Blackmagic Design URSA Broadcast G2 Camera

Broadcast Production

ENG controls placed where your hands already go — no hunting during a live shot. The low-light sensor handles ambient conditions that would stop other cameras cold. Built for news, sports, and programming environments where there's no margin for error.

Live Studio

Built-in YRGB color corrector and full remote camera control via SDI. Works with B4 ENG lenses, large studio box lenses, or any mount you choose. Optional Blackmagic Design focus and zoom demands give your camera operators precise lens control right from the tripod handles.

Digital Cinema

Swap to a PL mount and the URSA Broadcast G2 becomes a full 6K cinema camera with Blackmagic RAW recording, wide dynamic range, and the kind of low-light headroom that post houses respect. Hollywood-quality imaging — in a body that also does broadcast.

Get Digital Film Quality for Broadcast

The 6K sensor runs at 6144 x 3456 — enough resolution to satisfy both broadcast delivery specs and digital cinema pipelines simultaneously. When you're using B4 glass, the camera crops to a 4K window for clean Ultra HD output. Swap to PL or EF and the full sensor opens up for 6K digital film capture.

With 13 stops of dynamic range, you're not fighting the grade in post. Shadows hold detail. Highlights don't clip. That's the kind of latitude that makes a colorist's job easier and your finished product look better — whether it ends up on air or in a theater.

Generation 5 Blackmagic Design color science is the same imaging pipeline found in their dedicated cinema cameras. Broadcasters have never had access to this at the field camera level. Until now.

Exceptional Low Light Performance

Let's talk real numbers. The URSA Broadcast G2 runs from -12dB (100 ISO) all the way up to +36dB — that's 25,600 ISO. The primary native ISO is 400, dialed in for studio lighting environments. When the lights drop, the secondary base ISO of 3200 kicks in to maintain clean, low-noise images without sacrificing dynamic range.

Field crews covering evening events, sports under stadium lights, or documentary shoots in unpredictable conditions — this camera handles it without reaching for an extra light kit. You can shoot under moonlight and still walk away with usable footage. That's not marketing. That's what 25,600 ISO means in practice.

Gain is adjustable via a physical camera switch, the LCD menu, or remotely through the SDI remote camera control protocol. Operators stay in control no matter where they're positioned.

Compatible with B4 Broadcast Lenses

The B4 mount is where most broadcast facilities live. The URSA Broadcast G2 is designed from the ground up to work with the lenses you already own — modern Ultra HD B4 glass and older HD lenses alike. Those legacy HD lenses often resolve well beyond their rated spec, so you get excellent image quality without a hardware spend.

B4 lenses are par-focal by design. Keep focus as you zoom. No refocus pulls mid-shot. For a live production camera operator, that's a workflow game-changer — especially during unpredictable events where there's no time to chase focus.

Full electronic lens control — focus, iris, zoom — is available through the camera's own controls or via remote. And when a production demands a different look, the mount swaps out for PL, EF, and more. Maximum flexibility across any workflow.

Dual Media Slots for Non-Stop Recording

Two CFast 2.0 slots. Two SD/UHS-II slots. Four recording slots total. When one card fills, the camera automatically rolls to the next without dropping a frame. Swap the full card while recording continues. For live events, news, and anywhere stopping the camera isn't an option, this is how you work without risk.

Both media types are widely available at consumer electronics stores — no proprietary formats, no price gouging on media. You get ProRes 422 HQ, H.265 at 60:1 to 285:1 compression ratios, and 12-bit Blackmagic RAW — all formats that drop cleanly into every major broadcast media management system and NLE.

Live Sync into DaVinci Resolve While the Camera Is Still Rolling

This is the workflow shift that changes how breaking news and live events get to air. While the camera records, it simultaneously generates a lightweight H.264 proxy that uploads to Blackmagic Cloud in seconds. Back at the station, editors are already cutting the footage before the camera operator has finished the shot.

The proxy drops directly into the DaVinci Resolve media bin in real time. Multiple cameras? The multi-source view in DaVinci Resolve's Cut page shows all angles simultaneously. Any editor, anywhere in the world, gets the shot the moment it's captured. For breaking news operations, this compresses the time between capture and broadcast to seconds — not minutes.