Las Vegas, April 14, 2026, 04:20 PDT
Blackmagic Design late on Monday unveiled a live-production version of its URSA Cine Immersive camera for Apple Vision Pro and a 100G, or 100-gigabit Ethernet, variant of its URSA Cine 12K LF, pushing deeper into immersive video and IP-based broadcast workflows ahead of NAB 2026. Blackmagic’s U.S. site listed the URSA Cine Immersive 100G at $29,145 and the URSA Cine 12K LF 100G from $9,895, while launch materials cited third-quarter availability and starting prices of $26,495 and $8,995 before local duties.
The timing matters because Apple has been expanding its immersive catalog on Vision Pro, and Bob Borchers, the company’s vice president of worldwide product marketing, said last year the format had “redefined what’s possible in storytelling.” Since then, Apple has rolled out Spectrum Front Row, a package of live and on-demand Los Angeles Lakers games for Vision Pro, and said new films from partners including CANAL+ and MotoGP were among the first shot on Blackmagic’s original URSA Cine Immersive camera. Apple
Apple describes Apple Immersive Video as a 180-degree, 3D 8K format captured with Spatial Audio. SMPTE ST 2110, the standard Blackmagic is leaning on, is a suite of rules for moving separate video, audio and data streams over managed IP networks in real time; Blackmagic says DaVinci Resolve Studio for Mac completes the workflow by handling editing and delivery for Vision Pro.
Blackmagic says the URSA Cine Immersive 100G is the first camera built for live immersive production. The company says it uses dual 8K-by-8K RGBW sensors running at up to 90 frames per second with 16 stops of dynamic range; Chief Executive Grant Petty said live immersive production “is here” and that the camera opens “an entirely new world in live production” for sports and concerts. Blackmagic Design
Blackmagic also introduced a URSA Live Encoder, a processor module that compresses the stereo feed into Apple ProRes for SMPTE-2110-22, the compressed-video branch of the standard, over a single 100G Ethernet link. Blackmagic said the system was recently used on Spectrum Front Row, and Apple says that service delivers feeds of up to 150 Mbps and as many as seven viewing angles.
The URSA Cine 12K LF 100G is aimed more squarely at conventional live broadcast. It keeps the large-format 36x24mm RGBW sensor and 16 stops of dynamic range from the cinema model, but adds 100G Ethernet, a SMPTE-2110 live mode with up to 2160p60 output, and live video at up to 440 frames per second for slow-motion replays; Blackmagic is also pairing it with an optional B4 mount for broadcast zoom lenses and a Studio Viewfinder to make it behave more like a broadcast camera.
The camera launches sit inside a broader 100G bet. Blackmagic used its NAB 2026 update to add IP switchers, converters, storage and monitoring gear around the same broadcast standard, moving further into live production, where Sony and Grass Valley already market studio or IP-native camera systems.
On the headset side, Blackmagic is arriving as Apple widens the Vision Pro video funnel. Apple said visionOS 26 supports native playback of 180-degree, 360-degree and wide-field-of-view video from Canon, GoPro and Insta360, leaving Blackmagic focused on the top end of sports, concerts and branded content that need a custom live workflow.
The downside is plain enough. Apple Vision Pro still starts at $3,499 in the U.S. and is sold in a limited list of markets, while ST 2110 itself is a professional-media standard for real-time production and playout, which keeps Blackmagic’s new workflow anchored in high-end production for now.
Still, this is no longer just a prototype story. The original URSA Cine Immersive, first unveiled in June 2024 as the first commercial camera system built for Apple Immersive Video, is now listed on Blackmagic’s site alongside the 100G version, and Blackmagic is still pitching DaVinci Resolve Studio as the end-to-end tool for the format.
