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COMMENT and control units inside the van (and admiring their lovely LED lighting system and bespoke MacPro mount), I spent a good twenty minutes with a couple of other operators frowning and generally looking bemused but intrigued at the same time at the Ursa. I have always used Blackmagic Design gear in my edit suit and I fi nd the kit to be fairy durable - so I want to like their cameras as well. What I think is most exciting about Blackmagic Design and AJA diversifying into the world of production as well as post is that this Digital Fluidity will push other manufacturers to think differently about development. Post companies certainly come at camera development from a completely fresh angle. Post-production companies understand one thing well and that is what kinds of images editors, graders, compositors and other post-production engineers like to work with. Understanding how they value log colour spaces and more pixels surely in turn means that they will innovate some camera technology that is capable of delivering ‘better’ images or should I say images that are ‘better suited to post-production’. Ergonomically the Ursa is questionable - it’s an absolute brick, it is heavy and only destined for the tripod - if the massive 10” fl ip out LCD screen was detachable then it might be a start to making it more user friendly, but the image looks impressive. I can see this camera having most potential in the education sector. When I was teaching digital media I would loved to have had a camera like this - you can get three groups of individuals around it and they can all press buttons, enter meta data and control the camera at the same time. The low price point and the camera’s multi-functionality make it desirable for educational purposes. This is still early days for Blackmagic Design’s journey into acquisition technology let alone 4k and in my experience Blackmagic Design not only have a habit of shaking things up through pricing strategy and design (the clue is in the name right?) but they also listen to their customers and we will almost certainly be seeing future offerings that improve on the Ursa in current form. Think how Red have changed since their fl agship Red One camera - modular is the future and Blackmagic will surely continue to develop and refi ne their unique stance on 4k imaging. It’s not a camera I will be rushing to get the opportunity to go shoot on, but it is certainly food for thought and perhaps a good kick up the proverbial for the traditional manufacturers. I am a lover of great lighting and great tools for lighting and so I made sure I had a front row seat for Jonathan Harrison’s presentation entitled ‘Glossy Lighting for 4k’. Jonathan went further with the intro by stating that the setup he was going to demonstrate was in fact 8K ready, but what does this mean in real terms? Sensitivity to light improves as resolutions increase and thus we need to adjust our lighting accordingly; we no longer need high output lights in order to expose the image correctly. So with this in mind I fi rmly believe that lights are a better investment than cameras. I have always assumed the stance that with great lighting ‘less is more’, in terms of the amount of fi xtures used and the light sources mixed. Jonathan used a Panaura 5’ above the subject (I think with an 800w tungsten lamp) as the key light and it worked to great effect ‘wrapping’ the subject which was a key thrust of his presentation. Most light sources in the setup were softened to aid this ‘wrapping’ and he did add in other lights for effect but the main 3 point setup used the Panaura as key, the Celeb 200 as underslung front fi ll, and a 20 watt DL2 providing a cool backlight on the subjects hair. Not inexpensive fi xtures but they certainly provided a ‘glossy’ look with the FS7 and a slick image in 2K on both the display and broadcast monitors. A really interesting an informative presentation, although I wished we were able to actually see what the camera image looked like in 4k - as with any new technology we want to adopt it right away but integration takes a little longer. Well done TV Bay - Kit Plus for putting together a great day, see you at BVE. New JVC 4KCAM cameras BREAKING LIGHT? NEWS TRAVELLING PACK YOUR ESSENTIALS Introducing four new cameras from JVC, offering 4K Ultra HD and full HD recording with professional features in a compact design. The new GY-HM170E and GY-HM200E handheld camcorders feature a 1 / 2.3" CMOS sensor with a 12x optical / 24x dynamic zoom lens, recording 4K Ultra HD and full HD files (H.264 4:2:2) at up to 50Mbps to readily-available memory cards. Meanwhile, the GY-LS300CHE camcorder and GW-SP100E remote head camera each feature JVC’s 4K Super 35mm CMOS sensor, combined with an industry-standard Micro Four Thirds (MFT) lens mount. For further information, please visit 4KCAM | cameras footer THE (210x74mm).indd 1 38 KITPLUS - ad TV-BAY MAGAZINE: ISSUE 96 DECEMBER 2014 12/4/2014 11:55:25 PM