Altitude101 utilizes Blackmagic URSA Cine Immersive for Apple Vision Pro production
French production studio Altitude101 used the Blackmagic URSA Cine Immersive camera and Blackmagic's post-production suite to create content for Apple Immersive Video. The project provided technical insights into camera placement, pacing, and immersive post-production required for the Apple Vision Pro ecosystem.
Key Takeaways
- Altitude101 utilized the Blackmagic URSA Cine Immersive camera and Blackmagic RAW for 8K stereoscopic capture in extreme alpine conditions.
- Technical workflow prioritized maintaining camera height at the viewer's eye level to simulate a seated experience.
- Shot pacing was restricted to five-to-eight-second intervals to allow audiences time to explore the 180-degree environment without disorientation.
- Post-production integrated the Blackmagic Media Dock and DaVinci Resolve Studio to manage high-volume immersive data and spatial audio.
- Creative findings suggest traditional voiceover storytelling is less effective in immersive formats, leading to a shift toward image-centric narratives.
Why It Matters
The successful deployment of the URSA Cine Immersive camera validates a standardized, end-to-end commercial workflow for Apple Immersive Video, moving the format beyond experimental tech demos into repeatable professional production. For the hardware market, this solidifies Blackmagic's position as the primary tactical partner for Apple’s spatial computing ecosystem over traditional rivals. As 8K RAW capture generates roughly 2.6 TB of data per hour, the immediate implication is a shift in infrastructure demand toward high-bandwidth on-set storage and specialized post-production tools like the Blackmagic Media Dock. Watch for whether these capture standards are adopted by major sports broadcasters following Blackmagic's recent 100G Ethernet camera updates for live immersive feeds.
Additional Context
The collaboration between Apple and Blackmagic Design has significantly accelerated the technical availability of high-resolution spatial content. Per official Apple announcements in July 2024, the two companies introduced an integrated production toolkit including the URSA Cine Immersive camera and optimized versions of DaVinci Resolve and Apple Compressor. This partnership aimed to professionalize the 8K, 180-degree 3D format with Spatial Audio, which previously relied on fragmented or custom-built camera rigs. By late 2024, Blackmagic opened pre-orders for the camera at a $29,995 price point, targeting the growing demand for Apple Vision Pro experiences.
In April 2026, Blackmagic expanded this ecosystem by unveiling the URSA Cine Immersive 100G at NAB, priced at $26,495. This iteration features a 100G Ethernet interface designed to handle the 90 fps stereoscopic data rates required for live immersive broadcasting. According to Blackmagic reports from April 2026, this technology was successfully utilized for the 'Spectrum Front Row' series, delivering live Los Angeles Lakers games in Apple Immersive Video. This shift into live sports suggests a maturing market for spatial video that extends beyond pre-recorded documentaries.
The broader cinema camera market is reacting to these high-resolution requirements. Per industry analysis from Mordor Intelligence in May 2026, the 8K and above resolution tier is the fastest-growing segment, advancing at a 7.88% CAGR through 2031. While ARRI and Sony continue to dominate traditional feature film sets, Blackmagic and Canon are aggressively competing for the immersive and virtual production segments. By mid-2026, tools like Apple's 'Spatial Preview' framework have also been integrated into visionOS, allowing editors to preview 3D content directly from Mac workstations, further lowering the barrier to entry for studios like Altitude101.
Read full article at tmbroadcast.com
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