Blackmagic's whole move is giving you cinema specs for the price of a used hatchback. The lineup sprawls a bit, and not every model is for every job, so here's the map: what shoots what, what plugs into what, and where Blackmagic just quietly drove off the edge of the map with the new stuff.
The pocket rockets
Pocket Cinema Camera 4K
The one that put RAW in a body anyone could afford. Micro Four Thirds sensor, 4K, and HDMI out only, no SDI. A little long in the tooth now, but still a ridiculous amount of image for the money. Great as a learner or a crash-cam.
Pocket Cinema Camera 6K (and 6K Pro / G2)
Super 35 sensor, EF mount, 6K, still HDMI out. This is where a lot of owner-operators actually started shooting paid work on Blackmagic. The Pro and G2 versions added built-in ND and a brighter screen, which matter more on a real day than the spec sheet suggests.
The Super 35 workhorse
URSA Mini Pro 12K
The one that made "12K" a normal sentence. Super 35 sensor, 12K resolution, proper broadcast body, and 12G-SDI on board. Overkill for most jobs and exactly the point for the ones where it isn't. Still a serious tool years after launch.
The PYXIS box bodies
PYXIS 6K
Full frame, 6K, around 13 stops of dynamic range, and up to 120fps. A modular box-style body that you build out the way you want, available in EF, PL, or L-mount. The sensible-money full-frame option.
PYXIS 12K
Same box concept, monster sensor. A full frame 12K chip at 12288 by 8040, around 16 stops, and up to 112fps. Three mount options again. It's compact enough to travel and handhold but scales up for commercial work, which is the whole pitch: one sensor, solo-shooter body.
The new flagships
URSA Cine 12K LF
Large format done properly. A 36 by 24mm RGBW sensor, 12K, around 16 stops, and the full big-body cinema build with 12G-SDI. This is Blackmagic walking straight into ARRI and RED territory and charging a fraction of the day rate.
URSA Cine 12K LF 100G
This is the one to pay attention to. Same 12K large-format sensor, but with 100G Ethernet on board and live output up to 440fps for slow-motion replay. The 100G part means it speaks SMPTE 2110 directly, putting the camera on an IP network instead of a coax run. Around $8,995 and aimed squarely at live production. If you read our 2110 piece, this is what "cameras shipping with it built in" actually looks like.
URSA Cine Immersive 100G
The weird, fascinating one. Dual 8K-by-8K RGBW sensors with a custom lens system, built specifically for Apple Immersive Video, and the first camera built for live immersive production over 100G and 2110. Most people will never touch one. It tells you exactly where Blackmagic thinks the puck is going.
Quick reference
| Camera | Sensor | Output | Best for |
| Pocket 4K | MFT, 4K | HDMI | Learner / crash-cam |
| Pocket 6K | Super 35, 6K | HDMI | Owner-operator |
| URSA Mini Pro 12K | Super 35, 12K | 12G-SDI | Broadcast / high-res |
| PYXIS 6K | Full frame, 6K | 12G-SDI | Value full frame |
| PYXIS 12K | Full frame, 12K | 12G-SDI | Solo cinema |
| URSA Cine 12K LF | Large format, 12K | 12G-SDI | High-end cinema |
| URSA Cine 12K LF 100G | Large format, 12K | 100G / 2110 | Live production |
What this means for your cable bag
The pocket bodies are HDMI out, so for any real monitoring run you're converting or keeping it short. Everything from the URSA Mini Pro 12K up rides 12G-SDI, so good 12G coax kept short covers the whole serious end of the line.
The exception is the new 100G bodies. Those don't want a coax at all. They want a network port, because the signal is going out as IP, not SDI. That's a different kind of build, and if it sounds like a foreign language right now, start with our field guide to SMPTE 2110 and it'll click.
Blackmagic ships fast and the lineup shifts. If a model here got replaced by something newer between me writing this and you reading it, that's just Blackmagic being Blackmagic.
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