The Blackmagic Design URSA G2 Broadcast Camera is a flexible 3-in-1 powerhouse that will upgrade your broadcast studio or internet broadcast camera.
In addition to supporting up to UHD 4K, as its predecessor did for production and studio work, this improved G2 model has generation 5 color science and can now be utilized as a 6K digital film camera that records in Blackmagic RAW format.
The lens mount is appropriate for 2/3 “B4 lenses, but it also comes with an active EF mount adapter that gives you access to a large selection of specialized cinema lenses.
It boasts built-in optical ND filters, supports 12G-SDI input and output, takes audio through two XLR inputs, and can record using Prores 422 and Blackmagic RAW onto CFast 2.0 or SD UHS-II cards. You can even add 3D LUTs for cinematic looks.
The camera may be powered by either the provided 12 VDC power adapter or the preinstalled V-mount plate, which allows you to use professional, high-capacity V-mount batteries. The camera body is made of sturdy and lightweight magnesium, so it will stand stable in any situation.
A digital copy of DaVinci Resolve Studio and access to future camera software upgrades are also provided, along with the URSA Mini shoulder pad, URSA Mini top handle, a viewfinder mounting plate, and all the installation hardware and lens caps.
Three cameras in a single
Television Production Camera
For broadcast news and programming, the URSA Broadcast G2 is the ideal answer since it has ENG camera controls placed around the camera so you can feel where they are. It also has a low-light sensor, so you obtain stunning photos utilizing natural light.
Studio Live Camera
You can use B4 ENG or large studio box lenses, or even change the lens mount and use any lens, with URSA Broadcast including an advanced YRGB color corrector built-in and full remote camera control. Additionally, the optional Blackmagic focus and zoom demands let you control the lens from the tripod handles.
Digital Camera for Film
You get a truly “Hollywood” quality digital film camera with the URSA Broadcast G2, which also has a cutting-edge 6K digital film sensor and a lens mount that can be switched between a PL mount for digital film lenses and an EF mount for photo lenses.
Broadcast-quality digital film
Broadcasters can now use digital cinema quality in broadcasts thanks to the large 6K sensor’s resolution of 6144 x 3456, which makes it suitable for both broadcast and digital film work. The large 6K sensor, combined with Blackmagic generation 5 color science, gives you the same imaging technology used in digital film cameras.
With 13 stops of dynamic range, you get darker blacks and brighter whites, so it’s ideal for color correction. Using digital film in broadcast is a revolution in image quality. With B4 lenses, you get a 4K window of the sensor for Ultra HD broadcast use. Then, if you change to a PL or EF lens mount, you can use the full 6K resolution of the sensor for digital film.
Performance in Low Light
In sophisticated cameras, ISO is a measurement of the image sensor’s sensitivity to light, so you may film utilizing ambient light or even under the moonlight with the new URSA Broadcast.
The primary native ISO is 400, which is suitable for use in studio lighting, and the Blackmagic URSA Broadcast G2 includes gain from -12dB (100 ISO) up to +36dB (25,600 ISO), so it’s optimized to eliminate grain and noise in photos while keeping the entire dynamic range of the sensor.
The gain can be adjusted by a camera switch, the LCD menu, or remotely using the SDI remote camera control protocol. The secondary high base ISO of 3200 is then ideal when photographing in dimly illuminated conditions.
B4 Broadcast Lenses Compatibility
The B4 lens mount on the URSA Broadcast G2 allows you to utilize current UHD lenses or less expensive HD lenses since it has optics that are specifically made to complement the camera’s sensor.
B4 lenses are great because they are par-focal, meaning the image stays in focus as you zoom in and out, so you don’t need to constantly chase focus while you shoot. Older HD lenses frequently contain resolutions well beyond HD, so you get great quality at a low cost.
You also get complete electronic lens control, allowing you to change the focus, iris, and zoom via the camera’s controls or remotely. Additionally, you can switch the mount to PL, EF, and more if you want to utilize different lenses.
Optical ND filters built-in
The 1/4, 1/16th and 1/64th stop filters have been specifically designed to match the image sensor and color science of URSA Broadcast G2, giving you more latitude and better colorimetry. URSA Broadcast G2 features high-quality neutral density (ND) filters that let you quickly reduce the amount of light entering the camera.
The IR filters have been designed to evenly filter both optical and IR wavelengths, eliminating IR contamination, and the filter status on the LCD can be displayed as a fraction, number, or stop reduction, allowing you to use different combinations of aperture and shutter angles in a wider range of situations.
File and Common Media Formats
You can record in ProRes 422 HQ and ProRes 422 into QuickTime files with the new Blackmagic URSA Broadcast G2 model, and you can even record into H.265 for incredibly small files at 60:1 to 285:1 compression ratios, in 10-bit broadcast quality. URSA Broadcast is designed to work with standard file formats used by all broadcast systems and editing software.
You also have the option of recording to Blackmagic RAW files, a ground-breaking new format created to capture and maintain the quality of the sensor data from the camera, giving you the ideal selection of file formats for all kinds of workflows.
Dual Media Slots to Record Continuously
You can choose the media that’s right for you with dual CFast 2.0 recorders and dual SD/UHS-II card recorders; both forms of media are common, affordable, and easily accessible at computer and camera retailers; also, with dual media slots, URSA Broadcast allows you the nonstop recording.
You receive adequate speed to record high-quality ProRes and H.265 video file formats, even when working in Ultra HD at high frame rates. the recording immediately moves onto the next card when a card is full, allowing you to replace a full card while the recording continues.
The URSA Broadcast G2 can record 12-bit Blackmagic RAW cinema files and is thus simple to integrate into your current broadcast systems.
Direct Recording to External Media Disks with USB Type-C
On the back of the Blackmagic URSA Broadcast G2, there is a high-speed USB Type-C expansion connection that enables you to connect to a variety of devices or record to external disks.
To record ProRes, H.265, or even high-quality 12-bit Blackmagic RAW files for later editing and color correction, plug in a big and inexpensive external USB flash disk, which means you can merely move the disk to a computer to work and save time on file copying.
You may even plug in supplementary focus and zoom demands to provide full lens control, and the USB port will power the disk that is plugged in.
Strong and light magnesium construction
The URSA Broadcast G2 has familiar, externally located switches and buttons that offer you immediate access to the most crucial camera settings. It has a super-strong, lightweight magnesium alloy body that is well-balanced and built to be comfortable to use all day.
You also get a foldout touchscreen for monitoring, examining camera status, and changing settings using on-screen menus. The controls are rationally laid out and easy to discover by feel, so you can alter settings without having to look at the buttons.
A 4-pin XLR broadcast 12 VDC connector and industry-standard 12G-SDI connections are also included in the URSA Broadcast G2 as well as XLR audio inputs and USB Type-C.
Touch-Controlled Built-In LCD
While URSA Broadcast G2 has a ton of physical buttons and knobs, utilizing the LCD, you also get on-screen status and touchscreen controls, making it possible to monitor and operate the camera.
Behind the LCD, there are additional buttons, as well as knobs for audio levels. The built-in touchscreen also features a heads-up display with the most crucial shooting information, as well as menus for all camera settings, LUTs, and custom presets.
Additionally, you may modify the purpose assigned to each button in the on-screen menus. There are even programmable function buttons that can have functions assigned to them, such as zebra, false color, focus peaking, LUTs, and more.
Display of External Status
The status display is a high visibility LCD panel that shows record, locked, and reference timecodes as well as the current shooting frame rate, shutter angle, aperture, white balance, gain, and iris on a screen that is easy to read even in strong light.
The screen’s backlight can be turned on when you are shooting in dimly lit locations and off when you are shooting outdoors and in bright light to increase contrast, making it easy to read under any circumstance. It also includes a battery indicator, card recording status, and audio meters for monitoring levels.
Program Video Surveillance
Simply press the camera’s PGM button to switch the viewfinder from the camera display to the program return feed from the switcher if you occasionally need to monitor program video back from the switcher while doing live production.
Program return is a good function, as sometimes on huge live shows, camera operators can be left waiting for a long time for their camera to be utilized, therefore program return lets them view the show while they wait. A built-in speaker also allows you to hear the switcher sounds.
This implies that the camera operator can keep up with events and be vigilant even while they are taking place a considerable distance from the switcher.
Add Personalized 3D LUTs to Create Film Looks
However, when these files are viewed on a monitor, they can look flat and washed out. 3D LUTs solve this problem by allowing you to apply a “look” to the monitor so you can get an idea of how the finished images will look when editing. Digital film cameras shoot in logarithmic color space to preserve the dynamic range, which is great for later post-production.
The URSA Broadcast G2 works with industry-standard 17- and 33-point 3D LUT files or you can work with the built-in LUTs such as Extended Video, Film to Video, Film to Rec.2020, and more. LUTs can be applied temporarily for monitoring only, or they can be recorded into the Blackmagic RAW files for use in post-production.
Connections to the Standard Television Industry
The Blackmagic URSA Broadcast G2 is equipped with the most recent connections and technologies, including 12G-SDI connections, which can flip between all HD and UHD formats up to 2160p60 and can be used for both video output and return program feed input.
There is also a front-mounted 12-pin Hirose connector for broadcast lens control, which can also power the lens, as well as a headphone jack, USB Type-C, balanced XLR audio with phantom power, and a timecode/reference input. Additionally, there is an HD-SDI monitoring output and a broadcast style 4-pin XLR 12 VDC power output for connecting a viewfinder or on-set monitor.
All Broadcast Frame Rates Are Supported
Blackmagic URSA Broadcast G2 can capture slow-motion footage that is incredibly smooth and crisp, whether you are filming a sporting event or breaking news.
URSA Broadcast can record this high frame rate into a lower frame rate file for smooth slow-motion shooting, and it also supports the higher broadcast frame rates of 60 frames per second for slow-motion footage.
You can have a higher frame rate setup and ready-to-go, so it’s instantly available when the action gets exciting. You can set up your preferred high-speed frame rate using the camera’s on-screen menus, then switch between standard sync speed and off-speed frame rates using the HFR button on the side of the camera.
Connections for professional audio and built-in microphones
You can utilize the built-in stereo microphone or you can connect additional microphones to URSA Broadcast G2, which has a high-quality microphone and professional audio recorder integrated in, so you don’t have to carry any more sound equipment.
You can choose to link audio inputs on the camera so that you can plug in lapel microphones, which frequently only have a single mono connection if you want to record the mic onto both channels of the recorded file. The XLR connections have 48V phantom power, so you can plug in everything from shotgun to wireless clip-on mics.
Additionally, URSA Broadcast G2 has onscreen meters and level adjustment knobs so you may tweak audio levels even while shoulder mounted.
SDI-based studio camera control
The URSA Broadcast G2’s SDI video connections are embedded with a protocol that allows all Blackmagic Design ATEM switchers to control cameras, making setup simple. All ATEM switchers broadcast control commands from the switcher’s SDI program output to the camera through the SDI program input.
Select the right camera number, and everything works. The switcher can conduct color correction, tally, and lens control, and these are supplied to all cameras.
This means that someone can control the image color and gain, freeing the camera operator from having to stop and adjust their equipment and allowing them to concentrate on framing the shots.
Create an HD or Ultra HD
The high-resolution sensor and generation 5 color science produce excellent images with a high dynamic range and wide color fidelity in the Blackmagic URSA Broadcast G2 in addition to making it a fantastic UHD 4K camera.
This enables you to get stories on air quickly, in HD or Ultra HD video standards, wherever you are. Plus, when working in HD, the high-resolution sensor allows sub-pixel image processing for superior anti-aliasing and sharp images. Blackmagic URSA Broadcast G2 is a future-proof camera that’s ideal for both HD and UHD production.
Adopt PL, EF, and F lens mounts instead
URSA Broadcast G2 comes with a B4 mount already installed, plus a spare EF mount is included, so if you’re starting out, you can change the mount and use inexpensive photographic lenses. URSA Broadcast G2 features an interchangeable lens mount, so you can easily swap the included B4 lens mount for an EF, a PL, or even a F mount.
You may also buy extra PL and F mounts separately. If you’re shooting for digital film, the PL mount is better because photographic lenses are made for high-resolution photography.
With URSA Broadcast G2, you receive a single camera that is compatible with almost all contemporary lenses, as it’s the most typical lens mount for cinema lenses.
5th generation color science technology
The new URSA Broadcast G2 offers an even larger improvement in image quality with gorgeous, exact skin tones and authentic color in every shot. It uses the same generation 5 color science as the high-end URSA Mini Pro 12K.
The color science also handles some of the complex Blackmagic RAW image processing, so color and dynamic range data from the sensor is preserved via metadata, which you can then use in post-production. You get a new dynamic 12-bit gamma curve designed to capture more color data in the highlights and shadows for better-looking images.
This implies that DaVinci Resolve Studio produces images that respond to color alterations in post-production in a natural, film-like manner.
Quality Blackmagic RAW
Common video files have a lot of video processing, so you can lose part of the original sensor detail. Blackmagic RAW is a groundbreaking new format designed to capture and maintain the quality of the sensor data from your camera.
This issue is resolved by Blackmagic RAW, which also retains camera settings as metadata so that you may modify ISO, white balance, and exposure later in DaVinci Resolve. As a result, you receive amazing photos with remarkable clarity and rich color across the whole post-production process.
There is no substitute for Blackmagic RAW for the greatest quality, shortest files, and fastest editing responsiveness.
Run on the Blackmagic OS
The sophisticated Blackmagic OS is a truly modern operating system, where all camera features run independently for smoother control, plus URSA Broadcast G2 powers on virtually instantly and features the same controls and menus as other Blackmagic Design cameras, so you can move between cameras on set easily.
You also have complete control over complex camera capabilities like on-screen focus and exposure tools, 3D LUTs, HDR, metadata entry, timecode, Blackmagic RAW settings, and more. The interface uses a simple tap and swipes movements to alter settings, add metadata, and see the recording status.
Timecode Generator Built-in
Simply connect an external timecode generator to the BNC timecode input, and the camera will automatically detect the timecode and lock the internal generator. All Blackmagic URSA Broadcast G2 models have an integrated time-of-day timecode generator, so you can sync all the cameras and then do multicamera editing because all the recordings will have the same timecode.
The DaVinci Resolve sync bin may be used to automatically sync the recordings and present them in a multiview for easier editing. Imagine shooting a music event with numerous cameras. Now each camera can start and stop recording, and the shots from all cameras will have matching timecodes.
Zoom and Focus Requirements
Each zoom and focus demand includes two USB Type-C connectors, allowing you to daisy-chain them and connect to the camera with a single USB connection, and they are optional. The zoom and focus demands control of the lens via the camera’s electronic lens control.
The buttons can be customized so you can assign different camera functions to them, hardware is included for mounting the focus and zoom demands onto tripod handles, and the design has an incredibly precise feel so you get very fine lens control and can frame and adjust the lens without taking your hands off the tripod handles.
SMPTE Fiber, optional viewfinders, and lens mounts
A shoulder mount kit, V-mount battery plate, and top handle are already included with the URSA Broadcast G2, so you won’t need to buy them separately. Additionally, you get a spare EF lens mount in case you don’t already have a B4 lens and would like to start out using a photography lens.
There is also an optional fiber converter that allows you to power the camera from 1.2 miles away via the single SMPTE fiber. For long-duration recording, URSA Mini Recorder gives you the option to record to external SSDs. You can add the optional Blackmagic URSA Viewfinder or, for live production, a Blackmagic URSA Studio Viewfinder.
Record to U.2 Media and SSDs.
You can record data onto huge 2.5″ drives with the Blackmagic URSA Mini Recorder, an optional device “SSDs and the newest U.2 NVMe Enterprise SSDs are both available. Fast SSDs, like the most recent 7mm U.2 NVMe disks, can transport data at rates of up to 900 MB/s.
Longer recording times for full-resolution 4K and 6K 12-bit Blackmagic RAW files in the best Q0 encoding are possible because to this lightning-fast performance. The Blackmagic URSA Mini Recorder has mounted directly to the rear of your URSA Broadcast G2 between the camera and the battery thanks to its innovative design.
You don’t have to worry about manually beginning or stopping the SSD recorder because it is controlled via USB-C.
13 Localized Languages
All Blackmagic Design cameras support 13 widely used languages because they are made to be used all over the world. English, German, French, Spanish, Portuguese, Italian, Russian, Polish, Ukrainian, Turkish, Chinese, Japanese, or Korean are all options when setting up your camera.
Simply navigating to the menu options will allow you to change to a different language. All on-screen overlays, the heads-up display, and setup menus will be displayed in the chosen language when moving between languages, and you can change languages whenever you choose.
Remote control for a Bluetooth wireless camera
You can obtain complete control over the camera through Bluetooth from up to 30′ away if you’re setting it on the end of a boom or in another difficult-to-reach area. On your iOS and Android devices, you can utilize third-party programs like Bluetooth+ or tRigger, or you can download the Blackmagic Camera Control app.
You can also construct your own remote camera control and digital slate solutions by using the free developer SDK and example code provided on the Blackmagic Design developer website. Imagine developing a program that can synchronize the timecode and cause all cameras to start recording simultaneously. There are countless options.
Industry-Standard Battery Compatibility
All URSA cameras are compatible with a variety of battery plates made by companies including IDX, Blueshape, Anton Bauer, and others. The camera comes with a V-mount battery plate, however, you can also get a Blackmagic URSA Gold Battery Plate. Each and every Blackmagic battery plate is made to attach straight to the camera.
An external power supply or battery pack can be connected to the URSA Broadcast G2 using the 4-pin XLR power connector, which can handle voltages of 12 to 18V. You may also use the camera with your current power supplies and batteries thanks to the common power connector. With the optional fiber converter, the camera may be powered for live production from up to 1.2 miles distant using a single SMPTE fiber.
DaVinci Resolve Studio is included
A full version of DaVinci Resolve Studio is included in URSA Broadcast G2.
the same program that Hollywood uses to make premium feature films, episodic television episodes, advertising, and other things.
The new cut page in DaVinci Resolve has intelligent editing tools and cutting-edge new capabilities that will make it easier for you to discover the material you need, edit it together, and output it quickly.
You receive DaVinci’s renowned professional editing, cutting-edge color correction, audio post, and visual effects features in addition to the new cut page, all in a single software program. You may now use the same premium software that experts in editing and color utilize.
Blackmagic URSA Broadcast G2 Specifications
|Sensor Resolution||Not Specified by Manufacturer|
|Sensor Type||23.1 x 12.99 mm (Medium Format) CMOS|
|Built-In ND Filter||Mechanical Filter Wheel with Clear, 2 Stop (1/4), 4 Stop (1/16), 6 Stop (1/64) ND Filters|
|Capture Type||Stills & Video|
|Shutter Type||Electronic Rolling Shutter|
|ISO Sensitivity||400 to 3200 (Extended: 100 to 25,600)|
|Gain||-6 to 18 dB|
|Advertised Dynamic Range||13 Stops|
|Internal Recording Modes||Blackmagic RAW 10-Bit|
6144 x 3456 up to 50 fps [65 to 483 Mb/s]
6144 x 2560 up to 59.94 fps [49 to 359 Mb/s]
5376 x 3024 up to 59.94 fps [51 to 371 Mb/s]
3728 x 3104 up to 59.94 fps [36 to 265 Mb/s]
3840 x 2160 up to 59.94 fps [32 to 190 Mb/s]
1920 x 1080 up to 150 fps [5.2 to 47 Mb/s]
ProRes 422/ProRes 422 HQ
3840 x 2160 up to 59.94 fps [73.6 to 110 Mb/s]
1920 x 1080p up to 59.94 fps [18.4 to 27.5 Mb/s]
1920 x 1080p at 119.88 fps [18.4 to 27.5 Mb/s]
3840 x 2160 up to 59.94 fps [3.2 to 7.8 Mb/s]
1920 x 1080p up to 59.94 fps [1.8 to 7 Mb/s]
|Sensor Crop While Recording||4K (3840 x 2160) in 16:9 When Recording in Raw|
|Recording Limit||Up to 2456 Minutes|
|Built-In Microphone Type||Stereo|
|Audio Recording||ProRes: 2-Channel 24-Bit 48 kHz|
|Media/Memory Card Slot||Dual Slot: SD/SDHC/SDXC (UHS-II)|
Dual Slot: CFast (CFast 2.0)
|Video I/O||1 x BNC (12G-SDI) Output|
1 x BNC (12G-SDI) Input
1 x BNC (12G-SDI) Output
|Audio I/O||1 x 1/8″ / 3.5 mm TRRS Headphone/Mic Headphone Input/Output on Camera Body|
2 x XLR 3-Pin Mic/Line (+48 V Phantom Power) Input on Camera Body
|Power I/O||1 x XLR 4-Pin Input|
1 x XLR 4-Pin (12 to 20 VDC) Output
1 x Molex 12-Pin Input
|Other I/O||1 x USB-C (USB 3.2 / 3.1 Gen 2) Video Output|
1 x USB-C Data Input
1 x 2.5 mm Sub-Mini (LANC) Control Output
1 x BNC (Reference, Sync, Timecode) Data Input
1 x Hirose 12-Pin (Camera Interface) Control Output
|Display Type||Articulating Touchscreen LCD|
|Secondary Display||Side: LCD Status Display|
|Type||Optional, Not Included|
|Focus Type||Auto and Manual Focus|
|Focus Mode||Automatic, Manual Focus|
|Operating Temperature||32 to 104°F / 0 to 40°C|
|Storage Temperature||-4 to 113°F / -20 to 45°C|
|Operating Humidity||0 to 90%|
|Power Consumption||100 W|
|Tripod Mounting Thread||3 x 1/4″-20 Female (Bottom)|
|Accessory Mount||1 x ARRI/Hirth Rosette|
|Material of Construction||Magnesium Alloy|
|Dimensions (W x H x D)||10.95 x 9.93 x 5.9″ / 27.81 x 25.22 x 15 cm|
|Weight||7.83 lb / 3.55 kg|
|Package Weight||11.4 lb|
|Box Dimensions (LxWxH)||20.7 x 10.1 x 7.1″|