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The new Blackmagic URSA Broadcast G2 camera is geared for both traditional and online broadcasters. Because of its three cameras in one design, it can function as a 4K production camera, a 4K studio camera, or a 6K digital film camera! It's an ideal choice for broadcasters because it makes use of your existing lenses and batteries! You may record to standard SD cards, UHS-II cards, CFast 2.0 cards, or external USB discs in file formats like H.265, ProRes, and Blackmagic RAW. This means that it works with all video software and broadcast media management systems. You can even switch out the lens mount! No other broadcast camera is as adaptable as this one!

Three Cameras in One

Broadcast Production Camera

URSA Broadcast G2, the ideal solution for broadcasters, incorporates ENG camera controls that are positioned around the camera and can be found by feel. It also has a low-light sensor, allowing you to capture stunning photographs in low-light conditions. That's an ideal mix for broadcast news and programming.

Live Studio Camera

URSA Broadcast has a built-in sophisticated YRGB colour corrector and full remote camera control. You may utilise B4 ENG lenses, big studio box lenses, or switch the lens mount and use any lens! In addition, the optional Blackmagic focus and zoom commands allow you to operate the lens directly from the tripod grips.

Digital Cinema Camera

The URSA Broadcast G2 has a sophisticated 6K digital film sensor and a lens mount that can be changed! For digital film lenses, use a PL mount, while for photo lenses, use an EF mount. In addition, the high dynamic range, excellent low-light performance, and Blackmagic RAW make this a true "Hollywood" quality digital film camera.

Get Digital Film Quality for Broadcast

The big 6K sensor, paired with Blackmagic generation 5 colour science, provides imaging technology similar to that seen in digital film cameras. This means that broadcasters can now use digital cinema quality in their programming! The 6K sensor has a resolution of 6144 x 3456, making it suitable for broadcast and digital film work. When you use B4 lenses, you get a 4K sensor window for Ultra HD broadcast applications. Then, if you switch to a PL or EF lens mount, you may use the sensor's full 6K resolution for a digital film! With a dynamic range of 13 stops, you get darker blacks and brighter whites, making it ideal for colour correction. The use of digital film in broadcast is a step forwards in image quality!

Compatible with B4 Broadcast Lenses

The URSA Broadcast G2 has a B4 broadcast lens mount with optics that have been specifically built to fit the camera's sensor. The B4 lens mount allows you to use contemporary Ultra HD lenses as well as less expensive HD lenses. Older HD lenses frequently have resolutions that exceed HD, so you get superb quality at a minimal cost! B4 lenses are great because they are par-focal, which means the image stays in focus as you zoom in and out, eliminating the need to constantly chase focus while shooting. This allows you to work much more quickly! You also get full electronic lens control, which allows you to change the focus, iris, and zoom using the camera's controls or remotely! In addition, if you want to use different lenses, you can switch the mount to PL or EF.

Built-In Optical ND Filters

The URSA Broadcast G2 is equipped with high-quality neutral density (ND) filters that allow you to swiftly limit the amount of light entering the camera. The 1/4, 1/16th and 1/64th stop filters have been specifically engineered to complement the image sensor and colour science of the URSA Broadcast G2, giving you more latitude and superior colourimetry. This allows you to use multiple apertures and shutter angle combinations in a larger range of conditions. The IR filters are designed to filter both optical and IR wavelengths uniformly, hence eliminating IR pollution. Furthermore, the filter state can be displayed on the LCD as a fraction, number, or stop reduction!

Dual Media Slots for Non‑Stop Recording

You can choose the media that's best for you with dual CFast 2.0 recorders and dual SD/UHS-II card recorders! With dual media slots, URSA Broadcast allows you to record indefinitely! When a card is full, recording moves to the next card automatically, allowing you to exchange a full card while recording continues. Even when working in Ultra HD at high frame rates, you receive adequate speed to record high-quality ProRes and H.265 video files. As a result, URSA Broadcast G2 is simple to integrate with your existing broadcast systems. Even 12-bit Blackmagic RAW film files can be recorded!

Strong and Lightweight Magnesium Design

The URSA Broadcast G2 has a very robust, lightweight magnesium alloy body that is perfectly balanced and intended for all-day comfort! It has familiar externally located switches and knobs for quick access to the most crucial camera settings. The controls are clearly laid out, making them easy to find by feel, allowing you to modify settings without having to look at the buttons. A foldout touchscreen is also included for monitoring, viewing camera status, and adjusting settings via on-screen menus. Standard 12G-SDI connections, XLR audio inputs, USB-C, and an industry-standard 4 pin XLR broadcast 12V DC connections are all included in the URSA Broadcast G2!

Load Custom 3D LUTs to Recreate Film Looks!

To preserve dynamic range, digital film cameras shoot in logarithmic colourspace, which is ideal for post-production. However, when viewed on a monitor, these files can appear flat and faded out. 3D LUTs fix this issue by allowing you to apply a "look" on the monitor so you can see how the finished pictures will look when editing. LUTs can be used temporarily for monitoring or recorded as Blackmagic RAW files for usage in post-production. The URSA Broadcast G2 supports industry standard 17 and 33 point 3D LUT files, as well as built-in LUTs such Extended Video, Film to Video, Film to Rec.2020, and more.

Standard Television Industry Connections

The Blackmagic URSA Broadcast G2 incorporates cutting-edge technologies and connectors including 12G-SDI. 12G-SDI connections are provided for both video output and return programme feed input. The 12G-SDI connections support multi-rate switching and can support all HD and Ultra HD standards up to 2160p60. A headphone jack, USB-C, balanced XLR audio with phantom power, and a timecode/reference input are among the other connections. There's also a 12 pin Hirose connector on the front for broadcast lens control, which can also power the lens. There's even an HD-SDI monitoring output and a broadcast style 4 pin XLR 12V DC power output for connecting a viewfinder or on-set monitor!

Professional Audio Connections and Built-in Microphones

The URSA Broadcast G2 includes a high-quality microphone and professional audio recorder, eliminating the need for additional sound equipment. That is, you can either use the built-in stereo microphone or attach external microphones. The XLR connections provide 48V phantom power, allowing you to attach anything from a shotgun to a cordless clip-on mic. You may also link audio inputs on the camera, allowing you to plug in lapel microphones that typically only have a single mono connection if you want to capture the mic on both channels of the recorded file. The URSA Broadcast G2 also has level adjustment knobs and onscreen metres, allowing you to modify audio levels even when shoulder mounted.

Change to PL, EF and F Lens Mounts!

The URSA Broadcast G2 has an interchangeable lens mount, allowing you to quickly replace the included B4 lens mount for an EF, PL, or even F mount. The URSA Broadcast G2 comes with a B4 mount already mounted, as well as a spare EF mount. That implies that if you're just getting started, you may swap out the mount and use low-cost photographic lenses. Because they are developed for high-resolution photos, photographic lenses are of exceptional quality. Optional PL and F mounts are also available separately. If you're shooting digital film, the PL mount is the ideal option because it's the most common lens mount for cinema lenses. With the URSA Broadcast G2, you get a single camera that can be used with almost any current lens!

Built-in Timecode Generator

All Blackmagic URSA Broadcast G2 models include a built-in time of day timecode generator, allowing you to sync all of your cameras and then do multi-cam editing later because all of your recordings will have the same timecode. Simply connect an external timecode generator to the BNC timecode input, and the camera will detect and lock the internal generator. Now, each camera can start and stop recording, and all shots will have the same timecode. Consider filming a music festival using many cameras. Then, using the DaVinci Resolve sync bin, the recordings may be automatically synced and displayed in a Multiview for easier editing.

Wireless Bluetooth Camera Remote Control

If you place the camera on the end of a boom or in another difficult-to-reach area, you can control it through Bluetooth from up to 30 feet away. You can use the Blackmagic Camera Control software on your iPad, or you can utilise third-party programmes like Bluetooth+ or tRigger on your iOS and Android devices. The Blackmagic Design developer website even offers a free developer SDK with sample code, allowing you to construct your remote camera control and digital slate solutions! Consider developing an app that can jam sync timecode and cause all cameras to record at the same time. The options are limitless!

Effective Sensor Size 2/3 inch sensor size when using 4K B4 mount
(Actual sensor size 23.10mm x 12.99mm)
Lens Mount B4 2/3 inch installed
Active EF mount also included
Lens Control Electronic control via 12-pin broadcast connector. Control via EF mount pins when using URSA Mini Pro EF Mount with compatible EF lenses.
Lens Correction In-camera correction of colour fringing when using compatible broadcast lenses.
Dynamic Range 13 Stops
Dual Native ISO 0dB and 18dB gain.
Sensitivity at 0dB Gain f11 with 2160p59.94.
f12 with 2160p50.
at 2,000 lux with 89.9% reflectance.
additional 1.1 stop light loss using 4K B4 mount.
Signal to Noise Ratio 64.62dB for 2160p
Ultra HD scaled from 5.3K
Built in ND Filters Four position ND filter wheel with clear, 2 stop, 4 stop and 6 stop ND filters.
Focus Focus button triggers auto focus when 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 inches
Screen Type Touchscreen menus on 4 inch screen. Push buttons for other controls. 3 assignable shortcut keys and 2 assignable shortcut keys (VTR and RET) on compatible broadcast lenses.
ProRes Shooting Resolutions 3840 x 2160 (Ultra HD) up to 60 fps
and Frame Rates from Ultra HD window or scaled from 5.3Kwindowed sensor
  3840 x 2160 (Ultra HD) up to 50 fps
  scaled from full sensor
  1920 x 1080 (HD) up to 120 fps
  scaled from 2.7K windowed sensor
  1920 x 1080 (HD) up to 60 fps
  scaled from Ultra HD or 5.3Kwindowed sensor
  1920 x 1080 (HD) up to 50 fps
  scaled from full sensor
H.265 Shooting Resolutions and Frame Rates 3840 x 2160 (Ultra HD) up to 60 fps
from Ultra HD window or scaled from 5.3Kwindowed sensor
3840 x 2160 (Ultra HD) up to 50 fps
scaled from full sensor
H.264 Shooting Resolutions and Frame Rates 1920 x 1080 (HD) up to 60 fps
scaled from Ultra HD or 5.3K windowed sensor
1920 x 1080 (HD) up to 50 fps
scaled from full sensor
Blackmagic RAW Shooting Resolutions and Frame Rates 6144 x 3456 (6K) up to 50 fps
6144 x 2560 (6K 2.4:1) up to 60 fps
5376 x 3024 (5.3K 16:9) up to 60 fps
3728 x 3104 (3.7K 6:5 anamorphic) up to 60 fps
3840 x 2160 (Ultra HD) up to 60 fps
1920 x 1080 (HD) up to 150 fps
Project Frame Rates 23.98, 24, 25, 29.97, 30, 50, 59.94 and 60 fps.
Off-speed frame rates up to 60p in Ultra HD and up to 150p in HD.
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.
Timecode Clock Highly accurate timecode clock. Less than 1 frame drift every 8 hours.
SDI Video Inputs 1
SDI Video Outputs 1
SDI Monitor Outputs 1
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 style headset for talkback.
Reference Inputs Tri-Sync/Black Burst/Timecode.
Lens Control 1 x 12-pin Hirose Broadcast Lens Connector
Remote Control 1 x 2.5mm LANC input for Rec Start/Stop, plus Iris and Focus control using compatible lenses.
Computer Interface 1 x USB Type‑C 3.1 Gen 2 with power delivery for external drive recording and connecting Blackmagic Focus and Zoom Demand. 1 x USB Type‑C for software updates.
Microphone Integrated stereo microphone.
Built in Speaker 1 x mono speaker.
SD Video Standards None
HD Video Standards 1080p23.98, 1080p24, 1080p25, 1080p29.97, 1080p30, 1080p50, 1080p59.94, 1080p60 1080i50, 1080i59.94, 1080i60.
Ultra HD Video Standards 2160p23.98, 2160p24, 2160p25, 2160p29.97, 2160p30, 2160p50, 2160p59.94, 2160p60.
SDI Compliance SMPTE 292M, SMPTE 424M, SMPTE 425M level A and B, SMPTE 2081‑1, SMPTE 2081‑10, SMPTE 2082‑1 and SMPTE 2082‑10
SDI Audio Sampling 48 kHz and 24 bit
Media 2 x CFast 2.0 card slots, 2 x SD UHS‑II card slots, 1 x USB‑C 3.1 Gen 2 expansion port with power delivery for recording to external media.
Media Format Can format media to ExFAT for Windows and Mac or HFS+ for Mac (file systems). 
Please click here for a summary of compatible media.
Codecs Apple ProRes 422 HQ,
Apple ProRes 422,
H.265 SDI (10-bit 4:2:2),
H.265 High (10-bit 4:2:0),
H.265 Medium (10-bit 4:2:0),
H.265 Low (10-bit 4:2:0),
H.264 SDI (10-bit 4:2:2),
H.264 High (8-bit 4:2:0),
H.264 Medium (8-bit 4:2:0),
H.264 Low (8-bit 4:2:0),
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 Q1,
Blackmagic RAW Constant Quality Q3,
Blackmagic RAW Constant Quality Q5
External Control Lens control of compatible lenses using Blackmagic Zoom Demand and Blackmagic Focus Demand, Blackmagic SDI Control Protocol, iPad control via Bluetooth, 1 x 2.5mm LANC for lens and record control.
Colour Corrector DaVinci YRGB.
Talkback SDI Channels 15/16 and iPhone headset.
Live Tally Indicator Tally on LCD, URSA Viewfinder and URSA Studio Viewfinder.
Storage Type 2 x CFast 2.0
2 x SD UHS‑II cards
1 x high speed USB‑C expansion port for external media.
2.5 inch SSD using optional URSA Mini Recorder
Storage Rates Storage rates based on 30 frames per second.
6144 x 3456 (6K)
Blackmagic RAW 3:1 - 323 MB/s
Blackmagic RAW 5:1 - 194 MB/s
Blackmagic RAW 8:1 - 121 MB/s
Blackmagic RAW 12:1 - 81 MB/s
Blackmagic RAW Q0 - 242 to 483 MB/s
Blackmagic RAW Q1 - 162 to 387 MB/s
Blackmagic RAW Q3 - 108 to 277 MB/s
Blackmagic RAW Q5 - 65 to 162 MB/s
6144 x 2560 (6K 2.4:1)
Blackmagic RAW 3:1 - 240 MB/s
Blackmagic RAW 5:1 - 144 MB/s
Blackmagic RAW 8:1 - 90 MB/s
Blackmagic RAW 12:1 - 60 MB/s
Blackmagic RAW Q0 - 180 to 359 MB/s
Blackmagic RAW Q1 - 120 to 287 MB/s
Blackmagic RAW Q3 - 80 to 205 MB/s
Blackmagic RAW Q5 - 49 to 120 MB/s
5376 x 3024 (5.3K 16:9)
Blackmagic RAW 3:1 - 248 MB/s
Blackmagic RAW 5:1 - 149 MB/s
Blackmagic RAW 8:1 - 94 MB/s
Blackmagic RAW 12:1 - 63 MB/s
Blackmagic RAW Q0 - 186 to 371 MB/s
Blackmagic RAW Q1 - 125 to 297 MB/s
Blackmagic RAW Q3 - 84 to 213 MB/s
Blackmagic RAW Q5 - 51 to 125 MB/s
3728 x 3104 (3.7K 6:5 anamorphic)
Blackmagic RAW 3:1 - 177 MB/s
Blackmagic RAW 5:1 - 106 MB/s
Blackmagic RAW 8:1 - 67 MB/s
Blackmagic RAW 12:1 - 45 MB/s
Blackmagic RAW Q0 - 133 to 265 MB/s
Blackmagic RAW Q1 - 89 to 212 MB/s
Blackmagic RAW Q3 - 60 to 152 MB/s
Blackmagic RAW Q5 - 36 to 89 MB/s
3840 x 2160 (Ultra HD)
Apple ProRes 422 HQ - 110 MB/s
Apple ProRes 422 - 73.6 MB/s
H.265 SDI - 12.3 MB/s
H.265 High - 10.8 MB/s
H.265 Medium - 7.8 MB/s
H.265 Low - 3.2 MB/s
Blackmagic RAW 3:1 - 127 MB/s
Blackmagic RAW 5:1 - 77 MB/s
Blackmagic RAW 8:1 - 48 MB/s
Blackmagic RAW 12:1 - 32 MB/s
Blackmagic RAW Q0 - 96 to 190 MB/s
Blackmagic RAW Q1 - 64 to 153 MB/s
Blackmagic RAW Q3 - 43 to 109 MB/s
Blackmagic RAW Q5 - 26 to 64 MB/s
1920 x 1080
Apple ProRes 422 HQ - 27.5 MB/s
Apple ProRes 422 - 18.4 MB/s
H.264 SDI - 7.0 MB/s
H.264 High - 5.6 MB/s
H.264 Medium - 3.2 MB/s
H.264 Low - 1.8 MB/s
Blackmagic RAW 3:1 - 19 MB/s
Blackmagic RAW 5:1 - 12 MB/s
Blackmagic RAW 8:1 - 7.8 MB/s
Blackmagic RAW 12:1 - 5.2 MB/s
Blackmagic RAW Q0 - 23 to 47 MB/s
Blackmagic RAW Q1 - 16 to 37 MB/s
Blackmagic RAW Q3 - 10 to 27 MB/s
Blackmagic RAW Q5 - 6 to 16 MB/s
Constant Quality storage rates quoted are indicative only.
Actual storage rates are entirely dependent on image subject matter.
Recording Formats Apple ProRes 3840 x 2160 and 1920 x 1080 with film,
video or extended video dynamic range or custom 3D LUT.
H.265 3840 x 2160 with film, video or extended video dynamic range or custom 3D LUT.
H.264 1920 x 1080 with film, video or extended video dynamic range or custom 3D LUT.
Blackmagic RAW Q0, Q1, Q3, Q5, 3:1, 5:1, 8:1 and 12:1 at 6144 x 3456, 6144 x 2560, 5376 x 3024, 3728 x 3104, 3840 x 2160, 1920 x 1080 recorded in non-linear 12 bit with film dynamic range and extended video, video or custom 3D LUT embedded in metadata.
Software Included Blackmagic OS
DaVinci Resolve Studio for Mac and Windows including activation key
Blackmagic Camera Setup
Blackmagic RAW Player
Blackmagic RAW QuickLook Plugin
Blackmagic RAW SDK
Blackmagic RAW Speed Test
Operating Systems Mac 10.15 Catalina,
Mac 11.1 Big Sur or later.
Windows 10, 64-bit.
Power Supply 1 x External 12V DC 100W power supply with 100 - 240V AC 50/60Hz IEC C14 input.
External Power Input 1 x 4-pin XLR port for external mains power supply or battery use.
1 x 12-pin Molex connector under rear battery plate.
Power Output +12V 4-pin XLR regulated output on side of camera
+12V D-Tap regulated output on VLock battery plate
Power Rear camera mount compatible with industry standard V-mount or gold mount battery plates.
Dimensions 149.8 x 278 x 252.2 mm
Weight 3.5kg
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
Optional Accessories Blackmagic URSA Viewfinder
Blackmagic URSA Studio Viewfinder
Blackmagic Camera Fiber Converter
Blackmagic Studio Fiber Converter
Blackmagic URSA Mini Pro PL Mount
Blackmagic URSA Mini Pro F Mount
Blackmagic URSA Mini Mic Mount
Blackmagic URSA Mini Recorder
Blackmagic URSA Gold Battery Plate

* Specifications subject to change by the manufacturer without notice

Blackmagic URSA Broadcast G2

4K B4 lens mount installed

B4 turret dust cap

EF Mount with dust cap

VLock Battery Plate installed

URSA 12V 100W power supply

URSA Mini Shoulder Pad

URSA Mini top handle & rubber stopper

Viewfinder mounting plate

2 x 1/4 inch baseplate screws

2 x long 1/4 inch top handle screws

2 x short 1/4 inch top handle screws

8 x EF Mount screws

4 x VLock plate spare screws

Welcome wallet with QR code for camera software download

DaVinci Resolve Studio wallet

DaVinci Resolve Studio activation key

Manufacturer Warranty

This product comes with a

12  month Australian warranty

from New Magic Australia

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* Dispatch timeframes are indications only and may vary for multiple quantities. Timeframes are updated regularly during normal business hours.