Canon is the class leader here, and with Canon’s range of cinema lenses there’s nothing left to say. The Canon C300 Mark III has Dual Pixel AF with support for Touch AF and Face Detection AF. If you’re interested in learning about lenses and how that would impact your purchase, check out: The best lenses for the Blackmagic URSA Mini Pro 12K and C300 Mark III However, by now, those who need Resolve would have already purchased Resolve, as as the years go by the value of Resolve gets lower and lower. That balances out with the price of Resolve. You need to add extra for a top handle, grip, etc. Price-wise, the URSA Mini Pro 12K is cheaper. You can, of course, adapt PL lenses through an optional adapter. You need to pay $2,199 extra for a locking EF mount (called EF-C) from Canon. With the Canon C300 Mark III the standard EF mount is non-locking. Grant Petty also mentioned that high end DPs are the first users of the camera, so it is clear that’s the market Blackmagic Design are after. The fact that the Blackmagic URSA Mini Pro 12K comes with a PL mount is important. Here’s what you get for your money: Camera The Canon C300 Mark III is more expensive, body only. A complete visual representation of the filmmaking process from beginning to end. Once connected to power, the URSA can even distribute power through a second 4-pin XLR jack.Exclusive Bonus: Download your FREE Blueprint: How to make a movie. With an optional plate, the URSA will accept professional V-Mount or Gold Mount batteries on the back. Power for the URSA Mini can be supplied via a 4-pin XLR jack at the rear of the camera. Since the camera accepts dual CFast cards, you can record for long periods of time by having the camera switch cards when one is full. Starting at the high end, UHD footage can be recorded in ProRes 444 XQ at a rate of 312.5 MB/s all the way down to 1080p in a ProRes 422 Proxy file coming in at a relatively paltry 5.6 MB/s data rate. The URSA Mini also records UHD 4K (3840 x 2160) and 1080p video using ready-to-edit ProRes files in many different flavors within the 444 and 422 chroma subsampling variations, depending on your workflow.
However, data-heavy uncompressed raw files aren't always easy to deal with on set, so in addition to uncompressed raw recording, the 4K URSA Mini provides compressed raw recording at a 3:1 compression ratio to save space while retaining post-production flexibility. The raw files preserve the full dynamic range and color tonality output from the sensor, so you can have greater control over the look in post-production.
To produce cinematic images, the URSA Mini can record raw sensor data in the CinemaDNG format onto CFast 2.0 memory cards at up to 60 fps.
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