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

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 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

Congratulations to Kim (purchasing) and her partner Ant who have welcomed little Billy into their family. Billy was born on 21^st 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!

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.

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

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.

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.”

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!

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.

Take control with a new Avid NEXIS Management Console UI

Streamline your media production workflow

Scale your system as you go

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    

Next generation 4K camera features dual native ISO, full 4/3 HDR sensor, 13 stops of dynamic range, and ProRes or RAW recording to internal SD/UHS-II and CFast cards, or even external USB‑C drives! The all new Blackmagic Pocket Cinema Camera 4K, a handheld digital film camera with full 4/3 HDR sensor, dual native ISO with up to 25600 ISO for incredible low light performance as well as 13 stops of dynamic range. It also eliminates expensive external recorders, as it features a unique new USB-C Expansion Port, which allows customers to record using the internal SD/UHS-II and CFast recorders or directly to the same external disks they will use for editing and color correction. The revolutionary new Blackmagic Pocket Cinema Camera 4K is the handheld digital film camera that customers have been asking for. It packs incredibly high end imaging and professional features into a portable and affordable design that can be used anywhere. The compact body style is perfect for shooting independent films and documentaries, fashion shows, travel blogs, web videos, weddings, corporate video, sports and much more. The Blackmagic Pocket Cinema Camera 4K features a full size 4/3 HDR sensor with native 4096 x 2160 resolution and 13 stops of dynamic range for true digital film quality. The full size of the 4/3 sensor is designed to perfectly match MFT lenses so the crop factor is greatly reduced, giving customers a wider field of view. It also features dual native ISO with up to 25600 ISO for incredible low light performance. The Blackmagic Pocket Cinema Camera 4K is packed with features such as a MFT lens mount, large 5 inch touchscreen monitor, 10-bit ProRes and 12-bit RAW recording, 3D LUTs, 4 built in microphones, mini XLR audio input with phantom power, Bluetooth wireless camera control, HDMI on set monitoring output and more. The latest Blackmagic Design color science lets customers shoot images that are far better than DSLR cameras and even better than professional digital film cameras costing tens of thousands more.

“Customers love the original Blackmagic Pocket Cinema Camera and have been asking us for a 4K version,” said Grant Petty, Blackmagic Design CEO. “We’ve listened and built a camera that combines all of our newest ideas and customer feedback from the previous model! The new Blackmagic Pocket Cinema Camera 4K is exciting because it packs so much technology into an incredibly small design. We feel it will go well beyond what customers expected. It’s perfect for anyone that needs a truly professional ultra compact digital film camera. This is not a consumer camera that's trying to do high end work, it’s a true high end camera designed for high end work.”

PRE-ORDER is available from Videocraft Online

BLACKMAGIC DESIGN ANNOUNCES NEW BLACKMAGIC MULTIVIEW 4 HD

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!”

ORDER your copies of DaVinci Resolve 15 from Videocraft's Online Store

DONGLE VERSION

ACTIVATION CODE VERSION

KONA HDMI, KONA 1 and Desktop Software v14.2

“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.

New Solutions Supporting SMPTE ST 2110

[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]

• 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

• 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.”

FS-HDR v2.5 Firmware Update

• 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

• DNxHR HQX
• DNxHR SQ
• DNxHR LB

Five New openGear Cards with DashBoard Support

NEW HELO v2.1 Firmware

• 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

• • 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 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.

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