As we start winding towards the dog days of summer, I was recently given the opportunity to get in front of the URSA Mini Pro 4.6K and the DaVinci Resolve Control Panel. This was a new and different approach to looking at products that come through the doors at ProductionHUB. Normally we might get a camera or lighting kit but to get two production/post production related products together was cool. As a production professional (like many of you) I am always looking at the budget and ways to control costs. So the idea of being able to upgrade in the field and enhance the post-production suite without crushing the budget was enticing to say the least. But before I get there, lets take a look at where production always has to start. It starts with the camera of course.
In an industry where gear plays such an important role, you know a piece of equipment is worth a look when it becomes the consensus choice of the pros. For many, the Sony FS7 has achieved that status among cameras currently on the market. For the scoop on this topic, we interviewed Tammy Rogers, a seasoned production manager with a pulse on what video service clients and providers are talking about.
As we gear up for 2017 NAB, I could not think of a better time to step back and look at the incredible amount of choices (zoom or prime) when it comes to selecting what you deem as the best lens or group of lenses for your next shoot. But there are some really important considerations to think about when lining up your next project. Before we delve into lens heaven and look at some current models, let’s hit pause and look at few thinking points that might make for some good food for thought.
It’s super lightweight. It’s dynamic. But is Blackmagic Design’s URSA Mini 4.6K worth the price tag at almost $5,000?We asked one of our CrewCloud video service providers to give us the scoop. Peter Doris of Nexus Digital Media spilled on his experience, his challenges, and what it took to get the camera from the box to its first shoot.