The new Blackmagic URSA Broadcast G2 is an incredibly powerful camera designed for both traditional and online broadcasters. It is 3 cameras in 1 design. This allows it to work as a 4K production camera, a 4K studio camera or a 6K digital film camera! It’s a perfect solution for broadcasters because it uses the lenses and batteries you already own! You can record to common SD cards, UHS-II cards, CFast 2.0 cards or external USB disks, using common file formats such as H.265, ProRes and Blackmagic RAW. This means it’s compatible with all video software and broadcast media management systems. You can even change the lens mount! No other broadcast camera is so flexible!
Three Cameras in One!
Broadcast Production Camera
The perfect solution for broadcasters, URSA Broadcast G2 includes ENG camera controls positioned around the camera so you can locate them by feel. It also features a low light sensor so you get amazing images using natural light. That’s the perfect combination for broadcast news and programming.
LiveStudio Camera
URSA Broadcast includes an advanced YRGB color corrector built in and full remote camera control. You can use B4 ENG lenses, large studio box lenses, or even change the lens mount and use any lens! Plus the optional Blackmagic focus and zoom demands let you control the lens from the tripod handles.
DigitalCinema Camera
URSA Broadcast G2 includes an advanced 6K digital film sensor, and you can change the lens mount! Use a PL mount for digital film lenses or EF for photo lenses. Plus the high dynamic range, great low light performance and Blackmagic RAW means you get a true “Hollywood” quality digital film camera.
Get Digital Film Quality for Broadcast
The large 6K sensor combined with Blackmagic generation 5 color science gives you the same imaging technology used in digital film cameras. This means broadcasters can now use digital cinema quality in broadcast! The 6K sensor features a resolution of 6144 x 3456 so it’s flexible enough for broadcast and digital film work. When using 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! With 13 stops of dynamic range, you get darker blacks and brighter whites, so it’s perfect for color correction. Using digital film in broadcast is a revolution in image quality!
Exceptional Low Light Performance
The new URSA Broadcast features incredible low light performance so you can shoot using ambient light or even under moonlight! In advanced cameras, ISO is a measurement of the image sensor’s sensitivity to light. The Blackmagic URSA Broadcast G2 features gain from -12dB (100 ISO) up to +36dB (25,600 ISO) so it’s optimized to reduce grain and noise in images, while maintaining the full dynamic range of the sensor. The primary native ISO is 400, which is ideal for use under studio lighting. Then the secondary high base ISO of 3200 is perfect when shooting in dimly lit environments. The gain can be set via a camera switch, the LCD menu or remotely using the SDI remote camera control protocol.
Compatible with B4 Broadcast Lenses
The URSA Broadcast G2 features a B4 broadcast lens mount that includes optics specifically designed to match the camera’s sensor. The B4 lens mount lets you use modern Ultra HD lenses or lower cost HD lenses. Older HD lenses often feature resolutions well beyond HD, so you get great quality at low cost! B4 lenses are fantastic because they are par-focal, so the image stays in focus as you zoom in and out, so you don’t need to constantly chase focus as you shoot. That lets you work much faster! You also get full electronic lens control to adjust focus, iris and zoom using the camera’s controls, or remotely! Plus if you want to use alternative lenses, you can change the mount to PL, EF and more!
Never Miss a CriticalShot with Pre‑Record
Now you can record up to 10 minutes of action before you press the record button! The pre-record function lets the camera continuously record to the media card, ensuring any unexpected event will never be missed. Simply select the pre-record duration you need, from 5 seconds to a full 10 minutes, and that cached media will be added to the start of each file you record. This means every important moment is safely captured, critical for unpredictable or fast changing environments like documentaries, news or live events. By only saving what’s needed, pre-record also helps reduce storage use because even though you are constantly recording, only the section before you press record is preserved.
Live sync and edit media on DaVinci Resolve while the camera is recording!
Blackmagic URSA Broadcast G2 now supports creating a small H.264 proxy file in addition to the camera original media when recording. The small proxy file can upload to Blackmagic Cloud in seconds so your media is available back at the studio in real time. The ability to transfer media directly into the DaVinci Resolve media bin as editors are working is revolutionary and has never before been possible! Any editor working anywhere in the world will get the shots! If you have multiple cameras, then the new multi source feature in DaVinci Resolve’s Cut page will show each camera angle in a multiview. Blackmagic Cloud is a revolution for getting breaking news to air within seconds!
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 color 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 inch
Screen Type
LCD capacitive touchscreen.
Controls
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 Resolutionsand 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
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 Resolutionsand 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 Resolutionsand 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 Resolutionsand 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.
Connections
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.
Audio
Microphone
Integrated stereo microphone.
Built in Speaker
1 x mono speaker.
Streaming
Direct Streaming
Blackmagic URSA Broadcast G2 supports direct live streaming using Secure Reliable Transport (SRT) and Real Time Messaging Protocol (RTMP) in H.264 using a USB-C connection to a phone sharing mobile data or a USB-C to Ethernet connection to a local network or the internet.
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
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).
Media Page
Blackmagic Camera OS includes a Media Page for professional media management and viewing metadata information. Sort clips by duration, frame rate, resolution, codec, media slot, timecode, scene or upload status, plus search all clips, private storage or just clips within specific projects. Preview clips with duration, timecode and file name displayed and use the scrubber for fluid, precise frame control. Select clips to upload and share, and delete clips with a confirmation warning. You can also select multiple clips to batch upload, batch delete or playback in a custom timeline.
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
Control
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.
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.
Recording Modes
Standard record mode.
Pre record mode with assignable pre record duration:
Mac 13.0 Ventura,
Windows 10 and 11.
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