Blackmagic URSA Cine 12K LF 100G + EVF

Film-Quality Results in a Networked Studio Workflow

The world’s most advanced digital film camera can now also be used for live production. Live broadcasts can finally achieve the same cinematic quality that was previously reserved only for the film industry. No other broadcast camera can compete with the dynamic range, frame rates, and color science of the Blackmagic URSA Cine. Because it handles both film and live production, customers can use it flexibly as needed.

When SMPTE-2110 Live mode is selected in the menu, the camera instantly transforms into a live studio camera. Customers receive real-time SMPTE-2110 IP video via an Ethernet port, supporting up to 2160p60 in cinematic quality with a 16-stop dynamic range. This significantly outperforms traditional broadcast cameras. The 100G model also provides live output at up to 240 fps (only in 4.6K B4 crop 16:9 mode with the optional B4 mount) for stunning slow-motion sports footage.

Blackmagic Generation 6 Color Science delivers a range of image processing enhancements for the advanced URSA Cine sensor, including highly accurate color reproduction for natural and pleasing skin tones. The processing pipeline has been redesigned using 3D LUTs for film, extended video, and video gamut modes, allowing users to further customize the output with their own LUTs. LUTs are applied only after color correction, so adjustments are made across the full film gamut. The camera supports various color spaces, including Rec. 709, 2020, and PQ, and also allows for custom gamut compression. The URSA Cine now features two 3D LUT processors for different outputs and an additional LUT dedicated solely to SMPTE-2110 output.

An optional B4 mount allows the use of broadcast lenses with the Blackmagic URSA Cine 12K. B4 lenses are ideal for live production because they are electronically controlled and respond quickly. The mount’s optics are matched to the RGBW sensor, and center-crop mode enables Ultra HD at high frame rates. An optional B4 control cable converts the camera’s 7-pin EXT connector to a 12-pin Hirose connector for controlling B4 lenses.

The Blackmagic Media Dock speeds up the post-production workflow by simplifying and accelerating the start of editing and color grading. It allows you to connect up to three Blackmagic Media Modules for high-speed access to media from multiple URSA Cine cameras simultaneously. The Blackmagic Media Dock Ultra offers even higher performance with two extremely fast 100G Ethernet ports that can easily handle a large number of concurrent users.

The URSA Cine can be transformed into a live production camera using the large, bright 7" studio viewfinder. It features a touchscreen, so it acts as an extension of the camera and allows you to control all menus. It includes a lens hood and controls for brightness, contrast, and focus peaking. Installation is simple thanks to the connection and power supply via the viewfinder’s USB-C port on the front of the camera.

When using the Blackmagic URSA Cine as a live production camera, a built-in color corrector based on the primary corrector from DaVinci Resolve is available. It enables real-time color correction of the image. Classic controls for iris, black level, and RGB color shift are available via the ATEM Camera Control Panel, as well as advanced control via DaVinci Resolve panels with trackballs, which allow independent control of lift, gamma, and gain for the Y, R, G, and B channels. Thanks to the combination of this color corrector and the sensor’s 16-stop dynamic range, you can achieve a distinctly cinematic look that isn’t possible with standard broadcast cameras.

Your primary cameras can also be high-frame-rate cameras, which are ideal for live sports broadcasts and replays. You still have access to the 36x24 mm large-format RGBW sensor and 16-stop dynamic range. It also works with the new URSA Cine Studio Viewfinder, creating a complete studio camera solution.

The world’s most advanced digital film camera can now be used for live broadcasting as well. Live broadcast producers can finally achieve the same stunning cinematic quality that was previously the exclusive domain of the film industry. No other broadcast camera can match the dynamic range, frame rate, and color processing of the Blackmagic URSA Cine. Since it handles both film and live production, customers can fully utilize this camera for any type of work they desire.

When the camera is set to SMPTE-2110 Live in the menu, it instantly transforms into a live studio camera. Customers receive real-time SMPTE-2110 IP video via an Ethernet port, supporting resolutions up to 2160p60 with cinematic quality and a 16-stop dynamic range. This is far more than traditional broadcast cameras offer. In addition, the 100G model streams live video at up to 240 frames per second (only in 4.6K B4 crop 16:9 mode with the optional B4 mount) for stunning slow-motion sports footage.

Key Features

• Large-format cinematic sensor with 16-stop dynamic range
• 100G Ethernet for SMPTE-2110; up to 240 fps (only in 4.6K B4 crop 16:9 mode with the optional B4 mount)
• Lightweight and rugged design with professional connectors
• Optional PL, locking EF, LPL, and B4 mounts
• Blackmagic RAW for real-time 12K editing
• High-quality OLPF to reduce moiré and aliasing
• New Generation 6 Color Science
• Built-in ND filters
• Recording up to 12K at 80 fps, 8K at 144 fps, and 4.6K B4 crop 16:9 240 fps (only in 4.6K B4 crop 16:9 mode with the optional B4 mount)
• Compatibility with Blackmagic Media Dock
• High-speed Wi-Fi, 100G Ethernet, or mobile data
• Built-in RTMP and SRT streaming
• Built-in Live DaVinci hardware color corrector
• Optional URSA Cine Studio Viewfinder
• Advanced Blackmagic OS
• Localized into 13 languages
• Includes DaVinci Resolve Studio