Professional 12K cinema camera featuring a Super 35 sensor, 14 stops of dynamic range, and built-in BRAW encoding for a cost-effective RAW workflow.
Blackmagic Design announced the first URSA in April 2014 for $5,995 – a fraction of comparable cinema cameras. The more compact URSA Mini followed in 2015, and the URSA Mini Pro in 2017 with improved ergonomics and dual-ISO technology. In 2020, the 12K version revolutionized the market as the first affordable camera of this resolution. In parallel, Blackmagic developed DaVinci Resolve software as a free, comprehensive package for editing, color grading, and audio post-production.
The URSA Mini Pro was used in feature films like "The Mandalorian" (Season 1) for specific sequences, as well as in "Avengers: Endgame" for VFX plates. Documentary filmmakers appreciate its compact form factor and long battery life of up to 2 hours. The 12K sensor enables extreme reframing in post-production and 8K delivery from a full sensor readout. Typical workflows utilize Blackmagic RAW in Constant Quality or Constant Bitrate, with direct integration into DaVinci Resolve without transcoding.
Competing cameras like the RED Komodo or Sony FX9 offer similar specifications at significantly higher prices. The ARRI Alexa Mini LF surpasses the URSA in dynamic range and low-light performance but costs ten times as much. The Canon C70 or Sony FX6 are positioned as documentary-suitable alternatives with better autofocus. The URSA excels in its price-performance ratio and complete integration into the Blackmagic pipeline from camera to post-production.
| Parameter | Value |
|---|---|
| Sensor Type | Super35 CMOS |
| Resolution | 12,288 x 6,480 pixels (12K) |
| Sensor Size | 80 Megapixels |
| Pixel Size | 3.8 µm |
| Sensor Architecture | 12-bit ADC |
Dynamic Range: 14 stops
Native ISO: 800 ASA
Extended ISO: 100 – 25,600 ASA (with gain compensation)
Dual-ISO Mode: 400/3200 ASA (equivalent noise characteristics)
| Resolution | Maximum Frame Rate | Codec Options |
|---|---|---|
| 12K (12,288 x 6,480) | 60 fps | BRAW (Q0-Q5), ProRes, DNxHD |
| 8K (8,192 x 4,320) | 120 fps | BRAW, ProRes, DNxHD |
| 6K (6,144 x 3,456) | 120 fps | BRAW, ProRes, DNxHD |
| 4K (4,096 x 2,160) | 240 fps | BRAW, ProRes, DNxHD |
Blackmagic RAW (BRAW): Q0, Q1, Q3, Q5, 5:1, 8:1, 12:1, 18:1 compression (12-bit non-linear)
Apple ProRes: ProRes 422 HQ, 422, 422 LT, 422 Proxy
Avid DNx: DNxHR HQX, HQ, SQ, LB
Storage Media: CFast 2.0, SD/UHS-II, USB-C external SSD
Available Frame Rates: 23.98 | 24 | 25 | 29.97 | 30 | 50 | 59.94 | 60 fps
Rolling Shutter: ~12 ms at 24 fps
Shutter Type: Electronic Global Shutter
Lens Mount: Canon EF or PL (model dependent)
ND Filters (Internal): 2 stops, 4 stops, 6 stops
Filter Mechanism: Motorized, remote controllable
Form Factor: Compact block with handle
Weight: 2.4 kg (camera body without lens)
Dimensions: 266 x 168 x 177 mm
Material: Magnesium alloy, rubberized grips
Battery: Canon LP-E6 / LP-E6N (1-2 hours runtime)
External Power: 12V DC via XLR or USB-C
Audio Inputs: 2x XLR (3-pin, switchable 48V Phantom Power)
Audio Output: 3.5mm headphone jack monitor
Viewfinder: HDMI Out for external monitors (Full HD)
LCD: 5-inch touchscreen (on Pro models), 1,500 cd/m² brightness
Timecode: Internal generator, Timecode In (BNC)
Blackmagic has introduced the URSA Cine 17K 65, a new high-end variant featuring a 17K Large Format sensor and 8K 120fps output for $28,000, positioning it significantly above the original 12K version. Tests confirm strong noise performance up to ISO 25,600. The camera is aimed at high-end productions requiring specialized large format lenses.
With the URSA 17K, Blackmagic Design is expanding its camera series in 2024 with its most powerful model to date. The camera achieves 17K resolution at 120fps and features improved high-ISO noise reduction. The price of $28,000 positions it in the professional segment, between established cinema cameras and prosumer-oriented models.
Ich nutze die URSA Mini Pro 12K hauptsächlich für Corporate-Produktionen, wo das 12K-Material extremes Cropping und Stabilisierung in der Post ermöglicht. Die eingebauten ND-Filter sparen mir Zeit beim Rigging, aber die Rolling-Shutter-Artefakte bei schnellen Schwenks zwingen mich zu bewussteren Kamerabewegungen. Das Dual-ISO-System bei 400 und 3200 ASA gibt mir deutlich mehr Flexibilität bei Available-Light-Situationen.
Für mich ist die 12K-Auflösung ein narratives Werkzeug – ich kann aus einer statischen Einstellung mehrere Schnittgrößen generieren und so spontaner im Schnitt agieren. Die Möglichkeit, nachträglich Kamerafahrten zu simulieren oder Details herauszuzoomen, verändert meine Herangehensweise an die Shotlist. Bei Schauspielern funktioniert die kompakte Bauform weniger einschüchternd als große Kinokameras.
Die URSA Mini Pro amortisiert sich bereits nach wenigen Produktionen gegenüber RED-Miete und eliminiert teure Medienkosten durch günstige CFast-Karten. Der Blackmagic-Workflow reduziert Post-Kosten erheblich, da DaVinci Resolve kostenlos ist und RAW-Material direkt verarbeitet. Allerdings erfordert 12K-Material deutlich mehr Speicherplatz und Rechenleistung, was IT-Infrastruktur-Investitionen nach sich zieht.
1. Was beschreibt „Blackmagic URSA" am besten?
2. Zu welchem Department gehört „Blackmagic URSA"?
3. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
The Lexikon is part of the Filmfarm ecosystem — alongside budgeting (FilmBalance), an industry magazine (FilmCircus) and crew networking (FilmCall, CrewMesh). One shared vocabulary for the whole production.