Blackmagic Adds 100G Ports, B4 Mounts, and Immersive Live Output to Cinema Cameras

Blackmagic Design is bridging the gap between cinema and live broadcast with a suite of updates to the URSA Cine 12K platform. Bob Caniglia, Director of Sales Operations for North America, showed how a 100G port, B4 lens mount support, and a new immersive live capture module turn cinema cameras into live broadcast tools. We previously covered the URSA Cine Immersive 100G announcement.

Key takeaways:

• URSA Cine 12K gets a 100G port for faster data offload and live broadcast workflows

• B4 mount support enables broadcast-style long-range lenses on cinema cameras

• Immersive live module outputs ProRes for both eyes simultaneously through the 100G port

• Future 100G 3D switcher shown under glass, handling both 2D and 3D workflows

• Up to 440fps slow motion in HD through the live pipeline

Cinema Cameras Go Live

Blackmagic has been watching its cinema cameras adopted for live event production, from concerts to sports to immersive experiences. The new URSA Cine 12K 100G adds a 100-gigabit port to the back, moves some controls around on the side, and pairs with a new studio viewfinder that connects via USB-C. One of the SDI outputs can become an input, enabling full camera control through an ATEM switcher. The body-only price sits just under $10,000, with the immersive version just under $30,000. Both are expected in June, and the previous 10G version received a price drop of a couple thousand dollars.

Immersive Goes Real-Time

The immersive module replaces the standard storage module and creates ProRes files for each eye that exit through the 100G port. Caniglia noted that the output is not raw data because of the real-time processing requirements, but the resolution is project-dependent and tunable for the destination. The use case: live immersive content for events like basketball games, where appointment viewing drives demand for the best available technology.

A future 100G switcher was shown under glass at the booth. It handles 3D content with separate right and left eye capability, something the current ATEM models cannot do. The same switcher handles standard 2D work, making it a single platform for any broadcast format.

Faster Offloads and Slow Motion

The 100G port also accelerates data wrangling. Moving footage off camera modules that previously used a 10G port now runs ten times faster. Blackmagic created matching 100G reader modules to support the throughput. For live production, the system can deliver up to 440fps in HD by narrowing the sensor readout. A new HyperDeck IP recorder with 100G support can record eight channels simultaneously. Blackmagic is also introducing converters that bridge standard 12G SDI to the 100G ecosystem, so facilities can adopt the new standard incrementally.