Product Announcements

New Blackmagic Videohub Smart Control Pro

Blackmagic Design announced the Videohub Smart Control Pro, a new router control panel that's designed to be the fastest way to switch router crosspoints. Videohub Smart Control Pro will retail for only AU$1,155.Videohub Smart Control Pro is different to traditional hardware router control panels that cost thousands of dollars and are limited to being installed in small numbers and then shared by all router users. Videohub Smart Control Pro is low cost, and features 40 RGB illuminated crystal look buttons that can be set to any router output. Videohub Smart Control Pro can be installed under each deck and monitor in a facility, so the router output to that monitor can be set with a single button press. This is a much faster way of working, because all routing only requires a single button press.For example, if a Videohub Smart Control Pro is installed under a monitor, then the router output connected to that monitor can be set to a different router source with each button press. Videohub Smart Control Pro includes a USB connection and easy to use Mac and Windows software to set each button. Buttons are illuminated brilliant white.Videohub Smart Control Pro can also be used with multiple destinations, and customers can select to have a single destination for the whole control panel, or multiple destinations. When working with multiple destinations, buttons on the front panel become gold colored and customers can select as many destinations as they need. Videohub Smart Control Pro also allows the use of a "take" button, and when enabled, the take button is the lower right button, and illuminated red. Multiple destinations and the take button feature allow a single panel to be used for multiple devices connected to the router, and dramatically lowers the cost in large facilities.Videohub Smart Control Pro has been designed to be easy for customers to self install. Videohub Smart Control Pro uses standard ethernet networking and simply plugs into the existing computer network. If used in mission critical environments, Videohub Smart Control Pro could be connected to a dedicated switch. Videohub Smart Control Pro can be powered via power over ethernet (PoE) without the need for a power supply.Because Videohub Smart Control Pro has been designed to fit into creative post production facilities, it includes attractive crystal look buttons that are designed for high reliability. The button caps can be removed to allow labeling of buttons. For world's best illumination quality, all buttons are illuminated by RGB LEDs so that a wider range of rich and clean colors can be displayed. When used in dark rooms, all buttons can be backlit, so button labels can be clearly seen."We have been asked for a router control panel for our popular Videohub routers, and we think we have a fantastic solution that will make all our customers extremely happy!", said Grant Petty, CEO, Blackmagic Design, "It looks wonderful and I am so excited by its clean, simple and attractive design, plus the best part is Videohub Smart Control Pro is low cost so we can place them everywhere. Now every device in our facility has buttons underneath so we can just select its input with a single button press. You have to see this working to really understand how fast that makes router control. It's incredible!"Videohub Smart Control Pro Features• Ethernet connection with Power over Ethernet and non powered loop through.• 110-240V volt AC powered for use with non powered ethernet.• Single or multiple destinations supported.• Supports optional "take" button set via software configuration.• Includes Mac and Windows software for control panel programming.• Button caps can be removed for easy labeling.• Buttons are illuminated by RGB for highest illumination quality.• Compact 1 rack unit size, less than three inches deep.• Works with all Videohub models.Availability and PriceVideohub Smart Control Pro will be available in November 2019 for AU$1,155

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Panasonic's New AJ-CX4000GJ 4K/HDR Broadcast Camera

Panasonic showcased its new AJ-CX4000GJ broadcast shoulder mount 4K camera at IBC 2019. The product, which will launch in December 2019, follows the handheld-type AG-CX350 as the new “CX” Series lineup of 4K camera recorders. The AJ-CX4000GJ is a B4 lens mount, interchangeable lens camera recorder that is typical for broadcast use. It is equipped with a large-sized 11MP image sensor and enables high quality 4K (UHD) image recording with a horizontal resolution of 2000 TV lines. It is also compatible with HDR, compliant with BT.2100 and BT.2020. The high efficiency and high image quality “HEVC” CODEC is adopted for the recording of 4K images. Long time recording with 4K/10-bit high image quality is possible whilst keeping bitrate and storage size under control. The high speed transfer and reliable “expressP2” card or the low running cost “microP2” card (SDXC memory card can also be used) can be selected for recording media. It also supports the recording of the “AVC-ULTRA” CODEC (HD) from the conventional P2HD Series. UHD 60p/50p 10-bit 4:2:2 output via a 12G-SDI output is also possible. Additionally, it offers an innovative network solution. Images can be distributed in HD mode to internet live streaming services using the “Direct Streaming” function, compatible with RTSP, RTMP and RTMPS. The LAN terminal, equipped with a lock mechanism (1000BASE-T compatibility), supports NDI|HX connectivity. Transmission and camera control is possible with an IP connection and can be linked to a recording/distribution system combined with Panasonic’s remote camera. For sports events and documentary recording, this camera offers the high-quality 4K images that are required for the broadcasting industry.

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Sony Launches its First IP 4K Pan-Tilt-Zoom Camera BRC-X400 with NDI®1 capability

Sony announced its latest addition to the 4K pan-tilt-zoom (PTZ) camera range, the BRC-X400. Ideal for cost-efficient content creation, the compact yet powerful camera is extremely well-suited for broadcast applications from studio to reality TV shows as well as shooting in large venues including event halls and houses of worships (HoW).

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New high-quality Sony UWP-D wireless microphone systems

New UWP-D series comes in new lightweight design and includes unique “NFC SYNC” feature, which enables easy and fast frequency setting

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News Production Kit CBK-FS7BK for Sony FS7 and FS7II Camcorders

Sony Evolves FS7 and FS7 II Camcorders for News Production with CBK-FS7BK ENG-Style Build-up Kit which delivers advanced wireless capabilities and excellent weight balance for extended shooting stability as well as a new LA-EB1 B4 Lens to E Mount Adapter   Sony’s popular PXW-FS7 and PXW-FS7 II XDCAM camcorders are now further optimized for newsgathering thanks to a new ENG-style build-up kit and a new B4 lens to E mount adapter. The build-up kit, CBK-FS7BK, enables extended shoulder mount usage, making the camcorders ideal for news production, interviews, documentaries, and reality television shooting. Combined with the new lens mount adapter, LA-EB1, both E mount and B4 lens assets can be used on either the FS7 or FS7 II, allowing users to capture images with deep and shallow depth of field (DoF) – all with a single camera. “The new build-up kit and lens mount adapter give the FS7 and FS7 II camcorders the ergonomics, networking features, and zoom ratio of a traditional run-and-gun shoulder-mount camcorder, allowing crews to quickly adapt their shooting style with minimal equipment,” said Anthony Kable, Content Creation Group Manager, Sony Australia. “As video production evolves, the demand for cinematic-style shooting has permeated into every facet of the industry, including broadcast news. FS7 shooters will be excited by the possibilities and adaptability the new build-up kit and lens mount adapter provides.” The CBK-FS7BK build-up kit includes: an extension unit with a wireless audio receiver slot and built-in network capability, providing advanced network operation for broadcast usage; a viewfinder and a cheese plate with enhanced robustness; and an adjustable shoulder plate designed to achieve optimal weight balance. Streaming and file transfers are possible via wireless LAN or 4G/LTE connection. QoS performance streaming is provided through the camcorder’s Dual Link connection, allowing multiplexing of two cellular networks. With the new LA-EB1 mount adapter, B4 lens can be attached to both the FS7 and FS7 II camcorders1. The inclusion of B4 lens allows users to shoot deep DoF with the high zoom ratio necessary for traditional news production. The CBK-FS7BK or FS7 extension unit XDCA-FS7, compatible with the B4 mount’s communication interface, provides power through its DC supply and allows users to record directly with the lens REC button. Further, information such as iris and focus is displayed on the viewfinder of the camera and recorded as metadata, which streamlines post-production efforts. The adapter also works as a hub for the power zoom of the lens, enabling one-hand operation via the servo zoom. Other highlights of the CBK-FS7BK build-up kit and LA-EB1 mount adapter include: • Various interface support including genlock/timecode for multi-camera operation and RAW output • Compatible with Sony BP-GL and BP-FL series batteries • Newly designed shoulder plate with an extended slide mechanism, allowing users to find the optimum weight balance with their choice of lens • ENG-style LCD viewfinder included • Exchange lenses on-site with no tools required • Image circle is expanded to 13.5mm by magnifying the optical system. F-stop can be as small as 0.6, which can capture bright images • ALAC (Auto Lens Aberration Compensation) decreases chromatic aberration caused by the lens The ENG-style build-up kit and mount adapter for FS7 and FS7 II will be available in December 2019.

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New Live 4K HDR Production and Workflow with Sony's HDC-5500 Camera System

Sony is introducing the latest member of its HDC family of 4K live camera systems. HDC-5500 is a new multi-format live camera capable of direct 4K signal output in 12G-SDI, carrying the world’s first 2/3-inch 4K global shutter three CMOS sensors that ensure superb image quality in HD, 4K and HDR live production. Optional software achieving high frame rate up to 4K 2x and HD 8x1 will be available.

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New Sony HXR-MC88 entry-level camcorder with Fast Hybrid Auto Focus

Sony launches entry-level HD palm-sized camcorder with Fast Hybrid Auto Focus for everyone who needs professional quality content acquisition

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Avid Introduces All-New Media Composer

Inventor of the nonlinear video editing category, Avid, reimagines its flagship Media Composer for a new generation of media makers and resets the bar for excellence Unveiled at Connect 2019, the industry’s most powerful gathering of media and entertainment users, Avid launches the all-new Media Composer 2019 [divider] With Media Composer 2019, aspiring and professional editors, freelancers and journalists will be inspired to work more creatively by taking advantage of a new user experience, a next generation Avid media engine with distributed processing, finishing and delivering capabilities, a customisable role-based user interface for large teams, and so much more. “After receiving input from hundreds of editors and teams across the media industry, and knowing where the industry is headed, we reimagined Media Composer, the product that created the nonlinear video editing category and remains the gold standard,” said Jeff Rosica, CEO and President at Avid. “Media Composer 2019 is both evolutionary and revolutionary. It maintains what long-time users know and love while giving them more of what they need today—and what they will need tomorrow.” Media Composer 2019 With Media Composer 2019, an editor can go from first cut to delivery without ever leaving the application. Whether they are a professional editor, freelancer or someone just starting out, Media Composer 2019 inspires creative storytelling.

  • New User Experience—makers can work at the speed of creativity with a paneled interface that reduces clutter, reimagined bins to find media faster, and task-based workspaces showing only what the user wants and needs to see.
  • Next Generation Avid Media Engine—puts more power at a user’s fingertips with features, such as native OP1A, support for more video and audio streams, Live Timeline and background rendering, and a distributed processing add-on option to reduce turnaround times and speed up post production.
  • New Finishing and Delivery Workflows—Now, users can create and deliver higher-quality content with editing, effects, colour, audio, and finishing tools without leaving Media Composer. Whether working in 8K, 16K, or HDR, Media Composer’s new built-in 32-bit full float colour pipeline can handle it. Additionally, Avid has been working with OTT content providers to help establish future industry standards.
  • Customisable Toolset—built for large production teams, the new Media Composer | Enterprise provides administrative control to customise the interface for any role in the organisation, whether the user is a craft editor, assistant, logger or journalist. It also offers unparalleled security to lock down content, reducing the chances of unauthorised leaks of sensitive media.
Media Composer | Enterprise 2019 The Media Composer family adds Media Composer | Enterprise for post-production, broadcast, media education and other larger production teams. Media Composer | Enterprise is the industry’s first role-specific video editing and finishing solution. Large production teams now have the ability to customise the interface and tailor workspaces for different job roles, providing end users access only to the tools and functions they need. This capability gives teams better focus so they can complete jobs faster and with fewer mistakes. Media Composer | Enterprise also integrates with Editorial Management 2019 to deliver collaborative workflow innovation for post production and enables creative teams to stay in sync. Media Composer | Distributed Processing Avid today also announced Media Composer | Distributed Processing, an add-on option that shortens turnaround times and accelerates post production by sharing the media processing load. Tasks that previously took hours can now be done in minutes, strengthening the competitive edge of post facilities while delivering high-quality programming. Media Composer | Distributed Processing also offloads complex processing tasks when working in today’s emerging high resolution and HDR media-rich worlds. Media Composer 2019 will be available in late May for all of its versions: Media Composer | First, Media Composer, Media Composer | Ultimate and Media Composer | Enterprise. For a full list of Media Composer features and benefits visit, www.avid.com/media-composer.

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Blackmagic Design Announces New Teranex Mini SDI to HDMI 8K HDR

Advanced 8K HDMI monitoring solution with dual on-screen scopeoverlays, HDR, 33 point 3D LUTs and monitor calibration! The Teranex Mini SDI to HDMI 8K HDR, a new advanced 8K HDMI monitoring solution with dual on screen scope overlays, HDR, 33 point 3D LUTs and monitor calibration for professional, colour accurate SDI monitoring on HDMI 8K screens. Teranex Mini SDI to HDMI 8K HDR will be available in May 2019 from Blackmagic Design resellers worldwide for AU$1975. The Teranex Mini SDI to HDMI 8K HDR will be demonstrated on the Blackmagic Design NAB 2019 booth #SL216. Teranex Mini SDI to HDMI 8K HDR is an advanced 8K monitoring solution for large screen televisions and video projectors. Unlike basic converters, Teranex Mini SDI to HDMI 8K HDR can use third party calibration probes to accurately align connected displays for precise colour. There are 2 on-screen scopes that can be selected between WFM, Parade, Vector and Histogram. Teranex Mini SDI to HDMI 8K HDR is perfect for film studios and broadcasters who need professional but affordable colour accurate monitoring. Customers also get an elegant design with colour LCD for monitoring and control of settings. The front panel feels elegant when placed on a desktop plus it includes buttons and a colour display for video monitoring with audio meters and video standard. The rear panel has Quad Link 12G-SDI for HD, Ultra HD as well as 8K formats. There are also 4 HDMI outputs allowing use with 8K televisions that feature quad HMDI inputs, plus a down converter for using 8K sources on Ultra HD or HD televisions. Customers can even convert between 2SI and Square Division all automatically. Teranex Mini SDI to HDMI 8K HDR has everything for the latest HDR workflows. All that’s required is to connect a HDMI display to get HDR SDI monitoring. Static metadata PQ and Hybrid Log Gamma (HLG) formats in the VPID are handled according to the ST2108-1, ST2084 and the ST425 standards. Teranex Mini SDI to HDMI 8K HDR handles ST425 which defines 2 new bits in the VPID to indicate transfer characteristic of SDR, HLG or PQ. Plus the ST2108-1 standard defines how to transport HDR static or dynamic metadata over SDI. Plus there is support for ST2082-10 for 12G SDI as well as ST425 for 3G-SDI sources. Both Rec.2020 and Rec.709 colorspaces are supported and 100% of the DCI-P3 format. Two fully independent on screen scopes are included so compliance with broadcast standards is easy when doing critical high end work. Scopes are overlaid on screen so customers can customize position, size and opacity. Customers can select from a range of scopes, including waveform for displaying luminance levels of their input signal. The vectorscope display allows customers to see the intensity of colour at 100% SDI reference levels. Customers also get RGB and YUV parade displays which are ideal for colour correction and checking for illegal levels. Histogram shows the distribution of white to black detail in their images and highlights or shadows clipping.

Teranex Mini SDI to HDMI 8K HDR includes the same high quality 33 point 3D LUTs as used in the film industry. It's even possible to calibrate the connected display by connecting a third party USB colour probe and Teranex Mini SDI to HDMI 8K HDR will analyze the monitor and generate a 3D LUT to correct for colour differences between displays. Two independent 3D LUTs can be loaded and customers can select between them from the front panel. It’s always difficult to know if a monitor is the correct colour because every display is slightly different, even between the same model. Teranex Mini SDI to HDMI 8K HDR solves this problem as it can use a third party USB probe for automatically aligning their monitor. SpectraCal C6, X-Rite i1 Display Pro or the Klein K10-A probes are supported and plug into the front of the converter. The converter takes care of all the work and will automatically generate test signals on the monitor during the calibration process. All Quad Link 12G-SDI inputs have outputs for looping to other equipment. Plus all HD, Ultra HD and 8K standards are supported allowing broadcast or film industry use. In 720p customers get support for 50p, 59.94p up to 60p. In 1080i formats, customers get 50i, 59.94i up to 60i. 1080p, 1080PsF as well as 2160p formats are supported from 23.98 to 60 fps. Customers even get support for 2K and 4K DCI film formats from 23.98p to 60p. 4320p 8K formats are supported at 23.98, 24, 25, 29.97, 50, up to 59.94. With 2SI to Square Division conversion built in, an 8K source will be automatically converted for the monitor. Teranex Mini SDI to HDMI 8K HDR even handles both Level A or B 3G-SDI plus YUV and RGB SDI formats. The front panel LCD provides confidence monitoring with both images and accurate audio level meters. There are menus for all functions and its easy to scroll through menus "pages" to find settings that need changing. The 3D LUTs can be enabled just by pressing the 1 or 2 buttons. Calibration is also started via the menus and customers simply follow the prompts to calibrate their display. The audio meters can even be switched between VU or PPM ballistics. HDMI instant lock can be enabled to ensure the HDMI display locks instantly if the input video is interrupted. There are settings for configuring scopes, their on screen location or opacity. Customers can even view and edit network settings. For rack mounting customers can simply add a Teranex Mini Rack Shelf. This consists of a metal tray that holds the converter and allows it to be screwed down before the whole shelf is bolted into the rack. Of course Teranex Mini SDI to HDMI 8K HDR includes rubber feet that customers can attach to the underside of the converter if customers want to place it on a desktop. "We are excited to announce the new Teranex Mini SDI to HDMI 8K HDR because it provides monitoring features we have not offered in the past," said Grant Petty, Blackmagic Design CEO. "While we have SDI to HDMI converters in our product range, this new model includes many more features for monitoring. The built in scopes, Hollywood quality 33 point 3D LUT's, automatic probe based calibration and native 8K are advanced features that will dramatically improve workflows for our digital film and broadcast customers!" Teranex Mini SDI to HDMI 8K HDR Features • Includes support for HDR via SDI and HDMI. • 2 built in scopes live overlaid on monitor. • Film industry quality 33 point 3D LUTs. • Supports automatic monitor calibration using colour probes. • Advanced Quad Link 12G-SDI inputs for 8K. • Down converts 8K to Ultra HD or HD monitors. • Includes LCD for monitoring and menu settings. • Utility software included for Mac and Windows. • Supports latest 8K televisions and projectors. • Can be used on a desktop or rack mounted. Availability and Price Teranex Mini SDI to HDMI 8K HDR will be available in May 2019 for AU$1975.

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Blackmagic Design Announces DaVinci Resolve 16

Revolutionary new quick cut page, 8K editing, neural engine with face recognition, GPU scopes, faster Fusion, 3D audio and more! DaVinci Resolve 16 is a major update that adds a revolutionary new cut page specifically designed for editors that need to work quickly and on tight deadlines. In addition, DaVinci Resolve 16 includes dozens of other new features for professional editors, colourists, VFX artists and sound engineers. DaVinci Resolve 16 public beta is available for download now from the Blackmagic Design web site. Designed specifically for editors working on high end fast turn around work such as television commercials and even news cutting, the cut page is all about speed. It’s an alternate edit page with a streamlined interface and revolutionary new tools that will help customers work faster than ever. The cut page lets customers import, edit, trim, add transitions, titles, automatically match colour, mix audio and more. Whether you’re delivering for broadcast or for YouTube, the cut page has everything customers need to get the job done, all in one place. Plus, the regular edit page is still available so customers can switch between edit and cut pages to change editing style right in the middle of a job. The cut page challenges the traditional way of working with innovative yet familiar concepts such as source tape mode and an A/B trim tool. Two modern features that are rooted in the past. The cut page isn’t about simplification, it’s about removing the things customers don’t need and building powerful, professional tools that help customers work more quickly. And, sometimes, it means borrowing the things that were great about the past and bringing them into the future. Back in the days of tape, finding a clip was easy because customers could just spool up and down the tape to see their media and select shots. Today, finding the right clip in a bin with hundreds of files is slow. With source tape, customers no longer have to waste time hunting through bins to find the clip they need. Simply click on the source tape button and all of the clips in their bin appear in the viewer as a single long "tape". This makes it easy to scrub through all of the shots, find the parts they want, and quickly edit them to the timeline. It’s an old fashioned concept that’s completely modernized to help customers find the shots they need fast. Zooming in and out and scrolling timelines is extremely slow. The new cut page features an innovative dual timeline so customers never have to zoom in or out again. The upper timeline shows customers the entire program while the lower timelines shows customers the current work area. Both timelines are fully functional, allowing customers to move and trim clips in whichever timeline is most convenient. Want to move a clip all the way to the end of a program? Simply pick it up from the lower timeline and drag it to the end of the upper timeline to move it down the edit. The new DaVinci Neural Engine uses state of the art deep neural networks and learning, along with artificial intelligence to power new features such as speed warp motion estimation for retiming, super scale for up-scaling footage, auto colour and colour matching, facial recognition and more. The DaVinci Neural Engine is entirely cross-platform and uses the latest GPU innovations for AI and deep learning to provide unparalleled performance and quality. The DaVinci Neural Engine provides simple tools to solve complex, repetitive and time consuming problems. For example, it enables facial recognition to automatically sort and organize clips into bins based on people in the shot. DaVinci Resolve 16 also introduces powerful new features that customers have asked for across the rest of the application. New adjustment clips let customers apply effects and grades to clips on the timeline below, quick export can be used to upload projects to YouTube and Vimeo from anywhere in the application, and new GPU accelerated scopes provide more technical monitoring options than before. The massively updated Fairlight page adds elastic wave alignment so customers can stretch waveforms to precisely sync dialog replacement with video, immersive 3D audio support, new bus tracks, automation previews, dialog sweetening tools and even more Fairlight FX. DaVinci Resolve 16 Studio features major improvements to existing ResolveFX, along with several new plugins that editors and colourists will like. There are new ResolveFX plugins for adding vignettes, drop shadows, removing objects, adding analog noise and damage, chromatic aberration, stylizing video and more. There are also improvements to the scanline, beauty, face refinement, blanking fill, warper, dead pixel fixer and colourspace transformation plugins. Plus, customers can now view and edit ResolveFX keyframes from the timeline curve editor on the edit page or from the keyframe panel on the colour page. "The new cut page in DaVinci Resolve 16 is the first professional editing interface designed to help television commercial and other high end editors meet super tight deadlines on fast turn around projects," said Grant Petty, Blackmagic Design CEO. "It’s exciting because we’ve designed a whole new high performance non-linear workflow! The cut page is all about power and speed. Plus, editors that need to work on more complex projects can still use the regular edit page. DaVinci Resolve 16 gives different editors the choice to work the way they want!" DaVinci Resolve 16 Features • DaVinci Neural Engine for AI and deep learning features. • Dual timeline to edit and trim without zooming and scrolling. • Source tape to review all clips as if they were a single tape. • Trim interface to view both sides of an edit and trim. • Intelligent edit modes to auto sync clips and edit. • Timeline review playback speed based on clip length. • Built in tools for retime, stabilization and transform. • Render and upload directly to YouTube and Vimeo. • Direct media import via buttons. • Scalable interface for working on laptop screens. • Create projects with different frame rates and resolutions. • Apply effects to multiple clips at the same time. • DaVinci Neural Engine detects faces and auto creates bins. • Frame rate conversions and motion estimation. • Cut and Edit page image stabilization. • Curve editor ease in and out controls. • Tape style audio scrubbing with pitch correction. • Re-encode only changed files for faster rendering. • Collaborate remotely with Frame.io integration. • Improved GPU performance for Fusion 3D operations. • Cross platform GPU accelerated tools. • Accelerated mask operations including B-Spline and bitmap. • Improved planar and tracker performance. • Faster and user and smart cache. • GPU accelerated scopes with advanced technical monitoring. • Custom and HSL curves now feature histogram overlay. • DaVinci Neural Engine auto colour and shot match. • Synchronize SDI output to viewer zoom. • Mix and master immersive 3D audio. • Elastic wave audio alignment and retiming. • Bus tracks with automation on timeline. • Foley sampler, frequency analyzer, dialog processor, FairlightFX. • 500 royalty free foley sounds effects. • Share markers and notes in collaboration workflows. • Individual user cache for collaborative projects. • Resolve FX plugins with timeline and keyframes. Availability and Price DaVinci Resolve 16 public beta is available now for download from the Blackmagic Design web site www.blackmagicdesign.com.

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Blackmagic Design Announces New HyperDeck Extreme 8K HDR

The world's first 8K broadcast deck with advanced H.265 recording, touch screen interface, internal cache, built in scopes, HDR, traditional deck control and more! The HyperDeck Extreme 8K HDR, a new innovative broadcast deck with advanced H.265 8K recording combined with touch screen user interface and traditional broadcast deck controls. The new HyperDeck Extreme 8K HDR features the trusted reliability of HyperDeck combined with new innovations such as space saving H.265 files, optional internal cache, 3D LUTs, native 8K and HDR support. With the ability to record native 8K in H.265, customers get reduced storage costs and amazing image quality. The large touch screen ensures a perfect view of their recording as well as control over all deck settings. Customers can then add HyperDeck Extreme Control to transform it into a traditional broadcast deck. This means HyperDeck Extreme 8K HDR is the perfect solution for the next generation of broadcast, live production and digital signage.

HyperDeck Extreme 8K HDR has an innovative touch screen user interface with deck controls as well as a large screen to view their recording. Then add a HyperDeck Extreme Control for traditional broadcast deck controls and a large shuttle knob that feels incredibly luxurious to use. Customers can even rack mount the HyperDeck and the controller. HyperDeck Extreme 8K HDR also includes 2 media slots, Quad 12G-SDI for 8K, analog connections for archiving, USB-C external disk recording, plus a front panel speaker and headphone jack. There's also an optional cache that eliminates dropped frames if their media becomes full or is too slow. Both AC and DC power connections are also included for studio or on location use. With its amazing versatility, HyperDeck Extreme 8K HDR is also great for live production as a master recorder, clip player and for recording ISO cameras. The analog inputs allow customers to record from old video tapes, so legacy programming can be used on the latest streaming services or for use in editing. Digital signage in 8K is easy with HyperDeck Extreme 8K HDR as it has 10G Ethernet for fast media uploads, plus it features a simple remote control protocol. Customers can even use it as a field recorder as it includes HDMI, SDI and analog inputs with built in scopes and 3D LUTs. The scopes also help customers QA masters to ensure compliance with broadcast standards before streaming and broadcast.
HyperDeck Extreme Control lets customers connect to legacy broadcast decks, set an in and an out point, then edit. Just add HyperDeck Extreme 8K HDR and HyperDeck Extreme Control to each legacy deck to keep them all archiving constantly with just one operator. It’s even possible to edit across formats by using Teranex Express to convert tapes from SD to HD in one step. Customers can control a wide range of decks, including Digital Betacam, 1 inch C format, and Betacam SP. The latest Quad Link 12G-SDI is included so it’s possible to record and playback in full resolution 8K for amazing quality. The SDI connections are multi-rate, so customers can use Quad Link 12G-SDI to get compatibility with other 8K products, or switch to SD, HD or Ultra HD using the single link 12G-SDI connection. To allow regular CFast cards to be recorded at high resolution 8K, HyperDeck Extreme 8K HDR uses modern H.265 files for 8K recording and playback. This means HyperDeck Extreme 8K HDR is perfect for connecting to the latest 8K televisions and projectors. The innovative touch 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 image swipe 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 touch screen as well as focus and exposure assist. There's also an extensive range of settings all controlled from the large LCD. Plus customers can load and save 3D LUTs. Customers also get direct buttons for transport control, enabling the 3D LUT and remote enable. HyperDeck Extreme Control extends their HyperDeck Extreme 8K HDR to add traditional broadcast deck controls. It works like a traditional broadcast deck with a familiar layout. Customers can control up to 8 decks via industry standard RS-422 control. Customers can even rack mount to the HyperDeck Extreme 8K HDR to create a single "broadcast deck" unit. Because it uses standard RS-422, customers can control old broadcast decks and perform edits using set in and out points. That's perfect for archiving work. Plus customers can even edit between frame rates if standards converting between formats. CFast media support allows customers to record to commonly available flash memory cards. The H.265 files are small enough to allow long recordings on standard CFast cards. Plus there are 2 CFast card slots so customers can swap out any full cards even during recording, allowing infinite length recording. CFast cards are perfect for broadcast because they are small, high speed and affordable. With H.265, customers can record 498 minutes at 8Kp60 on a 1 TB card, 1,059 minutes in 2160p60 Ultra HD and 2,354 minutes in 1080p59.94 on a 1 TB card. That’s over 8 hours in 8K and over 39 hours in HD. If recording to other media types is required, then the USB-C Expansion port lets customers plug in an external flash disk for recording. Adding a Blackmagic MultiDock 10G also makes it easy to use SSDs for compatibility with other HyperDeck models. Customers even get on screen menus for managing external disks using the touch screen. Sometimes their media can fill before customers change to a blank card, or if the card is too slow, then customers can get dropped frames in their recording. To eliminate this problem, customers can install a PCIe flash disk into HyperDeck Extreme 8K HDR to use as a record cache. This eliminates problems with CFast media or external disks, as the cache will automatically take over and record any content the media could not capture. Even if a card fills, recording will continue to the cache until it’s swapped. The cache even lets customers record formats that are too fast for the media card or external disk. HyperDeck Extreme 8K HDR features a wide range of video and audio connections such as multi-rate Quad Link 12G-SDI for SD, HD, Ultra HD and 8K SDI devices. The 12G-SDI outputs support fill and key when playing RGBA 4:4:4:4 files. HDMI is included for consumer televisions and video projectors. For archiving work, HyperDeck also includes both balanced analog, HiFi audio plus timecode connections. For monitoring there's even a down converted monitor SDI output that includes overlays. The latest 10G Ethernet is included for high speed upload using FTP protocols. Customers will be ready for the latest HDR workflows with support for the latest HDR standards and an extremely bright screen with a wide colour gamut. The built in scopes even change to HDR scopes when working in HDR formats. Files are tagged with the correct HDR information then SDI and HDMI inputs will also automatically detect HDR video standards. Static metadata PQ and HLG formats are handled according to the ST2084 standard. The bright LCD has a wider colour gamut so can handle both Rec. 2020 and Rec. 709 colorspaces. The built in HyperDeck Extreme 8K HDR LCD colour gamut can even handle 100% of the DCI-P3 format. HyperDeck Extreme 8K HDR features full internal waveform monitoring so customers can ensure compliance to broadcast standards when used on high end work. The waveform display provides a traditional luminance (brightness) levels view of their input or playback signal. The vectorscope display allows customers to see the intensity of colour at 100% SDI reference levels. Customers also get RGB and YUV parade displays which are ideal for colour correction and checking for illegal levels. Histogram shows the distribution of white to black detail in their images and highlights or shadows clipping. The built in scopes can be overlaid on live video, or as a small picture in picture view at the top right of the scope. The SDI and HDMI connections are multi-rate, so handle SD, HD, Ultra HD and 8K. SD 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. Customers can even do 1080 PsF formats. Ultra HD is supported up to 2160p59.94. 2K and 4K DCI rates are available up to 25p. 8K standards are included at 4320p23.98, 24, 25, 29.97, 50, 59.94 and 60p. 8K has 4 times as many pixels as Ultra HD so HyperDeck Extreme 8K HDR uses H.265 files for 8K recording to reduce costs and make working with 8K files easy. H.265 files are extremely small and range from 60:1 to 285:1 compression ratios which means much lower file sizes. Customers can use H.265 for all 8K, Ultra HD or progressive HD formats. HyperDeck Extreme 8K HDR even supports ProRes 422 HQ, ProRes 422, ProRes 422 LT for recording and playback plus ProRes 4444 for playback to fill and key out. HyperDeck Extreme 8K HDR includes professional audio for modern broadcasters or archiving from older broadcast decks. When working in SDI formats, customers can record 2, 4, 8 or 16 channels of audio in real time. For capturing legacy programming there are 4 XLR analog audio inputs that let customers record all 4 channels from Betacam SP decks. Customers can monitor using 4 on screen audio meters with user selectable VU or PPM ballistics. For consumer devices such as VHS, DVD and set top boxes, there are also direct HiFi audio inputs. HyperDeck Extreme 8K HDR might be the latest in 8K technology, however, the analog connections have also been designed to low noise and low distortion broadcast specifications. 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. With 10G Ethernet, HyperDeck Extreme 8K HDR is perfect for digital signage because remote uploads are extremely fast. All models use an easy text based protocol plus customers can use Telnet to test control commands. To upload media files remotely, customers can use FTP, or even use simple FTP client software. When the ethernet protocol and FTP is used with large USB-C disk arrays, HyperDeck Extreme 8K HDR becomes a great broadcast server for ingest, media management and play out. There's a wide range of Blackmagic Design products customers can use with HyperDeck Extreme 8K HDR, including the HyperDeck Extreme Control for adding traditional broadcast deck controls. Plus it uses the industry standard RS-422 deck control protocol so it works with any broadcast deck. It's possible to add the new Blackmagic MultiDock 10G to use regular SSDs for compatibility with media from other HyperDeck models. HyperDeck Extreme 8K HDR is also a perfect mastering recorder with the new ATEM Constellation 8K, or for clip playback and ISO reordering. For monitoring, the Teranex SDI to HDMI 8K allows broadcast monitoring on a television and it also has monitor calibration, 3D LUTs and on screen scopes. The files from HyperDeck Extreme 8K HDR 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 use with HyperDeck because it features editing, colour correction, audio post production and visual effects all in one software application. "We think the new HyperDeck Extreme 8K HDR will offer customers a whole new generation of technology while enabling a new wave of 8K production," said Grant Petty, Blackmagic Design CEO. "Even if customers don't need 8K, we think this new HyperDeck has so many features, it will become the centerpiece of live production, digital signage and broadcast!" HyperDeck Extreme 8K HDR Features • Supports live production, digital signage and archive use. • Supports legacy program ingest for streaming. • Record and playback in full resolution 8K. • Large LCD screen for with touch user interface. • Optional traditional broadcast deck controls. • Dual CFast media cards for non stop recording. • Records direct to external USB-C media disks. • Optional media cache eliminates dropped frames. • Quad Link 12G-SDI for 8K, HDMI and legacy analog connections! • Advanced HDR support with bright wide gamut LCD. • Built in scopes include waveform, vector, parade and histogram. • Latest Multi Rate 12G-SDI for SD, HD, Ultra HD and native 8K. • Standard H.265 and ProRes files for wide compatibility. • Professional multi channel digital and analog audio. • Localized for 11 popular languages. • 10G Ethernet for extremely fast remote media upload. • Traditional RS-422 broadcast deck control. • Compatible with new ATEM Constellation 8K switcher. • Works with popular NLE software such as DaVinci Resolve. Availability and Price HyperDeck Extreme 8K HDR will be available in June 2019 for AU$7,585.

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Blackmagic Design Announces New Blackmagic MultiDock 10G

Super fast rack mount 4 slot USB-C disk dock lets you editdirectly from your media disks! The Blackmagic MultiDock 10G is a new rack mount USB-C disk dock with elegant all metal design that lets customers access and move SSD media disks between cameras, HyperDecks and computers by rapid docking! Blackmagic MultiDock 10G is an advanced SSD dock that lets customers access 4 separate SSDs via a single high speed 10 Gb/s USB-C connection. Unlike cheap consumer adapters, Blackmagic MultiDock 10G has been specifically designed for the film and television industry and features a rack mount design with an independent SATA driver chip on each disk, ensuring much faster data transfer speeds. It can even be used for SSD compatibility on HyperDeck Extreme 8K HDR. Unlike cheap SSD docking cables, the Blackmagic MultiDock 10G is a compact 1 RU all metal design customers can mount in any professional rack. Each disk slot features an illuminated disk indicator so customers can see when disks are being accessed. The rear panel features 2 USB-C connections and a slide switch to allow selecting between using 4 disk slots on a single USB-C connection, or 2 slots on each USB-C connection for shared use. Blackmagic MultiDock 10G supports up to 4 independent 2.5 inch SSDs so it’s possible to edit directly from the disks customers recorded onto. Simply plug in their SSDs and they will mount on their Mac OS X and Windows computers like regular hard disks. Because Blackmagic MultiDock 10G features 4 independent disk slots, customers can mount all their media from a shoot all at the same time. Blackmagic MultiDock 10G is perfect for accessing media recorded with the URSA Mini Pro SSD Recorder. It's also the perfect solution to add SSD compatibility to HyperDeck Extreme 8K as it will let customers interchange disks between HyperDeck Studio models. Blackmagic MultiDock 10G uses advanced USB-C technology so customers get blazingly fast transfer speeds to their computer at up to 10 Gb/s with a single cable connection. That’s more than enough bandwidth to handle the highest resolution video formats including 8K in H.265 from HyperDeck Extreme 8K HDR. MultiDock features a completely independent disk interface chip per disk slot so customers never get slowdowns because of SATA bandwidth issues. Even though customers get all 4 disks connected to a single USB-C connection, customers can also split Blackmagic MultiDock 10G and get 2 disks on one USB-C connection and 2 disks on the second USB-C connection. That's perfect for dual computer use or increased speed. Unlike consumer disk arrays, Blackmagic MultiDock 10G is a compact and robust 1 rack unit all metal design that can be quickly installed into equipment racks. The built in power supply ensures no power is used from laptop batteries and it has enough power to run 4 high performance disks all at the same time for use in RAID configurations. Blackmagic MultiDock 10G even supports the RAID software built in to most operating systems, so customers can customize their disk array for their needs. The secret to using Blackmagic MultiDock 10G with HyperDeck Extreme 8K HDR is the high speed USB-C port on the rear panel called External Disk. When customers plug MultiDock 10G into the HyperDeck External Disk port, it can see the SSDs and use them for recording. When using 2 HyperDeck Extreme 8K HDR units mounted side by side it’s possible to switch to 2 channel mode and use 2 disks with each HyperDeck. This also means it's possible to use 2 computers with a single MultiDock, one using each channel, or multiple rack mount servers can access the same MultiDock. When an SSD is inserted in MultiDock 10G, it can be seen on the HyperDeck Extreme 8K HDR on-screen menus and customers can select it for record and playback. "The new Blackmagic MultiDock 10G is exciting because it’s been specifically designed for the television industry and is much better quality than cheap consumer products," said Grant Petty, Blackmagic Design CEO. "Now customers get a high quality rack mount design and they can move large media disks around fast!" Blackmagic MultiDock 10G Features • All metal rack mount design for professionals. • Allows fast media disk docking. • Supports all solid state and hard disks. • High speed 10 Gb/s USB-C connection. • Usable as high speed RAID storage. • Use any software on any platform. • Supports HyperDeck Extreme 8K. • Allows quick movement of media between edit systems. Availability and Price Blackmagic MultiDock 10G will be available in June for AU$909 from Blackmagic Design resellers worldwide.

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Blackmagic Design Announces Fusion 16 Studio

Dramatically improved GPU accelerated performance for 3D, tools, trackers,masks and more! Fusion 16 Studio is a major new upgrade that brings all of the improvements made to Fusion built into DaVinci Resolve available to VFX artists using the standalone version of Fusion Studio! Fusion 16 Studio public beta is available for download now from the Blackmagic Design web site. Fusion 16 Studio is a major upgrade that brings all of the improvements made to Fusion inside of DaVinci Resolve to the standalone version of Fusion. Customers get an updated and more modern user interface, along with dramatically faster performance. All 3D operations are GPU accelerated, making Fusion much more responsive and interactive. In addition, there are dozens of GPU accelerated tools such as time effects, dissolves, stereo 3D tools, vector motion blur, corner positioning, colour tools and more. B-spline and bitmap mask operations are accelerated, as are the planar and camera trackers. Improved memory management makes large compositions with high tool counts more reliable, making Fusion 16 dramatically faster and more stable than ever before. "Fusion 16 is the biggest update we’ve ever released for Fusion software," said Grant Petty, Blackmagic Design CEO. "It features an updated user interface and enhanced toolset developed by the larger DaVinci Resolve engineering team during the last 12 months. What’s even more exciting are the massive performance and reliability improvements customers get from the GPU acceleration of all 3D operations, dozens of tools, trackers, masks and more! I think it’s very clear to see the benefits of a much larger engineering team now working on Fusion." Availability and Price Fusion 16 Studio public beta is available now for download from the Blackmagic Design web site www.blackmagicdesign.com.

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Blackmagic Design Announces New ATEM Constellation 8K

Powerful 8K switcher with 8K DVE, standards converted 8K inputs, 8K SuperSource, 8K chroma key and 8K MultiView! The new ATEM Constellation 8K is an Ultra HD live production switcher with so many features, that customers can combine them all to make an incredibly powerful 8K switcher. Customers get 4 M/Es, 40 x 12G-SDI inputs, 24 x 12G-SDI aux outputs, 4 DVEs, 16 Keyers, 4 media players, 4 multiviewers, 2 SuperSource and standards conversion on every SDI input. Then when switched to 8K, all these features combine to make a powerful 8K switcher. ATEM Constellation 8K features a compact 2RU rack mount design with a built-in control panel. This allows operation of the switcher, critical during setup or for emergency use. Also included is a large LCD so customers can see program output and change switcher settings via on-screen menus. Although only 2RU size, the rear of the switcher has a massive 40 x 12G-SDI inputs, 24 x 12G-SDI aux outputs, plus balanced audio, Ethernet, RS-422 control and MADI digital audio extra inputs to the internal Fairlight audio mixer With a built-in control panel, customers can simply walk up and take full control of ATEM Constellation at any time. Customers get incredible power with both PGM/PVW or cut-bus style operation. The buttons are the same premium type used on full-sized panels, and allow control of transitions, upstream/downstream keyers, media players and fade to black. But users are never limited, as the LCD menus also allow every single operational feature of the switcher to be accessed.

Customers get 40 independent 12G-SDI inputs, with each input featuring its own dedicated up and cross converter. That means it’s possible to convert 1080p and Ultra HD sources to stunning 8K to use them in their 8K programs. When used in HD or Ultra HD, customers can connect up to 40 different sources in all formats up to 2160p60. When running 8K formats, customers can connect 10 Quad Link 12G-SDI 8K sources in all formats up to 4320p60. ATEM Constellation 8K features 24 independently routable 12G-SDI outputs that can be fully customized. All of these outputs are similar to aux outputs, however, they're more powerful because customers can route any external SDI input and all internal sources to any of these 12G-SDI outputs. All 12G-SDI outputs contain embedded program audio, plus customers get mix minus support, RP-188 embedded timecode, SDI camera control, tally and talkback. The built-in multiviewer let customers monitor multiple sources in a single monitor. Customers get 4 independent multiview outputs that can each be individually customized or transformed into a single full-resolution 8K multiview when customers switch to 8K. Plus all external inputs and all internal sources can be routed to any view. Plus each multiview can be independently set to 4, 7, 10, 13 or 16 simultaneous views. Each view also has on-screen status including a custom label, VU meters and tally. ATEM Constellation 8K includes a wide range of broadcast quality 8K native transitions such as mix, dip, wipe, and more. All transitions can be customized by adjusting parameters such as their duration, border colour, border width, position and direction. Transitions are even fully 8K native. Customers also get exciting DVE transitions, perfect for graphic wipes and even stingers when used with the internal media players. To keep crews working as a single creative team, ATEM Constellation 8K features built-in talkback. Talkback supports a front 5 pin XLR headset connector, as well as a rear RJ12 talkback expansion connector for interfacing with industry standard systems such as ClearCom or RTS. Customers get full talkback control including program and engineering loops, sidetone control for hearing the headset mic into the headphones and program mix. ATEM Constellation also supports SDI talkback that uses SDI channels 15 and 16 for 2-way communication with Blackmagic Design cameras. Customers can even use channels 13 and 14 for engineering talkback. The built-in media pool stores broadcast quality RGBA graphics and animations that can be played back instantly by the two media players. For the highest quality, the media pool can hold up to 24 full resolution 8K stills, or 64 Ultra HD or HD stills. Motion graphics clips for use in animations and stingers can be up to 100 8K RGBA frames, 400 frames in Ultra HD or a massive 1,600 frames in 1080HD. For news or virtual set work, ATEM Constellation 8K is the perfect choice as it features 16 ATEM Advanced Keyers for high-quality chroma or luminance keying. The chroma keyer is incredibly powerful and features a colour picker to sample background colours for automatic generation of the key parameters. Customers get precise controls for edge and flare, and there is even a foreground colour corrector so customers can match the "look" of the foreground layer to the background layer making seamless compositions possible. The keyer can also be used for pattern and DVE keying allowing incredible versatility. Then when customers switch to 8K, customers still get four independent full resolution 8K ATEM Advanced Keyers. With a built-in Fairlight audio mixer, the ATEM Constellation makes it possible to do extremely complex live sound mixing. The internal mixer features a massive 156 channels, for the biggest audio mixer in a live production switcher. 80 mixer channels are de-embedded from the SDI inputs, while an extra 64 audio channels are input via MADI in. Each input channel features the highest quality 6 band parametric EQ and compressor, limiter, expander and noise gate as well as full panning. Customers get extra channels for the analog input, talkback microphone and media players. All this audio power can be controlled via the ATEM Software Control, a Mackie compatible panel or Fairlight Audio Console. The ATEM Software Control Panel gives customers total control over their switcher and is included free. ATEM Software Control Panel features a beautifully designed interface with a visual switcher and parameter palettes for making quick adjustments. The ATEM Software Control also lets customers access camera control, audio mixing, media, macro programming and even control of HyperDeck disk recorders. Customers can even save the full state of the switcher as XML files, plus all media is backed up from the media pool. Unlike other switchers, all features are included in the purchase price. That means customers get all features fully enabled and always ready for use. There are no license fees to allow customers to use features and no ongoing monthly costs. This means users will never experience a license expiring 5 minutes before their program starts. Advanced features such as multi view, SuperSource, DVEs or the ATEM Advanced Keyers are always enabled and always ready to use. "This switcher is so incredibly big that we think customers will love it, even if they don't need to do 8K production," said Grant Petty, Blackmagic Design CEO. "The ATEM Constellation 8K will help our customers handle more complex jobs and put more cameras into scenes than ever before possible. It’s very exciting!" ATEM Constellation 8K Features • HD and Ultra HD switcher can be switched to 8K. • Advanced design with built-in front panel controls. • Large 40 standards converted 12G-SDI inputs. • 24 customizable 12G-SDI outputs. • Supports all ATEM hardware and software control panels. • Includes 4 Ultra HD multiview with multiple layout options. • Includes DVE and stinger transitions. • Includes 4 Ultra HD DVEs that combine into an 8K DVE. • Professional talkback is compatible with ClearCom and RTS. • Internal media for stills and motion graphics. • Includes new ATEM Advanced Chroma Key in 8K. • Multi-rate 12G-SDI for HD, Ultra HD and native 8K. • Built-in 156 channel Fairlight audio mixer. • Includes free software control panel. • Compatible with all ATEM hardware control panels. • Supports Blackmagic Design studio camera with SDI control. • All features are included with no extra customer costs. Availability and Price ATEM Constellation 8K is available now for AU$15,155

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Blackmagic Design Announces New DaVinci Resolve Editor Keyboard

New premium keyboard with dedicated edit keys and search dial allows dramatically faster editing because customers can use 2 hands while operating. The DaVinci Resolve Editor Keyboard is a new premium keyboard for DaVinci Resolve that dramatically improves the speed of editing because it allows the use of 2 hands while editing so transport control and selecting clips can be done while performing edits. More than just a simple keyboard, the DaVinci Resolve Editor Keyboard has been designed as an alternative way to edit that’s much faster than a mouse because customers can simultaneously use both hands at the same time. Customers also get an integrated search dial built right into the keyboard. The all metal design is more robust because it’s been designed for professional editors who spend hours each day editing and demand a premium keyboard solution. Unlike modern keyboards with flat keys, the keys have a tiered profile so it’s easy to feel their way around. The key switches are the same type used by eSports keyboards and each key is certified for over a million operations. The integrated search dial is machined from solid metal and allows very precise transport and trimming control. Plus the keys caps, hand rest and key switches are all available as spare parts so the keyboard can be refreshed and repaired over time. The reason the DaVinci Resolve Editor Keyboard is so fast is customers can use both hands when editing. Unlike a mouse, customers can use their right hand to control the position in a clip, while their left hand is setting in and out points as well as applying edits. This means customers can move, mark in and out points, apply an edit, then move again, repeatedly, one after the other, again and again. It’s an extremely fast way to work, using both hands at once. The integrated search dial is machined metal with rubber coating so it feels very nice to use and customers always feel they have a solid control over DaVinci Resolve’s clip or timeline. There's an integrated electronic clutch that creates end stops when used for shuttle and position, all under software control. With multiple roller bearings, the search dial is very smooth and it can be spun in jog mode to allow a natural timeline scroll. Entering edit points is one of the most used functions in editing, so we designed the in and out point buttons larger in size, and to include a small space above to allow locating them by feel. That helps customers when doing transport control with their right hand and punching in and out points using their left hand. Then once the in and out points are set, they just reach their fingers up to the edit buttons. The editing functions are located just above the in and out keys, to allow a simple movement of their fingers to activate the edit customers require. Because editing with a keyboard is quite different to editing on a computer’s user interface, the editing functions have been optimized to take advantage of the speed of a keyboard. Most edits can be performed on the source clip without needing to place edit points on the timeline itself. That's much faster as it eliminates time wasted switching between source and timeline. The edit points can automatically locate the nearest timeline edit, or even match timecode. A good example is smart insert, which locates the nearest edit and inserts at that point. With a high-quality search dial built in, customers get an extremely accurate and fast way to do trimming of edit points. Using roll trimming is easy and is operated by pressing and holding one of the roll buttons, depending on the type of trim customers need to do, while then rotating the search dial. The cut key will remove any transition on an edit point and leave it as a simple edit between the 2 clips. Pressing dissolve will add a 1-second dissolve between the two clips, and using roll duration will set the desired transition length. There's also a smooth cut button to allow jump cuts to be removed at the press of a button. The new DaVinci Resolve Editor Keyboard also includes a revised qwerty key layout that’s been updated using feedback from professional editors. However customers still get all the traditional editing features for both the cut and edit pages in DaVinci Resolve, so the core qwerty part of the keyboard still operates in a familiar way. All the standard edit modes are included on the main keyboard. But customers still get new features in the revised layout, such as a viewer button to allow instant change to full-screen view, and it’s even possible to edit from the keyboard in full-screen view. When entering edit points and durations numerically, there's a keypad specifically designed for timecode entry. The F/TC button allows switching between timecode or frames. Just press the F/TC button and entry changes to frames. When typing longer timecode values, there's also a double zero button so customers don't have to press the standard zero key as often. The plus and minus keys allow time values as offsets to current values vs absolute entry. "We think this is an incredibly exciting product as it has such dramatic workflow ramifications," said Grant Petty, Blackmagic Design CEO. "For years, linear editing was considered old fashioned, and now we have harnessed these benefits for modern linear editing for the first time. I cannot believe no one else has thought about this before and we have been shocked at the speed we can perform editing when using 2 hands on the new DaVinci Resolve Editor Keyboard!" DaVinci Resolve Editor Keyboard Features • All metal design for increased strength. • Enables faster editing than possible on NLE software. • Integrated search dial control. • Source tape allows faster clip searching. • Buttons to instantly re-sort bins. • Large trim in and out buttons. • New keyboard modes for intelligent editing. • Buttons to allow search dial to live trim. • Buttons to change transition type. • Improved DaVinci Resolve keyboard shortcuts. • Keypad for direct timecode entry. • Can be installed into a hole cut out in edit consoles. Availability and Price DaVinci Resolve Editor Keyboard will be available in August for AU$1,515

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Blackmagic Design Announces New Blackmagic Pocket Camera Battery Grip

New camera grip attaches to any Blackmagic Pocket Cinema Camera 4K and holds 2 L-Series batteries for over 2 hours of non-stop shooting! The Blackmagic Pocket Battery Grip is a new battery adapter that features a slide-out tray designed to hold two L-series batteries. This allows customers to power external flash disks or run the camera for over 2 hours of record time before charging. Designed for the Blackmagic Pocket Cinema Camera 4K, the new Pocket Camera Battery Grip lets customers replace the camera’s standard LP-E6 battery with two L-series batteries so they can shoot for over 2 hours on a single charge. It’s perfect for anyone that needs to shoot for extended periods of time. Featuring a unique carbon fibre design, non-slip hand grips, and a slide-out tray that holds 2 L-series batteries, the Pocket Camera Battery Grip also makes it easier to hold the camera on longer shoots. L-Series batteries are standard batteries used for a variety of professional lighting equipment, so they’re readily available. Customers can even charge the batteries in the grip via the camera’s 12V DC connection in between takes. Unlike traditional external battery packs that hang off the side of the camera, the Pocket Camera Battery Grip has a unique design that makes it part of the Blackmagic Pocket Cinema Camera 4K. Simply remove the detachable LP-E6 battery door cover from the camera, slide the pocket grip in and lock it into place. There’s even a storage slot built into the grip for the battery door cover. Because the Pocket Camera Battery Grip becomes part of the camera, customers get larger non-slip hand grips that make holding the camera even easier. Best of all, there’s no extra gear hanging off the camera so customers still have a compact camera that can go anywhere. "The Blackmagic Pocket Cinema Camera 4K has been received incredibly well by our customers because it’s not a dumbed down consumer product, but it is a true digital film camera with incredibly advanced features generally only found on the most expensive cameras available," said Grant Petty, Blackmagic Design CEO. "The new Pocket Battery Grip is exciting because it lets you power external flash disks allowing customers to record to the disk used for editing. It will even power the camera for over 2 hours on a single charge. As it’s designed to integrate into the camera's design, it’s more comfortable to hold the camera on longer shoots. Unlike regular external battery packs that hang off the camera, the Pocket Camera Battery Grip is integrated into the camera's design itself, so it doesn’t add a lot of weight and it fits perfectly!" Availability and Price Blackmagic Pocket Camera Battery Grip will be available in August for AU$385

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NAB 2019 Blackmagic Design

   

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Atomos launches new Shinobi SDI is a 5" Monitor supporting both HDMI and SDI inputs

Atomos Shinobi SDI is a lightweight HDR field monitor for the video professional who needs the flexibility of both HDMI and SDI camera connectivity. Connect 4K HDMI for HDR viewing or SDI for HD-SDI loop out. Run cables between Shinobi SDIs up to 100m without degradation of image allowing directors, crew and clients to see what the camera operator is seeing in stunning detail. Shinobi SDI's high brightness 1000nit 5-inch monitor lets crew members preview and see images exactly as intended in any lighting condition, in SDR or HDR. Shinobi SDI is the ultimate monitoring tool in your video production arsenal that won’t break the bank. Product Features of the Atomos Shinobi 5” SuperAtom IPS LCD • Stunning 1000nit calibrated anti-reflection, anti-fingerprint AtomHDR screen for clear daylight viewing with 10+ stops dynamic range • Punch in zoom with 4:1, 2:1 & 1:1 • 1000Nits / cdm2 HDR / Daylight viewable • 427 PPI - even higher than Apple's Retina Display • Calibrated out of the box with support with Xrite Calibration • 10bit Inputs and Image processing • 100% of Rec709 calibratable display Inputs • 1.4b HDMI input • 1 x HD-SDI 1 3G/1.5G • Loop multiple Shinobi SDIs from HD SDI out to SDI devices like camcorders, switches and control rooms. On camera monitor for Photo and Video • Run for 5 hrs on a 5700mAh battery • AtomOS 10 – intuitive controls system • AtomHDR for log to HDR processing • 3D LUTs for customer creative LOOKs Download Full Spec Sheet HereAtomos-ShinobiSDI_Infosheet-March2019 To view pricing information or to put in your pre-order for this product click here to see the Atomos Shinobi in our online store

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Broadcast Brains visits the ABE2018 Show in Sydney

The Videocraft team headed out to the ABE Show at Doltone House in Sydney (7-9th August 2018) to catch up with a number of key manufacturers to see what they had on display Robert Stacy from AJA Video Systems introduces their new Hi5-12G converter - coming soon to Australia. Rob Myers fills us in on Panasonic's new AK-UC4000 - 4K Studio Camera System

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Fast Access to Archived Media — the new Avid NEXIS | E5 NL arrives at NAB 2018

As media producers create more assets, you need to find cost-effective ways to store and protect your valuable media, while still making it easily accessible for reuse. You can’t afford to have all your media taking up space in online high-performance storage systems. You need a nearline storage solution that enables your team to move material quickly to and from online production storage. We have great news! Avid just announced a new addition to the Avid NEXIS family, designed to address these needs and more.

Introducing Avid NEXIS | E5 NL, a high-density nearline storage system that expedites access to archived media. It provides a fast, intelligent solution for parking and retrieving assets and projects no longer in active production for repurposing and reuse, to maximize the value of your media. It offers scalable, multilevel protected storage on-premises with integrated media management, making it easy to access, preview, and restore assets and projects, browse proxies of archived material, and stage upcoming projects and events quickly—all at an affordable price.  

Take control with a new Avid NEXIS Management Console UI

Avid is also introducing an updated Management Console for all Avid NEXIS shared storage that provides a responsive UI to support mobile and desktop devices—aligned with MediaCentral | Cloud UX—making systems monitoring, administration, and management easier. This HTML5 User Interface offers a new Dashboard that provides an overview of your system’s performance, bandwidth, and status, as well as access to configure and manage workspaces, storage groups, user access, notifications, and other functions quickly. From accelerating archive-to-online workflows (and vice-versa) and providing workspaces for staging, to delivering to multiple storage tiers when integrated with MediaCentral for public and private cloud workflows, Avid NEXIS | E5 NL gives you everything you need to maximize and protect the value of your media.

Streamline your media production workflow

Forget having to wait while pulling media from tape. Avid NEXIS | E5 NL gives broadcast teams faster access to archived media, enabling you to quickly browse, search and shot-select proxies of the high-resolution assets on tape. This eliminates the need to restore large amounts of high-res material just to search for the ideal clip as the news cycle changes. Put together a rough-cut sequence using the proxy instantly available on Avid NEXIS | E5 NL and kick off a selected, faster restore from tape of only the required clips. In a pinch, you can go to air with the proxy if all the high-res assets are not restored. This enables you to get on air first with the best story possible. Post production teams often struggle with multiple competing projects that may get put on hold. Or you may need a shared staging area for upcoming events and a library of common assets. Avid NEXIS | E5 NL is the ideal tier 2 storage that enables you to fully utilize your high-performance tier 1 Avid NEXIS | E2, E4, E5 production storage for currently active projects. Avid NEXIS | E5 NL is high density, protected storage that enables you to move media from online to nearline quickly if a project goes on hold, or when you are awaiting final approval. Also Avid NEXIS | E5 NL is ideal for event staging when you need to pull media from a tape archive to prepare. You can avoid cluttering your online storage while the slow restore from tape is progressing. You can collect all of the media in the Avid NEXIS | E5 NL nearline tier, and when ready, quickly move it to your Avid NEXIS online storage for production. Avid NEXIS | E5 NL is the perfect cost-effective companion to any Avid NEXIS and MediaCentral environment, streamlining the workflow between active and non-active production. Avid NEXIS I E5 NL integrates with MediaCentral to take advantage of the platform’s media management capabilities. This includes MediaCentral | Shared Library, which provides a powerful, flexible archiving solution for all types of assets. Get instant browse access to proxy archive and parked projects, which can be restored to Avid NEXIS | E5, E4, or E2 for active production, then parked back to Avid NEXIS | E5 NL when finished. Avid NEXIS | E5 NL is the only nearline storage solution that offers tight integration with MediaCentral and its workflows to streamline production. And because its built on the same robust, industry-proven architecture and file system as Avid NEXIS online storage, you have the reliable media protection and redundancy you need to prevent your nearline from going offline.  

Scale your system as you go

As your business and project needs grow, Avid NEXIS | E5 NL is right there with you. Avid NEXIS | FS—the common scale-out file system across all Avid NEXIS storage engines—makes it easy to add storage capacity. Scale from 480 TB of storage to more than 7.5 PB by connecting multiple E5 NL engines together as a single nearline system. Plus, each engine delivers 1 GB/s of throughput, enabling fast media transfer. In addition, this highly intelligent, unique file system enables you to flexibly adapt capacity, bandwidth, drive protection levels, and user read/write permissions to meet changing production and security needs. You can use E5 NL as dedicated nearline storage or integrate it with other Avid NEXIS | E5, E4, and/or E2 engines to facilitate media transfer to multiple storage tiers. . Article originally published on Avid Blogs

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