In a compelling and revealing interview conducted by Anthony Rodriguez, Dan May—President of Blackmagic Design USA—confirmed that the company’s flagship URSA Cine 12K LF will receive autofocus capabilities in the coming months via a free firmware update. This is a huge leap forward for Blackmagic and yet another sign that the company is determined to compete in the highest tier of digital cinema.
Autofocus Is Coming to URSA Cine
During the interview, published on Rodriguez’s YouTube channel, Dan May disclosed that autofocus functionality is in development for the URSA Cine 12K LF, and is expected to arrive in a free firmware update within the next few months. This is not a rumor or speculation—it’s a direct revelation from Blackmagic’s top executive in the U.S., and it signals a powerful expansion of the company’s feature set. This marks a significant philosophical shift for Blackmagic, which has historically focused on manual cinema workflows. However, as production environments evolve and the demand for intelligent focus systems grows, the integration of AF—especially in a full-frame cinema camera—makes Blackmagic’s offering far more compelling to a broader range of filmmakers. The move is especially notable given that the URSA Cine 12K LF was already a bold statement when it launched, priced at $6,995 and loaded with professional features including internal NDs, a large-format 12K sensor, and a modular design. Here are the key points:
Blackmagic’s Approach to Autofocus:
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Cautious & Quality-First: Blackmagic has historically avoided implementing autofocus until they could ensure it works well and reliably. Dan emphasized that bad autofocus is worse than no autofocus, as it can be distracting and detrimental to professional work.
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First Limited Rollout: Their initial autofocus implementation is a limited rollout on the Cinema Camera 6K with L-Mount lenses only. This controlled release allows them to QA the feature thoroughly before wider deployment.
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Free Update: Autofocus is being added as a free firmware update, showing their commitment to continuous value improvement.
Autofocus Roadmap and URSA Cine LF:
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No Checkbox Mentality: Autofocus won’t be added just to “check a box.” It needs to be high-performing and production-ready.
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Coming to Larger Sensor Cameras: There is a roadmap that implies future inclusion in larger sensor cameras, like the URSA Cine LF, since they share technology with the Cinema Camera 6K and Pixis 6K.
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Timeline: Dan estimates this development will happen over months, not years.
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No Plans for Older Models: Autofocus updates are not planned for older Blackmagic cameras, as retrofitting them would require too much development time.
Check out the full interview below:
Sensor Speed Makes It Possible
Technologically, the addition of AF makes sense. According to recent technical insights, the URSA Cine’s sensor readout is twice as fast as that of the recently released PYXIS 12K – making it well-positioned to support real-time focus detection algorithms. This could allow Blackmagic to roll out a sophisticated, cinema-grade AF system that doesn’t feel like a consumer compromise. While specifics such as the focus system type (phase detection vs. contrast) remain under wraps, May emphasized that the implementation would favor cinematic reliability over twitchy, DSLR-style responsiveness.
Blackmagic Steps Deeper Into the Big League
The decision to implement autofocus cements Blackmagic’s growing reputation as a serious challenger to industry titans like ARRI and Sony. As previously discussed, the URSA Cine 12K LF is already shaping up to be one of the few cinema cameras positioned to go head-to-head with the ALEXA and VENICE lines in terms of image quality, versatility, and now—usability. It’s also part of a broader trend in which Blackmagic is actively redefining its image—not just as a maker of budget-friendly gear, but as a cinema powerhouse. As covered in this editorial, the company has gradually built a reputation for delivering ambitious, professional tools at disruptive price points. The autofocus feature on the URSA Cine simply reinforces that trajectory.
Closing Thoughts: From Disruptor to Contender—But the Road Isn’t Easy
The addition of autofocus is more than just a firmware update—it symbolizes a pivotal moment in Blackmagic Design’s evolution. With the URSA Cine 12K LF, the company isn’t merely catering to indie filmmakers or live event professionals anymore. It’s targeting high-end commercial sets, episodic television, and even the holy grail: narrative feature films. This is new territory, and while the camera’s specs and price tag have already shaken the market, the journey to widespread industry adoption—especially in Hollywood—is riddled with challenges. For starters, breaking into the studio system means more than just delivering great tech. It requires cultural integration into an ecosystem dominated by unions, guilds, legacy workflows, and long-standing relationships. From camera assistants and DITs to cinematographers and colorists, every department has its preferences—and these professionals often rely on decades of experience with tools like the ARRI ALEXA or Sony VENICE. Convincing them to switch, or even experiment, is a steep uphill battle. There’s also the matter of perception. While Blackmagic has made extraordinary strides in hardware and software, it is still often viewed by high-end DPs as a “disruptor” brand—great for innovation, but not yet synonymous with prestige. And features like autofocus—while highly useful—may not be the tipping point for traditionalists who prioritize tactile, manual control. And yet, this is exactly where Blackmagic thrives: pushing against industry norms with courage, engineering, and a touch of audacity. So where does Blackmagic go from here? In many ways, it’s already charting a different path than its competitors. By offering bold innovation through free firmware updates, embracing modular design, and prioritizing accessibility, Blackmagic is democratizing high-end filmmaking without apology. But for the URSA Cine 12K LF to truly penetrate the Hollywood elite, it will need more than features—it will need time, hands-on case studies, and champions from within the guilds who are willing to give it a try. With autofocus on the horizon and a clear intent to push deeper into cinema’s inner sanctum, the message is clear: Blackmagic Design isn’t just knocking on Hollywood’s door.
