VA Digital Hire purchases first FUJINON Premista 19-45mm lens in Australia

VA Digital Hire, the leading Australian film and television rental house, has purchased and taken into stock the first new FUJIFILM FUIJINON Premista 19-45mm wide-angle zoom lens in Australia.

Marc Van Agten and Warren Day with VA’s new Premista lens

Commenting on the new purchase VA’s Preparation Manager Mike Vlack said, “Our offices in Sydney, Melbourne and Brisbane have state of the art testing facilities. We regularly service productions from the smallest social media content piece to the largest feature film locally or across the world. Thus we understand the needs of productions and one of those needs is having access to the latest and best lenses – hence our purchase of the amazing new Premista 19-45mm wide-angle zoom lens.”

VA has one of the most up-to-date and diverse rental inventory available in the region. Cameras, lenses and supporting accessories covering every format and recording CODEC including RAW, PRORES, XAVC, X-OCN, Super 35, Full Frame, Anamorphic and 2/3 inch.

Vlack continued, “The new FUIJINON Premista 19-45mm is a full frame, wide-angle zoom covering focal lengths from 19mm to 45mm. It is also one of very few lenses that not only supports large-format sensors but also delivers outstanding high resolution, natural and beautiful bokeh and rich tonality with high dynamic range.”

The Premista 19-45mm is a compact and premium-quality wide-angle zoom lens, developed with FUJIFILM’s optical technology nurtured over many years. It joins the 28-100mm and 80-250mm lenses in the Premista series giving the industry unparalleled choice in high quality, large format zoom lenses.

The Premista series

Vlack added, “We’ve seen and used the amazing 28-100mm and 80-250mm Premista lenses and it’s hard not to be impressed with their quality, sharpness and reliability – three key attributes for rental houses. Our new Premista lens along with the other Premista lenses are going to be used in TV dramas and feature films and the demand for them is growing all the time.”

In recent years, there has been an increased uptake of cinema cameras equipped with large-format sensors capable of delivering high-quality and richly-expressive footage at sites producing premium-quality video such as Hollywood movies. Prime lenses, which have outstanding optical performance, are regularly used among lenses compatible with the large format sensors. However, when shooting with prime lenses, it is necessary to change lenses depending on the scene. Thus, there has been and continues to be a growing demand for zoom lenses which are capable of shooting high quality footage and require less replacement.

The Premista 19-45mm is a wide-angle zoom lens that offers a constant T-stop of 2.9*3 across its focal lengths from 19mm to 45mm. Featuring large-diameter aspherical lens elements and a unique zooming system, the lens achieves an astonishing level of edge-to-edge sharpness. Additionally, distortion is effectively reduced even at the widest focal lengths, delivering natural footage with minimal distortion across the entire zoom range.

Mike Vlack concluded, “From the incredible level of interest we have had from production companies wanting to hire and use the Premista lenses, we believe that 2021 will be the year full frame and large format shooting truly takes off. The Premista lenses meet the needs of these productions as they are consistent, very well made and benefit from FUJIFILM Australia’s incredible support from top management to the warehouse, which is second to none. The backup and support we get from FUJIFILM Australia is critical as these lenses are and will be put through their paces for many years to come. I’m delighted to say FUJIFILM and their lenses always deliver and have never let us down.

Canon launches EOS M50 Mark II as social content creation continues to soar

Canon Australia today introduces EOS M50 Mark II, the small, yet powerful mirrorless camera that builds on the innovation of its top selling Canon[1] predecessor, the EOS M50. As the global appetite for creating, sharing and watching content on social platforms continues to grow, the EOS M50 Mark II responds by providing the smart features and high-quality outputs that meet the needs of today’s content creators.

The EOS M50 Mark II makes the entire process from shooting to uploading content easier than ever before. Capable of capturing landscape and vertical 4K video or livestreaming Full HD directly to YouTube[2], this camera enables creators to take their content to the next level. With a 3.5mm microphone input, clean HDMI and USB output, the EOS M50 Mark II has all the inputs and outputs a content creator could need. Its compact body, vari-angle touchscreen, and compatibility with a range of Canon lenses means users have complete creative freedom – whether they are capturing beautifully framed ‘to camera’ pieces or are vlogging on the go.

New Canon EOS M50 Mark II – the ideal way to capture high-quality
photos for Instagram feeds and reels

Destination anywhere

Versatility sits at the heart of this camera. Whether you want to capture high-quality photos for Instagram reels, a native vertical video to share on TikTok, or live stream to YouTube[3], the EOS M50 Mark II has it covered. With its clean HDMI output, users can create professional-looking live streams and thanks to Canon’s free EOS Webcam Utility Software[4], casual streaming on Twitch or quality video chats with friends and family is all possible.

Meeting the demand for fast-to-market content, the EOS M50 Mark II boasts enhanced mobile connectivity[5] via Wi-Fi and Bluetooth. This allows control from mobile devices and the quick upload of images and movies to social media channels, ensuring users can confidently share or schedule content whenever suits them. 

Empowering content creators

Whatever their style or needs, with built-in microphone import, the portable EOS M50 Mark II can be easily carried around or even mounted onto a gimbal, offering enhanced flexibility for shooting opportunities. Whether in front of the camera or behind it, the vari-angle touch screen and responsive electronic viewfinder (EVF) also means users can frame the shot perfectly in any situation.

Stand out in the social feed

The key to making content stand out on social media channels is quality images. The EOS M50 Mark II allows content creators to use Canon’s EF-M lens range and EF lenses with a mount adaptor, which includes an ultra-wide lens, perfect for vlogging or a lens with a shallow depth of field to get those selfies just right.

The camera’s speed[6], 24.1 megapixel APS-C sensor, Intelligent Auto modes, and Eye Detection also gives content creators the edge when it comes to photography, making it possible to take sharp action shots that catch social media scrollers’ eyes. It’s not just visual quality that will help users’ content gain more views and followers; audio quality is also important. The Canon EOS M50 Mark II has a 3.5mm microphone port, so aspiring YouTubers can create vlogs with impeccable sound quality.

Ideal for vloggers, bloggers and influencers, the Canon EOS M50 Mark II is a perfect choice for content creators requiring stunning image quality, smart features and to live stream to an on-line audience in real-time.

EOS M50 Mark II – Key Features:

  • Create and share content to any platform quickly through Wi-Fi and Bluetooth connectivity[7]
  • Capture vertical videos to post quickly to social channels
  • Clean HDMI output for high quality live-streaming
  • 24.1MP APS-C sensor for stunning images and Full HD video
  • Versatile Vari-Angle touchscreen display for multiple shooting options
  • A 3.5mm microphone input for professional sound quality
  • Lens compatibility to match all perspectives and styles

The Canon EOS M50 Mark II will be available as a single lens kit with an EF-M15-45 lens from authorised local dealers from March 2021. RRP for the EOS M50 Mark II Single kit with EF-M15-45 is $1,199.00 with pricing set at dealer discretion. The Canon EOS M50 Mark II will be supported by Canon Australia’s 5-year warranty when products have been purchased from an authorised Canon Australia reseller.

For full specifications of the Canon EOS M50 Mark II, visit:

[1] Canon Australia sales data on top volume selling Interchangeable lens cameras (DSLR and Mirrorless) in 2020 as of 23 February 2021.  

1 in every 7 ILC cameras sold in Australia in 2019 was an M50

[2] The live streaming service available with this product is for live streaming on YouTube only. To use live streaming, you need to have an active YouTube account and an account. Please be aware that YouTube may change, stop, or terminate its services, including live streaming, at any time without notice. In accordance with YouTube’s “Restrictions on live streaming” users must have a minimum of 1,000 channel subscribers in order to live stream from a mobile device (including camera products with live streaming capability). For up-to-date information from YouTube on restrictions, please visit Canon makes no representations or warranties with respect to any third party product or service, including live streaming.

[3] The live streaming service available with this product is for live streaming on YouTube only. To use live streaming, you need to have an active YouTube account and an account. Please be aware that YouTube may change, stop, or terminate its services, including live streaming, at any time without notice. In accordance with YouTube’s “Restrictions on live streaming” users must have a minimum of 1,000 channel subscribers in order to live stream from a mobile device (including camera products with live streaming capability). For up-to-date information from YouTube on restrictions, please visit Canon makes no representations or warranties with respect to any third party product or service, including live streaming.

[4] For full details on Canon’s EOS Webcam Utility function and compatible devices, visit

[5] Via the Canon Camera Connect app or

[6] The EOS M50 Mark II is capable of continuous shooting at 10 frames per second

[7] Via the Canon Camera Connect app or

New RØDE Wireless Go II

RØDE say the Wireless GO II offers all of the features of the original Wireless Go plus dual channel recording, universal compatibility with cameras, mobile devices and computers, extended range and improved transmission stability, and on-board recording capabilities. Wireless audio has changed again.

Key Features Of The Wireless Go Ii

  • Dual channel wireless microphone system – record two sound sources simultaneously or use as a single channel wireless microphone
  • All-new Series IV 2.4GHz digital transmission with 128-bit encryption – delivers an extended range of up to 200m (line of sight), optimised for extremely stable operation in dense RF environments
  • 3.5mm analog TRS output, USB-C and iOS digital audio output – universal compatibility with cameras, mobile devices and computers
  • On-board recording capability – record over 24 hours of audio direct to each transmitter as a failsafe against dropouts and other audio issues
  • Ability to switch between mono or stereo recording modes – record each channel separately or combine them for ultimate flexibility in post-production
  • Flexible gain control – three-stage pad, expandable to 10-stage pad
  • Safety channel – records a second channel at -20dB as a backup in case the main channel distorts
  • Complete control over all features and functions via the RØDE Central app
  • In-built rechargeable lithium-ion batteries – up to 7 hours battery life, plus a power saver mode
  • Designed and made in RØDE’s state-of-the-art manufacturing facilities in Sydney, Australia

The original Wireless GO was a gamechanger,” says RØDE CEO Damien Wilson. “It truly revolutionised sound capture for everyone from vloggers to business professionals producing content while working from home. The form factor and feature set had never been seen before and many have attempted – and failed ¬– to replicate it since.”

“The Wireless GO II is a huge leap forward in terms of useability and versatility, while retaining all the elements that made the first edition such a success. It represents RØDE’s mission to innovate and continue evolving our product lines, always with creators in mind. The Wireless GO II is once again going to change the way people record audio for their content.”

Unmatched Versatility

The Wireless GO II takes the versatility of the original to new heights. Each kit contains two transmitters and a single receiver, allowing users to capture two sound sources simultaneously – perfect for a wide range of filmmaking scenarios, from recording interviews to two-person vlogs. It can also be used as a single channel wireless microphone for recording just one sound source.

The Wireless GO II features a 3.5mm analog TRS output for plugging into cameras, plus a digital audio output via USB-C for plugging into smartphones, tablets and even computers. This universal compatibility with any device makes the Wireless GO II extremely versatile, ideal for everyone from filmmakers to YouTubers to business professionals.

Another groundbreaking feature is its on-board recording capability. The Wireless GO II can record over 24 hours of audio directly to each transmitter (without the need for an SD card), ensuring a backup recording is always available in post-production in case of transmission dropouts and other audio issues.

This feature is activated via RØDE Central, a new app that gives users access to firmware updates and advanced features for the Wireless GO II. In addition to on-board recording, these include activation of the safety channel, which records a second track at -20dB in case the main channel distorts, a fine gain control that expands the three-stage pad to a 10-stage pad, and more. The Wireless GO II is the first RØDE product to utilise RØDE Central, with the VideoMic NTG, AI-1 and others to be integrated in future.

Other key features of the Wireless GO II include the ability to switch between mono and stereo modes, allowing users to record each transmitter separately or combine the two for ultimate flexibility in post-production, a mute button, in-built rechargeable lithium-ion batteries that last up to 7 hours, and more.

No other wireless microphone system packs in such an incredible range of features, making the Wireless GO II one of the most versatile microphones on the market.

Ultra-Compact Wireless Audio

The Wireless GO II offers the same pocket-sized form factor as the original. The receiver weighs just 32g and the transmitters weigh just 31g, with each measuring less than a matchbox, taking up virtually no space in a camera kit bag, backpack, handbag or briefcase.

The transmitters and receiver feature the same unique clip design as the original, which make them incredibly easy to clip onto talent and mount onto a DSLR or mirrorless camera, mobile camera rig, boom pole or cold shoe accessory. This also means the extensive range of Wireless GO accessories work with the Wireless GO II, including the Interview GO and MagClip GO. Ultra-compact wireless audio for any recording situation.

Each Wireless GO II kit ships with a flat TRS memory cable for plugging into cameras and three USB-C to USB-A cables for connecting to computers for charging and recording (additional RØDE cables or adaptors are required for connecting to mobile devices and computers with USB-C inputs). There is also a handy carry pouch for keeping the kit tidy and secure.

Professional Sound. Seamless Connectivity

The Wireless GO II has been designed to deliver professional sound while being incredibly simple to use. Out of the box, the two transmitters come auto paired to the receiver and will remember which channel they’ve been assigned to in future, ensuring a seamless setup process every time.

The system utilises RØDE’s all-new Series IV 2.4GHz digital transmission with 128-bit encryption, which delivers an extended range of up to 200m (line of sight) and is optimised for operation in areas with a high level of RF activity, including dense urban environments, shopping malls, universities, convention centres and offices. The internal antenna has been redesigned to ensure an extremely stable connection, and with on-board recording providing a backup of all audio, users never have to worry about dropouts again.

Each transmitter features a high-quality in-built omnidirectional condenser capsule for completely wireless recording, plus a 3.5mm TRS input for plugging in a lavalier microphone, such as the RØDE Lavalier GO.

The Wireless GO II also comes with three furry windshields, which incorporate an innovative new twist-to-lock design for recording in windy conditions, ensuring crystal-clear, professional sound in any situation.

The Wireless GO II is shipping worldwide now.

Find out more information at and


Sony launches FX3 full-frame camera

Sony today officially announced the FX3 (model ILME-FX3) camera, that combines the best of Sony’s industry-leading digital cinema technology with advanced imaging features from Alpha™ mirrorless cameras to create the ultimate cinematic look.

As the latest addition to Sony’s Cinema Line, the FX3 delivers a cinematic look, and professional operability and reliability, all in one device that answers the needs of young creators who are looking for new ways to express their creative vision. The new model provides outstanding image quality and usability for small scale and one-person shooting. The FX3 boasts first-class focus performance, optical image stabilisation, handheld shooting design, and advanced heat dissipation for extended recording times. All this in a compact, lightweight body that provides the performance and mobility to meet the growing demands of today’s content creators.

“It is exciting to see the expansion of our Cinema Line, with this announcement of the FX3. Filmmakers can now realise their creative vision of cinematic content with an ultra-compact and agile camera set up”, said Jun Yoon, Head of Digital Imaging ANZ. “Our family of Alpha ILC cameras delivers an unparalleled breadth of options for video content creators. From cinematographers, to professional videographers, and to enthusiast filmmakers – the FX3 joins our impressive lineup of E-mount video cameras.”

 Cinematic look

The FX3 flaunts Sony’s industry-leading image sensor technology to achieve high processing speeds and outstanding image quality. The full-frame, back-illuminated Exmor R CMOS sensor full-frame

10.2 megapixel (approx. effective) count for movie recording (and 12.1 effective megapixels for stills) and the BIONZ XR image processing engine team up to ensure high sensitivity with low noise. The standard ISO range is 80 to 102,400 (expandable to 409,600 when shooting a movie), and dynamic range is an impressively wide 15+ stops2.

In response to a growing need for more expressive depth, the FX3, along with FX9 and FX6 Cinema Line cameras, allows users to create a cinematic look without post-production, using S-Cinetone.

4 Slight image crop in Active Mode. “Standard” setting recommended for focal lengths of 200mm or longer. Active Mode is not available when recording at frame rates of 120 (100) fps or higher, including S&Q mode.

5 Sony internal tests. USB power supply, XAVC S-I (All-I), 4K 60p 10-bit 4:2:2, 25 deg C (ambient, camera temperature when recording started), Auto power off temperature: High, Cooing fan: Auto. The duration will vary depending on the shooting conditions. The maximum continuous recording time for a single movie shooting session is approximately 13 hours (a product specification limit)

Based on the colour science inspired by Sony’s flagship VENICE camera, S-Cinetone delivers natural mid-tones, plus soft colours and smooth highlights that are essential to cinematic look.

Create movies with in-camera 4K recording at up to 120 frames per second3. Extraordinarily smooth slow-motion imagery6 (up to 5x) at QFHD (3840 x 2160) resolution with autofocus provides new expressive capability.

Designed for comfortable solo-shooting

The most compact and lightweight Cinema Line camera is ideal for handheld shooting, gimbal and drone-mounted work. It weighs just 715 grams, including the battery and memory cards, and the body is 77.8 mm high, 129.7 mm wide and 84.5 mm deep – without protrusions. The camera grip has been carefully designed to provide optimum flexibility, stability and comfort for long shoots.

Designed for mobility and efficiency, the FX3’s body features five thread holes (1/4-20 UNC) to easily attach compatible accessories while remaining light enough for handheld shooting, and making it easy to carry and set up. The supplied XLR handle unit securely attaches to the body via the Multi Interface Shoe without any special tools, and provides three additional thread holes for accessories: two on the top and one on the end. External monitors, recorders, wireless microphone receivers, the accessory shoe kit (cold shoe plate), or other add-ons, can be securely attached.

To enable high quality audio, the XLR handle unit includes two XLR/TRS audio inputs to the FX3. With an optional XLR microphone, digital audio data can be directly transferred to the camera for outstanding audio quality. Camera settings provide audio recording formats, including 4-channel 24-bit recording. Because the XLR adaptor is integrated into the handle, and does not require any additional cables or batteries, it offers stress-free set up.

The FX3 offers Fast Hybrid autofocus (AF) by using the 627 points7 focal plane phase-detection system during movie recording. The camera is further enhanced with Touch Tracking (Real-time Tracking) where simply touching the desired subject on the monitor screen initiates auto focus and tracking on that subject. Precise and smooth focus is maintained with Real-time Eye AF – technology that pinpoints the eye, even when subjects are looking down or up at steep angles. Additionally, other AF features have been included and refined in response to feedback from professional users, including AF Transition Speed, AF Subject Shift Sensitivity, intuitive control and AF support when focusing manually. These AF features have been implemented in the FX3 to ensure stable, flexible and precise focusing in any situation, and are easy to operate for solo shoots.

The FX3 features 5-axis optical in-body image stabilisation – highly effective for handheld shooting. A high precision stabilisation unit and gyro sensors have made it possible to provide an Active Mode4

6 Post-production editing and S&Q mode recording required

7 Maximum AF points and area coverage. This varies according to the recording modes

that is dedicated to movie shooting in different formats, including 4K. In-body image stabilisation means that effective stabilisation can be achieved with a wide range of lenses, including E-mount lenses that do not have in-built image stabilisation. Additionally, the FX3 records image stabilisation metadata that can be used to apply image stabilisation to captured footage during post-production using Catalyst Browse/Prepare8.

Expandability and operability for content creators


No compromises have been made when designing the FX3 in terms of professional control and operability. The buttons frequently used in movie shooting, such as ISO, iris and white balance adjustment, are located on the grip, and on the top of the body. The design allows solo creators to control the buttons with one hand. In addition, 140 functions assignable to 15 custom keys allow for ultimate efficiency.

The zoom lever located on the top of the grip not only controls compatible powered zoom lenses, but also allows Clear Image Zoom to also be used with unpowered zoom and prime lenses, with less image degradation – reducing the number of lenses required for many projects. This lever also enables smooth zooming that is difficult for manual zoom-ring control.

Recording lamps (tally) are provided on the upper front and rear of the camera, so that operator can easily distinguish when the camera is rolling. A side-opening vari-angle touch-panel LCD monitor allows for easy operation and is suitable for gimbal-mounted shots, complicated angles, handheld operation and more. Flexible Exposure Mode allows the FX3 to have a similar Auto/Manual switch operation as other FX series cameras for aperture (iris), shutter speed, and ISO, which can be set independently. A short press of the assigned custom buttons enables switching between locking the dial / Manual, and a long press on the custom buttons allows on-off switching of Auto setting.


Creators need more than just refined features and performance; they also need reliability and durability. The FX3 combines a fan for active cooling with effective heat dissipation resulting in uninterrupted 4K 60p recording without thermal shutdown5. The newly developed fan provides high-efficiency cooling.

The new camera also features a dust and moisture resistant design9 and durable magnesium alloy chassis. Moreover, USB PD (Power Delivery) supports fast charging10 for uninterrupted recording.

8 Supported in Catalyst Browse/Prepare Version 2020.1 or later. Image stabilization metadata that can be used by Catalyst is generated when using a Sony E-mount lens with the camera’s optical image stabilization set to [OFF] or [Active].

9 Not guaranteed to be 100% dust and moisture proof. The XLR handle does not feature a dust and moisture resistant design

10 USB charging and power delivery are only supported via the USB Type-C® terminal. A battery must be installed in the camera when supplying USB power. The internal battery may drain even if USB power is supplied, depending on the adapter used and camera operating conditions.


The FX3 is compatible with several recording functions including S-Log3 gamma with S-Gamut3.Cine colour space to preserve rich colour and gradation, that can record in a high dynamic range and wide colour gamut. It also supports internal recording in XAVC S™ and XAVC S-I formats in 4K (QFHD) and FHD, and XAVC HS™ (MPEG-H HEVC/H.265, 4K only) format. 4K 60p video in 10-bit 4:2:2 or 16-bit RAW format can be output to an external device11 via the FX3 HDMI Type-A jack.

The FX3 also offers fast, future-oriented media slots that contribute to unprecedented shooting freedom, with two CFexpress Type A cards. The same data can be simultaneously recorded to both cards for backup, and a “relay” mode will automatically switch to the second media card when the first media card becomes full during recording.

The new camera has been developed with advanced connectivity features to better assist professional creators, with high-speed wireless LAN functionality (2.4 GHz or 5 GHz band12) and wired LAN connection via a compatible USB-to-Ethernet adaptor. This FX3 also supports remote shooting from PC by Imaging Edge Desktop™ application “Remote” via Wi-Fi, or Superspeed USB 5Gbps connection over USB Type-C® terminal.

About Cinema Line

Cinema Line is a series of cameras that have a filmic look – cultivated from Sony’s long experience in digital cinema production – plus, enhanced operability and reliability that respond to the wide variety of creators’ high demands.

Cinema Line includes the digital cinema camera VENICE, highly acclaimed in the feature and episodic production industry, the professional camera FX9, which is popular for documentary and drama production, and the FX6, for grab and shoot action and content creation. With the addition of the new FX3, the most compact camera in the series, Sony offers a true lineup of versatile creative tools for all types of visual storytellers.

Pricing and availability

The FX3 will be available in Australia from mid-March 2021 for SRP $6,699.

A product video on the new FX3 can be viewed at:

For detailed product information, please visit:


Blackmagic News – lots of it! And major stuff too…

The only company in the video / film biz that seems to blasting forward t this time is Australia’s own Blackmagic Design. Today it announced soem really major new products. Here are the press releases on these (we hope to be doing reviews very soon and will keep you posted).

Blackmagic Design Announces ATEM Mini Extreme

New more powerful models of ATEM Mini include 8 inputs, 6 DVEs, 4 chroma keyers, 16 way multiview, 2 downstream keyers, 2 media players and more!

Blackmagic Design today announced ATEM Mini Extreme, a new massively larger model of our ATEM Mini live production switcher. This new model is our most advanced 1 M/E switcher that features 8 inputs, 4 ATEM Advanced Chroma Keyers, a total of 6 independent DVEs, 2 media players, 2 downstream keyers, 16 way multiview, 2 USB connections and multiple HDMI aux outputs. There is also a new ATEM Mini Extreme ISO model which includes all these powerful features plus a more powerful recording engine that can record all 8 inputs plus the program for a total of 9 streams of recording. Both new models include a broadcast quality streaming engine for live streaming to YouTube, Facebook, Twitter and more.

ATEM Mini Extreme and ATEM Mini Extreme ISO are available immediately from Blackmagic Design resellers worldwide from A$1,569.

ATEM Mini switchers make it easy to create professional multi camera productions for live streaming to YouTube and innovative business presentations using Skype or Zoom. Simply connect ATEM Mini and customers can switch live up to 8 high quality video camera inputs for dramatically better quality images. Or connect a computer for PowerPoint slides or gaming consoles. The built in DVE allows exciting picture in picture effects, perfect for commentary.

There are loads of video effects too. All ATEM Mini models have USB that works like a webcam so customers can use any streaming software while the ATEM Mini Pro and ATEM Mini Extreme models add live streaming and recording to USB disks. There’s also HDMI out for projectors. Microphone inputs allow high quality desktop and lapel mics for interviews and presentations.

ATEM Mini’s compact all in one design includes both a control panel as well as connections. The front panel includes easy to use buttons for selecting sources, video effects and transitions. The source buttons are large so it’s possible to use it by feel, letting the presenter do the switching. Customers even get buttons for audio mixing. On the ATEM Mini Pro and Extreme models customers also get buttons for record and streaming control, as well as output selection buttons that let customers change the video output between cameras, program and multiview. On the rear panel there are HDMI connections for cameras or computers, extra microphone inputs, USB for webcam out plus an HDMI “aux” output for program video.

ATEM Mini Pro and ATEM Mini Extreme models have a built in hardware streaming engine for live streaming via their ethernet connections. That means customers can live stream to YouTube, Facebook and Twitch in better quality, without dropped frames and with simpler settings. Just select the streaming service and enter the streaming key. There are palettes in ATEM Software Control for streaming setup, plus streaming status is also displayed in the multiview. Streaming status is easy to understand as the data rate indicator shows internet speed required for the video format users are using. If users are technically minded, customers can update the streaming profiles in an XML settings file to load new services.

If users are doing live production on location then the ATEM Mini Pro and Extreme models support connecting an Apple or Android phone to the USB port to use mobile data. It’s also a great backup for the main Ethernet connection. Phone tethering works with the latest high speed 5G phones plus the more common 4G phones. The ATEM switcher will automatically detect when a phone is connected and switch its internet connection to use it, eliminating the need for changing settings. When connected, the phone will power from the USB port so it remains charged from the switcher. By using phone tethering and mobile data, ATEM Mini Pro and ATEM Mini Extreme become the perfect mobile production solutions.

The ATEM Mini Pro and Extreme models also support direct recording of their streaming data to USB flash disks. That means customers get very long recordings in the same H.264 video files with AAC audio that customers streamed, so customers can direct upload to any online video site, such as YouTube or Vimeo. Recording to multiple disks is also supported via a USB hub or Blackmagic MultiDock, so when a disk fills recording can continue to a second disk for non-stop recording. Record settings and disk selection are set up in ATEM Software Control and there’s a record status view in the built-in multiview.

The ATEM Mini Pro ISO and Extreme ISO models allow customers to edit their live event as they can record multiple video streams, including clean feeds of all inputs and program, all at the same time. Media pool images used are also saved with the video files. The video files include metadata tags such as synced timecode and camera numbers. Imagine re-editing their show with new color grades, effects and graphics. Even the audio sources are all recorded so customers can professionally remix their audio.

The ISO models also save a DaVinci Resolve project file, so with a single click customers can open their live production as a video edit. All cuts, dissolves and media pool graphics will be loaded. This means customers can fine tune edit points or even completely replace shots. The DaVinci Resolve Sync Bin lets customers select new shots via a multiview so it’s very easy to use. Customers can even relink to Blackmagic RAW camera files for adding professional color correction and finishing in Ultra HD.

With two independent 3.5mm stereo audio inputs, customers can connect desktop and lapel microphones. With 2 extra stereo audio inputs, customers can ensure a host and guest both have lapel microphones when doing interviews. Plus all models feature a Fairlight audio mixer with all HDMI inputs and both microphone inputs are all connected to the audio mixer so customers can live mix from all audio sources. The ATEM Mini Extreme also adds a headphone output.

Each of the HDMI inputs feature their own dedicated standards converter. That means ATEM Mini will automatically convert 1080p, 1080i and 720p sources to the switcher video standard. The HDMI outputs are a true “aux” output so customers can clean switch each HDMI input to the output. Plus the ATEM Mini Extreme models support 2 low latency direct loops. On the more powerful ATEM Mini Pro and ATEM Mini Extreme models, the HDMI output can be selected to display a full multiview.

The ATEM Software Control app unlocks the hidden power of ATEM Mini and allows access to every feature in the switcher. ATEM Software Control features a visual switcher user interface with parameter palettes for making quick adjustments. Although customers can normally connect via USB, if customers connect using Ethernet it’s possible for multiple users to connect to ATEM Mini using separate copies of ATEM Software Control on different computers. Customers can even save the switcher state as an XML file. If customers need clip playback, customers can even control HyperDeck disk recorders via Ethernet.

The built in “media pool” allows the loading of up to 20 separate broadcast quality RGBA graphics for titles, opening plates and logos. Customers can even use still frames for complex effects such as graphic wipes. Graphics can be loaded via ATEM Software Control or downloaded directly from Photoshop using the ATEM Photoshop plug-in.

The ATEM Mini Extreme models include 4 upstream chroma keyers and this allows customers to build exciting virtual sets. With 4 independent chroma keyers, customers get a keyer per camera so customers can build a virtual set for up to 4 cameras. With ATEM Mini Extreme customers have 8 inputs, 4 to use for cameras and the other 4 can be connected to a virtual set computer for the rendered backgrounds. Or customers don’t need to move their cameras, customers can do fixed camera virtual sets by loading pre rendered still image backgrounds from the media players and media pool. Customers can setup macros to change cameras and load the correct background into the media players. Or even use a DeckLink Quad HDMI and live virtual set software.

In addition to 2 independent DVEs in the ATEM Mini Extreme models, there’s also a powerful SuperSource multi layer processor with 4 extra DVE layers plus a background layer, that all appear to ATEM Mini Extreme as an additional input source. Any ATEM Mini Extreme video input can be used for each SuperSource DVE, then it’s all layered together over a media pool custom background. SuperSource is perfect for doing multiple picture in picture displays with people being interviewed because customers can set up the effect before putting it to air, still keeping both main DVEs free for other tasks. SuperSource is just like having an extra multi-layer VFX switcher built in.

When doing larger live productions with multiple cameras, it’s very useful to see all their video sources at the same time on a single monitor. The ATEM Mini Pro and ATEM Mini Extreme models include a professional multiview that lets customers see all video inputs, preview and program on a single HDMI television or monitor. Each camera view includes tally indicators so customers know when each source is on-air, and each view also has custom labels and audio meters. Plus the ATEM Mini Extreme models allow customers to select up to 16 custom views. Multiview even includes status for recording, streaming and the audio mixer.

The ATEM Streaming Bridge is a video converter that lets customers receive a H.264 stream from any ATEM Mini Pro or ATEM Mini Extreme and convert it back to SDI and HDMI video. This means customers can send video to remote locations around their local Ethernet network, or via the internet globally. That’s possible because it uses advanced H.264 codecs for higher quality at very low data rates. Setup is easy as the ATEM software utility can create setup files that customers can email to remote studios.

“These 2 new models of ATEM Mini are a massive increase in creative features and are now our most powerful 1 M/E switchers!” said Grant Petty, Blackmagic Design CEO. “With our ATEM Mini customers really pushing the edge in live production, we feel they are innovating in new and exciting ways and inventing new workflows that we have never seen before. So we felt it was important to build a new model of ATEM Mini that would take the features well beyond what was available now, so our customers can continue to innovate with these new workflows. These new models are big, powerful and still incredibly affordable.

ATEM Mini Extreme and ATEM Mini Extreme ISO Features

* Features miniaturized control panel based design.
* Supports connecting up to 8 cameras or computers.
* Supports streaming via Ethernet or tethered phones via USB.
* Tethers to 5G or 4G phones for mobile remote streaming.
* Records to USB flash disks in H.264.
* Two stereo audio inputs for connecting desktop or lapel microphones.
* Automatically standards converts and re-syncs all HDMI inputs.
* Includes free ATEM Software Control for Mac and Windows.
* Internal media for 20 RGBA graphics for titles, opening plates and logos.
* 4 upstream ATEM Advanced Chroma keyers for green/blue screen work.
* 2 independent DVEs plus SuperSource with 4 extra DVEs.
* 16 way multiview for monitoring all cameras, recording and streaming status.
Availability and Price
ATEM Mini Extreme and ATEM Mini Extreme ISO are available now from A$1,569, from Blackmagic Design resellers worldwide.

Blackmagic Design Announces New Blackmagic Pocket Cinema Camera 6K Pro

Advanced Pocket Cinema Camera 6K model with built in ND filters, adjustable HDR screen, Gen 5 color science, larger battery and optional viewfinder!

Fremont, CA, USA – Wednesday, February 17, 2021 – Blackmagic Design today announced the Blackmagic Pocket Cinema Camera 6K Pro, a new more powerful model that includes features for high end digital film. This new model includes a brighter 1,500 nit adjustable HDR touchscreen screen, built in ND filters, larger battery, plus support for an optional electronic viewfinder. This model also includes latest generation 5 color science, Super 35 HDR image sensor with 13 stops of dynamic range, dual native ISO of 25,600 and a popular EF lens mount.

Blackmagic Pocket Cinema Camera 6K Pro is available immediately from Blackmagic Design resellers worldwide for A$3,935.

The elegant design of the Blackmagic Pocket Cinema Camera packs an incredible number of high end digital film features into a miniaturized, handheld design. Made from lightweight carbon fiber polycarbonate composite, the camera features a multifunction handgrip with all controls for recording, ISO, WB and shutter angle right at their fingertips. Because it’s an advanced digital film camera, the sensor is designed to reduce thermal noise allowing cleaner shadows and higher ISO. Plus the large 5 inch LCD makes it possible to get perfect focus at 4K and 6K resolutions.

Featuring a larger 6144 x 3456 Super 35 sensor and EF lens mount, the Blackmagic Pocket Cinema Camera 6K lets customers use larger EF photographic lenses to create cinematic images with shallower depth of field, allowing creative defocussed backgrounds and gorgeous bokeh effects.

The Blackmagic Pocket Cinema Camera 6K Pro includes additional pro features such as built in 2, 4 and 6 stop ND filters, adjustable tilt HDR LCD with a bright 1500 nits that’s ideal for use in bright sunlight. It also includes two mini XLR audio inputs and a larger NP-F570 style battery.

Whether users are shooting in bright sunlight or in almost no light at all, the 13 stops of dynamic range with dual native ISO up to 25,600 provide stunning low noise images in all lighting conditions. Plus the 6K models feature a larger Super 35 sensor that allows shooting with a shallow depth of field and anamorphic lenses. All models let customers shoot up to 60 fps in full resolution or 120 fps windowed. An amazing sensor combined with Blackmagic color science means customers get the same imaging technology as the most expensive digital film cameras.

The 6K models feature an EF lens mount so customers can use lenses customers already own from other cameras such as DSLR, URSA Mini Pro or even the original Blackmagic Cinema Camera. Customers can use commonly available photographic lenses that provide incredible creative choice and wonderful feature film quality lens effects. The active lens mount lets customers adjust focus and iris from the buttons on the camera or the touch screen.

The Blackmagic Pocket Cinema Camera 6K Pro features high quality, motorized IR ND filters that let customers quickly reduce the amount of light entering the camera. Designed to match the colorimetry and color science of the camera, the 2, 4 and 6 stop filters provide customers with additional latitude even under harsh lighting. The IR filters have been designed to filter both optical and IR wavelengths evenly, eliminating IR contamination of the images. Activation buttons are located on the rear of the camera body, placed within easy reach of their thumb from the multi function hand grip. User selectable filter settings can even be displayed as either an ND number, stop reduction or fraction on the LCD.

The Pocket Cinema Cameras feature dual native ISO up to 25,600, which means they’re optimized to minimize grain or noise in images, while maintaining the full dynamic range of the sensor. The native ISO of 400 is ideal for scenes with on-set lighting. The gain is set automatically as customers adjust the ISO setting, so it’s easy to capture great images when customers don’t have time to set up lights.

Blackmagic Pocket Cinema Camera records using standard open file formats so customers don’t have to waste time transcoding media. Recording works in industry standard 10-bit Apple ProRes files in all formats up to 4K or 12-bit Blackmagic RAW in all formats up to 6K. Developers can download and use the free Blackmagic RAW SDK to add support into their applications. Best of all media files work on all operating systems plus customers can format media cards and disks in HFS+ for Mac and ExFAT for Windows.

Blackmagic Pocket Cinema Camera features a large, bright 5 inch touchscreen that makes it easy for customers to frame shots and accurately focus. On screen overlays show status and record parameters, histogram, focus peaking indicators, levels, frame guides and more. The Pocket Cinema Camera 6K Pro LCD monitor is a more advanced HDR display that can be tilted up and down so it’s easy to monitor their shot from any position. Plus the 6K Pro model’s HDR display features 1500 nits of brightness, ideal for use in bright sunlight.

Featuring the same generation 5 color science as the high end URSA Mini Pro 12K, the new Pocket Cinema Camera 6K Pro delivers an even greater advancement in image quality with stunning, accurate skin tones and faithful color in every shot. Customers get a new dynamic 12-bit gamma curve designed to capture more color data in the highlights and shadows, for better looking images. The color science also handles some of the complex Blackmagic RAW image processing, so color and dynamic range data from the sensor is preserved via metadata which customers can use in post production.

The Pocket Cinema Camera 6K Pro supports an optional viewfinder to make outdoors and handheld shooting accurate and easy. Customers get an integrated high quality 1280 x 960 color OLED display with built in proximity sensor, 4 element glass diopter for incredible accuracy with a wide -4 to +4 focus adjustment. A built in digital focus chart ensures customers get perfect viewfinder focus setup. Customers can also view critical status information such as frame guides. The Pocket Cinema Camera Pro EVF connects quickly to the Blackmagic Pocket Cinema Camera 6K Pro via a single connector. The viewfinder has a 70 degree swivel range and comes with 4 different types of eyecups for both left and right eyes.

Blackmagic Pocket Cinema Cameras feature a mini XLR input with 48 volts of phantom power for connecting professional microphones such as lapel mics and booms. The 6K Pro model features 2 mini XLR connections, allowing customers to record 2 separate audio tracks using 2 mics, without an external mixer. The four built in mics have an extremely low noise floor and are shock and wind resistant, capturing great sound in any location. There’s also a 3.5mm audio input for connecting video camera microphones, along with a built in speaker for playback and a 3.5mm headphone jack.

The Blackmagic Pocket Cinema Camera 4K and 6K use removable LP-E6 type batteries while the 6K Pro model uses larger NP-F570 batteries. A locking DC power connector is used so customers won’t have to worry about losing power during a shoot. Plus the included AC plug pack can power the camera and charge the battery simultaneously. Even the USB-C expansion port can trickle charge the battery, so customers can use portable battery packs, mobile phone chargers or laptops. The optional battery grip lets customers add extra batteries to dramatically extend the power of the camera so customers can keep shooting all day.

All Pocket Cinema Camera models include a full version of DaVinci Resolve Studio, which is the same software used in Hollywood for creating high end feature films, episodic television shows, commercials and more. DaVinci Resolve features the new cut page with intelligent editing tools and innovative new features designed to help customers quickly find the footage customers want, edit it together and output it fast. In addition to the new cut page, customers also get DaVinci’s legendary professional editing, advanced color correction, audio post and visual effects tools, all in a single software application.

“With the new Pocket Cinema Camera 6K Pro, we wanted to include all the high end features from digital film cameras into a Pocket Cinema Camera design,” said Grant Petty, Blackmagic Design CEO. “This means you get an extremely portable digital film solution but with all the advanced features like the amazing ND filters, optional viewfinder and bright HDR touchscreen. We think our digital filmmaker customers will love it!”

Blackmagic Pocket Cinema Camera 6K Pro Features
* Designed from carbon fiber polycarbonate composite.
* 6144 x 3456 sensor with 13 stops and dual native ISO up to 25,600.
* Compatible with a wide range of popular EF lenses.
* Built in motorized 2, 4 and 6 stop ND filters.
* Up to 25,600 ISO for incredible low light performance.
* Standard open file formats compatible with popular software.
* Adjustable, HDR 1500 nit LCD screen.
* Includes Blackmagic Generation 5 Color Science.
* Optional Blackmagic Pocket Cinema Camera Pro EVF.
* Professional mini XLR inputs with 48 volt phantom power.
* Larger NP-F570 battery, optional Blackmagic Pocket Camera Battery Pro Grip.
* Includes full DaVinci Resolve Studio for post production.

Availability and Price
Blackmagic Pocket Cinema Camera 6K Pro is available now for A$3,935, from Blackmagic Design resellers worldwide.

Blackmagic Design Announces New Blackmagic Web Presenter HD

New broadcast transmitter for the streaming age includes powerful H.264 encoder for live streaming to YouTube, Facebook, Twitter and more!

Fremont, CA, USA – Wednesday, 17 February 2021 – Blackmagic Design today announced the new Blackmagic Web Presenter HD, a self contained streaming solution that includes a broadcast quality H.264 processor for direct streaming to platforms such as YouTube, Facebook, Twitter and more. The new Web Presenter HD is a compact design that includes a 12G-SDI input with down converter, so customers can connect to HD or Ultra HD equipment and stream in full 1080p video. Also included is a built in front panel with LCD and menus, USB webcam features, plus a unique monitoring output with audio meters, streaming status and full SDI and embedded audio technical details.

Blackmagic Web Presenter HD is available immediately from Blackmagic Design resellers worldwide for A$789.

Blackmagic Web Presenter is a complete streaming solution that includes a professional hardware streaming engine for direct streaming via Ethernet to YouTube, Facebook, Twitter and more. It’s just like a modern broadcast television transmitter for a new global streaming audience. Plus the built in USB connections work like a webcam, so customers can connect a computer and use any streaming software, or even Skype or Zoom. For redundancy, customers can stream to the internet via Ethernet or connect a 5G or 4G phone to use mobile data. Web Presenter also includes a technical monitoring output that includes video, audio meters, trend graphs and even SDI technical data.

Blackmagic Web Presenter supports the most popular streaming platforms. Plus the built in hardware streaming engine has been designed for live streaming at professional broadcast quality. That means customers get a self contained solution for live streaming that works without dropped frames. Customers only need to connect it to the internet. Setup is easy, as the Web Presenter Utility software lets customers select the streaming platform and update the streaming key.

Blackmagic Web Presenter is a self contained solution that includes a powerful hardware encoder, software for connecting to streaming platforms, and network connections. That means customers don’t need to buy an expensive computer or use complicated streaming software. Simply connect an SDI video source such as a live production switcher or a camera, then connect to the internet using the built in Ethernet connection. Or plug in a mobile phone to use mobile data. With settings built in for popular streaming platforms, customers simply need to enter a streaming key and press on air. Plus customers can simultaneously use the USB webcam output to connect to a computer, allowing other video software to be used.

If users are streaming from a remote location, or customers need a backup for the main Ethernet connection, customers can plug in an Apple or Android phone to connect to the internet via mobile data. For convenience, there are USB connections on both the front and rear panel that can be used for tethering phones. Plus it works with the latest high speed 5G phones, as well as 4G phones. Blackmagic Web Presenter will auto detect when a phone is connected and switch its internet connection to use it. Customers can select Ethernet or phone priority, which makes phone internet backup fully automatic.

For increased compatibility, Blackmagic Web Presenter also features two USB connections that operate as a simple webcam source. That means customers can plug into any computer and work with any video software. The software is tricked into thinking the web presenter is a common webcam, but it’s really a broadcast quality SDI video source. That guarantees full compatibility with any video software and in full resolution 1080 HD quality. Web Presenter works with any video software including Zoom, Microsoft Teams, Skype, Open Broadcaster, XSplit Broadcaster and more.

Traditional broadcast transmitters are critical equipment in a television station, however now the streaming server is just as critical because millions of viewers can be watching globally. To help, Blackmagic Web Presenter includes a feature rich technical monitoring output. The graphics based monitoring output includes a video view, audio meters with accurate ballistics, trend graphs for codec data rates and cache fill, plus a summary of the streaming settings and detailed SDI technical information. Plus the technical monitoring output works in full 1080 HD and outputs to both SDI and HDMI. That means customers can use an SDI router for monitoring multiple units, or connect a simple HDMI TV.

The Blackmagic Web Presenter Utility software provides a single place to manage multiple web presenters and to update the settings and software. Simply plug directly into the front of the web presenter’s USB connection, or connect using Ethernet so customers can configure remotely, which is important when users are managing multiple remote sites. The familiar menus and controls make it very easy to set up a live event, so customers can get started fast. Plus the front panel LCD menus have the same settings and controls. The Blackmagic Web Presenter Utility software is included free and runs on both Mac and Windows platforms.

Blackmagic Web Presenter includes a 12G-SDI input with support for all HD and Ultra HD formats up to 2160p60. A 12G-SDI loop output is included enabling customers to loop video through more than one web presenter, so customers can stream to multiple services. Blackmagic Web Presenter features Teranex conversion technology on the SDI input for incredibly clean looking video. Blackmagic Web Presenter takes the incoming HD or Ultra HD input signal and automatically converts it to high quality, low data rate 1080p HD, which is sent to the hardware H.264 encoder for streaming and to the computer when using the USB webcam outputs.

Blackmagic Web Presenter includes redundant features to help ensure customers stay online. Customers get dual internet connections, so customers connect to the internet using the built in Ethernet or a tethered phone for 5G or 4G mobile data. Plus the internet automatically switches in case of an outage. Or customers can use 2 separate units to stream to both the primary and secondary YouTube servers. With both AC and DC inputs, customers can use a broadcast battery pack for redundant power.

While Blackmagic Web Presenter can send video to a wide range of streaming services, it can also be used as a private broadcast SDI video link between studios. The ATEM Streaming Bridge is a video converter that lets customers receive the H.264 stream from Blackmagic Web Presenter and then convert it back to SDI video. This means customers can send video between remote locations across their local Ethernet network, or via the internet globally. That’s all possible due to the built in H.264 hardware codec that decodes the Web Presenter stream.

Blackmagic Web Presenter is based on the modular Teranex Mini design allowing desktop or rack use. The extremely portable design is only 5.5 inches wide, which means customers can mount 3 in a single rack unit, perfect when customers need to stream to multiple independent services all at the same time. Plus customers can combine Blackmagic Web Presenter with other products such as the ATEM Television Studio HD switcher for a live production and streaming solution in a single rack unit.

“We are so excited to have this new model of Web Presenter that now has all the streaming features built in,” said Grant Petty, CEO, Blackmagic Design. “This means you don’t need any streaming software because it will stream direct to services such as YouTube, but because it still retains the USB webcam feature, you can use it with any computer software, such as Zoom and Skype. Imagine live streaming, while conferencing with Zoom, all at the same time. Plus it has an amazing monitoring output with lots of technical information I think broadcasters will love. It’s an exciting update for live streaming.”

Blackmagic Web Presenter HD Features

* Complete streaming solution for YouTube, Facebook, Twitter and more.
* Supports streaming via Ethernet or tethered phones via USB.
* Built in broadcast quality hardware H.264 encoder.
* Tethers to 5G or 4G phones for mobile remote streaming.
* USB looks like a webcam allowing support for all video software.
* Monitoring output includes meters, trend graphs and SDI technical data.
* Includes Web Presenter Utility software for Mac and Windows.
* 12G-SDI input with down conversion for any HD or Ultra HD source.
* Both AC and DC connections allows redundant power.
* 1/3rd rack width design allows 3 streams in a single rack unit.

Availability and Price
Blackmagic Web Presenter HD is available now for A$789, from Blackmagic Design resellers worldwide.

The ULTIMATE system config? (Yes it’s Resolve based with secret sauce added).

I have fond memories of the first time I discovered I could get Microsoft Word and Excel “talking” to each other. For instance, if I created a chart in Excel from a data set – my staff’s sales figures for the week at that time was a good example – then pasted it into a Word document, if the numbers updated, so did the chart in both Excel AND Word.

Thus was the magic of DDE or Dynamic Data Exchange. And from little things, big things grow, to quote Paul Kelly.

This same magic, albeit far more sophisticated these days, is also used to update calendars, phone apps use it, and hell, the entire Internet-cum-Google universe relies on it just about.

So what does this have to do with video and film making?

Well it’s a sidewise lean into describing what I consider to the very best setup available today in terms of the perfect editing system, which I have been trying to put together for years and years.

You see, over the last few months I have been getting more and more into the Blackmagic Design (BMD) ecosphere. Sure, I still use Vegas for quick and dirty stuff as I know it well after 20 odd years.

But for the projects I am now looking at doing, I have the feeling that the BMD way of approaching things, along with some ancillary products, is a better long-term bet.

At the heart of it of course is the Da Vinci Resolve NLE, now at Version 17 Beta 9, and as stable as anything I have seen (so far). As well as the revolutionary Cut page, in the free version you also get a cut-down of Fusion, BMDs 3D / Motion Graphics editor and of course the basic Fairlight audio system and arguably the best program for colour correcting there is.


If you spend the extra money to get the full version, you also get the BMD Speed Editor hardware controller which I am finding almost indispensable now and the application itself opens up a lot more options to you. At about $550 it is still a bargain..


Yes, the Speed Editor is skewed mainly to being used in the Cut page section of Resolve, but nonetheless it has certainly speeded up my workflow dramatically.

But I have also added the Loupedeck CT controller.


And this is further enhancing the system along with the Da Vinci customised profile pack (complete with icons) from Sideshowfx.


This combination of software and hardware is, to me, brilliant in its own right and while I do have other plugins in the mix too from BorisFX, Red Giant and the like, rounding it all out is the asset logging system from Kyno, and this is where the magic comes in.


Once you have installed Kyno and pointed it to the directories / folders containing all of your video, stills and audio, you can use the system to search for clips that you may want in your current Da Vinci session. Once found, with a mouse click, they can be immediately loaded into your Da Vinci project.

Various options regarding metadata and folders / bins are also available.

To aid in the search, you can also set folders in Kyno to be “drilled down” automatically when searching for clips.

This in my workflow is the Holy Grail; to be able to search through and find relevant clips and basically throw them into specific bins in a project on-the-fly is as good as it gets.

Try the free version of Kyno and see what you think.


Which mic? Here’s a quick rundown on what type to use and when.

This post first appeared in Nov 2019. We have updated it to reflect the current interest in video due to the COVID 19 situation.

With the Coronavirus and ensuing COVID 19 lockdowns, video has had a spectacular boom in popularity with conferencing, vlogging, streaming and so on.

But as we often say, don’t forget the audio! Usually, the sound captured by on board mics is simply not up to the level of the imagery current day camcorders, mirrorless and dSLR cameras capture, so on external mic is required to get the best footage for this holiday season.

We asked our friends at Sennheiser what ones they would recommend for various circumstances. Here are their suggestions:

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What you see is what you hear

  • Two matched mini shotgun mics capture the audio you want, while rejecting sound outside the camera angle
  • Robust and compact all-metal construction
  • 3-level sensitivity adjustment and low-cut for perfectly levelled festive sound

MSRP: AU $599

  • Get the MZH 440 fur windshield at AU $89

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Heavenly sound without side effects

  • Thanks to its compact size and good side noise rejection, this mini-shotgun microphone is ideal for recording those festive moments
  • Perfectly levelled sound due to switchable sensitivity for long and short distances
  • Integral shock-mount for rejection of handling noise
  • Extremely robust with an all-metal housing

MSRP: AU $289

  • Get your MKE 400 the MZW 400 professional accessory kit for Christmas: With the included hairy windshield. MSRP: AU $63

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For demanding filmic challenges

  • Picks up sound from the direction the camera is pointing, thanks to its high directivity
  • Strong suppression of structure-borne noise; switchable low-cut filter to reduce wind noise
  • To enable you to tailor the shotgun mic to your camera, order the cable separately: get the KA 600 cable for DSLRs/DSLMs with mini-jack audio input, the KA 600i for smartphones with a mini-jack or a standard XLR cable for professional cameras
  • Your choice for outside recording in windy conditions: the MZH 600, a combined foam windshield and hairy cover

MSRPs: MKE 600: AU $499
KA 600 and KA 600i connecting cables: AU $29
MZH 600: AU $99

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Creating lasting memories

  • High-quality audio for your smartphone recordings
  • Memory Mic works with a dedicated app, downloadable from the App Store or Google Play
  • Simply clip the mic to the clothing, records audio at any distance from the smartphone
  • Automatically synchronizes the audio with your smartphone video

MRSP: AU $379 (MSRP)

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An instant connection

  • The ideal wireless audio partner for your DSLR or DSLM lets you capture speech with clarity
  • 2.4 GHz transmission for worldwide, license-free operation
  • Instantly ready for recording with one-touch ease of use – you won’t miss a single moment of your party with family and friends
  • Prefer to use this mic with your smartphone? A TRS to TRRS adapter will do the trick
  • Various sets provide the perfect equipment for the most common applications, for example the pictured XSW-D Portable Lavalier Set: AU $599 (MSRP)

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Full focus on festive pictures

  • Match to your camera once and enjoy perfectly levelled sound for all recordings, whether during silent nights or at loud parties
  • Ideal for DSLRs/DSLMs or professional cameras, operates license-free in the 1.9 GHz range
  • Never worry about interference again: AVX selects the best operating frequency automatically and inaudibly
  • Various sets let you choose between lavalier mic, handheld mic or both, from the AVX-ME2 SET at AU $1099 (MRSP) to the fully-fledged
    AVX-Combo SET at AU $1549 (MSRP)

Prices shown are RRP  but may vary from store to store. Best shop around is our advice 🙂

More Adobe software updates…

Premiere and Rush this time …

Premiere Pro

  • Audio Filter Performance Improvements in Premiere Pro: faster audio effect rendering delivers speed gains ranging from 20-80%; optimized audio effects include Analog Delay, Automatic Click Remover, DeEsser, DeNoise, DeReverb, Notch Filter and Mastering (see attached graph)
  • Faster Exports for H264 and HEVC on macOS
  • For additional information please visit the What’s New in Premiere Pro

Premiere Rush

  • Performance Improvements on iOS: optimizations deliver better battery life, less heating, and faster exports
  • For additional information please visit the What’s New in Premiere Rush

Blackmagic Design has some impressive numbers to boast about

Regular readers know here at Australian Videocamera we are fans of Australian company Blackmagic Design. As we know, Blackmagic Design has been very successful worldwide, but today we received an email detailing just how successful and it is staggering!

Consider these numbers for a company that started in a garage in Melbourne in 2001:

  • Turnover for 2020/2021 expected to be $700 million
  • Net Profit 2019/2020 was $72.7 million – 4x the previous year
  • 90% of all Hollywood films use Blackmagic Design gear including Mulan, Jojo Rabbit and The Walking Dead.
  • It has just opened up 3 new manufacturing plants and all manufacturing is in-house
  • Uses 20 robots in manufacturing (Singapore, Indonesia, Australia)
  • More than 1500 staff

And all this despite a global pandemic. Impressive I’d say. And of course, Blackmagic Design, as well as superb products, also makes the uber NLE Da Vinci Resolve free of charge.


Quick Tutorial: Upstream/ Downstream Keying with BMD ATEM Mini Pro

One of the things I had a lot of difficulty with when first starting with video was graphics, specifically graphics with alpha channels.

Coming from a web development background, my brain just couldn’t grasp the difference between transparent GIFs and an image with an alpha channel.

It was finally explained best by After Effects gurus Chris and Trish Meyer who likened an alpha channel in an image to a stencil cut out over the top of an image.

Which leads me nicely to upstream and downstream keyers when using the Blackmagic Design ATEM Mini Pro. This too can become very confusing and indeed, another issue I had way back when was with , a sort of AE “me too” app that allowed “downstream processing” of motion graphics imagery.


dskA very simple explanation of when to use which type of keyer with the Blackmagic Design ATEM Mini Pro is that firstly, a downstream keyer is used as a constant no matter what is playing. This makes it perfect for say, a lower third of a presenter’s name, or the title of a tutorial that you want to appear no matter what imagery is playing via any of the HDMI inputs on the Blackmagic Design ATEM Mini Pro.

uskConversely, an upstream keyer is used to place an image that is “brought into play” with a transition from one input to another. An example here could be again, a lower third, but this time describing a scene, but one that will change each time the input is changed.

Another could be for a shoot of a number of talking heads where an upstream key detailing their name and title is shown when the camera switches to that person speaking.

This latter one is an ideal example of using the macro system of the Blackmagic Design ATEM Mini Pro to automatically load the correct graphic at the time by the way.

Quick Tip:

If you use Adobe Photoshop and the Blackmagic Design ATEM Software Control package, the heavy lifting of creating pre-multiplied graphics is done for you by a plug-in that ships and installs with the ATEM Software Control program.

To use it, simply create your image as normal in Adobe Photoshop with transparency as required, and then choose Export. An option there is to Export directly to the ATEM software Control program as well as select the media player slot to use and whether to poke the image straight into the media player as the current image to display.

photoshop export to atem