Blackmagic Design URSA Mini 4.6K Digital Cinema Camera (PL-Mount)

Blackmagic Design URSA Mini 4.6K Digital Cinema Camera (PL-Mount)

Blackmagic Design URSA Mini 4.6K Digital Cinema Camera (PL-Mount)

B&H # BLURSAM46KPL MFR # CINEURSAM46K/PL
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Product Highlights

  • Super-35mm CMOS Sensor
  • 4608 x 2592 Video up to 60p
  • Compressed Raw Recording
  • Ready-to-Edit ProRes 444 + 422 Recording
  • Dual CFast 2.0 Memory Card Slots
  • 12G-SDI Output, Timecode & REF Input
  • 1080p Flip-Out Screen
  • Touchscreen Interface
  • 2 x XLR Audio Inputs with Phantom Power
  • Magnesium Alloy Body
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Blackmagic Design URSA Mini 4.6K overview

  • 1Description

Now in a smaller, more handheld-friendly form factor, the URSA Mini 4.6K Digital Cinema Camera from Blackmagic Design can record cinematic images with its Super-35mm 4.6K, sensor with 15 stops of dynamic range. The ergonomic body design is balanced and can be used for many different styles of filmmaking. The PL-Mount is compatible with a plethora of popular lenses, opening different aesthetic options. A rosette on the side of the camera accepts the included side handle, which can control Start/Stop via a LANC connection.

To produce cinematic images, the URSA Mini can record raw sensor data in the CinemaDNG format onto CFast 2.0 memory cards at up to 60 fps. The raw files preserve the full dynamic range and color tonality output from the sensor, so you can have greater control over the look in post-production. However, data-heavy uncompressed raw files aren't always easy to deal with on set, so in addition to uncompressed raw recording, the 4.6K URSA Mini provides compressed raw recording at 3:1 and 4:1 compression ratios to save space while retaining post-production flexibility.

The URSA Mini also records UHD 4K (3840 x 2160) and 1080p video using ready-to-edit ProRes files in many different flavors within the 444 and 422 chroma subsampling variations, depending on your workflow. Starting at the high end, UHD footage can be recorded in ProRes 444 XQ at a rate of 312.5 MB/s all the way down to 1080p in a ProRes 422 Proxy file coming in at a relatively paltry 5.6 MB/s data rate. Since the camera accepts dual CFast cards, you can record for long periods of time by having the camera switch cards when one is full.

Power for the URSA Mini can be supplied via a 4-pin XLR jack at the rear of the camera. With an optional plate, the URSA will accept professional V-Mount or Gold Mount batteries on the back. Once connected to power, the URSA can even distribute power through a second 4-pin XLR jack.

Camera Features

Compact Handheld Design
Sizing down the familiar URSA shape enables the URSA Mini to fit into feature and indie film, broadcast TV, commercial, documentary, and music video workflows with crews of any size. Using the optional shoulder mount with a built-in quick release plate, the URSA Mini can go from handheld to shoulder to tripod in a matter of seconds. Despite its size, the URSA Mini still fits essential I/O for professional workflows.

The body is made from magnesium alloys to keep the URSA Mini lightweight at 5 lb. To make the camera more acceptable for handheld usage, a side handle is included. With the optional shoulder mount, the handle can be extended off the side of the camera to be used in a doc-style configuration.
4.6K Super-35mm Sensor
With an effective resolution of 4608 x 2592, the sensor housed inside the URSA Mini can capture motion pictures that have greater-than 4k resolution with a film-like 15 stops of dynamic range. A wide exposure latitude allows for greater control in post, enabling highlight recovery while keeping the shadows clean from artifacting.

The URSA Mini can record the entire sensor at up to 60 fps to fit television or other workflows which require higher frame rates. Using a smaller portion of the sensor, the URSA Mini can also record slow-motion footage at up to 120 fps in 1080p resolution. When recording high frame rates, the URSA Mini will conform captured footage to the set standard frame rate, resulting in smooth footage that doesn't require post-processing before editing.

Touchscreen Control
In addition to more traditional button-driven menus, the URSA Mini features a foldout 5-inch, 1920 x 1080 resolution capacitive touchscreen LCD monitor. Using the easily navigable touchscreen menu, you can see and change all camera settings, view timecode, histograms, audio levels, and focus peaking, as well as add shot metadata with an on-screen keyboard.
Professional Connections
The URSA Mini features multiple connections such as 12G-SDI out, HD-SDI monitoring out, two LANC inputs, balanced XLR audio with phantom power, timecode-in, and reference input. On the front right side of the camera, the 4-pin XLR DC and HD-SDI monitoring output are located in the perfect position for connecting to an optional viewfinder or on set monitor. The 12G-SDI output handles up to 2160p60 using a single BNC cable, and switches to 6G-SDI or HD-SDI depending on the shooting format.
Quality Sound Recording
With high-quality built-in microphones and professional audio recording features, you don't have to carry around extra sound equipment. You can use the built-in stereo microphone to record natural location sound or connect professional microphones using the two XLR mic inputs. The XLR connections have 48V of switchable phantom power, so you can plug shotgun or wireless lavalier mics for capturing more detail. You can quickly adjust levels using the physical knobs, while monitoring the audio using the onscreen audio meters and headphones.
Multiple Power Options
On its own, the URSA Mini includes a 4-pin XLR industry standard power connector that works with 12 to 30V external power supplies. That means it's easy to use the camera with existing professional power supplies and batteries. The camera uses the same battery power connector and mounting points on the rear of the camera as used on the original URSA, so you can use the same range of battery plates from a wide range of manufacturers such as IDX, Frezzi, Anton Bauer, and more. You can also add the optional Blackmagic URSA V-Lock Battery Plate for using popular V-Mount batteries.
DaVinci Resolve Software Included
Included with the camera is a DaVinci Resolve USB dongle, which contains a license to unlock the full feature-set within the software. The full version of DaVinci Resolve is compatible with Mac and Windows, and can be used for editing, color grading, media management, mastering, and delivery. DaVinci Resolve can easily handle the 12-bit log RAW images from URSA Mini so you can take advantage of the URSA Mini's amazing image quality and wide dynamic range. DaVinci Resolve features advanced, multi-layer timeline editing with powerful trimming tools, along with the industry's leading suite of creative grading tools
In the Box
Blackmagic Design URSA Mini 4.6K Digital Cinema Camera (PL-Mount)
  • PL-Mount Port Cap
  • Side Handle
  • LANC Cable
  • Power Supply (Brick Only, No Power Cord)
  • DaVinci Resolve Full-Version License Dongle
  • Limited 1-Year Warranty
  • Table of Contents
    • 1Description

    Blackmagic Design URSA Mini 4.6K specs

    Sensor
    Size 25.34 x 14.25 mm (Super-35)
    Lens Mount PL Mount
    Effective Resolution 4608 x 2592
    Dynamic Range 15 stops
    Shooting Resolutions 4608 x 2592
    4096 x 2304 (4K 16:9)
    4608 x 1920 (4K 2.4:1)
    3840 x 2160 (Ultra HD)
    3072 x 2560 (3K anamorphic)
    2048 x 1152 (2K 16:9)
    1920 x 1080
    Frame Rates 23.98, 24, 25, 29.97, 30, 50, 59.94, 60 fps
    Display
    Dimensions 5" diagonal
    Screen Type LCD capacitive touchscreen
    Resolution 1920 x 1080
    Recording
    Media Card Slots 2 x CFast 2.0
    Recording Formats CinemaDNG Raw (uncompressed or lossless 3:1/4:1 compressed) @ 4608 x 2592, 4096 x 2304, 4608 x 1920, 3072 x 2560, and 2048 x 1152 (film dynamic range)
    Apple ProRes @ 3840 x 2160, 1920 x 1080 (film or video dynamic range)
    Data Rates 4608 x 2592:
    Uncompressed CinemaDNG Raw - 513MB/s
    CinemaDNG Raw 3:1 - 180 MB/s
    CinemaDNG Raw 4:1 - 135 MB/s

    3840 x 2160:
    Apple ProRes 444 XQ - 312.5 MB/s
    Apple ProRes 444 - 165 MB/s
    Apple ProRes 422 HQ - 110 MB/s
    Apple ProRes 422 - 73.6 MB/s
    Apple ProRes 422 LT - 51 MB/s
    Apple ProRes Proxy - 22.4 MB/s

    1920 x 1080:
    Apple ProRes 444 XQ - 62.5 MB/s
    Apple ProRes 444 - 41.25 MB/s
    Apple ProRes 422 HQ - 27.5 MB/s
    Apple ProRes 422 - 18.4 MB/s
    Apple ProRes 422 LT - 12.75 MB/s
    Apple ProRes Proxy - 5.6 MB/s

    Rates based on 30 fps
    Metadata Support Automatic camera data and user-entered data such as shot number, file names, and keywords
    Connections
    Output 1 x 12G-SDI, 10-bit 4:2:2
    Reference 1 x Reference input
    Timecode 1 x Timecode input
    Analog Audio Inputs 2 x XLR, selected mic/line level and +48 V phantom power
    SDI Audio Output 2-channel
    Remote Control 2 x LANC on 2.5 mm sub-mini, for controlling record Start/Stop, iris, and focus
    USB 1 x USB 2.0 mini Type-B for software updates
    Supported Standards SDI Compliance: SMPTE 292M, SMPTE 424 Level B, Draft SMPTE 2081-1, Draft SMPTE 2082-1

    SDI Audio Sampling: 48 kHz and 24-bit
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    Microphone 2 x Built-in cardioid microphones for stereo recording with -10 dB pad and low-cut filter
    Speaker Integrated mono (enabled in playback when headphones are not used)
    Controls Touchscreen menus on 5" screen, push button controls for navigating menus
    Mounting Options Integrated rod mounts compatible with 15mm Light Weight Support (LWS) standard
    System Requirements Mac OS X 10.9 or newer, Windows 7 (64-bit) or 8 (64-bit)

    Note: See Blackmagic website for detailed system requirements and configuration guides.
    Power Connectors Inputs:
    1 x 4-pin XLR input for external power supply or battery
    1 x 12-pin Molex connector on rear battery plate

    Outputs:
    1 x 12V output using 4-pin XLR for powering external accessories such as EVF
    1 x 12V regulated output from rear Molex 12-way connector
    Battery Plate Support Mounting holes for V-Mount and Gold Mount battery plates
    Operating Temperature 32 to 104°F / 0 to 40°C
    Storage Temperature -4 to 113°F / -20 to 45°C
    Humidity 0 to 90% RH, non-condensing
    Dimensions 8.2 x 7.6 x 5.8" / 21 x 19.3 x 14.7 cm
    Weight 5 lb / 2.3 kg
    Packaging Infodzywsdydubtvyrxuwxtxdfczyqwebrufbuwr
    Package Weight 8.85 lb
    Box Dimensions (LxWxH) 12.9 x 10.0 x 7.9"

    Blackmagic Design URSA Mini 4.6K reviews

    URSA Mini 4.6K Digital Cinema Camera (PL-Mount) is rated 4.7 out of 5 by 7.
    Rated 5 out of 5 by from Beyond amazing Black magic design 4.6K Ursa Mini PL mount. I have seen some negative reviews but I have seen no issues at all. Some of the comments I've seen I believe are bogus. I an using my new Ursa mini as an additional camera on the movie I'm shooting. My main camera is an Alexa. My DIT was off set managing media most of the day. The Ursa was performing well beside the Alexa. The DIT came to me and asked why the file naming had changed on the Alexa which is using C-fast cards also. I told him I had not changed anything. Then he realized it was the Ursa camera. He was genuinely surprised and said from what he could see there was no difference. Now I'm not saying this camera is an Alexa but man it looks good and will cut seamlessly against the Alexa footage. Pretty incredible for a camera body that cost $5495. So far it's performing so well, I've been flying it on the Ronin and also regular sticks, handheld and steady cam. Very excited.
    Date published: 2016-05-01
    Rated 4 out of 5 by from Pretty awesome camera for the money. I rented this camera for a few days of camera tests to see if it could be used for legitimate projects. I captured in 4k Raw, as well as some ProRes, and compressed Raw. The dynamic range is pretty impressive, I shot some late afternoon-backlit stuff and still retained some shadow detail as well as holding sky detail. I think the ISO is pretty close to 800 but maybe closer to 640 or so. I had a little bit of fixed pattern noise in some of the very dark stuff once I decided to boost exposure in resolve. Some of that was user-error, I was underexposing quite a bit as I prefer moody, darker images. I did use the PL version with 2 cine-lenses. I think the lenses helped the look as well, and opened up to a t2.1. I will probably test the EF version next with some vintage still lenses.
    Date published: 2016-08-16
    Rated 5 out of 5 by from Incredible imaging device for an incredible price point Commercial video production is my profession. I think everyone knows this camera took a lot longer to come to market than anticipated. There have been strong opinions thrown around online, and I can understand people who were on the waiting list since day one being upset. We've debated for some time now whether or not we'd invest in this camera, but finally got around to renting one and put it through it's paces ourselves. We loved it so much we purchased one ourselves before the rental had expired. It beats absolutely everything else out there for the price point. There may have been some quality control issues with the early copies, but we have had no magenta issues neither with our copy of the camera nor the one we rented. The menu system is very intuitive (make sure you update to the latest firmware), the build is solid, and the images are superb. The number of recording formats available is incredible and perfect for the type of work we do. Want to shoot 1080 at a conservative bitrate? Do it, and you can choose whether you want to use the full super-35 sensor or the center pixels. What to shoot 4.6k raw? Go for it, and you don't have to franken-rig and external recorder. Also love the 3k anamorphic feature! This is a game-changer at this price point. Seems pretty efficient on power - doesn't eat through batteries like other cameras we've used. Weight is reasonable. Doesn't feel like a toy, but not too heavy either. We went with the 4.6k PL. The PL mount is well built excellent to have for mounting the best glass in the world. Absolutely no regrets in our purchase. You certainly want to go with the 4.6k sensor - the dynamic range is absolutely worth it.
    Date published: 2016-11-21
    Rated 5 out of 5 by from Worth the purchase We have been very happy with this camera's performance so far. Everything as advertised. The Menu system is intuitive, the dynamic range is awesome and the ProRes files are a great fit for our workflow. Make sure you don't go cheap on your glass and you'll be happy too.
    Date published: 2017-01-03
    Rated 5 out of 5 by from Crazy good camera Black magic design 4.6K Ursa Mini PL mount. I am using my new Ursa mini as an additional camera on the movie I'm shooting. My main camera is an Arri Alexa. My DIT was off set managing media most of the day. The Ursa was performing well beside the Alexa. The DIT came to me and asked why the file naming had changed on the Alexa which is using C-fast cards also. I told him I had not changed anything. Then he realized it was the Ursa camera. He was genuinely surprised and said from what he could see there was no difference. Now I'm not saying this camera is an Alexa but man it looks good and will cut seamlessly against the Alexa footage. Pretty incredible for a camera body that cost $5495. So far it's performing so well, I've been flying it on the Ronin and also regular sticks, handheld and steady cam. Very excited. Updates after some more days.
    Date published: 2016-04-28
    Rated 5 out of 5 by from Amazing Bought it, saw the scew of the rolling shutter in the LCD, returned it, saw the footage and bought it right back. By far the best camera considering ergonomics, picture quality and price. Its a 400 ISO camera, and with a T2 lens You will shoot what a human eye can see. I think its a better choice for PL lenses than the Pro because of the 5 inch monitor and the lack of another ND glass in the optical path It is a very sharp camera, but with some lenses CA becomes exaggerated like the Fujinon 20-120, which unfortunately I would not recommend for it. On the other hand classic Angenieux Zooms and the 18-85 Red Zoom work really well. Most lens issues, CA, Distortions, Color shift and contrast can be corrected in the full version of Resolve which is part of the package. But the greatest thing is that the few Accessories You need work really well and You don't need to cobble up these painful Riggs.
    Date published: 2017-07-30
    Rated 4 out of 5 by from Not a good choice for Low Light shoots With 15 stops of Dynamic Range, this certainly is one of the best cinema cameras in the market for its price however if you are looking at shooting events or any project with low light, you will have trouble with the ISO. I have used upto 800 which is already grainy so never pushed to 1600 (max ISO). If you are lighting the set and filming or shooting outdoors, this is the best choice in budget but in low lights, Sony A7sii will smoke you like anything.
    Date published: 2017-05-29
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