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Update your broadcast Studio or internet broadcast body with a versatile 3-in-1 powerhouse through the Blackmagic Design URSA G2 Broadcast Unit. This updated G2 version integrates generation 5 colour science and not only handles up to UHD 4K as the previous model for workflow and Studio work but can currently be employed as a 6K electronic film unit that records in Blackmagic RAW configuration. the optics mount is compatible with 2/3" B4 lenses, but also provided are an active EF mount adapter, enabling you to access a long range of professional cinema lenses. It permits you to apply 3D LUTs for cinema-like looks, has built-in optical ND filter accessories, integrates 12G-SDI source and feed, captures audio via two XLR sources, and can capture through Prores 422 and Blackmagic RAW onto CFast 2.0 or SD UHS-II cards.
The unit body is constructed with hardwearing and low-weight magnesium, so it will hold steady in any setting. To power the body, you can use the supplied 12 VDC power interface or the preinstalled V-mount plate to apply professional, high-capacity V-mount batteries. Additionally included with the body are the URSA Mini shoulder pad, the URSA Mini top handle, a viewfinder installation plate, and all the installation hardware and optics caps. A companion copy of DaVinci Resolve Studio is supplied, along with access to next stage camera software updates.
Blackmagic Camera 10.0 Update Contains
In the current Blackmagic Camera 10.0 update, the following incorporates have been revised:
- Adds pre-record feature
- Adds support for 4-channel audio recording
- Adds support for mono headphone monitoring
- Adds 0% option for frame guide opacity settings
- Adds new Camera Control REST API commands
- Adds support for inhibiting proxy recording
- Improved Blackmagic Cloud functionality
- Improved B4 lens compatibility
Three Bodies in One
Broadcast Workflow Camera
The perfect option for broadcasters, URSA Broadcast G2 incorporates ENG unit controls placed around the body, so you can locate them by feel. It additionally contains a low-light imager, so you get amazing pictures through natural illumination. That's the strong combination for broadcast news and programming.
Live Studio Camera
URSA Broadcast incorporates an enhanced YRGB colour corrector built-in and full off-site unit control. You can use B4 ENG or large Studio box lenses, or even change the optics mount and use any lens. Plus, the optional Blackmagic concentrate and zoom demands help you control the optics from the support handles.
Electronic Cinema Camera
URSA Broadcast G2 incorporates an enhanced 6K electronic film imager, and you can change the optics mount. Use a PL mount for electronic cinematic lenses or EF for photo lenses. Plus, the elevated dynamic selection, great low-light performance, and Blackmagic RAW means you get a true "Hollywood" fidelity digital film camera.
Key Incorporates
Digital Cinematic Fidelity for Broadcast
The large 6K imager, combined with Blackmagic generation 5 colour science, gives you the same image-capture technology employed in electronic film bodies. This means broadcast teams can currently use electronic cinema fidelity in broadcasts. The 6K sensor incorporates a definition of 6144 x 3456, so it's adaptable enough for broadcast and electronic film work. when through B4 lenses, you get a 4K window of the imager for Ultra HD broadcast use. Then, if you change to a PL or EF optics mount, you can use the full 6K definition of the sensor for electronic film. With 13 stops of moving-coil selection, you get darker blacks and brighter whites, so it's well suited to color correction. Through digital cinematic in broadcast is a revolution in picture fidelity.
Low-Light Performance
The new URSA Broadcast provides incredible low-light performance, so you can shoot through ambient illumination or even under moonlight. In enhanced bodies, ISO is a measurement of the picture sensor's rating to illumination. The Blackmagic URSA Broadcast G2 provides gain from -12dB (100 ISO) up to +36dB (25,600 ISO), so it's optimized to lower grain and noise in pictures while maintaining the full moving-coil range of the sensor. The primary native ISO is 400, which is excellent for use under Studio lighting. Then the secondary elevated base ISO of 3200 is perfect whenever shooting in dimly lit settings. The gain allows a setting via a body switch, the LCD menu, or from a distance through the SDI off-site camera control protocol.
Compatible with B4 Broadcast Lenses
The URSA Broadcast G2 integrates a B4 broadcast optics mount that incorporates lens specifically developed to match the camera's sensor. The B4 optics mount lets you use modern UHD lenses or lower-cost HD lenses. Older HD lenses often function resolutions clearly beyond HD, so you get great fidelity at a low cost. B4 lenses are fantastic since they are par-focal, so the picture stays in concentrate as you zoom in and output, so you don't need to constantly chase concentrate as you shoot. That lets you operate much faster. You additionally get full electronic optics control to refine focus, iris, and zoom through the camera's controls or from a distance. Plus, if you require to use option lenses, you can change the fitting to PL, EF, and additional.
Built-In Optical ND Filter accessories
URSA Broadcast G2 incorporates high-quality neutral density (ND) filter accessories that let you quickly lower the amount of illumination entering the unit. The 1/4, 1/16th and 1/64th stop filter accessories have been specifically developed to match the picture sensor and colour science of URSA Broadcast G2, delivering you with extra latitude and better colorimetry. This lets you use distinct combinations of aperture and shutter angles in a wider selection of situations. The IR filter accessories have been developed to evenly filter both optical and IR wavelengths, removing IR contamination. Plus, the filter status on the LCD can be shown as a fraction, quantity, or stop reduction.
Common Media and File Formats
URSA Broadcast is developed to operate with conventional file formats employed by all broadcast systems and editing applications. You can capture in ProRes 422 HQ and ProRes 422 into QuickTime files. The new Blackmagic URSA Broadcast G2 version can even capture into H.265 for incredibly small files at 60:1 to 285:1 encoding ratios, in 10-bit broadcast quality. Plus. You can capture to Blackmagic RAW files, a revolutionary new configuration developed to capture and preserve the fidelity of the imager data from the camera. That means you get the strong range of file formats developed for all types of processes.
Dual Media Slots for Nonstop Capture
With dual CFast 2.0 recorders and dual SD/UHS-II medium recorders, you can choose the media that's finest for you. Both kinds of media are conventional, inexpensive, and readily provided at PC and unit stores. Plus, with dual media ports, URSA Broadcast gives you nonstop capture. Whenever a card is full, capture automatically keeps onto the next medium, so you can swap a full medium while recording continues. You get enough responsiveness to capture high-quality ProRes and H.265 footage file formats, even whenever working in Ultra HD at elevated shot rates. That means URSA Broadcast G2 is simple to integrate into your existing broadcast systems. You can even capture 12-bit Blackmagic RAW Cinema files.
USB-C for Capture Direct to Outboard Media Disks
The Blackmagic URSA Broadcast G2 contains a high-speed USB-C scaling port on the rear of the imaging device that enables you to capture to outboard disks or connect to a diverse group of components. If you plug in a large and low-cost outboard USB flash disk, you can capture ProRes, H.265, or even high-quality 12-little Blackmagic RAW files for later editing and colour correction. That means you can only move the disk to a PC to operate, and you don't need to waste time with file copying. Plus, the USB port will power the disk that's plugged in. You can even plug in optional concentrate and zoom demands to enable full lens control.
Strong and Lightweight Magnesium Configuration
URSA Broadcast G2 incorporates a super-strong, low-weight magnesium alloy chassis that's perfectly balanced and developed to be comfortable to use all day. It provides familiar, externally mounted changes and settings that give you immediate access to the primary important camera settings. The settings are laid output logically, making them simple to locate by feel, so you can refine settings eliminating having to look at the keys. You additionally get a foldout touchscreen for observation, viewing body status, and changing settings through on-screen menus. URSA Broadcast G2 additionally includes standard 12G-SDI links, XLR audio sources, USB-C, and an industry-standardized 4-pin XLR broadcast 12 VDC link.
Built-In LCD with Touchscreen Settings
With a built-in LCD that folds output, you can both display and control the body. While URSA Broadcast G2 provides lots of hardware buttons and knobs, through the LCD, you additionally get on-screen status and touchscreen settings. The built-in touchscreen additionally incorporates a heads-up screen with the primary important shooting details, as well as menus for all camera parameters, LUTs, and custom presets. Behind the LCD, there are extra keys, as well as knobs for audio levels. There are even programmable function keys that can deliver controls assigned to them, such as zebra, false colour, focus peaking, LUTs, and additional. Plus, you can change the function assigned to every button in the on-screen menus.
Outboard Status Screen
The status screen is a high-visibility LCD screen developed to be readily seen, even in bright light. The status display shows capture, secured, and reference timecodes, along with the current shooting shot rate, shutter angle, aperture, white equilibrium, gain, and iris. It additionally contains a battery indicator, card capture status, and audio meters for observation levels. The screen's backlight can be turned on whenever you are shooting in dimly lit sites and off whenever you are shooting on location and in bright illumination to increase contrast, making it simple to read under any condition.
Program Footage Observation
If you're doing live workflow, sometimes you requirement to monitor program footage back from the switcher. Simply push the camera's PGM control and the viewfinder will selector from the body screen to the program return feed from the switcher. A built-in speaker additionally lets you display the switcher audio as clearly. Program return is a fantastic function, as sometimes on large live shows, body crews can be left waiting a long time for their body to be employed, so program return lets them monitor the show whereas they wait. This means that even if the unit operator is a large range away from the switcher, they can still maintain up with what is happening and remain alert.
Load Custom 3D LUTs to Recreate Cinematic Looks
Electronic film bodies shoot logarithmic colour space to preserve the moving-coil selection, which is great for later post-production. However, whenever these files are viewed on a display, they can look flat and washed output. 3D LUTs solve this problem as they enable you to apply a "look" to the display so you get an idea of how the finished pictures will look whenever editing. LUTs can be applied temporarily for observation only, or they can be captured into the Blackmagic RAW files for use in post-production. The URSA Broadcast G2 works with industry-standardized 17- and 33-position 3D LUT files or you can operate with the built-in LUTs such as Extended Footage, Film to Footage, Film to Rec.2020, and additional.
Standard Television Industry Links
Blackmagic URSA Broadcast G2 provides the latest technology and links, such as 12G-SDI. This incorporates 12G-SDI links for both footage output and return program feed source. The 12G-SDI links are multirate and switch between all HD and UHD formats up to 2160p60. Other links include a headphone link, USB-C, well-controlled XLR audio with phantom power, and timecode/reference source. There's additionally a front-mounted 12-pin Hirose connector for broadcast optics control, which can additionally power the lens. Plus, for connecting a viewfinder or on-set display, there's even a HD-SDI observation feed and a broadcast style 4-pin XLR 12 VDC power feed.
Accommodates All Broadcast Shot Rates
Whether you're shooting a sporting event or a breaking news story, Blackmagic URSA Broadcast G2 can shoot super-smooth, crystal detailed slow-motion video. To shoot slow-motion footage, URSA Broadcast handles the above broadcast frame rates of 60 frames per second, but it can additionally capture this high-frame-rate into a lower shot rate file for level slow-motion shooting. You can set up your preferred high-speed shot rate through the camera's on-screen menus, then switch between standard synchronized speed and off-speed frame rates through the HFR control on the side of the body. That means you can deliver a high frame rate configuration and prepared to go, so it's instantly provided whenever the action gets exciting.
Professional Audio Links and Built-In Mics
URSA Broadcast G2 has a high-quality microphone and professional audio recorder constructed in so you don't deliver to carry any extra sound hardware. That means you can use the built-in two-channel microphone or you can connect outboard microphones. The XLR links deliver 48V phantom power so you can plug in all tasks from directional to wireless clip-on mics. You can additionally choose to link audio sources on the unit so you can plug in lapel mics that often only deliver a single mono link if you want to capture the microphone onto both channels of the captured file. URSA Broadcast G2 additionally integrates knobs for refining levels and onscreen meters so you can trim audio levels even whenever shoulder mounted.
Studio Camera Control through SDI
All Blackmagic Configuration ATEM switchers can control bodies through a protocol embedded into the URSA Broadcast G2's SDI footage connections. Setup is easy since all ATEM switchers broadcast control commands from the switcher's SDI program feed to the body via the SDI program source. The switcher can carry out color correction, tally, and optics control, and these are sent to all bodies. All you requirement to do is choose the correct camera quantity, and it all works. This means someone can manage the picture color and gain, so the unit operator is not distracted trying to refine their imaging device, and they are then no-cost to focus on composition the pictures.
Operate in Both HD or Ultra HD
The Blackmagic URSA Broadcast G2 is not only a great UHD 4K unit, but it's additionally a strong HD camera. The high-resolution sensor and generation 5 colour science create amazing pictures with a elevated dynamic selection and wide color fidelity. But whenever you need to do HD operate, the camera will scale the picture sensor down to 1080 HD footage standards. This assists you get stories on air fast, in HD or Ultra HD footage standards, anywhere in the world. Plus, whenever working in HD, the high-resolution imager enables sub-pixel picture processing for superior anti-aliasing and well-defined pictures. Blackmagic URSA Broadcast G2 is a forward-looking camera that's well suited to both HD and UHD workflow.
Change to PL, EF, and F Optics Mounts
URSA Broadcast G2 incorporates an interchangeable optics mount, so you can readily swap the supplied B4 optics mount for an EF, a PL, or even a F mount. URSA Broadcast G2 ships with a B4 fitting already installed, plus a spare EF fitting is supplied. That means if you're base output, you can change the fitting and use low-cost photographic lenses. Photographic lenses supply incredible quality since they're developed for high-resolution photography. You can additionally purchase optional PL and F mounts separately. If you're shooting for electronic film, the PL mount is finest. As it's the primary common lens mount for Cinema lenses. With URSA Broadcast G2, you get a one unit that works with virtually all modern lenses.
Current Generation 5 Colour Science
Built around the same generation 5 colour science as the premium URSA Mini Pro 12K, the new URSA Broadcast G2 produces an even increased advancement in picture quality with stunning, accurate complexion tones, and faithful colour in every attempt. You get a new moving-coil 12-bit gamma curve developed to capture more colour data in the highlights and shadowing for better-looking pictures. The color science additionally handles some of the involved Blackmagic RAW picture processing, so colour and moving-coil range files from the sensor is preserved through metadata, which you can then use in post-production. That means you get pictures that deliver a lifelike, filmlike response to colour adjustments in post with DaVinci Resolve Studio.
Blackmagic RAW Fidelity
Blackmagic RAW is a revolutionary new configuration developed to capture and preserve the fidelity of the imager data from your camera. Common footage files have a lot of footage processing, so you can lose some of the existing sensor detail. Blackmagic RAW eliminates this problem, so you get stunning pictures with incredible detail and rich colour across the whole post-production pipeline. Blackmagic RAW additionally saves body parameters as metadata, so you can change ISO, white equilibrium, and light levels later in DaVinci Resolve. Plus, the files are small and fast, so editing responsiveness is incredible. Only Blackmagic RAW supplies you the highest fidelity, smallest files, and fastest performance.
Energized by Blackmagic OS
With the enhanced Blackmagic OS, you get an straightforward and user-friendly camera working system based on the current technology. Blackmagic OS is a genuinely modern working system, where all camera contains run independently for more fluid control, plus URSA Broadcast G2 powers on virtually instantly. It incorporates the same settings and menus as other Blackmagic Configuration bodies, so you can move between bodies on location easily. The connection uses simple tap and swipe gestures to refine settings, add metadata, and view capture status. You additionally get full control over enhanced camera elements such as on-screen focus and light levels utilities, 3D LUTs, HDR, metadata entry, timecode, Blackmagic RAW parameters, and additional.
Built-In Timecode Generator
All versions of Blackmagic URSA Broadcast G2 deliver a built-in time-of-day timecode generator, so you can sync all the bodies and then do multicamera editing later since all the captures will deliver the same timecode. Simply plug in an outboard timecode generator to the BNC timecode source, and the body will without manual intervention detect timecode and lock the onboard generator. Currently each unit can start and stop capture, and the pictures from all bodies will deliver matched timecode. Imagine shooting a music festival with several bodies. Then the DaVinci Resolve sync bin can be employed to automatically sync the captures and screen them in a multiview for simple editing.
focus and zoom Demands
The optional zoom and focus demands enable you to use photography lenses for live workflow. The concentrate and zoom demands have USB-C links, so they control the optics via the camera's electronic optics control. Every zoom and focus require has two USB-C ports, so you can daisy-chain them then connect to the body with a single USB link. The configuration has an incredibly accurate feel, so you get very small lens control, and you can shot and refine the lens without making your hands off the support handles. The keys can be customized, so you can assign distinct camera controls to them. Plus, hardware is supplied for installation the concentrate and zoom demands onto support handles.
Optional Viewfinders, SMPTE Fiber, and Optics Mounts
There's a diverse group of accessories specifically developed to operate perfectly with URSA Broadcast G2. However, a shoulder fitting kit, V-mount battery plate, and top handle are supplied, so you don't need to purchase anything extra. Plus, you get a spare EF optics mount if you don't own a B4 optics and would like to start out through a photography lens. You can attach the optional Blackmagic URSA Viewfinder, or for live workflow, you can attach a Blackmagic URSA Studio Viewfinder. There's additionally an optional fiber converter that can power the body from 1.2 miles away through the one SMPTE fiber. For long-duration capture, URSA Mini Recorder supplies you the option to capture to external SSDs.
Capture to SSDs and U.2 Media
The optional Blackmagic URSA Mini Recorder lets you capture files onto large 2.5" SSDs, as well as the current U.2 NVMe Large-scale SSDs. SSDs such as the current 7millimetres U.2 NVMe disks are super fast, delivering files transfer speeds of up to 900 MB/s. This blazing-fast performance enables you longer capture times for full-resolution 4K and 6K 12-little Blackmagic RAW files in the highest-quality Q0 encoding. The distinct configuration of the Blackmagic URSA Mini Recorder means it attaches straight to the rear of your URSA Broadcast G2 between the body and the battery. It's managed through the USB-C, so you don't deliver to worry about manually base or stopping the SSD recorder.
Localized in 13 Languages
All Blackmagic Design cameras are developed to be employed worldwide, so they compatibility 13 popular languages. Whenever setting up your unit, you can choose to operate in English, German, French, Spanish, Portuguese, Italian, Russian, Polish, Ukrainian, Turkish, Chinese, Japanese, or Korean. It's simple to selector to another language simply by going into the menu parameters. Whenever routing between languages, all the on-screen overlays, the heads-up screen, and configuration menus will be shown in the chosen language, and you can change languages any time you such as.
Wireless Bluetooth camera Off-site Control
If you're positioning the body on the end of a boom or in another hard-to-reach on-location, you can get full control through Bluetooth from up to 30' away. You can install the Blackmagic Body Control application for your iPad or use third-party apps such as Bluetooth+ or tRigger on your iOS and Android devices. There's even a no-cost developer SDK with sample code provided from the Blackmagic Configuration developer website, so you can produce your own off-site camera control and electronic slate solutions. Imagine extending an application that can jam sync timecode and trigger all bodies to capture at the same time. The options are endless.
Compatible with Industry-standardized Batteries
All URSA cameras support numerous battery plates from manufacturers such as IDX, Blueshape, Anton Bauer, and additional. A V-mount battery plate is installed on the body, or you can change to an optional Blackmagic URSA Gold Battery Plate. All Blackmagic battery plates are developed to fitting directly onto the camera. URSA Broadcast G2 incorporates a 4-pin XLR power connector that accommodates 12 to 18V for connecting outboard power supplies and battery packs. The conventional power connector additionally means you can use the unit with your existing power supplies and battery packs. For live workflow, the optional fiber converter can power the body from up to 1.2 miles away through a single SMPTE fiber cable.
Incorporates DaVinci Resolve Studio
URSA Broadcast G2 incorporates a full version of DaVinci Resolve Studio, which is the same software employed in Hollywood for creating premium function films, episodic television shows, commercials, and additional. DaVinci Resolve provides the new cut page with smart editing utilities and innovative new features developed to help you quickly locate the footage you require, edit it together, and feed it fast. In asset to the new cut page, you additionally get DaVinci's legendary professional editing, enhanced color correction, audio post, and image effects utilities, all in a single software use. Now you can use the identical high-end applications that professional editors and colorists use.
