Blackmagic Design URSA Broadcast G2

Blackmagic URSA Broadcast G2 is a broadcast camera for news, live production and documentary or film work. It has a 6K Super 35 sensor with 6144 × 3456 resolution, 13 stops of dynamic range, dual native ISO 400 and 3200 and gain up to +36 dB (ISO 25,600). The box includes an installed B4 mount for 2/3″ broadcast lenses plus an active EF mount, top handle, shoulder pad and V-Lock battery plate. It records Blackmagic RAW, ProRes, H.265 and H.264 to CFast 2.0 cards, SD UHS-II cards or an external USB-C disk, processes images with Generation 5 Color Science and can stream live via RTMP and SRT.

Three cameras in one body

A 4K shoulder-mounted news camera, a 4K studio camera and a 6K digital film camera – depending on the lens mount and lens you fit.

6K Super 35 · 6144 × 345613 stops · gain up to +36 dBB4 and EF includedBlackmagic RAW · ProRes · H.2652× CFast 2.0 · 2× SD UHS-IIRTMP and SRT streaming

Generation 5 Color Science

The same image processing as URSA Mini Pro 12K: accurate skin tones, a dynamic 12-bit gamma curve and images that respond to grading in DaVinci Resolve as naturally as film.

Blackmagic Cloud

Alongside the camera original, the camera creates small H.264 proxies that upload to Blackmagic Cloud within seconds. Editors back at the newsroom get them in their DaVinci Resolve project right after the shot, from anywhere in the world.

Timecode and remote control

The time of day timecode generator locks to external timecode fed into the BNC input. Via Bluetooth you can control the camera from an iPad up to 9 metres away, for example on the end of a jib.

A camera for news, studio and film

URSA Broadcast G2 works as a 4K shoulder-mounted news camera, as a 4K studio camera and as a 6K digital film camera. It uses the lenses and batteries broadcasters already own and records to common cards and disks in file formats that every editing and media management system can handle.

A 6K sensor for broadcast and film

The 6144 × 3456 sensor delivers 13 stops of dynamic range. With a B4 lens the camera uses a 4K window of the sensor for Ultra HD broadcast; after changing to a PL or EF mount it uses the full 6K sensor for digital film. In HD mode it scales down from the high resolution sensor for sharp images without aliasing.

Images in low light

Gain is set from −12 dB (ISO 100) to +36 dB (ISO 25,600) with a switch on the body, in the menu or remotely via SDI. The primary native ISO 400 suits studio lighting, while the second native ISO 3200 is for dim locations – so the camera can shoot in natural light without losing dynamic range.

B4 broadcast lenses

The B4 mount includes optics matched to the camera’s sensor and accepts modern Ultra HD lenses as well as lower cost HD lenses. B4 lenses are par-focal, so the image stays in focus while zooming. Focus, iris and zoom are controlled electronically from the camera or remotely via the 12-pin Hirose connector, which also powers the lens.

B4, EF, PL or F mount

The lens mount is interchangeable: replace the installed B4 mount with the included active EF mount and use lower cost photographic lenses with high resolving power. Optional Blackmagic URSA Mini Pro PL mounts for cinema lenses and F mounts for Nikon lenses are also available.

Built-in ND filters

The optical 2, 4 and 6 stop ND filters (1/4, 1/16 and 1/64) are designed for this camera’s sensor and color science, so colors stay accurate. The IR filters evenly filter both optical and infrared wavelengths. The display shows the filter status as a fraction, number or stop reduction.

Common file formats and two slots per media type

The camera records ProRes 422 HQ and ProRes 422, 10-bit H.265 at 60:1 to 285:1 compression, H.264 and 12-bit Blackmagic RAW. It has two CFast 2.0 and two SD UHS-II slots; when one card is full, recording continues on the next one, so you can swap the full card without stopping.

Recording to disks via USB-C

The USB-C 3.1 Gen 2 expansion port on the rear powers and records to an external flash disk or SSD in ProRes, H.265 or Blackmagic RAW. Just plug the disk into a computer and start editing. The same port also connects the optional Blackmagic Focus Demand and Zoom Demand.

RTMP and SRT live streaming

The built-in hardware encoder streams H.264 via RTMP and SRT to YouTube, Facebook, X and other services. The camera connects to the internet via a USB-C to Ethernet adapter or a 4G or 5G phone plugged into USB-C, which the camera configures for mobile data automatically.

A link to the studio via ATEM Streaming Bridge

Instead of a public service you can stream to a Blackmagic ATEM Streaming Bridge decoder, which converts the stream back to SDI. Connected to an ATEM switcher it sends camera control, tally and talkback for the camera operator back to the camera.

Pre-record up to 10 minutes

The camera records continuously into a buffer and, when you press record, adds the selected duration to the start of the file: 5, 10, 20 or 30 seconds, 1, 2, 5 or 10 minutes. An unexpected moment in news or documentary work is never missed, and only what is needed stays on the media.

Controls by feel and status display

Buttons and switches are laid out so the operator can find them by feel, even with an eye to the viewfinder. The fold-out touchscreen is for monitoring and menus, and programmable function buttons toggle zebra, false color, focus peaking or LUTs. The backlit status display shows timecode, frame rate, shutter angle, iris, white balance, gain, battery, card status and audio levels.

A studio camera controlled by an ATEM switcher

ATEM switchers control the camera via the SDI input: color correction, tally and lens control arrive with the program feed. The PGM button switches the viewfinder to the program return from the switcher, and the built-in speaker plays its audio. Talkback runs over SDI channels 15/16 and a headset.

Blackmagic Focus Demand and Zoom Demand

The optional focus and zoom demands mount on the tripod handles and control the lens via the camera’s electronic lens control. Each has two USB-C ports, so you can daisy chain them and connect to the camera with a single cable; their buttons can be assigned to camera functions.

Viewfinders, SMPTE fiber and recorder

For shoulder work add the Blackmagic URSA Viewfinder with a 1920 × 1080 OLED display; for the studio, the URSA Studio Viewfinder G2 with a 7″ screen. Blackmagic Camera Fiber Converter carries video, control and power over a single SMPTE fiber up to 2 km, and URSA Mini Recorder records to 2.5″ SSDs including U.2 NVMe.

Blackmagic RAW and DaVinci Resolve Studio

Blackmagic RAW saves camera settings as metadata, so you can change ISO, white balance and exposure later in grading. The camera loads 17 and 33 point 3D LUTs for monitoring or into the recorded metadata, and a full version of DaVinci Resolve Studio is included.

Controls and connections

Manufacturer drawings showing the buttons, switches and connectors on both sides, on top and at the rear.

Dimensions and weight

With the top handle and shoulder pad the camera measures 5.9 × 9.93 × 10.95″ (150 × 252 × 278 mm, W × H × L) and weighs 7.83 lb (3.55 kg).

More information

The new Blackmagic URSA Broadcast G2 is an incredibly powerful camera designed for both traditional and online broadcasters. The 3 cameras in 1 design allows it to work as a 4K production camera, a 4K studio camera or a 6K digital film camera. It's a perfect solution for broadcasters because it uses the lenses and batteries customers already own. Customers can record to common SD cards, UHS-II cards, CFast 2.0 cards or external USB disks, using common file formats such as H.265, Apple ProRes and Blackmagic RAW. This means it's compatible with all video software and broadcast media management systems. Customers can even change the lens mount. No other broadcast camera is so flexible.

The large 6K sensor combined with Blackmagic generation 5 color science gives customers the same imaging technology used in digital film cameras. The 6K sensor features a resolution of 6144 x 3456 so it's flexible enough for broadcast and digital film work. When using B4 lenses, customers get a 4K window of the sensor for Ultra HD broadcast use. Then if customers change to a PL or EF lens mount, they can use the full 6K resolution of the sensor for digital film. With 13 stops of dynamic range, customers get darker blacks and brighter whites, so it's perfect for color correction. Using digital film in broadcast is a revolution in image quality.

The new URSA Broadcast features incredible low light performance so customers can shoot using ambient light or even under moonlight. The Blackmagic URSA Broadcast G2 features gain from -12dB (100 ISO) up to +36dB (25,600 ISO) so it's optimized to reduce grain and noise in images, while maintaining the full dynamic range of the sensor. The gain can be set via a camera switch, the LCD menu or remotely using the SDI remote camera control protocol.

The URSA Broadcast G2 features a B4 broadcast lens mount that includes optics specifically designed to match the camera’s sensor. The B4 lens mount lets customers use modern Ultra HD lenses or lower cost HD lenses. Older HD lenses often feature resolutions well beyond HD, so customers get great quality at low cost. B4 lenses are fantastic because they are par-focal, so the image stays in focus as customers zoom in and out, so customers don't need to constantly chase focus as they shoot. Customers also get full electronic lens control to adjust focus, iris and zoom using the camera’s controls, or remotely. Plus if customers want to use alternative lenses, they can change the mount to PL, EF and more.

URSA Broadcast G2 features high quality neutral density (ND) filters that let customers quickly reduce the amount of light entering the camera. The 1/4, 1/16th and 1/64th stop filters have been specifically designed to match the image sensor and color science of URSA Broadcast G2, providing customers with additional latitude and better colorimetry. This lets customers use different combinations of aperture and shutter angle, in a wider range of situations. The IR filters have been designed to evenly filter both optical and IR wavelengths, eliminating IR contamination. Plus the filter status on the LCD can be displayed as a fraction, number, or stop reduction.

URSA Broadcast is designed to work with standard file formats that are used by all broadcast systems and editing software. Customers can record in ProRes 422 HQ and ProRes 422 into QuickTime files. The new Blackmagic URSA Broadcast G2 model can even record into H.265 for incredibly small files at 60:1 to 285:1 compression ratios, in 10-bit broadcast quality. Plus customers can record to Blackmagic RAW files, a revolutionary new format designed to capture and preserve the quality of the sensor data from the camera. That means customers get the perfect range of file formats designed for all types of workflows.

With dual CFast 2.0 recorders and dual SD/UHS-II card recorders, customers can choose the media that's best for them. Both types of media are standard, inexpensive and readily available at computer and camera stores. Plus with dual media slots, URSA Broadcast gives customers non stop recording. When a card is full, recording automatically continues onto the next card so customers can swap a full card while recording continues. Customers get enough speed to record high quality ProRes and H.265 video file formats, even when working in Ultra HD at high frame rates. That means URSA Broadcast G2 is easy to integrate into their existing broadcast systems. Customers can even record 12-bit Blackmagic RAW cinema files.

The Blackmagic URSA Broadcast G2 features a high speed USB-C expansion port on the rear of the camera that allows customers to record to external disks or connect to a wide range of accessories. If customers plug in a large and low cost external USB flash disk, customers can record ProRes, H.265 or even high quality 12-bit Blackmagic RAW files for later editing and color correction. That means customers can just move the disk to a computer to work, and don't need to waste time with file copying. Plus the USB port will power the disk that’s plugged in.

The Blackmagic URSA Broadcast G2 is not just a great Ultra HD camera, but it’s also an amazing HD camera too. The high resolution sensor and generation 5 color science creates amazing images with high dynamic range and wide color fidelity. But when customers need to do HD work, the camera will scale the image sensor down to 1080HD video standards. This helps customers get stories on air fast, in HD or Ultra HD video standard, anywhere in the world. Plus when working in HD, the high resolution sensor allows sub pixel image processing for superior anti-aliasing and sharp images. Blackmagic URSA Broadcast G2 is a future proof camera that's perfect for both HD and Ultra HD production.

URSA Broadcast G2 features an interchangeable lens mount so customers can easily swap the included B4 lens mount for an EF, PL or even F mount. URSA Broadcast G2 comes with a B4 mount already installed, plus a spare EF mount is included. That means if users are starting out customers can change the mount and use low cost photographic lenses. Photographic lenses are incredible quality because they're designed for high resolution photography. Customers can also purchase optional PL and F mounts separately. If users are shooting for digital film, the PL mount is best as it's the most common lens mount for cinema lenses. With URSA Broadcast G2, customers get a single camera that works with virtually all modern lenses.

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. Customers get a new dynamic 12-bit gamma curve designed to capture more color data in the highlights and shadows, for better looking images. The color science also handles some of the complex Blackmagic RAW image processing, so color and dynamic range data from the sensor is preserved via metadata which customers can use in post production.

The optional zoom and focus demands allow customers to use photography lenses for live production. The focus and zoom demands have USB-C connections so they control the lens via the camera’s electronic lens control. Each zoom and focus demand has 2 USB-C ports, so customers can daisy chain them then connect to the camera with a single USB connection. The design has an incredibly precise feel so customers get very fine lens control, and customers can frame and adjust the lens without taking their hands off the tripod handles.

There's a wide range of accessories that are specifically designed to work perfectly with URSA Broadcast G2. However, a shoulder mount kit, V-Lock battery plate and top handle are included so customers don't need to purchase anything extra. Plus customers get a spare EF lens mount if they don't own a B4 lens and would like to start out using a photography lens. Customers can add the optional Blackmagic URSA Viewfinder, or for live production, customers can add a Blackmagic URSA Studio Viewfinder. There's also an optional fiber converter that can power the camera from 2 km away via the single SMPTE fiber. For long duration recording, URSA Mini Recorder gives the option to record to external SSDs.