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URSA Broadcast is an advanced Ultra HD broadcast camera that works with your existing HD or Ultra HD B4 lenses so you can shoot HD today and switch to Ultra HD when you’re ready! You get professional broadcast controls, built in ND filters, non stop 12-bit recording of ProRes and DNx files to dual SD UHS-IIor CFast cards, and new extended video range for stunning broadcast ready shots that can go straight to air. URSA Broadcast is two cameras in one. Use it for production work or add a
Blackmagic URSA Studio Viewfinder to turn it into a live studio camera with remote control and built in color corrector!
The Blackmagic Design URSA Broadcast Camera is a field and studio production powerhouse. Featuring a native B4 mount for standard 2/3" broadcast lenses means that the URSA Broadcast will be at home on a studio sled behind a box lens just as much as it will be on the shoulder of a news coverage camera operator. The sensor itself features UHD 4K resolution which can facilitate native UHD recording, or downscaled HD recording for productions that don't require the extra
resolution. Video can be recorded to UHS-II SD cards or CFast 2.0 cards, with the latter capable of recording raw Cinema DNG files for further flexibility in post-production.
The camera really comes into its own when combined with the separately available URSA Mini Shoulder Kit and EVF. VCT-14 compatibility plus the ability to go shoulder-mounted when you need to is an important aspect of this camera. When shoulder-mounted, a connected B4 lens's grip and the EVF form points of contact for comfortable and stable shooting. Additionally, a 20-pin lens communication port allows for the URSA Broadcast to communicate with B4 lens servos.
The body itself is designed to be intuitive, with buttons and switches intelligently placed for muscle memory and on-the-fly adjustments. ISO/gain, shutter speed, and white balance are all available on classic toggle switches, while a traditional ND filter wheel lets you reduce the light hitting the sensor for full control over your image. Connections for audio in, video out, plus timecode/genlock input are available on industry-standard connectors, enabling them to interface with
professional gear right out of the box.
When you're not in the thick of a shooting day, open the LCD display to access the deeper camera menus and adjust global settings. While standard REC. 709 color is available for broadcast compatibility, extended video mode offers an optional look that has high contrast, yet takes advantage of the 12-stop dynamic range present in the sensor for smoother highlights without the washed-out look common in picture profiles with high dynamic ranges.
If you're setting up the URSA Broadcast for live studio production, separately available fiber converters and studio viewfinders are available. The fiber converter provides all the studio connectivity over a single fiber optic cable, with further adjustments and connections available on the converter itself. Even if your studio produces HD content, the URSA Broadcast only needs to be the first step towards a UHD workflow. When the rest of your studio is UHD-compatible, the URSA Broadcast will
be ready for your next UHD production.
Two Cameras in One
The URSA Broadcast was designed to function equally well as a studio camera, or as an ENG/EFP camcorder for both HD and UHD 4K productions. With the separately available shoulder-mount kit, the URSA Broadcast can slot into a studio sled or be used atop an operator's shoulder, ENG-style.
Standard Media and Formats
Media recorded by the URSA Broadcast should need no transcoding. Apple ProRes and Avid DNx can be recorded straight to UHS-II SD cards or CFast 2.0 cards. Just offload the media from the cards, and you can go straight to editing. You can even record lossless or compressed 12-bit CinemaDNG raw files for high-quality programming and post-production workflows. With dual slots for each media type, URSA Broadcast gives you the option for redundant or relay recording. When the first card is full,
recording automatically continues onto the next card, so you can swap one card while continuing recording on the other.
B4 Lens Compatibility
While the 4K sensor used in the URSA Broadcast is larger than the familiar 2/3"-type used with traditional B4 glass, a high-quality optical expander built into the mount enlarges the image circle for full sensor coverage. Many high-quality HD lenses can be used at resolutions well beyond HD, all the way up to 2.5K or 3K. Because B4 lenses are par-focal and have a very wide depth of field, the image stays in focus as you zoom in and out, so you don't need to chase focus as you shoot. That lets
you work much faster because you don't need to change lenses or refocus between close-up, medium, and wide shots, which is perfect when you're following the action in fast-paced scenarios.
For productions only requiring HD resolutions, the 4K image coming off the sensor can be downscaled prior to recording for smooth 1080p or 1080i image rendering. Since the entire sensor is scanned, the full dynamic range of the sensor remains intact and no aliasing artifacts will be introduced.
Optical ND Filters
Spin the ND filter wheel to access 1/4, 1/6, and 1/64 ND filters. These filters are designed in accordance with the URSA Broadcast's sensor, ensuring minimal difference in colorimetry. The filters also block IR wavelengths to prevent IR pollution when reducing visible light with NDs. ND filter values can be displayed as either a fraction, ND value, or stop reduction on the LCD or in the separately available EVF.
Like traditional broadcast cameras, the URSA Broadcast features familiar external mechanical switches and controls that give you direct access to the most important camera settings. The controls are laid out logically, making them easy to remember and locate by feel, so you can adjust settings without having to look at the buttons or take the camera off your shoulder. You also get a 4" foldout touchscreen for either monitoring or controlling the camera via software interface that provides
full redundancy for all the external controls and camera functions. On the operator's side of the camera, a dedicated backlit LCD shows essential information, such as current shooting frame rate, shutter angle, aperture, white balance, gain, iris, battery level, and audio meters, at a glance. Additionally, full-sized standard connections for audio via XLR connectors, SDI via BNC connectors, and broadcast power input via a standard 4-pin XLR 12V DC connector are available.
Slow Motion Recording
Whether you're shooting a sporting event or breaking news story, the URSA Broadcast has you covered for slow motion. To shoot slow motion video, the camera records at higher frame rates and plays back at standard video frame rates. You can set up your preferred high-speed frame rate using the camera's on-screen menus, and then switch between standard sync speed and off-speed frame rates with the touch of a button on the side of the camera. URSA Broadcast can capture full-resolution Ultra HD
at up to 60 frames per second.
Built-In Audio Recording
URSA Broadcast has a high-quality microphone and professional audio recorder built-in so you don't have to bring a separate recorder. The built-in stereo microphone can be used for recording scratch audio, or you can connect professional microphones using the two XLR mic inputs. The XLR connections have 48V of switchable phantom power so you can plug in everything from shotguns to wireless clip-on mics. With two microphone inputs, you can record a reporter in the field wearing a lapel or
handheld mic, while also capturing ambient sounds from the second input. You can also record the same microphone to both channels using different levels to avoid clipping from unexpected loud noises in the field. URSA Broadcast also features external knobs for adjusting levels and onscreen meters so you can trim audio levels even when shoulder-mounted.
Adaptable for Different Lenses
URSA Broadcast features an interchangeable lens mount so you can easily swap the included B4 lens mount for an EF, PL, or even F mount. That means if you're just starting out you can use low-cost, high-quality EF photographic lenses and then change to more expensive lenses when you're ready. Using an EF, PL, or F mount lens is a fantastic option when permanently rigging and mounting cameras in locked-off positions on set, so you don't tie up broadcast lenses for camera positions without
operators. Because the lens mounts are easy to change, you can also quickly reconfigure cameras from job to job. URSA Broadcast comes with a B4 mount already installed, and you can also purchase optional PL, EF, and F mounts separately as needed.
URSA Broadcast features the advanced Blackmagic OS with an intuitive user interface that lets you use simple tap and swipe gestures. Plus, you get many features from the URSA Mini digital film camera if you need to do more advanced programming work. You can set up the camera, enter metadata, and more. Plus, the software duplicates all the physical buttons and switches on the camera so you get full redundancy. The unique heads-up display puts commonly used functions at your fingertips so you
can tap on a control and quickly adjust without having to navigate through complex menus. The digital slate makes entering metadata fast with its built-in dictionary, predictive text entry, and on-screen keyboard.
Flexible Power Options
Right off the bat, the URSA Broadcast features a 4-pin XLR industry-standard power connector that works from 12 to 20V for external power supplies and battery packs. The standard power connector also means it's easy to use the camera with existing power supplies and batteries. V-mount and Gold mount battery plates are available separately for compatibility with a wide array of batteries from different manufacturers.
The Blackmagic URSA Mini Pro EF Mount lets you choose from an incredible selection of high quality photographic lenses from manufacturers like Zeiss, Canon, Sigma and more. Because EF lenses are used on high resolution DSLR cameras they have incredibly precise optics that can handle the high resolution of the URSA Mini Pro’s 4.6K sensor.
The Blackmagic URSA Mini Pro PL Mount lets you use the world’s highest quality professional cinema lenses with your URSA Min Pro camera. The PL lens mount features contact pins for compatibility with Cooke’s i/Technology protocol so information such as lens make and model, serial number, iris setting, focus distance and zoom position can be saved as metadata and used in software like DaVinci Resolve. In addition, you can also power and control broadcast style cine-servo zoom lenses using the
camera’s 12-pin Hirose connector.
Set of 9 shims and baffle tool for making precise changes to the the flange focal distance for URSA Mini Pro's EF, PL or B4 mount.
Be ready to shoot anywhere! Kit includes
VLock compatible battery plate for attaching third party batteries to URSA cameras.
The CN-E 85mm T1.3 L F is a short telephoto prime lens designed for EF mounts Robust, compact and weighing only 1.1kg it offers spectacular 4k image quality, a natural angle of view and perspective and is ideal for low light shooting and shallow depth of field.
From the Canon series of prime lenses, the CN-E 50mm T1.3 L F is a lightweight (1.3kg), compact fixed focal length lens designed for EF mounts. It offers spectacular 4K image quality and a full frame image circle plus great low light performance and fine creative control over focusing and depth of field.
Canon CN-E EF mount cinema lens bundle including 24, 50, and 85mm 4K digital cinema lenses.
Next level write speeds help you keep up with the new generation of professional cameras and camcorders, while data transfer speeds of up to 525MB/s make your post-production workflow more efficient.
The Blackmagic Mini Converter range are the worlds most advanced converters because they include the latest 6G-SDI technology, plus automatically detect the input video format and instantly change between virtually all SD, HD and Ultra HD video standards! Simply plug in and Mini Converters will convert between your equipment all automatically. You get advanced features such as redundant SDI inputs, re-clocked loop outputs and full analog and AES/EBU audio inputs and outputs so you can
convert between formats as well as embed or de-embed audio all on the one converter.
Mini Converter Audio to SDI 4K includes everything you need to embed 4 channels of analog audio or 8 channels of AES/EBU digital audio into any SDI video connection. Now you can embed professional audio from devices such as audio mixers and analog decks into SDI video connections for use with SDI routers and decks or to add extra audio channels to video converters.
Mini Converter SDI to Audio 4K includes everything you need to de-embed 4 channels of analog audio or 8 channels of AES/EBU digital audio from any SDI video connection. Now you can access the audio in any SDI video connection for output to a massive range of audio equipment such as audio mixers, analog broadcast decks, audio monitors and more.
The ultimate digital cinema capture card featuring two full frame DCI 4K inputs and outputs via 12G-SDI! You get dual link multi rate 12G-SDI connections that work with SD, HD and Ultra HD even in Ultra HD 60p, as well as full frame DCI 4K at 4096 x 2160 resolution up to 25p! Capture 10-bit YUV or full color bandwidth 12-bit RGB. Includes AES/EBU audio, up, down and cross conversion, plus built in 3D stereoscopic output at full bandwidth 4:4:4:4 RGB!
Snap-on an Anton Bauer battery and you're ready to go with this compact, full featured broadcast broadcast HD monitor. With its mercury-free LED backlight, you're assured the highest quality images and robust performance in the harshest environments. Housed in a durable metal cabinet, it's perfect for field production, and use as a camera viewfinder.
The advanced ATEM 1 M/E Production Studio 4K model switches between SD, HD or Ultra HD video standards so you can connect a wide range of video sources such as cameras, disk recorders and computers. Featuring 10 inputs, chroma keys, transitions, media pool, 4 upstream keyers, downstream keyers, audio mixer, multi view, full motion DVE, stinger transitions, large media pool with full motion clips and 3 auxiliary outputs!
ATEM Production Studio 4K lets you connect up to 8 SD, HD or Ultra HD 4K video cameras, disk recorders and computers to do true broadcast quality work. You get all the features you expect from a professional switcher including chroma key, transitions, media pool, downstream keyers, audio mixer, multi view and the world's first 6G-SDI and HDMI 4K video connections.
Introducing the exciting new Smart Videohub, the world’s first Ultra HD mixed format routers with built in video monitoring and spin knob router control.
Blackmagic Design HyperDeck Studio Mini is a miniaturized professional deck that records and plays back broadcast quality 10-bit video using commonly available SD and UHS-II cards. HyperDeck Studio Mini features 6G-SDI for working with all SD, HD and Ultra HD formats up to 2160p30.
The Hyperdeck Studio - it's like a VTR, but quite simply it's just better. It's as reliable as a tape deck but gives you infinite recording, uncompressed recording, ProRes encoding or DNxHD recording. It's got everything a tapeless workflow needs for remote and local control and fits straight into any facility.
Professional mini (150 mm) shotgun microphone with hard wired 3-pin XLR output cable.
Blackmagic URSA Mini Recorder lets you record Blackmagic RAW files onto 2.5 inch NVMe based 7mm U.2 SSD’s or standard 2.5 inch SSD Media with your URSA Mini Pro 12K! That means you can use commonly available and inexpensive high capacity solid state media! The NVMe based SSD media can record full resolution 12K, 8K and 4K 12‑bit RAW files plus it comes in much larger sizes so you can record longer without having to change disks!
Now you can control Blackmagic Design cameras by inserting control commands into the SDI feed from an Arduino!
The Blackmagic Camera Fiber Converter lets you extend and power your URSA Broadcast from up to 2 km away using industry standard SMPTE fiber cables. It also includes common live camera controls with multiple channels of talkback and standard television industry talkback headset connections. The Blackmagic Camera Fiber Converter features 1 Ultra HD camera feed, plus 3 HD return feeds in a compact IP video based design.
Work with remote cameras up to 2 km away from your studio or outside broadcast truck using SMPTE fiber. The Blackmagic Studio Fiber Converter converts SDI video, audio, and remote camera control connections into a single optical fiber cable, which connects to a Blackmagic Camera Fiber Converter attached to a remote camera. All video and data are transmitted using standard IP for extremely low latency broadcast quality video.
Shock and vibration isolated professional microphone mount for URSA Broadcast, URSA Mini Pro and URSA Mini enables you to quickly and securely mount professional microphones to your URSA camera!
This SMPTE cable is a hybrid cable used in professional broadcast environments. Ideal use between the Blackmagic Design Camera Fiber Converter to their Studio Fiber Converter.
Available in 100m, 150m, and 200m with or without drum. For shorter lengths, a 30m SMPTE 311M/304 cable is also available.
URSA Mini Pro 4.6K G2 is a next generation digital film camera with updated electronics and a high performance 4.6K HDR image sensor for shooting at up to 300 frames per second. You get a Super 35mm 4.6K sensor with 15 stops of dynamic range, built in optical ND filters, interchangeable EF lens mount that can be swapped for optional PL, B4 or F mounts, Blackmagic RAW and ProRes recording to dual CFast or dual SD cards, and an innovative USB-C
expansion port for recording directly to external disks.
URSA Broadcast including Fuji LA16 lens.
About Fujinon LA16x8BRM lens:
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