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

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

Key LUMIX S5 Capabilities

• LUMIX S5: Body only – RRP $3199
• LUMIX S5 kit (DC-S5KGN-K): Kit with LUMIX S 20-60mm F3.5-5.6 lens (S-R2060) – RRP $3699 The S5 will be available in late September 2020 if you Pre-Order the Lumix S5 with Lens Kit by 23-9 and claim either a FREE Sigma 45mm Lens or XLR adapter valued up to $999.

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

• Add sidetone adjustment on intercom 1 and 2.
• Add ability to enable phantom power on intercom 1 and 2.
• Add Level A and B option for down-converted 12G program return.
• Add the ability to lock to bi-level reference.
• Added passthrough of HDR payload IDs.
• Improved iris control from 12G SDI signals.
• Improved reference timing accuracy and stability.
• General performance and stability improvements.

• Fixed issue with some Bluetooth commands not responding.
• No new features in 6.9.6 for other camera models.

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

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

• New Super 35mm 4K CMOS DGO (Dual Gain Output) sensor
• 16+ stops of dynamic range
• 4K 120P high-speed supported
• Multiple internal recording options:
• 4K Cinema RAW Light 10-bit or 12-bit
• 2K RAW recording in Super 16mm Crop, 10-bit or 12-bit
• XF-AVC (MXF) recording, 4:2:2 10-bit ALL-I or LongGOP
• Up to 120P 4K RAW or XF-AVC recording, up to 180P in Super 16mm crop 2K/FHD.
• User changeable lens mount (EF, PL or EF Cinema Lock)
• Flexible, modular design with optional expansion modules and EVF

NEW hybrid CN10X25 IAS S CINE-SERVO lens

• 4K and 8K camera-compatible image quality
• 25mm wide angle and 10x high-power zoom
• Internal 1.5x extender
• Detachable drive unit
• Interchangeable EF and PL mount
• Compliant with wide-ranging communication standards with a lens-to-camera communication function for added experience

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

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

• The EOS R5 offers a step-change in performance with an incredible 12fps using the mechanical shutter and the electronic shutter offering 20fps
• The EOS R5 takes Canon’s cutting-edge image stabilisation technology to the next level, by including a newly Canon-developed, in-camera image stabilisation system – which works in combination with the lens stabilisation system
• With content delivery just as important as image and video capture, the EOS R5 supports automatic transfer of image files from the device to the image.canon cloud platform[3]
• The highly anticipated EOS R5 will feature dual card slots
• Upon launch, the Canon EOS R5 will also be supported by Canon Australia’s 5-year warranty when purchased from an authorised local dealer[4].

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

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.

News & DocumentaryYes, but with mixed results

News & DocumentaryPerfect for this!

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

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.

“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.”

PRE-ORDER is available from Videocraft Online

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.

Single Channel Mode:

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.”