The new Blackmagic URSA Cine 12K LF 100G adds 100G Ethernet and high-frame-rate SMPTE-2110 output to the existing URSA Cine 12K LF platform, targeting live broadcast production alongside its film credentials.
So, despite a lot of rumor and an equal amount of wishing, there was no new PYXIS camera launch from Blackmagic ahead of NAB. What we did have though, was a huge move to 100G Ethernet from the company, with the introduction of a new model of the Blackmagic URSA Cine 12K LF supporting 100G leading the charge.
Dropping cinematic looks and shallow depth of field into live broadcasting, particularly reaction shots of players, has become a huge thing in sports broadcasting in particular over the past couple of years. Arguably, it's now being used too much, as the transition between the reaction shot of a player scoring and the rest of the coverage using standard broadcast kit is quite jarring when used Every. Single. Time. But hey, maybe that's just us, and there is no denying there is definitely a market for the cameras.
This is a big deal for sports production. Super slo-mo used to mean dedicated cameras in dedicated positions, but if all your regular cameras can produce those same sort of shots, then you have huge flexibility when it comes to replays and maintaining coverage of the action.
Generation 6 Color Science brings a redesigned processing pipeline using 3D LUTs across film, extended video, and video gamuts. Users can load custom LUTs applied after the color corrector, preserving the full film gamut beneath. Preloaded LUT options include Rec. 709, Rec. 2020, and PQ. The camera now carries two 3D LUT processors for different outputs, plus a dedicated third LUT for the SMPTE-2110 feed.
A built-in color corrector based on DaVinci Resolve's primary corrector allows live color grading. The ATEM Camera Control Panel handles iris, black level, and RGB tint, while DaVinci Resolve control panels add trackball control over lift, gamma, and gain across Y, R, G, and B channels.
The optional B4 lens mount, paired with an optional B4 control cable (converting the camera's 7-pin EXT connector to a 12-pin Hirose B4), allows use of electronically controlled broadcast lenses. Mount optics are matched to the RGBW sensor, and a center-crop mode enables Ultra HD at high frame rates.
The Blackmagic Media Dock supports up to three Media Modules for simultaneous high-speed access from multiple URSA Cine cameras. The Media Dock Ultra adds two 100G Ethernet ports for high-volume concurrent access.
Shooting specs remain as per the existing LF: up to 80 fps in 12K, 144 fps at 8K, and 240 fps at 4K. Other connectivity includes Wi-Fi, mobile data, built-in RTMP and SRT streaming, and built-in ND filters. DaVinci Resolve Studio is included.
The Blackmagic URSA Cine 12K LF 100G will be available Q3 from US$8995 (excluding duties) from Blackmagic Design resellers worldwide. That is a very interesting price point as the URSA Cine 12K LF launched for $14,995 in 2024 before dropping in price to $9495 in August 2025.