Blackmagic Design announced a range of new products it will launch at the 2026 NAB Show, April 18-22 in Las Vegas, led by its first immersive camera system for Apple Vision Pro.

The Blackmagic URSA Cine Immersive 100G is being billed as the world’s first immersive cinema camera designed for live production with Apple Immersive Video. Featuring dual 8Kx8K RGBW sensors with 16 stops of dynamic range, URSA Cine Immersive 100G uses 100G Ethernet to deliver the bandwidth needed to output live immersive video for the first time.

Also new for the camera is the Blackmagic URSA Live Encoder, a live processor module that compresses live immersive video into Apple ProRes for output as SMPTE-2110-22 IP video, allowing customers to combine the stereo, high frame rate image streams into a single 100G Ethernet connection.

“Live immersive production is here, and it’s extraordinary,” said Grant Petty, Blackmagic Design CEO. “URSA Cine Immersive 100G makes it possible, and the images from this camera are just incredible to watch. It truly feels like you’ve been transported to the middle of the action. From sports to concerts, this opens up an entirely new world in live production!”

URSA Cine Immersive 100G features new sensors designed for incredible quality images at 8K x 8K per eye. Using the same revolutionary RGBW sensor design as URSA Cine, the new dual sensor layout features larger photo-sites, delivering 16 stops of dynamic range. The unique RGBW architecture provides equal amounts of red, green and blue pixels for incredible color super sampling. This means it is optimized to deliver incredibly rich colors and provide the ultimate in image quality and flexibility, even at the high frame rates live immersive video requires, the company said.

The Blackmagic URSA Live Encoder enables the Blackmagic URSA Cine Immersive 100G to be used for live immersive production. It encodes live video into ProRes for output as SMPTE-2110 IP video via the high-speed 100G Ethernet port, creating an entirely new live immersive viewing experience. Plus, the camera data rate is under 50 Gb/s, so customers can combine two cameras into a single 100G Ethernet connection.

The URSA Cine Immersive 100G was recently used for Spectrum Front Row, a series of live Lakers games in Apple Immersive during the 2025-2026 season, which are now available to watch on demand using the Spectrum SportsNet and NBA apps for Apple Vision Pro.

Blackmagic’s first immersive camera, the URSA Cine Immersive has been used on a number of high-profile immersive productions, including MotoGP: Tour De Force, Debut at the BBC Proms, an upcoming documentary featuring Real Madrid, and NASA’s recent Artemis II launch.

Blackmagic will also debut its Blackmagic URSA Cine 12K LF 100G, with 100G Ethernet for high frame rate SMPTE-2110 live production output up to 440fps. Building on the digital film features of the URSA Cine 12K LF, including the large format RGBW 36x24mm sensor, the new model adds dramatically faster networking for cinematic live production workflows.

The camera will be available Q3 from US$8,995.

Software Updates
DaVinci Resolve 21 will be demo-ed at the Blackmagic booth, updated with a new Photo page,which enables colorists and photographers to use Hollywood’s most advanced color tools for still photos.

Other updates include new AI tools such as IntelliSearch for fast content searching, CineFocus for focal point adjustment, tools for facial refinement, and more. The Krokodove toolset adds over 70 new graphics to Fusion, Fairlight folders simplify audio track management, plus there are improvements to keyframing, MultiMaster trim passes, layer list node graphs and more.

DaVinci Resolve 21 public beta is available for download now from the Blackmagic Design website

Also new is Fairlight Live, a new software-based live audio mixer with spatial audio mixing and SMPTE-2110 broadcast workflows. Fairlight Live easily handles thousands of audio channels, working with standard computer audio or USB audio from ATEM live production switchers. Fully customizable, it has built-in effects and professional features such as a cue player, talkback busses, snapshots and more.

(Fairlight Live public beta is available immediately from the Blackmagic Design website free of charge)

Switchers
Two new additions to Blackmagic’s ATEM live production switchers platform, the ATEM 4 M/E Constellation IP and ATEM 4 M/E Constellation IP Plus are fully SMPTE-2110 native. They retain the features of the existing ATEM Constellation SDI based switchers, so they are familiar to users, allowing a seamless transition between SMPTE-2110 and SDI based switchers in facilities that have both.

Designed for high end broadcast and live production, the new design features front-to-back cooling, extensive redundancy, support for SMPTE-2022-7 on all 100G video ports, redundant PTP clock connections, 2 x 10G Ethernet for control ports and redundant AC power supplies.

The ATEM 4 M/E Constellation IP will be available in June from US$7,995.

Also new is the ATEM Monitoring Rack Panel, a new combination monitoring converter and control panel that can be used with ATEM Constellation IP live production switchers. It converts SMPTE 2110 IP to HDMI and 12G-SDI for connecting to monitors, however it also has front panel input buttons for controlling the switcher as well as an LCD and talkback connections.

It will be available in June from US$995.

Storage, Recording and Cloud
The new HyperDeck ISO Recorder 100G is a new SMPTE 2110 IP video recorder with 100G Ethernet that lets customers record all their cameras for live production. This means customers can also use DaVinci Resolve for live action replay. HyperDeck ISO Recorder 100G uses a single 100G Ethernet connection to connect all 8 video channels, plus it records high-quality Apple ProRes video to network storage via 100G Ethernet.

It will be available in June from US$4,995.

Blackmagic Cloud Store Ultra provides ultra-high performance flash storage with up to 48TB capacity and two independent 100G Ethernet connections that lets customers record and edit simultaneously without either workflow interfering with the other. Available in 24TB and 48TB models, it also features RAID 5 support, dual redundant power supplies and Blackmagic Cloud sync.

It will be available in June from US$8,835.

Conversion and Connectivity
The Blackmagic SDI Expander 8x12G converter lets customers connect all their 12G-SDI gear to the latest 100G Ethernet SMPTE-2110 IP systems. The converter supports 8 bi-directional 12G-SDI connections and has 2 separate 100G Ethernet connections allowing SMPTE-2022-7 redundancy.

It will be available in June from US$2,995.

The Blackmagic Media Dock Ultra is a new high performance dock for Blackmagic Media Modules with two fully independent 100G Ethernet ports. It also features SDI and HDMI status monitoring and Blackmagic Cloud sync that lets customers use Blackmagic Media Modules as extremely high performance removable storage.

It will available in June from US$2,995.

The new Blackmagic StudioBridge 10G PWR lets customers bridge eight separate 10G Ethernet SMPTE-2110 connections into modern 100G SMPTE-2022-7 redundant systems, allowing users to combine up to 8 separate cameras or converters into a 100G Ethernet IP video system. If the 10G Ethernet products use a single connection, then the Blackmagic StudioBridge 10G PWR will also bridge into the 2 x 100G Ethernet connections for a redundant broadcast system. Plus this converter has four separate internal power supplies so it can provide each of the 10G Ethernet connections with 90W PoE++ power.

It will be available in June from US$2,495.

The Blackmagic UpDownCross 100G standards converter lets customers simultaneously convert up to eight separate channels of SD, HD and Ultra HD video to any other standard. The new converter has redundant 100G Ethernet for full SMPTE 2022-7 compliance and a dedicated NMOS control port.

It will be available in June from US$2,435

The Blackmagic Ethernet Switch 820 is a new high performance, low latency model designed for advanced broadcast systems. It includes 8 x 100G and 2 x 10G Ethernet connections plus simple front panel SMPTE-2110 routing. Blackmagic Ethernet Switch 820 also has two redundant PTP clock Ethernet connections, a separate NMOS control port and a dedicated management port.

It will be available in June from US$2,295

Blackmagic Design will be in Booth N2502 in the North Hall of the LVCC.

Fremont, CA - August 14, 2018 - Blackmagic Design announced today that post production facility DigitalFilm Tree (DFT) has moved its full pipeline, including editorial, color, visual effects (VFX) and delivery, into the newest release of DaVinci Resolve Studio, version 15, which was released this month.

Always pushing the boundaries of technology and cinematic art since 1999, DFT is no stranger to being a first adopter of the newest technology, a reputation which has kept it at the forefront of the industry as a top finishing house for high-end broadcast, OTT and feature film projects. Notably, DFT was one of the first companies to use Blackmagic Design’s DaVinci Resolve Studio, in 2009 on "NCIS: Los Angeles,” shortly after Blackmagic Design purchased DaVinci Systems.

The move to DaVinci Resolve 15 Studio was carefully planned and was the culmination of a series of tests on the public beta since its release at NAB in April 2018. “We always focus on providing customers and artists with the best tools available,” said Ramy Katrib, Founder and CEO of DigitalFilm Tree. “We knew the final release of 15 would come soon, so we used the public beta to methodically test and integrate DaVinci Resolve 15 Studio into all our post departments.”

One of the biggest advancements in the new software was the addition of Fusion VFX, and DFT’s incorporation of the tools into its VFX department was both welcome and complex. “We wanted to utilize the unique workflow that DaVinci Resolve 15 Studio offers, allowing all our artists from editorial, conform, color, and VFX to work in the same project at the same time,” said Katrib. “Rather quickly, our VFX and color departments started using Fusion because it’s right there in DaVinci Resolve Studio, with little to no round tripping to other apps! Even in the early stages, we are experiencing the power of Fusion and the efficiency of real time collaboration.”

With DaVinci Resolve 15 Studio, post production collaboration is fully realized, and it was these tools that motivated the entire company to make the transition quickly. “I was already comfortable with the speed and power of the Color page in DaVinci Resolve Studio,” said Patrick Woodard, Senior Colorist at DigitalFilm Tree. “However, now with DaVinci Resolve 15 Studio, I can work interactively with other artists while I grade, making our team far more efficient and creative than ever before.”

Unlike other tool sets, DaVinci Resolve 15 combines the power of a full NLE, award winning color, Fusion VFX, Fairlight audio and delivery tools together in one application. Artists at every level can work on the same timeline at the same time, increasing both efficiency and speed of delivery. “With today’s quick turnaround demands and fast technical and creative revisions, it makes sense to have editorial and conform, color and VFX all making forward progress, at the same time,” said Katrib. “Whether at DigitalFilm Tree or remotely, DaVinci Resolve 15 Studio allows our clients to iterate across the entire post process in one timeline. Now when they sign off, our delivery times are far shorter because we output the final master right from DaVinci Resolve Studio. Throughout the mastering process, we present our clients with a persistent camera RAW finishing environment. Post production is exciting again, with amazing collaboration across technical and creative departments, on every project!”

More than four years ago, DFT leveraged DaVinci Resolve Studio and its IT logistics capabilities to offer remote post services. At first, they offered remote DaVinci Resolve Studio color systems for clients across the world, allowing them to see and sign off on their projects as if they were sitting in a brick and mortar color bay in Los Angeles.

“As we are evolving to IP-based post processes and services, DaVinci Resolve Studio brings the entire post process to our clients, wherever they are, far or near,” said Katrib. “Current clients utilizing our remote post services, which we call GeoPost, include TBS’ ‘Wrecked’ for which we provide remote dailies from Fiji, ABC’s ‘American Housewife’ for which we provide remote color and VFX review, and the CW’s ‘The 100' for which we provide remote titling, conform, color and VFX review.”

With DaVinci Resolve 15 Studio’s expanded collaboration and remote features, Katrib is excited to grow DFT’s services on a global basis. “DaVinci Resolve Studio continues to be a game changer, and it’s everywhere. Now, with a complete shared workflow in one package, the post production paradigm will change dramatically for everyone and for the better.”

Press Photography

Product photos of DaVinci Resolve Studio and all other Blackmagic Design products are available at www.blackmagicdesign.com/media/images

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com

About DigitalFilm Tree

DigitalFilm Tree is an award-winning post production and software development company. Over 18 years ago, DigitalFilm Tree (DFT) was first to usher in file-based workflows in media and entertainment industry on projects like “Cold Mountain” and “Scrubs.” Today DFT is the leading provider of remote, cloud-based post services and software solutions for productions the world over. DFT champions a multidisciplinary culture of world-class creative and technical talent, providing clients like ABC, CBS, Fox, Netflix, HBO, Turner, and Warner Bros. an unparalleled user experience.

FREMONT, CALIF.—The tag team of Blackmagic Design and World Wrestling Entertainment (WWE) have proved to be a winning combination for some time, including for the WWE’s recent Smackdown Holiday Tour. Specifically, the WWE post production team used Blackmagic’s Fairlight DAWs with Xynergi controllers to help deliver broadcast, online and social media projects.

WWE uses six Xynergi-equipped audio suites complete with Fairlight PYXIS video recording and playback and CC-2 audio engines to handle all audio post. The Fairlight comes with a library file feature, which allows the production team to import multiple edits from another timeline across multiple tracks and clips. The PYXIS system allows for the playing of AAF and flattened MXF-wrapped video files off of any server. The Fairlight’s ADR mode also allows the team to bring video files in with audio and make new mixes on the fly.

WWE says it has been using the Fairlight system since 1997 to create content ranging from long format shows, spots, social media, short format and dramatic packages.

AMSTERDAM—Blackmagic has been busy in the first few days of IBC 2016, announcing a number of new products and a pair of recent company acquisitions.

The first such business acquisition was for blue and green screen removal systems provider Ultimatte; the company has recently worked on incorporating its green screen technology for virtualized sets. And after announcing that it was seeking a buyer in July, audio software and hardware developer Fairlight has found one in Blackmagic.

New Blackmagic products introduced during IBC include the Teranex AV, a broadcast quality standards converter for AV professionals. Modeled after the Teranex Express, the new model features both 12G-SDI outputs and simultaneous Quad SDI output connections, as well as HDMI 2.0a input with a loop HDMI output and a HDMI output for after processing. It also features XLR audio inputs and consumer Hi-Fi connections. Blackmagic plans to release the Teranex AV in September at a price of $1,695.

DeckLink Mini Monitor and Mini Recorder cards

Upgrades have also been made to the DeckLink Mini Monitor and Mini Recorder products, adding UHD and HDR support. Both models are four lane generation2 PCIe cards with 6G-SDI and HDMI 2.0a connections for working in SD, HD and UHD formats up to 2160p30. Each is also compatible with the Blackmagic Desktop Video SDK. Both models are now available for $195 each.

Updates were also made to both the Video Assist and DaVinci Resolve systems. Video Assist 2.2 will be available starting next week and offers the ability to save DNxHD 220, 145 and 45, along with DNxHR HQ, SQ and LB files; manual screen control is also now available. The 12.5.2 update for the DaVinci Resolve system adds additional metadata support into RAW files from Blackmagic Ursa Mini cameras.

Blackmagic also announced a $1,000 price deduction on its HyperDeck Studio 12G, making it available for $1,495.

Blackmagic is located at stand 7.H.20 during IBC 2016, which is currently underway and runs through Sept. 13.

SYDNEY, AUSTRALIA—Fairlight.AU, the Australian technology development company best known for its professional audio products for broadcast and media production, announced today that it is actively seeking a buyer for its Professional Audio technology.

 “Over its long history, Fairlight has continually developed highly innovative professional audio technologies that are used by a large number of major content producers around the world” says Philip Belcher, CEO. “With a range of innovative new AES67 compliant audio distribution products approaching release, it has been decided that the potential for Fairlight’s professional audio technologies is much larger than can be achieved under the current ownership.”

Fairlight says it is seeking to enter into discussions with organizations that “wish to leverage its professional audio technologies to augment their offerings and enhance their competitive positions in this rapidly evolving market. It is anticipated that with the level of interest for the technologies that offer the potential of a key strategic advantage as part of a larger portfolio, it should not be long before a transaction is complete.”

The company said it “will now focus its efforts on its patented picture key work surface technology which it licenses to manufacturers of highly user interactive tactile equipment.” Earlier this year Fairlight announced that Grass Valley had integrated Fairlight's Pyxis tactile technology with GV's Edius NLE system. 

The U.S.-based division of Fairlight (FairlightUS), has rebranded itself as "STC Gear" and distributes Fairlight products including its EVO.Live media production system. 

SYDNEY—A collaboration between Canadian-based Grass Valley and Australian-based Fairlight has resulted in hardware control surfaces that reportedly brings tactile control to Grass Valley’s Edius 8.1 video editing software. Incorporating Fairlight’s Pyxis video editing and mixing controllers into the Edius 8.1 platform allows for customized control surface layouts.

Pyxis.Edit and Pyxis.Mix

The Pyxis controllers come in two models, Pyxis.Edit and Pyxis.Mix. Both feature Picture Key technology, which are able to change label and function to repurpose the control surface depending on the task.

Pyxis.Edit delivers functional scope, fewer keystrokes while also keeping the operator aware of currently available commands. It also features a high-res jog wheel for zooming and transport control.

The Pyxis.Mix sidecars can be added to the Pyxis.Edit controllers, extending them up to 10 faders. Each Pyxis.Mix adds five channels, each with touch-sensitive pan pot, motorized fader, writing strip with metering and solo, mute and gang buttons.