Blackmagic Design used its April 2026 pre-NAB push to drop one of the largest single-day product waves in the company's history. The unifying theme is unmistakable: 100G Ethernet and SMPTE-2110 run through the entire signal chain, from the sensor to the console to shared storage. Alongside the hardware, DaVinci Resolve receives a major version bump with a brand-new Photo page and a substantial batch of AI features. Here is the full list of what was introduced this month, with European pricing (ex-VAT) and expected availability.

Cameras

URSA Cine 12K LF 100G

The flagship URSA Cine 12K LF gets a 100G Ethernet port and a dedicated SMPTE-2110 Live mode. In that mode the camera outputs real-time IP video up to 2160p60, and the 100G variant pushes live output up to 440 fps for high-frame-rate slow-motion replay in sports and premium live broadcast. It keeps the 12K large-format sensor and the familiar URSA Cine workflow, but finally plugs the camera directly into a 2110 fabric without external gateways. Blackmagic is offering it in three configurations so broadcasters and owner-operators can pick the bundle that matches the rest of their kit.

URSA Cine 12K LF 100G

URSA Cine 17K 65 Body

A new large-format beast joins the URSA Cine lineup: a 17K 65mm-format body aimed squarely at high-end cinema and premium commercials where sensor size and resolution headroom matter. It shares the URSA Cine ergonomics and cloud-connected workflow, but steps up to a bigger sensor and a much higher pixel count for projects that need extreme reframing latitude or native 65mm presentation. Like the rest of the line, it is designed to slot into the same 100G/2110 ecosystem Blackmagic is building around it.

URSA Cine Immersive 100G

Billed as the world's first immersive cinema camera for live production, the Immersive 100G is aimed primarily at Apple Immersive Video workflows and premium VR broadcast. It pairs dual 8K×8K RGBW sensors with 16 stops of dynamic range, and now streams live over 100G Ethernet rather than being purely a recording device. That turns immersive capture from a post-only format into something a broadcaster can actually send down a wire in real time — an inflection point for sports, concerts, and event coverage.

  • Availability: Q3 2026 (European pricing to be confirmed)

URSA Cine Accessories

A short, practical set of accessories rounds out the camera announcements and fills the gaps operators hit the moment a URSA Cine body arrives on set.

  • URSA Live Encoder — €1,295: A dedicated encoder box that hangs off the camera for streaming and lightweight live production, letting a single URSA Cine feed both a primary 2110 workflow and a secondary IP stream.
  • URSA Cine Studio Viewfinder — €1,295: A larger, studio-style viewfinder tuned for broadcast operators and pedestal use, rather than the handheld/shoulder EVF.
  • URSA Cine Mount B4 — €435: A native B4 lens mount for the URSA Cine bodies, opening the door to the huge library of existing broadcast zoom lenses.
  • URSA Cine B4 Adapter Cable — €85: The connecting cable that links B4 broadcast lenses to the camera for full servo, iris, and zoom control.

Audio

Fairlight Live

Fairlight Live is a software-based live audio mixer built for broadcast, with deep ATEM integration, SMPTE-2110 I/O, and support for surround, spatial, and fully immersive audio. The software itself is free, which is the aggressive part of the announcement — it positions Fairlight Live as a direct challenge to hardware-based broadcast consoles that typically cost tens of thousands of euros. Because it is software-first, it can scale from a single-operator OB to a multi-operator facility without swapping hardware.

  • Price: Free
  • Availability: Public beta available now

Fairlight Live

Fairlight Live Audio Panels

To give Fairlight Live a tactile front end, Blackmagic is launching three matching control surfaces. All three use motorised faders and integrated touchscreen displays, and scale from a single-operator desk up to a full broadcast console — at prices that undercut traditional panels by a wide margin.

 

ATEM and Broadcast Infrastructure

ATEM 4 M/E Constellation IP

The Constellation line steps fully into IP with the ATEM 4 M/E Constellation IP, a native SMPTE-2110 live production switcher with up to 64 inputs and 52 outputs over 100G Ethernet. It keeps the four-M/E Constellation architecture broadcasters already know, but swaps the SDI back plane for 2110, which means one big switcher can now anchor an all-IP production gallery on its own.

ATEM Monitoring Rack Panel 20 and 40

Companion rack-mount monitoring panels for the Constellation IP switchers. They combine SMPTE-2110 IP-to-SDI/HDMI monitoring conversion with integrated control, so engineers can check any source on the IP fabric without hunting for a separate gateway.

ATEM Monitoring Rack Panel

Blackmagic Ethernet Switch 820

A broadcast-grade network switch built specifically for 2110 facilities, with 8 × 100G and 2 × 10G ports, redundant PTP clock distribution, dedicated NMOS control, and front-to-back cooling for hot-aisle rack deployments. Blackmagic is pricing it well below enterprise broadcast switches, which is key to making a full 2110 build-out affordable for mid-market facilities.

Blackmagic UpDownCross 100G

An eight-channel standards converter over 100G Ethernet that handles SD, HD, and Ultra HD conversion simultaneously. In practice it shields a 2110 facility from mismatched incoming feeds — think remote contributions, legacy SDI feeds, or mixed-format event inputs — and normalises them into the house format before they hit the switcher.

Blackmagic SDI Expander 8x12G

A compact expander that adds eight 12G-SDI connections to systems that still live in the SDI world, or that need an SDI island hanging off a 2110 core. It is the kind of unglamorous but essential box that keeps hybrid facilities running while operators migrate from SDI to IP at their own pace.

Blackmagic StudioBridge 10G PWR and StudioBridge 100G

StudioBridge provides long-distance fibre links between studio cameras and the production core. The 10G PWR model adds power-over-fibre style delivery for remote camera positions, while the 100G version is built for high-bandwidth 2110 contribution paths between control rooms, stages, and OB trucks.

HyperDeck ISO Recorder 100G

HyperDeck goes full broadcast-IP with a new ISO recorder on 100G Ethernet. It records multiple isolated camera feeds simultaneously directly off the 2110 fabric — exactly the kind of tool a Resolve-based live-to-post workflow needs when you want every camera as a clean ISO for later editing or replay.

Blackmagic NAB 2026 New Equipment

Storage

Blackmagic Cloud Store Ultra

A new high-performance flash storage appliance with up to 48 TB capacity, RAID 5, and dual 100G Ethernet. Blackmagic is positioning it as the shared hub for Resolve replay, multi-editor post, and live-to-post workflows, where a single shared volume has to serve many seats at very high throughput.

Blackmagic Media Dock Ultra

A faster iteration of the Media Dock family, tied into the same 100G broadcast stack. It is aimed at centralised ingest and shared media management, sitting between camera cards or network sources and the Cloud Store Ultra hub for a clean ingest-to-edit pipeline.

Software

DaVinci Resolve 21

Resolve 21 is a major version bump with more than 100 new features. The headline addition is an entirely new Photo page that turns Resolve into a credible Lightroom alternative, with RAW editing, tethering, masking, and the same node-based grading colourists already use — now applied to still images. For hybrid shooters it collapses the stills and motion pipelines into a single application.

Other notable additions include:

  • AI IntelliSearch — search media for people, objects, or keywords spoken in dialog, instantly.
  • AI Speech Generator — generate voiceover from text, or clone a voice from as little as a 10-second sample, with control over speed, pitch, and inflection.
  • New Studio-only AI tools for depth of field, motion deblur, blemish removal, and facial de-aging.
  • Broad improvements across Edit, Cut, Color, Fusion, and Fairlight, plus expanded immersive and VR workflows to pair with the new URSA Cine Immersive 100G.
  • Price: Free upgrade for Studio (major upgrades may become paid in future according to BMD messaging)
  • Availability: Public beta available now

DaVinci Resolve 21

Takeaway

April 2026 is the month Blackmagic committed fully to a 100G, SMPTE-2110, software-first broadcast stack. Cameras, switchers, audio consoles, networking, recorders, and storage all speak the same IP language, and Resolve 21 quietly pulls photography into the same tent. Most of the hardware ships in June 2026, with the flagship URSA Cine bodies arriving in Q3 2026, while the software pieces — Fairlight Live and DaVinci Resolve 21 — are already in public beta and free to download today.