The 17K, 65mm large format camera from Blackmagic comes with a similarly large $29,995 price tag
(Image credit: Blackmagic)
Blackmagic Design has announced the pricing and availability of its latest cinematic powerhouse (and rival to the legendary Arri Alexa 65), the Ursa Cine 17K 65. Officially launched at IBC 2024 in Amsterdam, this revolutionary large format digital cinema camera is set to retail starting at a jaw-dropping $29,995!
Which is a lot of money, no doubt, but not when you think of large format cinema. Featuring an unprecedented 65mm RGBW sensor, the Blackmagic Ursa Cine 17K 65 is designed to deliver breathtaking image quality and unparalleled integration into post-production workflows – specifically with DaVinci Resolve.
With its large format sensor boasting a resolution of 17,520 x 8,040 and 16 stops of dynamic range, the camera is poised to become a go-to for high-end cinema production.
The Blackmagic Ursa Cine 17K 65 features a stunning new sensor (Image credit: Blackmagic Design)
The RGBW architecture ensures accurate color reproduction by providing equal amounts of red, green, blue and white pixels, resulting in stunningly rich and detailed images. Offering compatibility with PL, LPL and (weirdly) Hasselblad lenses, the camera's versatility caters to a wide array of creative preferences.
The Ursa Cine 17K 65 also includes a massive 8TB of built-in high-performance storage, along with high-speed networking capabilities, allowing for efficient media uploads and real-time syncing to Blackmagic Cloud. With 12G-SDI outputs, 10G Ethernet and USB-C, the camera provides extensive connectivity options, while industry-standard Lemo and Fischer connectors enable seamless integration with external accessories including lens motors and focus controls.
In terms of usability, the camera is built with a lightweight yet robust magnesium alloy chassis, making it ideal for dynamic on-set work. A fold-out five-inch HDR touchscreen monitor and an assist station, with a secondary display, further enhance the production workflow, ensuring that crews can monitor and control the camera from multiple angles without the need for external monitors. For filmmakers requiring perfect focus, a dedicated focus puller mode adds to the camera's appeal.
The Blackmagic Ursa Cine 17K 65 in all its glory (Image credit: Blackmagic Design)
The Ursa Cine 17K 65 also features Blackmagic RAW, optimized for 17K editing, with built-in tools for media transfer via the Blackmagic Media Dock. This ensures rapid post-production workflows and real-time editing within DaVinci Resolve, making the camera an all-in-one solution for filmmakers aiming for high-quality production from capture to post.
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While the 17K 65 might be a massive stretch for most of us, it is remarkable to hear that such a camera is able to compete with the likes of the Arri Alexa 65 – which until today held the distinction of being one of the only 'real' production models that solo users could purchase in this format.
Indeed, with the Alexa 65 costing well in excess of $100,000, the $29,995 price tag of the Ursa 17K 65 makes it an 'affordable' option for those few solo filmmakers that want large format output – not only for feature films but also the capability to crop in-post after the fact. We are witnessing history in the making!
For nearly two decades Sebastian's work has been published internationally. Originally specializing in Equestrianism, his visuals have been used by the leading names in the equestrian industry such as The Fédération Equestre Internationale (FEI), The Jockey Club, Horse & Hound, and many more for various advertising campaigns, books, and pre/post-event highlights.
He is a Fellow of The Royal Society of Arts, holds a Foundation Degree in Equitation Science, and is a Master of Arts in Publishing. He is a member of Nikon NPS and has been a Nikon user since the film days using a Nikon F5 and saw the digital transition with Nikon's D series cameras and is still to this day the youngest member to be elected into BEWA, The British Equestrian Writers' Association.
He is familiar with and shows great interest in street, medium, and large format photography with products by Leica, Phase One, Hasselblad, Alpa, and Sinar. Sebastian has also used many cinema cameras from the likes of Sony, RED, ARRI, and everything in between. He now spends his spare time using his trusted Leica M-E or Leica M2 shooting Street photography or general life as he sees it, usually in Black and White.
