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Vlogging Day - Our favourite Australian Online Content Creators
In honour of International Vlogging Day (August 10), we thought we would share our favourite independent online content creators, homegrown from Australia. These independent content creators do an amazing job and whilst we are not measuring their success by numbers or stats, we think just think they make great content doing what they love to do. Jazza An Australian YouTuber, artist, animator, and presenter best-known for his art tutorials, challenges and animations with his studio based in our own home state of Victoria. As of June 2020, his channel has over 915 million total video views and 5.1 million subscribers. We like his original content that pushes the artistic boundaries with great tutorials so everyone can find their own artistic abilities. Great job Jazza! Instagram: @drawwithjazzaBrooke Saward - World of Wanderlust Brooke is a Tasmanian travel blogger behind the World of Wanderlust blog, Brooke Saward started an accompanying YouTube channel over a decade ago, and hasn’t looked back. 70,000 subscribers enjoy her adventures, which focus on solo female travel – specifically how to do it safely and with the maximum amount of fun! If you wondering how Brooke got started she has a great page on her blog about some great resources if want to be a travel writer blogging or vlogging around the world. Brooke visits every corner of the earth and shows us the beauty in exploring the world. Instagram @worldwanderlustBenn TK We only just discovered Benn TK through his work with Sony Australia and the Sony A7SIII adventure film he shot for the launch - his travel vlogs are very creative and definitely worth a look for their creativity. Instagram: @benn_tk Starting your own vlog or youtube channel, creating your own online content and you need the video gear to shoot some amazing stuff as the Australian online content creators we featured here, why not check out our vlogging kits page as a great way to get your vlog started. Alternatively, get in touch with one of our team if you need some help with working out what works best for your content ideas.
New UltraStudio Monitor 3G and UltraStudio Recorder 3G
Blackmagic Design has announced UltraStudio Monitor 3G and UltraStudio Recorder 3G, two new capture and playback solutions featuring 3G-SDI and HDMI connections plus high-speed Thunderbolt™ 3 technology. UltraStudio Monitor 3G and UltraStudio Recorder 3G are extremely portable, pocket-sized products powered by their Thunderbolt connections, so they can be operated from a computer’s battery or power source. UltraStudio Monitor 3G and UltraStudio Recorder 3G are available now for AU$235. UltraStudio Monitor 3G and UltraStudio Recorder 3G are two separate products, one for recording SDI and HDMI video, and the other model for playing back SDI or HDMI video. The UltraStudio Monitor 3G and UltraStudio Recorder 3G are extremely tiny designs that are perfect for portable tasks that don’t require both capture and playback in a single device. Their lower cost means the customer can choose to add recording or playback when needed. A good example is when monitoring using NLE software the UltraStudio Monitor 3G would be a perfect choice. A customer who needs simple recording can choose the UltraStudio Recorder 3G. Replacing older Thunderbolt 2 models, these new models feature Thunderbolt 3 which makes possible greater features, such as more video formats, a greater selection of colourspace, RGB video formats and lower cost. UltraStudio Monitor 3G and UltraStudio Recorder 3G feature advanced high-quality video technology allowing customers to go on location for uncompressed and compressed capture and playback tasks at the highest 10 bit SD/HD quality. With easy plug and play and incredibly fast transfer speeds of Thunderbolt technology, UltraStudio Monitor 3G and UltraStudio Recorder 3G can be moved easily between computers and can capture from decks, cameras and live video sources, and output to monitors, projectors, media servers and more. This is perfect for editing, compositing, graphics production and unlimited broadcast and post-production situations where the highest quality video and true versatility are demanded. “UltraStudio Monitor 3G and UltraStudio Recorder 3G let you work anywhere because they are extremely compact and are powered from the Thunderbolt 3 connection,” said Grant Petty, CEO, Blackmagic Design. “You can simply plug into any Thunderbolt 3 enabled laptop or a desktop computer and start working. With support for high bandwidth formats up to 1080p60, these are advanced video capture and playback solutions that are small enough to fit in your pocket. There is nothing more portable!” Blackmagic UltraStudio Monitor 3G and UltraStudio Recorder 3G Features • Two models, UltraStudio Monitor 3G for playback and UltraStudio Recorder 3G for capture. • High-speed Thunderbolt 3 port for high-quality video processing. • Built-in 3G-SDI and HDMI connections on each model. • Supports all common SD/HD video formats up to 1080p60. • Uncompressed and compressed 10-bit 4:2:2 YUV or RGB quality. • Supports DaVinci Resolve and all other video software. • Developer SDK is available to download free.
New Blackmagic Video Assist 3G Portable Monitors
Blackmagic Design announced new Blackmagic Video Assist 3G which are lower-cost models versions of the company's portable monitoring and recording solutions. These new models feature built-in scopes, upgraded batteries, 3G-SDI and HDMI for all SD and HD formats, all at a more affordable price. Blackmagic Video Assist 3G is available immediately for AU$985. All Video Assist models are dominated by a large touchscreen with all controls for recording, playback of clips, viewing scopes and setting focus assist features. Both 7" models are large enough to include analog inputs for audio and two SD card slots so customers get a continuous recording, with automatic recording to the second card. All models include a rear tally light, a front panel speaker for clip playback and a headphone jack. Video Assist uses Sony L-Series batteries, and with 2 battery slots, customers can change batteries without interrupting recording. With large and bright 5" and 7" touchscreens, Video Assist makes it incredibly easy to frame shots and accurately focus. The touchscreen displays critical information while users are shooting including the timecode, transport control, audio meters and a histogram for exposure. Customers can also customize the LCD to add or remove overlays such as current filename, focus peaking, zebra, false colour, frame guides, 3D LUTs and more. 3D LUTs support allows monitoring shots with the desired colour and look, plus customers can even "bake in" the LUT if customers want to record it into the file. Video Assist uses commonly available SD card media, so customers can record to flash memory cards that are easy to obtain. The files are small enough to allow long recordings on standard SD cards or the faster UHS-II cards. The larger Video Assist 7" models include 2 SD card slots so customers can swap out any full cards even during recording, allowing infinite length recording. Standard SD cards or the faster UHS-II cards are perfect for broadcast because they are small, high speed and affordable. Blackmagic Video Assist is an ideal upgrade for cameras, as its bright display is bigger than the tiny displays found on consumer cameras, plus users are also adding professional focus assist features and better quality file formats. Video Assist is also a great solution for professional cameras because customers can use it to upgrade older broadcast cameras to modern file formats used on the latest editing software. Customers get support for all editing software as customers can record in Apple ProRes and Avid DNx. With both HDMI and SDI inputs customers can connect it to any consumer camera, broadcast camera or even DSLR cameras. The innovative touchscreen LCD user interface provides incredible control. On-screen, there are dedicated buttons for play, stop and record, plus a mini timeline for scrolling through their recordings. Customers can even swipe the image to jog. The LCD includes a heads up display of timecode, video standard, media status as well as audio meters. Scopes can be enabled via the touchscreen as well as focus and exposure assist. Plus customers can load and save 3D LUTs. Video Assist features a wide range of video and audio connections such as multi-rate SDI for SD, HD on all models and Ultra HD on the 12G-SDI models. HDMI is included for HDMI cameras and monitoring to consumer televisions and video projectors. The 7" model features Mini XLR inputs which are provided for audio input from microphones and external audio mixers. Video Assist even includes a 12V DC power connection and the 12G models include a locking power connector. Video Assist records using standard open file formats so customers don’t have to waste time transcoding media. Files are compatible with all post-production software so customers can work with the software of their choice, including DaVinci Resolve Studio. Recording works in industry-standard 10-bit ProRes or DNx files in all formats and from all HDMI or SDI cameras, as well as 12-bit Blackmagic RAW on the 12G-SDI HDR models when connected to supported cameras. Best of all media files work on all operating systems. Video Assist features scopes for accurate exposure on cameras and compliance to broadcast standards. That means it’s also a great portable waveform monitoring solution. The waveform display provides a traditional luminance (brightness) level view of the video inputs or the playback signal. The vectorscope allows customers to see the intensity of colour at 100% SDI reference levels. Customers also get an RGB parade display which is ideal for colour correction. The histogram shows the distribution of white to black detail in their images and highlights or shadows clipping. The built-in scopes can even be overlaid on live video, or as a small picture in picture view at the top right of the scope. Some cameras can output logarithmic colourspace to preserve the dynamic range, which is great for later post-production, however when these files are viewed on a monitor they can look flat and washed out. 3D LUTs solve this problem because they allow customers to apply a "look" to the monitor so customers get an idea of how the finished images will look like when editing. Video Assist works with industry-standard 17 and 33 point 3D LUT files, or customers can work with the built-in LUTs such as Extended Video, Film to Video and more. The advanced digital slate and metadata features make it extremely fast to add metadata to any shot. Simply swipe left or right from the edge of the screen to bring up the digital slate. Customers can even select for take numbers to be automatically incremented when customers start and stop recording, so customers don’t have to enter them manually for each shot. Customers can also set reel numbers to increment each time customers format a card. All metadata is saved with the files and available in post-production with software such as DaVinci Resolve. Then let the DaVinci Resolve sync bin in the cut page find and sync all their shots automatically. Simple scroll the timeline and select shots with a click of the mouse. The SDI and HDMI connections are multi-rate, so all models handle SD and HD television standards plus the 12G models add extra support for Ultra HD standards. Standard definition formats include NTSC and PAL. 720p HD standards include 720p50 and 59.94p. 1080i HD interlaced formats include 1080i50 and 59.94. 1080p HD formats include 1080p23.98, 24, 25, 29.97, 30, 50, 59.94 and 60p. Plus customers can even work in 1080 PsF formats. Blackmagic Video Assist includes a built-in professional audio recorder that’s much better quality than the audio found in most cameras, eliminating the need to carry around extra audio equipment. When working in SDI formats, customers can record 2, 4, 8 or 16 channels of audio. For connecting microphones the 7" models have 2 XLR analog audio inputs with phantom power and high definition audio sample rates of 192 kHz at 16 and 24 bit per sample. The audio meters can even be changed between VU or PPM ballistics. Multiple languages are fully supported so customers don't need to learn another language to use it. Support is included for English, Chinese, Japanese, Korean, Spanish, German, French, Russian, Italian, Portuguese and Turkish. The files from Blackmagic Video Assist are common and are compatible with all operating systems or in most video software. Media can be formatted using ExFAT or HFS+ so customers can easily access the media on computers and access the files like regular disks. DaVinci Resolve is perfect for using with Video Assist as it features editing, colour correction, audio post-production and visual effects all in one software application. "The Blackmagic Video Assist 12G HDR monitors have been received very well by our customers because they have so many features," said Grant Petty, Blackmagic Design CEO. "However many customers don't need HDR screens and Ultra HD, so we have produced new HD models that include most of the powerful features at a much lower price. Plus these new models still include built-in scopes, 3D LUTS, powerful focus assist tools, presets, upgraded L-Series batteries, record tally light, built-in speakers and more!" Blackmagic Video Assist 3G Features • Modern design with fast to use touchscreen controls. • LCD features can be customized by the user. • SD/USH-II card support for commonly available media. • Upgrades cameras to better monitoring and better record codecs. • Large LCD screen with digital film style focus assist tools. • 3G-SDI and HDMI for recording in SD and HD up to 1080p60. • Standard open file formats compatible with popular software. • Built-in scopes include waveform, vector, parade and histogram. • 3D LUTs can be applied for both monitoring and recording. • Professional multi-channel digital and analog audio. • Localized for 11 popular international languages. • Works with popular NLE software such as DaVinci Resolve.
New Blackmagic URSA Mini Pro 12K Camera
Blackmagic Design announced Blackmagic URSA Mini Pro 12K, a new digital film camera with an advanced 12,288 x 6,480 12K Super 35 image sensor, 14 stops of dynamic range and high frame rate shooting at up to 60 frames per second in 12K at 80 megapixels per frame. This new 3rd generation model supports new Blackmagic Generation 5 Color Science and higher Blackmagic RAW performance, all in the URSA Mini Pro camera body. Blackmagic URSA Mini Pro 12K will be available in July 2020, for AU$19,745. Blackmagic URSA Mini Pro 12K has a 12,288 x 6480 12K Super 35 sensor and 14 stops of dynamic range. The combination of 80 megapixels per frame, new colour science and the flexibility of Blackmagic RAW makes working with 12K a reality. Oversampling from 12K gives customers the best 8K and 4K images with the subtle skin tones and extraordinary detail of high end still cameras. Customers can shoot at 60 fps in 12K, 110 fps in 8K and up to 220 fps in 4K Super 16. URSA Mini Pro 12K features an interchangeable PL mount, as well as built-in ND filters, dual CFast and UHS-II SD card recorders, a SuperSpeed USB-C expansion port and more. URSA Mini Pro 12K’s resolution goes well beyond traditional motion picture film. Customers get the benefits of incredible detail, wide dynamic range and rich, deep colour. Perfect for feature films, episodic television and immersive, large-format IMAX. The incredible definition around objects makes it ideal for working with green screen and VFX including compositing live-action and CGI. Supersampling at 12K means customers not only get better color and resolution at 8K, but also a smoothness that comes from making aliasing invisible. The Blackmagic URSA Mini Pro 12K features a new sensor with a native resolution of 12,288 x 6480, which is 80 megapixels per frame. The Super 35 sensor has 14 stops of dynamic range and a native ISO of 800. The new 12K sensor has equal amounts of red, green and blue pixels and is optimized for images at multiple resolutions. Customers can shoot 12K at 60 fps or use in-sensor scaling to allow 8K or 4K RAW at up to 110 fps without cropping or changing their field of view. URSA Mini Pro’s interchangeable lens mount lets customers choose from the widest range of vintage and modern cinema lenses, so customers can capture every ounce of character and detail from their favourite optics. The URSA Mini Pro 12K sensor and Blackmagic RAW were designed together to make 12-bit RAW workflows in 12K effortless. The codec Blackmagic RAW lets customers shoot 12K and edit on a laptop, a capability that simply isn’t possible with other codecs. The massive resolution of the sensor means you can reframe shots in post for delivery in 8K and 4K. It’s like a multi-camera shoot with only one camera. And it’s perfect for great looking vertical and square video, too. The advanced design of the sensor and Blackmagic RAW means that customers can work in any resolution in post-production instantly, without rendering, while retaining the full sensor’s colour accuracy. Only Blackmagic RAW makes cinema-quality 12-bit, 80-megapixel images at up to 60 frames a reality. Constant quality Q0 and Q5 options and new Q1 and Q3 lock the quality level, allowing compression to adapt, matching the detail of the scene. Constant bitrate encoding options 5:1, 8:1, 12:1 and the new 18:1 are designed to give customers the best possible images with predictable and consistent file size. Customers can record RAW to two cards simultaneously so customers can shoot 12K or 8K to either CFast or UHS-II cards, even at high frame rates. Blackmagic RAW stores camera metadata, lens data, white balance, digital slate information and custom LUTs to ensure consistency of image on set and through post-production. Shooting RAW in 12K preserves the deepest control of detail, exposure and colour during post. Oversampling means customers get extremely sharp 8K without harsh edges. Best of all, Blackmagic RAW is designed to accelerate 12K for post-production, making it as easy to work with as standard HD or Ultra HD files. It is highly optimized, multi‑threaded works across multiple CPU cores and is also GPU accelerated to work with Apple Metal, CUDA and OpenCL. So customers can always work with their camera RAW files without having to make proxies. Blackmagic RAW 12K images provide unprecedented resolution and quality for colour, keying, compositing, reframing, stabilization and tracking in 4K or 8K. Blackmagic Generation 5 Color Science features a new film curve designed to make full use of the massive amount of colour data from the new URSA Mini Pro 12K sensor. This delivers even better colour response for more pleasing skin tones and a better rendering of highly saturated colours such as neon signs and car tail lights in high contrast scenes. Generation 5 Color Science informs complex Blackmagic RAW image processing, with colour and dynamic range data from the sensor preserved via metadata for use in post-production. Compatible with all previously shot Blackmagic RAW files, Generation 5 Color Science lets customers take advantage of the new film curve even with their existing work. URSA Mini Pro 12K is multiple cameras in one, shooting standard resolutions and frame rates in 4K, 8K and even insanely detailed 12K. With a massive 80 megapixels per frame at 60 fps in RAW customers can capture perfect stills and motion shots in a single camera at the same time. Customers can shoot up to 60 fps in 12K 12,288 x 6480 17:9. For higher frame rates, customers can shoot 110 fps at 8192 x 4320, 140 fps at 8192 x 3408 and even window the sensor to Super 16 to capture 4K at an incredible 220 fps at 4096 x 2160 DCI. URSA Mini Pro 12K has flexible frame rate and resolution options and captures with improved motion rendering which means that customers get smoother edges in 8K and 4K even at lower frame rates. URSA Mini Pro 12K is the ultimate high bandwidth recorder with 3 options for recording 12K, which contains almost 10 times the resolution of Ultra HD. Customers get dual built-in CFast and UHS-II SD card recorders, and a SuperSpeed USB-C expansion port for recording to fast SATA and NVMe drives. With "Record RAW on 2 Cards" turned on, URSA Mini Pro 12K can record simultaneously across two cards up to an incredible 900MB/s to 2 CFast cards, or an impressive 500MB/s to 2 UHS-II SD cards. The SuperSpeed USB-C expansion port on the rear can record to USB-C flash storage up to 900MB/s as a third recording option so customers won’t be short of choices for capturing stunning 12K up to 60p or 8K up to 110p. Different projects require different lenses which is why URSA Mini Pro features an interchangeable lens mount. Customers can quickly switch between PL, EF and F mount lenses on the URSA Mini Pro 12K, as well as B4 lenses on the URSA Mini Pro 4.6K G2. That means customers can work with high-quality large PL cinema lenses, EF or F mount photographic lenses, and even B4 broadcast lenses, making URSA Mini Pro compatible with the widest possible range of professional lenses. Blackmagic URSA Mini Pro features an innovative high-speed USB-C Expansion Port. The 4.6K G2 model features USB-C 3.1 Gen 1 which operates at up to 5 Gb/s, while the new 12K model has a USB-C 3.1 Gen 2 for a blistering 10 Gb/s. Customers can connect and power external flash disks and SSDs or on URSA Mini Pro 12K customers can connect the new URSA Mini Recorder for recording to fast NVMe SSD drives for longer recording times. NVMe SSD drives are ideal for shooting 12K in the highest constant quality 12‑bit Blackmagic RAW in the Q0 setting or for high frame rates. When shooting is complete customers can simply move the external disk to their computer and start editing from the same disk, eliminating file copying. URSA Mini Pro includes a full version of DaVinci Resolve Studio. Customers get the world’s most advanced solution that combines professional editing, colour correction, audio post and visual effects all in one software tool. DaVinci Resolve is used to finish more Hollywood feature films than any other solution, so users will get the best possible post-production tools to edit native video from their camera and retain every bit of quality. Whether users are working on major Hollywood feature films, episodic television, music videos, commercials or even the latest YouTube shoot, DaVinci Resolve Studio gives customers a completely lossless workflow for native editing, colour correction, effects, audio and delivery.
New Canon EOS R5 and Canon EOS R6, full-frame mirrorless cameras
Canon Australia announced the Canon EOS R5 and Canon EOSR6, two new full-frame mirrorless camera additions to advance Canon’s EOS R System built on the RF Mount. The pro-level EOS R5 delivers 45 megapixel stills at up to 20fpsvi and is the first full-frame mirrorless ever to record 8K RAW up to 29.97fps internally and 4K to 120pvii. The EOS R6 is perfect for enthusiasts and professionals moving to mirrorless and looking for greater capabilities, capturing 20.1 megapixel stills up to 20fpsviii, stunning 4K video up to 60p and Full HD at up to 120p. The EOS R5 and EOS R6ix are both confidently supported by Canon Australia’s local 5-year warranty and are available for pre-order from 9th July 2020x. Redefining professional mirrorless Built on Canon’s EOS philosophy of high speed, high image quality, and easy to use cameras, the EOS R5 and EOS R6 continues Canon’s commitment to delivering choice and quality imaging tools to consumers at all skill levels. Packed with the most cutting-edge imaging technology currently available, the EOS R5 and EOS R6 are designed to drive the consumer and professional imaging industry forward by enabling new workflows, and imaging standards for Australians to capture the stories that matter most in the most efficient and consistent way possible. Next-generation CMOS sensor technology combined with high-performance RF lenses enable users to capture new levels of detail at the best possible speeds in the industry. EOS R5 and EOS R6 can shoot up to 20fpsxii xiii with the electronic shutter in near silence with full auto exposure (AE) and autofocus (AF) tracking. Users can be confident capturing action, both stills and video, in exceptional quality in any location without disturbing subjects. The mechanical and electronic first curtain shutter also delivers high-speed continuous shooting up to 12fps. For the first time in the EOS series, EOS R5 and EOS R6 incorporate 5-axis In-Body Image Stabilizer. Designed to work collaboratively with the Optical IS system of RF lenses, the solution has been engineered so that RF lenses and the sensor work to correct pitch and yaw with the sensor correcting X-Y and roll movements. This intelligent stabilisation system corrects at up to an incredible 8-stops – the world’s best image stabilisation – for new levels of creativity when shooting handheld at slow shutter speeds or filming without a tripod. The wide diameter of the RF Mount ensures that light continues to reach the entire sensor all the way to the corners, even with the sensor movement introduced with In-Body Image Stabilizer. The 54mm diameter enables RF lenses to be designed with larger image circles facilitating the greater movement of the body IS system, meaning some non-IS RF lenses such as the RF 85mm F1.2L USM or RF 28-70mm F2L USM can also achieve up to 8-stops of image stabilisation. Users of EF lenses will experience enhanced IS performance as in-body IS works with IS enabled EF lenses to provide roll and X-Y correction. Even select non-IS EF lenses will benefit from the 5-axis correction provided by EOS R5 and EOS R6 in-body IS. Keeping it sharp DIGIC X processor technology at the core of EOS R5 and EOS R6 – the same technology in the coveted EOS-1D X Mark III – supports renowned next-generation Dual Pixel CMOS AF II pushing speed and reliability to unmatched levels. Boasting the world’s fastest AF focusing speed among interchangeable lens digital mirrorless cameras, EOS R5 focuses in as little as 0.05 seconds and can focus in light levels as low as -6EVxix. EOS R6 is the first EOS camera to offer a minimum EV for AF of - 6.5EVxx. The high precision AF is effective in even poorly lit or low contrast shooting conditions. The iTR AF X AF system has been programmed using algorithms and face/eye detection mode ensures subjects are kept sharp even when moving unpredictably with a shallow depth of field. Even if a person turns away for a moment, their head and body continue to be tracked. Advanced tracking enabled by algorithms recognises faces and eyes of humans, and now includes cats, dogs and birds in both still and movie modes. EOS R5 and EOS R6 maintain high-precision focus and tracking regardless of the subject’s size, posture, orientation or direction of the face helping users to confidently shoot even the most unpredictable subjects. Intelligent connection With built-in Bluetooth and Wi-Fi, the EOS R5 (5Ghz Wi-Fi) and EOS R6 (2.4Ghz Wi-Fi)xxi can be easily connected to a smartphone and networks allowing high-speed file sharing and FTP/FTPS transfer. This functionality also allows for the cameras to be remotely controlled using the Camera Connect and EOS Utility apps, tethered to a PC or Mac via Wi-Fi or high-speed USB 3.1 Gen 2. With content delivery just as important as image and video capture, the EOS R5 and EOS R6 support the automatic transfer of image files from the device to the image.canon cloud platform to easily share and print images or integrate with Google Photos or Adobe Cloud workflows. EOS R5: No compromise. Revolutionary imaging innovation. For the first time, Canon has given the iconic EOS 5-Series name to the EOS R Mirrorless System with the EOS R5. The EOS R5 is an unprecedented leap forward in mirrorless technology and offers the highest resolution EOS camera ever. The DIGIC X processor, CMOS sensor and RF lenses combine to advance all aspects of image quality to achieve a resolution up to 45 megapixels. Achieving up to 100% AF coverage, capable of 5,940 user-selectable AF points and features an ISO range of 100- 51,200, EOS R5 keeps subjects razor-sharp even in extreme low light conditions. Dual-card slots support a high-speed CFexpress and SD UHS-II card, housed in a weather-resistant magnesium body. Professionals can capture stunning 8K 12-bit RAW video internally using the full width of the sensor for a truly cinematic result with continuous eye and face AF tracking for people and animals. The EOS R5 also sets new standards for videographers shooting in 4Kxxv. Capture 4K DCI (full-frame) and 4K UHD at frame rates up to 120p (119.88fps) with 4:2:2 10-bit quality, enabling high resolution, smooth slow-motion with full AF performance. Users seeking the very highest 4K quality can use the 4K HQ mode to reproduce incredible detail at frame rates up to 30pxxvi by internally oversampling 8K footage.
- 8K RAW internal video recording up to 29.97fps (non-cropped)
- 8K internal video recording up to 29.97fps (non-cropped) in 4:2:2 10-bit Canon Log (H.265) or 4:2:2 10-bit HDR PQ (H.265)
- 4K internal recording up to 119.88fps (non-cropped) in 4:2:2 10-bit Canon Log (H.265) or 4:2:2 10-bit HDR PQ (H.265)
- 4:2:2 10-bit in Canon Log or 4:2:2 10-bit HDR PQ output via HDMI at 4K 94fps
Three new EOS accessories extend imaging capture and creativity
LP-E6NH
Canon has today also announced a new longer life battery supplied with EOS R5, EOS R6, the LP- E6NH. Compatible with all existing cameras that use the LP-E6 series batteries, the LP-E6NH replaces LP-E6N, with an increased capacity of 14% reaching 2130mAh. This enables users to shoot for longer while maintaining compatibility with existing products and accessories.BG-R10 battery grip
The new BG-R10 battery grip enables extended, undisturbed shooting with EOS R5 and EOS R6. Ideal for wedding, wildlife and news shooters, the ne battery grip gives users the ability to power the bodies using two batteries (LP-E6/N/NH). The grip also offers duplicate controls for easier vertical shooting.WFT-R10
Designed in a battery grip style, the WFT-R10 Wi-Fi transmitter and 2x2 MIMO antennas enable faster and longer-range transmission and is compatible with the EOS R5. WFT-R10 also features enhanced network processing enabling SFTP via Wi-Fi and includes a gigabyte speed via an ethernet port.Key specifications
EOS R5: | EOS R6: |
45 megapixel full-frame sensor | 20.1 megapixel full frame sensor |
Up to 20fps/ 12fps | Up to 20fps/ 12fps |
In-body IS up to 8-stops | In-body IS up to 8-stops |
Dual Pixel CMOS AF II | Dual Pixel CMOS AF II |
ISO range 100-51,200 | ISO range 100-102,400 |
8K movie 30p 12-bit (full width) | 4K movie 60p 10-bit, Full HD 120fps |
5.76 million dot EVF | 3.69 million dot EVF |
3.2inch 2.1 million dot vari-angle LCD | 3inch 1.62 million dot vari-angle LCD |
Dual card slots (1x CFexpress, 1x SD UHS II) | Dual card slots (2x SD UHS II) |
Top panel display and AF multi-controller | AF multi-controller |
Built-in 5Ghz Wi-Fi with optional wirelesstransmitter (WFT-R10) | Built-in 2.4Ghz Wi-Fi and FTP |
Bluetooth | Bluetooth |
USB charging and power via PD-E1 | USB charging and power via PD-E1 |
Body only 650g (738g with battery/ memorycard) | Body only 598g (690g with battery/memorycard) |
Streaming with Cellular Bonding | How we use Teradek products at Videocraft
Streaming video from point A to point B has become more commonplace for all kinds of online content creators and also never been easier to set up by just about anyone. Using just an Internet connection, a PC, smartphones, and some simple cameras we can go live with just a few clicks. And since most forms of live streaming are done on smartphone handsets with a single LTE connection or at home with an internet connection, live streaming is commonly accepted in the video consumer market with audiences tuning in on streaming platforms every day.When Videocraft is asked to set up streaming systems for major event broadcasting or live media productions especially in remote-location publishing, a single Internet connection often won't cut it. Instead, we use an innovative piece of technology called cellular network bonding. Why Videocraft chooses to use Teradek products like the Bond, Bolt and Cube:The Teradek cellular bonding products like the Bond or Bolt are incredibly portable with a very small form factor, and when compared to traditional live video production equipment, small units offer way more versatility in the field for broadcasting major events. For example, we used this solution for the Red Bull Wings for Life Global Race held in Melbourne. It’s not just about saving physical space on the camera setups or in the rack though, it provides us with the flexibility to integrate with other suppliers workflows and achieve really quick setups on live event productions where being on time is paramount. It would also be ideal for run-and-gun scenarios like live news crosses saving time and money on uplink costs. [caption id="attachment_2744" align="alignnone" width="520"]
Participants seen during the Wings for Life World Run in Melbourne, Australia on May 8, 2016. // Mark Dadswell for Wings for Life World Run // P-20160508-02570 // Usage for editorial use only // Please go to www.redbullcontentpool.com for further information. //[/caption] The most important reason content creators we work with rely on products like the Teradek Bond is for its core purpose: network bonding. Teradek’s Bond system combines several 3G/4G/LTE modems into a single Internet connection for deploying live video. The Bond, for example, is designed to aggregate Ethernet, WiFi and up to 5 USB cell modems to create a really robust pipeline for delivering video from point to point. The combination of several network connections allows Videocraft to reinforce the quality of moving video signals between two points by sending traffic over multiple routes, repackaging it at the destination with automatic failover ensuring that the live stream runs continuously and smoothly throughout the broadcast.But the Teradek product range isn’t limited to large event broadcasting. For smaller workflows, the Teradek Bond allows content producers and ENG operators in the field to publish reliable H.265/H.264 video straight to live platforms such as YouTube or Facebook Live or studio decoder destinations. So even if you need to send the video to a studio hundreds of kilometres away using the Teradek Bond it can upload to Teradek’s cloud system where the video can be redistributed to wherever you choose, even multiple destinations. As long as your mobile cell signal is viable, you can stream.Traditionally when broadcasting live on location, costs for bandwidth on venue internet connections or satellite trucks can be costly, making live streaming high-quality video a bit of a challenge, that’s why it is worth incorporate cellular bonding into the workflow. Several bonded 4G/LTE connections could potentially save thousands of dollars. In addition, a mix of cellular carriers means that even if one carrier encounters connectivity issues, the failover to other carriers would fill in to maintain the stability of the stream. Plus the use of the latest H.265 codec means that while 1080p video costs an average of 5 Mbps to deliver consistently using H.264, H.265 can achieve the same results at potentially 3 Mbps improving your data consumption efficiency. When it comes to broadcasting from the field, traditional video transport equipment like satellites and ENG trucks cost an arm and a leg to employ, not to mention you need to find personnel and time to get that equipment out to the location. The cellular bonding streaming kits available to hire from Videocraft offer a low-cost alternative to these situations. Starting from under $500 per day, the Teradek range can deliver fast and broadcast-quality video for your streaming project.New Canon EOS C300 MKIII and 25-250mm Cine Servo Lens
[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
The first of Canon’s cameras to include the DGO sensor – a newly developed imaging system that offers exceptionally clean low light picture quality as well as superb HDR acquisition capabilities. Each pixel on the DGO sensor is read out with two different amplification levels – one high and one low – which is then combined to make a single image. The higher amplification readout is optimised to capture clean details in darker areas, while the lower amplification readout is optimised to capture details in brighter areas. When combined, at pixel-level accuracy, the details and the qualities on the highlight and low light areas of the image are maintained and enhanced, enabling professionals to achieve an impressive higher dynamic range of up to 16+ stops. What’s more, the DGO sensor is also compatible with Dual Pixel CMOS AF offering professionals greater creative freedom. Flexible workflow for any style of productions The versatile multi-recording format ability of the EOS C300 Mark III provides workflow efficiency to fulfil multiple production requirements across broadcast and cinema. The camera’s ability to internally record 4K Cinema RAW Light provides all the benefits of a RAW file in terms of flexibility in post-production, but in a smaller file size – easing the burden and cost that can come with large file sizes. In addition to this, the EOS C300 Mark III can record internally in Canon XF-AVCii at 4K DCI and UHD at 4:2:2 10-bit, as well as 2K and Full HD. For non-RAW recording in XF-AVCiii, professionals can select ALL-I or Long GOP to film with high compression for efficient workflow and longer recording times. When recording 2K or Full HD in Super 35mm, footage boasts the 4K sensor’s full capabilities. This recording is downsampled internally to record the footage at the resolution selected by the user – providing higher image quality and uncompromised field of view of the selected lens thanks to no cropping of the sensor. Versatility sits at its heart Professionals can configure the camera using two different optional Expansion Units (EU-V1 and EU-V2) – both which add extra connection terminals to the camera body and expand the camera’s compatibility with various styles of shooting. Additionally, the lens mount can be changed between EF, PL and EF Cinema Lock mounts without the need to send the camera to an Authorised Service Centre – a huge benefit for professionals looking to create productions with various looks. The EOS C300 Mark III will be available from June and the CN10X25 IAS S available from July. EOS C300 Mark III Key Features:- 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
[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_images_carousel images="4855,4856,4858,4857,4859" img_size="medium"][vc_column_text]With outstanding optics and compact and lightweight design, the versatile 4K and 8K-capable CN10X25 IAS S CINE-SERVO lens meets multiple production needs. Thanks to its wide focal length range, ability to be configured for both broadcast and cinema productions, and compatibility with Super 35mm and Full Frame sensor cameras; the CN10X25 IAS S CINE-SERVO lens is ideal for professionals looking to filming high-quality productions across a wide range of genres such as drama, commercials, sports and documentary. For these reasons, the lens makes a great pairing with the likes of the new EOS C300 Mark III. With its 11-blade aperture, a soft and subject popping bokeh is achieved with warm colour tones for high image quality and cinematic rendering. When used with Canon’s Cinema EOS System cameras, including the EOS C300 Mark III, the CN10X25 IAS S CINE-SERVO lens offers top image quality, operability and reliability the industry is looking for. Ability to handle a range of filming situations Producing optically excellent ‘cinematic’ images that are sharp from centre to outer edges, the power zoom lens can handle a large range of shooting situations from 25mm wide angle, to 250mm telephoto. This range can be pushed to an impressive 375mm with the built-in 1.5x optical extender, allowing professionals to capture exceptional close-up content of breathtaking moments happening in distance. What’s more, with the built-in extender it is possible to enlarge the image size of the lens to make it compatible with 35mm Full Frame sensor cameras – such as Canon’s EOS C500 Mark II – a great advantage that pushes the capability of the lens. Flexible design with multiple communication functions The ergonomic drive unit of the CN10X25 IAS S is detachable, suiting a multitude of broadcast and cinema production requirements. Its lens mount can also be interchanged between an EF and PL mount providing even greater value and flexibility to professionals. It’s compliance with a wide range of communication standards supporting EF communication with EF mount and Cooke Technology with PL mount, provides additional support and functionality which is hugely beneficial for those looking for a high-quality lens suitable for various productions. A 12-pin serial communication is also supported for broadcast standards, as well as a 20-pin connector which outputs accurate lens positional data for various virtual systems. CN10X25 IAS S Key Features:- 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
Setup live streaming direct to YouTube with the Sony PXW-Z90 Camera
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
. For RTMP/RTMPS streaming functionality on the PXW-Z90 camera you need to have downloaded the V2.00 Firmware which is available for FREE from the Sony Website - When doing this we found the process to be much more stable on a PC rather than a MAC computer. https://pro.sony/en_AU/product-resources/software-firmware/firmware-pxw-z90-v2-00 Ok now to set up your live streamingYou need to start with setting up YouTube Go to your YouTube Studio account, now if you have never streamed live from your YouTube account before you will not be able to stream for the first 24 hours of requesting to do so - so head into the “Go LIVE” setup the day before you need to stream anything. CREATE > GO LIVE > NEW STREAMThe only details that are mandatory that you need to enter in here is the title and category of your content and whether the content is made for kids Click CREATE STREAMWhen the Manage Stream screen comes up you need to take note of both STREAM KEY and the STREAM URL as these are details you will need to enter into the camera so it can connect with YouTube. The STREAM KEY is hidden so it’s a good idea to copy this and the URL into Notepad or Word Doc on your computer for easy and quick reference. Now to connect up your PXW-Z90First, you need to connect the camera to a WIFI network - you do this by heading to the NETWORK SET section on the MENU MENU > NETWORK SET > Wi-Fi SET > ACCESS POINT SET Wifi networks that are discoverable will show in the list, if your network doesn’t show in the list or is not discoverable you will need to select MANUAL SETTING and know whether you are using a WEP or WPA network when entering the name and password for the WiFi network. Once the camera is connected to a WiFi network a tick is visible on the menu to show which network you are connected to and indicators show the strength of the signal the camera is picking up. So you’re on WiFi - what's next?You need to connect the camera to YouTube via RTMP. You can also connect to Facebook and other streaming software and you can use each of the presets to save different settings for each type of app you would want to connect to. So, go to the NETWORK SET section of the menu to do this MENU > NETWORK SET > RTMP/RTMPSIf this is the first time you have tried RTMP streaming from your PXWZ90 this then you need to put the YouTube settings into one of the Presets - there are three available so you may want to set one up for YouTube at 720p or another at 360p which are the two resolutions you can use to stream on the PXW-Z90 or maybe a different streaming channel like Vimeo or Facebook.So lets setup YouTube at 720p on PRESET 1, to do this simply scroll down to PRESET 1 and select DISPLAY NAME Here you can set a display name for your Preset. You may want to change to YouTube 720p for easy reference at another time. SIZE This gives you the option to select between 720p and 360p streaming resolution . DESTINATION SET This is where we need to enter the information of the STREAM KEY and the STREAM URL that we were given on the YouTube Stream Settings earlier. . So first enter the URL you enter the rtmp:// address, this is quite laborious using the typing function of the Sony camera - but note you can either use the joystick toggle to enter or the touchscreen which you may find easier. Use the bar at the top to select between alpha, numeric and special characters screens for entering the URL address. Once entered click the large OK button in the bottom left. Next, the Stream Name is where you enter the STREAM KEY from YouTube, this displays as an asterisk shortly after you enter a letter, this makes it hard to know where you are up to. Unless you are really speedy at this you can push the DISPLAY button on the side of the camera and it will keep the STREAM KEY viewable whilst you enter it and once you finished and pressed OK it will change back to the asterisk view. Once you enter these details press OK and return to the RTMP/RTMPS menu, scroll up to PRESET SELECT and choose PRESET 1 where you have just configured the previous steps. If this is all done correctly you are pretty close to streaming now, but before we get to that if you find that your EXECUTE menu selection is greyed out or faded and unselectable and nothing is happen - you will need to change the REC SET in your MENU. Make sure that your FILE FORMAT is HD or lower to be able to EXECUTE the RTMP streaming function of the PXW-Z90. Changing your FILE FORMAT for Streaming on the PXWZ90To change your FILE FORMAT to a format that will allow you to stream follow these steps in the MENUMENU > REC/OUT SET > REC SETGo to FILE FORMAT and select either XAVC HD or AVCHD in the menu options.This will update the REC FORMAT and when you return to the RTMP/RTMPS streaming menu EXECUTE will now be highlighted white ready to go ahead for streaming. So you have the camera, connected to the WiFi network, you have entered the YouTube details into the Destination set - you are ready to EXECUTE!Starting the Stream to YouTubeOnce you have pressed EXECUTE it will ask you which network you are streaming from, in this setup we have followed you would select Wi-FiYou then are ready to connect your camera stream to your YouTube preview screen. To stop and start the connection between the camera and YouTube you simply press the THUMBNAIL button on the camera.You should now see a preview of your camera in your Stream Management of YouTube.To start streaming your content hit the GO LIVE button at the top right corner of the screen!And you are now live streaming to YouTube with the Sony PXWZ90 Camera! Other tips and tricksFor Ethernet connection or Wired LAN you will require separate accessories from Sony (VMC-UAM2, CBK-NA1) to connect the USB port from the camera to an ethernet cable. RTMP/RTMPS providers: Both YouTube and Facebook have checkboxes for reusing the "Stream Name". Unless you really enjoy entering the "Stream Name" every time you want to stream, you will want these to be checked.Note that using this method you can only go to one site at a time. If you want to be tricky, you can create an RTMP stream to go to apps such as restream.io, and then you can go to multiple apps at once!Using your smartphone to create video and streaming content
In this odd time when we are all looking to work differently, people are looking to use their smartphones to create video and streaming content. It may be that you don't have access to your normal equipment or that everybody else has beaten you to the 'hot product' and you are having to think laterally. .
Blackmagic Design Announces New ATEM Mini Pro
New Canon EOS R5 Mirrorless camera features
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].
Blackmagic RAW 1.7 Update and new Davinci Resolve releases plus more.
macOS and Windows
- Blackmagic RAW Adobe Premiere Pro plugin general performance and stability improvements.
All platforms
- Added support for Panasonic EVA1 Blackmagic RAW clips captured by Blackmagic Video Assist.
- Added support for Canon EOS C300 Mark II Blackmagic RAW clips captured by Blackmagic Video Assist.
What's new in Blackmagic Video Assist 3.1
- Add Blackmagic RAW recording to the Video Assist 5” 12G HDR and Video Assist 7” 12G HDR
- Add Digital Slate to the Video Assist 5” 12G HDR and Video Assist 7” 12G HDR
- Improves HDMI connectivity with some cameras to Video Assist 5” 12G HDR and Video Assist 7” 12G HDR
- General performance and stability updates to the Video Assist 5” 12G HDR and Video Assist 7” 12G HDR
What's new in DaVinci Resolve 16.2 Free Blackmagic Fairlight Sound Library 1.0 for DaVinci Resolve 16!
Get over 500 royalty-free foley sounds for use with the Fairlight foley sampler in DaVinci Resolve 16. Download now from: https://www.blackmagicdesign.- New mouse and keyboard based editing toolset.
- User adjustable per track scalable waveform display.
- Keyboard shortcut editing actions now include fade, cut, select and move.
- Support for alt/option dragging clips to create a clip copy.
- Support for pasting clips across timelines.
- Support for bouncing individual audio clips to files.
- Support for dragging audio clips to separate tracks using modifiers.
- Support for dragging audio clips to specific positions using modifiers.
- Support for converting multichannel tracks into linked groups.
- Support for a user preference to align audio edits to frame boundaries.
- Support for an action to trim all audio edits to frame boundaries.
- Release of the Fairlight sound library installer for foley effects.
- Support for searching and displaying sound library description metadata.
- Automatic sorting of AU and VST audio effects into types and categories.
- Favourite audio plugins are now displayed at the top of the mixer plugin list.
- Support for MPEG-H bussing and monitoring in DaVinci Resolve Studio.
- Improved pan and balance including the ability to constrain panning.
- Support for the edit index in the Fairlight page.
- Drag selection of tracks, mute, solo and record controls in the track index.
- Drag and drop reordering of audio tracks in the track index.
- Support for importing AAF sequences as new tracks in an existing timeline.
- Support for importing AAF sequences with an offset to an existing timeline.
- Support for importing multichannel tracks from an AAF as linked groups.
- Support for broadcast wave files when exporting an embedded AAF.
- Support for exporting audio cross fades and fade handles in AAF files.
- Support for additional notch filters in clip EQ.
- Support for new FairlightFX Meters.
- Support for new FairlightFX LFE Filter.
- Support for dedicated controls for panning up and down.
- Support for editing clip EQ.
- Support for copying and pasting clip EQ.
- Support for creating and applying presets for clip EQ.
- Support for adding, managing and custom mapping of plugin parameters.
- Support for changing relative clip levels.
- Support for resetting clip levels to unity.
- Support for editing fade shapes and deleting fades.
- Support for saving and recalling user defined track view presets.
- Support for enabling layered audio editing from the desktop audio editor.
- Support for choosing automation curves from the editor panel or console.
- Improved behavior when moving track selection with no tracks selected.
- Support for improved timecode entry and high frame rate timecode.
- Support for entering relative timecode values.
- Support for inserting 00 in timecode entry by using the colon key.
- Support for master spill on console faders.
- Support for finer adjustment of controls using the mouse or audio editor.
- Support for media left and media right selection keys.
- Support for a text-only labels mode.
- Support for a traditional Fairlight keyboard layout.
- Improved import of EQ, automation and fade from legacy Fairlight projects.
- Improved speed when importing large legacy Fairlight projects.
- Improved performance when switching to large timelines with many tracks.
- Support for creating a compound clip from an in-out range in the timeline.
- Support for previewing timeline audio during live overwrites of video edits.
- Support for editing individual angles to the timeline from a multi-cam viewer.
- Support for updating clip duration display while editing in the cut page.
- Support for a change transition duration dialog.
- Support for viewing duration in frames or timecode format in the viewers.
- Support for Fusion transition templates in the edit page.
- Support for Fusion generator templates in the edit page.
- Support for timeline view options per system in collaborative projects.
- Improved audio track metadata support with support for up to 24 tracks.
- Support for duplicated clips and timelines being placed in the source bin.
- Support for sorting media pool clips by date added.
- Support for showing synced audio filenames in the media pool list view.
- Support for revealing the media pool location of a clip from a smart bin.
- Support for a media pool context menu to duplicate clips and timelines.
- Support for only additional files when repeating media management copies.
- Multiple stability and usability improvements for collaborative projects.
- Support for smart filters based on keywords and people metadata tags.
- Support for modifying primary grade values using numerical values.
- Support for retaining out of range data when monitoring at video levels.
- Support for Fusion MediaOut name tooltips on the node graph inputs.
- Support for feet and frames data burn-in options.
- Support for disabling output sizing and blanking for individual clip renders.
- Support option for showing scopes at video level and data level.
- Support for HLG gamma when using HDR scopes.
- Support for highlighting the color viewer qualifier position in the scopes.
- Support for Blackmagic RAW SDK 1.7.
- Support for rendering audio only timelines.
- Support for decoding 32 bit floating point audio.
- Improved support for color space and gamma when decoding H.265 clips.
- Support for displaying EXR codec name based on compression method.
- Support for overriding the color space and gamma tags in render settings.
- Support for RED SDK 7.2.1 and decoding clips from the Komodo camera.
- Support for two new parameters in the RED camera raw settings.
- Support for REDWideGamut Log3G10 IDT for ACES projects.
- Support for the Canon EOS-1D X Mark III camera.
- Support for decoding u-Law Audio in QuickTime clips.
- Support for alpha channel clips with the bypass re-encode option.
- Support for running the primary screen as a window in dual screen mode.
- Improved scripting API with the ability to close an open project.
- Improved scripting API to set frame rate for media pool clips.
- Support for new scripting functions to return ordered lists.
- Support for video monitoring advance and delay on the Fairlight page.
- Support for GPI/GPO control on the Fairlight Audio Interface.
- Multiple performance and stability improvements.
Sony FX9 Camera, features in more detail
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.
So all these cool functions for auto-focus are also available to camera operators as customisable Auto Focus settings, such as 7-level AF transition speeds from Fast – switching between subjects as quickly as possible – to Slow, where speed is reduced to fit a more measured shooting style, such as a historical TV drama. And also 5-level AF subject shift sensitivity ranges from Locked-on – ignoring other moving subjects in the frame – to Responsive that switches focus from one subject to another – ideal for snapping between race cars as they speed by. Dual Base ISO for stunning images in any lightFX9 features a base sensitivity of ISO 800, providing the optimal dynamic range for typical documentary applications such as shooting outside or in brightly lit interiors. A secondary High Base sensitivity of ISO 4000 excels in low light conditions such as early morning and evening shoots while maintaining superb image quality. ISO 4000 is also ideal whenever you’re using slow lenses. Combining Dual Base ISO with the camera’s electronic variable ND Filter provides superb creative control in almost any shooting environment, equipping you with responsiveness to changing lighting conditions on the go. Cinematic colour science with S-Cinetone™S-Cinetone is the default look of FX9 that’s tuned to meet the requirements of today’s content creators with rich mid-range colours, alluring facial tones and a softer tonal look – developed with the same expertise as Sony’s world-leading VENICE digital cinematography camera. S-Cinetone means that straight out of the camera your content looks fresh and vivid, with subjects that really stand out while retaining plenty of latitude in post-production thanks to the high-performance full-frame image sensor. Stable, shake-free handheld footage with Image StabilizationAdvanced image stabilisation information means even handheld footage can be transformed with Sony Catalyst Browse/Catalyst Prepare software in post-production to look as smooth as if it were shot with a gimbal. Unlike in-camera or lens stabilisation, metadata generated by FX9’s built-in gyro allows you to creatively choose the balance between the level of shake-compensation and the resolution of trimmed 4K imagery. This feature is also compatible with any E-mount lens and allows for far faster processing than conventional NLE stabilisation workflows. Yippee its Variable ND!So we fell in love with Variable ND on previous Sony cameras such as the FS5 and FS7 and now we get even greater creative control with Sony’s unique built-in electronic variable neutral density (ND) filter on the PXW-FX9. Set it to Auto, or adjust filter density manually in smooth increments from 1/4 to 1/128 as you shoot, for perfectly exposed images without affecting depth of field as lighting conditions change. Use higher density settings with slower shutter speeds for breathtaking artistic effects. So what is 'Electronic Variable ND Filter'?Sony’s Electronic Variable ND Filter can be seamlessly varied while shooting because of its innovative technology, which is optically based rather than using image processing. There are three different ways to use this filter: seamlessly altering the image exposure while shooting by scrolling the dial on the right side of the camera. Selecting Auto ND, where the camera will proactively adjust the density of the filter to find the best exposure for shooting, which works really well in outdoor environments where the light may have considerable variations, this auto function maintains your exposure and adjusts the ND when the light level changes. Or you can set your own fixed filter levels just like you would with a conventional optical ND filter, the default settings are 1/4, 1/16, and 1/64. However, it is possible to change these three settings to whichever values you prefer. Generally, camera operators use iris, gain control, or shutter speed and each has their own side effects to the creative look of your frame, by using the optical-based yet seamlessly control your image exposure with the electronic ND filter without sacrificing your creative choices. Audio is just as important as the images you capture!Well, the pictures are only half the story and with the 4-channels of audio input and recording on the PXW-FX9 Camera, enables simultaneous use of an external microphone for recording ambient sounds, the built-in microphone for voice memos by the operator, and two optional wireless microphones for voice of interviewer and interviewee. Plus the FX9 offers independent control dials for each channel. In addition, using the optional accessories such as the XLR-K3M, XLR-K2M or XLR-K1M XLR adapters – with two extra XLR inputs – allows even more devices to be connected.On a side note if you are thinking about a multi-cam job with the PXW-FX9 - we’ve been nerding out about the fact it takes external timecode into the camera without having to add any external accessories to achieve it. To get in early and make sure you are one of the first to own an FX9 camera - place your pre-order onlineNew 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 6.6
New 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.
Product Review: Sony FS5 II Super 35mm Compact Cinema Camera
News & DocumentaryYes, but with mixed results
Reboot Issue: MacBook Pro Important information from Avid HQ
“Avid is aware of the reboot issue affecting Apple Mac Pro devices running some Avid products, which arose late yesterday. This issue is a top priority for our engineering and support teams, who have been working diligently to determine and resolve the root cause. As we learn more, we will immediately publish information—directly to our customers and via our community forums and social media platforms—in order to resolve this issue for all affected customers and prevent any further issues. --- The Avid Team”
Avid announces its latest software and solutions innovations for enterprises, teams and individuals
At IBC2019, Avid®, released its latest software and solutions innovations for media enterprises, teams and individuals to enable them to better create, collaborate and meet the challenges of today’s media creation and distribution. If you happen to be at IBC, you will get the opportunity to experience the completely reimagined Media Composer®, the next generation of MediaCentral®, the all-new Avid S4 and Avid S1 audio control surfaces, the Avid NEXIS | Cloudspaces™ SaaS storage offering, the latest FastServe® video servers, and more. IBC2019 will be held September 13-17 at the RAI Amsterdam. “Today’s content creators must contend with new formats, higher resolutions, ever-tightening budgets, and broader distribution realities, so media creation and distribution tools must work harder than ever,” said Jeff Rosica, CEO and President at Avid. “We’re continually evolving our solutions to exceed customer expectations, engineering for greater efficiencies, delivering across more platforms, and providing more control of the creative process. At IBC, we look forward to demonstrating how, with Avid, our customers can deliver more content and create at the speed of inspiration.” Media Composer 2019Media Composer 2019, Avid’s flagship video editing system reimagined for today’s—and tomorrow’s—generation of media makers. Aspiring and professional editors, freelancers, and journalists can work more creatively through a new user experience, next-generation Avid media engine with distributed processing, finishing and delivering capabilities and support for 8K, 16K and HDR, and a customizable role-based user interface for large teams. With Media Composer 2019, an editor can go from first cut to delivery without ever leaving the application. At IBC, Avid will preview a host of forthcoming Media Composer features and updates, including:
New Blackmagic ATEM Mini
Blackmagic Design announced the ATEM Mini a new low cost live production switcher specifically designed to allow live streaming to YouTube and business presentations via Skype. ATEM Mini will be available in November 2019 from Blackmagic Design resellers worldwide for AU$495. The new ATEM Mini makes it easy to create professional multi camera productions for live streaming to YouTube or innovative business presentations using Skype. Simply connect ATEM Mini and customers can switch live between 4 high quality video camera inputs in dramatically better quality images. Customers can even connect to a computer to present PowerPoint slides or add a gaming console. The built in DVE allows exciting picture in picture effects, perfect for live commentary. There's loads of video effects too. To live stream, ATEM Mini has a USB output that works like a webcam, so customers can connect to any video software. There's also HDMI video out for projectors. Microphone inputs allow high quality desktop and lapel mics for interviews and presentations. ATEM Mini features a compact control panel based design with all video, audio and control connections on the rear panel. The front panel includes easy to use buttons for selecting sources, adjusting audio inputs, as well as selecting video effects and transitions. The rear panel includes HDMI inputs for connecting cameras or computers, plus additional microphone inputs. The ATEM Mini program is output via an HDMI video out as well as a USB for webcam output. The front panel buttons are large and easy to use by feel, so its even possible to use the switcher while presenting. Customers also get audio mixer buttons for live audio mixing. ATEM Mini is very easy to use, as customers simply press any of the input buttons labelled 1 to 4 on the front panel to change or cut between video sources. Customers can choose between cut transitions or effects transitions by selecting the cut or auto buttons on the panel. Unlike cut, the auto button tells ATEM Mini to use a selected video effect when switching between inputs. Customers can select from exciting transitions such as a commonly used dissolve, or more dramatic effects such as dip to color, DVE squeeze and DVE push. The DVE is perfect for picture in picture effects and customers can instantly set up different picture positions from the buttons on the control panel. There is even a still store for titles and graphics accessible via external software control. With 4 independent HDMI inputs, customers can connect up to 4 high quality consumer video cameras. All connected sources will re-sync to the switcher if they operate at different video standards, which means all inputs just work and customers can handle unknown equipment if customers are visiting new venues or locations. Imagine using the low light capability of professional cameras for theater production and music videos. To ensure the maximum compatibility possible, ATEM Mini features a USB connection that operates as a simple webcam source. That means customers can plug in and instantly get working with any video software. The software is tricked into thinking the ATEM Mini is a common webcam, but it's really a live production switcher. That guarantees full compatibility with all software in full resolution 1080HD quality. Choose any software customers like, such as Open Broadcaster for live streaming, or Skype for point to point presentations. ATEM Mini works with software and platforms such as Open Broadcaster, XSplit Broadcaster, YouTube Live, Facebook Live, Skype, Twitch TV, Periscope, Livestream, Wirecast and more. The HDMI program output is perfect for connecting ATEM Mini into an external recorder or monitor. ATEM Mini supports recorders such as the HyperDeck Studio Mini and Blackmagic Video Assist. Customers get a high quality output with switcher program video, plus live audio from the internal audio mixer. The HDMI output can even be connected to video projectors in large venues. If customers connect the ATEM Software Panel customers can even change the HDMI output direct from any of the video inputs. There's also a low latency setting allowing output of connected gaming consoles on the HDMI output. If customers enable broadcast style mix effects switching, the HDMI output can be used to preview sources before a transition. With two independent 3.5mm stereo audio inputs, customers can connect desktop and lapel microphones. With 2 extra stereo audio inputs, customers can ensure a host and guest both have lapel microphones when doing interviews. All audio inputs to ATEM Mini include buttons on the panel for adjusting audio level and enabling inputs into the audio mixer. The ATEM Software Control app unlocks the hidden power of the ATEM Mini as customers get total control over the switcher features, plus the software is included free for Mac and Windows. ATEM Software Control features a visual switcher user interface with parameter palettes for making quick adjustments. Although customers can normally connect via USB, if customers connect using Ethernet it's possible for multiple users to connect to ATEM Mini using separate copies of ATEM Software Control on different computers. Customers can even save the switcher state as XML files. If customers need clip playback, customers can even control HyperDeck disk recorders via Ethernet. The built in "media pool" allows loading of up to 20 separate broadcast quality RGBA graphics for titles, opening plates and logos. Customers can even use still frames for complex effects such as graphic wipes. ATEM Mini can even grab stills from the video output and add them to the internal media pool. Customers can easily manage the still store graphic using the included ATEM Software Control app, or customers can download directly from Photoshop software using the ATEM Photoshop plug-in. The Photoshop Plug-in is perfect for graphics that need to change often, such as scoreboards, as customers can update the text and download directly into the switcher, allowing graphics to get on-air fast. For news or on-set presentation work, ATEM Mini is the perfect choice as it features an ATEM Advanced Chroma Key for high quality chroma or luminance keying, plus an additional downstream linear keyer. Customers can even use it for title overlays simply by using PowerPoint or other software with a green or blue background and the keyer will knock out the green and make the background transparent. With a built in Fairlight audio mixer, the ATEM Mini makes it possible to do extremely complex live sound mixing. The internal mixer features a total of 12 channels so customers get the ability to mix audio from all sources. 8 mixer channels are de-embedded from the HDMI inputs, while an extra two stereo audio channels are input via the 3.5mm microphone connections on the rear panel. Each input channel features the highest quality 6 band parametric EQ and compressor, limiter, expander and noise gate as well as full panning. The HDMI output is a true "aux" output so customers can clean switch each of the 4 HDMI inputs or the program feed to this output. Customers can even "direct" switch input 1 to the HDMI output for low latency for eSport. If customers select broadcast style mix effects switching, customers can also output a preview feed, allowing verification of the source before transitioning to it. "The new ATEM Mini is a perfect example of the spirit of Blackmagic Design," said Grant Petty, Blackmagic Design CEO. "It looks like an easy to use low cost live production switcher, however it has professional broadcast features hidden inside so customers won't be creatively limited and using their creativity they can use it the exact same way all as high end switchers found in the broadcast television industry. What this means is even though it's low cost, there is no glass ceiling with ATEM Mini!" ATEM Mini Features • Features miniaturized control panel based design. • Supports streaming live to all media platforms such as YouTube. • Works with Skype for multi camera business presentations. • Supports connecting up to 4 cameras or computers. • USB output operates as a webcam and supports all video software. • Wide range of professional video effects included. • HDMI video output allows direct recording of programs. • Two stereo audio inputs for connecting desktop or lapel microphones. • Includes free ATEM Software Control for Mac and Windows. • Includes full HD DVE for picture in picture effects and DVE transitions. • Broadcast quality transitions including mix, dip and wipe. • Internal media for 20 RGBA graphics for titles, opening plates and logos. • Includes ATEM Advanced Chroma Key for green/blue screen work. • Operates in cut-bus or professional mix effects switching styles. • Audio mixer supports limiter, compressor, 6 band EQ and more! • Automatically standards converts and re-syncs all HDMI inputs. • Built in Ethernet control and SDK allows customer developer solutions. • Compatible with all professional ATEM hardware control panels. Availability and Price ATEM Mini will be available in November 2019 for AU$495
Sony unveils new E-mount Cinema lens FE C 16-35mm T3.1 G
Sony introduced a new full-frame E-mount lens, 16-35mm (FE C 16-35mm T3.1 G) to accompany the newly announced PXW-FX9 full-frame format camcorder, offering high optical performance, reliable operability and intelligent shooting functions for professional video creation. Compatible with a wide range of E-mount cameras from VENICE to Alpha™ interchangeable lens cameras as well as the new flagship FX9, the addition of this new lens, optimised for professional video shooting, brings unprecedented creative flexibility for content creators. Sony will further enhance its Cinema Lens line-up going forward. "Our ongoing conversations with partners and customers have shown that there is a clear need for versatile tools which improve efficiencies and drive greater ROI (Return on Investment). Along with Sony’s “One Mount” solution based on its Alpha series, the flexibility of our new E-mount Cinema Lens series offers content creators greater creative freedom and helps them concentrate to their artistic vision," comments Anthony Kable, Group Manager Content Creation, Sony Australia. Lens for a new age of full-frame video shooting The new lens is compatible with intelligent shooting functions of E-mount system that support and improve Large Format Sensor (LFS) shooting. Paired with the new full-frame format camcorder FX9, the new lens supports fast and accurate auto focus, making it possible to track fast moving subjects while maintaining a shallow depth of field. Stunning bokeh and corner-to-corner resolution The two XA (Extreme Aspherical) elements with extreme surface precision of 0.01-micron, together with circular 11-blade apertures deliver beautifully smooth bokeh in every frame. The two XA elements and three aspheric lenses are positioned in a way that effectively reduces field curvature, astigmatism and, in combination with two ED (Extra-low Dispersion) glasses, reduces colour distortion. Additionally, floating focus provides outstanding resolution at every zoom position. Nano AR (Anti Reflection) coating drastically reduces flare and ghost phenomenon. Excellent operability with three independent rings, remote control from the camera, and a detachable servo zoom The new E-mount lens further offers accurate and precise operability thanks to three independent rings for focus, zoom and iris that content creators can manipulate so they get the exact results they desire. The linear response Manual Focus (MF) feature provides precise manual focusing action. The focus ring with a large rotation angle comes with a distance scale, which makes it possible to quickly and easily set the same focus position during scenes that need to be shot repeatedly. Used with compatible cameras such as FX9, remote controllers and supported smartphone applications, full-control of zoom/iris and focus can be operated from the camera. This drastically simplifies lens operation and give more opportunities to capture critical moments. The new range also supports numerous lens accessories to facilitate a variety of different shooting styles. The industry standard 0.8 mod. (32 pitch) gears on each lens ring provides the option to use standard follow focus. Equally, widely-available 115mm diameter matte box and lens support can be used to aid accurate, responsive and precise operability. Additional functions include a de-clickable iris ring, the option to reverse the rotation direction of the zoom ring to be fitted with user’s preference and detachable servo zoom that provides smooth zooming expression. The new 16-35mm (FE C 16-35mm T3.1 G) will be available from April 2020 onwards.