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Blackmagic Design Slashes 12K Camera Price



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Blackmagic Design has slashed the price of its URSA Mini Pro 12K camera from US $9 995 (excluding sales tax) to US $5 995.

That’s a whopping $4 000 off in the US.

In Australia we’ll pay $9 435 GST inclusive.

A short time ago I checked around and places like VIDEOGUYS AUSTRALIA have the camera listed for $8 699.

Another $736 off.

So how did Grant Petty’s (Blackmagic Design CEO) team do it?

The price reduction is due to manufacturing efficiencies plus improved supply of 12K sensors.

Blackmagic Design makes high quality digital film cameras affordable.

“Since we released Blackmagic URSA Mini Pro 12K last year, we have been working hard to increase the supply of sensors and make improvements in our manufacturing processes to help reduce costs”, said Grant Petty, CEO, Blackmagic Design.

“This new lower price, combined with the incredible 3x faster speed of DaVinci Resolve makes high resolution 4K and 8K workflows more accessible.

“It’s totally mind blowing that you can edit high resolution 8K in DaVinci Resolve, on an Apple M1 notebook!”

So this is one of those occasions where it literally pays to wait.

The new rendering engine in DaVinci Resolve 17.3 makes all that high resolution relatively easy to work with on a computer, even if it’s a laptop.

Blackmagic Design tells us that it’s showing speed improvements up to 3x when working in 4K and 8K resolutions.

The URSA Mini Pro includes a full version of DaVinci Resolve Studio.

Check out our Sky News story on Blackmagic Design

Blackmagic URSA Mini Pro 12K – Insane Features

• 12,288 x 6480 12K Super 35 sensor.

• Use for feature films, VFX and high end TVCs.

• 14 stops of dynamic range and native 800 ISO.

• New Blackmagic RAW for real time 12K editing.

• Blackmagic RAW optimised for Metal, CUDA and OpenCL.

• Generation 5 Colour Science with new film curve.

• Shoot up to 60 fps in 12K, 120 fps at 8K and 240 fps at 4K.

• Dual card CFast recording at up to 900MB/s.

• PL mount included and optional EF and F lens mounts available.

• SuperSpeed USB-C for recording to external disks.

• Includes DaVinci Resolve Studio for post production.

• Compatible with new Blackmagic URSA Mini Recorder.

Availability and Price

Blackmagic URSA Mini Pro 12K is available immediately for US $5 995 excluding duties (A$9 435 GST INC) , from Blackmagic Design resellers worldwide.

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Triple Base ISO and More: Canon Throws the C400 into the Cinema Mix



Canon has just announced the C400. It’s a full-frame 6K cinema camera with RF mount and triple native ISO. The new CMOS sensor is backside-illuminated and it can record up to 6K/60p Cinema RAW Light. And there’s a lot more to brag about but is it enough?

It’s certainly a camera that will keep many shooters in Canon’s wheelhouse and might even tempt Sony users to jump ship. It certainly resembles the much older FX6, and although the Sony model is much cheaper, it’s missing a lot of specs and horsepower the C400 boasts.

EOS C400: A$13,500.00 RRP (A$12,999.00 general price)

SONY FX6: A$8,199.00 (general price)

The C400 works a cinema camera or ENG/live broadcast shooter. Despite its size, it packs a lot of options for TV and/or filmmaking into that tiny body.


Shooting documentaries in various lighting conditions can be challenging even with dual native ISO. Sometimes 12800 is too much and that’s where the C400 has you covered with triple ISO levels of 800, 3,200 and 12,800. This is available when shooting in Canon Log. To avoid ‘chasing’ low light settings, Canon also has an automatic switching mode that detects ambient lighting and adjusts the base ISO level to match.


At the heart of the EOS C400 is a new 26.7MP 6K full frame backside-illuminated, stacked CMOS sensor (BSI), connected to a DIGIC DV7 processor. Rolling shutter isn’t a real concern with faster readout from the sensor. You’ll also get a sharp image from the 6K oversampling for 4K and plenty of post production flexibility with 16 stops of dynamic range.

Super 35mm and Super 16mm are also options – cropped.


Canon is bringing its Dual Pixel CMOS AF II to its cinema EOS system with virtually 100% coverage across the sensor. C400 users will be able to select face | eye | body and animal detection and tracking. This is a bonus for solo shooters.


The C400 has a mechanical ND filter with (2 / 4 / 6 / 8* / 10 stops*) * with extender.


The EOS C400 is the first high-end RF mount cinema EOS camera, although the R5C and C70 were also options. The RF lens options include integration with RF prime, zoom, hybrid, cinema and VR lenses. For more flexibility you can use EF-EOS R mount adapters as well as the new PL-RF mount adaptor. A 12-pin lens terminal gives greater control over lens operations.


It’s all about RAW, in particular, Cinema RAW Light. Canon’s scalable 12-bit Cinema RAW Light is available in LT/ ST/ HQ. If you don’t need to use RAW then 4:2:2 10-bit XF-AVC and all-new MP4 based XF-AVC S and XF-HEVC S formats are also options.

The best of the best for PAL regions is: 6K 12bit Cinema RAW light 1780Mbps (50.00P ST).

You can download a full list of codecs and frame rates here.


The box design makes the C400 pretty flexible. It’s easy to build out for a film set tripod rig or strip it down for use on a gimbal. The camera weighs 1550g, 12% lighter than the EOS C500 Mark II.

The side handle grip is connected via USB-C with mappable buttons. The top handle connects to the multifunction shoe and duplicates it at the top. This is where you’ll find the monitor which you can mount directly to the body if you don’t want the handle attached. The display is a 3.5-inch LCD 2.76 million dots, touch panel.

There’s plenty of I/O in the C400, including built in Wi-Fi, G-LOCK/SYNC/RET terminal, ethernet terminal, SDI output, MON output and multiple input terminals. The G-LOCK/SYNC/RET and Ethernet terminals are located on the camera body. Just like the C70 the C400 has two mini XLR audio inputs.

Pricing and availability

The EOS C400 will be available in Australia this September for a RRP of A$13,500 RRP. But as stated above, you’ll find it available for pre-order at A$12,999.00 or less.

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BURANO Firmware Plans Revealed



Sony has announced the BURANO is receiving two new firmware updates over the next year. The updates will include additional recording modes and support for live event production.

The firmware updates – BURANO Version 1.1 and Version 2.0, – will include more recording formats, new de-squeeze options and monitoring updates. Features requested from users have also been included.

The BURANO is the latest addition to the CineAlta family of digital cinema cameras.

BURANO Version 1.1 (late June 2024)

BURANO Version 1.1 includes new features for live event production and the addition of 1.5x de-squeeze display for anamorphic lenses.

It adds S700 Protocol over Etherneti which enables remote control of a BURANO using an RCP (remote control panel). Controllable settings include exposure, white balance, paint, and others (depending on the RCP model).

There’s also support for Multi Matrix Area Indication. This feature allows users to adjust targeted colours during Multi Matrix operation.

It will also allow support for Sony’s Monitor & Control appii version 2.0.0 which enables in demand features such as Multi-Camera Monitoring function for iPadOS. This allows feeds for up to four cameras and precise exposure monitoring including waveform, histogram, false colour and zebra.

Other features: Intuitive focus control and frequently used functions’ control – a similar operation to Sony’s CineAlta cameras using a mobile device such as frame rate, ND filter, sensitivity, look, shutter speed and white balance.

Sony’s Monitor & Control app is free and available for iOS and Android devicesiii.

BURANO Version 2.0 (March 2025 or later)

BURANO Version 2.0 user requests like new recording formats, new 1.8x de-squeeze, and monitoring improvements.

It includes a new 3.8K Full Frame crop that uses nearly the entire sensor and can shoot up to 120 fps. Other new recording formats include 24.00 fps to X-OCN 16:9 imager modes and the following below.

Full Frame3.8K 16:9 ModeUp to 120 fps
Super 354.3K 4:3 Mode (for Anamorphic)Up to 60 fps
Super 351.9K 16:9 ModeUp to 240 fps

Version 2.0 will also add 1.8x de-squeeze setting as well as additional high frame rate (S & Q) modes including 66, 72, 75, 88, 90, 96, 110 fps.

You’ll get monitoring improvements like standardised SDI video output for monitoring across X-OCN and XAVC and an improved on-screen display which places camera status information outside of the image. There’s also View Finder Gamma Display Assist while using S-Log3 for monitoring.

Additional exposure tools are coming – (High/Low Key) derived from the flagship VENICE camera system. There’s expanded white balance memory presets from 3 to 8 and support Active/High Image Stabilisation in Full-Frame 6K and Super 35 1.9K 16:9 imager modes.

And there’ll be breathing compensation plus image stabilisation metadata in X-OCN.

For more details head to the BURANO downloads page at Sony.

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OpenAI Allows Creatives to Use Sora to Show What AI Filmmaking Looks Like



As OpenAI approaches Hollywood to ease concerns about Artificial Intelligence taking jobs, OpenAI has also revealed what creatives have been able to do with its text-to-video generator, Sora.

Since dropping the first batch of Sora generated videos in February, OpenAI has given a small number of directors, artists and other creatives, access to its world-changing AI model.

See them here.

The results are a mix of the weird and wonderful, no doubt causing excitement and apprehension among members of the TV and film industries. OpenAI is aware of the concerns and that’s why it is cautious about the rollout of Sora.

shy kids from Toronto is a multimedia production company that used Sora for a short film about a balloon man.

As I discussed with Tim Gilbert on Sky News Weekend Edition, OpenAI wants to work with Hollywood, not against it. It will be a long time before AI can make a movie or TV show on its own, but there are clearly uses for platforms like Sora, right now.

For example, say I’m doing a sci-fi film that needs a desert background with two suns. I would write a prompt for Sora telling it, just that. It might take several requests but eventually I would arrive at version I’m happy to use. Once I have this background plate I could ask Sora to make subtle changes, like the time of day or season, when more vegetation is around. Over this background I could animate CG spacecraft or other objects.

This means a filmmaker can handoff a task to the computer, reducing the cost of personnel on the project. But this clearly means someone is losing work and this a concern. Initially though, when Sora is released publicly, I think it will be a great tool for the industry. Right now, it’s not direct enough when handling requests. It’s a bit of a lottery about what to expect when you enter your prompt. But sometimes you want that uncertainty that AI brings to the creative process. Take Don Allen III for example, as stated in OpenAI’s blog, Allen praised Sora’s  “weirdness” as its greatest strength.

Sora’s “weirdness” is its greatest strength.

Computing power is also a massive factor. How much power will Sora need to produce 4K or 8K HDR files for film and broadcast? A lot.

So the next step has been taken, with creatives getting their hands on Sora. What’s the next one?

Stay tuned.

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