Articles tagged #4K
New Blackmagic Camera 6.6 Update
Get anamorphic de-squeeze options, on-screen horizon tool, custom frame guides and support for the Blackmagic Pocket Battery Grip on all Pocket Cinema Camera models, along with Super 16mm and anamorphic Blackmagic RAW recording on the 4K model.
What's new in Blackmagic Camera Setup 6.6New features in Blackmagic RAW
- Blackmagic RAW Avid Media Composer plugin general performance and stability improvements.
- Blackmagic RAW Adobe Premiere Pro plugin general performance and stability improvements.
- CUDA general performance and stability improvements.
- Added support for Blackmagic Pocket Battery Grip.
- Added support for language localization.
- Added support for built-in camera horizon tool.
- Added support for 4K 2.4:1 4096 x 1712 recording in Blackmagic RAW up to 75 fps.
- Added support for 2.6K 2688 x 1512 up to 120 fps recording in Blackmagic RAW suitable for Super16mm lenses.
- Added support for 2.8K 4:3 2880 x 2160 recording in Blackmagic RAW up to 80 fps for anamorphic lenses.
- Added support for 2x de-squeeze preview when recording 4K 4:3.
- Added support for 1.33x de-squeeze preview.
- Added support for pinch to zoom up to 8x magnification.
- Added USB PTP control support.
- Added ability to embed custom 3D LUTs in Blackmagic RAW clips as metadata.
- Added common off-speed frame rate options above slider when changing frames.
- Added common ISO options above slider when changing ISO settings.
- Added 1:1 and 4:5 frame guide options.
- Added ability to type in customized frame guide ratios.
- Added ability to monitor voltage level when powering via 12V DC connector.
- Improved autofocus performance.
- Added support for Blackmagic Pocket Battery Grip.
- Added support for language localization.
- Added support for built-in camera horizon tool.
- Added support for pinch to zoom up to 8x magnification.
- Added USB PTP control support.
- Added ability to type in customized frame guide ratios.
- Improved autofocus performance.
Sony's new PXW-Z750 4K 2/3-type camcorder
Sony announced the PXW-Z750, the world’s first 2/3-type shoulder camcorder to support 4K shooting with a 3-chip CMOS sensor system. The latest member of the XDCAM family is optimised for news and live production applications including sports broadcasts, magazine shows, unscripted television, and documentary shooting. Sony’s premier 3-chip CMOS image sensor system is mounted on a wide prism block to ensure detailed imagery and vivid colours, along with 4K, High Dynamic Range (HDR) and High Frame Rate (HFR) acquisition with high sensitivity with low noise. Its 2/3-type sensor delivers imagery with deep depth of field and enables quick focus operation. B4 mount lens can be attached directly to maintain high sensitivity and resolution. The PXW-Z750 is also the first 2/3-type 3-chip camcorder equipped with global shutter technology for capturing clear and crisp images while negating artefacts such as flash band and rolling shutter distortion. This makes the camera an ideal tool for shooting in uncontrolled lighting conditions, as well as for capturing quickly moving objects and action often associated with sports, live events and nature videography. As a result of industry demand and adoption, the camera supports HFR for HD, up to 120fps, to minimise blur or distortion. HD images are generated through 4K oversampling, resulting in clear images with minimal noise. Maximised flexibility in HDR operation The PXW-Z750 also features maximum HDR operation. The camera supports S-Log3 / HLG and employs BT.2020 and BT.709 colour spaces. Leveraging the PXW-Z750’s 4K/HD simultaneous recording feature, users can enjoy the benefits of 4K HDR and HD HDR at the same time. Additionally, the camera accommodates Sony’s SR Live for HDR, supporting simultaneous recording of 4K HDR and HD SDR to meet various demands. “Our cutting-edge new PXW-Z750 flagship model expands Sony’s lineup by bringing the most transformational visual elements – including 4K, HDR and HFR – into a portable and ergonomic package,” said Anthony Kable, Content Creation Group Manager, Sony Australia. “We’re meeting the demands of producers by delivering a robust 4K platform with global shutter 4K image sensor. The camcorder can be further enhanced to create an even more comprehensive Sony’s solution when paired with our audio, media and wireless workflows.” The PXW-Z750 incorporates encoding algorithms for optimising HDR recording, as well for recording 4K sequences. The camera supports XAVC-L for long-GOP QFHD 10bit 4:2:2 at 200Mbps, allowing large volumes of captured data to be compressed to approximately 1/3 in size when compared to XAVC-I Class 300 1. XAVC-L does this while maintaining its high quality, high resolution 4K imagery and wide dynamic range. Another powerful feature is 12G-SDI support, which enables the transfer of 4K images (50p or 60p) over a single BNC cable, enhancing the flexibility of the camera. Seamless integration with Sony’s hardware and service The camera supports a range of complementary accessories and options to suit users’ needs, preferences and budget, while offering expanded interoperability. Sony’s high-quality wireless audio solutions and shotgun mics, including the latest DWX series digital wireless microphone system; the new slot-in receiver DWR-S03D and bodypack transmitter DWT-B30 are compatible with the camcorder. Advanced integration with the DWX series includes synchronised power on/off, control by menu settings or assignable buttons and audio information on the viewfinder. Paired with Sony’s newest durable SxS PRO X cards, the SBP-120F (120GB) and SBP-240F (240GB), ultra-fast transfer speeds of up to 10 Gbps are supported, allowing the camera to capture high bit rate content. When the new cards are used in conjunction with the new reader/writer, SBAC-T40 equipped with Thunderbolt™ The camcorder also supports B4 mount lenses, enabling use with a wide range of in-market and new lens solutions. B4 mount lenses offer a range of focal lengths tailored to suit the needs of unscripted and news shooting environments. The PXW-Z750 also supports several viewfinder and battery solutions. In addition to hardware integrations, the PXW-Z750 has built-in wireless network features and supports XDCAM air, Sony’s cloud-based workflow service for news production that offers streaming from the field and the efficient file clips management. The PXW-Z750 is planned to be available in February 2020.
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).
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.
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.
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.
Videocraft builds State Of The Art TV Studios and Production Facilities For RMIT
Recently RMIT University undertook a significant renovation of its Melbourne city faculty specifically to open their campus up by redoing its Swanston Street facade and substantially renovating seven floors across four buildings. This huge undertaking was known as the New Academic Street, or NAS, Project. The existing buildings were where RMIT had its TV studios, originally built in the 1960s, much used and loved but long overdue for an overhaul. The NAS project provided an opportunity for RMIT to replace the old TV Studios with world class, cutting edge facilities to support both current and future trends in media production as well as RMITs research requirements in the digital media realm. To help them with the design and build of the complete project they turned to Videocraft. Before the project could start the university put out a tender for the design, construction and integration of four control rooms (two of which were to be UHD), five studio spaces and a virtual and augmented reality system. The tender also specified some unique components including a fully distributed routing system, UHD record and replay solution and the ability to quickly move any studio to any control room, or multiple control rooms. Technical Services Manager School of Media & Communication College of Design & Social Context at RMIT University David Beesley explained, “We required world class facilities with a futureproof and flexible infrastructure - a big ask - and we required a company who could work with us to enhance our vision of what these facilities would look like and how they could support our specific pedagogical needs. In conjunction with other industry leaders and after extensive research and consultation, RMIT came up with a base design which was subsequently put out to tender. Videocraft's winning point of difference was their ability to add significant value to our vision and turn it into a functioning reality.” Videocraft worked with RMIT end users to finesse the design and ultimately supplied and installed the kit for four TV studios and control rooms, a master control room (MCR), RMIT’s 'Black Box' research studio and multiple fibre-linked OB points throughout the NAS Precinct. [gallery ids="https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5135.jpg.jpeg|Head of ABC News speaking at the RMIT NAS Project opening,https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5130.jpg.jpeg|James Taylor in one of the four control rooms designed and installed by Videocraft,https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5136.JPG-e1522805026155.jpeg|,https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5131.jpg.jpeg|James and Jeanette Taylor at the Opening of the RMIT NAS Project,https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5132.jpg.jpeg|Panasonic 4K UHD Studio Cameras,https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5129.jpg.jpeg|Checking out the studios on RMIT's Opening night for the NAS Project,https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5133.JPG-e1522804985885.jpeg|Panasonic 4K UHD Studio Cameras,https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5126.JPG-e1522804965720.jpeg|Installation by Videocraft at RMIT TV Studios,https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5125.JPG-e1522804937190.jpeg|Installation by Videocraft at RMIT TV Studios,https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5128.JPG-e1522804906693.jpeg|Installation by Videocraft at RMIT TV Studios,https://www.videocraft.com.au/blog/wp-content/uploads/2017/12/IMG_5127.JPG-e1522804881286.jpeg|Installation by Videocraft at RMIT TV Studios"] Videocraft Head of Engineering and Projects Nick Maclean added, “We also designed a Central Apparatus Room for the 4 control rooms and 5 studios, plus supporting spaces such as green rooms, makeup rooms and production offices. Given that this was not a greenfield site, but a retro fit of an existing building, there were considerable constraints with the spaces, but with clever design we were able to come up with a solution that met the brief.” As part of the scope required a ‘distributed’ router Videocraft decided to install a large Riedel Mediornet system as, based on a 10Gig backbone, the system can handle up to 384x384 3G HD signals. For a distributed audio network they implemented a Dante audio network and ensured that all the audio mixers, stage boxes and tie lines were IP connected over a 10GigE IP network with a Cisco Nexus backbone. Videocraft also installed IP KVM systems, IP talkback using Riedel Smart Panels, and IP wireless comms using the new Riedel Bolero AES67 wireless keypanels. To tie all these systems together they used Lawo Virtual Studio Manager, a control solution that removes all the complicated backend components and presents a unified interface for operators. Beesley continued, Videocraft also installed the first UHD EVS system in Australia, which included IP Director and XFile for file-based ingest and delivery of both HD and UHD studio content. Critically they also supplied and installed kit for our temporary TV studios, constructed for the duration of the major build, to ensure business continuity. It really was a first class job and they met our every requirement.” Other kit supplied and installed by Videocraft included Panasonic 4K UHD camera chains, Sony vision mixers, a Zero Density 'Reality' virtual set and MoSys camera tracking, Ross Expression graphics, Yamaha audio desks and ARRI lighting. Beesley continued, “Videocraft took charge of face to face meetings, design workshops, numerous stakeholder and site meetings, design revision, installation, commissioning and testing. Their approach was professional and flawless.” Now complete the new facilities are used for teaching, including live broadcasts, research and more. As a result RMIT students can now learn on the same tools they will encounter in the field to which Beesley added, “These are the first purpose built UHD studios in Australia. They are at the forefront of technology for anybody, but for a teaching facility they are undoubtedly the number one studios in Australia. They are flexible and their unique infrastructure ensures that they'll be fit for purpose well into the future.” David Beesley, clearly incredibly pleased and incredibly proud of RMIT’s new TV and production facilities felt compelled to highlight the real shining lights of the project concluding, “There are many wow factors with the new facilities with their flexibility, extensive use of fibre, VSM, and 4K UHD capabilities but the real standout is the Zero Density Reality system. Videocraft installed a two-camera system with Star Tracker motion tracking which can render full virtual sets and augmented reality elements in realtime with unbelievable realism. The system uses the Unreal Engine for 3D design and rendering and the results are simply stunning. It’s the most realistic virtual system we have ever seen. I cannot speak highly enough about what Videocraft did for RMIT during this project. They were amazing to work with, incredibly patient, understood our unique requirements and worked with us to create something that is truly great, and the envy of many.”
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
Firmware Update: AJA Ki Pro Ultra Plus - Firmware V2.0
Ki Pro Ultra Plus is a multi-channel recorder offering 2, 3 or 4-Channel simultaneous HD recording up to 1080 50/60p, or in single channel mode, 4K/UltraHD/2K/HD recording and playback, with full HDMI 2.0 input and output (up to 12-bit capture and output). Housed in a 2RU half rack or mount 2 side-by side for 8 channels of recording, it offers extensive I/O flexibility and a range of connectivity options from 3G-SDI to HDMI 2.0 and fiber. Ki Pro Ultra Plus captures pristine 4K/UltraHD and HD video to standard production codecs including Apple® ProRes and Avid® DNxHD MXF. Channels can be displayed on Ki Pro Ultra Plus’ LCD screen as a quad-split during capture for confidence monitoring, which can also be output over HDMI, SDI, fiber and the device’s web-based UI. The new v2.0 firmware update enables the latest HDR formats with HLG and HDR10 playback, and adds support for recording and playing ProRes 4444 XQ up to 2K60p, among several other feature enhancements. “The new v2.0 firmware for Ki Pro Ultra Plus is an extension of our commitment to providing customers with updates that keep pace with the latest workflows. With this update, users can quickly and easily play back HDR10 and HLG material for viewing on HDMI 2.0 compatible displays, record/playback ProRes 4444 XQ and much more,” said Nick Rashby, President, AJA Video Systems. Pricing and Availability Ki Pro Ultra Plus v2.0 firmware will be available next month as a free download from AJA’s website. Ki Pro Ultra Plus is now available from the Videocraft online store
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.
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
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.
Canon Announces Its Newest Professional 4K HDR Reference Display Featuring Stable High-Luminance And 12G-SD1 Terminals
The Canon DP-V2411 4K HDR1 Reference Display, a 24-inch display that features stable high luminance and 12G-SDI terminals, ideal for use on-set in broadcasting vans, and in-studio needs.
Canon introduces a 4K compact Cinema EOS camera, the EOS C200
Canon announced today the launch of the EOS C200, the latest addition to the esteemed Cinema EOS range. Offering exceptional creativity and flexibility, the new 4K compact digital cinema camera is perfect for a broad range of imaging professionals. As the first Cinema EOS camera to support the new RAW recording format – Cinema RAW Light – the EOS C200 provides the same flexibility in colour grading as Cinema RAW in a smaller file size, enabling filmmakers to record internally to a CFast 2.0TM card. Newly developed Canon Dual DIGIC DV6 processors provide the ability to record internally 4K UHD/50P MP4, 4K DCI RAW and continuous 120fps High Frame Rate (HFR) in Full HD without crop. At the same time, advances in Dual Pixel CMOS Auto Focus (AF) technology and a new touch screen LCD monitor provide smooth AF operation and effective tracking. [gallery type="slideshow" columns="1" size="medium" ids="https://www.videocraft.com.au/blog/wp-content/uploads/2017/05/D195_rearR_1.jpg|Rear View (Right),https://www.videocraft.com.au/blog/wp-content/uploads/2017/05/D195_rearL_7.jpg|Rear View (Left),https://www.videocraft.com.au/blog/wp-content/uploads/2017/05/D195_back_5_3.jpg|Back,https://www.videocraft.com.au/blog/wp-content/uploads/2017/05/D195_main_1.jpg|Front"]
EOS C200 – key features Internal 4K recording with Cinema RAW Light and MP4 format Continuous 120fps (maximum) High Frame Rate with no cropping at Full HD Up to 15-stops dynamic range (Cinema RAW Light) Professional High Quality image and audio Dual Pixel CMOS AF with touch control and extensive shooting functions Easy operation and flexible configuration
Capability drives creativityThe EOS C200 features Canon’s 4K Super 35mm CMOS sensor with an effective pixel count of 8.85MP, along with the newly developed Dual DIGIC DV6 image processors. As a result, it can deliver Cinema RAW Light recording at 4K DCI 50P internally to a CFast 2.0TM card. It can also deliver 4K UHD recording at 150Mbps, and 2K or Full HD at 35Mbps to SD cards in MP4 format. Supporting up to 15-stops of dynamic range with Cinema RAW Light and up to 13-stops of dynamic range in MP4 (Canon Log / Log 3), the camera is perfect for capturing highlight and shadow details. The EOS C200 is also capable of delivering both slow and fast motion recording at up to 120fps with no crop in Full HD/MP4, ideal for those wanting creative slow motion capture. An ISO range of 100 to 102,400 guarantees excellent performance, even in difficult lighting conditions, such as when quickly switching between locations. The built-in optical ND filters of up to 10 stops provide further flexibility and convenience, allowing filmmakers to shoot in bright light and expand the depth of field control.
Advanced operability and ergonomic designBuilt for professionals and ideal for single shooters, the EOS C200 features an advanced AF system that provides reliability and accuracy when shooting 4K, as well as a touch screen LCD panel for filmmakers to easily select their subject. For those who need to switch effortlessly between several subjects in a single shot, the Dual Pixel CMOS AF enables smooth AF operation whilst the Manual Focus Assist Function, Face Detection with Face Priority and Face-Only options provide greater creative focus control. The EOS C200’s lightweight body of just 1.4kg is designed for comfortable hand-held shooting and will benefit those who are filming for long periods. The compact size also makes the camera suitable for mounting onto a drone or gimbal. Built-in Wi-Fi and Ethernet connectivity allows for browser remote control and the ability to transfer files via FTP, whilst the camera’s compatibility options mean new and existing accessories can be used, including Canon’s electronic viewfinder – the EVF-V70.
Cinema RAW Light for next generation workflowsCanon has worked with several partners to ensure Cinema RAW Light is integrated with various software programs1. As a result, editing and grading of the Cinema RAW Light video format will be supported in DaVinci Resolve of Blackmagic Design. Editing will be possible in Media Composer from Avid Technology, using Canon RAW Plugin for Avid Media Access2. This format can also be processed using a Canon application, Cinema RAW Development3. Support for Cinema RAW Light is also scheduled for EDIUS Pro, Grass Valley’s editing software during 2017. Additionally, a future version of Final Cut Pro X from Apple Inc. will support Canon’s Cinema RAW Light, using Canon RAW Plugin for Final Cut Pro X4.
Future Firmware upgradeCanon’s XF-AVC video format will be available with a future firmware upgrade. This upgrade is free of charge and is planned to be available from 1H 2018.
The EOS C200 will be available from late July 2017. To preorder click here
The 3 most interesting ideas to come from attending AvidConnect 2017
Firstly, this is not an Avid press release! AvidConnect (the annual Avid Customer Association event) is in its fourth year, and while it is a way for Avid to show off some of their new offerings and partnerships, there has always been some really interesting discussions about the industry we work in, and where we are headed. This year was no exception, and I have put together some of my thoughts on what I have seen over the weekend, and how I see this affecting our future. Here are three key points I have taken from AvidConnect2017, feel free to comment!