Blackmagic Design

Today we released Blackmagic Camera for iOS 2.1 which adds support for using the new iPhone 16 camera control with Blackmagic Camera, allowing you to open it with a simple click or double click. You can also open Blackmagic Camera from the control centre, the lock screen or the action button, giving you more ways to quickly access Blackmagic Camera and start recording. In addition, you can now use the built in iPhone 16 camera controls to more easily navigate the display and adjust functions such as zoom, exposure, focus, ISO and select LUTs. Blackmagic Camera is now also compatible with motorized gimbles and stands using Apple DockKit, which allows you to more easily track objects and people in your frame. When docked, Blackmagic Camera will follow you as you move around, which is great for video presentations. There is also improved performance for recording high speed ProRes 4K clips on iPhone 16 Pro models. When logging into Blackmagic Cloud you will now be able to view all organizations you’re a member of and select which one you want to sync your footage to, speeding up your post production workflow. There are also new recording bit rate options for H.264 and H.265 codecs meaning you can now select between low, medium, high and maximum bit rates. This means you have more control over your file sizes and the quality of your images. This update also adds audio to off speed recordings, allowing you to play back your audio at the slower or faster rate along with your captured images. There is also improved remote monitoring performance when recording with proxies providing more consistent refreshing of images so you get higher quality monitoring. Blackmagic Camera for iOS 2.1 update is available now as a free download from https://lnkd.in/g6YQfAmH

Today we released Blackmagic Camera for Android 1.4 which adds support for bluetooth microphones as well as the ability to monitor audio while recording. This means you can now use your existing wired or bluetooth headphones to monitor your audio when shooting. This update also includes support for external timecode sync using Tentacle Sync giving you frame accurate recording across multiple Android cameras, making it easier to edit multicam footage in post production. Blackmagic Camera for Android 1.4 adds new recording bit rate options for H.264 and H.265 codecs meaning you can now select between low, medium, high and maximum bit rates. This allows you to have more control over your file sizes and the quality of your images. This update also adds support for compatible Oppo devices, Sony Xperia series 1, 5 and Pro-I devices as well as general performance and stability improvements. Blackmagic Camera for Android 1.4 is available now as a free download from https://lnkd.in/gRRQK8ad

Today we released Blackmagic Video Assist 3.17 update which adds support for Blackmagic RAW recording from Fujifilm X-M5 and Panasonic Lumix S5D cameras to Video Assist 5” and 7” 12G HDR models. When recording Blackmagic RAW with Video Assist 12G HDR, you can also save the camera’s settings in metadata. This means the white balance and exposure are encoded into the file to be read by DaVinci Resolve, however you can also override these settings later in the RAW settings palette when color correcting. Blackmagic Video Assist 3.17 update is available now as a free download from http://bmd.link/9jdLHF

Today we released DaVinci Resolve 19.0.2 which adds support for decoding MPEG transport stream clips, giving you a greater range of file types to use in post production. There is also improved audio alignment when replacing clips in the media pool, meaning you can use newer clips versions with mismatching timecodes, while keeping the video and audio in sync. There is also support for new media pool API scripts to select clips, plus per clip custom metadata as well as source start and end values. These new API scripts will allow you to streamline your post production workflow by automating time consuming, repetitive tasks when working with media pool clips. This update also improves handling of metadata in EDL clip names, meaning when you export a clip in an edit decision list, the clip name will be retained in the metadata and correctly displayed when imported back into DaVinci Resolve. Also, when using the replace clip command, the destination track settings will now be retained, allowing you to perform multiple edits in succession with your chosen destination settings. DaVinci Resolve 19.0.2 update is available now as a free download from http://bmd.link/bX7on3

Shot Sequencing for Replay in DaVinci Resolve This short video explains how shot sequencing works in DaVinci Resolve when doing live action replays. Shot sequencing allows you to play multiple shots in a replay without building a timeline, so you can create live replays with multiple angles at any length. Additional information can also be found in the DaVinci Resolve Replay Editor instruction manual at http://bmd.link/xWrzoV

US Cinematographer Steve Gainer ASC, ASK shot the background plates and studio cinematography in FF using the new URSA Cine 12K LF camera. All of the plates were shot using a single camera with the Entaniya HAL lens 220° lens. “The most important aspect of a camera for LED volume shooting is reproduction and dynamic range. And in the past, the challenge has been how to balance the colors in both of those worlds, especially skin tones. And so I really wanted to see how shooting the person in front of the volume wall would look using the exact same color science as the ‘thing’ on the volume wall!” “Being able to shoot plates at ultra-high resolution with 16 stops of latitude, has been something only a specialist camera could do. The URSA Cine can shoot at even higher resolutions in 12K 3:2 (12,288 x 8040) for the backplates. And for the principle cinematography, you have a range of options from 2.4:1 12K (12,288 x 5112) at 120 fps, 8K or 4K at 220fps, and also Super 35 (4-perf equivalent) in 9K up to 100fps. “With these tests, I would’ve liked to have pulled back and had something in the foreground like some trees. Just to have some middle ground, given I was using Cooke’s flagship S8/i FF spherical lenses and the Hawk C Series anamorphic 2X lenses. However, these tests were more about shooting 12K foreground and 12K background elements. Which on set, I gotta say looked absolutely fantastic.” “The URSA Cine is the perfect single camera for shooting plates. Being able to shoot on the Entaniya HAL lens with its 220° field of view, was an absolute joy. It’s just so much fun playing around on optics you don’t get to use very often. This lens works perfectly at open gate 3:2 12K up to 80 fps. And, at that resolution, you have almost 100 million pixels to play with which is insane. I am not too sure anyone has ever shot at that sort of resolution on this lens before?” “When we shot the Hollywood Boulevard scene, I was able to use a single camera using this fisheye lens. The URSA Cine did away with needing a camera array, making it a serious option for the XM2 Pursuit drone, Shotover K1 or a Technocrane. Especially now this camera comes with Preston and Lemo connections, and 12V/24V power.” Watch the video and read the full story at http://bmd.link/gyU4HF

Today we released Blackmagic Camera for Android 1.3, which adds support for recording timecode with your clips, allowing you to quickly synchronize video and audio in post production. This update also adds anamorphic desqueeze functionality and lens correction settings as well as support for off-speed and time lapse recording. By recording at a different frame rate from the one intended for playback, you can create slow motion or fast motion effects to set a mood or emphasize a dramatic moment. For supported Pixel 6, 7, 8 and 9 models there is support for higher frame rate recordings including 120fps at 720p and 1080p, and 240fps at 720p. While for Pixel 7, 8 and 9 phones there is added support for 240fps at 1080p. This update also adds support for the Xiaomi 13T phone, as well as new foldable phones including Samsung Flip 5/6 and Samsung Fold 5/6. Download now from Google Play, free of charge, at https://lnkd.in/gRRQK8ad

Today we announced pricing for Blackmagic URSA Cine 17K 65 camera. When designing the URSA Cine models, we wanted to build a dream camera that has everything you would ever want in a high end digital film camera that could shoot for extremely large screens and immersive environments. Blackmagic URSA Cine 17K 65 is the realization of that dream with a massive 65mm image sensor, a body with industry standard features and connections, and seamless integration into high end workflows. There’s been no expense spared in designing this camera and we think it will truly revolutionize all stages of production from capture to post! After a lot of work, we have calculated the price to be US$29,995. The Blackmagic URSA Cine 17K 65 will be demonstrated on the Blackmagic Design IBC Stand 7.C49 and is available to order now from Blackmagic Design resellers worldwide from US$29,995. Shipments will commence later in the year.

Introducing Blackmagic PYXIS Monitor! A new, versatile monitoring solution for Blackmagic PYXIS cameras with bright HDR touchscreen, camera control and multiple mounting points! Available soon from only $249. Learn more at http://bmd.link/uzTWr9

Today we announced ATEM Switchers 9.6.2 update which adds support for Visca over IP camera control on all ATEM Constellation models. This means you can connect up to 100 third party cameras and control pan, tilt and zoom by simply adding their IP address in the new Camera Control tab of the ATEM setup utility. This allows ATEM Constellation to control the latest generation PTZ cameras and camera heads, perfect for tracking people walking on a stage, zooming in on speakers at town hall meetings or adjusting cameras used for security surveillance. Previously available on the 4K and 8K models, ATEM Switchers 9.6.2 update also adds the ability to customize the built-in multi-view to ATEM Constellation HD models. This means you can customize border colors or remove them, plus enable or disable individual labels. This update also adds audio output mapping for all Constellation HD models so you connect a range of audio sources such as microphones and cameras and send them to various embedded audio outputs so they can be recorded on a HyperDeck. If the HyperDeck Is set to multi channel audio recording then your recordings will have all the source audio you need for an audio engineer to completely remix your audio in post production. With audio mapping being added to the ATEM Constellation HD models in this update, it is now available on all HD, 4K and 8K models. In addition, this update allows you to customize the SuperSource border colors on ATEM Constellation HD and 4K models. SuperSource is available on 2 M/E, 4 M/E and 8K models, giving you 4 extra DVE layers plus a background layer, that all appear to ATEM Constellation as an additional input source. ATEM Switchers 9.6.2 update will be demonstrated on the Blackmagic Design IBC Stand 7.C49 and will be available soon as a free download from our website. Learn more at https://lnkd.in/ghzJaZgx