URSA Mini Pro 4.6K is a professional Super 35 digital cinema camera that helped Blackmagic Design bridge the gap between cinema production and broadcast-style operation.
Released in March 2017, the Blackmagic Design URSA Mini Pro 4.6K combined the image quality of the URSA Mini 4.6K sensor with a more practical production body. It added built-in ND filters, external physical controls, interchangeable lens mounts, professional audio, broadcast features and dual media recording.
The camera uses a Super 35mm sensor with a listed active area of about 25.34 x 14.25 mm. It records up to 4608 x 2592 in 4.6K 16:9 and supports CinemaDNG RAW, Apple ProRes and later Blackmagic RAW workflows through firmware updates.
For filmmakers, commercial crews, documentary teams and broadcast users, the URSA Mini Pro 4.6K was important because it offered a serious cinema image in a body that was easier to operate on real sets than earlier Blackmagic production cameras.
Key Camera Specifications
The URSA Mini Pro 4.6K is built around a Super 35 sensor, ISO 800 base sensitivity and flexible lens mount support.
| Feature | Blackmagic URSA Mini Pro 4.6K |
|---|---|
| Camera type | Super 35 digital cinema camera |
| Release period | March 2017 |
| Sensor format | Super 35mm |
| Sensor size | 25.34 x 14.25 mm |
| Maximum resolution | 4608 x 2592 |
| Lens mount options | EF, PL, B4 and F workflows depending on mount kit |
| Base sensitivity | ISO 800 |
| Claimed dynamic range | 15 stops |
| Best measured dynamic range | 12.6 stops at SNR=2 in provided lab data |
| Main launch codecs | CinemaDNG and Apple ProRes |
| Later workflow | Blackmagic RAW support |
| Built-in ND filters | Yes |
| Body weight | About 2.3 kg |
| Dimensions | About 209 mm x 147 mm x 193 mm |
| Best use | Cinema, broadcast, documentary, commercials and studio work |
The camera’s main strength is not only its 4.6K image. It is the full production system around that image.
Super 35 4.6K Sensor
The URSA Mini Pro 4.6K uses a Super 35mm sensor with a 4.6K 16:9 resolution of 4608 x 2592.
Super 35 is one of the most trusted cinema formats. It gives filmmakers a familiar field of view, practical focus control and strong lens compatibility. It is also easier to lens than full-frame and 65mm cameras.
The 4.6K resolution gives productions enough detail for 4K delivery, reframing, stabilisation and high-quality oversampling.
Why Super 35 Still Matters
Super 35 remains useful because it balances image quality and practicality.
It works with many cinema primes, cinema zooms, EF lenses and broadcast-style lenses through the right mount. It also keeps depth of field more manageable than full frame, which helps documentary shooters and small crews.
For many productions, a strong 4.6K Super 35 image is more practical than chasing higher resolution with heavier data demands.
Dynamic Range Performance
Blackmagic claims 15 stops of dynamic range for the URSA Mini Pro 4.6K.
In the provided CineD lab data, the camera measured 12.5 stops at SNR=2 in Full Sensor 4.6K ProRes XQ at ISO 800 and BMD Film. In BRAW, using 4608 x 2592 scaled to UHD, the result was 12.6 stops at SNR=2.
| Sensor Mode | Resolution | Codec | ISO | Gamma | Measured Dynamic Range |
| Full Sensor | 4608 x 2592 | ProRes XQ | 800 | BMD Film | 12.5 stops at SNR=2 |
| Full Sensor scaled to UHD | 4608 x 2592 to UHD | BRAW | 800 | BMD Film | 12.6 stops at SNR=2 |
These results are below the 15-stop manufacturer claim, but they remain strong for a Super 35 camera from this generation.
What Dynamic Range Means for Filmmakers
Dynamic range affects how much detail a camera can keep in bright highlights and dark shadows.
This matters when shooting skies, windows, practical lights, dark interiors, reflective objects and backlit scenes. The URSA Mini Pro 4.6K gives useful grading flexibility, but it still needs careful exposure.
For the best image, protect highlights, avoid deep underexposure and monitor exposure with false colour, waveform or zebras.
Rolling Shutter
The provided data does not include a rolling-shutter test result for the URSA Mini Pro 4.6K.
That means there is no confirmed figure here in the same database format as the dynamic-range results. Since the camera uses a rolling-shutter CMOS sensor, users should still test fast motion before important shoots.
Why Rolling Shutter Matters
Rolling shutter can make fast movement look distorted.
Quick pans may bend vertical lines, and fast-moving subjects can appear skewed. This is less visible in interviews, studio work, tripod shots and controlled camera movement.
For action, handheld documentary work, sports-style scenes and vehicle shots, testing the intended recording mode is important.
CinemaDNG RAW Recording
At launch, the URSA Mini Pro 4.6K supported CinemaDNG RAW recording.
CinemaDNG was an important professional RAW format because it preserved strong image information for grading. The camera supported lossless CinemaDNG and compressed CinemaDNG options such as 3:1 and 4:1 in the provided recording data.
| Mode | Resolution | Codec | Maximum Listed Frame Rate |
| 4.6K 16:9 | 4608 x 2592 | CinemaDNG lossless | Up to 59.94p |
| 4.6K 16:9 | 4608 x 2592 | CinemaDNG 3:1 | Up to 59.94p |
| 4.6K 16:9 | 4608 x 2592 | CinemaDNG 4:1 | Up to 59.94p |
CinemaDNG gave excellent flexibility, but it created large files and required more storage and post-production planning than modern BRAW workflows.
Blackmagic RAW Workflow
Later firmware support made Blackmagic RAW an important workflow for the URSA Mini Pro 4.6K.
BRAW improved the camera’s practicality by offering RAW flexibility with smaller files and better editing performance. It also worked smoothly inside DaVinci Resolve, giving editors and colourists control over ISO, white balance, tint and colour science settings in post-production.
Why BRAW Matters
Blackmagic RAW made the URSA Mini Pro 4.6K more efficient.
CinemaDNG was powerful but heavy. BRAW kept many RAW benefits while improving playback and reducing workflow pressure. This made the camera more usable for independent productions, documentary teams and commercial crews that needed faster turnaround.
For DaVinci Resolve users, BRAW remains one of the camera’s strongest workflow advantages.
ProRes Recording Options
The URSA Mini Pro 4.6K also supports Apple ProRes recording.
ProRes is useful when productions need a widely supported, editor-friendly codec. It is easier to manage than RAW and works well for broadcast, documentary, corporate and quick-turnaround jobs.
The camera supports high-quality 12-bit 4:4:4:4 ProRes options and 10-bit 4:2:2 ProRes options.
| ProRes Option | Sampling | Bit Depth |
| ProRes XQ | 4:4:4:4 | 12-bit |
| ProRes 4444 | 4:4:4:4 | 12-bit |
| ProRes HQ | 4:2:2 | 10-bit |
| ProRes 422 | 4:2:2 | 10-bit |
| ProRes LT | 4:2:2 | 10-bit |
| ProRes Proxy | 4:2:2 | 10-bit |
This codec flexibility made the camera useful for both high-end grading work and simpler editorial workflows.
Recording Modes and Formats
The URSA Mini Pro 4.6K supports several recording formats across 4.6K, 4K, 3K, 2K and HD.
| Recording Format | Resolution |
| 4.6K 16:9 | 4608 x 2592 |
| 4.6K 2.40:1 | 4608 x 1920 |
| 4K 16:9 | 4096 x 2304 |
| 4K DCI | 4096 x 2160 |
| 4K Ultra HD | 3840 x 2160 |
| 4K Ultra HD high speed windowed | 3840 x 2160 |
| 3K Anamorphic | 3072 x 2560 |
| 2K 16:9 | 2048 x 1152 |
| 2K DCI | 2048 x 1080 |
| HD | 1920 x 1080 |
| HD high speed windowed | 1920 x 1080 |
This format range gives filmmakers options for cinema delivery, broadcast work, anamorphic-style capture and high-speed windowed recording.
Frame Rates and High-Speed Modes
The URSA Mini Pro 4.6K supports 4.6K recording up to 59.94p in CinemaDNG RAW according to the provided data.
It also includes high-speed windowed modes in 4K Ultra HD and HD. These modes are useful when a production needs slow motion and can accept a smaller sensor area.
Why High-Speed Recording Matters
High-speed recording is useful for music videos, commercials, action inserts, product films, sports-style shots and stylised documentary scenes.
The original URSA Mini Pro 4.6K is not as fast as the later 4.6K G2, but it still gives creators useful slow-motion options in selected modes.
Built-In ND Filters
Built-in ND filters are one of the most important features of the URSA Mini Pro 4.6K.
The camera includes 2-stop, 4-stop and 6-stop ND filters with IR compensation. These filters help control exposure in bright conditions without changing aperture, shutter angle or ISO.
Why Built-In ND Filters Matter
ND filters make professional video production faster.
They allow operators to keep a consistent shutter angle and preferred depth of field even when light changes. This is useful for outdoor interviews, documentaries, commercials and fast-moving production days.
Built-in ND filters are a major reason the URSA Mini Pro body is more practical than many smaller cinema cameras.
Interchangeable Lens Mount System
The URSA Mini Pro 4.6K supports interchangeable lens mount workflows.
The camera ships around EF workflows and can be configured for PL, B4 and F mount use depending on the mount kit. This made it unusually flexible for its time.
| Mount | Best For |
| EF | Canon EF lenses, Sigma EF lenses, indie filmmakers and owner-operators |
| PL | Cinema primes, cinema zooms and professional film sets |
| B4 | Broadcast HD lenses and live production workflows |
| F | Nikon F lenses and adapted stills-lens workflows |
This mount flexibility helped the camera serve cinema, broadcast, documentary and studio users with one body.
Lens Coverage Considerations
Because the camera uses a Super 35 sensor, lens coverage is easier than with full-frame cameras.
Most Super 35 PL lenses cover the main sensor area. EF full-frame lenses cover it easily. B4 lenses need the correct optical mount workflow, and anamorphic lenses should be tested before production.
Broadcast-Style Controls
The URSA Mini Pro 4.6K was designed to feel more like a real production camera.
It includes physical buttons, switches and dials for important settings. Operators can adjust ISO, white balance, shutter angle, frame rate, ND filters and other controls without relying only on touchscreen menus.
Why Physical Controls Matter
Physical controls save time on set.
In documentary, broadcast and event work, operators often need to change settings quickly. A touchscreen-only camera can slow the process down.
The URSA Mini Pro 4.6K gave Blackmagic users a more practical camera body for professional work.
Media and Storage
The URSA Mini Pro 4.6K includes dual CFast 2.0 and dual SD/UHS-II card recorders.
CFast cards are better for high-data-rate RAW recording. SD UHS-II cards are useful for lighter ProRes and some lower-data-rate modes. The dual-slot system allows continuous recording from one card to the next.
Storage Planning Tips
RAW recording needs serious storage planning.
CinemaDNG files can be large, especially at 4.6K and higher frame rates. Productions should use approved cards, test media before shoots and create reliable backups before reusing cards.
For professional jobs, footage should be copied to more than one secure location.
Audio and Professional I/O
The URSA Mini Pro 4.6K includes professional inputs and outputs.
It supports XLR audio, 12G-SDI workflows, timecode, reference input, broadcast-style connections and professional monitoring setups. These tools made it useful for multi-camera shoots, studio work, documentary production and live environments.
Why Professional I/O Matters
Professional productions need reliable connections.
SDI is more robust than HDMI in many on-set environments. XLR audio is important for interviews, documentary sound and production audio. Timecode helps sync cameras and audio recorders.
These features make the URSA Mini Pro 4.6K more capable than smaller creator-focused cameras.
Body Design and Ergonomics
The camera body weighs about 2.3 kg and is built from a compact magnesium alloy design.
It is larger than a Pocket Cinema Camera but much more production-friendly. The body works well on tripods, shoulder rigs, dollies, cranes, studio setups and handheld production builds.
The fold-out touchscreen and external status display help operators monitor settings quickly.
Why the Body Design Works
The URSA Mini Pro body was designed for real production.
It gives crews a more complete camera system, with built-in controls, professional media, ND filters, audio and monitoring. This reduces the number of accessories needed to make the camera usable on set.
Best Uses for the URSA Mini Pro 4.6K
The URSA Mini Pro 4.6K is best for productions that need a professional Super 35 cinema camera with broadcast-style tools.
It is ideal for:
Feature films
Short films
Commercials
Documentaries
Broadcast production
Studio work
Live multi-camera setups
Music videos
Corporate videos
Interviews
Indie films
Educational production
Event coverage
The camera is strongest when users need built-in ND filters, lens mount flexibility and professional controls.
URSA Mini Pro 4.6K vs URSA Mini Pro 4.6K G2
The URSA Mini Pro 4.6K G2 is the faster and more modern version, but the original model still has strong image quality.
| Feature | URSA Mini Pro 4.6K | URSA Mini Pro 4.6K G2 |
| Release year | 2017 | 2019 |
| Sensor format | Super 35 | Super 35 |
| Maximum resolution | 4608 x 2592 | 4608 x 2592 |
| Claimed dynamic range | 15 stops | 15 stops |
| Best listed lab result | 12.6 stops at SNR=2 | 12.6 stops at SNR=2 |
| High-speed recording | Lower | Faster, up to 120fps in 4.6K |
| Main advantage | Flexible mounts and pro body | Faster frame rates and improved electronics |
The G2 is better for high-speed work. The original remains useful when high frame rates are not the top priority.
URSA Mini Pro 4.6K vs URSA Mini Pro 12K
The URSA Mini Pro 12K is the higher-resolution successor, but it targets a different workflow.
| Feature | URSA Mini Pro 4.6K | URSA Mini Pro 12K |
| Sensor format | Super 35 | Super 35 |
| Maximum resolution | 4608 x 2592 | 12288 x 6480 |
| Base ISO | 800 | 800 |
| Main workflow | CinemaDNG, ProRes and BRAW | BRAW |
| Built-in ND filters | Yes | Yes |
| Best advantage | Manageable files and ProRes | Extreme resolution |
| Best use | General production | VFX and high-resolution cinema |
The 12K model is better for VFX, cropping and 8K delivery. The 4.6K model is easier for simpler production and post workflows.
URSA Mini Pro 4.6K vs Pocket Cinema 6K Pro
The Pocket Cinema 6K Pro is smaller and cheaper, while the URSA Mini Pro 4.6K is more production-focused.
| Feature | URSA Mini Pro 4.6K | Pocket Cinema 6K Pro |
| Sensor format | Super 35 | Super 35 |
| Maximum resolution | 4.6K | 6K |
| Body type | Production camera | Compact handheld cinema camera |
| Lens mount | EF, PL, B4 and F workflows | EF |
| Built-in ND filters | Yes | Yes |
| Professional I/O | Stronger | More limited |
| Best use | Cinema, broadcast and studio work | Indie and small-crew production |
The Pocket 6K Pro is better for lightweight shooting. The URSA Mini Pro 4.6K is better for full production environments.
Key Takeaways
- Blackmagic URSA Mini Pro 4.6K was released in March 2017.
- It uses a Super 35 sensor measuring about 25.34 x 14.25 mm.
- Maximum resolution is 4608 x 2592.
- The base sensitivity is ISO 800.
- Blackmagic claims 15 stops of dynamic range.
- CineD measured 12.5 stops at SNR=2 in ProRes XQ.
- CineD measured 12.6 stops at SNR=2 in BRAW scaled to UHD.
- The provided data does not include a rolling-shutter result.
- The camera supports CinemaDNG RAW, Apple ProRes and later BRAW workflows.
- Lens mount workflows include EF, PL, B4 and F depending on mount kit.
- Built-in ND filters include 2-stop, 4-stop and 6-stop options.
- Dual CFast 2.0 and dual SD/UHS-II recording support professional media workflows.
- The body weighs about 2.3 kg.
- It is best for cinema, broadcast, documentary, studio and commercial production.
Frequently Asked Questions
What is the Blackmagic URSA Mini Pro 4.6K?
The URSA Mini Pro 4.6K is a Super 35 digital cinema camera with 4.6K recording, built-in ND filters, interchangeable lens mounts and professional production controls.
When was the URSA Mini Pro 4.6K released?
The camera was released in March 2017.
What sensor does it use?
It uses a Super 35mm sensor with a listed active area of about 25.34 x 14.25 mm.
What is the maximum resolution?
The maximum resolution is 4608 x 2592 in 4.6K 16:9 mode.
What is the base ISO?
The base sensitivity is ISO 800.
What lens mounts does it support?
The camera supports EF, PL, B4 and F mount workflows depending on the mount kit.
Does the URSA Mini Pro 4.6K record CinemaDNG?
Yes. The camera supports CinemaDNG RAW recording, including lossless and compressed options in the provided recording data.
Does it support Blackmagic RAW?
Yes. Later firmware added Blackmagic RAW workflow support.
Does it record ProRes?
Yes. It supports Apple ProRes, including high-quality 12-bit 4:4:4:4 and 10-bit 4:2:2 options depending on settings.
What dynamic range did CineD measure?
CineD measured 12.5 stops at SNR=2 in ProRes XQ and 12.6 stops at SNR=2 in BRAW scaled to UHD.
What is the rolling shutter result?
The provided data does not include a rolling-shutter test result for the URSA Mini Pro 4.6K.
Does it have built-in ND filters?
Yes. The URSA Mini Pro 4.6K includes built-in 2-stop, 4-stop and 6-stop ND filters.
Who should use the URSA Mini Pro 4.6K?
It is best for filmmakers, documentary crews, broadcast teams, commercial productions, studios and users who need a Super 35 production camera with professional controls.
Conclusion
Blackmagic URSA Mini Pro 4.6K remains an important camera in Blackmagic Design’s cinema history.
It brought together a 4.6K Super 35 sensor, ISO 800 base sensitivity, built-in ND filters, interchangeable lens mounts, CinemaDNG RAW, ProRes recording, later BRAW support and a professional control layout.
The camera is not as fast as the later 4.6K G2 and does not offer the resolution of the URSA Mini Pro 12K. However, it still has a strong production identity. Its measured 12.6-stop BRAW dynamic-range result, professional body, lens mount flexibility and media options make it a serious tool for filmmakers who value practical operation as much as image quality.
For cinema, broadcast, documentary and commercial crews that need a reliable Super 35 production camera, the URSA Mini Pro 4.6K remains a capable and historically important Blackmagic model.
Read Also: Pocket Cinema 4K: Specs, Dynamic Range, Recording Modes and Features
