Garage Sale 2022
Bring your car, bring your van, bring your trailer 'cause the Videocraft Garage Sale is back baby!
We're having a garage sale in Melbourne and selling off everything from ex-demo to ex-rental and overstocked items!
Come and get yourself a bargain.
Be quick - once it's gone, it's gone!
Date: Saturday 19th of March
Time: 10am - 2pm
Where: 148 Highbury Rd, Burwood VIC 3125
Garage Sale 2022
Bring your car, bring your van, bring your trailer 'cause the Videocraft Garage Sale is back baby!
We're having a garage sale in Melbourne and selling off everything from ex-demo to ex-rental and overstocked items!
Come and get yourself a bargain.
Be quick - once it's gone, it's gone!
Date: Saturday 19th of March
Time: 10am - 2pm
Where: 148 Highbury Rd, Burwood VIC 3125
Why you should upgrade to the Sennheiser EW 512P G4-S
People are always looking for ways to make their lives easier. This includes finding the best wireless mic system for their needs. If you're looking for big step up, you should check out the Sennheiser EW 512P G4-S 520-558 MHz Portable Lavalier Wireless. This is a high-end mic system that offers increased frequency range and distance, as well as increased sound quality for your voice. The EW 512P is the latest in the evolution wireless series and is the high end of the G4 line.
Videocraft and Digistor join forces
Videocraft is pleased to announce it has acquired Digistor and Adimex. While continuing to operate as separate entities, the businesses will cooperate to bring the full capability of both organisations to our customers including providing access to a greater range of equipment and services underpinned by an even larger team to support them. We look forward to working with the team to deliver even better customer outcomes together.
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.
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.
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!”
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.
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 CapabilitiesExceptional 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
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 https://pro.sony/en_AU/support-resources/pxw-fx9/software/00250129 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
- 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
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.
- Fixed issue with some Bluetooth commands not responding.
- No new features in 6.9.6 for other camera models.
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.
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.
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.
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.
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 image.canon 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
Three new EOS accessories extend imaging capture and creativity
LP-E6NHCanon 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 gripThe 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.
WFT-R10Designed 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.
|EOS R5:||EOS R6:|
|45 megapixel full-frame sensor||20.1 megapixel full frame sensor|
|Up to 20fps/ 12fps||Up to 20fps/ 12fps|
|In-body IS up to 8-stops||In-body IS up to 8-stops|
|Dual Pixel CMOS AF II||Dual Pixel CMOS AF II|
|ISO range 100-51,200||ISO range 100-102,400|
|8K movie 30p 12-bit (full width)||4K movie 60p 10-bit, Full HD 120fps|
|5.76 million dot EVF||3.69 million dot EVF|
|3.2inch 2.1 million dot vari-angle LCD||3inch 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-controller||AF 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-E1||USB charging and power via PD-E1|
|Body only 650g (738g with battery/ memorycard)||Body only 598g (690g with battery/memorycard)|