![]() ![]() URSA Mini Pro 12K with the Tokina PL 100mm Macro lens. It’s not easy to draw objective conclusions because there are so many variables, and so much of what I say falls very much under the 'subjective' banner. Therefore I’m going to be looking primarily at the recording options and the picture quality, as well as going into why you may or may not be the sort of person who should consider owning one. As a result in general use it feels no different, and it is just as easy to use. In fact other that the 12K moniker on the side of it, you’d never be able to tell the difference. It features the same construction quality and general button placement. Externally the URSA 12K isn’t much different to the existing URSA Mini Pro 4.6K G2. In the case of the URSA Mini Pro 12K we are in the position of having a known quantity in many respects. ![]() Whether an image is considered to be good or not is generally subjective in all but specific circumstances. Usually I would focus mostly upon the build quality and what the camera is like to use, generally because almost all cameras now produce really good images and it tends to be the practical nature of the devices that are the differentiators. ![]() This article is a review, but I am going to be taking a rather different approach to things than I would do normally. So who is the URSA Mini Pro 12K for, and what are the advantages and disadvantages of using it? There doesn’t appear to be much middle ground on this. I think it would be accurate to say that the URSA Mini Pro 12K split opinion between those who are all for it and those who think that the resolution race has gone too far. When the URSA Mini Pro 12K was unveiled and Blackmagic Design’s CEO, Grant Petty, zoomed out from a cropped image to reveal the full extent of the new camera’s resolution, it brought back all the usual discussions over resolution and what it means for video. We were given early access to the camera and this is what we discovered. The URSA Mini Pro 12K has certainly stirred debate.
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