Vol.169 URSA Broadcast G2 review.Appearance of broadcasting cameras with attractive price and function [ONGOING RE: View] --PRONEWS: Digital video production Web magazine

With the cooperation of Blackmagic Design, I received the opportunity to report on the URSA Broadcast G2 camera, so I will report it at my own point.

Initially, it was a request only for the camera itself, but the following contents were aligned.

The necessary camera set is 2,105,114 yen including tax!

If it is a 4K system camera made by a domestic manufacturer, one set is 5 million yen and more than 10 million yen (and if you have four units, you only need one camera remote control!).It's nonsense to talk about the price to talk about Blackmagic Design products.There is already a feeling that it has already been established as one range.

We are a company that often performs live broadcasts and multi -cameras, so this time we will introduce the impressions of using this camera as a relay camera.

Camera head "URSA Broadcast G2" equipped with a B4 broadcast lens mount

BLACKMAGIC DESIGN (Broadcast Production Camera, "" Live Studio Camera, "and" Digital Cinema Camera ".Let's briefly introduce these three patterns.

"Broadcast production camera" is generally a replacement with ENG camera.Camera for interviews for everyday use.Handheld -type cameras become common in TV station program coverage, and while there is no affordable "carrying camera", this unit can build a very reasonable and high -quality interview camera.

"Live Studio Camera" is an operation close to this test set (above image), and is a style for TV studios and relay use.

And how to use the "Digital Cinema Camera" that the URSA series has been good at before.Unfortunately, we have no business use as a digital cinema camera, but the potential of this unit is that the cinelene is installed via various mount adapters, so that it is a digital film camera that supports 6K.Equipped with a performance that can also support shooting!

Since the 2/3 inch sensor is the mainstream studio/relay camera, it is not possible to create a shallow depth of field, so this unit equipped with a large sensor is a reasonable option for those who want to use equipment for multiple purposes.I can say.

Regarding the feeling of operation, people who have used the conventional broadcast camera are somewhat confusing, but those who have decided to use this camera from the beginning, or those who have to upgrade from lower models.I think it will be accepted smoothly.

URSA Viewfinder "URSA Viewfinder" that can check high quality images

This is a model that existed from the previous URSA, but is a viewfinder that is essential for shooting in ENG style.The black of the OLED panel is tight, combined with the full HD panel, so it can be said that it is very useful in that high quality images can be confirmed.

The feeling of confirming the final video is comparable to the HDVF-EL20 and EL30's OLE OL Finder for Sony Broadcasting Broadcasting.Unfortunately, because of the smallness of the peep window, the entire video can not be grasped at all when a little separated.

In that area, it cannot be realized unless the eyepiece is large, so it will change from the basic design.Speaking of eyepieces, it is inevitable that the eye cup rubber turns around together when trying to adjust the degree of degree, but I hope that this will also be improved.

The adjustment method is to adjust the degree of visibility to make it easier to see, then turn the eye cup rubber while holding down the visual adjustment ring and adjust the position.

The photo above is a viewfinder that was at hand.From below, Hitachi International Electric's CRT HD Finder "VF-402" (about 500,000 yen), Sony's "HDVF-EL30" (about 800,000 yen), the top is "URSA Viewfinder" (about 17It is 10,000 yen), but you can see that the loupe is very small.Although it is a strong understanding that it contributes to smaller weight, it is undeniable that it is easier to use if it has a large lens with a large aperture.

In addition, since this unit is an organic EL, there is a measure to prevent burning, and it is likely that the screen fades out in a few tens of seconds after being completely separated from the loupe to prevent burning.In addition, when the face approaches the loupe to about 20cm, the video appears again.

The new 7 -inch LCD viewfinder "URSA STUDIO VIEWFINDER G2" featuring high -brightness display

This is a large viewfinder that can be expressed in high -brightness of 2000nit with liquid crystal.Since it is used outdoors in the relay style, the difficulty of seeing when the sun is received is a common issue for this type of large viewfinder.Other companies sell long food (also known as sports food) separately, and the photographer is looking at the viewfinder on something like "box glasses".

URSA Studio ViewFinder G2 has no long food as an option, so I was worried that "is it okay?"So I tried to create an environment that was installed outdoors in the test, but even if the sun was quite positive on the screen, I could create a comfortable viewing environment by adjusting the volume of Bright contrast.rice field.The high -brightness display is successful, and it can be said that it is quite excellent.In fact, there is a photographer, so it seems that the sun will not insert it.

This external interface is only the SDI terminal and the power supply XLR4 pin terminal, which means that through a simple interface, it can handle any other camera.

As shown in the photo, it can be installed on the Sony relay camera HXC-100 (of course, the HDC series), and the 4K camera, which is used mainly by the company, SK-UHD4000, a Hitachi International Electric SK-UHD4000.

Recent cameras generally have a function to output SDI images with the same super -in -pose as the viewfinder in the camera head, so if a BOX that can support cameras from other manufacturers is released, it is quite a hit.It will be a product.

In addition, as shown in the photo above, the BNC connector developed by Blackmagic Design has a thick ring around, and it has a good operation to attach to URSA, but if you attach it to other cameras, the ring is in the way.I can't turn the BNC connector.Therefore, it is necessary to connect by using a short-headed axis to J-J (Jack to Jack).

Especially in the case of a buried connector for terminal protection, short-homogenal and J-J are essential because the surrounding ring does not interfere.

When attaching to another company's camera, the Tally signal is output from the viewfinder terminal and Tracker output of the camera head, and using the company's "3G-SDI Shield for Arduino", etc. in URSA SDIO ViewFinder in URSA Studio ViewFinder G2.It seems that it is necessary to overlap the tally information.

The upgrade of this unit is performed from the USB-C terminal, but the connector was not found at first.I found it on the bottom where the hood was removed!

Blackmagic Camera Setup utility is required for version upgrade, but no settings are provided in this software.All you have to do is upgrade as needed.

It would be great if you could enter Tully outside in some way, but is it terrible to ask for that?

The adjustment volume of this unit uses a large knob, making it easy to operate even in an environment where the photographer wears gloves.This is a design philosophy standing on the user side, which is very good.

Kit "URSA Mini SHOULDER KIT" such as shoulder applying and handle

If you want to use this camera in carry, this kit is necessary.Of course, a rig made by another company is fine, but it is recommended that genuine is well thought out, including compatibility.

If you use the Camera Fiber Converter (camera adapter) described later, you must use this kit or a rig made by another company to prevent the ventilation hole on the Camera Fiber Converter from blocking.Care must be taken if you put this kit on the floor or block the bottom of the camera adapter with a rig made by another company.

In the photo above, it is arranged along with the 4K system camera for broadcasting stations used by Hitachi International Electric SK-UHD4000.The pad position, the position of the eyes lens of the viewfinder, the position of the handle, and the rear end of the camera were almost the same, and I thought that the standard bearing camera was well studied.

Conversely, the relay style is always "front heavy", so if you devise the center of gravity as much as possible like a 4K camera made by Ikegami, the burden on the right arm supporting the lens will be reduced.I think it's good.

Optical camera adapter "Camera Fiber Converter"

This Camera Fiber Converter is required in the relay style.

LEMO standard optical fiber connector that NHK is mainly used in Japan.Overseas, this is the standard, but in the island country Nippon, which prefers its own standards, the Tajimi type is the mainstream.The author also prefers the Tajimi type, but the replacement is not basically (the other is the same composition of the joystick of the camera controller and the volume).

It is necessary to have a conversion cable where the Tajimi is deducted in existing, so it seems encouraging to have one set.One of the reasons is that the conversion cable is 100,000 per set, so you can not easily arrange it.

Although it is such a point, it is a very good camera adapter, but I would like to point out unfortunately.Only the first time, but the installation is troublesome.A dedicated attachment plate is prepared and the power is passed by internal connection, but the screws must be stopped.

It is complicated that it is a plus screw, a torx, or a different type.There are many screws, so if it is a strong connection, it is inconvenient if you want to replace the "relay style" and "ENG style" well.

You have to change to a V -mount battery plate, remove many screws, attach a V plate ...10 minutes is not enough.I hope this would be a V -mount for Camera Fiber Converter for a pretty time.

If you were going in this complex connection style, I wanted you to be able to connect the connector inside the three coaxes.That way, the time and effort to connect and the dissatisfaction with the time will be blown away.That's because the appearance should be refreshing.This is one of the points you want to expect in the next model.

Here I made a commentary video of the assembly.

There are parts that are early, but the actual recording time is about 12 minutes.I felt that it was not easy to go back and forth between "Broadcast Production Camera" and "Live Studio Camera".

However, although it is still surprising that optical camera adapters can be created in this price, the functions of general relay cameras are almost covered, and there are more functions.Then, if "I can't budget but I want a full -fledged broadcast camera", isn't it an exclusive market by BLACKMAGIC DESIGN?I think so.

Optical base station "Studio Fiber Converter"

Although the base station is a small size of 2U half, it has a power supply capacity up to 2 km, which is very reliable (I could not test it because I did not actually have 2 km cables, but there was no problem at 600m).

In the initial model (about three years ago), there was no MENU, but the buttons were not functioning, so it is finally possible to set the basic settings, audio level settings, and income settings now.I am deeply moved by whether I came.In addition, those who are relaying with other companies' products are impressive, and the appearance with optical connectors at the front has a strong personality.

The instructions say that by installing this unit on the back of the rack, it can be used as a connector board, and the connected camera can also be confirmed on the back of the rack, which seems to be a wonderful idea.

However, MENU operation will not be able to go unless you go behind the rack, so if you need MENU operation such as audio level adjustment, it would be better to have a screen facing the screen.

Although there are only two SDI outputs, there is a feeling that it is not surprising, but when it is hardened with the company's product, it may not be much that the number of output is required if the system is functionally assembled.

Even if the setting software (Blackmagic Camera Setup Utility) is launched on the PC, it is a pity that the software can only upgrade the version and can not set it.

In addition, when using this unit on the back of the rack, if it is 6 ferries, it will occupy the rack 6U, so it may not only be good in an environment where the space such as a relay car is limited.If you just arrange the optical camera connector on the camera terminal, you can line up about 6 turtle connectors for 2U.

4 turtle desk camera remote control "URSA Camera Controller"

This is also a wonderful equipment that can operate four turtles with one unit.Of course, although it is a joystick type IRIS/MB (master black) control system that is good for overseas, it is recommended that the person who uses it can get used to it in Japan, even in Japan.

RCP-1500 (made by Sony) is very good with a like, and if it is RCP-1500, it costs about 2 million yen for 4 units, so the camera remote control that could not be introduced on small broadcasts is easily operated.It seems that the importance of VE will change the importance of VE (it is wonderful that only AC and one LAN are connected).

URSA Camera Controller is linked to the camera number of the operation panel by linking with the ATEM series switcher by LAN connection.From the switcher to the camera, the camera control signal and TALLY information are sent to the SDI, and the finest system is completed only with simple settings.

The joystick of this unit can be selected for IRIS in front of ← → in the back, master black adjustment with the bottom of the knob bottom or a Nob head embedded, and pressed the joystick itself.For example, if the switcher has an AUX output, pressing the joystick will switch to the video, so there is an advantage that there is no separate selector to switch the output for WFM for VE (studio).In the case of VE, VE is not only looking at the camera, so you need a select button in the end, but it seems to be a sufficient function if you think it is for concert recording and 2nd VE).

Zoom/Focus Remote Concon "Zoom Demand/Focus Demand"

I assert that this product is very attractive in this lineup, and that it can be realized at this price is a dish that feels the power of Blackmagic Design.

Like other break -through products, both design and texture are good, not only in terms of functionality compared to the same species of Canon/Fujinon, but also with a simple connection that is OK if you connect to the camera by connecting a USB cable daisy chain.I am impressed by being thought.The company would have thought about the concerns of USB-C connection.

A connector with a screw of removal is adopted.This alone will be costly, and I'm happy as a user because I know the requests on the site.

But do you really need to be USB-C?In that respect, even if the connector grows a little, I think that a connected connector was desired.This is because the screws are difficult to tighten.Because of the small screws, there is no choice but to turn it with a choice with fingertips, and at the end it cannot be turned over after all.However, in order to make it tight with radio pliers, the connector is likely to be broken.

The situation was included in the video.It also explains the movement of the clamper.

As described in the video in the video, the screws have a hexagonal wrench, but they do not always have a wrench.If you only use it in the studio, you may always be connected without roses, but if you use it for taking it out, it is troublesome if you use gloves.And there are regrettable points that the demand is missing, but there is no missing camera.

However, it does not have to be stabbed with a demand cable on the lens side as in the past, and it is a lens of any manufacturer (whether it is a cinelene or a FUJINON B4 lens, or an ENG or a box lens).It is a dream -like system that can control any lenses that can do serial communication, and I felt that other companies would like to emulate.

These are individual impressions.

Seriously reduced on -site preparation time with simple connection

This time, with the cooperation of G / O GARAGE joint company Touhou, we used it as a plus one camera at the Internet live distribution (spectator distribution).

In the studio in Tokyo, we added URSA BroadCast G2 to the distribution site of four cameras, and changed to a 5 -focus system.I participated in technical cooperation, and not only set up this unit, but also a basis band system in general.

The other four were unified with Sony PXW-FS5, so I was worried that I could mix the images that were incompatible by mixing the venue, but if I opened the lid, I would have a powerful color collection function.One of the aircraft quickly dispelled that anxiety.

Camera equipped with cinelene, such as PXW-FS5, has a restriction on lens operation, and for photographers who are in a studio / relay, "the direction of zoom", "If you zoom, you will be out of focus", or "zoom itself cannot be smooth".Although it seems that there is a lot of dissatisfaction, such as "there is no demand", it seems that the operability around the lens was outstanding because it has an industry standard B4 mount.

Of course, the FUJINON UA22X8berd installed in this test is an expensive lens that can be used as a whole distribution system, so it will come off the purpose of "I want to arrange cheaply".However, if the HD lens that can be purchased even if it is used is enough, I would like you to introduce an ENG lens with excellent operability.

It is good if it is used outdoors, but if you are shooting close to opening in the hall, etc., and using the telephoto side more often, please use a 4K lens.The effects of aberration become more noticeable as bad conditions.

The company's ATEM TELEVISION STUDIO PRO 4K switcher is rented, and it consists of 4 FSA BROADCADCAST G2X.I have a telop from my PC.I handed the SDI output to the distributor and distributed it on YouTube for free.It seems that about 10,000 people always watched.

In this system, it was possible to significantly reduce on -site preparation time by sending a return video to the URSA camera, sending a tally, and doing a camera control.

In fact, the equipment I brought in (all except for the PXW-FS5 assembly and PA, distribution system) is assembled alone in less than an hour.I went comfortably.

About return, tally, income

Regarding the return video, when the previous model (URSA BROADCAST) was released about three years ago, the blue screen was turned on once the RET button was pressed, so this is an environment where you can see RET.I was sorry that it was not, but after confirming this time, it was greatly improved.

When the RET button was pressed, the RET video could be viewed while pressing, and the blue screen was not inserted during the switch.

If you come this far, you will get more greed, but if you improve the time lag from pressing the RET button to the picture, the photographer will be able to operate it intuitively.

In general, in various program production, it is often the case that the RET button is pressed (constantly checks the RET), and before the picture changes, it becomes "What? Doesn't it change?"

When the "interval" of the twice was short (in a double -click state), the viewfinder video became a RET fixed video, and it was often confusing (cannot concentrate on shooting).

I think it can be improved softly.It may be good to do RET fixation with Menu, but if you want to shoot while switching the RET as appropriate, I felt that a little time lag could be a fatal order in the current specification.

For the income, two systems are equipped, and two headsets can be used on the camera adapter side, so it seems that it can be operated the same as the broadcast specification.

The headset terminal is also an industry standard 5 -pin XLR, so it is good that you can use the headset you already have.If you have a clear cam headset, you can use it by preparing a 5 -pin → 4 -pin conversion cable.

PGM audio entry switching, the level adjustment, the fact that the photographer talk can be turned on with a mic -ON switch assigned to Zoom Demand, so this is a well -equipped specification and you will not feel inconvenient.

In addition, it is a story around the audio, but there are two voice input terminals on the camera adapter.URSA BROADCAST G2 is also 2ch, but it is somewhat resistant to insert an XLR connector upward.You can understand that there is no place to install it in a space, but if you only insert one, you are afraid of sudden rain if you do not have a dust cap on the other.If you do a dust cap, you will not be able to cover the original cover.So, if you have a Camera Fiber Converter (camera adapter), you should get audio from the XLR input terminal at the end of the end.

It supports not only MIC / LINE switching but also AES digital audio.If it is an analog, only 2ch can be included with two connector, but since AES is 2ch, digital can send 4CH audio from the camera.It is great for a camera close to PA to get audio, but digital can get up to 4CH.

4 If you build a turtle, it will depend on the location of the camera, but you can send a total of 16ch audio in 4ches x 4ch, and you can send various sounds to the base side without drawing a heavy 16ch multi.It will be something.

The Studio Fiber Converter (base station) has an analog audio output of 4ch (4 XLR connectors), so it is easy to enter a mixer.

When using Studio Viewfinder G2, whether the box lens or an ENG lens, the basic photographer will operate using a demand from behind the camera.At that time, the "IRIS" dial on the Camera Fiber Converter (camera adapter) is a little useful.

Originally, there is a VE on the switcher base side, and it is this ceremony to have the color and IRIS messed up, but depending on the budget, there are many sites where VE is not attached (cannot be attached).

In such a case, the switcher instructs an income, saying, "Open, squeeze a little more!"), You can respond to such a call, but if you have a photographer behind the camera, IRIS cannot be tamed.

When the equipment is like a photo above, it is impossible to reach out to the lens IRIS ring because the photographer is behind.Furthermore, if it is a box lens, it cannot be operated directly from the outside in the first place.

As shown in the photo above, the box -shaped lens is a super item that can take super telephoto that is impossible with cinelene, but as the name shows the "box", it is covered with a box, and the focus, zoom, and ring are shown.Not.Although the extender and the flange back adjustment are shown, the adjustment is also a type that reaches out to the side of the lens, which is not possible while doing work.

Focusing and zoom can be operated by demand, but Iris has been controlled from CCU or needed some processing to touch the photographer, but it is the "IRIS" dial at the back of the camera adapter.It is a very good idea to be able to adjust the aperture easily.

Although this dial is a step -adjusted, it will be a very useful feature when using Studio Viewfinder G2 at a site without VE.

Anyway, there are plenty of cameras, which are originally high -quality that supports up to 6K, and can shoot in full -fledged styles at incredible prices, and are probably adopted not only by production but also by CATV and local commercial broadcasting.I think it will go.

If you can compromise to some extent, such as the unfortunate part of the operation, you will not be able to compete with the cheaper, which is too cheap.If the number of users increases, it is easy to imagine that this is becoming a standard.Existing manufacturers (especially domestic manufacturers) may be required to change.

For Tally, enter a program video (the company is a program feed) in the SDI switcher and the camera body or Studio Fiber Converter (the company is a program feed), and the camera inserted in the Anshirari region.By setting up your own camera number, the side picks up the data and turns on the tally lamp.

Similarly, the company's products are even inexpensive models, but by overlapping the Tally Income camera control into the SDI return video, two SDI shafts (two go -to) are CCUs except for the power supply.It has been providing an environment that can do the same as a system.

At the site we introduced this time, use the Blackmagic Atem Television Studio Pro 4K to enter the return video output SDI into the RET IN of Studio Fiber Converter.Since this set is set to a camera number 4, if you set your own camera number to 4 on the camera side Menu, it is a simple system that the camera will shine if you hit 4 with a switcher.

If this is a conventional system, the parallelical signal from the switcher will go to the CCU and monitor shelf via a contact distributor.The monitor shelf is different for a switcher monitor and a VE monitor, so it is necessary to distribute four or five contact information, including those and utility.

In addition, it was possible to form a wiring that would be so distant even if only tally was removed, such as going through a patch bay to respond to changes in assignment, but it is easy to solidify with the company's products.By being made, it is very out of beat.Is it so easy and okay?When.

In addition, as shown in this photo, I converted the HDMI output to the SDI with the company's mini -converter HDMI TO SDI in Atem Mini Pro, and entered the program video into Studio Fiber Converter, but in the old mini -converter, Tari Converter is Tally Tally.The information and the camera control information seemed to disappear during conversion, and the tally could not shine or the camera control was possible.

Although it was not in time for the test this time, if it is a new converter, that information can be converted without disappearing through the converter, so using the ATEM MINI series as described above using Studio Fiber Converter.It seems that it will be possible to use camera control.

About the angle of view

This unit uses a 6K large sensor, and it seems that a 2/3 inch sensor size is used when using the B4 lens.Furthermore, it is probably to match the flange back length a few centimeters before the B4 mount part, and there is an optical system for that, according to the material 1.It seems to be one stop dark.If it is about 1/2 light amount with one stop, it feels a little wasteful.Perhaps because of that, when it was arranged with other models, the sensitivity difference was made in 0db.

However, if you think of it as a digital cinema camera, if you think that the sensitivity will be adjusted at the time of editing because the Blackmagic Raw is excellent, it will be a situation that can not be expressed by the conventional concept alone.It may be.

If you simply think of it as a live studio camera (a broadcast style camera), it is worrisome that the next camera is 0db, but if you do not Gain to 18db, it takes time to understand it (or it takes time to understand.It can be said.

I compared the three cameras with drawing pictures.Is the URSA and Z450 the same 8mm (about 35mm conversion about 31mm) but slightly different?It's a bit wide -angle, so it's a nice place for a photographer ...

Z280 pull is 1/2 inch sensor 5.6mm (35mm conversion 30.It turned out that it was almost like a UA22x8berd (2/3 inch sensor lens).

The focus is that Z450 is F6 to give the same brightness.You can narrow down to 7, but open in URSA (F1).It became 8).Of course, the shutter speed is unified with 1/60 of all cameras.This is the comparison of the picture that came to Don.We are approaching the outer waterway in the center of the photo.

The Z280 is 17 times the lens, so it's 95..There is a feeling of 2mm (35mm conversion 515mm), which is slightly insufficient than the other two.For URSA and other Z450s, they are 22 times to 160mm (35mm conversion 629mm).At this time, if you combine the aperture and shutter speed with URSA and Z450, Gain Up will be 18dB.The 18DB UP of the video camera is much more painful, but I feel that the cinema camera 18db UP is not that much.

There are various situations in relay applications, and it is forced to respond as it changes every moment.Those who are used to conventional equipment prefer the traditional "expensive", "large" and "not much different" equipment because there are such "time -consuming events to understand".

When mixing with other cameras on site, can only this camera be gain up to 18db?Isn't something wrong?ND?shutter?Was there an ISO setting other than Gain UP?You don't have an ND in front of the lens, right?The image quality looks good, but is it difficult to understand at 17 inches?All right?Is it okay to use it?That said, it seems that it is difficult to use it if it is difficult to judge this one point alone.

There are times when one minute loss is regrettable on site.In that respect, when you put this unit, you need to be prepared in advance, and if you mix it with other cameras, you will need to try it in advance.Of course, it would be nice if everything could be aligned with the same model.The studio has a certain amount of time, and there is a time of time in terms of time, and the installation will be done by the contractor after properly designed.It is easy to take a system that can respond in case of emergency, but it does not go well for relay applications.In addition, there are many technicians not only in the company but also from various companies, so I would be glad if you could use them in product development that it is necessary to have a standard operation feeling.

summary

As I felt in the Hyperdeck Studio series, which I reported last time, the company's development, technical skills and marketing skills are wonderful, all of the products that will be released are attractive, the price is very cheap, and by solidifying with the company's products.I think that it is a good business to be a system that is very convenient.

Manufacturers, dealers, and users are all good if they are good!

The point that seems to be "a little more" has been gradually improved as the blue screen of RET mentioned above has disappeared, and it seems that the relay system is no longer enough.

Next, what kind of exciting products will come out?Expectations for the company will continue to make a breakthrough.

Blackmagic URSA Broadcast G2

Price: 489,093 yen including tax

Kenji Nakagawa | Profile

Born in 1975.He was fascinated by commercial equipment after seeing Beta Kam when he was a child, and was reading a video α magazine for elementary school students.He is now a weird who sells used relay cars.He is famous for investing that does not match his performance.After all, video equipment pervert.