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Sony's new PXW-FX9 6K2 Full-Frame sensor camcorder

Sony today unveiled the PXW-FX9 at IBC, its first XDCAM camcorder featuring an advanced 6K2 Full-Frame sensor and Fast Hybrid Auto Focus (AF) system. The new flagship camcorder offers content creators greater creative capabilities to capture stunning images that truly resonate with audiences. Building on the success of the PXW-FS7 and PXW-FS7M2, the FX9 uniquely combines high mobility with an advanced AF system, impressive bokeh and slow-motion capabilities thanks to its newly-developed sensor. The FX9 also inherits its colour science and Dual Base ISO 800/4000 from the VENICE digital motion picture camera and represents the ultimate tool of choice for documentaries, music videos, drama productions and all-round event shooting. The FX9 was designed in close collaboration with the creative community and is another example of Sony continuously evolving its proposition to innovate with the customer and market needs. The camcorder benefits from the versatility, portability and performance expected of an FS7 series "Run & Gun" style camcorder, while also offering High Dynamic Range and Full Frame shooting features. “Today’s content creators require a camcorder that is agile, versatile and customisable to their specific creative needs, yet also offers superior performance and image quality. With the new FX9 we are striking the perfect balance between agility, ergonomics and powerful features, offering content creators the complete toolset to achieve their full artistic intention,” explained Anthony Kable, Content Creation Group Manager, Sony Australia. “At Sony, we consistently listen to our customers and every product, solution or service we unveil has always been developed with their specific needs in mind. Our latest flagship camcorder is no different and we are excited to see how it will help content creators to go make tomorrow." Powerful features for creative content creators The newly-developed 6K Full-Frame sensor offers wide dynamic range with high sensitivity, low noise and over 15 stops of latitude that can be recorded internally in 4K 3 4:2:2 10bit. Oversampling by the Full-Frame 6K sensor allows professionals to create high-quality 4K footage with impressive bokeh effects through shallow depth of field, while wide-angle shooting opens new possibilities for content creators to express their creativity. This means that every scene captured looks true-to-life whether it’s shot in broad day light or in the middle of the night. The camcorder can also capture content up to five times the slow-motion speed with FHD 120fps shooting. With the same colour science and Dual Base ISO 800/4000 as the VENICE camera, the new sensor can also create softer and more alluring facial tones. The enhanced Fast Hybrid AF system with customisable AF transition speeds and sensitivity settings also combines phase detection AF for fast, accurate subject tracking with contrast AF for exceptional focus accuracy. The dedicated 561-point phase-detection AF sensor covers approximately 94% in width and 96% in height of imaging area, allowing consistently accurate, responsive AF tracking, even with fast-moving subjects while maintaining shallow depth of field. Limitless creativity and flexibility Inspired by the high mobility "Run & Gun" style approach from the FS7 series of camcorders, the FX9 offers content creators even greater flexibility thanks to Electronic Variable ND Filter. This allows more creative effects for content creators and instant exposure level changes depending on the filming environment – even when it’s moving from an inside space to outdoors or while filming in natural light conditions. By recording image stabilisation information and using it on the Catalyst Browse/Prepare4 option, content creators can capture incredibly stable visuals even in handheld mode. Sony is also working to encourage other third-party non-linear editing tools to adopt this functionality. The FX9 comes with a range of customisations and expansion features. These include compatibility with the new UWP-D series of wireless microphones via Multi Interface Shoe™ (MI Shoe) with digital audio interface, the XDCA-FX9 extension kit enabling 10bit S35 4K 120fps and 16bit RAW output5, compatibility with Sony BP-GL and BP-FL series batteries, D- Tap, RJ-45 interface and stable “Dual Link” streaming by using two carrier lines, as well as DWX slot-in type digital wireless receiver commonly used in broadcast environments5. The FX9 will also be compatible with the newly launched E-mount lens FE C 16-35mm T3.1 G, which uniquely balances full manual operability for movie shooting and auto-control functions. “Based on our ongoing conversations with customers, partners and the wider industry, we at Sony understand the needs of today's creative storytellers - from the world's top cinematographers, to documentary film makers, music video directors or broadcasters. What they all need is a flexible camera that allows them to tell their own unique story, no matter the environment they operate in. Our next-generation FX9 not only captures stunning visuals with life-like image quality, but it also offers advanced AF features and customisation options. This makes it the ultimate creative tool for modern content creators,” concludes Kable. The FX9 will be available towards the end of 2019

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New Blackmagic Videohub Master Control Pro

Videohub Master Control Pro, is a newly designed router control panel that allows spin knob scrolling of all router sources and destinations as well as direct button entry of any router crosspoint. The new Videohub Master Control Pro provides a built in LCD with easy to read anti aliased graphic labels for full access to every single cross point on the largest 288 x 288 Videohub routers. Videohub Master Control Pro will retail for AU$1,155. Videohub Master Control Pro allows for very flexible control because it has two main methods for changing cross points on Videohub routers. The simplest way to use Videohub Master Control Pro is for customers to simply select either destination or source and then scroll through all the cross points in the router using the larger knob on the right side of the panel. The built in LCD shows cross points as the user scrolls using large easy to read labels, and scroll order is based on alphabetical order of crosspoint labels so it’s easy to scroll to the crosspoint the customer requires even on a very large router. Videohub Master Control Pro also includes direct entry of cross point labels via built in buttons. These buttons are a combination of customizable buttons as well as numeric buttons. Customers can easily set the customizable buttons to labels such as “Monitor”, “Deck” or “Edit” etc, and then router cross points can be entered in by simply pressing the custom button followed by the number. For example if a customer wanted to enter in the destination “Monitor 3” then they only need to select the customized Monitor button followed by the 3 button. This means Videohub Master Control Pro gives customers full access to very large routers, but is still very fast to use. Direct entry buttons also allow limiting the scroll list when using the spin knob. For the above example, if the user presses the Monitor button, then the list available to the spin knob would be limited to any cross point labeled Monitor. The user can then type in 3 to select monitor 3 as in the example above, or just scroll through all the monitor labels and select Monitor 3 via the spin knob. Videohub Master Control Pro is still low cost enough so every user in a facility can afford to install one, and they can be positioned anywhere needed so everyone has easy access to changing router cross points. Videohub Master Control Pro features a new machined metal design with attractive RGB illuminated crystal look buttons combined with an attractive color LCD for status and machined aluminum knob for scrolling cross points. This makes Videohub Master Control Pro one of the most attractive router control panels on the market. Blackmagic Design believes that even though routers are technical by nature, there is no reason why they have to be ugly. We believe that with the new Videohub Master Control Pro customers will see a dramatic improvement in ease of routing and a more pleasant user experience. Videohub Master Control Pro has been designed to be easy for customers to self install. It uses standard ethernet networking and simply plugs into the existing computer network. If used in mission critical environments, Videohub Master Control Pro could be connected to a dedicated switch. Videohub Master Control Pro can be powered via power over ethernet (PoE) without the need for a power supply. Because Videohub Master Control Pro has been designed to fit into creative post production facilities, it includes attractive crystal look buttons that are designed for high reliability. The button caps can be removed from the front to allow custom labeling of the buttons. For world’s best illumination quality, all buttons are illuminated by RGB LEDs so that a wider range of rich and clean colors can be displayed. When used in dark rooms, all buttons can be backlit, so button labels can be clearly seen. “We have been asked for a new more stylish designed router control panel for our popular Videohub routers, We think we have a fantastic solution that will make all of our customers extremely happy!” said Grant Petty, CEO, Blackmagic Design. “It looks wonderful and I am so excited by its clean, simple and attractive design, plus the best part is Videohub Master Control Pro is low cost so we can place them everywhere. You have to see this working to really understand how fast that makes router control. It’s incredible and it's fun too!” Videohub Master Control Pro Features • Ethernet connection with Power over Ethernet and non powered loop through. • 110-240V volt power connection included for use with not powered by Ethernet. • Full access to every cross point on routers via direct entry or spin knob scrolling. • Spin knob allows customers to scroll through router labels in alphabetical order. • Direct button entry allows router labels to be typed in, or to limit to a scrolling list. • Supports optional “take” button set via software configuration. • Includes Mac and Windows software for control panel programming. • Button caps can be removed for easy labeling. • Buttons are illuminated by RGB LEDs for highest illumination quality. • Compact 1 rack unit size, less than three inches deep. • Works with all Videohub models. Availability and Price Videohub Master Control Pro will be available in November 2019 for AU$1,155.

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Sony's new PXW-Z750 4K 2/3-type camcorder

Sony announced the PXW-Z750, the world’s first 2/3-type shoulder camcorder to support 4K shooting with a 3-chip CMOS sensor system. The latest member of the XDCAM family is optimised for news and live production applications including sports broadcasts, magazine shows, unscripted television, and documentary shooting. Sony’s premier 3-chip CMOS image sensor system is mounted on a wide prism block to ensure detailed imagery and vivid colours, along with 4K, High Dynamic Range (HDR) and High Frame Rate (HFR) acquisition with high sensitivity with low noise. Its 2/3-type sensor delivers imagery with deep depth of field and enables quick focus operation. B4 mount lens can be attached directly to maintain high sensitivity and resolution. The PXW-Z750 is also the first 2/3-type 3-chip camcorder equipped with global shutter technology for capturing clear and crisp images while negating artefacts such as flash band and rolling shutter distortion. This makes the camera an ideal tool for shooting in uncontrolled lighting conditions, as well as for capturing quickly moving objects and action often associated with sports, live events and nature videography. As a result of industry demand and adoption, the camera supports HFR for HD, up to 120fps, to minimise blur or distortion. HD images are generated through 4K oversampling, resulting in clear images with minimal noise. Maximised flexibility in HDR operation The PXW-Z750 also features maximum HDR operation. The camera supports S-Log3 / HLG and employs BT.2020 and BT.709 colour spaces. Leveraging the PXW-Z750’s 4K/HD simultaneous recording feature, users can enjoy the benefits of 4K HDR and HD HDR at the same time. Additionally, the camera accommodates Sony’s SR Live for HDR, supporting simultaneous recording of 4K HDR and HD SDR to meet various demands. “Our cutting-edge new PXW-Z750 flagship model expands Sony’s lineup by bringing the most transformational visual elements – including 4K, HDR and HFR – into a portable and ergonomic package,” said Anthony Kable, Content Creation Group Manager, Sony Australia. “We’re meeting the demands of producers by delivering a robust 4K platform with global shutter 4K image sensor. The camcorder can be further enhanced to create an even more comprehensive Sony’s solution when paired with our audio, media and wireless workflows.” The PXW-Z750 incorporates encoding algorithms for optimising HDR recording, as well for recording 4K sequences. The camera supports XAVC-L for long-GOP QFHD 10bit 4:2:2 at 200Mbps, allowing large volumes of captured data to be compressed to approximately 1/3 in size when compared to XAVC-I Class 300 1. XAVC-L does this while maintaining its high quality, high resolution 4K imagery and wide dynamic range. Another powerful feature is 12G-SDI support, which enables the transfer of 4K images (50p or 60p) over a single BNC cable, enhancing the flexibility of the camera. Seamless integration with Sony’s hardware and service The camera supports a range of complementary accessories and options to suit users’ needs, preferences and budget, while offering expanded interoperability. Sony’s high-quality wireless audio solutions and shotgun mics, including the latest DWX series digital wireless microphone system; the new slot-in receiver DWR-S03D and bodypack transmitter DWT-B30 are compatible with the camcorder. Advanced integration with the DWX series includes synchronised power on/off, control by menu settings or assignable buttons and audio information on the viewfinder. Paired with Sony’s newest durable SxS PRO X cards, the SBP-120F (120GB) and SBP-240F (240GB), ultra-fast transfer speeds of up to 10 Gbps are supported, allowing the camera to capture high bit rate content. When the new cards are used in conjunction with the new reader/writer, SBAC-T40 equipped with Thunderbolt™ The camcorder also supports B4 mount lenses, enabling use with a wide range of in-market and new lens solutions. B4 mount lenses offer a range of focal lengths tailored to suit the needs of unscripted and news shooting environments. The PXW-Z750 also supports several viewfinder and battery solutions. In addition to hardware integrations, the PXW-Z750 has built-in wireless network features and supports XDCAM air, Sony’s cloud-based workflow service for news production that offers streaming from the field and the efficient file clips management. The PXW-Z750 is planned to be available in February 2020.

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Blackmagic RAW 1.5 Update and more from Blackmagic Design at IBC2019

The New Blackmagic RAW 1.5 Update Blackmagic Design has announced Blackmagic RAW 1.5 a new software update with support for Adobe Premiere Pro and Avid Media Composer, plus Blackmagic RAW Speed test for Mac, PC and Linux, so customers can work on a wider range of platforms and editing software with their Blackmagic RAW files. ​The new Blackmagic RAW 1.5 update includes Blackmagic RAW Speed Test which is now available on Windows and Linux for the first time. Blackmagic RAW Speed Test is a CPU and GPU benchmarking tool for testing the speed of decoding full resolution Blackmagic RAW frames on their system. Multiple CPU cores and GPUs are automatically detected and used during the test so that customers get accurate and realistic results. Simply select Blackmagic RAW constant bitrate 3:1, 5:1, 8:1 or 12:1 and the desired resolution to perform the test. Results are displayed in an easy to read table that shows how many frames per second the computer can decode for all supported resolutions. ​​​Blackmagic RAW 1.5 is available for download now from the Blackmagic Design website.

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New Blackmagic Video Assist 12G

Blackmagic Design announced the new Blackmagic Video Assist 12G with two new models of the company's popular combined monitoring and recording solutions. These new models feature brighter HDR screens, built in scopes, upgraded batteries, 12G-SDI and much more. The new Blackmagic Video Assist 12G HDR adds professional monitoring and recording to any SDI or HDMI camera in all HD, Ultra HD, 2K and 4K DCI formats. The new improved design includes innovations such as brighter screens for HDR work, tally indicator, 4 built in scopes, enhanced focus assist features, 3D LUTs and native Blackmagic RAW recording from supported cameras. With 12G-SDI and HDMI 2.0 on both 5" and 7" models, customers get support for recording from virtually any device in all formats up to 2160p60. A brighter touch screen ensures a better view of their recording when shooting HDR digital film, or when shooting outdoors in sunlight. The new design also features upgraded batteries and supports two standard Sony L-Series batteries. This means Blackmagic Video Assist 12G is incredibly versatile and is the perfect solution for the next generation of digital cinema shoots, live production mastering, broadcast testing and measurement. There are two models of Blackmagic Video Assist 12G, with each model including an innovative touch screen user interface with deck controls, as well as a large screen to view recordings. The Blackmagic Video Assist 7" 12G model also includes 2 media slots, while both the 5" and 7" models include 12G-SDI for high frame rate Ultra HD, analog inputs for audio, USB-C external disk recording, plus a front panel speaker and side mounted headphone jack. Customers also get 2 rear battery slots for mounting Sony L-Series batteries, so customers have enough power for the brighter HDR screens and higher speed Ultra HD electronics. A 12v universal power supply is included for studio or on location use. Blackmagic Video Assist 12G HDR is an ideal upgrade for cameras, as it’s super bright 2500nit 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. No matter what editing software customers use, Video Assist lets customers support them all, as customers can record in Apple ProRes, Avid DNx and Blackmagic RAW. With both HDMI and 12G-SDI inputs customers can connect it to any consumer camera, broadcast camera or even DSLR cameras. Then, on supported cameras, customers can even upgrade to RAW style workflows with Blackmagic RAW. 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 image swipe to jog. The LCD includes a heads up display of timecode, video standard, media status as well as audio meters. Scopes can be enabled via the touch screen as well as focus and exposure assist. Plus customers can load and save 3D LUTs. 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 12G 7" model even includes 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. If recording to other media types is required, then the USB-C Expansion port lets customers plug in an external flash disk for recording. Imagine adding a Blackmagic MultiDock 10G for easy SSD compatibility with other recorders such as Blackmagic HyperDeck models. Customers even get on screen menus for managing external disks using the touch screen. Video Assist features a wide range of video and audio connections such as multi-rate 12G-SDI for SD, HD, and Ultra HD SDI devices. HDMI is included for HDMI cameras and monitoring to consumer televisions and video projectors. The 7 inch 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 with locking power connector. Customers will be ready for the latest HDR workflows with support for the latest HDR standards and an extremely bright screen with a wide color gamut. Plus the high brightness screen makes outdoor shooting in bright sunlight possible. The built in scopes even change to HDR scopes when working in HDR formats. Files are tagged with the correct HDR information then SDI and HDMI inputs will also automatically detect HDR video standards. Static metadata PQ and HLG formats are handled according to the ST2084 standard. The bright LCD has a wider color gamut so it can handle both Rec. 2020 and Rec. 709 colorspaces. The built in Video Assist LCD color gamut can even handle 100% of the DCI-P3 format. Video Assist features full internal waveform monitoring so customers can ensure compliance to broadcast standards and it also works great as a portable waveform monitoring solution. The waveform display provides a traditional luminance (brightness) levels view of the video inputs or the playback signal. The vectorscope display allows customers to see the intensity of color at 100% SDI reference levels. Customers also get an RGB parade display which is ideal for color correction and checking for illegal levels. Histogram shows the distribution of white to black detail in their images and highlights or shadows clipping. The built in scopes can even be overlaid on live video, or as a small picture in picture view at the top right of the scope. The SDI and HDMI connections are multi-rate, so handle SD, HD, and Ultra HD. SD formats include NTSC and PAL. 720p HD standards include 720p50 and 59.94p. 1080i HD interlaced formats include 1080i50 and 59.94. 1080p HD formats include 1080p23.98, 24, 25, 29.97, 30, 50, 59.94 and 60p. Customers can even do 1080 PsF formats. Ultra HD is supported up to 2160p59.94. Customers can even record 2K and 4K DCI rates up to 25p for digital film work. 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, Film to Rec.2020 and more. Video Assist records using standard open file formats so customers don’t have to waste time transcoding media. 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 when connected to supported cameras. Best of all media files work on all operating systems. Blackmagic RAW is a revolutionary new format designed to capture and preserve the quality of the sensor data from cameras. Video Assist supports Blackmagic RAW recording from popular cameras such as Panasonic EVA1 and Canon C300 MK II. This eliminates the problems with popular camera formats such as H.264, which are highly compressed resulting in noise and processing artifacts. It also saves camera settings as metadata so customers can set ISO, white balance and exposure, then override them later while editing, all without any loss of quality. Blackmagic RAW files are also small and fast to use making them easy to work with. Blackmagic Video Assist 12G includes a built in professional audio recorder thats much better quality than the audio quality 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 in real time. For connecting microphones the Video Assist 7" model has two XLR analog audio inputs with phantom power that support the high definition audio sample rate of 192 kHz at uncompressed 16 and 24 bit per sample. Customers can monitor using on screen audio meters with user selectable 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 12G are common and are compatible with all operating systems or in most video software. Media can be formatted using ExFAT or HFS+ so customers can easily access the media on computers and access the files like regular disks. DaVinci Resolve is perfect for use with Video Assist because it features editing, color correction, audio post production and visual effects all in one software application. "The original Blackmagic Video Assist monitors and recorders were very popular and a fantastic way to upgrade older cameras, as well as for use in general broadcast areas of the television industry," said Grant Petty, Blackmagic Design CEO. "These new models are an incredible improvement and incorporate all the lessons we have learnt from our customers in Hollywood. They have brighter LCD screens, 12G-SDI, Blackmagic RAW, better focus assist tools, presets, 3D LUTS and much more! They are so nice and it’s very exciting!" Blackmagic Video Assist 12G Features • Supports live production, digital signage and archive use. • Modern design with fast to use touch screen controls. • Upgrades cameras to better monitoring and better record codecs. • Large LCD screen for with digital film style focus assist tools. • SD/USH-II card support for commonly available media. • Records direct to external USB-C media disks. • 12G-SDI and HDMI for recording in SD, HD and Ultra HD. • Advanced HDR support with bright 2500nits wide gamut LCD. • Built in scopes include waveform, vector, parade and histogram. • Latest Multi Rate 12G-SDI technology for SD, HD and Ultra HD. • 3D LUTs can be applied for both monitoring and recording. • Standard open file formats compatible with popular software. • Records Blackmagic RAW from supported third party cameras. • Professional multi channel digital and analog audio. • Localized for 11 popular international languages. • Works with popular NLE software such as DaVinci Resolve. Availability and Price Blackmagic Video Assist 12G will be available in September 2019 from AU$1,315

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New Blackmagic Videohub Smart Control Pro

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

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

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

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Product Review: LitraTorch 2.0

News & DocumentaryPerfect for this!

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The baby fest continues at Videocraft with our third new arrival this year.

Lachie (Sydney Engineering) and his wife Lou have recently welcomed a gorgeous baby girl, Lily Isla, into their lives. Our congratulations and best wishes go to them both for producing such a precious bundle. Pretty sure this little lady will soon be a climber just like her mum and dad!

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A new Videocraft crew member has arrived.

We congratulate Penny (Projects) and Luke who are over the moon after welcoming a healthy little boy into their lives last Saturday. He is still waiting to be named, after surprising us all by arriving three weeks early. Weighing in at 3.080 kg (6lb 8oz), this divine little man is Jeanette’s sixth grandchild and another welcome nephew for James. Needless to say, we are all very excited and wish Penny and Luke lots of happiness.

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

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

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New high-quality Sony UWP-D wireless microphone systems

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

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

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

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

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

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

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

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Avid Introduces All-New Media Composer

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

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

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

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

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

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Blackmagic Design Announces DaVinci Resolve 16

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

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Blackmagic Design Announces New HyperDeck Extreme 8K HDR

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

HyperDeck Extreme 8K HDR has an innovative touch screen user interface with deck controls as well as a large screen to view their recording. Then add a HyperDeck Extreme Control for traditional broadcast deck controls and a large shuttle knob that feels incredibly luxurious to use. Customers can even rack mount the HyperDeck and the controller. HyperDeck Extreme 8K HDR also includes 2 media slots, Quad 12G-SDI for 8K, analog connections for archiving, USB-C external disk recording, plus a front panel speaker and headphone jack. There's also an optional cache that eliminates dropped frames if their media becomes full or is too slow. Both AC and DC power connections are also included for studio or on location use. With its amazing versatility, HyperDeck Extreme 8K HDR is also great for live production as a master recorder, clip player and for recording ISO cameras. The analog inputs allow customers to record from old video tapes, so legacy programming can be used on the latest streaming services or for use in editing. Digital signage in 8K is easy with HyperDeck Extreme 8K HDR as it has 10G Ethernet for fast media uploads, plus it features a simple remote control protocol. Customers can even use it as a field recorder as it includes HDMI, SDI and analog inputs with built in scopes and 3D LUTs. The scopes also help customers QA masters to ensure compliance with broadcast standards before streaming and broadcast.
HyperDeck Extreme Control lets customers connect to legacy broadcast decks, set an in and an out point, then edit. Just add HyperDeck Extreme 8K HDR and HyperDeck Extreme Control to each legacy deck to keep them all archiving constantly with just one operator. It’s even possible to edit across formats by using Teranex Express to convert tapes from SD to HD in one step. Customers can control a wide range of decks, including Digital Betacam, 1 inch C format, and Betacam SP. The latest Quad Link 12G-SDI is included so it’s possible to record and playback in full resolution 8K for amazing quality. The SDI connections are multi-rate, so customers can use Quad Link 12G-SDI to get compatibility with other 8K products, or switch to SD, HD or Ultra HD using the single link 12G-SDI connection. To allow regular CFast cards to be recorded at high resolution 8K, HyperDeck Extreme 8K HDR uses modern H.265 files for 8K recording and playback. This means HyperDeck Extreme 8K HDR is perfect for connecting to the latest 8K televisions and projectors. The innovative touch LCD user interface provides incredible control. On screen, there are dedicated buttons for play, stop and record, plus a mini timeline for scrolling through their recordings. Customers can even image swipe to jog. The LCD includes a heads up display of timecode, video standard, media status as well as audio meters. Scopes can be enabled via the touch screen as well as focus and exposure assist. There's also an extensive range of settings all controlled from the large LCD. Plus customers can load and save 3D LUTs. Customers also get direct buttons for transport control, enabling the 3D LUT and remote enable. HyperDeck Extreme Control extends their HyperDeck Extreme 8K HDR to add traditional broadcast deck controls. It works like a traditional broadcast deck with a familiar layout. Customers can control up to 8 decks via industry standard RS-422 control. Customers can even rack mount to the HyperDeck Extreme 8K HDR to create a single "broadcast deck" unit. Because it uses standard RS-422, customers can control old broadcast decks and perform edits using set in and out points. That's perfect for archiving work. Plus customers can even edit between frame rates if standards converting between formats. CFast media support allows customers to record to commonly available flash memory cards. The H.265 files are small enough to allow long recordings on standard CFast cards. Plus there are 2 CFast card slots so customers can swap out any full cards even during recording, allowing infinite length recording. CFast cards are perfect for broadcast because they are small, high speed and affordable. With H.265, customers can record 498 minutes at 8Kp60 on a 1 TB card, 1,059 minutes in 2160p60 Ultra HD and 2,354 minutes in 1080p59.94 on a 1 TB card. That’s over 8 hours in 8K and over 39 hours in HD. If recording to other media types is required, then the USB-C Expansion port lets customers plug in an external flash disk for recording. Adding a Blackmagic MultiDock 10G also makes it easy to use SSDs for compatibility with other HyperDeck models. Customers even get on screen menus for managing external disks using the touch screen. Sometimes their media can fill before customers change to a blank card, or if the card is too slow, then customers can get dropped frames in their recording. To eliminate this problem, customers can install a PCIe flash disk into HyperDeck Extreme 8K HDR to use as a record cache. This eliminates problems with CFast media or external disks, as the cache will automatically take over and record any content the media could not capture. Even if a card fills, recording will continue to the cache until it’s swapped. The cache even lets customers record formats that are too fast for the media card or external disk. HyperDeck Extreme 8K HDR features a wide range of video and audio connections such as multi-rate Quad Link 12G-SDI for SD, HD, Ultra HD and 8K SDI devices. The 12G-SDI outputs support fill and key when playing RGBA 4:4:4:4 files. HDMI is included for consumer televisions and video projectors. For archiving work, HyperDeck also includes both balanced analog, HiFi audio plus timecode connections. For monitoring there's even a down converted monitor SDI output that includes overlays. The latest 10G Ethernet is included for high speed upload using FTP protocols. Customers will be ready for the latest HDR workflows with support for the latest HDR standards and an extremely bright screen with a wide colour gamut. The built in scopes even change to HDR scopes when working in HDR formats. Files are tagged with the correct HDR information then SDI and HDMI inputs will also automatically detect HDR video standards. Static metadata PQ and HLG formats are handled according to the ST2084 standard. The bright LCD has a wider colour gamut so can handle both Rec. 2020 and Rec. 709 colorspaces. The built in HyperDeck Extreme 8K HDR LCD colour gamut can even handle 100% of the DCI-P3 format. HyperDeck Extreme 8K HDR features full internal waveform monitoring so customers can ensure compliance to broadcast standards when used on high end work. The waveform display provides a traditional luminance (brightness) levels view of their input or playback signal. The vectorscope display allows customers to see the intensity of colour at 100% SDI reference levels. Customers also get RGB and YUV parade displays which are ideal for colour correction and checking for illegal levels. Histogram shows the distribution of white to black detail in their images and highlights or shadows clipping. The built in scopes can be overlaid on live video, or as a small picture in picture view at the top right of the scope. The SDI and HDMI connections are multi-rate, so handle SD, HD, Ultra HD and 8K. SD formats include NTSC and PAL. 720p HD standards include 720p50 and 59.94p. 1080i HD interlaced formats include 1080i50 and 59.94. 1080p HD formats include 1080p23.98, 24, 25, 29.97, 30, 50, 59.94 and 60p. Customers can even do 1080 PsF formats. Ultra HD is supported up to 2160p59.94. 2K and 4K DCI rates are available up to 25p. 8K standards are included at 4320p23.98, 24, 25, 29.97, 50, 59.94 and 60p. 8K has 4 times as many pixels as Ultra HD so HyperDeck Extreme 8K HDR uses H.265 files for 8K recording to reduce costs and make working with 8K files easy. H.265 files are extremely small and range from 60:1 to 285:1 compression ratios which means much lower file sizes. Customers can use H.265 for all 8K, Ultra HD or progressive HD formats. HyperDeck Extreme 8K HDR even supports ProRes 422 HQ, ProRes 422, ProRes 422 LT for recording and playback plus ProRes 4444 for playback to fill and key out. HyperDeck Extreme 8K HDR includes professional audio for modern broadcasters or archiving from older broadcast decks. When working in SDI formats, customers can record 2, 4, 8 or 16 channels of audio in real time. For capturing legacy programming there are 4 XLR analog audio inputs that let customers record all 4 channels from Betacam SP decks. Customers can monitor using 4 on screen audio meters with user selectable VU or PPM ballistics. For consumer devices such as VHS, DVD and set top boxes, there are also direct HiFi audio inputs. HyperDeck Extreme 8K HDR might be the latest in 8K technology, however, the analog connections have also been designed to low noise and low distortion broadcast specifications. Multiple languages are fully supported so customers don't need to learn another language to use it. Support is included for English, Chinese, Japanese, Korean, Spanish, German, French, Russian, Italian, Portuguese and Turkish. With 10G Ethernet, HyperDeck Extreme 8K HDR is perfect for digital signage because remote uploads are extremely fast. All models use an easy text based protocol plus customers can use Telnet to test control commands. To upload media files remotely, customers can use FTP, or even use simple FTP client software. When the ethernet protocol and FTP is used with large USB-C disk arrays, HyperDeck Extreme 8K HDR becomes a great broadcast server for ingest, media management and play out. There's a wide range of Blackmagic Design products customers can use with HyperDeck Extreme 8K HDR, including the HyperDeck Extreme Control for adding traditional broadcast deck controls. Plus it uses the industry standard RS-422 deck control protocol so it works with any broadcast deck. It's possible to add the new Blackmagic MultiDock 10G to use regular SSDs for compatibility with media from other HyperDeck models. HyperDeck Extreme 8K HDR is also a perfect mastering recorder with the new ATEM Constellation 8K, or for clip playback and ISO reordering. For monitoring, the Teranex SDI to HDMI 8K allows broadcast monitoring on a television and it also has monitor calibration, 3D LUTs and on screen scopes. The files from HyperDeck Extreme 8K HDR are common and are compatible with all operating systems or in most video software. Media can be formatted using ExFAT or HFS+ so customers can easily access the media on computers and access the files like regular disks. DaVinci Resolve is perfect for use with HyperDeck because it features editing, colour correction, audio post production and visual effects all in one software application. "We think the new HyperDeck Extreme 8K HDR will offer customers a whole new generation of technology while enabling a new wave of 8K production," said Grant Petty, Blackmagic Design CEO. "Even if customers don't need 8K, we think this new HyperDeck has so many features, it will become the centerpiece of live production, digital signage and broadcast!" HyperDeck Extreme 8K HDR Features • Supports live production, digital signage and archive use. • Supports legacy program ingest for streaming. • Record and playback in full resolution 8K. • Large LCD screen for with touch user interface. • Optional traditional broadcast deck controls. • Dual CFast media cards for non stop recording. • Records direct to external USB-C media disks. • Optional media cache eliminates dropped frames. • Quad Link 12G-SDI for 8K, HDMI and legacy analog connections! • Advanced HDR support with bright wide gamut LCD. • Built in scopes include waveform, vector, parade and histogram. • Latest Multi Rate 12G-SDI for SD, HD, Ultra HD and native 8K. • Standard H.265 and ProRes files for wide compatibility. • Professional multi channel digital and analog audio. • Localized for 11 popular languages. • 10G Ethernet for extremely fast remote media upload. • Traditional RS-422 broadcast deck control. • Compatible with new ATEM Constellation 8K switcher. • Works with popular NLE software such as DaVinci Resolve. Availability and Price HyperDeck Extreme 8K HDR will be available in June 2019 for AU$7,585.

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Blackmagic Design Announces New Blackmagic MultiDock 10G

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

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