Відео

Hi, the tripod is a Vinten 3 with a manfrotto 506 head, not the best combination for this camera. As for 3.04, thank you, much appreciated. I did use a jib and it was hard work lugging it up the hill with the camera & counterweights on pair of sack trucks!!

@@madpanic 👍Thanks for the answer. Very beautiful country in this video. The music also really gives it quite a moving tone. Thank you for putting this up years ago. I've looked at it on and off over that time when considering going the ENG route with my camera setup. It's the best example of what can be achieved expressively with this gear. I ultimately have stuck with photo glass because I value autofocus too much and Blackmagic hasn't implemented any AF worth a damn. Otherwise the Broadcast G2 with the lens featured in this video would be a very compelling choice.

Hi, this is from the G1

@@madpanic Thanks!!

You're very welcome! Wow, looking back on this I think "cut to the chase", and "clean up that sound", lol ! Glad it's helped :)

Are you referring to expression 7 ? The text layer is stating with the composition duration and subtracting the current time from it. s=""+Math.ceil(thisComp.duration-time); while (s.length <2) s='0'+s; Have you tried downloading and using the full project in the description and comparing?

Thank you. I don't have the latest model, but the G2 will work with B4 lenses, however, the G2 is a 6K camera so this may give a little more leeway in post for zooming past the edges of the frame in post production, but it will depend on the lens itself. I have since upgraded my URSA Broadcast lens to use the Fujinon LA16X8BRM which is way sharper.

@@madpanic Thank you very much for the reply. I think my lens is the same as yours, mine is the YJ20x8.5B4 KRS SX12. I was hoping to utilize it on the G2, I've had the lens for a year, very clean, but not used it as I didn't know if it would work on the G2?

Thank you, glad it' still a useful tutorial. I have looked at what you describe and if I understand what you want, if you had say a 20 second clock, you want it to display 0 at the end, and I presume you want the comp to be say 21 seconds in length or something (it will need to be at least 20 seconds and 1 frame for what I am about to explain, and lengthen all the layers also). What I've done quickly is to add a null object and drag a slider control to it and set the value to 20. Rename the null to "Control", and rename the slider to "Duration". Now go through all the expressions, and where you see thisComp.Duration, replace it with thisComp.layer("Control").effect("Duration")("Slider"). There are quite a few expressions to check I'm afraid. What this is doing is setting the clock duration as a variable rather than the length of the composition. Next, on the Clock shape layer, go to the SecondHand -> Transform SecondHand ->Rotation, and add this to the end of the rotation expression: if (angle+offset > 270) { 270; } Now for the XX layer, add the following to the end of the source text expression: if (s<0) { "00"; } That should be it. Let me know how you get on. Good Luck.

@@madpanic this is so helpful, thanks so much for your time and wisdom

@@leevfx You're very welcome.

I would have to review some other footage to really answer that. For this shot, the intention was to shoot directly with the sun flaring to compare performance of auto exposure vs fixed and I hadn't paid too much attention where the flare was, and like you say, they does appear to be a fixed flare at the angle that was taken in relation to the sun. Probably would have moved if panned left/right.

Thank you so much for your feedback. The LA16 lens is a really nice lens to use and has a macro function as well, the ability to manually control the iris, and you can either use motorises zoom or manual zoom (which I use a lot for quick re-framing when filming events). I went from Canon XLH1 (HD) to this camera and the jump in quality was incredible. The Blackmagic menu system is really simple and gives you just what you need. My setup includes the URSA Broadcast, SSD Recorder, V-Mount, EVF, and the LA16X8BRM lens. I use Davinci Resolve studio (not included with this model) for my editing and it pairs beautifully with the camera especially when using the Blackmagic RAW codec. As to whether it's a safe bet, that's a personal choice and one that depends on your work. This camera has not disappointed or let me down. The only thing that is a slight negative for me is that it is quite a heavy camera (which also has it's advantages). Recently when I needed to do some gimbal hand held work I had to use my DSLR (which was fine as the project is in HD). I did start to look at the BlackMagic Pocket Cinema 6k pro which looks like an amazing camera, however, even with it's incredible picture quality, you tend to have to build them up with a rig to make them very much like an ENG camera.. I prefer the form factor of an ENG style camera and the blackmagic URSA broadcast allows you to use B4 lenses, PL lenses and EF lenses (the latter two require separately bought mounts). It's not that special with low light but I have a couple of videos with low light on my channel which give some idea. The noise in low light can be addressed using Davinci Resolve Studio's noise reduction during the grading phase. One thing to note is that unlike some cameras, you don't have lots of colour balance controls in camera. Essentially you get white balance and the ability to use LUTS that you create in Davinci Resolve and load into the camera. I don't find this an issue as I record in Blackmagic RAW and leave changes like that to the colour grading stage and just use the LUTS for the viewfinder. For me, I think it's hard to beat, but if you're considering one, it would be advisable to see if you can get a hands on demo or even hire one for a day or two.

@@madpanic Thank you for your in-depth reply! So this looks as though it ticks all the boxes for me in terms of functionality and how versatile it will be for my work. I do everything from event filming to funeral streaming (not the nicest!). But I think a good solid work horse like this should last me for many years. I've not upgraded my cameras since well going back to 2008! Couple of questions: Have you graded from the film mode with pleasing results? And can you still achieve some pleasing shallow DOF despite the sensor size? Thanks man!

@@thedigitalemotion I set my camera to use film mode as I find it a better starting point, although since BRAW was supported, I tend to film in BRAW all the time as it gives you more options later. DOF is a balance in my opinion. It's not crazy shallow depth of field, but to be honest, shallow DOF brings it's own challenges. Having said that, with careful use of aperture, zoom / distance, you can get some nice DOF. With the EF mount of course, you have more options with different lenses (such as a 30mm lens which is equiv to about 50mm on the URSA Broadcast).

Well thank you very much, really appreciate your feedback and glad you liked it :). It really is a great combination and is still my No.1 go to camera / lens. I've always preferred parfocal lenses and the Blackmagic URSA broadcast camera is an understated camera in my opinion.

@@madpanic Did you sharpen your video at all? It seems like the noise grain is very pronounced. Would have been nice to see how it looks out of the box.

Hi, thankyou. Fujinon have used some of this footage. Since filming it, Blackmagic have issued an update in 6.7 (www.blackmagicdesign.com/support/readme/b83896dc5b1c40b3ae2fcacc6bd9e87a) which addresses noise and CA in their software. I haven't done a specific test since I upgraded. The USRA Broadcast and this Fujinon lens is a beautiful combination.

Hi, this was literarily my first outing with the BlackMagic URSA broadcast and the lens I had initially purchased was a cheap SD B4 lens for £300. The purpose of the test was not to test the lens but more a reaction to using the camera. I was waiting for a 4K lens at the time!

Thank you so much. Glad you like it. The camera and the lens are a joy to work with.

Did you ever get an answer? Mine is doing the same

Thank you for your feedback, glad you found it useful :)

DVX200 under $4k :)

Hi, did you mean, on stage with low light?

@@madpanic yes on stage low light if possible, even if it's a seminar. There's all kinds of challenging situations which are out of our control. Anything like this really.

@@chardonwaite I have just uploaded an example from a stage play I filmed last year. This scene used just an ultra-violet light. ua-cam.com/video/DCK3fj3OaY8/v-deo.html

You're very welcome, glad it helped.

It certainly is, and FCP has changed completely in the last 10 years!!

@@madpanic ikr! its way better! and less complicated!

If they are for 2/3" then yes, but SD lenses were not certified or tested for this kind of resolution so it is a flip of a coin how good the image will be.

I would have to go back and measure to be accurate, but the church is about 40 metres away from the camera, and the lens metadata for that shot reports 43.7Metres away from the focal point which was the roof at the beginning of the shot.

You're very welcome :)

Why not reply !!!

Fair point, and I plan to do a low light test soon. The latest camera 6.7 update has made some real improvements to the cameras low light ability with regards to noise.

@@ba7reealsaeedi927 I have had some personal bereavement and aftermath to deal with. Now that's settled down, I have replied to the original post. I will be doing a range of low light tests comparing different lenses. Now that the URSA Broadcast has had the 6.7 update, the new image processing is far better and less noisy as well as bringing BRAW which gives so many more options in post.

Hi, sorry for the long delay in replying. I can't comment on the Fujinon XA20sx8.5BERM-K3 as I've not used it with this Camera. The Canon Standard definition lens I have used showed vignetting and softening around the edges under certain conditions. As the LA16 was designed for the URSA it's optimsed to account for the B4 adapter. From what I've read though, many people use HD lenses with great results.

You're welcome.

Glad you found it useful :)

Thankyou for your great feedback and I'm glad you benefitted from my tutorial. You're right to also point out about the default position of the repeater. I come across this all the time working with shape layers and probably went into auto pilot and didn't mention it. I will see if I can either put a caption up or change the video.

Thanks for watching the pre-amble! This was made a few years ago. It's a difficult balance to get right, whether to give context or just go straight for the money shot. In this case, I thought it was useful to see the pitfalls so as to know more what's going on and to really understand the workaround. For people who already know it, I appreciate that it's frustrating.

Hi Xcenda, Thanks, that's a good point you've raised. In general though, if you have gaps in your video tracks, say between clips, it is common practice to fill them with a slug (black video). This ensures that there will be constant timecode and takes away the ambiguity of whether there is a gap left intentionally for inserting a clip later, or an actuall piece of black video. To do this, right click on the gap between the clips in your main sequence, and select "fill with slug". Now on your timecode sequence you should indeed see continuous timecode. Hope this helps.

Sorry for the incredibly late reply. To respond to your comment, you're right if you have gaps in your timeline. It's good practice however, to put black slugs in, and fill the gaps rather than leave the software to just display nothing. This should also prevent the issue you saw.

You're welcome :) Glad it helped.

Thankyou for your kind words. One of the goals of this tutorial was to introduce some of he magic of shape layers and the properties, and also how expressions can really take some of work out of things. Glad you found it useful.

Thanks for the feedback, glad it was useful. Hopefully it helps with some aspects of shape layers also.

madpanictv Indeed it does. ;)

Thankyou, glad you liked it!