Used Blackmagic Design URSA Broadcast Studio Kit with Studio Viewfinder and Camera Fibre Converter Verified seller

Description

FEATURES

4K CMOS Sensor
7-inchStudio Viewfinder
Camera Fibre Converter
Compatible with 2/3" B4 Lenses
UHD 4K and 1080p up to 60 fps
Records to Apple ProRes and Avid DNx
Cinema DNG Raw Recording
2 x UHS-II SD, 2 x CFast 2.0 Slots
3G-SDI and 12G-SDI Outputs
Genlock and Timecode
XLR Inputs and Built-In Microphone
URSA BROADCAST CAMERA

Two Cameras in One

The URSA Broadcast was designed to function equally well as a studio camera or as an ENG/EFP camcorder for both HD and UHD 4K productions. With the separately available shoulder-mount kit, the URSA Broadcast can slot into a studio sledge or be used atop an operator's shoulder, ENG-style.
Standard Media and Formats

Media recorded by the URSA Broadcast should need no transcoding. Apple ProRes and Avid DNx can be recorded straight to UHS-II SD cards or CFast 2.0 cards. Just offload the media from the cards, and you can go straight to editing. You can even record lossless or compressed 12-bit CinemaDNG raw files for high-quality programming and post-production workflows. With dual slots for each media type, URSA Broadcast gives you the option for redundant or relay recording. When the first card is full, recording automatically continues onto the next card, so you can swap one card while continuing recording on the other.
B4 Lens Compatibility

While the 4K sensor used in the URSA Broadcast is larger than the familiar 2/3"-the type used with traditional B4 glass, a high-quality optical expander built into the mount enlarges the image circle for full sensor coverage. Many high-quality HD lenses can be used at resolutions well beyond HD, all the way up to 2.5K or 3K. Because B4 lenses are par-focal and have a very wide depth of field, the image stays in focus as you zoom in and out, so you don't need to chase focus as you shoot. That lets you work much faster because you don't need to change lenses or refocus between close-up, medium, and wide shots, which is perfect when you're following the action in fast-paced scenarios.
HD Downscaling

For productions only requiring HD resolutions, the 4K image coming off the sensor can be downscaled before recording for smooth 1080p or 1080i image rendering. Since the entire sensor is scanned, the full dynamic range of the sensor remains intact and no aliasing artefacts will be introduced.
Optical ND Filters

Spin the ND filter wheel to access 1/4, 1/6, and 1/64 ND filters. These filters are designed in accordance with the URSA Broadcast's sensor, ensuring minimal difference in colourimetry. The filters also block IR wavelengths to prevent IR pollution when reducing visible light with NDs. ND filter values can be displayed as either a fraction, ND value, or stop reduction on the LCD or in the separately available EVF.
Body Design

Like traditional broadcast cameras, the URSA Broadcast features familiar external mechanical switches and controls that give you direct access to the most important camera settings. The controls are laid out logically, making them easy to remember and locate by feel, so you can adjust settings without having to look at the buttons or take the camera off your shoulder. You also get a 4" foldout touchscreen for either monitoring or controlling the camera via a software interface that provides full redundancy for all the external controls and camera functions. On the operator's side of the camera, a dedicated backlit LCD shows essential information, such as current shooting frame rate, shutter angle, aperture, white balance, gain, iris, battery level, and audio meters, at a glance. Additionally, full-sized standard connections for audio via XLR connectors, SDI via BNC connectors, and broadcast power input via a standard 4-pin XLR 12V DC connector are available.
Slow Motion Recording

Whether you're shooting a sporting event or breaking news story, the URSA Broadcast has you covered for slow motion. To shoot slow-motion video, the camera records at higher frame rates and plays back at standard video frame rates. You can set up your preferred high-speed frame rate using the camera's on-screen menus, and then switch between standard sync speed and off-speed frame rates with the touch of a button on the side of the camera. URSA Broadcast can capture full resolution Ultra HD at up to 60 frames per second.
Built-In Audio Recording

URSA Broadcast has a high-quality microphone and professional audio recorder built-in so you don't have to bring a separate recorder. The built-in stereo microphone can be used for recording scratch audio, or you can connect professional microphones using the two XLR mic inputs. The XLR connections have 48V of switchable phantom power so you can plug in everything from shotguns to wireless clip-on mics. With two microphone inputs, you can record a reporter in the field wearing a lapel or handheld mic, while also capturing ambient sounds from the second input. You can also record the same microphone to both channels using different levels to avoid clipping from unexpected loud noises in the field. URSA Broadcast also features external knobs for adjusting levels and onscreen meters so you can trim audio levels even when shoulder-mounted.
Adaptable for Different Lenses

URSA Broadcast features an interchangeable lens mount so you can easily swap the included B4 lens mount for an EF, PL, or even F mount. That means if you're just starting out you can use low-cost, high-quality EF photographic lenses and then change to more expensive lenses when you're ready. Using an EF, PL, or F mount lens is a fantastic option when permanently rigging and mounting cameras in locked-off positions on set, so you don't tie up broadcast lenses for camera positions without operators. Because the lens mounts are easy to change, you can also quickly reconfigure cameras from job to job. URSA Broadcast comes with a B4 mount already installed, and you can also purchase optional PL, EF, and F mounts separately as needed.
Blackmagic OS

URSA Broadcast features the advanced Blackmagic OS with an intuitive user interface that lets you use simple tap and swipe gestures. Plus, you get many features from the URSA Mini digital film camera if you need to do more advanced programming work. You can set up the camera, enter metadata, and more. Plus, the software duplicates all the physical buttons and switches on the camera so you get full redundancy. The unique heads-up display puts commonly used functions at your fingertips so you can tap on a control and quickly adjust without having to navigate through complex menus. The digital slate makes entering metadata fast with its built-in dictionary, predictive text entry, and on-screen keyboard.
Flexible Power Options

Right off the bat, the URSA Broadcast features a 4-pin XLR industry standard power connector that works from 12 to 20V for external power supplies and battery packs. The standard power connector also means it's easy to use the camera with existing power supplies and batteries. V-mount and Gold mount battery plates are available separately for compatibility with a wide array of batteries from different manufacturers.
URSA STUDIO VIEWFINDER
Articulating Mount

The URSA Studio Viewfinder is designed to mount on top of your URSA Mini camera. The articulating mount is tension adjustable so you can easily adjust it to the tension that suits you best.
7-inch LCD Viewfinder

Featuring a 1920 x 1080 IPS display, the viewfinder provides sharp, clear images with good off-axis viewing for when sudden camera moves don't allow for screen angle adjustment. It features a detachable sun hood and grabs handles on either side for left or right-handed height adjustment.
Display

Along the top of the screen is displayed your camera number (for multi-camera shoots), the screen resolution, fps, shutter speed, lens iris, camera gain, white balance, and battery power.
Manual Knobs

Three manual control knobs to the right of the LCD view screen allow you to adjust the brightness, contrast, and peaking sensitivity without the need to enter the menu system or take your eyes from the viewfinder.
Peaking is a real-time focus assist tool that superimposes pulsing red lines over the area of your image with the most contrast, and therefore the most focus. This makes it easier to confirm that subjects are in focus.
Menu and Function Buttons

To the left of the view, the screen is a manual menu knob, plus three assignable buttons. The menu knob allows you to navigate the menu, and you can assign functions to the buttons.
Zoom allows you to magnify any portion of the image, useful for checking focus while using the menu knob to select which part of the image is magnified.
Zebra is a real-time digital exposure tool that indicates when subjects or parts of the frame are outside of the exposure threshold. The zebra pattern will appear on the parts of the image that have reached 100% brightness to warn that the area is overexposed and in danger of clipping.
The False Color feature provides an under/over luminance warning by presenting the image as a series of colour values representing exposure.
Red, Blue, or Green Only mode shows the image as monochrome utilizing only the red, blue, or green colour components of the image.
The Histogram overlay provides a graphic depiction of how many pixels in your image are at each level between black and white. This provides exposure information so you can objectively judge how much of your image is clipping, falling into the shadows, or being captured faithfully.
The Luminance waveform provides an objective evaluation of your video signal. It displays the brightness of your image on an IRE scale, allowing you to see if your image will clip and where your black levels are.
Frame Guides

Three customizable frame guide overlays allow you to either create a custom aspect ratio or use it to define areas where graphics will be inserted downstream. Using the guides to approximate downstream graphics allows you to adjust your framing while taking these graphics into account.
Tally

On the talent side of the viewfinder is a tally light with replaceable acetate numbers to identify your camera to the talent or technical director. On the operator side of the viewfinder is a tally light that can light up indicating that the camera is providing the program picture. Please note that tally functionality requires a compatible tally over the SDI connection.
CAMERA FIBRE CONVERTER
The Blackmagic Camera Fiber Converter attaches to the back of your URSA Mini or URSA Broadcast camera. In addition to converting all of the audio, video, camera control and talkback into fibre, it also adds professional studio camera controls to the back of your camera. You get control for return feeds, dual intercom controls with the ability to mix in program audio, record, focus and iris controls, headset connectors, audio and more. The camera converter also includes a VLock mount plate on the top for attaching accessories such as a professional Blackmagic Studio Viewfinder. The Blackmagic Camera Fiber Converter has connections for your Ultra HD camera feed, 3 HD return feeds, full remote camera control, PTZ, multiple channels of talkback, tally and more.

BLACKMAGIC FIBER CONVERTERS

Extend and fully power cameras up to 2 km away using an open standard SMPTE fibre cable

The Blackmagic Camera Fiber Converter and Blackmagic Studio Fiber Converter convert standard television industry connections for video, audio, power, talkback, and tally into a single SMPTE fibre optic cable. This allows cameras to be placed up to 2 km away from a studio or outside broadcast truck using a single convenient and incredibly durable cable. The Blackmagic Camera Fiber Converter also adds familiar broadcast studio camera controls to the rear of the camera, plus additional connections so you can use it with the talkback systems and switchers you already have. The Blackmagic fibre converters feature 12G-SDI and are designed to work with all HD and Ultra HD formats up to 2160p60. Now you can transform professional cameras such as URSA Broadcast and URSA Mini into a complete professional studio camera with all of the features you need for high-end work.

PLACE CAMERAS ANYWHERE

Get cameras much closer to the action

If you’re working in a studio or out at a large sporting venue, you often need to place cameras far apart. While SDI connections are common, the limited range of SDI makes it hard to use it over long distances. Traditionally, you would need to run multiple cables and expensive extenders for power, talkback, tally, video and audio. This makes the set up incredibly complex and increases the chances of a technical problem. Now you can solve this problem by converting all essential connections and power into a single convenient SMPTE fibre cable that can run incredibly long distances. That means cameras can be placed anywhere and connected back to broadcast trucks parked outside of a venue or back to a central control room in a studio. Best of all, SMPTE fibre is a global broadcast industry standard so you can use cables and connection points that are commonly available. Blackmagic fibre converters are also affordable, so traditional broadcasters, new web broadcasters, AV producers, houses of worship and educators can all use the same high-end broadcast technology.

SMPTE FIBER FOR INDUSTRIAL STRENGTH AND SAFETY

Built-in multi layer fail safe instantly cuts power to eliminate the danger

Blackmagic fibre converters work with standard SMPTE 311M hybrid electrical and fibre optic cables with standard SMPTE 304 connectors on each end. These cables feature a 2-way fibre pair, data pair and power pair, along with a central strength member that gives it the needed durability for continuous use. Once plugged in, the Blackmagic Studio Fiber Converter automatically performs safety checks and then powers up, sending an industry-standard 200 volts of power over the SMPTE cable for the camera and accessories. This means you can install cameras in remote locations without having to worry about power drops over long distances. Both the studio and camera converters at each end have dedicated micro controllers that continuously monitor power status. The converters communicate with each other to ensure that both a stable optical signal is present and that the power supply is operating within safe parameters. If a damaged cable or an earth leak is detected, the power is instantly shut down to eliminate any danger to personnel.

ADD STUDIO CAMERA CONTROLS

Transform broadcast cameras into dedicated studio cameras

Studio cameras are typically operated from the rear of the camera, but broadcast cameras usually have controls on the side of the camera. To solve this problem, the Blackmagic Camera Fiber Converter adds support for SMPTE fibre to your camera along with a wide range of controls and features to the rear of the camera, transforming it into a professional studio camera. You get 2 separate broadcast standard 5 pin talkback connections, 3 return video feeds, 2 extra audio inputs, connections for PTZ and trackers, plus additional DC and D-tap outputs for powering accessories. With all these extra controls added to the rear of the camera, you can operate the camera in the same way as traditional studio cameras.

10G ETHERNET FOR IP VIDEO

Super fast, low latency ethernet link for video, audio and control

The Blackmagic Camera Fiber Converter and the Blackmagic Studio Fiber Converter use IP video because the SMPTE fibre connection is an open standard 10G Ethernet link. That means all of your video and return feeds are IP video based using high end, lossless broadcast quality 10-bit video encoding and decoding. All other connections such as talkback, tally, camera control and lens control are also converted to low latency IP so you get incredibly reliable performance and high quality. Using IP video means the Blackmagic fibre converters are future proof and ready for customization using high-speed Ethernet infrastructure in future.

DUAL CHANNEL TALKBACK

Two dual channel talkback intercoms with backup

The Blackmagic Camera Fiber Converter and Blackmagic Studio Fiber Converter provide 2 dual channel digital talkback connections that are compatible with professional 5 pin XLR talkback headsets. The camera converter even has convenient controls for mixing in program return audio with your talkback headset so you can adjust the volume as needed while talking to the rest of the crew. The talkback intercoms can be used for both production and engineering. In addition, there is a backup channel available for troubleshooting in case the fibre link is down. This backup talkback channel automatically switches over and uses the data pair in the SMPTE cable if the fibre is not working. The Blackmagic Camera Fiber Converter also includes a standard 10 pin connection for tracker talkback, which is perfect when both headset connections are in use and you need to feed an additional talkback connection through to your crane operator.

DESIGNED FOR HIGH-END BROADCAST

Durable metal design, high-end components and professional connections

The Blackmagic Camera Fiber Converter features an extremely durable all-metal design that perfectly matches URSA Broadcast, URSA Mini cameras or any camera that supports a standard battery plate. It’s built to withstand the harsh demands of outdoor field production and 24/7 operation. The Blackmagic Camera Fiber Converter features full-size standard television industry connections with dust caps, along with an integrated VLock mount plate on top for adding a studio viewfinder. The Blackmagic Studio Fiber Converter is designed so that you can fit two of them side by side in a standard equipment rack using the optional rack mount kit. The optical fibre connector on the Blackmagic Studio Fiber Converter is conveniently located on the front panel, right next to the built-in 5 inch LCD, so you can plug remote cameras in and instantly see the feed.
CAMERA FEATURES
EFFECTIVE SENSOR SIZE
2/3 inch sensor size when using 4K B4 mount (Actual sensor size 13.056mm x 7.344mm)

LENS MOUNT
B4 2/3 inch

LENS CONTROL
Electronic control via 12-pin broadcast connector. Control possible via EF mount pins when using optional URSA Mini Pro EF Mount.

LENS CORRECTION
In-camera correction of color fringing when using compatible B4 lenses.

DYNAMIC RANGE
12 Stops

SHOOTING RESOLUTIONS
3840 x 2160

What's in The Box
WHAT'S IN THE BOX

URSA Broadcast body

Turret dust cap

B4 lens mount

Power supply

SD card with software and manual

FIBRE CONVERTER

Blackmagic Camera Fiber Converter

Mounting Bracket and screws for attaching to URSA Mini and URSA Broadcast cameras

3x Short 12G SDI cables for SDI In and Out connecting to URSA Mini and URSA Broadcast

SD card with software and manual

STUDIO VIEWFINDER

Blackmagic URSA Studio Viewfinder