- URSA Broadcast G2 Camera
- Fujinon XA20sx8.5BERM-K3 ENG Lens
- MS-01 Rear Zoom/Focus Lens Control Kit
- Digital Servo Unit Included
- 6K CMOS Sensor, Dual Native ISO
- Fast f/1.8 Max Aperture at 8.5-113mm
- 20x Zoom Ratio and 2x Extender
Add a full broadcast camera with servo zoom kit to your studio with this Blackmagic Design URSA Broadcast G2 Camera with Fujinon 8.5-170mm Lens & Zoom/Focus Control kit. The kit includes the URSA Broadcast G2 4K studio camera, the Fujinon XA20sx8.5BERM-K3 ENG 8.5 to 170mm servo zoom lens with a digital servo, and the Fujinon MS-01 semi-servo kit made up of a zoom servo demand, focus/handle grip, flexible connector cable, and manual focus module.
The URSA Broadcast G2 camera features a 6K CMOS sensor, 6K Blackmagic RAW recording, 12G-SDI input and output, genlock/timecode I/O, built-in SD and CFast 2.0 slots, XLR inputs, and both 2/3" B4 and EF lens mounts. The 8.5 to 170mm servo zoom lens features a 20x zoom ratio, a fast f/1.8 aperture, manual focus, and a 2x extender. The control kit allows you to add a manual focus grip and connector equipment so you can mount the controller onto a studio handgrip.
Blackmagic Design URSA Broadcast G2 Camera
Update your broadcast studio or internet broadcast camera with a versatile 3-in-1 powerhouse using the Blackmagic Design URSA G2 Broadcast Camera. This updated G2 model features generation 5 color science and not only supports up to UHD 4K as its predecessor for production and studio work but can now be used as a 6K digital film camera that records in Blackmagic RAW format. The lens mount is compatible with 2/3" B4 lenses, but it also includes an active EF mount adapter, allowing you to access a long line of professional cinema lenses. It allows you to apply 3D LUTs for cinema-like looks, has built-in optical ND filters, features 12G-SDI input and output, captures audio via two XLR inputs, and can record using Prores 422 and Blackmagic RAW onto CFast 2.0 or SD UHS-II cards.
The camera body is constructed with durable and lightweight magnesium, so it will hold steady in any environment. To power the camera, you can use the included 12 VDC power adapter or the preinstalled V-mount plate to utilize professional, high-capacity V-mount batteries. Also included with the camera are the URSA Mini shoulder pad, the URSA Mini top handle, a viewfinder mounting plate, and all the installation hardware and lens caps. A downloadable copy of DaVinci Resolve Studio is included, along with access to future camera software updates.
Three Cameras in One
Broadcast Production Camera
The perfect solution for broadcasters, URSA Broadcast G2 includes ENG camera controls positioned around the camera, so you can locate them by feel. It also features a low-light sensor, so you get amazing images using natural light. That's the perfect combination for broadcast news and programming.
Live Studio Camera
URSA Broadcast includes an advanced YRGB color corrector built-in and full remote camera control. You can use B4 ENG or large studio box lenses, or even change the lens mount and use any lens. Plus, the optional Blackmagic focus and zoom demands let you control the lens from the tripod handles.
Digital Cinema Camera
URSA Broadcast G2 includes an advanced 6K digital film sensor, and you can change the lens mount. Use a PL mount for digital film lenses or EF for photo lenses. Plus, the high dynamic range, great low-light performance, and Blackmagic RAW means you get a true "Hollywood" quality digital film camera.
Digital Film Quality for Broadcast
The large 6K sensor, combined with Blackmagic generation 5 color science, gives you the same imaging technology used in digital film cameras. This means broadcasters can now use digital cinema quality in broadcasts. The 6K sensor features a resolution of 6144 x 3456, so it's flexible enough for broadcast and digital film work. When using B4 lenses, you get a 4K window of the sensor for Ultra HD broadcast use. Then, if you change to a PL or EF lens mount, you can use the full 6K resolution of the sensor for digital film. With 13 stops of dynamic range, you get darker blacks and brighter whites, so it's perfect for color correction. Using digital film in broadcast is a revolution in image quality.
The new URSA Broadcast features incredible low-light performance, so you can shoot using ambient light or even under moonlight. In advanced cameras, ISO is a measurement of the image sensor's sensitivity to light. The Blackmagic URSA Broadcast G2 features gain from -12dB (100 ISO) up to +36dB (25,600 ISO), so it's optimized to reduce grain and noise in images while maintaining the full dynamic range of the sensor. The primary native ISO is 400, which is ideal for use under studio lighting. Then the secondary high base ISO of 3200 is perfect when shooting in dimly lit environments. The gain can be set via a camera switch, the LCD menu, or remotely using the SDI remote camera control protocol.
Compatible with B4 Broadcast Lenses
The URSA Broadcast G2 features a B4 broadcast lens mount that includes optics specifically designed to match the camera's sensor. The B4 lens mount lets you use modern UHD lenses or lower-cost HD lenses. Older HD lenses often feature resolutions well beyond HD, so you get great quality at a low cost. B4 lenses are fantastic because they are par-focal, so the image stays in focus as you zoom in and out, so you don't need to constantly chase focus as you shoot. That lets you work much faster. You also get full electronic lens control to adjust focus, iris, and zoom using the camera's controls or remotely. Plus, if you want to use alternative lenses, you can change the mount to PL, EF, and more.
Built-In Optical ND Filters
URSA Broadcast G2 features high-quality neutral density (ND) filters that let you quickly reduce the amount of light entering the camera. The 1/4, 1/16th and 1/64th stop filters have been specifically designed to match the image sensor and color science of URSA Broadcast G2, providing you with additional latitude and better colorimetry. This lets you use different combinations of aperture and shutter angles in a wider range of situations. The IR filters have been designed to evenly filter both optical and IR wavelengths, eliminating IR contamination. Plus, the filter status on the LCD can be displayed as a fraction, number, or stop reduction.
Common Media and File Formats
URSA Broadcast is designed to work with standard file formats used by all broadcast systems and editing software. You can record in ProRes 422 HQ and ProRes 422 into QuickTime files. The new Blackmagic URSA Broadcast G2 model can even record into H.265 for incredibly small files at 60:1 to 285:1 compression ratios, in 10-bit broadcast quality. Plus. you can record to Blackmagic RAW files, a revolutionary new format designed to capture and preserve the quality of the sensor data from the camera. That means you get the perfect range of file formats designed for all types of workflows.
Dual Media Slots for Nonstop Recording
With dual CFast 2.0 recorders and dual SD/UHS-II card recorders, you can choose the media that's best for you. Both types of media are standard, inexpensive, and readily available at computer and camera stores. Plus, with dual media slots, URSA Broadcast gives you nonstop recording. When a card is full, recording automatically continues onto the next card, so you can swap a full card while recording continues. You get enough speed to record high-quality ProRes and H.265 video file formats, even when working in Ultra HD at high frame rates. That means URSA Broadcast G2 is easy to integrate into your existing broadcast systems. You can even record 12-bit Blackmagic RAW cinema files.
USB Type-C for Recording Direct to External Media Disks
The Blackmagic URSA Broadcast G2 features a high-speed USB Type-C expansion port on the rear of the camera that allows you to record to external disks or connect to a wide range of accessories. If you plug in a large and low-cost external USB flash disk, you can record ProRes, H.265, or even high-quality 12-bit Blackmagic RAW files for later editing and color correction. That means you can just move the disk to a computer to work, and you don't need to waste time with file copying. Plus, the USB port will power the disk that's plugged in. You can even plug in optional focus and zoom demands to allow full lens control.
Strong and Lightweight Magnesium Design
URSA Broadcast G2 features a super-strong, lightweight magnesium alloy body that's perfectly balanced and designed to be comfortable to use all day. It features familiar, externally mounted switches and controls that give you direct access to the most important camera settings. The controls are laid out logically, making them easy to locate by feel, so you can adjust settings without having to look at the buttons. You also get a foldout touchscreen for monitoring, viewing camera status, and changing settings using on-screen menus. URSA Broadcast G2 also includes standard 12G-SDI connections, XLR audio inputs, USB Type-C, and an industry-standard 4-pin XLR broadcast 12 VDC connection.
Built-In LCD with Touch Controls
With a built-in LCD that folds out, you can both monitor and control the camera. While URSA Broadcast G2 features lots of physical buttons and knobs, using the LCD, you also get on-screen status and touchscreen controls. The built-in touchscreen also includes a heads-up display with the most important shooting information, as well as menus for all camera settings, LUTs, and custom presets. Behind the LCD, there are extra buttons, as well as knobs for audio levels. There are even programmable function buttons that can have functions assigned to them, such as zebra, false color, focus peaking, LUTs, and more. Plus, you can change the function assigned to each button in the on-screen menus.
External Status Display
The status display is a high-visibility LCD screen designed to be easily seen, even in bright light. The status display shows record, locked, and reference timecodes, along with the current shooting frame rate, shutter angle, aperture, white balance, gain, and iris. It also features a battery indicator, card recording status, and audio meters for monitoring levels. The screen's backlight can be turned on when you are shooting in dimly lit locations and off when you are shooting outdoors and in bright light to increase contrast, making it easy to read under any condition.
Program Video Monitoring
If you're doing live production, sometimes you need to monitor program video back from the switcher. Simply press the camera's PGM button and the viewfinder will switch from the camera display to the program return feed from the switcher. A built-in speaker also lets you monitor the switcher audio as well. Program return is a fantastic feature, as sometimes on large live shows, camera operators can be left waiting a long time for their camera to be used, so program return lets them watch the show while they wait. This means that even if the camera operator is a large distance away from the switcher, they can still keep up with what is happening and remain alert.
Load Custom 3D LUTs to Recreate Film Looks
Digital film cameras shoot logarithmic color space to preserve the dynamic range, which is great for later post-production. However, when these files are viewed on a monitor, they can look flat and washed out. 3D LUTs solve this problem as they allow you to apply a "look" to the monitor so you get an idea of how the finished images will look when editing. LUTs can be applied temporarily for monitoring only, or they can be recorded into the Blackmagic RAW files for use in post-production. The URSA Broadcast G2 works with industry-standard 17- and 33-point 3D LUT files or you can work with the built-in LUTs such as Extended Video, Film to Video, Film to Rec.2020, and more.
Standard Television Industry Connections
Blackmagic URSA Broadcast G2 features the latest technology and connections, such as 12G-SDI. This includes 12G-SDI connections for both video output and return program feed input. The 12G-SDI connections are multirate and switch between all HD and UHD formats up to 2160p60. Other connections include a headphone connection, USB Type-C, balanced XLR audio with phantom power, and timecode/reference input. There's also a front-mounted 12-pin Hirose connector for broadcast lens control, which can also power the lens. Plus, for connecting a viewfinder or on-set monitor, there's even an HD-SDI monitoring output and a broadcast style 4-pin XLR 12 VDC power output.
Supports All Broadcast Frame Rates
Whether you're shooting a sporting event or a breaking news story, Blackmagic URSA Broadcast G2 can shoot super-smooth, crystal clear slow-motion video. To shoot slow-motion video, URSA Broadcast supports the higher broadcast frame rates of 60 frames per second, but it can also record this high frame rate into a lower frame rate file for smooth slow-motion shooting. You can set up your preferred high-speed frame rate using the camera's on-screen menus, then switch between standard sync speed and off-speed frame rates using the HFR button on the side of the camera. That means you can have a higher frame rate setup and ready to go, so it's instantly available when the action gets exciting.
Professional Audio Connections and Built-In Microphones
URSA Broadcast G2 has a high-quality microphone and professional audio recorder built in so you don't have to carry any extra sound equipment. That means you can use the built-in stereo microphone or you can connect external microphones. The XLR connections have 48V phantom power so you can plug in everything from shotgun to wireless clip-on mics. You can also select to link audio inputs on the camera so you can plug in lapel microphones that often only have a single mono connection if you want to record the mic onto both channels of the recorded file. URSA Broadcast G2 also features knobs for adjusting levels and onscreen meters so you can trim audio levels even when shoulder mounted.
Studio Camera Control via SDI
All Blackmagic Design ATEM switchers can control cameras via a protocol embedded into the URSA Broadcast G2's SDI video connections. Setup is easy because all ATEM switchers broadcast control commands from the switcher's SDI program output to the camera via the SDI program input. The switcher can perform color correction, tally, and lens control, and these are sent to all cameras. All you need to do is select the correct camera number, and it all works. This means someone can manage the image color and gain, so the camera operator is not distracted trying to adjust their camera, and they are then free to focus on framing the shots.
Work in Both HD or Ultra HD
The Blackmagic URSA Broadcast G2 is not just a great UHD 4K camera, but it's also an amazing HD camera. The high-resolution sensor and generation 5 color science create amazing images with a high dynamic range and wide color fidelity. But when you need to do HD work, the camera will scale the image sensor down to 1080 HD video standards. This helps you get stories on air fast, in HD or Ultra HD video standards, anywhere in the world. Plus, when working in HD, the high-resolution sensor allows sub-pixel image processing for superior anti-aliasing and sharp images. Blackmagic URSA Broadcast G2 is a future-proof camera that's perfect for both HD and UHD production.
Change to PL, EF, and F Lens Mounts
URSA Broadcast G2 features an interchangeable lens mount, so you can easily swap the included B4 lens mount for an EF, a PL, or even an F mount. URSA Broadcast G2 comes with a B4 mount already installed, plus a spare EF mount is included. That means if you're starting out, you can change the mount and use low-cost photographic lenses. Photographic lenses offer incredible quality because they're designed for high-resolution photography. You can also purchase optional PL and F mounts separately. If you're shooting for digital film, the PL mount is best. as it's the most common lens mount for cinema lenses. With URSA Broadcast G2, you get a single camera that works with virtually all modern lenses.
Latest Generation 5 Color Science
Featuring the same generation 5 color science as the high-end URSA Mini Pro 12K, the new URSA Broadcast G2 delivers an even greater advancement in image quality with stunning, accurate skin tones, and faithful color in every shot. You get a new dynamic 12-bit gamma curve designed to capture more color data in the highlights and shadows for better-looking images. The color science also handles some of the complex Blackmagic RAW image processing, so color and dynamic range data from the sensor is preserved via metadata, which you can then use in post-production. That means you get images that have a natural, filmlike response to color adjustments in post with DaVinci Resolve Studio.
Blackmagic RAW Quality
Blackmagic RAW is a revolutionary new format designed to capture and preserve the quality of the sensor data from your camera. Common video files have a lot of video processing, so you can lose some of the original sensor detail. Blackmagic RAW eliminates this problem, so you get stunning images with incredible detail and rich color throughout the whole post-production pipeline. Blackmagic RAW also saves camera settings as metadata, so you can change ISO, white balance, and exposure later in DaVinci Resolve. Plus, the files are small and fast, so editing responsiveness is incredible. Only Blackmagic RAW gives you the highest quality, smallest files, and fastest performance.
Powered by Blackmagic OS
With the advanced Blackmagic OS, you get an intuitive and user-friendly camera operating system based on the latest technology. Blackmagic OS is a truly modern operating system, where all camera features run independently for smoother control, plus URSA Broadcast G2 powers on virtually instantly. It features the same controls and menus as other Blackmagic Design cameras, so you can move between cameras on set easily. The interface uses simple tap and swipe gestures to adjust settings, add metadata, and view recording status. You also get full control over advanced camera features such as on-screen focus and exposure tools, 3D LUTs, HDR, metadata entry, timecode, Blackmagic RAW settings, and more.
Built-In Timecode Generator
All models of Blackmagic URSA Broadcast G2 have a built-in time-of-day timecode generator, so you can sync all the cameras and then do multicamera editing later because all the recordings will have the same timecode. Simply plug in an external timecode generator to the BNC timecode input, and the camera will automatically detect timecode and lock the internal generator. Now each camera can start and stop recording, and the shots from all cameras will have matched timecode. Imagine shooting a music festival with multiple cameras. Then the DaVinci Resolve sync bin can be used to automatically sync the recordings and display them in a multiview for easy editing.
Focus and Zoom Demands
The optional zoom and focus demands allow you to use photography lenses for live production. The focus and zoom demands have USB Type-C connections, so they control the lens via the camera's electronic lens control. Each zoom and focus demand has two USB Type-C ports, so you can daisy-chain them then connect to the camera with a single USB connection. The design has an incredibly precise feel, so you get very fine lens control, and you can frame and adjust the lens without taking your hands off the tripod handles. The buttons can be customized, so you can assign different camera functions to them. Plus, hardware is included for mounting the focus and zoom demands onto tripod handles.
Optional Viewfinders, SMPTE Fiber, and Lens Mounts
There's a wide range of accessories specifically designed to work perfectly with URSA Broadcast G2. However, a shoulder mount kit, V-mount battery plate, and top handle are included, so you don't need to purchase anything extra. Plus, you get a spare EF lens mount if you don't own a B4 lens and would like to start out using a photography lens. You can add the optional Blackmagic URSA Viewfinder, or for live production, you can add a Blackmagic URSA Studio Viewfinder. There's also an optional fiber converter that can power the camera from 1.2 miles away via the single SMPTE fiber. For long-duration recording, URSA Mini Recorder gives you the option to record to external SSDs.
Record to SSDs and U.2 Media
The optional Blackmagic URSA Mini Recorder lets you record files onto large 2.5" SSDs, as well as the latest U.2 NVMe Enterprise SSDs. SSDs such as the latest 7mm U.2 NVMe disks are super fast, delivering data transfer speeds of up to 900 MB/s. This blazing-fast performance allows you longer recording times for full-resolution 4K and 6K 12-bit Blackmagic RAW files in the highest-quality Q0 encoding. The unique design of the Blackmagic URSA Mini Recorder means it attaches directly to the back of your URSA Broadcast G2 between the camera and the battery. It's controlled via the USB-C, so you don't have to worry about manually starting or stopping the SSD recorder.
Localized in 13 Languages
All Blackmagic Design cameras are designed to be used worldwide, so they support 13 popular languages. When setting up your camera, you can choose to work in English, German, French, Spanish, Portuguese, Italian, Russian, Polish, Ukrainian, Turkish, Chinese, Japanese, or Korean. It's easy to switch to another language simply by going into the menu settings. When switching between languages, all the on-screen overlays, the heads-up display, and setup menus will be displayed in the selected language, and you can change languages any time you like.
Wireless Bluetooth Camera Remote Control
If you're positioning the camera on the end of a boom or in another hard-to-reach location, you can get full control via Bluetooth from up to 30' away. You can download the Blackmagic Camera Control app for your iPad or use third-party apps such as Bluetooth+ or tRigger on your iOS and Android devices. There's even a free developer SDK with sample code available from the Blackmagic Design developer website, so you can create your own remote camera control and digital slate solutions. Imagine building an app that can jam sync timecode and trigger all cameras to record at the same time. The possibilities are endless.
Compatible with Industry-Standard Batteries
All URSA cameras support a wide range of battery plates from manufacturers such as IDX, Blueshape, Anton Bauer, and more. A V-mount battery plate is installed on the camera, or you can change to an optional Blackmagic URSA Gold Battery Plate. All Blackmagic battery plates are designed to mount directly onto the camera. URSA Broadcast G2 includes a 4-pin XLR power connector that supports 12 to 18V for connecting external power supplies and battery packs. The standard power connector also means you can use the camera with your existing power supplies and batteries. For live production, the optional fiber converter can power the camera from up to 1.2 miles away via a single SMPTE fiber cable.
Includes DaVinci Resolve Studio
URSA Broadcast G2 includes a full version of DaVinci Resolve Studio, which is the same software used in Hollywood for creating high-end feature films, episodic television shows, commercials, and more. DaVinci Resolve features the new cut page with intelligent editing tools and innovative new features designed to help you quickly find the footage you want, edit it together, and output it fast. In addition to the new cut page, you also get DaVinci's legendary professional editing, advanced color correction, audio post, and visual effects tools, all in a single software application. Now you can use the same high-end software that professional editors and colorists use.
Fujinon XA20sx8.5BERM-K3 ENG Lens
The Fujinon XA20sx8.5BERM-K3 ENG Lens is a 8.5-170mm lens, designed to provide 2/3" format cameras with a wide to super telephoto angle-of-view. The lens has a 20x zoom ratio, and a 2x extender effectively doubles the focal range. An ergonomic, digital servo zoom control is also included.
Internal focusing minimizes the effects of lens breathing, which ensures a more consistent focal length when adjusting focus. Fujinon's QuickZoom technology improves zoom speed to 0.7 seconds end to end. With the push of a button, QuickZoom facilitates a rapid shift to the telephoto end to check focus. Releasing the button automatically returns the lens to the previously selected focal length.
- 8.5-170mm zoom lens with 20x zoom and 2x extender for 2/3" format
- Fast f/1.8 Max Aperture at 8.5-113mm and f/2.7 at 175mm
- Manual focus and digital servo zoom
- Innerfocus and QuickZoom technology
Fujinon MS-01 Rear Zoom and Focus Lens Control Kit for ENG/EFP Lenses
The Fujinon MS-01 is a semi-servo kit consisting of the SRD-92B zoom servo demand, CFH-3 focus handle/grip, CFC-12-990 flexible cable, and FMM-6B manual focus module. The kit provides precision control for ENG/EFP lenses over a variety of applications.
Blackmagic Design URSA Broadcast G2 Camera Specs
|Sensor Resolution||Not Specified by Manufacturer|
|Sensor Type||23.1 x 12.99 mm (Medium Format) CMOS|
|Built-In ND Filter||Mechanical Filter Wheel with Clear, 2 Stop (1/4), 4 Stop (1/16), 6 Stop (1/64) ND Filters|
|Capture Type||Stills & Video|
|Shutter Type||Electronic Rolling Shutter|
|ISO Sensitivity||400 to 3200 (Extended: 100 to 25,600)|
|Gain||-6 to 18 dB|
|Advertised Dynamic Range||13 Stops|
|Internal Recording Modes||Blackmagic RAW 10-Bit
6144 x 3456 up to 50 fps [65 to 483 Mb/s]
6144 x 2560 up to 59.94 fps [49 to 359 Mb/s]
5376 x 3024 up to 59.94 fps [51 to 371 Mb/s]
3728 x 3104 up to 59.94 fps [36 to 265 Mb/s]
3840 x 2160 up to 59.94 fps [32 to 190 Mb/s]
1920 x 1080 up to 150 fps [5.2 to 47 Mb/s]
ProRes 422/ProRes 422 HQ
3840 x 2160 up to 59.94 fps [73.6 to 110 Mb/s]
1920 x 1080p up to 59.94 fps [18.4 to 27.5 Mb/s]
1920 x 1080p at fps [18.4 to 27.5 Mb/s]
3840 x 2160 up to 59.94 fps [3.2 to 7.8 Mb/s]
1920 x 1080p up to 59.94 fps [1.8 to 7 Mb/s]
|Sensor Crop While Recording||4K (3840 x 2160) in 16:9 When Recording in Raw|
|Built-In Microphone Type||Stereo|
|Audio Recording||ProRes: 2-Channel 24-Bit 48 kHz|
|Media/Memory Card Slot||Dual Slot: SD/SDHC/SDXC (UHS-II)
Dual Slot: CFast (CFast 2.0)
|Video I/O||1 x BNC (12G-SDI) Output
1 x BNC (12G-SDI) Input
1 x BNC (12G-SDI) Output
|Audio I/O||1 x 1/8" / 3.5 mm TRRS Headphone/Mic Headphone Input/Output on Camera Body
2 x XLR 3-Pin Mic/Line (+48 V Phantom Power) Input on Camera Body
|Power I/O||1 x XLR 4-Pin Input
1 x XLR 4-Pin (12 to 20 VDC) Output
1 x Molex 12-Pin Input
|Other I/O||1 x USB-C (USB 3.2 / 3.1 Gen 2) Video Output
1 x USB-C Data Input
1 x 2.5 mm Sub-Mini (LANC) Control Output
1 x BNC (Reference, Sync, Timecode) Data Input
1 x Hirose 12-Pin (Camera Interface) Control Output
|Display Type||Articulating Touchscreen LCD|
|Secondary Display||Side: LCD Status Display|
|Type||Optional, Not Included|
|Focus Type||Auto and Manual Focus|
|Focus Mode||Automatic, Manual Focus|
|Operating Temperature||32 to 104°F / 0 to 40°C|
|Storage Temperature||-4 to 113°F / -20 to 45°C|
|Operating Humidity||0 to 90%|
|Power Consumption||100 W|
|Tripod Mounting Thread||3 x 1/4"-20 Female (Bottom)|
|Accessory Mount||1 x ARRI/Hirth Rosette|
|Material of Construction||Magnesium Alloy|
|Dimensions (W x H x D)||10.95 x 9.93 x 5.9" / 27.81 x 25.22 x 15 cm|
|Weight||7.83 lb / 3.55 kg|
|Package Weight||11.4 lb|
|Box Dimensions (LxWxH)||20.7 x 10.1 x 7.1"|
Fujinon XA20sx8.5BERM-K3 ENG Lens Specs
|Sensor Compatibility||2/3" (16:9)|
|Focal Length||8.5 to 170mm|
|Angle of View||16:9
Wide: 58.85 x 35.18° (H x V)
Tele: 3.23 x 1.82° (H x V)
|Maximum Aperture||f/1.8 to 2.7|
|Filter Thread||M82 x 0.75 mm|
|Minimum Focus Distance||From : 3.61' / 1.1 m|
|Minimum Object Distance||2.95' / 0.9 m|
|Dimensions||3.3 x 7.1" / 85.0 x 180.8 mm (ø x L)|
|Weight||3.48 lb / 1.58 kg|
|Package Weight||6.1 lb|
|Box Dimensions (LxWxH)||15.65 x 14 x 11.55"|
Fujinon MS-01 Rear Zoom And Focus Lens Control Kit For ENG/EFP Lenses Specs
|Package Weight||4.95 lb|
|Box Dimensions (LxWxH)||12.85 x 9.8 x 5.15"|