Blackmagic URSA Broadcast
Review: 5 - "A masterpiece of literature" by , written on May 4, 20020
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Blackmagic URSA Broadcast

$3,495.00
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URSA Broadcast is the first professional broadcast camera designed to work with standard media cards and file formats that are compatible with virtually all broadcast systems and editing software. URSA Broadcast records onto inexpensive standard SD cards, UHS-II cards and CFast cards, and records 1080i or 2160p video into standard .mov files. URSA Broadcast records using DNx145, DNx220X or ProRes so the files will work with your existing broadcast systems and workflows. You also get a B4 lens mount that works with your existing lenses, or you can swap it for optional EF, F and PL lens mounts so you can use standard photographic lenses. If you’re building a complete broadcast camera chain, the optional URSA Viewfinder, URSA Studio Viewfinder and SMPTE fiber converters feature familiar controls and design, so they operate exactly as experienced camera operators expect. URSA Broadcast helps you get the most value out of your investment in cameras, lenses and accessories, which means you’ll save time and money, so the camera virtually pays for itself!

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 screen 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.

HD Downscaling

For productions only requiring HD resolutions, the 4K image coming off the sensor can be downscaled before 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.

Body Design

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.

Blackmagic OS

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.


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, 12-bit Blackmagic RAW, and 10‑bit or 12‑bit ProRes and DNxHD recording. URSA Broadcast features dual SD UHS-II and CFast card slots for non stop recording. In addition to traditional video shooting mode, extended video mode gives you the dynamic range of digital film in a broadcast friendly format for stunning shots that can go straight to air without needing color correction. 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!

Camera Features

Effective Sensor Size

2/3 inch sensor size when using 4K B4 mount (Actual sensor size 13.056mm x 7.344mm)

Lens Mount

B4 2/3 inch

Lens Control

Electronic control via 12-pin broadcast connector. Control possible via EF mount pins when using optional URSA Mini Pro EF Mount.

Lens Correction

In-camera correction of color fringing when using compatible B4 lenses.

Dynamic Range

12 Stops

Shooting Resolutions

3840 x 2160, 1920 x 1080

Frame Rates

Project frame rates of 23.98, 24, 25, 29.97, 30, 50, 59.94 and 60 fps supported.
Off-speed frame rates up to 60p.

Built in ND Filters

Four position ND filter wheel with clear, 2-stop, 4-stop and 6-stop ND filters.

Focus

Focus button turns on peaking, auto focus available using compatible lenses with focus servo. Touch and hold on LCD determines focus region and triggers auto focus.

Iris Control

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.

Screen Dimensions

4 inch

Screen Type

LCD capacitive touchscreen.

Metadata Support

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.

Controls

Touchscreen menus on 4 inch screen.
Push buttons for other controls.
3 assignable shortcut keys on camera and 2 assignable shortcut keys (VTR and RET) on compatible B4 lenses.

Timecode Clock

Highly accurate timecode clock. Less than 1 frame drift every 8 hours.

Connections

Total Video Inputs

1 x SDI

Total Video Outputs

1 x SDI, 1 x SDI Monitoring.

SDI Rates

1.5G, 3G, 6G, 12G.

Analog Audio Inputs

2 x XLR switchable between mic, line and AES digital audio. Phantom power support.

Analog Audio Outputs

1 x 3.5mm headphone jack, supports iPhone microphone for talkback.

Reference Inputs

Tri-Sync/Black Burst/Timecode.

Remote Control

2 x 2.5mm LANC input for Rec Start/Stop, plus Iris and Focus control using compatible lenses.

Computer Interface

USB Type-C for software updates.

Blackmagic URSA Broadcast

Audio

Microphone

Integrated stereo microphone.

Built in Speaker

1 x mono speaker.

Standards

SD Video Standards

None

HD Video Standards

1080p23.98, 1080p24, 1080p25, 1080p29.97, 1080p30, 1080p50, 1080p59.94, 1080p60
Interlaced output via SDI 1080i50, 1080i59.94, 1080i60

Ultra HD Video Standards

2160p23.98, 2160p24, 2160p25, 2160p29.97, 2160p30, 2160p50, 2160p59.94, 2160p60

SDI Compliance

SMPTE 292M, SMPTE 424 level A and B, SMPTE 2081-1, SMPTE 2082-1

SDI Audio Sampling

48 kHz and 24 bit

Media

Media

2 x CFast for 4K RAW and ProRes recording.
2 x SD UHS-II card slots for HD and Ultra HD recording.

Media Format

Can format cards to ExFAT for Windows and Mac or HFS+ for Mac (file systems).

Please click here for a summary of compatible media.

Supported Codecs

Codecs

DNxHD 220X,
DNxHD 145,
Apple ProRes 4444 XQ QuickTime,
Apple ProRes 4444 QuickTime,
Apple ProRes 422 HQ QuickTime,
Apple ProRes 422 QuickTime,
Apple ProRes 422 LT QuickTime,
Apple ProRes 422 Proxy QuickTime.
Blackmagic RAW Constant Bitrate 3:1,
Blackmagic RAW Constant Bitrate 5:1,
Blackmagic RAW Constant Bitrate 8:1,
Blackmagic RAW Constant Bitrate 12:1,
Blackmagic RAW Constant Quality Q0,
Blackmagic RAW Constant Quality Q5

Control

External Control

Blackmagic SDI Control Protocol, iPad control via Bluetooth, 2 x 2.5mm LANC for lens and record control.

Color Corrector

Color Corrector

DaVinci YRGB.

Talkback and Tally

Talkback

SDI Channels 15/16 and iPhone headset.

Live Tally Indicator

Tally on LCD, URSA Viewfinder and URSA Studio Viewfinder.

Storage Features

Storage Type

2 x CFast 2.0
2 x SD UHS-II cards
2.5 inch SSD via optional URSA Mini SSD Recorder

Storage Rates

Storage rates based on 30 frames per second.

3840 x 2160
Apple ProRes 444 XQ - 250 MB/s
Apple ProRes 444 - 165 MB/s
Apple ProRes 422 HQ - 110 MB/s
Apple ProRes 422 - 73.6 MB/s
Apple ProRes 422 LT - 51 MB/s
Apple ProRes Proxy - 22.4 MB/s
Blackmagic RAW 3:1 - 127 MB/s
Blackmagic RAW 5:1 - 76 MB/s
Blackmagic RAW 8:1 - 48 MB/s
Blackmagic RAW 12:1 - 32 MB/s
Blackmagic RAW Q0 - 76 to 191 MB/s *
Blackmagic RAW Q5 - 19 to 55 MB/s **

1920 x 1080
DNxHD 220X - 27.5 MB/s
DNxHD 145 -18.2 MB/s
Apple ProRes 444 XQ - 62.5 MB/s
Apple ProRes 444 - 41.25 MB/s
Apple ProRes 422 HQ - 27.5 MB/s
Apple ProRes 422 - 18.4 MB/s
Apple ProRes 422 LT - 12.75 MB/s
Apple ProRes Proxy - 5.6 MB/s

Recording Formats

DNxHD 1920 x 1080 and 1920 x 1080i with either film, video or extended video dynamic range.
Apple ProRes 3840 x 2160 and 1920 x 1080 with either film, video or extended video dynamic range.
Blackmagic RAW Q0, Q5, 3:1, 5:1, 8:1 and 12:1 at 3840 x 2160 with film, extended video or video dynamic range.

*

Constant Quality setting Q0 storage rates quoted are indicative only, based on a 2:1 - 5:1 compression range.

**

Constant Quality setting Q5 storage rates quoted are indicative only, based on a 7:1 - 20:1 compression range.
Actual storage rates are entirely dependent on image subject matter.

Software

Software Included

Blackmagic OS

Blackmagic Camera Setup.

Operating Systems

Mac icon

Mac 10.14 Mojave,
Mac 10.15 Catalina or later.

Windows Icon

Windows 8.1 and 10.

Power Requirements

Power Supply

1 x External 12V power supply.

External Power Input

1 x 4-pin XLR port for external power or battery use.
1 x 12-pin Molex connector on rear battery plate.

Power

Rear camera mount compatible with industry standard V-mount or gold mount battery plates.

Accessories

Optional Accessories

Blackmagic URSA Viewfinder

Blackmagic URSA Studio Viewfinder

Blackmagic Shoulder Mount Kit

Blackmagic Camera Fiber Converter

Blackmagic Studio Fiber Converter

Interchangeable Lens Mount for EF, PL or F mount lenses

Blackmagic URSA Mini Mic Mount

Blackmagic URSA Mini SSD Recorder

Blackmagic URSA VLock Battery Plate

Blackmagic URSA Gold Battery Plate

Physical Specifications

Blackmagic URSA Broadcast

Environmental Specifications

Operating Temperature

0° to 40°C (32° to 104°F)

Storage Temperature

-20° to 45°C (-4° to 113°F)

Relative Humidity

0% to 90% non-condensing

What's Included

URSA Broadcast body

Turret dust cap

B4 lens mount

Power supply

SD card with software and manual

Warranty

12 Month Limited Manufacturer's Warranty.

URSA Broadcast is the first professional broadcast camera designed to work with standard media cards and file formats that are compatible with virtually all broadcast systems and editing software. URSA Broadcast records onto inexpensive standard SD cards, UHS-II cards and CFast cards, and records 1080i or 2160p video into standard .mov files. URSA Broadcast records using DNx145, DNx220X or ProRes so the files will work with your existing broadcast systems and workflows. You also get a B4 lens mount that works with your existing lenses, or you can swap it for optional EF, F and PL lens mounts so you can use standard photographic lenses. If you’re building a complete broadcast camera chain, the optional URSA Viewfinder, URSA Studio Viewfinder and SMPTE fiber converters feature familiar controls and design, so they operate exactly as experienced camera operators expect. URSA Broadcast helps you get the most value out of your investment in cameras, lenses and accessories, which means you’ll save time and money, so the camera virtually pays for itself!

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 screen 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.

HD Downscaling

For productions only requiring HD resolutions, the 4K image coming off the sensor can be downscaled before 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.

Body Design

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.

Blackmagic OS

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.


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, 12-bit Blackmagic RAW, and 10‑bit or 12‑bit ProRes and DNxHD recording. URSA Broadcast features dual SD UHS-II and CFast card slots for non stop recording. In addition to traditional video shooting mode, extended video mode gives you the dynamic range of digital film in a broadcast friendly format for stunning shots that can go straight to air without needing color correction. 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!

Camera Features

Effective Sensor Size

2/3 inch sensor size when using 4K B4 mount (Actual sensor size 13.056mm x 7.344mm)

Lens Mount

B4 2/3 inch

Lens Control

Electronic control via 12-pin broadcast connector. Control possible via EF mount pins when using optional URSA Mini Pro EF Mount.

Lens Correction

In-camera correction of color fringing when using compatible B4 lenses.

Dynamic Range

12 Stops

Shooting Resolutions

3840 x 2160, 1920 x 1080

Frame Rates

Project frame rates of 23.98, 24, 25, 29.97, 30, 50, 59.94 and 60 fps supported.
Off-speed frame rates up to 60p.

Built in ND Filters

Four position ND filter wheel with clear, 2-stop, 4-stop and 6-stop ND filters.

Focus

Focus button turns on peaking, auto focus available using compatible lenses with focus servo. Touch and hold on LCD determines focus region and triggers auto focus.

Iris Control

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.

Screen Dimensions

4 inch

Screen Type

LCD capacitive touchscreen.

Metadata Support

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.

Controls

Touchscreen menus on 4 inch screen.
Push buttons for other controls.
3 assignable shortcut keys on camera and 2 assignable shortcut keys (VTR and RET) on compatible B4 lenses.

Timecode Clock

Highly accurate timecode clock. Less than 1 frame drift every 8 hours.

Connections

Total Video Inputs

1 x SDI

Total Video Outputs

1 x SDI, 1 x SDI Monitoring.

SDI Rates

1.5G, 3G, 6G, 12G.

Analog Audio Inputs

2 x XLR switchable between mic, line and AES digital audio. Phantom power support.

Analog Audio Outputs

1 x 3.5mm headphone jack, supports iPhone microphone for talkback.

Reference Inputs

Tri-Sync/Black Burst/Timecode.

Remote Control

2 x 2.5mm LANC input for Rec Start/Stop, plus Iris and Focus control using compatible lenses.

Computer Interface

USB Type-C for software updates.

Blackmagic URSA Broadcast

Audio

Microphone

Integrated stereo microphone.

Built in Speaker

1 x mono speaker.

Standards

SD Video Standards

None

HD Video Standards

1080p23.98, 1080p24, 1080p25, 1080p29.97, 1080p30, 1080p50, 1080p59.94, 1080p60
Interlaced output via SDI 1080i50, 1080i59.94, 1080i60

Ultra HD Video Standards

2160p23.98, 2160p24, 2160p25, 2160p29.97, 2160p30, 2160p50, 2160p59.94, 2160p60

SDI Compliance

SMPTE 292M, SMPTE 424 level A and B, SMPTE 2081-1, SMPTE 2082-1

SDI Audio Sampling

48 kHz and 24 bit

Media

Media

2 x CFast for 4K RAW and ProRes recording.
2 x SD UHS-II card slots for HD and Ultra HD recording.

Media Format

Can format cards to ExFAT for Windows and Mac or HFS+ for Mac (file systems).

Please click here for a summary of compatible media.

Supported Codecs

Codecs

DNxHD 220X,
DNxHD 145,
Apple ProRes 4444 XQ QuickTime,
Apple ProRes 4444 QuickTime,
Apple ProRes 422 HQ QuickTime,
Apple ProRes 422 QuickTime,
Apple ProRes 422 LT QuickTime,
Apple ProRes 422 Proxy QuickTime.
Blackmagic RAW Constant Bitrate 3:1,
Blackmagic RAW Constant Bitrate 5:1,
Blackmagic RAW Constant Bitrate 8:1,
Blackmagic RAW Constant Bitrate 12:1,
Blackmagic RAW Constant Quality Q0,
Blackmagic RAW Constant Quality Q5

Control

External Control

Blackmagic SDI Control Protocol, iPad control via Bluetooth, 2 x 2.5mm LANC for lens and record control.

Color Corrector

Color Corrector

DaVinci YRGB.

Talkback and Tally

Talkback

SDI Channels 15/16 and iPhone headset.

Live Tally Indicator

Tally on LCD, URSA Viewfinder and URSA Studio Viewfinder.

Storage Features

Storage Type

2 x CFast 2.0
2 x SD UHS-II cards
2.5 inch SSD via optional URSA Mini SSD Recorder

Storage Rates

Storage rates based on 30 frames per second.

3840 x 2160
Apple ProRes 444 XQ - 250 MB/s
Apple ProRes 444 - 165 MB/s
Apple ProRes 422 HQ - 110 MB/s
Apple ProRes 422 - 73.6 MB/s
Apple ProRes 422 LT - 51 MB/s
Apple ProRes Proxy - 22.4 MB/s
Blackmagic RAW 3:1 - 127 MB/s
Blackmagic RAW 5:1 - 76 MB/s
Blackmagic RAW 8:1 - 48 MB/s
Blackmagic RAW 12:1 - 32 MB/s
Blackmagic RAW Q0 - 76 to 191 MB/s *
Blackmagic RAW Q5 - 19 to 55 MB/s **

1920 x 1080
DNxHD 220X - 27.5 MB/s
DNxHD 145 -18.2 MB/s
Apple ProRes 444 XQ - 62.5 MB/s
Apple ProRes 444 - 41.25 MB/s
Apple ProRes 422 HQ - 27.5 MB/s
Apple ProRes 422 - 18.4 MB/s
Apple ProRes 422 LT - 12.75 MB/s
Apple ProRes Proxy - 5.6 MB/s

Recording Formats

DNxHD 1920 x 1080 and 1920 x 1080i with either film, video or extended video dynamic range.
Apple ProRes 3840 x 2160 and 1920 x 1080 with either film, video or extended video dynamic range.
Blackmagic RAW Q0, Q5, 3:1, 5:1, 8:1 and 12:1 at 3840 x 2160 with film, extended video or video dynamic range.

*

Constant Quality setting Q0 storage rates quoted are indicative only, based on a 2:1 - 5:1 compression range.

**

Constant Quality setting Q5 storage rates quoted are indicative only, based on a 7:1 - 20:1 compression range.
Actual storage rates are entirely dependent on image subject matter.

Software

Software Included

Blackmagic OS

Blackmagic Camera Setup.

Operating Systems

Mac icon

Mac 10.14 Mojave,
Mac 10.15 Catalina or later.

Windows Icon

Windows 8.1 and 10.

Power Requirements

Power Supply

1 x External 12V power supply.

External Power Input

1 x 4-pin XLR port for external power or battery use.
1 x 12-pin Molex connector on rear battery plate.

Power

Rear camera mount compatible with industry standard V-mount or gold mount battery plates.

Accessories

Optional Accessories

Blackmagic URSA Viewfinder

Blackmagic URSA Studio Viewfinder

Blackmagic Shoulder Mount Kit

Blackmagic Camera Fiber Converter

Blackmagic Studio Fiber Converter

Interchangeable Lens Mount for EF, PL or F mount lenses

Blackmagic URSA Mini Mic Mount

Blackmagic URSA Mini SSD Recorder

Blackmagic URSA VLock Battery Plate

Blackmagic URSA Gold Battery Plate

Physical Specifications

Blackmagic URSA Broadcast

Environmental Specifications

Operating Temperature

0° to 40°C (32° to 104°F)

Storage Temperature

-20° to 45°C (-4° to 113°F)

Relative Humidity

0% to 90% non-condensing

What's Included

URSA Broadcast body

Turret dust cap

B4 lens mount

Power supply

SD card with software and manual

Warranty

12 Month Limited Manufacturer's Warranty.

We make every effort to ensure your purchase is delivered on time and in good working condition.

In the event a system or component you purchased from DVEO is damaged in shipping, fails before the warranty period has ended, or you just need to return it, please refer to the steps below to return your purchase.

Shipping Policy

For Items Damaged During Shipping:

 DVEO is NOT responsible for breakage, damage, or delay in transit. Once a purchase has been delivered, it is the customer's responsibility to inspect systems and/or components for damage incurred during shipping and file a claim with transportation company within 3 days after receipt of merchandise. All claims for loss, damage or shortage must be reported to DVEO within 5 days from receipt of order.

Customs, duties, and taxes

DVEO is not responsible for any customs and taxes applied to your order. All fees imposed during or after shipping are the responsibility of the customer (tariffs, taxes, etc.).

Domestic Shipping Policy

Shipment confirmation and order tracking

As soon as your order has been shipped you will receive an email confirmation with your tracking number.

DVEO will provide weekend deliveries upon the customer’s request and at an additional charge. If we are experiencing a high volume of orders and expect any delays, you will be notified.

International Shipping Policy

We ship to every country unless the freight companies have it on a NO SHIPMENT LIST. Or a particular country has a restriction on receiving shipments, due to COVID-19.

Potential Delays and COVID-19

There may be potential delays due to COVID-19 in terms of processing shipments.

The health and safety of our employees and customers is our top priority. We’ve redesigned our order warehouse center to comply with government/state recommended social distancing and personal protective equipment guidelines.

We will notify you when your order is shipped or if we foresee any issues with fulfilling your order.

Return Policy

For Products Under One Year Warranty:

Please have a description of your issue and the serial number on hand when you contact support. DVEO will assist you in troubleshooting the problem remotely.

If remote troubleshooting is unable to correct or identify the problem an RMA number will be issued to return the defective system or component for repair.

For Returns:

Returns NOT related to product warranties or damage during shipping are handled on a case by case basis. If you would like to return a product or system purchased through DVEO you must notify DVEO within 30 days.

  • All returns will include a 25% restocking fee.
  • The item must be shipped back in the original packaging.
  • Used items that are missing any parts, accessories, manuals, and original packaging are subject to a 25%-75% restocking fee.
  • Items that have been disassembled where structural parts were opened up, removed, unscrewed, tampered with, or broken by the user are not accepted for returns or refunds. Our return policy does not cover ordinary wear and tear or damage caused by improper use or accidents.
  • Returned materials are subject to a restocking fee.
  • Returns must be accompanied by an RMA number provided by DVEO.
  • To get an RMA number, please email us at RMA@dveo.com.
  • DVEO is not responsible for shipping expenses.
  • COD or Collect returns will not be accepted.
  • Returns should be processed within a few weeks.

 

All Items returned to DVEO must have shipping labels addressed as follows:
Computer Modules Inc / DVEO
RMA: (Reference # Here)
11409 West Bernardo Court
San Diego, CA 92127
(858)613-1818

For more information, email info@dveo.com