Blackmagic URSA Cine 12K LF and Immersive with 100G and Gen 6 colour science unveiled
[10:04 Wed,15.April 2026 by blip]
At NAB, Blackmagic Design is unveiling the highly anticipated DaVinci Resolve Version 21, which, among other things, supports new node-based photo editing and integrates numerous AI tools. When it comes to cameras, however, indie filmmakers are left empty-handed this year, as the innovations focus exclusively on live productions – both the URSA Cine Immersive and the URSA Cine 12K LF have been announced in 100G versions for high-quality image performance even during live operations.
However, they also feature the new Generation 6 Colour Science, which brings numerous optimisations to the image processing of the URSA Cine sensor and is designed to deliver natural and appealing skin tones thanks to highly precise colour reproduction. The redesigned processing pipeline allows the application of 3D-LUTs to the ‘Film’, ‘Extended Video’ and ‘Video’ colour spaces.
You can now load your own LUTs and customise the output to your liking. As LUTs are applied after the colour corrector, the corrections affect the full ‘Film’ colour space. Images can be output in various colour spaces such as Rec. 709, Rec. 2020 and PQ using pre-loaded LUTs. You can even customise the colour space compression. The new URSA Cine cameras feature two 3D-LUT processors for different outputs and an additional 3D-LUT specifically for SMPTE 2110 output.
Blackmagic URSA Cine Immersive 100G
The Blackmagic URSA Cine Immersive 100G is the world’s first immersive cinema camera designed specifically for live production using Apple Immersive Video. It uses 100G Ethernet to provide the bandwidth required for live output of immersive video. The new sensors in the URSA Cine Immersive 100G are designed to capture high-quality 8Kx8K images per eye. Like the URSA Cine, they use the RGBW sensor design with equal numbers of red, green and blue pixels, but with larger pixels and a dynamic range of 16 stops.
The accompanying URSA Live Encoder, which is also new, acts as a real-time processing module to compress the immersive live video into Apple ProRes and output it as IP video in accordance with SMPTE 2110-22. This creates a completely new, immersive live viewing experience. As the camera’s data rate is also below 50 Gbps, users can operate two cameras over a single 100G Ethernet connection.
The Blackmagic URSA Cine Immersive 100G is expected to be available this autumn for USD 26,495 plus tax and duties. The Blackmagic URSA Live Encoder will follow towards the end of the year.
Blackmagic URSA Cine 12K LF 100G
Blackmagic aims to bring cinematic image quality to traditional live production with the new URSA Cine 12K LF 100G – the latest model in the URSA Cine family is designed with 100G Ethernet for live production outputs in accordance with SMPTE-2110 at up to 440 fps.
Enabling the ‘SMPTE-2110 Live’ option in the camera menu effectively transforms the cinema camera into a live studio camera. SMPTE-2110 IP video is output in real time via the Ethernet port, with video standards up to 2160p60 supported. Furthermore, the 100G model outputs live video at up to 440 fps, enabling exciting slow-motion replays during sports broadcasts.
The optional B4 lens mount allows broadcast lenses to be used with the Blackmagic URSA Cine 12K. B4 lenses are commonly used in live productions as they are electronically controlled and respond quickly. The optics of the lens mount are optimised for the RGBW sensor. A centre-crop mode is available for Ultra HD at high frame rates. An optional B4 control cable converts the 7-pin EXT connector into a 12-pin Hirose interface for B4 lens control.
With a large, bright 7-inch studio viewfinder monitor, the URSA Cine can be transformed into a live production camera. The viewfinder features a touchscreen and acts as a camera extension for controlling all menus. It also includes a lens hood and controls for brightness, contrast and focus peaking. To install, simply connect the viewfinder to the USB-C viewfinder port on the front of the camera, which also supplies power.
When using the Blackmagic URSA Cine as a live production camera, you have access to a built-in colour corrector based on DaVinci Resolve’s primary colour corrector. This allows you to colour-correct video live. Users can utilise standard controls for aperture, black level and RGB hue, all of which are available on the ATEM Camera Control Panel. Those wishing to further upgrade their setup can use the trackballs on DaVinci Resolve grading consoles to control the Y, R, G and B channels for shadows, midtones and highlights separately. The powerful colour corrector, combined with the 16-stop dynamic range of the URSA Cine sensor, enables impressive cinematic looks that cannot be achieved with conventional broadcast cameras.
The Blackmagic URSA Cine 12K LF 100G will also be launched in the third quarter, with prices starting at USD 8,995.
