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BLACKMAGIC DESIGN ANNOUNCES NEW ATEM TELEVISION STUDIO PRO 4K

All in one Ultra HD live production switcher with 8 standards converted 12G-SDI inputs, Fairlight audio mixer, ATEM Advanced Chroma Keyer, multiview, talkback, DVE and more! The new ATEM Television Studio Pro 4K, is a professional all in one Ultra HD live production switcher with integrated hardware control panel. ATEM Television Studio Pro 4K features 8 independent 12G-SDI inputs, built in Fairlight audio mixer, ATEM Advanced Chroma Keyer, multiview, auxiliary and program outputs, analog audio inputs, built in talkback, two flash based media players, professional creative transitions, a DVE for effects and more. ATEM Television Studio Pro 4K combines a professional broadcast hardware control panel with a powerful 8 input 12G-SDI switcher for working with all HD and Ultra HD formats up to 2160p59.94. All of the 12G-SDI inputs feature full re-sync and independent format and frame rate conversions. That means customers can connect a total of up to 8 different sources with various different frame sizes and frame rates, and cleanly switch between them. The switcher automatically converts everything to the program’s output format and frame rate. Professional Fairlight audio mixing is built in to the ATEM Television Studio Pro 4K. Fairlight has been used for extremely high end feature film and television audio post production for years and now, for the first time ever, Blackmagic Design has integrated these incredible Fairlight audio tools into a live production switcher. ATEM Television Studio Pro 4K gives customers independent 6 band parametric equalizers on every single input. In addition, it also includes expander/gate, compressor and limiter dynamics on each input. ATEM Television Studio Pro 4K features the all new next generation ATEM Advanced Chroma Keyer. This new keyer gives customers adjustable on screen controls for selecting and sampling a region of color, adjustment controls for foreground, background and edges, and chroma correction tools for spill and flare suppression. That means ATEM Television Studio Pro 4K can pull extremely clean keys to replace a blue or green screen for professional broadcast quality composites. In addition to 12G-SDI, ATEM Television Studio Pro 4K also includes two channels of analog audio in, RS-422, Ethernet and a built in IEC power supply, along with program and auxiliary outputs. Customers also get both SDI and HDMI multiview outputs so they can monitor all sources, preview and program outputs, along with labels, audio meters and more, all on a single big screen television or broadcast monitor. Featuring a portable design, ATEM Television Studio Pro 4K is packed with high end broadcast features that make it possible to create an entire live switched program, complete with effects and transitions. The hardware panel features large illuminated buttons for switching between sources, along with corresponding audio buttons, one touch transition buttons, downstream keyers, fade to black, media player, cut buttons and more. There’s also a built in LCD screen for previewing source and program video, a spin knob and additional buttons for menus and to adjust settings. Customers simply press the button for the source that they want to see next in the program, then hit the cut or auto button to switch sources, add effects, or even key in graphics. ATEM Television Studio Pro 4K gives customers true broadcast quality transitions, effects and graphics. Transitions such as mixes, wipes and dips are done by simply pressing a button on the control panel. There are 37 included transitions, giving customers massive creative options because they can customize things such as border, border color and width, position, direction and more. In addition, there’s a built in 2D DVE for adding digital video effects that can position, resize and scale live video, all in real time. That means customers can create professional picture-in-picture effects, use DVE powered transitions like squeeze and slide between sources, or create graphic wipe transitions with their own graphics. When used with Blackmagic Studio, URSA Mini, URSA Broadcast and Micro Studio cameras, customers get a complete remote control solution that includes talkback, tally, color correction, camera control and more, without having to add any additional cables or proprietary control boxes. These cameras feature a built in color corrector that can be remote controlled, making it possible to balance camera color and create unique looks, all from the control panel. In addition, customers can adjust focus and iris on compatible lenses, change camera settings, and even remote control PTZ heads. ATEM Television Studio Pro 4K has a built in media pool that can store 90 frames of Ultra HD, 360 frames of 1080HD or 1440 frames of 720HD video that can be used with the two built in media players. The media pool uses flash memory, so images are saved even after the power is turned off. That means customers can create completely custom graphics to use in their own programs. In addition, there is an upstream keyer with full chroma keying for green screen shots so customers can add weather maps, graphics, or even virtual sets. The upstream keyer works with chroma, patterns, shapes and linear keys. ATEM Television Studio Pro 4K also features 2 downstream keyers for adding graphics, logos and bugs to video. Customers can use a HyperDeck Studio Mini with ATEM Television Studio Pro 4K as a source for ProRes 4:4:4:4 motion graphics files with alpha channels. That means customers can get fill and key graphics composited over live video, or they can use motion graphics with alpha as transitions between sources, all in real time. ATEM Television Studio Pro 4K also includes a built in talkback converter for SDI cameras. The talkback information is sent back to the camera via the SDI program return feed on the rarely used SDI audio channels 15 and 16. When working live with a reporter in the field, there can be a slight delay that causes them to hear themselves as an echo in their headset. ATEM Television Studio Pro 4K includes mix minus which sends back all of the program audio to the camera but removes the reporter’s own voice, so they don’t hear a distracting echo of themselves while reporting. For maximum speed and flexibility in live productions, ATEM Television Studio Pro 4K includes a free software control panel for Mac and Windows that allows multiple users to be connected at the same time. That means customers can have one person switching the program while another mixes the audio and another uploads or changes graphics, while another person remotely color balances and controls the cameras. “ATEM Television Studio Pro 4K packs our most advanced broadcast switcher technology into a compact, elegant design that you can take anywhere,” said Grant Petty, Blackmagic Design CEO. “The exciting thing about it is that it has all of the same professional features as larger and more expensive switchers, but it fits into a standard equipment rack or fly away kit. Customers get the speed of a full size 1 M/E hardware control panel so they can work on complex, fast paced live events!” ATEM TELEVISION STUDIO PRO 4K FEATURES * Integrated broadcast switcher and professional hardware control panel. * 8 x 12G-SDI inputs, all with auto re‑sync and format and frame rate converters. * Supports all video formats from HD to Ultra HD 2160p at 59.94 frames per second. * 1 x built in multiview for 8 sources, as well as preview and program. * Built in media pool graphics storage for 90 frames of Ultra HD, 360 frames of 1080HD or 1440 frames of 720HD video. * Built in DVE with borders and drop shadow. * Transitions include cut, mix, dip, SMPTE wipes and more. * 1 upstream keyer including chroma keyer plus 2 downstream keyers. * 1 auxiliary output with aux switching buttons and LCD screen for viewing. * Built in audio mixer live mixes embedded audio from all video inputs and independent audio inputs. * Balanced XLR stereo analog audio inputs. * Internal sources include black, color bars, two color generators and 2 media player outputs. * Ethernet connection for computer connection. * Mac and Windows control panel software included. * Compatible with all ATEM Broadcast Control Panels. * Black Burst and HD-Tri-Sync genlock input for integration into large systems. Available to order now online at Videocraft

Everyone is talking about the New Blackmagic Pocket Cinema Camera 4K

Next generation 4K camera features dual native ISO, full 4/3 HDR sensor, 13 stops of dynamic range, and ProRes or RAW recording to internal SD/UHS-II and CFast cards, or even external USB‑C drives! The all new Blackmagic Pocket Cinema Camera 4K, a handheld digital film camera with full 4/3 HDR sensor, dual native ISO with up to 25600 ISO for incredible low light performance as well as 13 stops of dynamic range. It also eliminates expensive external recorders, as it features a unique new USB-C Expansion Port, which allows customers to record using the internal SD/UHS-II and CFast recorders or directly to the same external disks they will use for editing and color correction. The revolutionary new Blackmagic Pocket Cinema Camera 4K is the handheld digital film camera that customers have been asking for. It packs incredibly high end imaging and professional features into a portable and affordable design that can be used anywhere. The compact body style is perfect for shooting independent films and documentaries, fashion shows, travel blogs, web videos, weddings, corporate video, sports and much more. The Blackmagic Pocket Cinema Camera 4K features a full size 4/3 HDR sensor with native 4096 x 2160 resolution and 13 stops of dynamic range for true digital film quality. The full size of the 4/3 sensor is designed to perfectly match MFT lenses so the crop factor is greatly reduced, giving customers a wider field of view. It also features dual native ISO with up to 25600 ISO for incredible low light performance. The Blackmagic Pocket Cinema Camera 4K is packed with features such as a MFT lens mount, large 5 inch touchscreen monitor, 10-bit ProRes and 12-bit RAW recording, 3D LUTs, 4 built in microphones, mini XLR audio input with phantom power, Bluetooth wireless camera control, HDMI on set monitoring output and more. The latest Blackmagic Design color science lets customers shoot images that are far better than DSLR cameras and even better than professional digital film cameras costing tens of thousands more.

Designed using a space age carbon fiber polycarbonate composite, the body of the Blackmagic Pocket Cinema Camera 4K is extremely strong and light. The carbon composite material consists of a high strength polymer that’s reinforced with carbon fibers. This gives the camera body incredible strength and rigidity to help protect it from accidental knocks and drops which can often result in damage. The handheld design features a multi function grip which has logically placed buttons and dials that allow super fast access to essential shooting functions such as recording start/stop, still photos, ISO, shutter, aperture, white balance, power and more. Fourth generation Blackmagic Design color science lets customers shoot HDR images in film, video and new extended video modes. The new extended mode combines the latitude of digital film with an optimized video file. This gives customers working on fast turnaround projects an ideal solution for shooting great looking images that don’t need a lot of color correction or post production work. Images can be recorded onto standard SD cards, faster UHS-II cards or CFast 2.0 cards in either ProRes or RAW formats. The Blackmagic Pocket Cinema Camera 4K can record 4K images at up to 60 frames per second and windowed HD at up to 120 frames per second. It’s also the first camera that lets customers record directly onto the same exact external USB-C media drives they use for editing and color correction. That means customers can turn projects around much more quickly because they don’t have to transfer files. All they need to do is unplug the USB-C drive and then connect it to their computer to start editing. The Blackmagic Pocket Cinema Camera 4K uses the same MFT (Micro Four Thirds) lens mount as the original Pocket Cinema Camera so customers can use the investment in lenses they already own. The MFT mount is extremely flexible and allows for different lens adapters so customers can also use PL, C, EF and other types of lenses from manufacturers such as Canon, Nikon, Pentax, Leica and even Panavision. The rear of the camera features a large bright 5 inch touchscreen that makes it easy to frame shots and accurately focus. It also uses the same Blackmagic OS as URSA Mini so customers can use simple tap and swipe gestures to adjust settings, add metadata and view recording status. On screen overlays make it easy to see recording parameters, status, histogram, focus and peaking indicators, and playback controls. In addition, 3D LUTs can be applied for both monitoring and recording. For audio, the Blackmagic Pocket Cinema Camera 4K features multiple built in microphones with an extremely low noise floor, a mini XLR input with 48 volts of phantom power to connect professional lapel and boom mics, and a 3.5mm stereo audio jack for connecting different types of video camera microphones. The high quality built in audio recording means customers don’t have to carry around a separate recorder. The Blackmagic Pocket Cinema Camera 4K also includes a full size HDMI connector which can output HDR video as well as a clean 10-bit video feed with optional on screen overlays. There’s also an innovative high speed USB-C Expansion Port for adding external accessories such as flash drives and an SSD for external recording. The camera uses standard LP-E6 batteries and can be charged via USB-C or the locking DC power connector, which protects the camera from being accidentally unplugged during a shoot.

“Customers love the original Blackmagic Pocket Cinema Camera and have been asking us for a 4K version,” said Grant Petty, Blackmagic Design CEO. “We’ve listened and built a camera that combines all of our newest ideas and customer feedback from the previous model! The new Blackmagic Pocket Cinema Camera 4K is exciting because it packs so much technology into an incredibly small design. We feel it will go well beyond what customers expected. It’s perfect for anyone that needs a truly professional ultra compact digital film camera. This is not a consumer camera that's trying to do high end work, it’s a true high end camera designed for high end work.”

BLACKMAGIC POCKET CINEMA CAMERA 4K FEATURES * Full size 4/3 sized sensor with native 4096 x 2160 resolution sized sensor. * Compatible with extremely high quality Micro Four Thirds lenses. * Super wide 13 stops of dynamic range allows capture for high end feature film look. * Up to 25600 ISO for incredible low light performance. * Carbon fiber polycarbonate composite body which makes it lightweight, portable and durable. * Multi function grip for quick access to recording start/stop, still photos, ISO, shutter, aperture, white balance, power and more. * Built in SD, UHS-II and CFast card recorders. * USB-C expansion port allows longer duration recording directly to an external SSD or flash disk. * Standard open file formats compatible with popular NLE software such as 10-bit ProRes and 12 bit RAW. * Features full size HDMI output for monitoring with camera status graphic overlay. * Professional mini XLR input with 48 volts of phantom power for connecting to pro microphones. * 3.5mm audio jack, headphone jack, and locking DC 12 volt power connection. * Built in 5” LCD touchscreen allows accurate focus when shooting 4K. * LCD supports on screen overlays including status, histogram, focus peaking, and transport controls. * Records 4K images at up to 60 frames per second and windowed HD at up to 120 frames per second. * 3D LUTs can be applied for both monitoring and recording. * Blackmagic OS as used in URSA Mini and URSA Broadcast cameras. * 4th generation Blackmagic color science. * Supports remote camera control via Bluetooth. * Includes full license for DaVinci Resolve Studio editing, color, visual effects and audio post production.

PRE-ORDER is available from Videocraft Online

BLACKMAGIC DESIGN ANNOUNCES NEW BLACKMAGIC MULTIVIEW 4 HD

Monitor 4 completely independent SD or HD SDI video sources on a single display! [caption id="attachment_3334" align="alignleft" width="531"]

Blackmagic's resolve to fully integrate visual effects, more audio tools and hundreds of features - arrive with DaVinci Resovle 15 at NAB2018

New upgrade fully integrates visual effects and motion graphics, adds even more audio tools plus hundreds of new features and improvements that editors and colorists have asked for! DaVinci Resolve 15, is a massive update that fully integrates visual effects and motion graphics, combining professional offline and online editing, color correction, audio post production, multi user collaboration and now visual effects together in one software tool. DaVinci Resolve 15 adds an entirely new Fusion page with over 250 tools for compositing, paint, particles, animated titles and more. In addition, DaVinci Resolve 15 includes a major update to Fairlight audio, along with over 100 new features and improvements that professional editors and colorists have asked for. DaVinci Resolve 15 continues to revolutionize post production by combining 4 extremely high end applications as different pages in one single piece of software. The edit page has all of the tools professional editors need for both offline and online editing, the color page features the world’s most advanced color correction tools, the Fairlight audio page is designed specifically for audio post production, and the new Fusion page gives visual effects and motion graphics artists everything they need to create feature film quality effects and animations. All it takes is a single click to instantly move between editing, color, effects and audio. This gives individual users unlimited creative flexibility because they can learn and explore different toolsets. It also enables collaboration so people with different talents can work together on the same project at the same time. The DaVinci Resolve 15 collaborative workflow dramatically speeds up post production because customers no longer need to import, export or translate projects between different software applications, and work no longer needs to be conformed when changes are made. Everything is in the same software application. The free version of DaVinci Resolve 15 can be used for professional work and has more features than virtually every other paid application for post production. DaVinci Resolve 15 Studio, which adds multi user collaboration, 3D, VR, dozens of additional filters and effects, unlimited network rendering and other advanced features such as temporal and spatial noise reduction, is available to own for only US$299. There are no annual subscription fees or ongoing licensing costs. DaVinci Resolve 15 Studio costs less than all other cloud based software subscriptions and it does not require an internet connection once the software has been activated. That means customers don’t have to worry about losing work in the middle of a job if there is no internet connection.

“DaVinci Resolve 15 is a huge and exciting leap forward for post production because it’s the world’s first solution to combine editing, color, audio and now visual effects into a single software application,” said Grant Petty, CEO, Blackmagic Design. “We’ve listened to the incredible feedback we get from customers and have worked really hard to innovate as quickly possible. DaVinci Resolve 15 gives customers unlimited creative power to do things they’ve never been able to do before. It’s finally possible to bring teams of editors, colorists, sound engineers and VFX artists together so they can collaborate on the same project at the same time, all in the same software application!”

DAVINCI RESOLVE 15 DETAILED OVERVIEW DaVinci Resolve 15 features an entirely new Fusion page for feature film quality visual effects and motion graphics animation. Fusion was previously only available as a stand alone application and is the world’s most advanced visual effects and motion graphics software. It is now built into DaVinci Resolve 15. The new Fusion page gives customers a true 3D workspace with over 250 tools for compositing, vector paint, particles, keying, rotoscoping, text animation, tracking, stabilization and more. Adding Fusion to DaVinci Resolve has been a massive project that will be completed over the next 12-18 months. Customers can get started using Fusion today to complete nearly all of their visual effects and motion graphics work. The standalone version of Fusion will continue to be available for customers who need it. In addition to bringing Fusion into DaVinci Resolve 15, Blackmagic Design has also added support for Apple Metal, multiple GPUs and CUDA acceleration, making Fusion in DaVinci Resolve faster than ever. To add visual effects or motion graphics, customers simply select a clip in the timeline on the Edit page and then click on the Fusion page where they can use Fusion’s dedicated node based interface, which is optimized for visual effects and motion graphics. Compositions created in the standalone version of Fusion can also be copied and pasted into DaVinci Resolve 15 projects. DaVinci Resolve 15 also features a huge update to the Fairlight audio page. The Fairlight page now has a complete ADR toolset, static and variable audio retiming with pitch correction, audio normalization, 3D panners, audio and video scrollers, a fixed playhead with scrolling timeline, shared sound libraries, support for legacy Fairlight projects, and built in cross platform plugins such as reverb, hum removal, vocal channel and de-esser. With DaVinci Resolve 15, customers no longer have to worry about audio plugins when moving between Mac, Windows and Linux because the FairlightFX plugins run natively on all three platforms. DaVinci Resolve is the fastest growing nonlinear video editor in the industry. It’s also Hollywood’s favorite color corrector. Blackmagic Design has listened carefully to feedback from professional colorists and editors. DaVinci Resolve 15 includes over a hundred new features and improvements that editors and colorists have asked for. Colorists get an entirely new LUT browser for quickly previewing and applying LUTs, along with new shared nodes that are linked so when one is changed they all change, multiple playheads for quickly referencing different shots in a program, over 5x performance improvement for stabilization, improved noise reduction, and new Super Scale HD to 8K up-rezzing. DaVinci Resolve 15 also expands HDR support with GPU accelerated Dolby Vision metadata analysis and native HDR 10+ grading controls. In addition, new ResolveFX let customers quickly patch blemishes or remove unwanted elements in a shot using smart fill technology. There are also new ResolveFX for dust and scratch removal, lens and aperture diffraction effects, and more. Professional editors will find new features in DaVinci Resolve 15 specifically designed to make cutting, trimming, organizing and working with large projects even better. DaVinci Resolve 15 has dramatically improved load times so that large projects with hundreds of timelines and thousands of clips now open instantly. New stacked timelines and timeline tabs let editors see multiple timelines at once so they can quickly cut, paste, copy and compare scenes between timelines. There are also new markers with on-screen annotations, subtitle and closed captioning tools, auto save with versioning, greatly improved keyboard customization tools, new 2D and 3D Fusion title templates, image stabilization on the Edit page, a floating timecode window, improved organization and metadata tools, Netflix render presets with IMF support and much more. For the ultimate high speed workflow, customers can add a DaVinci Resolve Micro Panel, DaVinci Resolve Mini Panel or a DaVinci Resolve Advanced Panel. All controls are logically placed near natural hand positions and are made out of the highest quality materials. Smooth, high resolution weighted trackballs and precision engineered knobs and dials feature the perfect amount of resistance for accurately adjusting any setting. The DaVinci Resolve control panels give colorists and editors fluid, hands on control over multiple parameters at the same time, allowing them to create looks that are simply impossible with a standard mouse.

ORDER your copies of DaVinci Resolve 15 from Videocraft's Online Store

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KONA HDMI, KONA 1 and Desktop Software v14.2

AJA Video Systems unveiled two new KONA cards, and announced Desktop Software v14.2. KONA HDMI is a PCIe card for multi-channel HD and single-channel 4K HDMI capture for live production, streaming, gaming, VR and post production, while KONA 1 is a PCIe card for single-channel HD/SD 3G-SDI capture/playback. Desktop Software v14.2 adds support for KONA 1 and KONA HDMI, plus new improvements for AJA KONA, Io and T-TAP™ products. KONA HDMI A powerful HDMI video capture solution, KONA HDMI supports a range of workflows, including live streaming, events, production, broadcast, editorial, VFX, vlogging, video game capture/streaming and more. KONA HDMI is highly flexible, designed for four simultaneous channels of HD capture with popular streaming and switching applications including Telestream Wirecast® and vMix. Additionally, KONA HDMI uniquely offers capture of one channel of UltraHD up to 60p over HDMI 2.0 using AJA Control Room software for file compatibility with most NLE and effects packages. It is also compatible with other popular third-party solutions for live streaming, projection mapping and VR workflows. Developers can take advantage of the platform to build multi-channel HDMI ingest systems and leverage VL42 compatibility on Linux. Features include: four full size HDMI ports; the ability to easily switch between one channel of UltraHD, or four channels of 2K/HD; and embedded HDMI audio in, up to eight embedded channels per input. KONA 1 Designed for broadcast, post production and ProAV, as well as OEM Developers, KONA 1 is a robust, cost efficient single-channel 3G-SDI 2K/HD 60p I/O PCIe card. KONA 1 offers serial control and reference/LTC, and features standard application plug-ins, as well as AJA SDK support. KONA 1 supports 3G-SDI capture, monitoring and/or playback with software applications from AJA, Adobe®, Avid®, Apple®, Telestream and more. KONA 1 enables simultaneous monitoring during capture (pass-through) and includes: full size SDI ports supporting 3G-SDI formats, embedded 16-channel SDI audio in/out, Genlock with reference/ LTC input and RS-422. Desktop Software v14.2 Desktop Software v14.2 introduces support for KONA HDMI and KONA 1, in addition to a new SMPTE ST 2110 IP video mode for KONA IP with support for AJA Control Room, Adobe Premiere® Pro CC, part of the Adobe Creative Cloud, and Avid Media Composer®. The free software update also brings 10GigE support for 2K/HD video and audio over IP (uncompressed SMPTE 2022-6/7) to the new Thunderbolt™ 3-equipped Io IP and Avid DNxIP, as well as additional enhancements to other KONA, Io and T-TAP products, including HDR capture with Io 4K Plus. Io 4K Plus and DNxIV users also benefit from a new feature allowing all eight analog audio channels to be configured for either output, input or a 4-In/4-Out mode for full 7.1 ingest/monitoring, or I/O for stereo plus VO and discrete tracks.

“Speed, compatibility and reliability are key to delivering high quality video I/O for our customers. KONA HDMI and KONA 1 give video professionals and enthusiasts new options to work more efficiently using their favorite tools, and with the reliability and support AJA products offer,” shared Nick Rashby, President, AJA Video Systems.

KONA HDMI will be available June 2018, KONA 1 will be available May 2018 and Desktop Software v14.2 will also be available May 2018 as a free download from AJA’s support page.

New Solutions Supporting SMPTE ST 2110

AJA Video Systems revealed the new IPR-10G-HDMI Mini-Converter, which converts SMPTE ST 2110 IP video/audio to HDMI. This new Mini-Converter allows broadcast, production, post and ProAV professionals to output SMPTE ST 2110 video/audio to HDMI monitors. AJA also introduced SMPTE ST 2110 support for its KONA IP via free Desktop Software v14.2.

[quote]“SMPTE ST 2110 is positioned to drive IP video adoption forward, and AJA is committed to delivering tools that help bridge IP with existing technologies,” said Nick Rashby, President, AJA Video Systems. “IPR-10G-HDMI and KONA IP, with SMPTE 2110 support, allow facilities to take advantage of the many benefits ST 2110 offers for uncompressed HD video and audio over IP, while getting the most out of the gear they already have in edit bays, OB trucks, control rooms and other environments.”[/quote]

IPR-10G-HDMI The first in AJA’s new 10GigE IP Mini-Converter line, IPR-10G-HDMI provides monitoring of HD SMPTE ST 2110 signals via HDMI. It receives ST 2110 over 10GigE connectivity, formats the data for output on a full-size HDMI interface, and the associated audio from the video stream is extracted, synchronized and embedded into the HDMI interface and also output on an analog RCA interface. Key feature highlights include:

SMPTE ST 2110 audio, video receiver
Rugged, fanless design
1x 10GigE SFP+ cage for media LAN [with status light]
1x 1GigE RJ45 socket for control LAN [with status light]
Dedicated HDMI receiver with full size HDMI 1.4b video port
Support for 1080p 60, YCbCr 4:2:2
Full 10-bit pixel processing pipeline
Embedded HDMI audio output (up to eight channels)
2x RCA analog audio output
Mini-USB port for quick initial network configuration with AJA eMini-Setup software
Complete control interface on any web browser from a built-in webserver
Customizable control with AJA REST API
5-year international warranty and support

Desktop Software v14.2 with SMPTE ST 2110 Support for KONA IP Desktop Software v14.2 adds SMPTE 2110 support to KONA IP, allowing KONA IP users to simultaneously ingest or output and monitor a single-channel HD feed using SMPTE ST 2110 via AJA Control Room, Adobe® Premiere® Pro CC, part of the Adobe Creative Cloud, and Avid® Media Composer®. It also adds new feature enhancements to AJA KONA, Io and T-TAP products. The IPR-10G-HDMI will be available May 2018

NEW KUMO 3232-12G and KUMO 1616-12G Routers

AJA Video Systems introduced KUMO 3232-12G and KUMO 1616-12G, two new compact 12G-SDI routers. KUMO 3232-12G offers 32x 12G-SDI inputs and 32x 12G-SDI outputs, and the KUMO 1616-12G offers 16x 12G-SDI inputs and 16x 12G-SDI outputs. Designed for use in broadcast, production and ProAV environments, the new routers support large format resolutions, and high frame rate (HFR) and deep color formats, while reducing cable runs when transporting 4K/UltraHD over SDI. The routers offer network-based and/or physical control, and mirror the compact physical form of AJA’s production-proven KUMO 3232 and KUMO 1616 routers, adding a new USB port for configuring IP addresses via AJA’s eMini-Setup software. Multi-port Gang-routing also means the new 12G-SDI models are 8K ready. Key feature highlights include:

12G-SDI inputs and outputs for up to 4K/UltraHD support at 60p
Small, portable 2RU (3232) and 1RU (1616) form factors
Single cable support for streamlined 4K/UltraHD signal routing
Redundant power supply option
Configure and save up to eight salvos per router
Auto re-clocking SDI rates: 270 Mbps /1.483/1.485/2.967/2.970/5.934/5.940/ 11.868/11.880 Gbps
Support for AJA KUMO Control Panels (hardware, with direct connect or networked)
USB port to easily configure the router IP address and simplify initial network configurations
Embedded web server for remote control on any standard web browser
5-year warranty and support

“4K/UltraHD, HFR and deep color workflows have introduced new challenges for professionals and facilities by requiring more bandwidth, so we’ve expanded our line of KUMO routers to the latest 12G-SDI standard,” shared Nick Rashby, President, AJA Video Systems. “KUMO 3232-12G and KUMO 1616-12G pack the throughput and single cable simplicity of 12G-SDI into a compact router with a very high-density for 4K/UltraHD sources and destinations.”

KUMO 3232-12G will be available July 2018

FS-HDR v2.5 Firmware Update

FS-HDR improvements that streamline live HDR production AJA Video Systems has announced v2.5 firmware with new feature enhancements for the company’s FS-HDR real time High Dynamic Range (HDR) and Wide Color Gamut (WCG) converter/frame synchronizer with Colorfront Engine™ video processing. The company also released new single and multi-mode fiber SFP options for FS-HDR and FS4. v2.5 firmware enhances the Colorfront Engine transform algorithm with support for ITU BT.2408-0 Operational Practices in HDR Television. Additionally, the FS-HDR now supports a simultaneous 4K/UltraHD and 2K/HD output mode with independent SDR/HDR controls. Newly integrated BBC Hybrid Log Gamma (HLG) Look Up Tables (LUTs) provide basic, mathematical HDR transforms. Infoframe generation on the HDMI monitor output provides an easy, cost-efficient solution for local monitoring on HDR-capable displays. The release will also integrate new standardized HDR test patterns. Finally, new Tangent Element Kb panel support for remote parameter control enables real-time adjustment control over FS-HDR’s key conversion parameters. FS-HDR v2.5 feature enhancements include:

Colorfront Engine support for ITU BT.2408-0 Operational Practices in HDR Television Production
Simultaneous 4K/UltraHD and 2K/HD/SD dual output mode: In single-channel mode with a 4K/UltraHD input and 4K/UltraHD output, configure the SDI monitor output for SDR/BT.709, PQ/BT.2020, HLG/BT.2020 or Sony S-Log3 S-Gamut3, with these output formats and frame rates independent of the main output:
- 2K: 2048 x 1080p up to 60p
- HD: 1920 x 1080p up to 60p; 1920 x 1080PsF up to 30p; 1920x1080i 50 and 59.94; 1280x720p up to 60p
- SD: 625i 50; 525i 59.94
BBC HLG LUTs
- Support for HLG HDR dynamic range mapping per ITU BT.2408-0
- SDR, PQ, and Sony S-Log3 to HLG
- HLG to SDR and PQ
- Colorimetry: BT.709 and BT.2020
HDMI HDR Infoframe generation: Locally monitor HDR content on HDMI 2.0 HDR televisions or monitors. When an output is configured for PQ or HLG, FS-HDR will signal the selected HDR output format to the HDMI display.
HDR Test Patterns: BT.2111-0 Color Bars and BT.814-3 Pluge
Support for third party Tangent Element Kb knob-based controller for remote parameter controls

At NAB 2018, AJA is also rolling out new SFP options for FS-HDR and FS4 frame synchronizers/converters, including: 12G-SDI Single-Mode SFP options

FIBERLC-1RX-12G SFP 12G-SDI Single Fiber LC Receiver Single Mode 1310nm
FIBERLC-1TX-12G SFP 12G-SDI Single Fiber LC Transmitter Single Mode 1310nm

3G-SDI Multi-Mode SFP options

FIBERLC-1RX-MM SFP Single Fiber LC Receiver Multi-Mode 850nm
FIBERLC-1TX-MM SFP Single Fiber LC Transmitter Multi-Mode 850nm
FIBERLC-2RX-MM SFP Dual Fiber LC Receiver Multi-Mode 850nm
FIBERLC-2TX-MM SFP Dual Fiber LC Transmitter Multi-Mode 850nm

FS-HDR v2.5 firmware will be available June 2018 as a free download from AJA’s support page.

AJA Adds Avid DNxHR Support to Ki Pro Ultra and Ki Pro Ultra Plus with v3.0 Firmware

AJA Video Systems today announced v3.0 firmware for Ki Pro Ultra and Ki Pro Ultra Plus, adding Avid® DNxHR codec support to the file-based 4K/UltraHD/2K/HD recording and playback devices. Available soon as a free software download, v3.0 allows users to record above HD rasters with Avid codecs within a native .MXF wrapper, supporting Avid editors and .MXF workflows with more flexible options. Ki Pro Ultra and Ki Pro Ultra Plus already support Avid DNxHD codecs for 2K/HD resolutions. v3.0 firmware for Ki Pro Ultra and Ki Pro Ultra Plus will be available as a free download soon via: https://www.aja.com/support v3.0 firmware adds support for: Avid DNxHR codecs for UltraHD (23.98,24,25,29.97p) and 4K (23.98,24,25,29.97p):

DNxHR HQX
DNxHR SQ
DNxHR LB

Five New openGear Cards with DashBoard Support

AJA Video Systems announced five new openGear-compatible video and audio rack cards, with support for Ross® Video DashBoard software for remote control and monitoring. Alongside the new cards, the company is also previewing a new next-generation OG-X openGear-compatible rackframe with expanded power capabilities at NAB 2018 Designed for use in compatible openGear 2RU frames, including AJA’s OG-3 2RU frame, the new cards combine the reliability and functionality of AJA Mini-Converters with the high-density openGear architecture. New DashBoard software support provides convenient and industry-standard configuration, monitoring and control options over a PC or a local network on Windows®, macOS® or Linux. New models include:OG-3G-AMA: 3G-SDI Analog Audio Embedder/Disembedder An eight-channel analog audio embedder/disembedder, OG-3G-AMA supports 3G-SDI input and output up to 1080p 60, and automatically detects and configures to the input video standard. It uses 3-pin terminal block connectors that can be set to perform audio input or output functionality. Analog audio levels and audio embedding/disembedding are selectable, with embedding/disembedding on a channel pair basis to pass 3G-SDI input audio or embed input analog audio from 3-pin terminal block connectors. OG-UDC: 3G-SDI Up, Down, Cross-Converter OG-UDC is a 10-bit broadcast quality up, down, cross-converter that bridges HD and SD video resolutions. It provides 3G-SDI input and output, HDMI output and two 3-pin terminal block connectors for balanced analog audio outputs. OG-4K2HD: 4K/UltraHD-SDI to 3G-SDI Down-Converter OG-4K2HD accepts four 3G-SDIs as a 4K/UltraHD input and downconverts to HD on both 3G-SDI and HDMI outputs simultaneously, using AJA’s high-quality scaling for cost-effective monitoring and conversion. Live 3G-SDI and HDMI outputs facilitate pristine HD images for set monitoring or live broadcasts. 4K2HD supports conversion of HFR 4K inputs at 50/60fps to HD outputs at 50/60fps. Configuration options allow HD images to be extracted from the 4K input for a 1:1 pixel image for 4K focus checks on HD displays. OG-Hi5-4K-Plus: 4K/Ultra 3G-SDI to HDMI 2.0 Converter OG-Hi5-4K-Plus offers 3G-SDI to HDMI 2.0 conversion, supporting HFR up to 60p for 4K/UltraHD. It provides pristine image fidelity from professional 4K HFR devices when monitoring to HDMI 2.0 displays. OG-Hi5-4K-Plus generates HDR metadata in accordance with HDMI v2.0a/CTA-861.3. The new card offers a simple monitoring connection from 4K devices from quad 3G-SDI or dual 3G-SDI to HDMI 2.0 displays, with two-sample interleave (2SI) or square division (Quadrant) source mapping. OG-HA5-4K: HDMI to 4K/Ultra 3G-SDI Converter Featuring four 3G-SDI outputs, OG-HA5-4K allows high quality conversion of HDMI video to 4K 3G-SDI, for professional workflow integration from DSLRs, mirrorless cameras, action cameras, or prosumer 4K video cameras.

NEW HELO v2.1 Firmware

Update adds support for closed captioning and HLS streaming, and new Chinese, Japanese and Korean language web UI options AJA Video Systems today announced v2.1 firmware for its standalone HELO H.264 streaming, recording and encoding device. The free update enables further customization of live streaming and recording workflows with HELO, and includes new features driven by customer feedback. HELO v2.1 firmware feature highlights include:

Closed Captioning (CC) streaming from SDI input
HLS streaming for direct interoperability with Apple® iPads® and other consumer devices
Chinese, Japanese and Korean language support in HELO’s web UI

HELO v2.1 will be available in June 2018 as a free download from AJA’s support page.

HDR IMAGE ANALYZER

Intuitive new waveform, histogram, vectorscope and Nit level HDR monitoring solution AJA Video Systems had a tech preview of its new HDR Image Analyzer at NAB 2018. A waveform, histogram, vectorscope and Nit-level HDR monitoring solution, HDR Image Analyzer simplifies monitoring and analysis of 4K/UltraHD/2K/HD, HDR and WCG content in production, post, quality control (QC) and mastering. Combining AJA’s production-proven and powerful video and audio I/O with HDR analysis tools from Colorfront in a compact 1RU chassis, the HDR Image Analyzer offers a flexible solution for monitoring and analyzing HDR formats including PQ (Perceptual Quantizer), Hybrid Log Gamma (HLG) and Rec.2020 for 4K/UltraHD workflows. The new product is the second technology collaboration between AJA and Colorfront, following the successful integration of Colorfront Engine™ into AJA’s FS-HDR in 2017. Colorfront has exclusively licensed its Colorfront HDR Image Analyzer software to AJA for AJA’s HDR Image Analyzer. Key feature highlights include:

• Precise, high quality UltraHD UI for native-resolution picture display • Advanced out of gamut and out of brightness detection with error intolerance • Support for SDR (Rec.709), ST2084/PQ and HLG analysis • CIE graph, Vectorscope, Waveform, Histogram • Out of gamut false color mode to easily spot out of gamut/out of brightness pixels • Data analyzer with pixel picker • Up to 4K/UltraHD 60p over 4x 3G-SDI inputs • SDI auto signal detection • File base error logging with timecode • Display and color processing look up table (LUT) support • Line mode to focus a region of interest onto a single horizontal or vertical line • Loop through output to broadcast monitors • Still store • Nit levels and phase metering • Built-in support for color spaces from ARRI, Canon, Panasonic, RED and Sony

SONY releases new cameras at NAB2018 - FS5II, PXWZ190, PXWZ280

Sony has today expanded its Large Format Sensor category with the launch of the new XDCAM™ handheld camcorder FS5 (Body:PXW-FS5M2, Lens Kit: PXW-FS5M2K). Complete with stunning 4K High Dynamic Range (HDR) and 120fps performance and RAW capabilities, the new Super 35 mm camcorder marries outstanding image quality with an ergonomic modular frame, offering content creators the ultimate creative flexibility. In addition to S-Log 2/3, the FS offers Instant HDR Workflow1 to produce HDR content for quick post-production without the need for grading2.The FS5II is an outstanding E-mount camcorder for interchangeable lens camera users, offering boundless creative options for web commercial, music video production, dramas, corporate & event videos and documentaries.

Canon focuses on 4K UHD Broadcast Lenses at NAB2018 - oh! and the C700 FF

Canon launched of three new portable zoom 4K UHD broadcast lenses1: the CJ24ex7.5B, CJ18ex7.6B and CJ14ex4.3B. These new additions are compatible with 4K UHD broadcast cameras that have 2/3-inch sensors. Flanking the existing UHDxs series of 4K portable broadcast lenses that deliver excellent optical performance, these three lenses usher in the newly launched UHDgc series that will broaden 4K UHD shooting options. These new lenses provide 4K UHD imaging quality at a price point that is more accessible to the majority of the broadcast market. Additionally, the new lenses provide impressive UHD optical performance while maintaining a compact and lightweight design to meet a wide range of needs for video productions that include documentaries, sports, events and news coverage.

Long record times or 32 channels of HD recording available on our new AJA KI-Pro Ultra Plus Recorders available to rent.

Single Channel Mode:

AJA Releases FS-HDR for Real Time HDR and WCG Conversion and Processing

AJA Video Systems released FS-HDR, a versatile 1RU, rack-mount universal converter/frame synchronizer for real time HDR transforms as well as 4K/HD up, down, cross-conversion. FS-HDR delivers breakthrough real time High Dynamic Range (HDR) and Wide Color Gamut (WCG) conversion and processing capabilities for 4K/UltraHD/2K/HD HDR workflows.

AJA Announces Io® 4K Plus with Thunderbolt™ 3

AJA Video Systems announced the new Io 4K Plus capture and output device with support for Thunderbolt™ 3. Io 4K Plus offers the latest 12G-SDI and HDMI 2.0 I/O connectivity, advanced audio features and 4K/UltraHD support up to 50p/60p frame rates. Io 4K Plus is the next generation of AJA’s capture and output hardware devices and AJA’s first Thunderbolt 3 product. Offering a range of connectivity, including 12G/6G/3G/1.5G-SDI and HDMI 2.0 I/O, Io 4K Plus is compatible with the latest 4K/UltraHD devices. Using AJA’s proven drivers and application plug-ins for macOS® or PC, Io 4K Plus integrates with standard creative tools such as Adobe® Premiere® Pro, Apple® FCP X and Avid® Media Composer®. AJA’s proven conversion technology facilitates real time, high quality scaling of 4K and UltraHD to HD for monitoring and output. Io 4K Plus also includes an additional Thunderbolt 3 port for daisy chaining flexibility. Thunderbolt 3’s broad bandwidth allows Io 4K Plus to support 4K/UltraHD and HD large raster, high frame rate, deep color and HDR projects to Thunderbolt 3 via USB-C equipped workstations or laptops. “Tight deadlines and technology shifts have introduced a new layer of complexity to post-production workflows. Io 4K Plus with Thunderbolt 3 support reduces that complexity by moving high resolution, high frame rate files through a single cable with ease,” said Nick Rashby, President, AJA Video Systems.Io 4K Plus feature highlights include:

Thunderbolt 3
Backwards compatibility with existing Thunderbolt hosts
12G/6G/3G/1.5G-SDI and HDMI 2.0 I/O for 4K, UltraHD, 2K, HD and SD with HFR support up to 60p at 4:2:2
Real time 4K/UltraHD to 2K/HD down-conversion
8-, 10- and 12-bit 4:2:2 and 4:4:4 over 12G-SDI or HDMI 2.0 workflow support
Two Thunderbolt 3 ports allow easy daisy-chaining of up to six Thunderbolt devices
16-Channel embedded audio on SDI; 8-Channel embedded audio on HDMI; 8-Channel analog audio via XLR breakout
Downstream keyer
Standard 12v 4-pin XLR for AC or battery power
Compatibility with creative applications including Adobe Premiere Pro, Apple FCP X, Avid Media Composer; FilmLight products; AJA Control Room and more
Three year international warranty

Pricing and Availability Io 4K Plus will be available mid-October 2017, for more information please visit: https://www.aja.com/products/io-4k-plus

Blackmagic Design Announces Ultimatte 12

Ultimatte keyer now has one touch keying, incredible new image processingfor realistic composites with colours that pop, and 12G-SDI for Ultra HD.

Sony unveils its first 8K System Camera with three 8K sensors at IBC 2017

Sony has unveiled the UHC-8300, its first 8K camera system to include 1.25-inch three 8K sensors, at IBC 2017 for the first time globally. It opens up the world of 8K with the flexibility to offer customers new capturing technology for shooting in 4K and more.

New generation of Ross Video Xpression plus a new portable version Xpression Go!

There is a new generation of Ross Video® XPression, the company’s real-time graphics engine.

Sennheiser's New HANDMIC Digital - professional sounds for mobile journalism

Sennheiser has announced its new HANDMIC Digital. An ideal choice for mobile journalism and podcasting, the microphone brings broadcast sound quality to iOS devices as well as Macs and PCs. The HANDMIC Digital is extremely rugged, highly resistant to cell phone interference, and offers excellent suppression of handling, wind and ambient noise, which is important when recording on the show floor, at events, in manufacturing spaces or in similarly noisy environments. The dynamic HANDMIC Digital features Apogee’s award-winning A/D converter and pre-amp technologies for direct connection to USB or Lightning ports.

Using your IPhone for audio production – coming soon is the new Sennheiser FOCUSMIC Digital

At IBC, Sennheiser is previewing the FOCUSMIC Digital, a rugged mini-shotgun microphone for high-quality videography with the iPhone. Designed with a proven Sennheiser capsule and Apogee PureDigital pre-amp and A/D converter, the FOCUSMIC Digital plugs directly into the Lightning port of the iPhone and delivers high-quality, focused audio from the direction of filming. The new mic attaches to the smartphone via a rugged metal grip that can accommodate a variety of iPhone models (from SE and X to 8 plus) and case designs, and also allows the mic to rotate through 270°, including a selfie position and a transport position. The FOCUSMIC Digital will be available from Q2 2018.

Miller Tripods launch CompassX Fluid Head series

Miller Tripods has announced the CompassX series, premiering at IBC2017, offering five models to choose from – CX2, CX6, CX8, CX10 and the CX18. The new CX fluid heads incorporate Miller’s CB PLUS enabling technology, which takes traditional counterbalancing a step forward. All five models feature 16 positions of counterbalance for fine, rapid adjustment and the side loading base plate enables fast and easy mounting and alighting of camera rigs. The inherent wide payload range of the CompassX series provides maximum flexibility when switching cameras or adding accessories. Its robust construction guarantees a long, low maintenance service-life and low cost of ownership. “In our continued goal towards meeting our customers’ needs, Miller is delighted to present the CompassX series, the most flexible and durable fluid head solution for today’s videographers and their professional requirements,” says Charles Montesin, Global Sales and Marketing Manager, Miller Camera Support Equipment. “This new series is the result of intensive user research and innovative design. We are excited to launch the CompassX fluid heads at IBC and eager to see our customers use them to their full potential.”

Sony announces new palm camcorders featuring 273-point phase-detection AF sensor and 4K HDR recording

The new XDCAM® PXW-Z90 and the NXCAM® HXR-NX80 come equipped with 1.0-type stacked Exmor RSTM image sensor, offer an optimal choice to a wide range of users from professionals to video enthusiasts

Avid Extends MediaCentral Platform with Next-Generation Media Production Suite

Groundbreaking modular platform design with innovative user experience delivers a full suite of applications, modules, services, and connectors to drive unprecedented scalability, extensibility, and efficiency

New small and lightweight 4K Zoom lens from Fujifilm - UA24x7.8"

FUJIFILM announced the release of the new “FUJINON UA24x7.8BERD,” (“UA24x7.8”) achieving the world's smallest and lightest broadcast lens supporting 4K. The lens is scheduled for release in January 2018. Despite having a compact body, the “UA24x7.8” features a 24x high magnification zoom, covering a focal length from the wide angle of 7.8mm to 187mm. This portable zoom lens allows you to shoot high-definition, realistic videos for situations such as live sport broadcasting and press coverage. 4K video is spreading rapidly in countries such as Japan, Europe, and North America, with the introduction of the compact and lightweight “4K camcorder” camera, the need for compact and lightweight lenses continues to increase.

Brighter, wider, lighter — Litepanels raises the bar with Gemini

Next-generation LED panel delivers precision color control and flicker-free light in a highly portable new form