https://twitter.com/maddyosman/status/1516153700179492872?s=...

Yeah so the Ursa is around $5K. And just FYI the 12K Ursa dropped from about $11K to about $6K a few months after launch, so just be aware that that kind of thing happens. A new ARRI is $20 to $30K although I haven't looked lately. Also RED is very expensive. So with Ursas you get 14.5 stops of dynamic range, raw and the Resolve workflow which braw integrates into beautifully. You essentially have Hollywood quality gear for a fraction of the price, and you're using the same color grading workflow that Hollywood actually uses - since Resolve is the standard for color grading for big films. And the grade is really where you figure out how good your camera actually is - and since the folks who make the grading software make the cameras and developed the partial debayered raw format they use, the product you get is pretty damn good!

Now lenses are a different story. We standardized on Canon cine lenses which work great on the Ursas - and the cameras are adaptable to PL mount if you ever want to rent lenses.

Just a final note. I know a lot of folks reading this are budget concious. Don't make the mistake of getting a nice collection of Sony E mount lenses or another mirrorless standard with a short flange distance. You will not be able to use those lenses on many other cameras that have lens adapters because the flange distance is too small - so you simply can't adapt them. Standardize on a lens with a big flange distance that is adaptable to a lot of cameras if you move from renting to actually buying lenses. Canon Cine lenses are great - but Canon L lenses are also bloody good and excellent value for money. For example the f1.2 50mm prime is a brilliant multi use film lenses that you can use on the Ursa and get amazing results - and it's quite a bit cheaper than a cine lens and uses the same mount as the cine lenses. Because the L lenses have the same mount, you can do some pretty crazy shit like putting a f4.0 600mm prime on an Ursa and shoot film with it. Try finding a cine lens like that!

Resolve is so impressive to me because it’s a relatively small dev team from what I understand, but they’ve put out a really great product. And the few hardware things of theirs I’ve used have been excellent too.

Nice to hear you run your whole production pipeline using Resolve.

For what it's worth, BRAW is not really "RAW." It is a codec processed in-camera with baked-in profiles for Resolve. ProRes RAW is closer to "real RAW."

That said, it's an awesome codec to use in Resolve (former P4K, P6K, & UMP 4.6K user).

> "Sherif analyzed noise levels by comparing ProRes RAW and BRAW and found that ProRes RAW has significantly higher noise levels than the external BRAW. Furthermore, Sherif has used a blue channel as an X-ray to explore macro-blocking that appears in highly compressed media (H.265 for instance), and that compression is presented by pixels structure that indicates an unbaked image that came straight out of the sensor. Yeah… it’s a bit complicated. To make the story short, ProRes RAW demonstrated much better (and real) raw compared to BRAW. In a sentence, ProRes RAW has defeated BRAW"

> "According to Sherif’s analysis, ProRes RAW is more… real raw than BRAW. And external BRAW is less accurate (in terms of White Balancing) compared to internal BRAW from Blackmagic cameras. But generally speaking, ProRes RAW won. However, it must be taken into consideration that ProRes RAW is not natively available in Resolve."

https://www.youtube.com/watch?v=qPB6wrVKHiw

> "...partial debayering theory regarding BRAW. The reason being is that Black Magic does that to get around RED' RAW patent of pure internal RAW. That's why prores Raw is only acquired through external devices."

I would recommend downloading the standalone Fusion Studio though, it's included with a Resolve Studio license (~$300 one-time). Managing anything but the simplest project within Resolve's Fusion page seems like a nightmare. Being able to use a separate app that saves its own files is a much more straightforward workflow. Then check out VFX Connect if looking for more sync between the apps.

Edit: for CG or routine stuff like screen replacement we use a VFX house in Denver but we have done that ourselves in Fusion. Not hard, except that one time a guy with a beard leaned across and obstructed the screen with his beard. Try to avoid that. ;-)