The hat worn by witches holds a strong symbolic meaning in mythology, folklore, and popular culture. It has come to represent various notions, including power, transformation, and the supernatural. The classic witch hat is often depicted as wide-brimmed, pointed, and adorned with various accessories such as feathers, ribbons, or buckles. This distinctive shape and design have become synonymous with witches, instantly recognizable in many parts of the world. One interpretation of the hat's symbolism is its association with power. The tall, pointed shape can be seen as an extension of the witch's own authority and magical abilities.
Blackmagic URSA Gold Battery Plate
Featuring the same generation 5 color science as the high end URSA Mini Pro 12K, the new URSA Broadcast G2 delivers an even greater advancement in image quality with stunning, accurate skin tones and faithful color in every shot. The large rotary control dials and customizable function buttons let you make on the fly adjustments without having to take your eyes off the action.
The tall, pointed shape can be seen as an extension of the witch's own authority and magical abilities. It creates a sense of presence and dominance, emphasizing the witch's role as a formidable force. Furthermore, the hat is often depicted as black or dark in color, which is traditionally associated with mystery, secrets, and the unknown.
Reviewing The New Blackmagic Design Broadcast G2 Camera
A Super35mm Sized-Sensor is the backbone to a very flexible camera system.
March 29, 2022The Blackmagic Design URSA Broadcast G2 is more than a simple pump in features to the original Broadcast camera. Traditionally, Blackmagic Design makes specific cameras for specific needs. Do you need a television broadcast camera? Blackmagic has one. Do you need a small digital cinema camera? Blackmagic has one of those too. 12K? Yep, they have that too, and it is a beauty. What Blackmagic does not usually have are two cameras with the exact same sensor in two different camera bodies.
In the past, if you wanted two Blackmagic Design cameras to match, you would need two of the exact same camera, which, admittedly, is not the least expensive option for budget-minded productions. I have always thought Blackmagic needed to make their camera’s images more consistent between camera models.
Why is it important to have two cameras with similar or the same sensor? Every color matched a Canon to a Sony. It can be done, and with DaVinci Resolve or Film Convert, you can match a camera pretty well. It is not that hard to do, but as someone who has tried to get Sony skin tones to match Canon’s, it isn’t the easiest of tasks.
Let’s get back to the Blackmagic Design URSA Broadcast G2, which is, essentially, a bigger Pocket Cinema Camera 6K. The not-so-secret behind the Broadcast G2 is that the broadcast camera is a beefed-up URSA Mini Pro version of the Blackmagic Pocket Cinema Camera 6K. Same sensor. Same crop. Different bodies with different features. Same great image.
Don’t believe me? Then you need to spool up the ol’ internet and take a look for yourself.
Pocket 6K Sensor? 23.10mm x 12.99mm, 13 stops of dynamic range, and a 6144 x 3456 (6K) up to 50 fps resolution.
URSA Broadcast G2? 23.10mm x 12.99mm, 13 stops of dynamic range, and a 6144 x 3456 (6K) up to 50 fps resolution.
Are you not convinced yet? Like any good journalist, I went to the source and immediately asked Blackmagic Design if the two cameras utilized the same sensor and had mostly the same features. The answer… yes. Absolutely.
Which, interestingly, makes my review of the Blackmagic URSA Broadcast G2 a bit of a repeat of my original review of the Blackmagic Pocket Cinema Camera 6K Pro. Overall, the image and color, and look of the camera raw files match, as they should, between the two cameras.
About the only feature difference between the URSA Broadcast G2 and Pocket Cinema Camera 6K Pro is that the Pocket camera uses “ISO” as a setting and the URSA Broadcast uses GAIN. Why? Mostly because the broadcast world is a “Gain” world instead of an “ISO” world. I prefer ISO.
Blackmagic URSA Broadcast G2
To be absolutely honest, I have always found a URSA Mini Pro, or URSA Broadcast with Blackmagic’s great EVF, to be the easiest to use over a Pocket Cinema Camera 6K. The size and weight of the camera package are similar to a news-style camera and, when attached to an EasyRig, floats in your hands very well. It is very easy to make great images with this combo.
Obviously, this is not the only difference between the two cameras. The URSA Broadcast G2 comes with a whole broadcast feature set necessary for multi-camera broadcasting of a live show. The Broadcast G2 comes with an SDI Input, SDI Output, SDI Monitor Output, SDI Rates of 1.5G, 3G, 6G, and 12G. As well as 2 x XLR inputs switchable between mic, line, and AES digital audio. The G2 also comes with Reference Inputs for Tri-Sync, Black Burst, and Timecode. The G2 also supports headsets for talkback, 12-pin Hirose Broadcast Lens Connection, and in-camera correction of color fringing when using compatible broadcast lenses. All of these necessary features during multi-camera broadcast productions.
What I find interesting with the URSA Broadcast G2 is not found in the Broadcast features but within the body itself. When I started to review the Blackmagic URSA Broadcast G2, I thought it would be a bit of a Pocket Cinema Camera 6K on steroids with more options. My thinking comes from a history of Blackmagic camera bodies delivering more features and higher frame rates in larger camera bodies due to the more space internally for more processing and cooling power necessary to provide more features. This thinking does not seem to be the case with the URSA Broadcast G2. When you look at the Broadcast G2 tech specs versus the Pocket 6K tech specs, you see very similar information.
In action, the cameras share the same features and frame rates. I do not see this as a disappointment, not at all. I think the URSA Broadcast G2 is a flexible camera that can allow owners to bounce from many different projects without grabbing a different camera or a specialty broadcast camera when the next project requires it. I think Blackmagic feels the same way, and that is why they include a Canon EF mount with the URSA Broadcast G2 to go with the B4 lens mount.
In many ways, the URSA Broadcast G2 is the camera many shooters wanted when the URSA Mini Pro 12K was released. At the time, I heard from a couple of friends that all they wanted was a 6K camera in a URSA Mini Pro camera body. Most were delivering 4K material and loved the idea of over-sampling 6K source files for 4K delivery. To them, the 12K was too much resolution without the dual native ISO settings that users grew to love in the Pocket 6K. But, the Pocket Cinema Camera 6K was not the kind of camera clients love to see when they’re paying you to shoot for them. Trust me; they want to see the “big” camera, as one client told me a while back. Now, we have the URSA Broadcast G2, and the new challenge for Blackmagic Design will be to get potential customers past the “Broadcast” name.
How is the URSA Broadcast G2? It is great. The G2 has all the attractive features found in all URSA Mini Pro body styles by Blackmagic Design. The great dual-native ISO, or Gain, in the case of the Broadcast naming of 0dB and 18dB Gain, or 400/3200 ISO, is a wonderful feature allowing shooters to capture lowlight images in some of the most challenging situations. External buttons for quick access to features to the great Menu User Interface are top-notch and should be an industry ideal for other camera manufacturers.
No surprise, but the image and highlight roll-off and color are nearly the same as the Blackmagic pocket cinema camera 6K Pro, which is all very pleasant and rich. It is easy to make pretty pictures with the URSA Broadcast G2. You really cannot go wrong with the S35 mm-sized sensor and color to go with it. A question pops into my head at this moment, when might we see a full-frame sensor from Blackmagic Design. Full-frame is not an easy engineering task, but neither is 12K.
What is great about the long life of Blackmagic’s URSA Mini camera body style is you have all the same accessories that go with all the URSA Mini cameras. The EVF and the shoulder pad have not changed in years, and the ones you bought to go with your first URSA Mini will work on this new 6K version. Yet, it has me wondering. The URSA Mini body style has been with us for a while now. Is it time for Blackmagic to move on with a new camera and styling? Maybe, I don’t begin to know what Blackmagic has up its sleeve. I do hope they find a way to put that 12K sensor into other cameras because it is absolutely gorgeous.
What I did find slightly annoying was the Broadcast setting for the camera shutter is in factions only and not my preferred 180-degree shutter. I prefer a 180-degree shutter because I don’t have to physically change my shutter when switching between 23.976 fps and high frame rate shooting.
What I find new and refreshing about the URSA Broadcast G2 are the expanded recording formats. The Pocket Cinema Camera 6K has two options for you: Blackmagic RAW or ProRes. The URSA Broadcast G2 has Blackmagic RAW, ProRes, H.265, and H.264. H. 264 is limited to 1080 HD recording, and the H.265 and ProRes is limited to UHD (3840 x 2160) recording. You will need to become accustomed to Blackmagic RAW for the fullest capabilities.
Why haven’t Blackmagic Design done this before? Just put the same sensor into two wholly different body designs and sizes. From my perspective, as a documentary shooter who shoots a ton of interviews, it just makes life easier if the two cameras you’re using are as close as they can be in the image between the two.
The URSA Broadcast G2 with an included Canon EF Mount and B4 Mount is a fairly good camera mainly because it is so inexpensive and feature-rich. You get the benefits of the already successful sensor from the Blackmagic Pocket Cinema Camera 6K with the tools to use the URSA Broadcast G2 in many different shooting situations. Essentially, great color with camera flexibility.
- Lens Control
- Electronic control via 12-pin broadcast connector. Control via EF mount pins when using URSA Mini Pro EF Mount with compatible EF lenses.
- In-camera correction of color fringing when using compatible broadcast lenses.
- 13 Stops
- 0dB and 18dB gain.
- f11 with 2160p59.94.
- f12 with 2160p50.
- at 2,000 lux with 89.9% reflectance.
- additional 1.1 stop light loss using 4K B4 mount.
- 64.62dB for 2160p
- Ultra HD scaled from 5.3K
- Four-position ND filter wheel with clear, 2 stop, 4 stop and 6 stop ND filters.
- The focus button triggers autofocus when using compatible lenses with focus servo. Touch and hold on LCD determines focus region and triggers auto focus.
- Iris wheel and touchscreen slider for manual iris adjustment on electronically controllable lenses, iris button for instant auto iris settings on compatible lenses so no pixel is clipped in film mode. Scene average auto exposure in video and extended video mode.
- 4 inch
- LCD capacitive touchscreen.
- Touchscreen menus on 4-inch screen.
- Push buttons for other controls.
- 3 assignable shortcut keys and 2 assignable shortcut keys (VTR and RET) on compatible broadcast lenses.
- 3840 x 2160 (Ultra HD) up to 60 fps
- from Ultra HD window or scaled from 5.3Kwindowed sensor
- 3840 x 2160 (Ultra HD) up to 50 fps
- scaled from full sensor
- 1920 x 1080 (HD) up to 120 fps
- scaled from 2.7K windowed sensor
- 1920 x 1080 (HD) up to 60 fps
- scaled from Ultra HD or 5.3Kwindowed sensor
- 1920 x 1080 (HD) up to 50 fps
- scaled from full sensor
- 3840 x 2160 (Ultra HD) up to 60 fps
- from Ultra HD window or scaled from 5.3Kwindowed sensor
- 3840 x 2160 (Ultra HD) up to 50 fps
- scaled from full sensor
- 1920 x 1080 (HD) up to 60 fps
- scaled from Ultra HD or 5.3K windowed sensor
- 1920 x 1080 (HD) up to 50 fps
- scaled from full sensor
- 6144 x 3456 (6K) up to 50 fps
- 6144 x 2560 (6K 2.4:1) up to 60 fps
- 5376 x 3024 (5.3K 16:9) up to 60 fps
- 3728 x 3104 (3.7K 6:5 anamorphic) up to 60 fps
- 3840 x 2160 (Ultra HD) up to 60 fps
- 1920 x 1080 (HD) up to 150 fps
- 23.98, 24, 25, 29.97, 30, 50, 59.94 and 60 fps.
- Off-speed frame rates up to 60p in Ultra HD and up to 150p in HD.
- Automatically populated lens data from electronic B4 lenses. Automatic recording of camera settings and slate data such as project, scene number, take and special notes.
- Highly accurate timecode clock. Less than 1 frame drift every 8 hours.
This color choice reinforces the hat's connection to the supernatural and the abilities of witches to tap into unseen forces. It adds an air of mystique and intrigue to the character. Another symbolic aspect of the hat is its transformative nature. In many stories and legends, the hat is said to possess magical qualities that enable witches to change their appearance or assume different forms. This idea is often portrayed in popular media, where a witch can simply don or remove her hat to access her powers or assume her witchy identity. Moreover, the hat can also represent the concept of disguise or a means of hiding one's true self. In some tales, witches wear their hats as a way to conceal their witchcraft from ordinary individuals. It serves as a mask, allowing them to move through society undetected and maintain their secret lives. In summary, the hat worn by witches is a powerful symbol that represents concepts such as power, transformation, and the supernatural. Its distinctive design and association with witches have made it an iconic representation of these characters. Whether it evokes fear, intrigue, or fascination, the hat is a prominent symbol in witchcraft mythology and popular culture..
Reviews for "The Witch's Hat: Unlocking its Symbolism through Myth and Folklore"
1. John - 2/5 - I found "Symbolic Meaning of the Hat Worn by Witches" to be quite disappointing. While I was initially intrigued by the concept, I felt that the book failed to deliver on its promise. The author's analysis of the symbolic meaning of the witch's hat felt shallow and lacking in depth. Additionally, the writing style was dry and difficult to engage with, making it a tedious read. Overall, I would not recommend this book to those interested in exploring the topic further.
2. Sarah - 1/5 - I was highly dissatisfied with "Symbolic Meaning of the Hat Worn by Witches." The book lacked any substantial evidence or research to support its claims. It appeared to be nothing more than the author's personal opinions and interpretations. Furthermore, the writing was disjointed and lacked coherence, making it difficult to follow the author's train of thought. I had high hopes for this book, but unfortunately, it fell short of my expectations.
3. Michael - 2/5 - I didn't enjoy "Symbolic Meaning of the Hat Worn by Witches" as much as I had hoped. While the topic itself is intriguing, the execution was lackluster. The author seemed to jump from one idea to another without providing sufficient explanations or examples. The book left me with more questions than answers and failed to provide a comprehensive analysis of the subject matter. Overall, I found it to be a disappointing read and would not recommend it to others seeking a deeper understanding of the symbolism behind the witch's hat.
4. Emily - 2/5 - "Symbolic Meaning of the Hat Worn by Witches" was a letdown for me. I expected a thought-provoking exploration of the topic but was instead faced with a surface-level analysis. The book lacked depth and failed to offer any new insights into the symbolic significance of the witch's hat. The writing style was also quite dry and academic, making it difficult to stay engaged with the material. If you're looking for a more in-depth and captivating exploration of this subject, I would suggest looking elsewhere.
The Witch's Hat: A Symbol of Feminine Power and Independence