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Blackmagic Design Announces Fusion 16 Studio
Dramatically improved GPU accelerated performance for 3D, tools, trackers,masks and more! Fusion 16 Studio is a major new upgrade that brings all of the improvements made to Fusion built into DaVinci Resolve available to VFX artists using the standalone version of Fusion Studio! Fusion 16 Studio public beta is available for download now from the Blackmagic Design web site. Fusion 16 Studio is a major upgrade that brings all of the improvements made to Fusion inside of DaVinci Resolve to the standalone version of Fusion. Customers get an updated and more modern user interface, along with dramatically faster performance. All 3D operations are GPU accelerated, making Fusion much more responsive and interactive. In addition, there are dozens of GPU accelerated tools such as time effects, dissolves, stereo 3D tools, vector motion blur, corner positioning, colour tools and more. B-spline and bitmap mask operations are accelerated, as are the planar and camera trackers. Improved memory management makes large compositions with high tool counts more reliable, making Fusion 16 dramatically faster and more stable than ever before. "Fusion 16 is the biggest update we’ve ever released for Fusion software," said Grant Petty, Blackmagic Design CEO. "It features an updated user interface and enhanced toolset developed by the larger DaVinci Resolve engineering team during the last 12 months. What’s even more exciting are the massive performance and reliability improvements customers get from the GPU acceleration of all 3D operations, dozens of tools, trackers, masks and more! I think it’s very clear to see the benefits of a much larger engineering team now working on Fusion." Availability and Price Fusion 16 Studio public beta is available now for download from the Blackmagic Design web site www.blackmagicdesign.com.
Blackmagic Design Announces New ATEM Constellation 8K
Powerful 8K switcher with 8K DVE, standards converted 8K inputs, 8K SuperSource, 8K chroma key and 8K MultiView! The new ATEM Constellation 8K is an Ultra HD live production switcher with so many features, that customers can combine them all to make an incredibly powerful 8K switcher. Customers get 4 M/Es, 40 x 12G-SDI inputs, 24 x 12G-SDI aux outputs, 4 DVEs, 16 Keyers, 4 media players, 4 multiviewers, 2 SuperSource and standards conversion on every SDI input. Then when switched to 8K, all these features combine to make a powerful 8K switcher. ATEM Constellation 8K features a compact 2RU rack mount design with a built-in control panel. This allows operation of the switcher, critical during setup or for emergency use. Also included is a large LCD so customers can see program output and change switcher settings via on-screen menus. Although only 2RU size, the rear of the switcher has a massive 40 x 12G-SDI inputs, 24 x 12G-SDI aux outputs, plus balanced audio, Ethernet, RS-422 control and MADI digital audio extra inputs to the internal Fairlight audio mixer With a built-in control panel, customers can simply walk up and take full control of ATEM Constellation at any time. Customers get incredible power with both PGM/PVW or cut-bus style operation. The buttons are the same premium type used on full-sized panels, and allow control of transitions, upstream/downstream keyers, media players and fade to black. But users are never limited, as the LCD menus also allow every single operational feature of the switcher to be accessed.
Blackmagic Design Announces New DaVinci Resolve Editor Keyboard
New premium keyboard with dedicated edit keys and search dial allows dramatically faster editing because customers can use 2 hands while operating. The DaVinci Resolve Editor Keyboard is a new premium keyboard for DaVinci Resolve that dramatically improves the speed of editing because it allows the use of 2 hands while editing so transport control and selecting clips can be done while performing edits. More than just a simple keyboard, the DaVinci Resolve Editor Keyboard has been designed as an alternative way to edit that’s much faster than a mouse because customers can simultaneously use both hands at the same time. Customers also get an integrated search dial built right into the keyboard. The all metal design is more robust because it’s been designed for professional editors who spend hours each day editing and demand a premium keyboard solution. Unlike modern keyboards with flat keys, the keys have a tiered profile so it’s easy to feel their way around. The key switches are the same type used by eSports keyboards and each key is certified for over a million operations. The integrated search dial is machined from solid metal and allows very precise transport and trimming control. Plus the keys caps, hand rest and key switches are all available as spare parts so the keyboard can be refreshed and repaired over time. The reason the DaVinci Resolve Editor Keyboard is so fast is customers can use both hands when editing. Unlike a mouse, customers can use their right hand to control the position in a clip, while their left hand is setting in and out points as well as applying edits. This means customers can move, mark in and out points, apply an edit, then move again, repeatedly, one after the other, again and again. It’s an extremely fast way to work, using both hands at once. The integrated search dial is machined metal with rubber coating so it feels very nice to use and customers always feel they have a solid control over DaVinci Resolve’s clip or timeline. There's an integrated electronic clutch that creates end stops when used for shuttle and position, all under software control. With multiple roller bearings, the search dial is very smooth and it can be spun in jog mode to allow a natural timeline scroll. Entering edit points is one of the most used functions in editing, so we designed the in and out point buttons larger in size, and to include a small space above to allow locating them by feel. That helps customers when doing transport control with their right hand and punching in and out points using their left hand. Then once the in and out points are set, they just reach their fingers up to the edit buttons. The editing functions are located just above the in and out keys, to allow a simple movement of their fingers to activate the edit customers require. Because editing with a keyboard is quite different to editing on a computer’s user interface, the editing functions have been optimized to take advantage of the speed of a keyboard. Most edits can be performed on the source clip without needing to place edit points on the timeline itself. That's much faster as it eliminates time wasted switching between source and timeline. The edit points can automatically locate the nearest timeline edit, or even match timecode. A good example is smart insert, which locates the nearest edit and inserts at that point. With a high-quality search dial built in, customers get an extremely accurate and fast way to do trimming of edit points. Using roll trimming is easy and is operated by pressing and holding one of the roll buttons, depending on the type of trim customers need to do, while then rotating the search dial. The cut key will remove any transition on an edit point and leave it as a simple edit between the 2 clips. Pressing dissolve will add a 1-second dissolve between the two clips, and using roll duration will set the desired transition length. There's also a smooth cut button to allow jump cuts to be removed at the press of a button. The new DaVinci Resolve Editor Keyboard also includes a revised qwerty key layout that’s been updated using feedback from professional editors. However customers still get all the traditional editing features for both the cut and edit pages in DaVinci Resolve, so the core qwerty part of the keyboard still operates in a familiar way. All the standard edit modes are included on the main keyboard. But customers still get new features in the revised layout, such as a viewer button to allow instant change to full-screen view, and it’s even possible to edit from the keyboard in full-screen view. When entering edit points and durations numerically, there's a keypad specifically designed for timecode entry. The F/TC button allows switching between timecode or frames. Just press the F/TC button and entry changes to frames. When typing longer timecode values, there's also a double zero button so customers don't have to press the standard zero key as often. The plus and minus keys allow time values as offsets to current values vs absolute entry. "We think this is an incredibly exciting product as it has such dramatic workflow ramifications," said Grant Petty, Blackmagic Design CEO. "For years, linear editing was considered old fashioned, and now we have harnessed these benefits for modern linear editing for the first time. I cannot believe no one else has thought about this before and we have been shocked at the speed we can perform editing when using 2 hands on the new DaVinci Resolve Editor Keyboard!" DaVinci Resolve Editor Keyboard Features • All metal design for increased strength. • Enables faster editing than possible on NLE software. • Integrated search dial control. • Source tape allows faster clip searching. • Buttons to instantly re-sort bins. • Large trim in and out buttons. • New keyboard modes for intelligent editing. • Buttons to allow search dial to live trim. • Buttons to change transition type. • Improved DaVinci Resolve keyboard shortcuts. • Keypad for direct timecode entry. • Can be installed into a hole cut out in edit consoles. Availability and Price DaVinci Resolve Editor Keyboard will be available in August for AU$1,515
Blackmagic Design Announces New Blackmagic Pocket Camera Battery Grip
New camera grip attaches to any Blackmagic Pocket Cinema Camera 4K and holds 2 L-Series batteries for over 2 hours of non-stop shooting! The Blackmagic Pocket Battery Grip is a new battery adapter that features a slide-out tray designed to hold two L-series batteries. This allows customers to power external flash disks or run the camera for over 2 hours of record time before charging. Designed for the Blackmagic Pocket Cinema Camera 4K, the new Pocket Camera Battery Grip lets customers replace the camera’s standard LP-E6 battery with two L-series batteries so they can shoot for over 2 hours on a single charge. It’s perfect for anyone that needs to shoot for extended periods of time. Featuring a unique carbon fibre design, non-slip hand grips, and a slide-out tray that holds 2 L-series batteries, the Pocket Camera Battery Grip also makes it easier to hold the camera on longer shoots. L-Series batteries are standard batteries used for a variety of professional lighting equipment, so they’re readily available. Customers can even charge the batteries in the grip via the camera’s 12V DC connection in between takes. Unlike traditional external battery packs that hang off the side of the camera, the Pocket Camera Battery Grip has a unique design that makes it part of the Blackmagic Pocket Cinema Camera 4K. Simply remove the detachable LP-E6 battery door cover from the camera, slide the pocket grip in and lock it into place. There’s even a storage slot built into the grip for the battery door cover. Because the Pocket Camera Battery Grip becomes part of the camera, customers get larger non-slip hand grips that make holding the camera even easier. Best of all, there’s no extra gear hanging off the camera so customers still have a compact camera that can go anywhere. "The Blackmagic Pocket Cinema Camera 4K has been received incredibly well by our customers because it’s not a dumbed down consumer product, but it is a true digital film camera with incredibly advanced features generally only found on the most expensive cameras available," said Grant Petty, Blackmagic Design CEO. "The new Pocket Battery Grip is exciting because it lets you power external flash disks allowing customers to record to the disk used for editing. It will even power the camera for over 2 hours on a single charge. As it’s designed to integrate into the camera's design, it’s more comfortable to hold the camera on longer shoots. Unlike regular external battery packs that hang off the camera, the Pocket Camera Battery Grip is integrated into the camera's design itself, so it doesn’t add a lot of weight and it fits perfectly!" Availability and Price Blackmagic Pocket Camera Battery Grip will be available in August for AU$385
Atomos launches new Shinobi SDI is a 5" Monitor supporting both HDMI and SDI inputs
Atomos Shinobi SDI is a lightweight HDR field monitor for the video professional who needs the flexibility of both HDMI and SDI camera connectivity. Connect 4K HDMI for HDR viewing or SDI for HD-SDI loop out. Run cables between Shinobi SDIs up to 100m without degradation of image allowing directors, crew and clients to see what the camera operator is seeing in stunning detail. Shinobi SDI's high brightness 1000nit 5-inch monitor lets crew members preview and see images exactly as intended in any lighting condition, in SDR or HDR. Shinobi SDI is the ultimate monitoring tool in your video production arsenal that won’t break the bank. Product Features of the Atomos Shinobi 5” SuperAtom IPS LCD • Stunning 1000nit calibrated anti-reflection, anti-fingerprint AtomHDR screen for clear daylight viewing with 10+ stops dynamic range • Punch in zoom with 4:1, 2:1 & 1:1 • 1000Nits / cdm2 HDR / Daylight viewable • 427 PPI - even higher than Apple's Retina Display • Calibrated out of the box with support with Xrite Calibration • 10bit Inputs and Image processing • 100% of Rec709 calibratable display Inputs • 1.4b HDMI input • 1 x HD-SDI 1 3G/1.5G • Loop multiple Shinobi SDIs from HD SDI out to SDI devices like camcorders, switches and control rooms. On camera monitor for Photo and Video • Run for 5 hrs on a 5700mAh battery • AtomOS 10 – intuitive controls system • AtomHDR for log to HDR processing • 3D LUTs for customer creative LOOKs Download Full Spec Sheet HereAtomos-ShinobiSDI_Infosheet-March2019 To view pricing information or to put in your pre-order for this product click here to see the Atomos Shinobi in our online store
Baby Billy joins Videocraft!
Congratulations to Kim (purchasing) and her partner Ant who have welcomed little Billy into their family. Billy was born on 21st Feb weighing just over 7lbs 1oz and has settled in at home to lap up all the attention from his older siblings. We wish Kim an enjoyable maternity break to spend time with the gorgeous new addition to her family!
Sony Professional: XAVC – what is it?
XAVC is a open standard codec that is riddled with flexibility in image quality, colour space and coping with variable frame rates offered by cameras. Whether you’re making news, music promos or even 4K movies, XAVC offers reduced bitrates and file sizes without sacrificing on-screen quality. It supports 8 and 10 colour depths, providing maximum dynamic range for colour correction and grading as well as a wide range of 4:2:2, and 4:2:0 sample structures , to enhance the colour grading process, increase creative control and flexibility. XAVC has been designed to support all current popular AV media resolutions, including 4K, QFHD, 2K, HD and SD as a proxy. Sony outlines XAVC on their you tube channel - and its across their full range of cameras so whether your working with F55 or even right down to a handheld camera like PXW-Z90 - this codec can make life a lot easier for your workflows.
Broadcast Brains visits the ABE2018 Show in Sydney
The Videocraft team headed out to the ABE Show at Doltone House in Sydney (7-9th August 2018) to catch up with a number of key manufacturers to see what they had on display Robert Stacy from AJA Video Systems introduces their new Hi5-12G converter - coming soon to Australia. Rob Myers fills us in on Panasonic's new AK-UC4000 - 4K Studio Camera System
NRL Scores with New Studio and Post Facility Designed and Built by Videocraft
Recently the National Rugby League commissioned Videocraft to design and build a new production and post production studio and facility at NEP’s Redfern HQ to take care of live and recorded online programming and content for their new Digital Network, www.nrl.com, including 16 clubs and 2 state associations sites and mobile applications. NRL media services manager Wayne Dakin explained, “Online properties such as nrl.com are hugely important now, as are the content they produce. With this in mind we engaged Videocraft to build us a studio and facility, based on their previous experience in this area, that would allow the creation of fast turnaround highlights edits of all matches, panel shows, pre and post-match content. As well as fast it all had to be reliable and cost effective.” With a strict brief from the client Videocraft designed the facility with quality, speed and efficiency in mind. Videocraft worked with NRL partners NEP and NRL production office provider to ensure that the solution design integrated seamlessly with existing NRL Bunker and new NRL NEP production infrastructure. The solution design integrates and utilises another NRL primary partner Telstra, utilising the DVN and satellite infrastructure for content delivery. Videocraft MD James Taylor added, “We saw very quickly that for the kind of fast turnaround that was required an EVS XS Server and IP Director production asset management system was definitely the way forward for the new nrl.com studio and post facility. There was also a requirement that the facility be able to manage all incoming feeds and studio records and then the playout of the material. In which case, as EVS is compatible with all of the NRL’s existing broadcast providers and partners such as NEP, Channel 9 and Fox Sports, this made the solution seamless.” With content for the NRL Bunker also managed by NEP the new Videocraft facility made it particularly easy for the NRL to continue down a well-proven path. Dakin continued, “Videocraft really thought through the design and build of the studio and with our specific requirements in mind made the studio Ross based with a powerful Ross Graphite production switcher at its core. They have used this switcher in studios many times before and it’s an ideal combination of power and reliability at the right price point for us. It also has a feature rich version of XPression 3D motion graphics, two channels of clip server and the RAVE audio engine all built in. This allows us to create very high quality graphics at a very reasonable cost.” The issues of cost and quality are not lost on Dakin who went on to explain their importance in the online space.
He added, “As a result of the Videocraft solution nrl.com now has very high quality graphics and a replay system which are comparable to TV but without the engineering resource required for a big studio. This means we get TV quality, but online. The reason for this is that Videocraft treat online production with the same approach and respect as they would for a free-to-air studio build. This in turn means we can now create the exciting, high quality content that’s critical for us to truly engage our viewers and we have Videocraft’s 45 years’ worth of knowledge, expertise and forward thinking approach to thank for that.” In addition to the Ross Graphite switcher the Videocraft solution also integrated a 400TB Avid Media Central system to help with the fast programme turnaround and NEXIS storage for its excellent reliability and interoperability with EVS systems. Wayne Dakin concluded, “The new studio, post production facility, edit suites and storage are an excellent example of a clever, efficient, integrated, high-end Avid solution. With EVS taking care of the ingest and live production workflow and Ross the graphics and vision mixing we have not just a state of the art system but a bulletproof one. The best compliment we’ve had yet is that the content you see on www.nrl.com looks just like it does on television. Great job Videocraft.”Videocraft builds first Esports Production Studio in Australia for Gfinity
The global esports market is booming with revenue predicted to reach US$1.65 billion in 2020. One of the industry’s drivers in this country is Gfinity Esports Australia with their new Elite Series competition which is delivering gamers and fans a clear and structured competitive framework within Australian esports. A key requirement for the Elite Series competition was the creation of Australia’s first, dedicated Gfinity esports production studio which has been designed and built by Videocraft. The Elite Series presented by Alienware sees 6 city-based clubs competing weekly in front of a live audience at Gfinity’s state of the art esports arena within the Hoyts Cinema Complex at Sydney’s Entertainment Quarter and it is here that Videocraft built the new production studio.Clubs compete across iconic game titles: Counter Strike Global Offensive, Street Fighter V and Rocket League, for a share in the some of the largest prize pools in Australian Esports history and each event is broadcast live on Twitch. COO of Gfinity Australia Sam Harris said, “Gfinity are setting the new benchmark for quality in esports in Australia. As such, we looked for experienced partners to help bring our vision to life. Videocraft played a pivotal role in the development of the high quality production capabilities for our first esports arena at the Hoyts Entertainment Quarter.” Videocraft’s Nick MacLean added, “Gfinity have produced esports events very successfully in the UK for years and set a very high standard for their productions. It was clear that all of our 45 years of broadcast experience would come into play for this project as the knowledge required to build the studio transfers perfectly into esports.”As well as creating and building a studio to create content for Twitch, Videocraft also had to send content, ready for playout, to TEN’s digital channel, One. MacLean continued, “For this studio we had to produce all the content to a much higher standard than for regular SD television which is usually 1080 50i. However, as the primary delivery and viewing platforms are online and in order to keep up with refresh rates, all of the content from the studio is 1080 60p.”
Videocraft designed and built the new Gfinity esports production studio with one of their highly-acclaimed and well-proven FlyAway kits at the core. The kit also integrates Sony HDC-2400 cameras, HDC-P1 cameras, EVS XT3 video servers, a Sony vision mixer and full Yamaha audio. MacLean added, “We deliver all of the competition match content in 1080 60p live to Twitch who in turn put it out live to their viewers. For One we had to work with Channel TEN to come up with a solution that looked equally as high quality. This meant a workflow which involved sending One the content in 1080 60i - which is the same as a live feed from the USA - and then cross converting that to 1080 50i. From there it all went out via the Telstra DVN and the whole process was flawless.” The mix of broadcast expertise and workflows combined with the new generation of esports’ requirements is an interesting one as the production crew and equipment are all from a traditional TV environment which in turn makes the esports online production values particularly high. Maclean said, “We used all of our broadcast experience and expertise to give Gfinity, Twitch and One the very best quality content possible. We also broke new ground by using the clever new Bird Dog NDI converters for supplying vision feeds to monitors throughout the new facility. This meant we could control the units, get them to accept any material we wanted in 1080 60p and put this up on the screen whenever we wanted to. The Bird Dog converters enabled us to maximise the network infrastructure we built for the new facility and made life particularly easy for operators choosing content from a single screen. There were also complexities involving the project to the cinema location that we needed to overcome. The studio floor was built in the cinema and our CAR and control room built in one of the projection bio boxes on the other side of the complex. We had an extensive fibre install completed to enable us to send signals to various parts of the cinema complex. Utilising Mediornet and a 10gig Ethernet backbone made this very simple.” In a nutshell esports is already having a huge impact in Australia and now with dedicated arenas and high end production facilities, that impact stands only to grow further. Nick MacLean concluded, “This project was all about quality and experience. We had to use all of our experience and work closely with Twitch, TEN and One to make sure everyone got the pictures the way they required them, in a seamless fashion and looking amazing. In the world of esports gamers play at 1080 60p therefore the images we give them to watch also have to be of the same ultra-high standard. This creates the very best in engaging content which in esports, is all that’s acceptable.” Season 1 of the Gfinity Esports Australia Elite Series started on 2 June and runs for 7 weeks of competition, featuring Melbourne Avant, Sydney Chiefs, Brisbane Deceptors, Perth Ground Zero, Melbourne Order and Sydney Roar. Each of the Clubs 3 teams compete on Saturdays, CSGO 3-8pm and Sundays, Rocket League 10-1pm and Street Fighter V 4pm-7pm in an action packed 5 week regular season and 2 week Finals.The Videocraft family has a new addition and new Aussies!
The Videocraft family has grown again – this time congratulations go to Marco (Melbourne Engineering Team) and his partner Valentina who have welcomed their stunning little Aussie princess, Noemi who arrived last week at a healthy 3.4 kg. Marco started with us for a two week trial after he emailed us seeking work after arriving from Italy on a working holiday and now four years later, they are both permanent residents looking forward to citizenship. Noemi has already met all her proud grandparents who have come from Italy to greet the first Aussie addition to their family - pretty sure she won’t be lacking love and attention!
Fast Access to Archived Media — the new Avid NEXIS | E5 NL arrives at NAB 2018
As media producers create more assets, you need to find cost-effective ways to store and protect your valuable media, while still making it easily accessible for reuse. You can’t afford to have all your media taking up space in online high-performance storage systems. You need a nearline storage solution that enables your team to move material quickly to and from online production storage. We have great news! Avid just announced a new addition to the Avid NEXIS family, designed to address these needs and more.
Introducing Avid NEXIS | E5 NL, a high-density nearline storage system that expedites access to archived media. It provides a fast, intelligent solution for parking and retrieving assets and projects no longer in active production for repurposing and reuse, to maximize the value of your media. It offers scalable, multilevel protected storage on-premises with integrated media management, making it easy to access, preview, and restore assets and projects, browse proxies of archived material, and stage upcoming projects and events quickly—all at an affordable price.Take control with a new Avid NEXIS Management Console UI
Avid is also introducing an updated Management Console for all Avid NEXIS shared storage that provides a responsive UI to support mobile and desktop devices—aligned with MediaCentral | Cloud UX—making systems monitoring, administration, and management easier. This HTML5 User Interface offers a new Dashboard that provides an overview of your system’s performance, bandwidth, and status, as well as access to configure and manage workspaces, storage groups, user access, notifications, and other functions quickly. From accelerating archive-to-online workflows (and vice-versa) and providing workspaces for staging, to delivering to multiple storage tiers when integrated with MediaCentral for public and private cloud workflows, Avid NEXIS | E5 NL gives you everything you need to maximize and protect the value of your media.Streamline your media production workflow
Forget having to wait while pulling media from tape. Avid NEXIS | E5 NL gives broadcast teams faster access to archived media, enabling you to quickly browse, search and shot-select proxies of the high-resolution assets on tape. This eliminates the need to restore large amounts of high-res material just to search for the ideal clip as the news cycle changes. Put together a rough-cut sequence using the proxy instantly available on Avid NEXIS | E5 NL and kick off a selected, faster restore from tape of only the required clips. In a pinch, you can go to air with the proxy if all the high-res assets are not restored. This enables you to get on air first with the best story possible. Post production teams often struggle with multiple competing projects that may get put on hold. Or you may need a shared staging area for upcoming events and a library of common assets. Avid NEXIS | E5 NL is the ideal tier 2 storage that enables you to fully utilize your high-performance tier 1 Avid NEXIS | E2, E4, E5 production storage for currently active projects. Avid NEXIS | E5 NL is high density, protected storage that enables you to move media from online to nearline quickly if a project goes on hold, or when you are awaiting final approval. Also Avid NEXIS | E5 NL is ideal for event staging when you need to pull media from a tape archive to prepare. You can avoid cluttering your online storage while the slow restore from tape is progressing. You can collect all of the media in the Avid NEXIS | E5 NL nearline tier, and when ready, quickly move it to your Avid NEXIS online storage for production. Avid NEXIS | E5 NL is the perfect cost-effective companion to any Avid NEXIS and MediaCentral environment, streamlining the workflow between active and non-active production. Avid NEXIS I E5 NL integrates with MediaCentral to take advantage of the platform’s media management capabilities. This includes MediaCentral | Shared Library, which provides a powerful, flexible archiving solution for all types of assets. Get instant browse access to proxy archive and parked projects, which can be restored to Avid NEXIS | E5, E4, or E2 for active production, then parked back to Avid NEXIS | E5 NL when finished. Avid NEXIS | E5 NL is the only nearline storage solution that offers tight integration with MediaCentral and its workflows to streamline production. And because its built on the same robust, industry-proven architecture and file system as Avid NEXIS online storage, you have the reliable media protection and redundancy you need to prevent your nearline from going offline.Scale your system as you go
As your business and project needs grow, Avid NEXIS | E5 NL is right there with you. Avid NEXIS | FS—the common scale-out file system across all Avid NEXIS storage engines—makes it easy to add storage capacity. Scale from 480 TB of storage to more than 7.5 PB by connecting multiple E5 NL engines together as a single nearline system. Plus, each engine delivers 1 GB/s of throughput, enabling fast media transfer. In addition, this highly intelligent, unique file system enables you to flexibly adapt capacity, bandwidth, drive protection levels, and user read/write permissions to meet changing production and security needs. You can use E5 NL as dedicated nearline storage or integrate it with other Avid NEXIS | E5, E4, and/or E2 engines to facilitate media transfer to multiple storage tiers. . Article originally published on Avid BlogsBLACKMAGIC DESIGN ANNOUNCES NEW ATEM TELEVISION STUDIO PRO 4K
All in one Ultra HD live production switcher with 8 standards converted 12G-SDI inputs, Fairlight audio mixer, ATEM Advanced Chroma Keyer, multiview, talkback, DVE and more! The new ATEM Television Studio Pro 4K, is a professional all in one Ultra HD live production switcher with integrated hardware control panel. ATEM Television Studio Pro 4K features 8 independent 12G-SDI inputs, built in Fairlight audio mixer, ATEM Advanced Chroma Keyer, multiview, auxiliary and program outputs, analog audio inputs, built in talkback, two flash based media players, professional creative transitions, a DVE for effects and more. ATEM Television Studio Pro 4K combines a professional broadcast hardware control panel with a powerful 8 input 12G-SDI switcher for working with all HD and Ultra HD formats up to 2160p59.94. All of the 12G-SDI inputs feature full re-sync and independent format and frame rate conversions. That means customers can connect a total of up to 8 different sources with various different frame sizes and frame rates, and cleanly switch between them. The switcher automatically converts everything to the program’s output format and frame rate. Professional Fairlight audio mixing is built in to the ATEM Television Studio Pro 4K. Fairlight has been used for extremely high end feature film and television audio post production for years and now, for the first time ever, Blackmagic Design has integrated these incredible Fairlight audio tools into a live production switcher. ATEM Television Studio Pro 4K gives customers independent 6 band parametric equalizers on every single input. In addition, it also includes expander/gate, compressor and limiter dynamics on each input. ATEM Television Studio Pro 4K features the all new next generation ATEM Advanced Chroma Keyer. This new keyer gives customers adjustable on screen controls for selecting and sampling a region of color, adjustment controls for foreground, background and edges, and chroma correction tools for spill and flare suppression. That means ATEM Television Studio Pro 4K can pull extremely clean keys to replace a blue or green screen for professional broadcast quality composites. In addition to 12G-SDI, ATEM Television Studio Pro 4K also includes two channels of analog audio in, RS-422, Ethernet and a built in IEC power supply, along with program and auxiliary outputs. Customers also get both SDI and HDMI multiview outputs so they can monitor all sources, preview and program outputs, along with labels, audio meters and more, all on a single big screen television or broadcast monitor. Featuring a portable design, ATEM Television Studio Pro 4K is packed with high end broadcast features that make it possible to create an entire live switched program, complete with effects and transitions. The hardware panel features large illuminated buttons for switching between sources, along with corresponding audio buttons, one touch transition buttons, downstream keyers, fade to black, media player, cut buttons and more. There’s also a built in LCD screen for previewing source and program video, a spin knob and additional buttons for menus and to adjust settings. Customers simply press the button for the source that they want to see next in the program, then hit the cut or auto button to switch sources, add effects, or even key in graphics. ATEM Television Studio Pro 4K gives customers true broadcast quality transitions, effects and graphics. Transitions such as mixes, wipes and dips are done by simply pressing a button on the control panel. There are 37 included transitions, giving customers massive creative options because they can customize things such as border, border color and width, position, direction and more. In addition, there’s a built in 2D DVE for adding digital video effects that can position, resize and scale live video, all in real time. That means customers can create professional picture-in-picture effects, use DVE powered transitions like squeeze and slide between sources, or create graphic wipe transitions with their own graphics. When used with Blackmagic Studio, URSA Mini, URSA Broadcast and Micro Studio cameras, customers get a complete remote control solution that includes talkback, tally, color correction, camera control and more, without having to add any additional cables or proprietary control boxes. These cameras feature a built in color corrector that can be remote controlled, making it possible to balance camera color and create unique looks, all from the control panel. In addition, customers can adjust focus and iris on compatible lenses, change camera settings, and even remote control PTZ heads. ATEM Television Studio Pro 4K has a built in media pool that can store 90 frames of Ultra HD, 360 frames of 1080HD or 1440 frames of 720HD video that can be used with the two built in media players. The media pool uses flash memory, so images are saved even after the power is turned off. That means customers can create completely custom graphics to use in their own programs. In addition, there is an upstream keyer with full chroma keying for green screen shots so customers can add weather maps, graphics, or even virtual sets. The upstream keyer works with chroma, patterns, shapes and linear keys. ATEM Television Studio Pro 4K also features 2 downstream keyers for adding graphics, logos and bugs to video. Customers can use a HyperDeck Studio Mini with ATEM Television Studio Pro 4K as a source for ProRes 4:4:4:4 motion graphics files with alpha channels. That means customers can get fill and key graphics composited over live video, or they can use motion graphics with alpha as transitions between sources, all in real time. ATEM Television Studio Pro 4K also includes a built in talkback converter for SDI cameras. The talkback information is sent back to the camera via the SDI program return feed on the rarely used SDI audio channels 15 and 16. When working live with a reporter in the field, there can be a slight delay that causes them to hear themselves as an echo in their headset. ATEM Television Studio Pro 4K includes mix minus which sends back all of the program audio to the camera but removes the reporter’s own voice, so they don’t hear a distracting echo of themselves while reporting. For maximum speed and flexibility in live productions, ATEM Television Studio Pro 4K includes a free software control panel for Mac and Windows that allows multiple users to be connected at the same time. That means customers can have one person switching the program while another mixes the audio and another uploads or changes graphics, while another person remotely color balances and controls the cameras. “ATEM Television Studio Pro 4K packs our most advanced broadcast switcher technology into a compact, elegant design that you can take anywhere,” said Grant Petty, Blackmagic Design CEO. “The exciting thing about it is that it has all of the same professional features as larger and more expensive switchers, but it fits into a standard equipment rack or fly away kit. Customers get the speed of a full size 1 M/E hardware control panel so they can work on complex, fast paced live events!” ATEM TELEVISION STUDIO PRO 4K FEATURES * Integrated broadcast switcher and professional hardware control panel. * 8 x 12G-SDI inputs, all with auto re‑sync and format and frame rate converters. * Supports all video formats from HD to Ultra HD 2160p at 59.94 frames per second. * 1 x built in multiview for 8 sources, as well as preview and program. * Built in media pool graphics storage for 90 frames of Ultra HD, 360 frames of 1080HD or 1440 frames of 720HD video. * Built in DVE with borders and drop shadow. * Transitions include cut, mix, dip, SMPTE wipes and more. * 1 upstream keyer including chroma keyer plus 2 downstream keyers. * 1 auxiliary output with aux switching buttons and LCD screen for viewing. * Built in audio mixer live mixes embedded audio from all video inputs and independent audio inputs. * Balanced XLR stereo analog audio inputs. * Internal sources include black, color bars, two color generators and 2 media player outputs. * Ethernet connection for computer connection. * Mac and Windows control panel software included. * Compatible with all ATEM Broadcast Control Panels. * Black Burst and HD-Tri-Sync genlock input for integration into large systems. Available to order now online at Videocraft
Everyone is talking about the New Blackmagic Pocket Cinema Camera 4K
Next generation 4K camera features dual native ISO, full 4/3 HDR sensor, 13 stops of dynamic range, and ProRes or RAW recording to internal SD/UHS-II and CFast cards, or even external USB‑C drives! The all new Blackmagic Pocket Cinema Camera 4K, a handheld digital film camera with full 4/3 HDR sensor, dual native ISO with up to 25600 ISO for incredible low light performance as well as 13 stops of dynamic range. It also eliminates expensive external recorders, as it features a unique new USB-C Expansion Port, which allows customers to record using the internal SD/UHS-II and CFast recorders or directly to the same external disks they will use for editing and color correction. The revolutionary new Blackmagic Pocket Cinema Camera 4K is the handheld digital film camera that customers have been asking for. It packs incredibly high end imaging and professional features into a portable and affordable design that can be used anywhere. The compact body style is perfect for shooting independent films and documentaries, fashion shows, travel blogs, web videos, weddings, corporate video, sports and much more. The Blackmagic Pocket Cinema Camera 4K features a full size 4/3 HDR sensor with native 4096 x 2160 resolution and 13 stops of dynamic range for true digital film quality. The full size of the 4/3 sensor is designed to perfectly match MFT lenses so the crop factor is greatly reduced, giving customers a wider field of view. It also features dual native ISO with up to 25600 ISO for incredible low light performance. The Blackmagic Pocket Cinema Camera 4K is packed with features such as a MFT lens mount, large 5 inch touchscreen monitor, 10-bit ProRes and 12-bit RAW recording, 3D LUTs, 4 built in microphones, mini XLR audio input with phantom power, Bluetooth wireless camera control, HDMI on set monitoring output and more. The latest Blackmagic Design color science lets customers shoot images that are far better than DSLR cameras and even better than professional digital film cameras costing tens of thousands more.
Designed using a space age carbon fiber polycarbonate composite, the body of the Blackmagic Pocket Cinema Camera 4K is extremely strong and light. The carbon composite material consists of a high strength polymer that’s reinforced with carbon fibers. This gives the camera body incredible strength and rigidity to help protect it from accidental knocks and drops which can often result in damage. The handheld design features a multi function grip which has logically placed buttons and dials that allow super fast access to essential shooting functions such as recording start/stop, still photos, ISO, shutter, aperture, white balance, power and more. Fourth generation Blackmagic Design color science lets customers shoot HDR images in film, video and new extended video modes. The new extended mode combines the latitude of digital film with an optimized video file. This gives customers working on fast turnaround projects an ideal solution for shooting great looking images that don’t need a lot of color correction or post production work. Images can be recorded onto standard SD cards, faster UHS-II cards or CFast 2.0 cards in either ProRes or RAW formats. The Blackmagic Pocket Cinema Camera 4K can record 4K images at up to 60 frames per second and windowed HD at up to 120 frames per second. It’s also the first camera that lets customers record directly onto the same exact external USB-C media drives they use for editing and color correction. That means customers can turn projects around much more quickly because they don’t have to transfer files. All they need to do is unplug the USB-C drive and then connect it to their computer to start editing. The Blackmagic Pocket Cinema Camera 4K uses the same MFT (Micro Four Thirds) lens mount as the original Pocket Cinema Camera so customers can use the investment in lenses they already own. The MFT mount is extremely flexible and allows for different lens adapters so customers can also use PL, C, EF and other types of lenses from manufacturers such as Canon, Nikon, Pentax, Leica and even Panavision. The rear of the camera features a large bright 5 inch touchscreen that makes it easy to frame shots and accurately focus. It also uses the same Blackmagic OS as URSA Mini so customers can use simple tap and swipe gestures to adjust settings, add metadata and view recording status. On screen overlays make it easy to see recording parameters, status, histogram, focus and peaking indicators, and playback controls. In addition, 3D LUTs can be applied for both monitoring and recording. For audio, the Blackmagic Pocket Cinema Camera 4K features multiple built in microphones with an extremely low noise floor, a mini XLR input with 48 volts of phantom power to connect professional lapel and boom mics, and a 3.5mm stereo audio jack for connecting different types of video camera microphones. The high quality built in audio recording means customers don’t have to carry around a separate recorder. The Blackmagic Pocket Cinema Camera 4K also includes a full size HDMI connector which can output HDR video as well as a clean 10-bit video feed with optional on screen overlays. There’s also an innovative high speed USB-C Expansion Port for adding external accessories such as flash drives and an SSD for external recording. The camera uses standard LP-E6 batteries and can be charged via USB-C or the locking DC power connector, which protects the camera from being accidentally unplugged during a shoot.“Customers love the original Blackmagic Pocket Cinema Camera and have been asking us for a 4K version,” said Grant Petty, Blackmagic Design CEO. “We’ve listened and built a camera that combines all of our newest ideas and customer feedback from the previous model! The new Blackmagic Pocket Cinema Camera 4K is exciting because it packs so much technology into an incredibly small design. We feel it will go well beyond what customers expected. It’s perfect for anyone that needs a truly professional ultra compact digital film camera. This is not a consumer camera that's trying to do high end work, it’s a true high end camera designed for high end work.”BLACKMAGIC POCKET CINEMA CAMERA 4K FEATURES * Full size 4/3 sized sensor with native 4096 x 2160 resolution sized sensor. * Compatible with extremely high quality Micro Four Thirds lenses. * Super wide 13 stops of dynamic range allows capture for high end feature film look. * Up to 25600 ISO for incredible low light performance. * Carbon fiber polycarbonate composite body which makes it lightweight, portable and durable. * Multi function grip for quick access to recording start/stop, still photos, ISO, shutter, aperture, white balance, power and more. * Built in SD, UHS-II and CFast card recorders. * USB-C expansion port allows longer duration recording directly to an external SSD or flash disk. * Standard open file formats compatible with popular NLE software such as 10-bit ProRes and 12 bit RAW. * Features full size HDMI output for monitoring with camera status graphic overlay. * Professional mini XLR input with 48 volts of phantom power for connecting to pro microphones. * 3.5mm audio jack, headphone jack, and locking DC 12 volt power connection. * Built in 5” LCD touchscreen allows accurate focus when shooting 4K. * LCD supports on screen overlays including status, histogram, focus peaking, and transport controls. * Records 4K images at up to 60 frames per second and windowed HD at up to 120 frames per second. * 3D LUTs can be applied for both monitoring and recording. * Blackmagic OS as used in URSA Mini and URSA Broadcast cameras. * 4th generation Blackmagic color science. * Supports remote camera control via Bluetooth. * Includes full license for DaVinci Resolve Studio editing, color, visual effects and audio post production.
PRE-ORDER is available from Videocraft Online
Blackmagic Design brings it to NAB2018 with new Mini/Micro Converters that pack a punch!
BLACKMAGIC DESIGN ANNOUNCES NEW BLACKMAGIC MULTIVIEW 4 HD
Monitor 4 completely independent SD or HD SDI video sources on a single display! [caption id="attachment_3334" align="alignleft" width="531"]Blackmagic's resolve to fully integrate visual effects, more audio tools and hundreds of features - arrive with DaVinci Resovle 15 at NAB2018
New upgrade fully integrates visual effects and motion graphics, adds even more audio tools plus hundreds of new features and improvements that editors and colorists have asked for! DaVinci Resolve 15, is a massive update that fully integrates visual effects and motion graphics, combining professional offline and online editing, color correction, audio post production, multi user collaboration and now visual effects together in one software tool. DaVinci Resolve 15 adds an entirely new Fusion page with over 250 tools for compositing, paint, particles, animated titles and more. In addition, DaVinci Resolve 15 includes a major update to Fairlight audio, along with over 100 new features and improvements that professional editors and colorists have asked for. DaVinci Resolve 15 continues to revolutionize post production by combining 4 extremely high end applications as different pages in one single piece of software. The edit page has all of the tools professional editors need for both offline and online editing, the color page features the world’s most advanced color correction tools, the Fairlight audio page is designed specifically for audio post production, and the new Fusion page gives visual effects and motion graphics artists everything they need to create feature film quality effects and animations. All it takes is a single click to instantly move between editing, color, effects and audio. This gives individual users unlimited creative flexibility because they can learn and explore different toolsets. It also enables collaboration so people with different talents can work together on the same project at the same time. The DaVinci Resolve 15 collaborative workflow dramatically speeds up post production because customers no longer need to import, export or translate projects between different software applications, and work no longer needs to be conformed when changes are made. Everything is in the same software application. The free version of DaVinci Resolve 15 can be used for professional work and has more features than virtually every other paid application for post production. DaVinci Resolve 15 Studio, which adds multi user collaboration, 3D, VR, dozens of additional filters and effects, unlimited network rendering and other advanced features such as temporal and spatial noise reduction, is available to own for only US$299. There are no annual subscription fees or ongoing licensing costs. DaVinci Resolve 15 Studio costs less than all other cloud based software subscriptions and it does not require an internet connection once the software has been activated. That means customers don’t have to worry about losing work in the middle of a job if there is no internet connection.
“DaVinci Resolve 15 is a huge and exciting leap forward for post production because it’s the world’s first solution to combine editing, color, audio and now visual effects into a single software application,” said Grant Petty, CEO, Blackmagic Design. “We’ve listened to the incredible feedback we get from customers and have worked really hard to innovate as quickly possible. DaVinci Resolve 15 gives customers unlimited creative power to do things they’ve never been able to do before. It’s finally possible to bring teams of editors, colorists, sound engineers and VFX artists together so they can collaborate on the same project at the same time, all in the same software application!”DAVINCI RESOLVE 15 DETAILED OVERVIEW DaVinci Resolve 15 features an entirely new Fusion page for feature film quality visual effects and motion graphics animation. Fusion was previously only available as a stand alone application and is the world’s most advanced visual effects and motion graphics software. It is now built into DaVinci Resolve 15. The new Fusion page gives customers a true 3D workspace with over 250 tools for compositing, vector paint, particles, keying, rotoscoping, text animation, tracking, stabilization and more. Adding Fusion to DaVinci Resolve has been a massive project that will be completed over the next 12-18 months. Customers can get started using Fusion today to complete nearly all of their visual effects and motion graphics work. The standalone version of Fusion will continue to be available for customers who need it. In addition to bringing Fusion into DaVinci Resolve 15, Blackmagic Design has also added support for Apple Metal, multiple GPUs and CUDA acceleration, making Fusion in DaVinci Resolve faster than ever. To add visual effects or motion graphics, customers simply select a clip in the timeline on the Edit page and then click on the Fusion page where they can use Fusion’s dedicated node based interface, which is optimized for visual effects and motion graphics. Compositions created in the standalone version of Fusion can also be copied and pasted into DaVinci Resolve 15 projects. DaVinci Resolve 15 also features a huge update to the Fairlight audio page. The Fairlight page now has a complete ADR toolset, static and variable audio retiming with pitch correction, audio normalization, 3D panners, audio and video scrollers, a fixed playhead with scrolling timeline, shared sound libraries, support for legacy Fairlight projects, and built in cross platform plugins such as reverb, hum removal, vocal channel and de-esser. With DaVinci Resolve 15, customers no longer have to worry about audio plugins when moving between Mac, Windows and Linux because the FairlightFX plugins run natively on all three platforms. DaVinci Resolve is the fastest growing nonlinear video editor in the industry. It’s also Hollywood’s favorite color corrector. Blackmagic Design has listened carefully to feedback from professional colorists and editors. DaVinci Resolve 15 includes over a hundred new features and improvements that editors and colorists have asked for. Colorists get an entirely new LUT browser for quickly previewing and applying LUTs, along with new shared nodes that are linked so when one is changed they all change, multiple playheads for quickly referencing different shots in a program, over 5x performance improvement for stabilization, improved noise reduction, and new Super Scale HD to 8K up-rezzing. DaVinci Resolve 15 also expands HDR support with GPU accelerated Dolby Vision metadata analysis and native HDR 10+ grading controls. In addition, new ResolveFX let customers quickly patch blemishes or remove unwanted elements in a shot using smart fill technology. There are also new ResolveFX for dust and scratch removal, lens and aperture diffraction effects, and more. Professional editors will find new features in DaVinci Resolve 15 specifically designed to make cutting, trimming, organizing and working with large projects even better. DaVinci Resolve 15 has dramatically improved load times so that large projects with hundreds of timelines and thousands of clips now open instantly. New stacked timelines and timeline tabs let editors see multiple timelines at once so they can quickly cut, paste, copy and compare scenes between timelines. There are also new markers with on-screen annotations, subtitle and closed captioning tools, auto save with versioning, greatly improved keyboard customization tools, new 2D and 3D Fusion title templates, image stabilization on the Edit page, a floating timecode window, improved organization and metadata tools, Netflix render presets with IMF support and much more. For the ultimate high speed workflow, customers can add a DaVinci Resolve Micro Panel, DaVinci Resolve Mini Panel or a DaVinci Resolve Advanced Panel. All controls are logically placed near natural hand positions and are made out of the highest quality materials. Smooth, high resolution weighted trackballs and precision engineered knobs and dials feature the perfect amount of resistance for accurately adjusting any setting. The DaVinci Resolve control panels give colorists and editors fluid, hands on control over multiple parameters at the same time, allowing them to create looks that are simply impossible with a standard mouse.
ORDER your copies of DaVinci Resolve 15 from Videocraft's Online Store
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AJA Video Systems get serious about Colour, HDR and ST2110 at NAB2018
KONA HDMI, KONA 1 and Desktop Software v14.2
AJA Video Systems unveiled two new KONA cards, and announced Desktop Software v14.2. KONA HDMI is a PCIe card for multi-channel HD and single-channel 4K HDMI capture for live production, streaming, gaming, VR and post production, while KONA 1 is a PCIe card for single-channel HD/SD 3G-SDI capture/playback. Desktop Software v14.2 adds support for KONA 1 and KONA HDMI, plus new improvements for AJA KONA, Io and T-TAP™ products. KONA HDMI A powerful HDMI video capture solution, KONA HDMI supports a range of workflows, including live streaming, events, production, broadcast, editorial, VFX, vlogging, video game capture/streaming and more. KONA HDMI is highly flexible, designed for four simultaneous channels of HD capture with popular streaming and switching applications including Telestream Wirecast® and vMix. Additionally, KONA HDMI uniquely offers capture of one channel of UltraHD up to 60p over HDMI 2.0 using AJA Control Room software for file compatibility with most NLE and effects packages. It is also compatible with other popular third-party solutions for live streaming, projection mapping and VR workflows. Developers can take advantage of the platform to build multi-channel HDMI ingest systems and leverage VL42 compatibility on Linux. Features include: four full size HDMI ports; the ability to easily switch between one channel of UltraHD, or four channels of 2K/HD; and embedded HDMI audio in, up to eight embedded channels per input. KONA 1 Designed for broadcast, post production and ProAV, as well as OEM Developers, KONA 1 is a robust, cost efficient single-channel 3G-SDI 2K/HD 60p I/O PCIe card. KONA 1 offers serial control and reference/LTC, and features standard application plug-ins, as well as AJA SDK support. KONA 1 supports 3G-SDI capture, monitoring and/or playback with software applications from AJA, Adobe®, Avid®, Apple®, Telestream and more. KONA 1 enables simultaneous monitoring during capture (pass-through) and includes: full size SDI ports supporting 3G-SDI formats, embedded 16-channel SDI audio in/out, Genlock with reference/ LTC input and RS-422. Desktop Software v14.2 Desktop Software v14.2 introduces support for KONA HDMI and KONA 1, in addition to a new SMPTE ST 2110 IP video mode for KONA IP with support for AJA Control Room, Adobe Premiere® Pro CC, part of the Adobe Creative Cloud, and Avid Media Composer®. The free software update also brings 10GigE support for 2K/HD video and audio over IP (uncompressed SMPTE 2022-6/7) to the new Thunderbolt™ 3-equipped Io IP and Avid DNxIP, as well as additional enhancements to other KONA, Io and T-TAP products, including HDR capture with Io 4K Plus. Io 4K Plus and DNxIV users also benefit from a new feature allowing all eight analog audio channels to be configured for either output, input or a 4-In/4-Out mode for full 7.1 ingest/monitoring, or I/O for stereo plus VO and discrete tracks.“Speed, compatibility and reliability are key to delivering high quality video I/O for our customers. KONA HDMI and KONA 1 give video professionals and enthusiasts new options to work more efficiently using their favorite tools, and with the reliability and support AJA products offer,” shared Nick Rashby, President, AJA Video Systems.KONA HDMI will be available June 2018, KONA 1 will be available May 2018 and Desktop Software v14.2 will also be available May 2018 as a free download from AJA’s support page.
New Solutions Supporting SMPTE ST 2110
AJA Video Systems revealed the new IPR-10G-HDMI Mini-Converter, which converts SMPTE ST 2110 IP video/audio to HDMI. This new Mini-Converter allows broadcast, production, post and ProAV professionals to output SMPTE ST 2110 video/audio to HDMI monitors. AJA also introduced SMPTE ST 2110 support for its KONA IP via free Desktop Software v14.2.[quote]“SMPTE ST 2110 is positioned to drive IP video adoption forward, and AJA is committed to delivering tools that help bridge IP with existing technologies,” said Nick Rashby, President, AJA Video Systems. “IPR-10G-HDMI and KONA IP, with SMPTE 2110 support, allow facilities to take advantage of the many benefits ST 2110 offers for uncompressed HD video and audio over IP, while getting the most out of the gear they already have in edit bays, OB trucks, control rooms and other environments.”[/quote]IPR-10G-HDMI The first in AJA’s new 10GigE IP Mini-Converter line, IPR-10G-HDMI provides monitoring of HD SMPTE ST 2110 signals via HDMI. It receives ST 2110 over 10GigE connectivity, formats the data for output on a full-size HDMI interface, and the associated audio from the video stream is extracted, synchronized and embedded into the HDMI interface and also output on an analog RCA interface. Key feature highlights include:
- SMPTE ST 2110 audio, video receiver
- Rugged, fanless design
- 1x 10GigE SFP+ cage for media LAN [with status light]
- 1x 1GigE RJ45 socket for control LAN [with status light]
- Dedicated HDMI receiver with full size HDMI 1.4b video port
- Support for 1080p 60, YCbCr 4:2:2
- Full 10-bit pixel processing pipeline
- Embedded HDMI audio output (up to eight channels)
- 2x RCA analog audio output
- Mini-USB port for quick initial network configuration with AJA eMini-Setup software
- Complete control interface on any web browser from a built-in webserver
- Customizable control with AJA REST API
- 5-year international warranty and support
NEW KUMO 3232-12G and KUMO 1616-12G Routers
AJA Video Systems introduced KUMO 3232-12G and KUMO 1616-12G, two new compact 12G-SDI routers. KUMO 3232-12G offers 32x 12G-SDI inputs and 32x 12G-SDI outputs, and the KUMO 1616-12G offers 16x 12G-SDI inputs and 16x 12G-SDI outputs. Designed for use in broadcast, production and ProAV environments, the new routers support large format resolutions, and high frame rate (HFR) and deep color formats, while reducing cable runs when transporting 4K/UltraHD over SDI. The routers offer network-based and/or physical control, and mirror the compact physical form of AJA’s production-proven KUMO 3232 and KUMO 1616 routers, adding a new USB port for configuring IP addresses via AJA’s eMini-Setup software. Multi-port Gang-routing also means the new 12G-SDI models are 8K ready. Key feature highlights include:- 12G-SDI inputs and outputs for up to 4K/UltraHD support at 60p
- Small, portable 2RU (3232) and 1RU (1616) form factors
- Single cable support for streamlined 4K/UltraHD signal routing
- Redundant power supply option
- Configure and save up to eight salvos per router
- Auto re-clocking SDI rates: 270 Mbps /1.483/1.485/2.967/2.970/5.934/5.940/ 11.868/11.880 Gbps
- Support for AJA KUMO Control Panels (hardware, with direct connect or networked)
- USB port to easily configure the router IP address and simplify initial network configurations
- Embedded web server for remote control on any standard web browser
- 5-year warranty and support
“4K/UltraHD, HFR and deep color workflows have introduced new challenges for professionals and facilities by requiring more bandwidth, so we’ve expanded our line of KUMO routers to the latest 12G-SDI standard,” shared Nick Rashby, President, AJA Video Systems. “KUMO 3232-12G and KUMO 1616-12G pack the throughput and single cable simplicity of 12G-SDI into a compact router with a very high-density for 4K/UltraHD sources and destinations.”KUMO 3232-12G will be available July 2018
FS-HDR v2.5 Firmware Update
FS-HDR improvements that streamline live HDR production AJA Video Systems has announced v2.5 firmware with new feature enhancements for the company’s FS-HDR real time High Dynamic Range (HDR) and Wide Color Gamut (WCG) converter/frame synchronizer with Colorfront Engine™ video processing. The company also released new single and multi-mode fiber SFP options for FS-HDR and FS4. v2.5 firmware enhances the Colorfront Engine transform algorithm with support for ITU BT.2408-0 Operational Practices in HDR Television. Additionally, the FS-HDR now supports a simultaneous 4K/UltraHD and 2K/HD output mode with independent SDR/HDR controls. Newly integrated BBC Hybrid Log Gamma (HLG) Look Up Tables (LUTs) provide basic, mathematical HDR transforms. Infoframe generation on the HDMI monitor output provides an easy, cost-efficient solution for local monitoring on HDR-capable displays. The release will also integrate new standardized HDR test patterns. Finally, new Tangent Element Kb panel support for remote parameter control enables real-time adjustment control over FS-HDR’s key conversion parameters. FS-HDR v2.5 feature enhancements include:- Colorfront Engine support for ITU BT.2408-0 Operational Practices in HDR Television Production
- Simultaneous 4K/UltraHD and 2K/HD/SD dual output mode: In single-channel mode with a 4K/UltraHD input and 4K/UltraHD output, configure the SDI monitor output for SDR/BT.709, PQ/BT.2020, HLG/BT.2020 or Sony S-Log3 S-Gamut3, with these output formats and frame rates independent of the main output:
- 2K: 2048 x 1080p up to 60p
- HD: 1920 x 1080p up to 60p; 1920 x 1080PsF up to 30p; 1920x1080i 50 and 59.94; 1280x720p up to 60p
- SD: 625i 50; 525i 59.94
- BBC HLG LUTs
- Support for HLG HDR dynamic range mapping per ITU BT.2408-0
- SDR, PQ, and Sony S-Log3 to HLG
- HLG to SDR and PQ
- Colorimetry: BT.709 and BT.2020
- HDMI HDR Infoframe generation: Locally monitor HDR content on HDMI 2.0 HDR televisions or monitors. When an output is configured for PQ or HLG, FS-HDR will signal the selected HDR output format to the HDMI display.
- HDR Test Patterns: BT.2111-0 Color Bars and BT.814-3 Pluge
- Support for third party Tangent Element Kb knob-based controller for remote parameter controls
- FIBERLC-1RX-12G SFP 12G-SDI Single Fiber LC Receiver Single Mode 1310nm
- FIBERLC-1TX-12G SFP 12G-SDI Single Fiber LC Transmitter Single Mode 1310nm
- FIBERLC-1RX-MM SFP Single Fiber LC Receiver Multi-Mode 850nm
- FIBERLC-1TX-MM SFP Single Fiber LC Transmitter Multi-Mode 850nm
- FIBERLC-2RX-MM SFP Dual Fiber LC Receiver Multi-Mode 850nm
- FIBERLC-2TX-MM SFP Dual Fiber LC Transmitter Multi-Mode 850nm
AJA Adds Avid DNxHR Support to Ki Pro Ultra and Ki Pro Ultra Plus with v3.0 Firmware
AJA Video Systems today announced v3.0 firmware for Ki Pro Ultra and Ki Pro Ultra Plus, adding Avid® DNxHR codec support to the file-based 4K/UltraHD/2K/HD recording and playback devices. Available soon as a free software download, v3.0 allows users to record above HD rasters with Avid codecs within a native .MXF wrapper, supporting Avid editors and .MXF workflows with more flexible options. Ki Pro Ultra and Ki Pro Ultra Plus already support Avid DNxHD codecs for 2K/HD resolutions. v3.0 firmware for Ki Pro Ultra and Ki Pro Ultra Plus will be available as a free download soon via: https://www.aja.com/support v3.0 firmware adds support for: Avid DNxHR codecs for UltraHD (23.98,24,25,29.97p) and 4K (23.98,24,25,29.97p):- DNxHR HQX
- DNxHR SQ
- DNxHR LB
Five New openGear Cards with DashBoard Support
AJA Video Systems announced five new openGear-compatible video and audio rack cards, with support for Ross® Video DashBoard software for remote control and monitoring. Alongside the new cards, the company is also previewing a new next-generation OG-X openGear-compatible rackframe with expanded power capabilities at NAB 2018 Designed for use in compatible openGear 2RU frames, including AJA’s OG-3 2RU frame, the new cards combine the reliability and functionality of AJA Mini-Converters with the high-density openGear architecture. New DashBoard software support provides convenient and industry-standard configuration, monitoring and control options over a PC or a local network on Windows®, macOS® or Linux. New models include:OG-3G-AMA: 3G-SDI Analog Audio Embedder/Disembedder An eight-channel analog audio embedder/disembedder, OG-3G-AMA supports 3G-SDI input and output up to 1080p 60, and automatically detects and configures to the input video standard. It uses 3-pin terminal block connectors that can be set to perform audio input or output functionality. Analog audio levels and audio embedding/disembedding are selectable, with embedding/disembedding on a channel pair basis to pass 3G-SDI input audio or embed input analog audio from 3-pin terminal block connectors. OG-UDC: 3G-SDI Up, Down, Cross-Converter OG-UDC is a 10-bit broadcast quality up, down, cross-converter that bridges HD and SD video resolutions. It provides 3G-SDI input and output, HDMI output and two 3-pin terminal block connectors for balanced analog audio outputs. OG-4K2HD: 4K/UltraHD-SDI to 3G-SDI Down-Converter OG-4K2HD accepts four 3G-SDIs as a 4K/UltraHD input and downconverts to HD on both 3G-SDI and HDMI outputs simultaneously, using AJA’s high-quality scaling for cost-effective monitoring and conversion. Live 3G-SDI and HDMI outputs facilitate pristine HD images for set monitoring or live broadcasts. 4K2HD supports conversion of HFR 4K inputs at 50/60fps to HD outputs at 50/60fps. Configuration options allow HD images to be extracted from the 4K input for a 1:1 pixel image for 4K focus checks on HD displays. OG-Hi5-4K-Plus: 4K/Ultra 3G-SDI to HDMI 2.0 Converter OG-Hi5-4K-Plus offers 3G-SDI to HDMI 2.0 conversion, supporting HFR up to 60p for 4K/UltraHD. It provides pristine image fidelity from professional 4K HFR devices when monitoring to HDMI 2.0 displays. OG-Hi5-4K-Plus generates HDR metadata in accordance with HDMI v2.0a/CTA-861.3. The new card offers a simple monitoring connection from 4K devices from quad 3G-SDI or dual 3G-SDI to HDMI 2.0 displays, with two-sample interleave (2SI) or square division (Quadrant) source mapping. OG-HA5-4K: HDMI to 4K/Ultra 3G-SDI Converter Featuring four 3G-SDI outputs, OG-HA5-4K allows high quality conversion of HDMI video to 4K 3G-SDI, for professional workflow integration from DSLRs, mirrorless cameras, action cameras, or prosumer 4K video cameras.NEW HELO v2.1 Firmware
Update adds support for closed captioning and HLS streaming, and new Chinese, Japanese and Korean language web UI options AJA Video Systems today announced v2.1 firmware for its standalone HELO H.264 streaming, recording and encoding device. The free update enables further customization of live streaming and recording workflows with HELO, and includes new features driven by customer feedback. HELO v2.1 firmware feature highlights include:- Closed Captioning (CC) streaming from SDI input
- HLS streaming for direct interoperability with Apple® iPads® and other consumer devices
- Chinese, Japanese and Korean language support in HELO’s web UI
HDR IMAGE ANALYZER
Intuitive new waveform, histogram, vectorscope and Nit level HDR monitoring solution AJA Video Systems had a tech preview of its new HDR Image Analyzer at NAB 2018. A waveform, histogram, vectorscope and Nit-level HDR monitoring solution, HDR Image Analyzer simplifies monitoring and analysis of 4K/UltraHD/2K/HD, HDR and WCG content in production, post, quality control (QC) and mastering. Combining AJA’s production-proven and powerful video and audio I/O with HDR analysis tools from Colorfront in a compact 1RU chassis, the HDR Image Analyzer offers a flexible solution for monitoring and analyzing HDR formats including PQ (Perceptual Quantizer), Hybrid Log Gamma (HLG) and Rec.2020 for 4K/UltraHD workflows. The new product is the second technology collaboration between AJA and Colorfront, following the successful integration of Colorfront Engine™ into AJA’s FS-HDR in 2017. Colorfront has exclusively licensed its Colorfront HDR Image Analyzer software to AJA for AJA’s HDR Image Analyzer. Key feature highlights include:- • Precise, high quality UltraHD UI for native-resolution picture display • Advanced out of gamut and out of brightness detection with error intolerance • Support for SDR (Rec.709), ST2084/PQ and HLG analysis • CIE graph, Vectorscope, Waveform, Histogram • Out of gamut false color mode to easily spot out of gamut/out of brightness pixels • Data analyzer with pixel picker • Up to 4K/UltraHD 60p over 4x 3G-SDI inputs • SDI auto signal detection • File base error logging with timecode • Display and color processing look up table (LUT) support • Line mode to focus a region of interest onto a single horizontal or vertical line • Loop through output to broadcast monitors • Still store • Nit levels and phase metering • Built-in support for color spaces from ARRI, Canon, Panasonic, RED and Sony
SONY releases new cameras at NAB2018 - FS5II, PXWZ190, PXWZ280
Sony has today expanded its Large Format Sensor category with the launch of the new XDCAM™ handheld camcorder FS5 (Body:PXW-FS5M2, Lens Kit: PXW-FS5M2K). Complete with stunning 4K High Dynamic Range (HDR) and 120fps performance and RAW capabilities, the new Super 35 mm camcorder marries outstanding image quality with an ergonomic modular frame, offering content creators the ultimate creative flexibility. In addition to S-Log 2/3, the FS offers Instant HDR Workflow1 to produce HDR content for quick post-production without the need for grading2.The FS5II is an outstanding E-mount camcorder for interchangeable lens camera users, offering boundless creative options for web commercial, music video production, dramas, corporate & event videos and documentaries.
EVA 2.0 Panasonic free firmware upgrade for the AU-EVA1 cinema camera
Panasonic today released a free firmware upgrade for the AU-EVA1 cinema camera that greatly enhances the camera’s recording capabilities, including ALL-Intra frame recording formats, RAW data output, timelapse recording, HD 4:2:2 interlaced formats and more. These additions expand the camera’s abilities so fundamentally that Panasonic refers to the upgrade as “EVA 2.0.” Released in late 2017, the EF-mount AU-EVA1 is a 5.7K cinema camera containing a Super-35mm sensor that features 14-stops of dynamic range, Dual Native ISO ratings of 800 and 2500, and the same colorimetry as the renowned VariCam camera system. Due to its small size and weight, the EVA1 is ideal for gimbal and drone work, as well as handheld shooting. The free firmware upgrade is now available for download from the Panasonic website at https://eww.pass.panasonic.co.jp/pro-av/support/content/download/EN/ep2main/soft/upgeva1_e.htm “When the EVA1 was announced last summer, we promised a major expansion in its functionality in early 2018,” said Mitch Gross, Cinema Product Manager, Panasonic Media Entertainment Company. “EVA 2.0 fulfills that promise with features like RAW output and ALL-Intra recording as well as with such unannounced user-requested features as a 2K at 240fps RAW output and additional interlaced HD recording formats.” EVA 2.0 allows uncompressed RAW output via 6G SDI. Formats include 5.7K at 1fps to 30fps, 4K at 1fps to 60fps, and 2K at 1fps to 240fps. Atomos has announced that its Shogun Inferno and Sumo monitor/recorders will capture RAW-to-ProRes from the EVA1 in 4K up to 60fps and 2K up to 240fps. Additional announcements for RAW support are to be released soon. A key feature of EVA 2.0 is ALL-Intraframe (ALL-I) codec recordings, offering 10-bit 4:2:2 at up to 400Mbps. Intraframe recordings require less post processing than the LongGOP codecs also available in the EVA1, enabling real-time editing on more cost-effective high-performance computers. New ALL-I codecs and frame rates:
- 4K 400Mbps 10-bit 4:2:2 29.97p/25p/24p/23.98p
- UHD 400Mbps 10-bit 4:2:2 29.97p/25p/23.98p
- 2K/FHD 200Mpbs 10-bit 4:2:2 59.94p/50p
- 2K 100Mbps 10-bit 4:2:2 29.97p/25p/24p/23.98p
- FHD 100Mbps 10-bit 4:2:2 29.97p/25p/23.98p
- 4K/UHD VFR up to 400Mbps 10-bit 4:2:2 1-30fps
- 2K/FHD VFR up to 200Mbps 10-bit 4:2:2 1-120fps
- FHD (1920 x 1080) All-I 100Mbps 10-bit 4:2:2 59.94I/50I
- FHD (1920 x 1080) LongGOP 50Mbps 10-bit 4:2:2 59.94I/50I