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Sony FX6 features released and here’s the reasons why we love it!

After the year we've had so far, we've all been looking forward to a bit of good news from Sony. After the release of the A7S MK3 and the early teaser of the Sony FX6 in September, there has been a lot of discussion on the Internet about what features the camera will and will not have. The early morning announcement reveals that the new Sony FX6 gives us pretty much everything that everyone had wished for and then quite a few other things as well. The FX6 is the newest addition to Sony’s recently announced Cinema Line series of Digital Cinema cameras, joining the PXW-FX9 and the flagship VENICE in the range. Sony’s Cinema line represents a real change in philosophy from Sony, moving from the idea of producing cameras that produce images that try to match what we see in day to day life, to producing cameras with images that evoke a feeling. This is the basic premise of Sony’s S-Cinetone colour science and is a big step forward for Sony. Sony has been criticised over the years for producing cameras that produce ‘cold’ images out of the box, but Sony’s Cinema Line cameras certainly swing well away from the traditional ‘Sony’ look.

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Elevate your Video Web Meetings - produce remote workspace online content like a Pro!

Here is Videocraft’s take on how to elevate your video web meetings, when working remotely whether you are using Zoom, Google Meet, Microsoft Teams or Adobe Connect, read through the ways you can elevate your online presentations and meetings.

First, let’s tackle the visuals.For most people who now find themselves having to communicate with their colleagues remotely, they rely on the built-in webcam on their device (if it has one). However, depending on the device, the angle you can be left with can often end up being the most unflattering perspective possible.Perhaps the simplest way to avoid visuals of extra chins and nostril shots is to get an external webcam that you can position independently of the screen you might be using. A suggested solution would be coupling a webcam like theLogitech Brio webcam or using a DSLR style of camera with a HDMI output like the Sony ZV1 and pair it up with an adjustable desk stand like theJoby Telepod.Moving to a more traditional camera or camcorder can certainly elevate the visuals further and well, webcams can only get you so far. They generally have tiny sensors which certainly limit how pretty an image they can produce. For an idea about what we would recommend for a complete next step up, see here:Home Streaming Budget Kit which includes the Sony ZV1 to give you really great quality online visuals.               How about lighting?Depending on your workspace, some additional lighting equipment may get you further than a camera upgrade. If your workspace isn’t blessed with consistent, pleasant or generally flattering lighting, try adding something like theNanlite Pavotube 6C; It’s got an in-built battery and can be USB powered, so you’ve got a heap of flexibility with where you can place it. Add aJoby Telepod to mount it on your desk and you’ll go a long way to being able to light yourself in a way that will make you look better than the rest of your ‘whatever lights the room has’ colleagues. As a cool bonus, it’s a full RGBWW light which is perfect for a splash of colour or some creative mood lighting for your home/workspace when it’s not on duty to light a face.Now, what about audio?Sound is usually more important than the pictures, so it’s definitely worth putting some extra effort into showing some love to your audience’s ears. With the explosion of audio content like Podcasts, there is now a heap of great and affordable audio gear that would really elevate the work-from-home experience.Built-in webcams tend to have built-in microphones that perform okay when you are in the sweet spot for where they pick up audio. However, with an external USB microphone like theRode NT-USB Mini, to use on your desktop, it's worth considering a Rode PSA1 boom arm for when you're at your desk and want full control over your microphone placement. 'Treat audio the way a radio station would, and your audience will thank you for it.' Maybe a more mobile option is more suitable, we would suggest you try the Rode WIGO Wireless Mic which you can plug into your camera or camcorder for real high-quality audio capture. This way you can move it to suit you the mic to suit your preferred position, rather than the other way around. Keep the mic close to your mouth, and your voice will always be heard. Once you divorce your microphone from your camera, you grant yourself a heap more creative freedom to be able to frame your visuals how you wish, without compromising on how you sound. Give it a try! Check out this short video tip on how this style of setup works.

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Blackmagic Design Announces DaVinci Resolve 17 with 300 new and improved features

DaVinci Resolve 17 is a major new release with over 100 new features and 200 improvements. The colour page features new HDR grading tools, redesigned primary controls, AI-based magic mask and more. Fairlight updates mouse and keyboard edit selection tools so customers can work faster, along with Fairlight Audio Core and FlexBus, an ext-generation audio engine and busing architecture with support for 2,000 tracks. Editors get a metadata slate view with bin dividers, zoomed waveforms for audio trimming, smart reframing, a unified inspector and dozens of other time-saving tools. In addition, compositions created in Fusion can now be used as an effect, title or transition on the edit and cut pages. “This is a massive update and it has amazing new technology and features for colourists, audio engineers, editors and visual effects artists,” said Grant Petty, Blackmagic Design CEO. “While the new colour science, HDR grading and improvements and Fairlight usability are the most noticeable features, what I am most proud of are the thousands of small improvements that customers will notice every day!”

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Canon EOS C70 new compact Cinema EOS camera

Canon Australia launched the new EOS C70, it combines the image quality of the Cinema EOS System with the compact size, portability and flexibility of its EOS R line-up of cameras, so you get to enjoy the RF-Series lens range. The EOS C70 comes complete with pro interfaces and input/output terminals and ports, which makes it a suitable choice for a broad range of uses including documentaries, productions of all sizes, newsgathering, and events such as weddings. Content Creators wanting to achieve higher production quality for social media content on channels such as Instagram Stories or Reels or especially for TikTok, the C70 makes it much easier to capture thanks to the EOS C70’s vertical shooting capability.

  Australian DOP Kate Cornish tests out the Canon Cinema EOS C70 during a live performance video shoot of musician Kim Churchill. The EOS C70 packs in some seriously impressive specs in the smallest Cinema EOS body The EOS C70’s compact size will enable filmmakers to shoot handheld or on a drone or gimbal, quite easily. The EOS C70 offers multiple recording formats to SD cards, (nice affordable media option) which includes 4K up to 120 fps in 4:2:2 10-bit in XF-AVC (All-I or Long-GOP), and MP4 in HEVC (H.265) or H.264 and it is now possible to record different formats, resolutions and bit depths on each media card slot, configurations such as double slot, relay and simultaneous recording will give content creators, productions and filmmakers the ability to adapt to a diverse range of workflow requirements. A mount for all your EF lenses!                     So also new from Canon, is the Canon Mount Adapter EF-EOS R 0.71x, so yes you will be able to use an EF Lens to RF Mount adapter giving filmmakers the freedom to use the entire EF lens line-up1 with the EOS C70, optimising compatibility across two of Canon’s popular lens lines. When paired with the EOS C70, the Mount Adapter EF-EOS R 0.71x employs an optical conversion to capture a Full Frame angle of view of an EF lens even when used with a Super 35mm sensor, as well as an increased light transmission of approximately 1-stop. The adapter enables full communication between three EF lenses and the camera body - EF 16-35mm f/2.8L III USM, EF 24-70mm f/2.8L II USM, and EF 24-105mm f/4L IS II USM - providing continued support for Canon’s extensive range of EF lenses. Auto Focus, peripheral illumination and chromatic aberration correction, and the transfer of lens metadata are also fully supported when using the Mount Adapter EF-EOS R 0.71x. The expanding RF range of lenses includes telephoto, zoom, high-quality primes, wide aperture and macro lenses. Using the RF lens range gives you optimal image stabilisation, the EOS C70 enables Combination IS, which brings together the Optical IS in RF lenses and the Electronic IS in the camera body for stabilisation when shooting handheld. The enhanced communication capability between the lens and the camera also unlocks additional features such as the ability to display the object distance on the camera’s LCD monitor. Small but packed with pro features The EOS C70 brings together the short flange back design of Canon’s RF Mount making the compact design of the EOS C70 possible. While the camera is small and light, it’s packed with features that support professional video requirements. It has 13 assignable buttons, a multi-functional handgrip for ease of operability, professional input/output terminals including HDMI and 2x mini XLR terminals for audio, as well as an independent ventilation system. Furthermore, a new, thinner ND filter system gives up to 10-stops of ND filtration, providing filmmakers with the flexibility to control exposure while keeping control over the depth of field and enabling significant bokeh, even when using a high-speed lens. 4K image quality just like the C300MKIII             Taking advantage of its Super 35mm Dual Gain Output (DGO) sensor, seen in the EOS C300 Mark III, the EOS C70 delivers exceptional image quality with over 16 stops of dynamic range. The EOS C70 produces the same true-to-life, cinematic colours, clean low-light image quality and HDR acquisition capabilities that easily match in with the C300MKIII. The combination of the DGO sensor, and the DIGIC DV 7 processor it’s a good choice to produce high-quality content in 4K. It also supports slow-motion capture with 4K 120p recording – with Dual Pixel CMOS AF support, as well as an audio recording. For those who desire higher frame rates, 180p is also available in Super16 mode. Recording to Dual SD cards in Canon’s XF-AVC format with 4K 4:2:2 10-bit, the EOS C70 captures high-resolution footage. Cool functions of the EOS C70 you should know about In addition to supporting Canon’s renowned Dual Pixel AF system, it is also the first Cinema EOS System camera to feature the revolutionary EOS iTR AF X (Intelligent Tracking and Recognition) and the dedicated vertical shooting mode, designed to support the capture of content for social media and digital signage. EOS C70 Key Features:
  • RF Mount system
  • The Cinema EOS C70 uses Canon’s new 4K Super 35mm DGO sensor with HDR capabilities
  • High frame rate 4K shooting at 120fps with audio recording and DPAF
  • Dual SD card slots allowing for simultaneous recording in multiple formats
  • Improved Dual Pixel Auto Focus with an intelligent tracking and a new touch user interface
  • Compatible with the new Mount Adapter EF-EOS R 0.71x giving users access to the extensive range of Canon EF mount lenses
For more information about the EOS C70 and Mount Adapter EF-EOS R 0.71x, visit the Videocraft online store        

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New Panasonic LUMIX S5 hybrid full-frame mirrorless camera

Panasonic announced the new LUMIX S5, a hybrid full-frame mirrorless camera in a highly mobile body that delivers powerful video performance, amazing photography and solid reliability for content creators. James Choi, Product Marketing Manager, Imaging, Panasonic, explained: “The hybrid S5 packs the essential capabilities of our ground-breaking flagship S Series cameras into a small, mobile and robust body. Enthusiasts who want to take their creativity to the next level can harness the incredible image quality of a powerful full-frame sensor. The S5’s compact size belies the impressive performance under the hood - this camera is class-leading in the sheer breadth of video and stills capabilities it puts in the hands of content creators.” The S5 is packed with impressive video capabilities, including 4K 60p 10-bit internal recording and external output via HDMI, full Varicam V-log profile pre-installed in the camera, 4:3 Anamorphic Super 35 mode and up to 180 frames per second (fps) Slow Motion shooting. The camera is also compatible with Panasonic’s DMW-XLR1 microphone adaptor, allowing professional audio equipment to be used in video creation. Additionally, RAW video output via HDMI up to 5.9K will be available via a future firmware update. For hybrid shooters who want to take a step up, the S5 delivers stunning image quality and greater creative scope. It contains the 24.2-megapixel 35mm full-frame CMOS sensor first introduced in the LUMIX S1, providing impressive low-light performance and incredibly high dynamic range. This is backed by the 5-axis Dual I.S. 2 image stabilisation system with up to 6.5-stops[i] of camera shake correction for handheld shooting. The camera also incorporates an improved Deep Learning autofocus algorithm that detects specific subjects – humans and fast-moving animals – with great accuracy. Inspired by the flagship S Series professional camera lineup, the S5 provides enthusiasts with a compact, durable camera designed for field use. The camera’s full magnesium alloy weather-sealed body is splash and dust resistant, essential for working in a range of environmental conditions. Dual SD card slots offer further flexibility with relay recording and backup support. A large, high-resolution OLED viewfinder delivers quick response with minimum distortion for easy and accurate framing of the scene. Creative aids for expressive photography include “Live View Composite”, newly-introduced to the S Series with the S5, which combines multiple exposures into a single image that emphasises bright points while suppressing overexposure of the total image and maintaining the shadows, thus reducing the learning curve for light painting and long exposure photography. The S5 also features sensor-shift 96-megapixel (MP) high-resolution mode, which can capture detailed landscapes with increased dynamic range and colour reproduction, with files created in-camera without the need for external software. Panasonic is currently developing a number of S Series prime and zoom lenses at popular focal lengths, designed to further expand the creative possibilities for LUMIX S Series users. These new portable and lightweight lenses include a 24mm F1.8, 35mm F1.8, 50mm F1.8, 85mm F1.8 and a 70-300mm F4.5-5.6, all of which will complement the S5 very well.

Key LUMIX S5 Capabilities

Exceptional recording performance for video creation As a pioneer of photo/video hybrid mirrorless cameras, LUMIX has the largest lineup of cameras that record 4K 10-bit video[ii]. The S5 is no exception, and is capable of unlimited 4K 60p/50p 4:2:2 10-bit HDMI output and also delivers unlimited 4K 30p/25p 4:2:0 8-bit internal recording. In addition, 4K 60p/50p 4:2:0 10-bit and 4K 30p/25p 4:2:2 10-bit can be recorded internally for up to 30 minutes. The camera features V-Log/V-Gamut with a wide dynamic range of 14+ stops, in line with the dynamic range of the Panasonic VariCam, to precisely capture everything from dark to bright areas. Subtle gradations such as skin tones are faithfully reproduced. Designed with consistent colour management in mind, the recorded footage is easily matched with V-Log footage recorded by the LUMIX S1/S1H or LUMIX GH5/GH5S, for easier post-production workflow. Practical tools like a Waveform Monitor and V-Log View Assist are included. Slow & Quick mode enables impressive slow and quick motion video with autofocus[iii], and can be accessed directly using the mode dial. In 4K the S5 achieves up to 30x quick or 2.5x slow motion at 1-60fps, and in FHD it achieves 60x quick or 7.5x slow motion[iv] at 1-180fps. Stunning image quality The S5 has a 24.2-megapixel full-frame CMOS sensor (35.6 mm x 23.8mm) with Dual Native ISO technology. The sensor can leverage a dual-base ISO setting, resulting in minimised noise and outstanding image quality from low to high sensitivity. Dual Native ISO provides a greater variety of artistic choices, with the ability to use less light if desired. The S5’s Dual Native ISOs are 640 and 4000[v] in V-Log. This feature teams up with the Venus Engine processor to deliver a maximum ISO of up to 51200. With the new Live View Composite function, the camera releases the shutter at designated exposure intervals and produces a single picture combining all the areas of high luminosity such as lights, stars or fireworks. The photographer can monitor this in Live View. Panasonic’s 5-Axis Dual I.S. 2 offers excellent stability in a range of situations. A high-precision gyrosensor joins the Dual I.S. system of 5-axis in-body stabilisation and 2-axis optical stabilisation in selected lenses for highly accurate shake detection and compensation. This makes it possible to use up to 6.5 stops[vi] slower shutter speed in both photo and video. Incredibly stable performance can be achieved when shooting handheld at much slower shutter speeds and lower ISO values, reducing the need to carry a tripod or gimbal. The 96MP High-Resolution mode creates highly detailed images that can be turned into enormous prints or used in commercial imagery. Using sensor shift technology, it captures and combines eight consecutive images in-camera for outstanding results achieved when shooting handheld colours of natural landscapes to intricate fine arts, and can also be used when moving subjects are in the scene, by switching to the sub-mode. It produces a 96MP equivalent (12,000 x 8,000-pixel) RAW and/or JPEG image.   High-speed, high-precision AF supported by real-time detection technology Panasonic has achieved high-speed AF with its advanced control technology incorporating the major devices – lens, sensor and imaging engine. The lens and sensor communicate at a maximum of 480 fps. Contrast AF with DFD technology allows the S5 to achieve an ultra-high-speed, high-precision AF of approximately 0.08[vii] sec. It also excels in low-light shooting, with -6EV[viii] luminance detection performance in Low Light AF, thanks to the higher sensitivity and optimised tuning of the sensor. The S5 also incorporates an improved Deep Learning autofocus algorithm that offers greater accuracy in detecting specific subjects – including humans, people’s faces, and fast-moving animals. In addition to the eye, face and body, the head is also separately recognised by real-time detection technology to provide even more precise focusing. The camera keeps tracking subjects when they move quickly, turn away, tilt their head or move far away from the camera. Also, improvements to DFD technology have enhanced AFC, which allows the camera to keep tracking small or fast-moving subjects and capture them in crisp focus.   Reliable performance plus expandability for creative freedom To withstand heavy field use, the S5 has a magnesium alloy full die-cast body and is splash/dust-resistant[ix]. With an optimum layout of heat dispersion components, heat is effectively transferred externally, which results in stable, continuous video recording for an extended time. The large OLED LVF (Live View Finder) has a magnification ratio of approx. 0.74x, 2,360K-dot high resolution and a minimum time lag of less than 0.005 sec. A versatile free-angle 3.0-inch LCD rear monitor (3:2 aspect, approx.1840K-dot) with touch control allows for quick changes to settings, even when the user is in front of the camera. Other shooting assist functions include Frame Markers for checking composition during recording. A wide range of aspect ratios are supported, including those for popular social media platforms – 16:9, 4:3, 1:1, 4:5, 5:4 and 9:16. In addition, the REC Frame Indicator displays an eye-catching red frame for checking at a glance if the camera is recording or not. The S5 has dual SD Card slots – one slot complies with the high-speed, high-capacity UHS-II (Video Class 90) and the other with UHS-I. Users can select Relay Recording, Backup Recording or Allocation Recording modes. The camera uses a new DMW-BLK22 high-capacity battery which meets its power demands in a small form factor. The S5 battery is also backwards compatible with the GH5, GH5S and G9. The camera’s battery can be recharged either via AC or USB, which is convenient if you are travelling and want to use a USB power bank. The S5 is also capable of power supply and delivery via USB-C, making it possible to continuously power the camera with a USB power source. Content sharing with smartphones is streamlined using Bluetooth 4.2 Low Energy connection, Wi-Fi 5-GHz (IEEE802.11ac) and 2.4-GHz (IEEE 802.11b/g/n). With an always-on Bluetooth connection, a smartphone can act as the camera’s remote control via the LUMIX Sync app. The settings of an S5 camera can also be copied and transmitted to other S5 cameras when shooting using multiple cameras. The S5 is compatible with the LUMIX Tether applications which enable tethered shooting via USB. Users can control the camera by connecting it to a PC. Images can be viewed on a large PC screen while shooting, which is useful in situations where continuous confirmation is required. For live streaming, LUMIX Tether for Streaming (Beta) with LIVE VIEW mode is available. LUMIX Sync for iOS/Android devices enables image transfer to a smartphone or tablet via an easy wireless connection.   Convenient optional accessories A variety of optional accessories can be used with the S5. They include a Microphone Adaptor (DMW-XLR1) for professional XLR microphones to record high-quality stereo sound, as well as switchable Mic, Line and Condenser Microphones. The Battery Grip (DMW-BGS5) extends battery life and provides controls for portrait-oriented shooting. Other accessories include a Remote Shutter (DMW-RS2), DC coupler (DMW-DCC17), and Tripod Grip (DMW-SHGR1). LUMIX S5 Pricing and Availability
  • LUMIX S5: Body only – RRP $3199
  • LUMIX S5 kit (DC-S5KGN-K): Kit with LUMIX S 20-60mm F3.5-5.6 lens (S-R2060) – RRP $3699 The S5 will be available in late September 2020 if you Pre-Order the Lumix S5 with Lens Kit by 23-9 and claim either a FREE Sigma 45mm Lens or XLR adapter valued up to $999.
Planned firmware updates for the LUMIX S1R, S1H and S1 Panasonic will release firmware updates for the LUMIX S1R, S1H and S1 by the end of 2020. New firmware will enable the S1R to record 5K video, making the most of its high-resolution image sensor. In addition, the AF improvements introduced with the S5 will be available on the S1R, S1H and S1 for both video recording and still shooting. In addition to the eye, face and body, the head is also separately recognised by real-time detection technology to provide even more precise focusing. The camera keeps tracking subjects when they move quickly, turn away, tilt their head or move far away from the camera. Also, improvements to DFD technology have enhanced AFC, which allows the camera to keep tracking small or fast-moving subjects and capture them in crisp focus.

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Sony FX9 Firmware Ver 2.0 released and available for download.

UPDATE: Sony released the firmware downloaded for the FX9 today - you can find firmware and documents here Based on ongoing discussions between Sony and content creators, FX9 is gaining significant new capabilities through firmware updates. Ver.3.0 upgrade is free of charge and will include below key features: Further information and schedule will be updated later.

  • S700PTP Remote Protocol
  • Center Scan mode for Super 16mm lens
  • B4 Lens support when using adaptor
Ver.2.0 upgrade is free of charge and available October 2020. New Features & Improvements:
  • Full-frame 4K 60p/50p recording with oversampling (image sensor scan size is around 5K)
  • FHD 180fps shooting
  • DCI 4K recording
  • 16 bit RAW output (with XDCA-FX9)
  • Support DWX digital wireless audio receiver (with XDCA-FX9)
  • Eye-AF capability
  • Support 6G-SDI
  • Adds User 3D LUT function
  • Adds HDR shooting function with Hybrid Log Gamma
  • Support touch screen operation (regarding some status screen and some setting)
  • Increased upper limit of Gain setting
  • Support XLR-K3M with digital I/F
  • Image quality improvement at S35 2K mode
Available now: For very latest Software, Firmware and multi-lingual Operations Manuals for FX9, please visit FX9 downloads page

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Blackmagic Camera 6.9.6 update for Blackmagic Camera and Studio Fibre Converters

This firmware update improves audio output channel selection, adds sidetone adjustment, phantom power for intercom headsets and improved reference timing on SMPTE fibre! What's new in Blackmagic Camera Setup 6.9.6 New features for SMPTE Fibre Converters.

  • Add sidetone adjustment on intercom 1 and 2.
  • Add ability to enable phantom power on intercom 1 and 2.
  • Add Level A and B option for down-converted 12G program return.
  • Add the ability to lock to bi-level reference.
  • Added passthrough of HDR payload IDs.
  • Improved iris control from 12G SDI signals.
  • Improved reference timing accuracy and stability.
  • General performance and stability improvements.
New features for Pocket Cinema Camera 4K and 6K
  • Fixed issue with some Bluetooth commands not responding.
  • No new features in 6.9.6 for other camera models.
Download now from

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Vlogging Day - Our favourite Australian Online Content Creators

In honour of International Vlogging Day (August 10), we thought we would share our favourite independent online content creators, homegrown from Australia. These independent content creators do an amazing job and whilst we are not measuring their success by numbers or stats, we think just think they make great content doing what they love to do. Jazza An Australian YouTuber, artist, animator, and presenter best-known for his art tutorials, challenges and animations with his studio based in our own home state of Victoria. As of June 2020, his channel has over 915 million total video views and 5.1 million subscribers. We like his original content that pushes the artistic boundaries with great tutorials so everyone can find their own artistic abilities. Great job Jazza! Instagram: @drawwithjazzaBrooke Saward - World of Wanderlust Brooke is a Tasmanian travel blogger behind the World of Wanderlust blog, Brooke Saward started an accompanying YouTube channel over a decade ago, and hasn’t looked back. 70,000 subscribers enjoy her adventures, which focus on solo female travel – specifically how to do it safely and with the maximum amount of fun! If you wondering how Brooke got started she has a great page on her blog about some great resources if want to be a travel writer blogging or vlogging around the world. Brooke visits every corner of the earth and shows us the beauty in exploring the world. Instagram @worldwanderlustBenn TK We only just discovered Benn TK through his work with Sony Australia and the Sony A7SIII adventure film he shot for the launch - his travel vlogs are very creative and definitely worth a look for their creativity. Instagram: @benn_tk   Starting your own vlog or youtube channel, creating your own online content and you need the video gear to shoot some amazing stuff as the Australian online content creators we featured here, why not check out our vlogging kits page as a great way to get your vlog started. Alternatively, get in touch with one of our team if you need some help with working out what works best for your content ideas.

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New UltraStudio Monitor 3G and UltraStudio Recorder 3G

Blackmagic Design has announced UltraStudio Monitor 3G and UltraStudio Recorder 3G, two new capture and playback solutions featuring 3G-SDI and HDMI connections plus high-speed Thunderbolt™ 3 technology. UltraStudio Monitor 3G and UltraStudio Recorder 3G are extremely portable, pocket-sized products powered by their Thunderbolt connections, so they can be operated from a computer’s battery or power source. UltraStudio Monitor 3G and UltraStudio Recorder 3G are available now for AU$235. UltraStudio Monitor 3G and UltraStudio Recorder 3G are two separate products, one for recording SDI and HDMI video, and the other model for playing back SDI or HDMI video. The UltraStudio Monitor 3G and UltraStudio Recorder 3G are extremely tiny designs that are perfect for portable tasks that don’t require both capture and playback in a single device. Their lower cost means the customer can choose to add recording or playback when needed. A good example is when monitoring using NLE software the UltraStudio Monitor 3G would be a perfect choice. A customer who needs simple recording can choose the UltraStudio Recorder 3G. Replacing older Thunderbolt 2 models, these new models feature Thunderbolt 3 which makes possible greater features, such as more video formats, a greater selection of colourspace, RGB video formats and lower cost. UltraStudio Monitor 3G and UltraStudio Recorder 3G feature advanced high-quality video technology allowing customers to go on location for uncompressed and compressed capture and playback tasks at the highest 10 bit SD/HD quality. With easy plug and play and incredibly fast transfer speeds of Thunderbolt technology, UltraStudio Monitor 3G and UltraStudio Recorder 3G can be moved easily between computers and can capture from decks, cameras and live video sources, and output to monitors, projectors, media servers and more. This is perfect for editing, compositing, graphics production and unlimited broadcast and post-production situations where the highest quality video and true versatility are demanded. “UltraStudio Monitor 3G and UltraStudio Recorder 3G let you work anywhere because they are extremely compact and are powered from the Thunderbolt 3 connection,” said Grant Petty, CEO, Blackmagic Design. “You can simply plug into any Thunderbolt 3 enabled laptop or a desktop computer and start working. With support for high bandwidth formats up to 1080p60, these are advanced video capture and playback solutions that are small enough to fit in your pocket. There is nothing more portable!” Blackmagic UltraStudio Monitor 3G and UltraStudio Recorder 3G Features • Two models, UltraStudio Monitor 3G for playback and UltraStudio Recorder 3G for capture. • High-speed Thunderbolt 3 port for high-quality video processing. • Built-in 3G-SDI and HDMI connections on each model. • Supports all common SD/HD video formats up to 1080p60. • Uncompressed and compressed 10-bit 4:2:2 YUV or RGB quality. • Supports DaVinci Resolve and all other video software. • Developer SDK is available to download free.

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New Blackmagic Video Assist 3G Portable Monitors

Blackmagic Design announced new Blackmagic Video Assist 3G which are lower-cost models versions of the company's portable monitoring and recording solutions. These new models feature built-in scopes, upgraded batteries, 3G-SDI and HDMI for all SD and HD formats, all at a more affordable price. Blackmagic Video Assist 3G is available immediately for AU$985. All Video Assist models are dominated by a large touchscreen with all controls for recording, playback of clips, viewing scopes and setting focus assist features. Both 7" models are large enough to include analog inputs for audio and two SD card slots so customers get a continuous recording, with automatic recording to the second card. All models include a rear tally light, a front panel speaker for clip playback and a headphone jack. Video Assist uses Sony L-Series batteries, and with 2 battery slots, customers can change batteries without interrupting recording. With large and bright 5" and 7" touchscreens, Video Assist makes it incredibly easy to frame shots and accurately focus. The touchscreen displays critical information while users are shooting including the timecode, transport control, audio meters and a histogram for exposure. Customers can also customize the LCD to add or remove overlays such as current filename, focus peaking, zebra, false colour, frame guides, 3D LUTs and more. 3D LUTs support allows monitoring shots with the desired colour and look, plus customers can even "bake in" the LUT if customers want to record it into the file. Video Assist uses commonly available SD card media, so customers can record to flash memory cards that are easy to obtain. The files are small enough to allow long recordings on standard SD cards or the faster UHS-II cards. The larger Video Assist 7" models include 2 SD card slots so customers can swap out any full cards even during recording, allowing infinite length recording. Standard SD cards or the faster UHS-II cards are perfect for broadcast because they are small, high speed and affordable. Blackmagic Video Assist is an ideal upgrade for cameras, as its bright display is bigger than the tiny displays found on consumer cameras, plus users are also adding professional focus assist features and better quality file formats. Video Assist is also a great solution for professional cameras because customers can use it to upgrade older broadcast cameras to modern file formats used on the latest editing software. Customers get support for all editing software as customers can record in Apple ProRes and Avid DNx. With both HDMI and SDI inputs customers can connect it to any consumer camera, broadcast camera or even DSLR cameras. The innovative touchscreen LCD user interface provides incredible control. On-screen, there are dedicated buttons for play, stop and record, plus a mini timeline for scrolling through their recordings. Customers can even swipe the image to jog. The LCD includes a heads up display of timecode, video standard, media status as well as audio meters. Scopes can be enabled via the touchscreen as well as focus and exposure assist. Plus customers can load and save 3D LUTs. Video Assist features a wide range of video and audio connections such as multi-rate SDI for SD, HD on all models and Ultra HD on the 12G-SDI models. HDMI is included for HDMI cameras and monitoring to consumer televisions and video projectors. The 7" model features Mini XLR inputs which are provided for audio input from microphones and external audio mixers. Video Assist even includes a 12V DC power connection and the 12G models include a locking power connector. Video Assist records using standard open file formats so customers don’t have to waste time transcoding media. Files are compatible with all post-production software so customers can work with the software of their choice, including DaVinci Resolve Studio. Recording works in industry-standard 10-bit ProRes or DNx files in all formats and from all HDMI or SDI cameras, as well as 12-bit Blackmagic RAW on the 12G-SDI HDR models when connected to supported cameras. Best of all media files work on all operating systems. Video Assist features scopes for accurate exposure on cameras and compliance to broadcast standards. That means it’s also a great portable waveform monitoring solution. The waveform display provides a traditional luminance (brightness) level view of the video inputs or the playback signal. The vectorscope allows customers to see the intensity of colour at 100% SDI reference levels. Customers also get an RGB parade display which is ideal for colour correction. The histogram shows the distribution of white to black detail in their images and highlights or shadows clipping. The built-in scopes can even be overlaid on live video, or as a small picture in picture view at the top right of the scope. Some cameras can output logarithmic colourspace 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 because they allow customers to apply a "look" to the monitor so customers get an idea of how the finished images will look like when editing. Video Assist works with industry-standard 17 and 33 point 3D LUT files, or customers can work with the built-in LUTs such as Extended Video, Film to Video and more. The advanced digital slate and metadata features make it extremely fast to add metadata to any shot. Simply swipe left or right from the edge of the screen to bring up the digital slate. Customers can even select for take numbers to be automatically incremented when customers start and stop recording, so customers don’t have to enter them manually for each shot. Customers can also set reel numbers to increment each time customers format a card. All metadata is saved with the files and available in post-production with software such as DaVinci Resolve. Then let the DaVinci Resolve sync bin in the cut page find and sync all their shots automatically. Simple scroll the timeline and select shots with a click of the mouse. The SDI and HDMI connections are multi-rate, so all models handle SD and HD television standards plus the 12G models add extra support for Ultra HD standards. Standard definition formats include NTSC and PAL. 720p HD standards include 720p50 and 59.94p. 1080i HD interlaced formats include 1080i50 and 59.94. 1080p HD formats include 1080p23.98, 24, 25, 29.97, 30, 50, 59.94 and 60p. Plus customers can even work in 1080 PsF formats. Blackmagic Video Assist includes a built-in professional audio recorder that’s much better quality than the audio found in most cameras, eliminating the need to carry around extra audio equipment. When working in SDI formats, customers can record 2, 4, 8 or 16 channels of audio. For connecting microphones the 7" models have 2 XLR analog audio inputs with phantom power and high definition audio sample rates of 192 kHz at 16 and 24 bit per sample. The audio meters can even be changed between VU or PPM ballistics. Multiple languages are fully supported so customers don't need to learn another language to use it. Support is included for English, Chinese, Japanese, Korean, Spanish, German, French, Russian, Italian, Portuguese and Turkish. The files from Blackmagic Video Assist are common and are compatible with all operating systems or in most video software. Media can be formatted using ExFAT or HFS+ so customers can easily access the media on computers and access the files like regular disks. DaVinci Resolve is perfect for using with Video Assist as it features editing, colour correction, audio post-production and visual effects all in one software application. "The Blackmagic Video Assist 12G HDR monitors have been received very well by our customers because they have so many features," said Grant Petty, Blackmagic Design CEO. "However many customers don't need HDR screens and Ultra HD, so we have produced new HD models that include most of the powerful features at a much lower price. Plus these new models still include built-in scopes, 3D LUTS, powerful focus assist tools, presets, upgraded L-Series batteries, record tally light, built-in speakers and more!" Blackmagic Video Assist 3G Features • Modern design with fast to use touchscreen controls. • LCD features can be customized by the user. • SD/USH-II card support for commonly available media. • Upgrades cameras to better monitoring and better record codecs. • Large LCD screen with digital film style focus assist tools. • 3G-SDI and HDMI for recording in SD and HD up to 1080p60. • Standard open file formats compatible with popular software. • Built-in scopes include waveform, vector, parade and histogram. • 3D LUTs can be applied for both monitoring and recording. • Professional multi-channel digital and analog audio. • Localized for 11 popular international languages. • Works with popular NLE software such as DaVinci Resolve.

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New Blackmagic URSA Mini Pro 12K Camera

Blackmagic Design announced Blackmagic URSA Mini Pro 12K, a new digital film camera with an advanced 12,288 x 6,480 12K Super 35 image sensor, 14 stops of dynamic range and high frame rate shooting at up to 60 frames per second in 12K at 80 megapixels per frame. This new 3rd generation model supports new Blackmagic Generation 5 Color Science and higher Blackmagic RAW performance, all in the URSA Mini Pro camera body. Blackmagic URSA Mini Pro 12K will be available in July 2020, for AU$19,745. Blackmagic URSA Mini Pro 12K has a 12,288 x 6480 12K Super 35 sensor and 14 stops of dynamic range. The combination of 80 megapixels per frame, new colour science and the flexibility of Blackmagic RAW makes working with 12K a reality. Oversampling from 12K gives customers the best 8K and 4K images with the subtle skin tones and extraordinary detail of high end still cameras. Customers can shoot at 60 fps in 12K, 110 fps in 8K and up to 220 fps in 4K Super 16. URSA Mini Pro 12K features an interchangeable PL mount, as well as built-in ND filters, dual CFast and UHS-II SD card recorders, a SuperSpeed USB-C expansion port and more. URSA Mini Pro 12K’s resolution goes well beyond traditional motion picture film. Customers get the benefits of incredible detail, wide dynamic range and rich, deep colour. Perfect for feature films, episodic television and immersive, large-format IMAX. The incredible definition around objects makes it ideal for working with green screen and VFX including compositing live-action and CGI. Supersampling at 12K means customers not only get better color and resolution at 8K, but also a smoothness that comes from making aliasing invisible. The Blackmagic URSA Mini Pro 12K features a new sensor with a native resolution of 12,288 x 6480, which is 80 megapixels per frame. The Super 35 sensor has 14 stops of dynamic range and a native ISO of 800. The new 12K sensor has equal amounts of red, green and blue pixels and is optimized for images at multiple resolutions. Customers can shoot 12K at 60 fps or use in-sensor scaling to allow 8K or 4K RAW at up to 110 fps without cropping or changing their field of view. URSA Mini Pro’s interchangeable lens mount lets customers choose from the widest range of vintage and modern cinema lenses, so customers can capture every ounce of character and detail from their favourite optics. The URSA Mini Pro 12K sensor and Blackmagic RAW were designed together to make 12-bit RAW workflows in 12K effortless. The codec Blackmagic RAW lets customers shoot 12K and edit on a laptop, a capability that simply isn’t possible with other codecs. The massive resolution of the sensor means you can reframe shots in post for delivery in 8K and 4K. It’s like a multi-camera shoot with only one camera. And it’s perfect for great looking vertical and square video, too. The advanced design of the sensor and Blackmagic RAW means that customers can work in any resolution in post-production instantly, without rendering, while retaining the full sensor’s colour accuracy. Only Blackmagic RAW makes cinema-quality 12-bit, 80-megapixel images at up to 60 frames a reality. Constant quality Q0 and Q5 options and new Q1 and Q3 lock the quality level, allowing compression to adapt, matching the detail of the scene. Constant bitrate encoding options 5:1, 8:1, 12:1 and the new 18:1 are designed to give customers the best possible images with predictable and consistent file size. Customers can record RAW to two cards simultaneously so customers can shoot 12K or 8K to either CFast or UHS-II cards, even at high frame rates. Blackmagic RAW stores camera metadata, lens data, white balance, digital slate information and custom LUTs to ensure consistency of image on set and through post-production. Shooting RAW in 12K preserves the deepest control of detail, exposure and colour during post. Oversampling means customers get extremely sharp 8K without harsh edges. Best of all, Blackmagic RAW is designed to accelerate 12K for post-production, making it as easy to work with as standard HD or Ultra HD files. It is highly optimized, multi‑threaded works across multiple CPU cores and is also GPU accelerated to work with Apple Metal, CUDA and OpenCL. So customers can always work with their camera RAW files without having to make proxies. Blackmagic RAW 12K images provide unprecedented resolution and quality for colour, keying, compositing, reframing, stabilization and tracking in 4K or 8K. Blackmagic Generation 5 Color Science features a new film curve designed to make full use of the massive amount of colour data from the new URSA Mini Pro 12K sensor. This delivers even better colour response for more pleasing skin tones and a better rendering of highly saturated colours such as neon signs and car tail lights in high contrast scenes. Generation 5 Color Science informs complex Blackmagic RAW image processing, with colour and dynamic range data from the sensor preserved via metadata for use in post-production. Compatible with all previously shot Blackmagic RAW files, Generation 5 Color Science lets customers take advantage of the new film curve even with their existing work. URSA Mini Pro 12K is multiple cameras in one, shooting standard resolutions and frame rates in 4K, 8K and even insanely detailed 12K. With a massive 80 megapixels per frame at 60 fps in RAW customers can capture perfect stills and motion shots in a single camera at the same time. Customers can shoot up to 60 fps in 12K 12,288 x 6480 17:9. For higher frame rates, customers can shoot 110 fps at 8192 x 4320, 140 fps at 8192 x 3408 and even window the sensor to Super 16 to capture 4K at an incredible 220 fps at 4096 x 2160 DCI. URSA Mini Pro 12K has flexible frame rate and resolution options and captures with improved motion rendering which means that customers get smoother edges in 8K and 4K even at lower frame rates. URSA Mini Pro 12K is the ultimate high bandwidth recorder with 3 options for recording 12K, which contains almost 10 times the resolution of Ultra HD. Customers get dual built-in CFast and UHS-II SD card recorders, and a SuperSpeed USB-C expansion port for recording to fast SATA and NVMe drives. With "Record RAW on 2 Cards" turned on, URSA Mini Pro 12K can record simultaneously across two cards up to an incredible 900MB/s to 2 CFast cards, or an impressive 500MB/s to 2 UHS-II SD cards. The SuperSpeed USB-C expansion port on the rear can record to USB-C flash storage up to 900MB/s as a third recording option so customers won’t be short of choices for capturing stunning 12K up to 60p or 8K up to 110p. Different projects require different lenses which is why URSA Mini Pro features an interchangeable lens mount. Customers can quickly switch between PL, EF and F mount lenses on the URSA Mini Pro 12K, as well as B4 lenses on the URSA Mini Pro 4.6K G2. That means customers can work with high-quality large PL cinema lenses, EF or F mount photographic lenses, and even B4 broadcast lenses, making URSA Mini Pro compatible with the widest possible range of professional lenses. Blackmagic URSA Mini Pro features an innovative high-speed USB-C Expansion Port. The 4.6K G2 model features USB-C 3.1 Gen 1 which operates at up to 5 Gb/s, while the new 12K model has a USB-C 3.1 Gen 2 for a blistering 10 Gb/s. Customers can connect and power external flash disks and SSDs or on URSA Mini Pro 12K customers can connect the new URSA Mini Recorder for recording to fast NVMe SSD drives for longer recording times. NVMe SSD drives are ideal for shooting 12K in the highest constant quality 12‑bit Blackmagic RAW in the Q0 setting or for high frame rates. When shooting is complete customers can simply move the external disk to their computer and start editing from the same disk, eliminating file copying. URSA Mini Pro includes a full version of DaVinci Resolve Studio. Customers get the world’s most advanced solution that combines professional editing, colour correction, audio post and visual effects all in one software tool. DaVinci Resolve is used to finish more Hollywood feature films than any other solution, so users will get the best possible post-production tools to edit native video from their camera and retain every bit of quality. Whether users are working on major Hollywood feature films, episodic television, music videos, commercials or even the latest YouTube shoot, DaVinci Resolve Studio gives customers a completely lossless workflow for native editing, colour correction, effects, audio and delivery.

The new Blackmagic URSA Mini Recorder(AU$789) lets customers record 12-bit Blackmagic RAW files onto fast 2.5-inch SSDs, including 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 fast performance allows customers longer recording times for full-resolution 4K, 8K and 12K 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 their URSA Mini Pro between the camera and the battery. It’s controlled via the USB-C so customers don’t have to worry about manually starting or stopping the SSD recorder. "With Blackmagic URSA Mini Pro 12K we have advanced imaging technology into a new generation where new styles of shooting will be possible", said Grant Petty, CEO, Blackmagic Design. “It's not just the 12K sensor, but there are so many other innovations in this camera. From the Generation 5 Color Science, the in sensor scaling, new symmetrical colour pattern, full RGB quality and of course the 12K resolution, it's going to be exciting to see what DOPs do creatively with this technology!" Blackmagic URSA Mini Pro 12K Features • 12,288 x 6480 12K Super 35 sensor. • Use for feature films, VFX and high-end TVC's. • 14 stops of dynamic range and native 800 ISO. • New Blackmagic RAW for real-time 12K editing. • Blackmagic RAW optimized for Metal, CUDA and OpenCL. • Generation 5 Color Science with new film curve. • Shoot up to 60 fps in 12K, 110 fps at 8K and 220 fps at 4K. • Dual card CFast recording at up to 900MB/s. • PL mount included, EF and F mount available. • SuperSpeed USB-C for recording to external disks. • Includes DaVinci Resolve Studio for post-production. • Compatible with new Blackmagic URSA Mini Recorder.

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New Canon EOS R5 and Canon EOS R6, full-frame mirrorless cameras

Canon Australia announced the Canon EOS R5 and Canon EOSR6, two new full-frame mirrorless camera additions to advance Canon’s EOS R System built on the RF Mount. The pro-level EOS R5 delivers 45 megapixel stills at up to 20fpsvi and is the first full-frame mirrorless ever to record 8K RAW up to 29.97fps internally and 4K to 120pvii. The EOS R6 is perfect for enthusiasts and professionals moving to mirrorless and looking for greater capabilities, capturing 20.1 megapixel stills up to 20fpsviii, stunning 4K video up to 60p and Full HD at up to 120p. The EOS R5 and EOS R6ix are both confidently supported by Canon Australia’s local 5-year warranty and are available for pre-order from 9th July 2020x. Redefining professional mirrorless Built on Canon’s EOS philosophy of high speed, high image quality, and easy to use cameras, the EOS R5 and EOS R6 continues Canon’s commitment to delivering choice and quality imaging tools to consumers at all skill levels. Packed with the most cutting-edge imaging technology currently available, the EOS R5 and EOS R6 are designed to drive the consumer and professional imaging industry forward by enabling new workflows, and imaging standards for Australians to capture the stories that matter most in the most efficient and consistent way possible. Next-generation CMOS sensor technology combined with high-performance RF lenses enable users to capture new levels of detail at the best possible speeds in the industry. EOS R5 and EOS R6 can shoot up to 20fpsxii xiii with the electronic shutter in near silence with full auto exposure (AE) and autofocus (AF) tracking. Users can be confident capturing action, both stills and video, in exceptional quality in any location without disturbing subjects. The mechanical and electronic first curtain shutter also delivers high-speed continuous shooting up to 12fps. For the first time in the EOS series, EOS R5 and EOS R6 incorporate 5-axis In-Body Image Stabilizer. Designed to work collaboratively with the Optical IS system of RF lenses, the solution has been engineered so that RF lenses and the sensor work to correct pitch and yaw with the sensor correcting X-Y and roll movements. This intelligent stabilisation system corrects at up to an incredible 8-stops – the world’s best image stabilisation – for new levels of creativity when shooting handheld at slow shutter speeds or filming without a tripod. The wide diameter of the RF Mount ensures that light continues to reach the entire sensor all the way to the corners, even with the sensor movement introduced with In-Body Image Stabilizer. The 54mm diameter enables RF lenses to be designed with larger image circles facilitating the greater movement of the body IS system, meaning some non-IS RF lenses such as the RF 85mm F1.2L USM or RF 28-70mm F2L USM can also achieve up to 8-stops of image stabilisation. Users of EF lenses will experience enhanced IS performance as in-body IS works with IS enabled EF lenses to provide roll and X-Y correction. Even select non-IS EF lenses will benefit from the 5-axis correction provided by EOS R5 and EOS R6 in-body IS.   Keeping it sharp DIGIC X processor technology at the core of EOS R5 and EOS R6 – the same technology in the coveted EOS-1D X Mark III – supports renowned next-generation Dual Pixel CMOS AF II pushing speed and reliability to unmatched levels. Boasting the world’s fastest AF focusing speed among interchangeable lens digital mirrorless cameras, EOS R5 focuses in as little as 0.05 seconds and can focus in light levels as low as -6EVxix. EOS R6 is the first EOS camera to offer a minimum EV for AF of - 6.5EVxx. The high precision AF is effective in even poorly lit or low contrast shooting conditions. The iTR AF X AF system has been programmed using algorithms and face/eye detection mode ensures subjects are kept sharp even when moving unpredictably with a shallow depth of field. Even if a person turns away for a moment, their head and body continue to be tracked. Advanced tracking enabled by algorithms recognises faces and eyes of humans, and now includes cats, dogs and birds in both still and movie modes. EOS R5 and EOS R6 maintain high-precision focus and tracking regardless of the subject’s size, posture, orientation or direction of the face helping users to confidently shoot even the most unpredictable subjects. Intelligent connection With built-in Bluetooth and Wi-Fi, the EOS R5 (5Ghz Wi-Fi) and EOS R6 (2.4Ghz Wi-Fi)xxi can be easily connected to a smartphone and networks allowing high-speed file sharing and FTP/FTPS transfer. This functionality also allows for the cameras to be remotely controlled using the Camera Connect and EOS Utility apps, tethered to a PC or Mac via Wi-Fi or high-speed USB 3.1 Gen 2. With content delivery just as important as image and video capture, the EOS R5 and EOS R6 support the automatic transfer of image files from the device to the cloud platform to easily share and print images or integrate with Google Photos or Adobe Cloud workflows.   EOS R5: No compromise. Revolutionary imaging innovation. For the first time, Canon has given the iconic EOS 5-Series name to the EOS R Mirrorless System with the EOS R5. The EOS R5 is an unprecedented leap forward in mirrorless technology and offers the highest resolution EOS camera ever. The DIGIC X processor, CMOS sensor and RF lenses combine to advance all aspects of image quality to achieve a resolution up to 45 megapixels. Achieving up to 100% AF coverage, capable of 5,940 user-selectable AF points and features an ISO range of 100- 51,200, EOS R5 keeps subjects razor-sharp even in extreme low light conditions. Dual-card slots support a high-speed CFexpress and SD UHS-II card, housed in a weather-resistant magnesium body. Professionals can capture stunning 8K 12-bit RAW video internally using the full width of the sensor for a truly cinematic result with continuous eye and face AF tracking for people and animals. The EOS R5 also sets new standards for videographers shooting in 4Kxxv. Capture 4K DCI (full-frame) and 4K UHD at frame rates up to 120p (119.88fps) with 4:2:2 10-bit quality, enabling high resolution, smooth slow-motion with full AF performance. Users seeking the very highest 4K quality can use the 4K HQ mode to reproduce incredible detail at frame rates up to 30pxxvi by internally oversampling 8K footage.

  • 8K RAW internal video recording up to 29.97fps (non-cropped)
  • 8K internal video recording up to 29.97fps (non-cropped) in 4:2:2 10-bit Canon Log (H.265) or 4:2:2 10-bit HDR PQ (H.265)
  • 4K internal recording up to 119.88fps (non-cropped) in 4:2:2 10-bit Canon Log (H.265) or 4:2:2 10-bit HDR PQ (H.265)
  • 4:2:2 10-bit in Canon Log or 4:2:2 10-bit HDR PQ output via HDMI at 4K 94fps
User demand sees the return of the multi-controller to EOS R5 in addition to touch and drag AF using the 3.2inch vari-angle touch screen with 2.1 million dot resolution. With Dual Pixel RAW also supported, correction of the focus and contrast in the background and changing the lighting in portraits is possible after capture – enhancing creative possibilities. The 0.5inch electronic viewfinder (EVF) refreshes at 120fps with 5.76 million dot resolution for a staggeringly realistic view of the world comparable to an optical viewfinder. For more information on the EOS R5, visit   EOS R6: All-round excellence EOS R6, like EOS R5, showcases the amazing capabilities of the EOS R System, giving enthusiasts the potential to take pin-sharp images and movies handheld. Providing class-leading speedxxvii and full frame quality, EOS R6 is a powerful and versatile camera far exceeding the demands of enthusiasts and semi-professionals across all genres. Sports and wildlife enthusiasts can confidently capture fast moving action utilising the up to 20fpsxxviii speed, flexibility of up to 6,072 selectable AF points and algorithms that enable automatic face, eye and animal AF tracking modes. The 20.1 megapixel CMOS sensor shares many technologies and performance seen with the EOS-1D X Mark III, providing 100- 102,400 auto ISO range. This enables users to produce clean images in the toughest low light environments such as weddings and indoor events, providing additional flexibility and choice.   Enabling content creators to meet the increasing demand to produce both stunning still and moving image, the innovative EOS R6 can film in 4K UHD resolution at up to 59.94fps achieved through   oversampling from 5.1K. Output incredible slow-motion footage with AF support using Full HD at up to 119.88fps. During movie shooting, zebra display can be used as a guide to exposure adjustment, particularly useful in conditions that typically result in overexposed highlights. With the option to record internally in 8-bit H.264 or 10-bit YCbCr 4:2:2 H.265 and Canon Log, users can experience ultimate post-production flexibility.   The 0.5inch 3.69 million dot EVF working up to 120fps maximum refresh rate supports minimal lag ideal for photographing sports, offering a transparent and responsive view of shooting subjects. The 3-inch vari-angle 1.62 million dot LCD screen encourages shooting from creative angles. Dual card slots allow users to input 2x SD UHS II cards and record to both cards simultaneously, with the ability to record in different formats for safety, security and speed. For more information on the EOS R6, visit    

Three new EOS accessories extend imaging capture and creativity



Canon has today also announced a new longer life battery supplied with EOS R5, EOS R6, the LP- E6NH. Compatible with all existing cameras that use the LP-E6 series batteries, the LP-E6NH replaces LP-E6N, with an increased capacity of 14% reaching 2130mAh. This enables users to shoot for longer while maintaining compatibility with existing products and accessories.  

BG-R10 battery grip

The new BG-R10 battery grip enables extended, undisturbed shooting with EOS R5 and EOS R6. Ideal for wedding, wildlife and news shooters, the ne battery grip gives users the ability to power the bodies using two batteries (LP-E6/N/NH). The grip also offers duplicate controls for easier vertical shooting.  


Designed in a battery grip style, the WFT-R10 Wi-Fi transmitter and 2x2 MIMO antennas enable faster and longer-range transmission and is compatible with the EOS R5. WFT-R10 also features enhanced network processing enabling SFTP via Wi-Fi and includes a gigabyte speed via an ethernet port.  

Key specifications

45 megapixel full-frame sensor20.1 megapixel full frame sensor
Up to 20fps/ 12fpsUp to 20fps/ 12fps
In-body IS up to 8-stopsIn-body IS up to 8-stops
Dual Pixel CMOS AF IIDual Pixel CMOS AF II
ISO range 100-51,200ISO range 100-102,400
8K movie 30p 12-bit (full width)4K movie 60p 10-bit, Full HD 120fps
5.76 million dot EVF3.69 million dot EVF
3.2inch 2.1 million dot vari-angle LCD3inch 1.62 million dot vari-angle LCD
Dual card slots (1x CFexpress, 1x SD UHS II)Dual card slots (2x SD UHS II)
Top panel display and AF multi-controllerAF multi-controller
Built-in 5Ghz Wi-Fi with optional wirelesstransmitter (WFT-R10)Built-in 2.4Ghz Wi-Fi and FTP
USB charging and power via PD-E1USB charging and power via PD-E1
Body only 650g (738g with battery/ memorycard)Body only 598g (690g with battery/memorycard)

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Streaming with Cellular Bonding | How we use Teradek products at Videocraft

Streaming video from point A to point B has become more commonplace for all kinds of online content creators and also never been easier to set up by just about anyone. Using just an Internet connection, a PC, smartphones, and some simple cameras we can go live with just a few clicks. And since most forms of live streaming are done on smartphone handsets with a single LTE connection or at home with an internet connection, live streaming is commonly accepted in the video consumer market with audiences tuning in on streaming platforms every day.When Videocraft is asked to set up streaming systems for major event broadcasting or live media productions especially in remote-location publishing, a single Internet connection often won't cut it. Instead, we use an innovative piece of technology called cellular network bonding. Why Videocraft chooses to use Teradek products like the Bond, Bolt and Cube:The Teradek cellular bonding products like the Bond or Bolt are incredibly portable with a very small form factor, and when compared to traditional live video production equipment, small units offer way more versatility in the field for broadcasting major events. For example, we used this solution for the Red Bull Wings for Life Global Race held in Melbourne. It’s not just about saving physical space on the camera setups or in the rack though, it provides us with the flexibility to integrate with other suppliers workflows and achieve really quick setups on live event productions where being on time is paramount. It would also be ideal for run-and-gun scenarios like live news crosses saving time and money on uplink costs. [caption id="attachment_2744" align="alignnone" width="520"]

Participants seen during the Wings for Life World Run in Melbourne, Australia on May 8, 2016. // Mark Dadswell for Wings for Life World Run // P-20160508-02570 // Usage for editorial use only // Please go to for further information. //[/caption] The most important reason content creators we work with rely on products like the Teradek Bond is for its core purpose: network bonding. Teradek’s Bond system combines several 3G/4G/LTE modems into a single Internet connection for deploying live video. The Bond, for example, is designed to aggregate Ethernet, WiFi and up to 5 USB cell modems to create a really robust pipeline for delivering video from point to point. The combination of several network connections allows Videocraft to reinforce the quality of moving video signals between two points by sending traffic over multiple routes, repackaging it at the destination with automatic failover ensuring that the live stream runs continuously and smoothly throughout the broadcast.But the Teradek product range isn’t limited to large event broadcasting. For smaller workflows, the Teradek Bond allows content producers and ENG operators in the field to publish reliable H.265/H.264 video straight to live platforms such as YouTube or Facebook Live or studio decoder destinations. So even if you need to send the video to a studio hundreds of kilometres away using the Teradek Bond it can upload to Teradek’s cloud system where the video can be redistributed to wherever you choose, even multiple destinations. As long as your mobile cell signal is viable, you can stream.Traditionally when broadcasting live on location, costs for bandwidth on venue internet connections or satellite trucks can be costly, making live streaming high-quality video a bit of a challenge, that’s why it is worth incorporate cellular bonding into the workflow. Several bonded 4G/LTE connections could potentially save thousands of dollars. In addition, a mix of cellular carriers means that even if one carrier encounters connectivity issues, the failover to other carriers would fill in to maintain the stability of the stream. Plus the use of the latest H.265 codec means that while 1080p video costs an average of 5 Mbps to deliver consistently using H.264, H.265 can achieve the same results at potentially 3 Mbps improving your data consumption efficiency. When it comes to broadcasting from the field, traditional video transport equipment like satellites and ENG trucks cost an arm and a leg to employ, not to mention you need to find personnel and time to get that equipment out to the location. The cellular bonding streaming kits available to hire from Videocraft offer a low-cost alternative to these situations. Starting from under $500 per day, the Teradek range can deliver fast and broadcast-quality video for your streaming project.

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New Canon EOS C300 MKIII and 25-250mm Cine Servo Lens

[vc_row][vc_column][vc_column_text]Canon Australia launched today the EOS C300 Mark III, Canon’s next-generation Cinema EOS System camera with a new Super 35mm 4K CMOS DGO (Dual Gain Output) sensor, modular design and the ability to record in multiple formats. Canon also revealed the CN10X25 IAS S, a versatile, 8K-capable 25mm-250mm 10x power zoom CINE-SERVO lens with exceptionally broad focal length range and capabilities to extend up to 375mm using its built-in 1.5x optical extender.[/vc_column_text][vc_images_carousel images="4850,4854,4849,4848,4853,4852" img_size="medium" css=".vc_custom_1587431764799{margin-top: 1px !important;margin-right: 1px !important;margin-bottom: 1px !important;margin-left: 1px !important;}"][vc_column_text]EOS C300 Mark III's key new feature is the new DGO sensor that enhances HDR output exceeding 16-stops of dynamic range, configurable design (similar to that of the EOS C500 Mark II launched last year) and enables the ability to record up to 120fps in 4K Cinema RAW Light or XF-AVCi. Such features make the EOS C300 Mark III the perfect choice for those looking to produce everything from documentaries and commercials to corporate videos and dramas. The production of the EOS C300 Mark III, along with the new CN10X25 IAS S, is a great combination for producing high-end content across all genres.   Outstanding HDR with new DGO sensor

The first of Canon’s cameras to include the DGO sensor – a newly developed imaging system that offers exceptionally clean low light picture quality as well as superb HDR acquisition capabilities. Each pixel on the DGO sensor is read out with two different amplification levels – one high and one low – which is then combined to make a single image. The higher amplification readout is optimised to capture clean details in darker areas, while the lower amplification readout is optimised to capture details in brighter areas. When combined, at pixel-level accuracy, the details and the qualities on the highlight and low light areas of the image are maintained and enhanced, enabling professionals to achieve an impressive higher dynamic range of up to 16+ stops. What’s more, the DGO sensor is also compatible with Dual Pixel CMOS AF offering professionals greater creative freedom.   Flexible workflow for any style of productions   The versatile multi-recording format ability of the EOS C300 Mark III provides workflow efficiency to fulfil multiple production requirements across broadcast and cinema. The camera’s ability to internally record 4K Cinema RAW Light provides all the benefits of a RAW file in terms of flexibility in post-production, but in a smaller file size – easing the burden and cost that can come with large file sizes. In addition to this, the EOS C300 Mark III can record internally in Canon XF-AVCii at 4K DCI and UHD at 4:2:2 10-bit, as well as 2K and Full HD. For non-RAW recording in XF-AVCiii, professionals can select ALL-I or Long GOP to film with high compression for efficient workflow and longer recording times. When recording 2K or Full HD in Super 35mm, footage boasts the 4K sensor’s full capabilities. This recording is downsampled internally to record the footage at the resolution selected by the user – providing higher image quality and uncompromised field of view of the selected lens thanks to no cropping of the sensor.   Versatility sits at its heart Professionals can configure the camera using two different optional Expansion Units (EU-V1 and EU-V2) – both which add extra connection terminals to the camera body and expand the camera’s compatibility with various styles of shooting. Additionally, the lens mount can be changed between EF, PL and EF Cinema Lock mounts without the need to send the camera to an Authorised Service Centre – a huge benefit for professionals looking to create productions with various looks. The EOS C300 Mark III will be available from June and the CN10X25 IAS S available from July. EOS C300 Mark III Key Features:
  • New Super 35mm 4K CMOS DGO (Dual Gain Output) sensor
  • 16+ stops of dynamic range
  • 4K 120P high-speed supported
  • Multiple internal recording options:
  • 4K Cinema RAW Light 10-bit or 12-bit
  • 2K RAW recording in Super 16mm Crop, 10-bit or 12-bit
  • XF-AVC (MXF) recording, 4:2:2 10-bit ALL-I or LongGOP
  • Up to 120P 4K RAW or XF-AVC recording, up to 180P in Super 16mm crop 2K/FHD.
  • User changeable lens mount (EF, PL or EF Cinema Lock)
  • Flexible, modular design with optional expansion modules and EVF
For pricing and pre-orders please visit the Videocraft Online Store More information from Canon Australia about the EOS C300 Mark III can be found here: Here is a walkthrough the new Canon C300 MKIII camera by Sydney Cinematographer, Dave May - produced by Canon Australia Canon C300 Mark III Hands On - Tall Story Films from Tall Story Films on Vimeo.    

NEW hybrid CN10X25 IAS S CINE-SERVO lens

[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_images_carousel images="4855,4856,4858,4857,4859" img_size="medium"][vc_column_text]With outstanding optics and compact and lightweight design, the versatile 4K and 8K-capable CN10X25 IAS S CINE-SERVO lens meets multiple production needs. Thanks to its wide focal length range, ability to be configured for both broadcast and cinema productions, and compatibility with Super 35mm and Full Frame sensor cameras; the CN10X25 IAS S CINE-SERVO lens is ideal for professionals looking to filming high-quality productions across a wide range of genres such as drama, commercials, sports and documentary. For these reasons, the lens makes a great pairing with the likes of the new EOS C300 Mark III. With its 11-blade aperture, a soft and subject popping bokeh is achieved with warm colour tones for high image quality and cinematic rendering. When used with Canon’s Cinema EOS System cameras, including the EOS C300 Mark III, the CN10X25 IAS S CINE-SERVO lens offers top image quality, operability and reliability the industry is looking for. Ability to handle a range of filming situations Producing optically excellent ‘cinematic’ images that are sharp from centre to outer edges, the power zoom lens can handle a large range of shooting situations from 25mm wide angle, to 250mm telephoto. This range can be pushed to an impressive 375mm with the built-in 1.5x optical extender, allowing professionals to capture exceptional close-up content of breathtaking moments happening in distance. What’s more, with the built-in extender it is possible to enlarge the image size of the lens to make it compatible with 35mm Full Frame sensor cameras – such as Canon’s EOS C500 Mark II – a great advantage that pushes the capability of the lens. Flexible design with multiple communication functions The ergonomic drive unit of the CN10X25 IAS S is detachable, suiting a multitude of broadcast and cinema production requirements. Its lens mount can also be interchanged between an EF and PL mount providing even greater value and flexibility to professionals. It’s compliance with a wide range of communication standards supporting EF communication with EF mount and Cooke Technology with PL mount, provides additional support and functionality which is hugely beneficial for those looking for a high-quality lens suitable for various productions. A 12-pin serial communication is also supported for broadcast standards, as well as a 20-pin connector which outputs accurate lens positional data for various virtual systems. CN10X25 IAS S Key Features:
  • 4K and 8K camera-compatible image quality
  • 25mm wide angle and 10x high-power zoom
  • Internal 1.5x extender
  • Detachable drive unit
  • Interchangeable EF and PL mount
  • Compliant with wide-ranging communication standards with a lens-to-camera communication function for added experience
For pricing and preorder please visit the Videocraft Online store More information from Canon Australia about the CN10X25 IAS S Lens can be found here:[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row]

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Setup live streaming direct to YouTube with the Sony PXW-Z90 Camera

How to setup live streaming direct to YouTube with the Sony PXW-Z90 Camera. Here is a step by step basic guide on how to setup live streaming using RTMP protocol direct to YouTube there are similar steps for other online apps such as Facebook and Vimeo. Firstly, check the firmware you have installed on your PXW-Z90 camera, to do this you need to follow these menu stepsMENU > OTHERS > VERSION DISPLAY

. For RTMP/RTMPS streaming functionality on the PXW-Z90 camera you need to have downloaded the V2.00 Firmware which is available for FREE from the Sony Website - When doing this we found the process to be much more stable on a PC rather than a MAC computer.   Ok now to set up your live streamingYou need to start with setting up YouTube Go to your YouTube Studio account, now if you have never streamed live from your YouTube account before you will not be able to stream for the first 24 hours of requesting to do so - so head into the “Go LIVE” setup the day before you need to stream anything.   CREATE > GO LIVE > NEW STREAMThe only details that are mandatory that you need to enter in here is the title and category of your content and whether the content is made for kids Click CREATE STREAMWhen the Manage Stream screen comes up you need to take note of both STREAM KEY and the STREAM URL as these are details you will need to enter into the camera so it can connect with YouTube. The STREAM KEY is hidden so it’s a good idea to copy this and the URL into Notepad or Word Doc on your computer for easy and quick reference. Now to connect up your PXW-Z90First, you need to connect the camera to a WIFI network - you do this by heading to the NETWORK SET section on the MENU MENU > NETWORK SET > Wi-Fi SET > ACCESS POINT SET               Wifi networks that are discoverable will show in the list, if your network doesn’t show in the list or is not discoverable you will need to select MANUAL SETTING and know whether you are using a WEP or WPA network when entering the name and password for the WiFi network.             Once the camera is connected to a WiFi network a tick is visible on the menu to show which network you are connected to and indicators show the strength of the signal the camera is picking up. So you’re on WiFi - what's next?You need to connect the camera to YouTube via RTMP. You can also connect to Facebook and other streaming software and you can use each of the presets to save different settings for each type of app you would want to connect to. So, go to the NETWORK SET section of the menu to do this MENU > NETWORK SET > RTMP/RTMPSIf this is the first time you have tried RTMP streaming from your PXWZ90 this then you need to put the YouTube settings into one of the Presets - there are three available so you may want to set one up for YouTube at 720p or another at 360p which are the two resolutions you can use to stream on the PXW-Z90 or maybe a different streaming channel like Vimeo or Facebook.So lets setup YouTube at 720p on PRESET 1, to do this simply scroll down to PRESET 1 and select DISPLAY NAME Here you can set a display name for your Preset. You may want to change to YouTube 720p for easy reference at another time. SIZE This gives you the option to select between 720p and 360p streaming resolution . DESTINATION SET This is where we need to enter the information of the STREAM KEY and the STREAM URL that we were given on the YouTube Stream Settings earlier. . So first enter the URL you enter the rtmp:// address, this is quite laborious using the typing function of the Sony camera - but note you can either use the joystick toggle to enter or the touchscreen which you may find easier. Use the bar at the top to select between alpha, numeric and special characters screens for entering the URL address. Once entered click the large OK button in the bottom left. Next, the Stream Name is where you enter the STREAM KEY from YouTube, this displays as an asterisk shortly after you enter a letter, this makes it hard to know where you are up to. Unless you are really speedy at this you can push the DISPLAY button on the side of the camera and it will keep the STREAM KEY viewable whilst you enter it and once you finished and pressed OK it will change back to the asterisk view. Once you enter these details press OK and return to the RTMP/RTMPS menu, scroll up to PRESET SELECT and choose PRESET 1 where you have just configured the previous steps. If this is all done correctly you are pretty close to streaming now, but before we get to that if you find that your EXECUTE menu selection is greyed out or faded and unselectable and nothing is happen - you will need to change the REC SET in your MENU. Make sure that your FILE FORMAT is HD or lower to be able to EXECUTE the RTMP streaming function of the PXW-Z90.   Changing your FILE FORMAT for Streaming on the PXWZ90To change your FILE FORMAT to a format that will allow you to stream follow these steps in the MENUMENU > REC/OUT SET > REC SETGo to FILE FORMAT and select either XAVC HD or AVCHD in the menu options.This will update the REC FORMAT and when you return to the RTMP/RTMPS streaming menu EXECUTE will now be highlighted white ready to go ahead for streaming.   So you have the camera, connected to the WiFi network, you have entered the YouTube details into the Destination set - you are ready to EXECUTE!Starting the Stream to YouTubeOnce you have pressed EXECUTE it will ask you which network you are streaming from, in this setup we have followed you would select Wi-FiYou then are ready to connect your camera stream to your YouTube preview screen. To stop and start the connection between the camera and YouTube you simply press the THUMBNAIL button on the camera.You should now see a preview of your camera in your Stream Management of YouTube.To start streaming your content hit the GO LIVE button at the top right corner of the screen!And you are now live streaming to YouTube with the Sony PXWZ90 Camera!   Other tips and tricksFor Ethernet connection or Wired LAN you will require separate accessories from Sony (VMC-UAM2, CBK-NA1) to connect the USB port from the camera to an ethernet cable. RTMP/RTMPS providers: Both YouTube and Facebook have checkboxes for reusing the "Stream Name". Unless you really enjoy entering the "Stream Name" every time you want to stream, you will want these to be checked.Note that using this method you can only go to one site at a time. If you want to be tricky, you can create an RTMP stream to go to apps such as, and then you can go to multiple apps at once!  

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Using your smartphone to create video and streaming content

In this odd time when we are all looking to work differently, people are looking to use their smartphones to create video and streaming content. It may be that you don't have access to your normal equipment or that everybody else has beaten you to the 'hot product' and you are having to think laterally. .

It is worth noting that the cameras on modern smartphones are quite good if you make sure there is enough light and you are within the correct focal length of the lens. It would be no good trying to film a football match with a phone but an interview or talking head will work well. I don't imagine you will be wanting to film a football match at the moment anyway.
Where smartphones do fail is on audio, there are several manufactures catering for smartphone audio and arguably the best is our own, homegrown, Rode. They offer options for Apple devices (Lightning connector) or Android (3.5mm jack TRRS). There are Lapel microphones like the Smartlav+ or Wireless Go which can be attached to an individual person or Directional microphones which can stay attached to the phone and work well over 2 or 3 meters. The Rode SC6 and SC6L allow you to connect two TRRS mics like the Smartlav+ simultaneously.
[caption id="attachment_4789" align="alignnone" width="380"] Rode SmartLav+[/caption]
[caption id="attachment_4790" align="alignnone" width="380"] Rode Wireless Go[/caption]
[caption id="attachment_4791" align="alignnone" width="380"] Rode SC6-L[/caption]
Another main consideration is mounting your camera/phone effectively so the picture is stable and your arm doesn't fall off halfway through the interview. Manfrotto makes a simple inexpensive clamp for your phone which allows it to be connected to a tripod or mount either in portrait or landscape or should I say Insta and everything else! It's called the PixiClamp. They also make a small desk-mounted tripod called the Pixi Mini Tabletop tripod. The nice thing about the clamp is that it has standard 1/4" threads allowing you to connect it to most tripods and lighting stands.
[caption id="attachment_4795" align="alignnone" width="380"] Manfrotto Pixi Clamp[/caption]
[caption id="attachment_4794" align="alignnone" width="380"] Manfrotto Pixi Tabletop Tripod[/caption]
[caption id="attachment_4803" align="alignnone" width="507"] Or available for purchase as a combo![/caption]
Lighting is the last hurdle. If the available light isn't giving you the production values you are used to seeing. The good news is that there are lots of powerful, battery-operated colour correctable lights available at very reasonable prices. You can consider the small Aputure Amaran AL-MX rechargeable light or a twin kit with stands like the Ledgo Luxpad E268C which offers unbeatable value.
[caption id="attachment_4797" align="alignnone" width="380"] Aputure Amaran AL-MX LED Light[/caption]
[caption id="attachment_4798" align="alignnone" width="380"] LEDGO Luxpad E268C Lighting Kit[/caption]
.. For a full range of products suited to use with your smartphone click here
Anyway enjoy setting up your home studios and we can't wait to see what you create!
Blog Post by Simon Anderson

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Blackmagic Design Announces New ATEM Mini Pro

Blackmagic Design today announced ATEMMini Pro, a new low-cost live production switcher with all the features of ATEM Mini butnow with extra features for recording, streaming and monitoring. ATEM Mini Pro includes anew hardware streaming engine to allow direct streaming via its Ethernet connection toYouTube Live, Facebook and Twitch. There is also support for recording the stream directto USB flash disks in H.264, plus support for recording to multiple disks for continuousrecording. The new model also includes a multiview on the HDMI video output that allowsall inputs to be monitored on a single monitor, as well as live status of recording, streamingand the audio mixer.ATEM Mini Pro is available forAU$1185 (Inc GST). Available from our online store. ATEM Mini switchers make it easy to create professional multi-camera productions for livestreaming to YouTube and innovative business presentations using Skype or Zoom.Simply connect ATEM Mini and customers can switch live between 4 high-quality videocamera inputs for dramatically better quality images. Or connect a computer forPowerPoint slides or gaming consoles. The built-in DVE allows exciting picture in pictureeffects, perfect for commentary. There are loads of video effects too. All ATEM Minimodels have USB that works like a webcam so customers can use any streaming softwarewhile the ATEM Mini Pro model adds live streaming and recording to USB disks.
There's also HDMI out for projectors. Microphone inputs allow high-quality desktop andlapel mics for interviews and presentations.
ATEM Mini’s compact all in one design includes both a control panel as well asconnections. The front panel includes easy to use buttons for selecting sources, videoeffects and transitions. The source buttons are large so it’s possible to use it by feel, lettingthe presenter do the switching. Customers even get buttons for audio mixing. On theATEM Mini Pro model customers also get buttons for record and streaming control as wellas output selection buttons that let customers change the video output between cameras,program and multiview. On the rear panel, there are HDMI connections for cameras orcomputers, extra microphone inputs, USB for webcam out plus an HDMI "aux" output forprogram video.
There's never been a switcher that’s easier to use, as customers simply press any of theinput buttons labelled 1 to 4 on the front panel to cut between video sources. Customerscan choose between cut or effects transitions by selecting the cut or auto buttons. Unlikecut, the auto button tells ATEM Mini to use a video effect when switching inputs.Customers can select from exciting transitions such as dissolve, or more dramatic effectssuch as dip to colour, DVE squeeze and DVE push. The DVE is perfect for picture in pictureeffects and customers can instantly set up different picture positions. There is even a stillstore for titles and graphics accessible via external software control.
With 4 independent HDMI inputs, customers can connect up to 4 high-quality videocameras. All video sources will re-sync to the switcher if they operate at different videostandards so customers don't have to worry about connecting video devices as they all justwork. Imagine taking advantage of the low light capability of better cameras for theatreproduction, weddings, school concerts and music videos.  
To ensure maximum compatibility, ATEM Mini features a USB connection that operates asa simple webcam source. That means customers can plug in and instantly get workingwith any video software. The software is tricked into thinking the ATEM Mini is a commonwebcam, but it's really a live production switcher. That guarantees full compatibility withany video software and in full resolution 1080HD quality. ATEM Mini works with softwareand platforms such as Open Broadcaster, XSplit Broadcaster, YouTube Live, FacebookLive, Skype, Zoom, Twitch, Periscope, Livestream, Wirecast and more.  
The ATEM Mini Pro model has a built-in hardware streaming engine for live streaming viaits Ethernet connection. That means customers can live stream to YouTube, Facebookand Twitch in better quality, without dropped frames and with much simpler settings. Justselect the streaming service and enter the streaming key. There are palettes in ATEMSoftware Control for streaming setup, plus streaming status is also displayed in themultiview. Streaming status is easy to understand as the data rate indicator shows internetspeed required for the video format users are using.  
The ATEM Mini Pro model also supports direct recording of their streaming data to USBflash disks. That means customers get very long recordings in the same H.264 video fileswith AAC audio that customers streamed, so customers can directly upload to any onlinevideo site, such as YouTube and Vimeo. ATEM Mini Pro supports multiple disks whenused with a USB hub or Blackmagic MultiDock, so when a disk fills recording can continueto a second disk for non-stop recording. Record settings and disk selection are set up inATEM Software Control and there's a record status view in the built-in multiview.  
With two independent 3.5mm stereo audio inputs, customers can connect desktop andlapel microphones. With 2 extra stereo audio inputs, customers can ensure a host andguest both have lapel microphones when doing interviews. ATEM Mini features a fullFairlight audio mixer and all HDMI audio inputs and both microphone inputs are allconnected separately to the audio mixer so customers can live mix from all audio sources.  
Each of the 4 HDMI inputs feature their own dedicated standards converter. That meansATEM Mini will automatically convert 1080p, 1080i and 720p sources to the video standardof the switcher. The HDMI output is a true "aux" output so customers can clean switcheach HDMI input or program to this output. If users are using program/preview switching,the HDMI out can be selected to preview, or on the ATEM Mini Pro model, it can beselected to display a full multiview.  
The ATEM Software Control app unlocks the hidden power of ATEM Mini and allowsaccess to every feature in the switcher. ATEM Software Control features a visual switcheruser interface with parameter palettes for making quick adjustments. Although customerscan normally connect via USB, if customers connect using Ethernet it's possible formultiple users to connect to ATEM Mini using separate copies of ATEM Software Controlon different computers. Customers can even save the switcher state as an XML file. Ifcustomers need clip playback, customers can even control HyperDeck disk recorders viaEthernet.  
The built-in "media pool" allows the loading of up to 20 separate broadcast quality RGBAgraphics for titles, opening plates and logos. Customers can even use still frames forcomplex effects such as graphic wipes. ATEM Mini can even grab stills from the videooutput and add them to the internal media pool. Graphics can be loaded via ATEMSoftware Control or downloaded directly from Photoshop using the ATEM Photoshop plug-in. The Photoshop Plug-in is perfect for graphics that change often, such as scoreboards,as customers can download directly into the media player.  
For news or on-set presentation work, ATEM Mini is perfect as it has an upstream ATEMAdvanced Chroma Key plus an additional downstream linear keyer. Customers can evenuse it for title overlays by creating graphics with a green or blue background and the keyerwill knock out the green and make the background transparent.  
When doing larger live productions with multiple cameras, it’s very useful to see all theirvideo sources at the same time on a single monitor. The ATEM Mini Pro model includes aprofessional multiview that lets customers see all 4 video inputs, plus preview and programon a single HDMI television or monitor. Each camera view includes tally indicators socustomers know when each source is on-air, and each view also has custom labels andaudio meters. Customers can also see the media player so customers know what graphicis selected. Plus multiview even includes status for recording, streaming and the Fairlightaudio mixer.  
With a built-in Fairlight audio mixer, ATEM Mini makes it possible to do complex live soundmixing. The internal mixer features a total of 12 channels so customers can mix audio fromall sources. That’s audio from all HDMI sources and the 2 stereo mic inputs. Each inputchannel features the highest quality 6 band parametric EQ and compressor, limiter,expander and noise gate as well as full panning.  
For a more broadcast-style workflow, customers can remotely control their cameras fromATEM Mini. Blackmagic Pocket Cinema Camera 4K and 6K models can work as studiocameras with control sent via the HDMI connection to ATEM Mini. That means customerscan control the camera settings as well as the camera’s colour corrector from ATEMSoftware Control. Imagine changing ISO and tint, plus lens iris, focus and zoom, socamera operators can focus on the shot. There are two types of control interface, CCUlayout for traditional tint colour control and a DaVinci colour corrector interface allowing thecamera’s built-in DaVinci colour corrector to add incredible digital film "looks" to their liveproduction.  
"This is an amazing new model as it has all the power of the original ATEM Mini and addseven more features with built-in recording, streaming and multiview monitoring," said GrantPetty, Blackmagic Design CEO. “What's been surprising is the types of work customershave used the ATEM Mini model for and we never expected it to be used for such largeevents! So now with this new ATEM Mini Pro model, we are making this easier becausecustomers can stream via the Ethernet, while at the same time record to files on a USBdisk, all while monitoring all cameras, media and status on a single HDMI video monitor.It's really exciting and we can not wait to see what customers do with this new model!"
ATEM Mini Pro Features • Features miniaturized control panel based design. • Supports connecting up to 4 cameras or computers. • USB output operates as a webcam and supports all video software. • Live streaming via Ethernet supported on ATEM Mini Pro. • Recording to USB flash disks in H.264 supported on ATEM Mini Pro. • Two stereo audio inputs for connecting desktop or lapel microphones. • Automatically standards converts and re-syncs all HDMI inputs. • Includes free ATEM Software Control for Mac and Windows. • Internal media for 20 RGBA graphics for titles, opening plates and logos. • Includes ATEM Advanced Chroma Key for green/blue screen work. • Multiview allows monitoring of all cameras on ATEM Mini Pro. • Audio mixer supports limiter, compressor, 6 band EQ and more! • Supports remote HDMI control with Blackmagic Pocket Cinema Cameras.

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New Canon EOS R5 Mirrorless camera features

Canon INC has today released further development specifications for its recently announced Canon EOS R5, a full-frame interchangeable lens camera in the company’s EOS R System. These additional details come exactly one month since Canon released the development announcement of the EOS R5 and shut down speculation that some of its revolutionary specifications are ‘a fantasy’. Signalling a new phase of Canon 5-Series imaging and a revolution in the mirrorless full camera category, Canon’s EOS R5 will offer every photographer – not just professionals – access to high-quality imaging, cutting-edge 8K movie recording, new approaches to in-body image stabilisation, and revolutionary subject detection and tracking performance features. New possibilities for movie performance Unleashing new possibilities, Canon Inc. confirms the EOS R5’s video capabilities will exceed that of competing cameras on the market[1]. With its ability to internally record 8K using the full width of the sensor at up to 30p, the latest Canon EOS R camera is set to redefine mirrorless with its market-leading features. In addition, in all 8K modes the EOS R5 will support Canon’s renowned Dual Pixel CMOS AF A beast for subject detection and tracking performance for animals and people Canon Inc. also confirms the EOS R5 supports advanced animal AF – recognising dogs, cats and birds, relying not only on the eyes of the animal but also the face and body for situations when the eyes are not visible. Jason McLean, Director – Consumer Imaging & Services, Canon Australia, said:Our EOS 5-Series was developed fifteen years ago to make full-frame cameras accessible to consumers, not just professional shooters. Today, that purpose remains steadfast as we continue achieving the ‘impossible’ to deliver the hybrid needs of content creators who are demanding uncompromised performance to generate more still and motion visual content than ever before.” “With it 8K movie capabilities, new approaches to image stabilisation, revolutionary subject detection, and compatibility with Canon’s full suite of EF[2] and RF lenses, the EOS R5 represents a category revolution as opposed to product evolution in the interchangeable-lens camera market.” The EOS R5 specifications previously confirmed by Canon include:

  • The EOS R5 offers a step-change in performance with an incredible 12fps using the mechanical shutter and the electronic shutter offering 20fps
  • The EOS R5 takes Canon’s cutting-edge image stabilisation technology to the next level, by including a newly Canon-developed, in-camera image stabilisation system – which works in combination with the lens stabilisation system
  • With content delivery just as important as image and video capture, the EOS R5 supports automatic transfer of image files from the device to the cloud platform[3]
  • The highly anticipated EOS R5 will feature dual card slots
  • Upon launch, the Canon EOS R5 will also be supported by Canon Australia’s 5-year warranty when purchased from an authorised local dealer[4].
[1] As of 13th March 2020 [2] When used with Canon’s EF-Series lens mount [3] Automatic file transferring, available for cameras equipped with the automatic file transfer function, beginning with the currently-in-development EOS R5 (announced on 13 February 2020), requires users to connect the camera to a Wi-Fi access point that has been registered in advance [4] For full details on Canon Australia’s 5 year warranty, visit

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Blackmagic RAW 1.7 Update and new Davinci Resolve releases plus more.

What's new in Blackmagic RAW 1.7

macOS and Windows

  • Blackmagic RAW Adobe Premiere Pro plugin general performance and stability improvements.

All platforms

  • Added support for Panasonic EVA1 Blackmagic RAW clips captured by Blackmagic Video Assist.
  • Added support for Canon EOS C300 Mark II Blackmagic RAW clips captured by Blackmagic Video Assist.

What's new in Blackmagic Video Assist 3.1

  • Add Blackmagic RAW recording to the Video Assist 5” 12G HDR and Video Assist 7” 12G HDR
  • Add Digital Slate to the Video Assist 5” 12G HDR and Video Assist 7” 12G HDR
  • Improves HDMI connectivity with some cameras to Video Assist 5” 12G HDR and Video Assist 7” 12G HDR
  • General performance and stability updates to the Video Assist 5” 12G HDR and Video Assist 7” 12G HDR
Download from:  

What's new in DaVinci Resolve 16.2 Free Blackmagic Fairlight Sound Library 1.0 for DaVinci Resolve 16!

Get over 500 royalty-free foley sounds for use with the Fairlight foley sampler in DaVinci Resolve 16. Download now from: timeline editing toolset improvements.
  • New mouse and keyboard based editing toolset.
  • User adjustable per track scalable waveform display.
  • Keyboard shortcut editing actions now include fade, cut, select and move.
  • Support for alt/option dragging clips to create a clip copy.
  • Support for pasting clips across timelines.
  • Support for bouncing individual audio clips to files.
  • Support for dragging audio clips to separate tracks using modifiers.
  • Support for dragging audio clips to specific positions using modifiers.
  • Support for converting multichannel tracks into linked groups.
  • Support for a user preference to align audio edits to frame boundaries.
  • Support for an action to trim all audio edits to frame boundaries.
Fairlight sound library.
  • Release of the Fairlight sound library installer for foley effects.
  • Support for searching and displaying sound library description metadata.
Effects and plugin management improvements.
  • Automatic sorting of AU and VST audio effects into types and categories.
  • Favourite audio plugins are now displayed at the top of the mixer plugin list.
Additional immersive audio support.
  • Support for MPEG-H bussing and monitoring in DaVinci Resolve Studio.
  • Improved pan and balance including the ability to constrain panning.
Track Index improvements.
  • Support for the edit index in the Fairlight page.
  • Drag selection of tracks, mute, solo and record controls in the track index.
  • Drag and drop reordering of audio tracks in the track index.
AAF import/export improvements.
  • Support for importing AAF sequences as new tracks in an existing timeline.
  • Support for importing AAF sequences with an offset to an existing timeline.
  • Support for importing multichannel tracks from an AAF as linked groups.
  • Support for broadcast wave files when exporting an embedded AAF.
  • Support for exporting audio cross fades and fade handles in AAF files.
Audio mixing improvements.
  • Support for additional notch filters in clip EQ.
  • Support for new FairlightFX Meters.
  • Support for new FairlightFX LFE Filter.
Fairlight Audio Editor improvements.
  • Support for dedicated controls for panning up and down.
  • Support for editing clip EQ.
  • Support for copying and pasting clip EQ.
  • Support for creating and applying presets for clip EQ.
  • Support for adding, managing and custom mapping of plugin parameters.
  • Support for changing relative clip levels.
  • Support for resetting clip levels to unity.
  • Support for editing fade shapes and deleting fades.
  • Support for saving and recalling user defined track view presets.
  • Support for enabling layered audio editing from the desktop audio editor.
  • Support for choosing automation curves from the editor panel or console.
  • Improved behavior when moving track selection with no tracks selected.
  • Support for improved timecode entry and high frame rate timecode.
  • Support for entering relative timecode values.
  • Support for inserting 00 in timecode entry by using the colon key.
  • Support for master spill on console faders.
  • Support for finer adjustment of controls using the mouse or audio editor.
  • Support for media left and media right selection keys.
  • Support for a text-only labels mode.
  • Support for a traditional Fairlight keyboard layout.
Improved support for legacy Fairlight project import.
  • Improved import of EQ, automation and fade from legacy Fairlight projects.
  • Improved speed when importing large legacy Fairlight projects.
Editing improvements.
  • Improved performance when switching to large timelines with many tracks.
  • Support for creating a compound clip from an in-out range in the timeline.
  • Support for previewing timeline audio during live overwrites of video edits.
  • Support for editing individual angles to the timeline from a multi-cam viewer.
  • Support for updating clip duration display while editing in the cut page.
  • Support for a change transition duration dialog.
  • Support for viewing duration in frames or timecode format in the viewers.
  • Support for Fusion transition templates in the edit page.
  • Support for Fusion generator templates in the edit page.
  • Support for timeline view options per system in collaborative projects.
Media Pool improvements.
  • Improved audio track metadata support with support for up to 24 tracks.
  • Support for duplicated clips and timelines being placed in the source bin.
  • Support for sorting media pool clips by date added.
  • Support for showing synced audio filenames in the media pool list view.
  • Support for revealing the media pool location of a clip from a smart bin.
  • Support for a media pool context menu to duplicate clips and timelines.
  • Support for only additional files when repeating media management copies.
Color grading improvements.
  • Multiple stability and usability improvements for collaborative projects.
  • Support for smart filters based on keywords and people metadata tags.
  • Support for modifying primary grade values using numerical values.
  • Support for retaining out of range data when monitoring at video levels.
  • Support for Fusion MediaOut name tooltips on the node graph inputs.
  • Support for feet and frames data burn-in options.
  • Support for disabling output sizing and blanking for individual clip renders.
Scopes improvements.
  • Support option for showing scopes at video level and data level.
  • Support for HLG gamma when using HDR scopes.
  • Support for highlighting the color viewer qualifier position in the scopes.
Codec improvements.
  • Support for Blackmagic RAW SDK 1.7.
  • Support for rendering audio only timelines.
  • Support for decoding 32 bit floating point audio.
  • Improved support for color space and gamma when decoding H.265 clips.
  • Support for displaying EXR codec name based on compression method.
  • Support for overriding the color space and gamma tags in render settings.
  • Support for RED SDK 7.2.1 and decoding clips from the Komodo camera.
  • Support for two new parameters in the RED camera raw settings.
  • Support for REDWideGamut Log3G10 IDT for ACES projects.
  • Support for the Canon EOS-1D X Mark III camera.
  • Support for decoding u-Law Audio in QuickTime clips.
  • Support for alpha channel clips with the bypass re-encode option.
Scripting, API and general improvements.
  • Support for running the primary screen as a window in dual screen mode.
  • Improved scripting API with the ability to close an open project.
  • Improved scripting API to set frame rate for media pool clips.
  • Support for new scripting functions to return ordered lists.
  • Support for video monitoring advance and delay on the Fairlight page.
  • Support for GPI/GPO control on the Fairlight Audio Interface.
  • Multiple performance and stability improvements.
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Sony FX9 Camera, features in more detail

We recently interviewed Hiroki Hamamoto from Sony Japan whilst he was visiting Australia and asked him about all the new features available on the Sony FX9 Features we love about the FX9The Sony PXW-FX9 is definitely the talk of the town and a lot has been discussed about the Full-Frame sensor and more importantly when our stock will be arriving, as the first in the country to put orders in we will be pleased to see these cameras hit our shelves hopefully early in the new year. The camera’s full-frame 6K sensor will provide recording in DCI 4K*(4096 x 2160 at 17:9 recording available in future firmware release), Ultra HD and HD resolutions. The image processing with debayering and oversampling ensures image quality beyond the limits of conventional Super 35mm sensors. Compared to a 4K Super 35mm sensor, the FX9’s 6K sensor has over twice the surface area while providing a wider angle of view and shallower depth of field. Sony has this video which highlights some of the key features of the PXW-FX9 beyond its sensor.Sony Product Feature Video for FX9So there are a few key features here at Videocraft we are particularly fond of with the FX9 camera and not necessarily the ones you would expect.   Auto Focus Features that work for productions!Tracking shots with Fast Hybrid AF you can effortlessly track fast-moving subjects with pin-sharp focus, even when using wide lens aperture settings to maintain a shallow depth of field with the camera’s full-frame sensor. Developed by Sony’s α camera engineers, the enhanced Fast Hybrid AF combines phase-detection AF for fast, accurate subject tracking with contrast AF for exceptional focus accuracy. In addition, Face Detection intelligently recognises and locks on to human faces. The dedicated 561-point phase-detection AF sensor covers approximately 94% of the whole image area width and 96% of the height, allowing consistently accurate, responsive AF tracking, even with fast-moving subjects.

So all these cool functions for auto-focus are also available to camera operators as customisable Auto Focus settings, such as 7-level AF transition speeds from Fast – switching between subjects as quickly as possible – to Slow, where speed is reduced to fit a more measured shooting style, such as a historical TV drama. And also 5-level AF subject shift sensitivity ranges from Locked-on – ignoring other moving subjects in the frame – to Responsive that switches focus from one subject to another – ideal for snapping between race cars as they speed by.   Dual Base ISO for stunning images in any lightFX9 features a base sensitivity of ISO 800, providing the optimal dynamic range for typical documentary applications such as shooting outside or in brightly lit interiors. A secondary High Base sensitivity of ISO 4000 excels in low light conditions such as early morning and evening shoots while maintaining superb image quality. ISO 4000 is also ideal whenever you’re using slow lenses. Combining Dual Base ISO with the camera’s electronic variable ND Filter provides superb creative control in almost any shooting environment, equipping you with responsiveness to changing lighting conditions on the go.   Cinematic colour science with S-Cinetone™S-Cinetone is the default look of FX9 that’s tuned to meet the requirements of today’s content creators with rich mid-range colours, alluring facial tones and a softer tonal look – developed with the same expertise as Sony’s world-leading VENICE digital cinematography camera. S-Cinetone means that straight out of the camera your content looks fresh and vivid, with subjects that really stand out while retaining plenty of latitude in post-production thanks to the high-performance full-frame image sensor.   Stable, shake-free handheld footage with Image StabilizationAdvanced image stabilisation information means even handheld footage can be transformed with Sony Catalyst Browse/Catalyst Prepare software in post-production to look as smooth as if it were shot with a gimbal. Unlike in-camera or lens stabilisation, metadata generated by FX9’s built-in gyro allows you to creatively choose the balance between the level of shake-compensation and the resolution of trimmed 4K imagery. This feature is also compatible with any E-mount lens and allows for far faster processing than conventional NLE stabilisation workflows.   Yippee its Variable ND!So we fell in love with Variable ND on previous Sony cameras such as the FS5 and FS7 and now we get even greater creative control with Sony’s unique built-in electronic variable neutral density (ND) filter on the PXW-FX9. Set it to Auto, or adjust filter density manually in smooth increments from 1/4 to 1/128 as you shoot, for perfectly exposed images without affecting depth of field as lighting conditions change. Use higher density settings with slower shutter speeds for breathtaking artistic effects.   So what is 'Electronic Variable ND Filter'?Sony’s Electronic Variable ND Filter can be seamlessly varied while shooting because of its innovative technology, which is optically based rather than using image processing. There are three different ways to use this filter: seamlessly altering the image exposure while shooting by scrolling the dial on the right side of the camera. Selecting Auto ND, where the camera will proactively adjust the density of the filter to find the best exposure for shooting, which works really well in outdoor environments where the light may have considerable variations, this auto function maintains your exposure and adjusts the ND when the light level changes. Or you can set your own fixed filter levels just like you would with a conventional optical ND filter, the default settings are 1/4, 1/16, and 1/64. However, it is possible to change these three settings to whichever values you prefer. Generally, camera operators use iris, gain control, or shutter speed and each has their own side effects to the creative look of your frame, by using the optical-based yet seamlessly control your image exposure with the electronic ND filter without sacrificing your creative choices.   Audio is just as important as the images you capture!Well, the pictures are only half the story and with the 4-channels of audio input and recording on the PXW-FX9 Camera, enables simultaneous use of an external microphone for recording ambient sounds, the built-in microphone for voice memos by the operator, and two optional wireless microphones for voice of interviewer and interviewee. Plus the FX9 offers independent control dials for each channel. In addition, using the optional accessories such as the XLR-K3M, XLR-K2M or XLR-K1M XLR adapters – with two extra XLR inputs – allows even more devices to be connected.On a side note if you are thinking about a multi-cam job with the PXW-FX9 - we’ve been nerding out about the fact it takes external timecode into the camera without having to add any external accessories to achieve it. To get in early and make sure you are one of the first to own an FX9 camera - place your pre-order online

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