundle. So I’m going to tell you what the
benefits of this camera and why, and how it should be used with
documentaries or multicam setups or within churches or concerts, you name it. So let’s just jump in and
we’ll start from there. So you might be asking me what’s so
special about this camera that’s different from other cameras? Well, to begin with, this
is a broadcast camera or an ENG camera. That stands for electronic news gathering,
like you see your cameraman out, you know, in the news or a documentary. This also can be used in studios. There’s a lot of features within this
camera that a cinema or a DSLR camera doesn’t have. The unique thing with Blackmagic is that
they want to be able to have their cameras as rugged as possible. So let’s just say, you know,
something happened to your camera out in the field and now you
broke the power on button. Cool thing is that you can actually go in
to the camera, and there’s two buttons down here with the record
and the fast forward. And you can just hold those two at the
same time and it’ll power on the camera. Pretty much every feature that’s inside of
the menu is on the outside of the camera so you can fully control the camera from
the outside of it and you can control it inside of the menu of the camera. Pretty cool features to
have that capability. Where, take like this Canon 5D,
if we want to be able to record, we only have one button to record video. What happens when that breaks? I mean, it rarely happens, but, you know,
when you’re shooting in the extreme environments like a documentary or in news
chasing hurricanes, you want to have those extra features. You can also set the white balance,
say on A, we’ll be setting that to be white balance for indoors and then we’re
going to be going outside all in one shot. Then we can set the white
balance to B for the outdoors. So as we’re going through the door,
we can immediately just toggle the switch to go over to B versus on our DSLR
camera, we don’t have that capability of switching our white
balances on the fly like that. You have record buttons in multiple
spots, one on the outside of the camera on the side, one on the back of the zoom
rocker where your thumb lives, next to the handle. You have one on the touch screen. You also have one inside where
you have your menu control. And then for recording with the camera,
there’s several ways that we could do this. One, the camera natively
has CFast 2.0 card slots. You can also record with SD cards. And then another cool feature is that you
could use the SSD add-on for the camera. So this would actually mount to the back
here and then your battery would go on to the back of this. And then that would allow you to be able
to use an SSD to be able to record too. Some huge savings that you can get
with the SSD and longer record times. The other thing that’s going to stand out
with these types of cameras is they use a VCT-Style for their tripod
quick release plate. This will allow for the camera to be on
and off the tripod quick like for you. Some huge, big differences that you’re
going to see out of this type of camera versus the DSLR cameras is,
you’re going to see battery. Because when we’re on the field,
we really need a lot of juice and we can’t be swapping out batteries like we do on
some of the smaller DSLR cameras. They just don’t last very long. These cameras here, they use
either V-Mount or Gold-Mount. This one is the V-Mount by Core SWX. It’s their Hypercore 150. And this is going to be able to give us
additional power accessory ports. By that what I mean is D-Tap. The VLock plate from Blackmagic,
this one gives us one D-Tap out. Our battery as well has a D-Tap port. We also have a USB on this battery. So for example, with the D-Tap, well,
you need to have an onboard light. Say we’re chasing a hurricane and all the
power is out and we’re shooting a report and there’s no electricity around, we
can easily plug in a D-Tap cable and now we can power our camera light. With our DSLR cameras, we’re
probably going to get maybe an hour or so or more of battery time,
and it’s just a tiny battery. I don’t see any D-Taps or any other ways
to be able to power any accessories. So, again, we’re kind of limited. We’re going to need to add on additional
parts in order to build this camera out to be something like this. This has XRL built into it. With a DSLR camera, you only have one mic
input so now you’re going to have to use an audio mixer. So with these types of cameras is that it
really is a one person that’s operating everything within the camera. So we’re going to get, again,
that XLR for audio, we’re going to have our professional audio inputs. The cameraman can then monitor the
audio and be able to adjust it. We can still adjust it from
the outside of this camera. And as well as that inside the menu,
we can adjust the audio within the menu as well. We’re also going to have ND
filters, that’s neutral density. So it’s kind of like wearing sunglasses. It’s going to cut down the light. So we have four options. We have clear, then we can have our next
step, which gives us two stops to be able to cut down. The third option is going to be four
stops and then our fourth option is going to be six stops. So that will allow us to really control
the light without having to go back to the camera and now add on filters
on the front or do a map box. Different places to use this gear,
but again, this is going to be an all-in-one style camera. Other ways this camera is used in
multi-camera setups or in studios. We can control the camera in the
director’s room at the director’s board. We can now control the cameras,
if we have multiple cameras. We can control them all,
set the same white balance for the cameras, set the same iris. You get it. You have all those capabilities in a
studio camera that you’re going to get out of this camera here with that too. The Blackmagic URSA Broadcast Camera
also ships with the B4 lens turret. So it’s not going to come natively
with an EF mount or PL mount. This one will be already set up for
using with like broadcast lenses. All right. So now jumping over to the lens. This is the Fujinon LA16x 8
to 128 millimeter 4K lens. Big features that you’re automatically
going to see right off the gate with this is that you’re going
to have a zoom rocker. This is going to allow you to
be able to zoom out, zoom in. You’re not going to have to worry
about when, say, for example, you’re shooting on a DSLR lens,
that when you go to zoom in, your focus changes. Whereas on this lens with the
Fujinon, when you go to zoom in, you set your focus, you zoom
out, everything is going to be in focus from there. So it’s part focal. You can use this in a
church setting, for example. And what you’re going to gain out of
this is that you’re going to have a really nice, good quality lens that
you’re going to be able to do that long distance shot. So say, for example, you had a
PTZ camera and if you don’t know what PTZ stands for, that’s Pan Tilt Zoom. So you have a PTZ camera off to the right. We’ll call that camera one. Camera two, we have this bad boy right
here and then camera three we’ll have off to the left. So this would be our long shot to
go to get the pastor or, you know, if there’s a guitar that’s up on the stage
or whatnot, this would be a really good lens to be able to zoom in
and follow that subject. And then you’d have your other two cameras
on the side, be your cutaway cameras or those can do some zoom
ins and do some zooms out. But this would be a really good lens for
kind of all around in that scenario for getting your long shots in a church. Another really cool, unique
thing that I discovered with this camera when I was playing around with
it, how do you set the back focus? What’s really cool with this is that this
one electronically does it for you in a way. It’s super simple, you hold a button
down for about five seconds, the camera lens zooms in,
you pull your focus. Then you hit the button again,
it zooms out, you pull your focus, hit the button again and you’re done. Pretty simple. It’s just taking out a lot of the process
in the back end of having to set the back focus and then setting the front focus. It’s electronically doing
the back for you. You still will definitely
want to use a focus chart. And if you don’t have one,
you can easily print one off the Internet or just use an object roughly
about 10 feet away. I’ll post up and I have another video that
I’m going to post up of how to set the back focus for this camera,
and I’ll put a link in here somewhere in one of these corners down here for you. Or else I’ll put it in the description. This lens has a macro built into it. So with the slide of the focus ring,
we could slide it forward. And now we’re in macro for getting
those extreme close up shots. With a DSLR lens, we’re going to have to
change out a lens to a macro lens and then switch back as we’re going
through different shots. Again, coming back, all in
one camera, it has it built-in. Other features you’re going to have is
that you’re going to have a manual iris ring as well as you can have
this go to automatic as well. There’s a button on the front. You can actually have it set to automatic
iris or manual iris, but it’s nice to always have that ring to be able to
do the fine adjustments yourself. Other features we kind of covered
about having the servo zooms, the rocker to be able to
zoom in and zoom out. We can also turn that off. And then we can do those
whiplash kind of style zooms. So for stylistic or like in a documentary,
reality TV show, we can easily zoom out, zoom in to get those cool effects
to that shots that we want. It’s a little tougher with these
cameras to be able to do that. It is sort of possible. I’ve done it before. It’s okay. It works somewhat okay. But not as cool as how this turns out. And then another cool feature that this
lens has the capability of doing is being able to add in a rare zoom
and focus control. And what that means is that in a studio,
what you can do is instead of having to physically go up and adjust focus from
here, you can have this up on your sticks or your tripod or in your studio boom. And now you can control zoom,
you can also control your focus. So pretty cool features with that. And that’s more of an studio applications. So this really is a pretty sweet
combination that you get with this package for either documentaries, ENG,
multicam studios, church livestreaming, you name it. If you have any questions or if there’s
anything that I didn’t cover that you’d like to know, feel free to
ask away in the comments. I’ll also put my email address down
below in the description for you. I’ll also put the whole build that I’ve
got going on with the camera and everything that you saw in this video. I’ll put all the links down below as well. And be sure to like, subscribe and follow. Thank you.

Author Since: Mar 11, 2019

  1. I really enjoyed watching this review, seems like the BMD Ursa Mini Pro is the best choice for eng and documentary work. Great production value.

  2. First, it is great you give at least a short explanation for each used abbreviation used. Second, I'd wished you had more focused on the difference between a broadcast and a cinema/DSLR-style camera. Never the less, you gave a great overview over this camera.

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