Blackmagic Design Announces New Blackmagic URSA Cine 12K LF 100G

Blackmagic Design Announces New Blackmagic URSA Cine 12K LF 100G

Brie Clayton April 17, 2026

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Revolutionary digital film camera brings cinematic quality to live production with 100G Ethernet and high frame rate SMPTE-2110 output up to 440fps!

Blackmagic Design today announced Blackmagic URSA Cine 12K LF 100G, a new model in the URSA Cine family with 100G Ethernet for high frame rate SMPTE-2110 live production output up to 440fps. Building on the revolutionary digital film features of the URSA Cine 12K LF, including the large format RGBW 36x24mm sensor, the new model adds dramatically faster networking for cinematic live production workflows. Blackmagic URSA Cine 12K LF 100G will be available Q3 from Blackmagic Design resellers worldwide from US$8,995.

The Blackmagic URSA Cine 12K LF 100G will be demonstrated on the Blackmagic Design NAB 2026 booth #N2502.

The world's most advanced digital film camera can now also be used for live production. Live broadcasters can finally achieve the same stunning cinematic quality once exclusive to the film industry. No other broadcast camera can match the dynamic range, frame rates and color science of Blackmagic URSA Cine. Because it handles both film and live production, customers can keep the camera busy with whatever kind of work customers want.

When the camera is set to SMPTE-2110 Live in the menu, it instantly transforms into a live studio camera. Customers get real-time SMPTE-2110 IP video from the Ethernet connector, supporting up to 2160p60 with cinematic quality and 16 stops of dynamic range. That's well beyond traditional broadcast cameras. Plus, the 100G model outputs live video up to 440 fps for amazing slow-motion sports replays.

Blackmagic Generation 6 Color Science features numerous imaging improvements for the advanced URSA Cine sensor, with extremely accurate color reproduction for natural and pleasing skin tones. The processing pipeline has been redesigned using 3D LUTs for film, extended video and video gamuts, so customers can customize output by loading their own LUTs. The LUTs are applied after the color corrector, so corrections are on top of full film gamut. Customers can output different color spaces using preloaded LUTs including Rec. 709, 2020 and PQ, plus customers can even customize the gamut compression. URSA Cine now has two 3D LUT processors for different outputs and an extra 3D LUT just for the SMPTE-2110 output.

The optional B4 lens mount lets customers use broadcast lenses with Blackmagic URSA Cine 12K. B4 lenses are ideal for live production as they are electronically controlled and react quickly. Mount optics are matched to the RGBW sensor and a center-crop mode allows Ultra HD at high frame rates. Plus, an optional B4 control cable converts the camera's 7-pin EXT connector to the 12-pin Hirose B4 control.

Blackmagic Media Dock accelerates their post-production workflow by making it faster and simpler to start editing and color correction. Mount up to three Blackmagic Media Modules for high-speed access to media from multiple Blackmagic URSA Cine cameras, all at the same time. The Blackmagic Media Dock Ultra offers even higher performance with two incredibly fast 100G Ethernet ports that easily handle large numbers of simultaneous users.

Transform URSA Cine into a live production camera with a large, bright 7 studio viewfinder. It features a touchscreen, so it works just like an extension of the camera and customers can control all menus. Plus, there is a sunshade included and controls for brightness, contrast and focus peaking. Installation is easy as it connects and powers from the viewfinder USB-C port on the front of the camera.

When using Blackmagic URSA Cine as a live production camera, customers get a built-in color corrector based on DaVinci Resolve's primary color corrector. Now customers can color correct video live. Customers can use traditional controls for iris, black level and RGB color tint, all available on the ATEM Camera Control Panel. However, customers can go much further by using DaVinci Resolve control panels with trackballs, giving customers separate control over lift, gamma and gain across Y, R, G and B channels. This powerful color corrector, combined with the URSA Cine sensor's 16 stops of dynamic range, means customers can create incredibly cinematic looks that are simply not possible with traditional broadcast cameras.

URSA Cine 12K is an incredible camera for digital film, but we really wanted to bring that cinematic quality to live production and the 100G Ethernet model lets us do that in a way nobody has seen before, said Grant Petty, Blackmagic Design CEO. With 100G Ethernet, customers can get cinematic quality SMPTE-2110 live video at frame rates up to 440fps, and the new Studio Viewfinder and B4 lens mount transform URSA Cine into a true broadcast camera. It's live cine and we think it's going to be a revolution in image quality for broadcast!

Blackmagic URSA Cine 12K LF 100G Features

Cinematic large format sensor with a massive 16 stops of dynamic range.

100G Ethernet for high frame rate SMPTE-2110 output up to 440fps.

Lightweight, robust camera body with industry standard connections.

Optional PL, locking EF, LPL and B4 broadcast lens mounts.

Blackmagic RAW for real time 12K editing.

High performance OLPF for reduced moire and aliasing.

New Generation 6 Color Science with improved processing pipeline.

Built in ND filters for shooting in varying conditions.

Shoot Blackmagic RAW up to 80 fps in 12K, 144 fps at 8K and 240 fps at 4K.

Recording media compatible with the Blackmagic Media Dock.

High speed Wi-Fi, 100G Ethernet or mobile data for network connections.

Built-in RTMP and SRT live streaming.

Built-in Live DaVinci Hardware Color Corrector.

Optional Blackmagic URSA Cine Studio Viewfinder.

Advanced B

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