Blackmagic is heading to NAB 2026 with a complete 100G SMPTE-2110 broadcast ecosystem in tow at characteristically disruptive prices.
We've already covered a couple of Blackmagic Design's big announcements, the release of DaVinci Resolve 21 and the new URSA Cine 12K LF 100G camera. But it is that last one that is most significant for the company's direction at NAB 2026 as it has dropped a whole host of products aimed at creating a complete, end-to-end 100G SMPTE-2110 IP broadcast infrastructure.
What's more, it's built and priced them more at Blackmagic's traditional price points rather than the premium that other manufacturers involved in building out 100G IP broadcast ecosystems have been charging.
Whether the market bites will depend on how well it all holds together in the field. Live production is famously conservative when it comes to change, but on paper the pricing alone is a serious statement of intent.
Here's what was announced, how much it costs, and when we will see it.
URSA Cine Immersive 100G ($26,495, Q3)
The original URSA Cine Immersive already had a respectable CV; MotoGP, BBC Proms, a Real Madrid documentary, and NASA's Artemis II launch. The 100G model takes the same dual 8K x 8K RGBW sensor design and adds something new: the ability to do it all live. The key is the separately announced URSA Live Encoder, a processing module that compresses both high-frame-rate stereo streams into Apple ProRes for SMPTE-2110-22 IP output over a single 100G Ethernet connection. The camera's combined data rate sits under 50 Gbps, which means two cameras can share one 100G link.
It's already been tested in the real world: the camera was used for Spectrum Front Row, a series of live Lakers games in Apple Immersive during the 2025-26 NBA season. The original URSA Cine Immersive remains on sale at $24,995; the 100G model adds $1,500 and the ability to go live. The URSA Live Encoder pricing and availability are still to be confirmed.
Fairlight Live (free public beta, available now)
This is the odd one out of this list. Fairlight Live is a software-based live audio mixer supporting everything from stereo to full immersive formats, capable of handling hundreds or thousands of channels depending on the host computer. Each channel carries built-in 6-band EQ, dynamics, and panning, with up to 24 VST/AU plug-in slots per channel via ChainFX. Broadcast-specific features include four talkback groups, mix-minus for remote guests, audio follows video for up to 100 cameras, on-air mode, virtual sound check, a cue player for jingles and MIDI triggers, and snapshot recall with transition controls between segments. SMPTE-2110 integration is native, with PTP clock sync and direct ATEM connectivity via USB-C.
On Mac it uses Core Audio; on Windows, System Audio and ASIO. Fairlight Live Audio Panels, available in three sizes from home studio to large broadcast, connect via USB or Thunderbolt and feature a touchscreen display above every group of 10 motorized faders. The public beta is free to download now, with no hardware required to get started.
ATEM 4 M/E Constellation IP (from $7995, June)
The flagship infrastructure announcement is a native SMPTE-2110 switcher designed from the ground up for 100G Ethernet. Two configurations: the standard 4 M/E with 32 standards-converted inputs across four pairs of redundant 100G connections and 24 outputs; and the 4 M/E Plus scaling up to 64 inputs and 48 outputs across eight 100G pairs. Both carry full SMPTE-2022-7 seamless protection switching, per-input standards conversion, front-to-back cooling, redundant PTP clock connections, and dual AC supplies.
The per-input standards converter is a significant feature. Live production never arrives in a single clean format, and building the fix into the switcher itself rather than requiring external hardware is the sort of practical thinking that live production values. Fairlight Live integrates directly via USB for full audio mixing with multiple talkback busses. The optional ATEM Monitoring Rack Panel ($995) restores the physical front-panel controls lost to the cooling design, and adds local SDI and HDMI monitoring conversion.
HyperDeck ISO Recorder 100G ($4995, June)
This provides eight simultaneous channels of Ultra HD SMPTE-2110 over a single 100G connection, recording Apple ProRes 422 HQ, 422, or LT directly to network storage. Two redundant 100G video ports, two redundant 100G storage ports, redundant PTP and control connections, dual AC supplies. The intended storage partners are the Cloud Store Ultra and Media Dock Ultra, both of which carry dual 100G ports — one for the HyperDeck, one for the edit network.
The primary sell is live action replay: DaVinci Resolve can browse and edit all eight camera angles from network storage while recording is still in progress, with matching-timecode clips displayed in a multi-view.
Blackmagic Cloud Store Ultra (from $8835, June)
Available in 24 TB and 48 TB configurations, the Cloud Store Ultra is built around 12 M.2 cards in parallel RAID 0, with two fully independent 100G Ethernet ports. One of these is for ingest from the HyperDeck, one for editing workstations, and each is isolated so neither can throttle the other. RAID 5 is available as an alternative for facilities that prioritise data protection over raw capacity. HDMI and SDI monitoring outputs show live storage status, Ethernet throughput, power supply health, and Blackmagic Cloud sync state. No subscriptions, no fees, full offline operation via a free Mac/Windows utility.
Blackmagic Media Dock Ultra ($2995, June)
Functionally similar to the Cloud Store Ultra in its dual 100G port design, but with a key difference: the storage is portable. The dock holds up to three Blackmagic Media Modules — the same removable media used in URSA Cine cameras — each housing four M.2 cards in RAID 0, with illuminated LED rings showing live activity. It's designed for broadcast trucks and productions where the job ends and the media needs to leave immediately, without waiting for a file transfer to complete. Also included are dual redundant power supplies, front-to-back cooling, Blackmagic Cloud sync, free management software.
Blackmagic Ethernet Switch 820 ($2295, June)
The dedicated network hub for the 100G ecosystem: eight 100G QSFP ports, two 10G ports, a dedicated NMOS control port, and critically two redundant PTP clock inputs, so a second grandmaster clock can be connected and timing is maintained across cable faults or maintenance windows. All connections are rear-facing, matching broadcast rack cabling convention, with six-fan front-to-back cooling and dual redundant AC supplies. A front-panel LCD handles simple TV-style IP routing without requiring IT expertise.
Blackmagic SDI Expander 8x12G ($2995, June)
This is the all-important migration bridge: 8 channels of 12G-SDI to SMPTE-2110 and 8 channels of SMPTE-2110 back to 12G-SDI, simultaneously, in a single 1RU box. Two 100G Ethernet ports for SMPTE-2022-7 redundancy, dedicated NMOS port, dual AC supplies. Existing SDI cameras, monitors, and routers get a clean path into the new IP plant without replacement. It also extends SDI connectivity for ATEM Constellation IP switchers — talkback, tally, and camera control returns included.
Blackmagic StudioBridge 10G PWR ($2495, June)
A 2RU aggregator that bridges eight separate 10G Ethernet SMPTE-2110 connections into a redundant 100G pair, giving lower-cost single-link 10G devices a route into high-end redundant broadcast infrastructure. Each 10G port delivers 90W of PoE++, so cameras and converters can be powered directly over the Ethernet connection. The headline use case is eight Blackmagic Studio Cameras into a large 100G IP system from a single converter: one cable per camera, carrying both signal and power.
Blackmagic UpDownCross 100G (from $2435, June)
Eight channels of simultaneous up, down, and cross conversion between any SD, HD, or Ultra HD format up to 2160p60, all via native SMPTE-2110 over 100G Ethernet. A single 100G port handles all eight input and eight output channels; a second provides SMPTE-2022-7 redundancy. The job is straightforward: protect a clean IP plant from the messy reality of mixed incoming standards. Eight channels, one rack unit, one cable. Sorted.
ATEM Monitoring Rack Panel (from $995, June)
Finally, the ATEM 4 M/E Constellation IP's front-to-back cooling leaves no room for front-panel controls, so Blackmagic has spun the SDI Constellation front panel into a standalone rack unit that also doubles as a SMPTE-2022-7 to 12G-SDI and HDMI monitoring converter. Physical switcher controls, front-panel LCD with video and audio meters, 5-pin broadcast talkback connector, dedicated Ethernet control port. Engineers who want to reach out and press a button rather than navigate software will appreciate its existence.