Sony Evolves FS7 and FS7 II Camcorders for News Production
ENG-Style Build-up Kit and B4 Lens to E Mount Adapter
– Sony’s popular PXW-FS7 and PXW-FS7 II XDCAM camcorders are now further optimised for news gathering thanks to a new ENG-style build-up kit and a new B4 lens to E mount adapter. The build-up kit, CBK-FS7BK, enables extended shoulder mount usage, making the camcorders ideal for news production, interviews, documentaries, and reality television shooting. Combined with the new lens mount adapter, LA-EB1, both E mount and B4 lens assets can be used on either the FS7 or FS7 II, allowing users to capture images with deep and shallow deep of field (DoF) – all with a single camera.
The CBK-FS7BK build-up kit and LA-EB1 mount adapter will be shown for the first time during NAB at Sony’s Booth #C11001.
“The new build-up kit and lens mount adapter give the FS7 and FS7 II camcorders the ergonomics, networking features, and zoom ratio of a traditional run-and-gun shoulder-mount camcorder, allowing crews to quickly adapt their shooting style with minimal equipment,” said Anthony Kable, Content Creation Group Manager, Sony Australia. “As video production evolves, the demand for cinematic-style shooting has permeated into every facet of the industry, including broadcast news. FS7 shooters will be excited by the possibilities and adaptability the new build-up kit and lens mount adapter provides.”
The CBK-FS7BK build-up kit includes: an extension unit with a wireless audio receiver slot and built-in network capability, providing advanced network operation for broadcast usage; a viewfinder and a cheese plate with enhanced robustness; and an adjustable shoulder plate designed to achieve optimal weight balance. Streaming and file transfers are possible via wireless LAN or 4G/LTE connection. QoS performance streaming is provided through the camcorder’s Dual Link connection, allowing multiplexing of two cellular networks.
With the new LA-EB1 mount adapter, B4 lens can be attached to both the FS7 and FS7 II camcorders. The inclusion of B4 lens allows users to shoot deep DoF with the high zoom ratio necessary for traditional news production.
The CBK-FS7BK or FS7 extension unit XDCA-FS7, compatible with the B4 mount’s communication interface, provides power through its DC supply and allows users to record directly with the lens REC button. Further, information such as iris and focus is displayed on the viewfinder of the camera and recorded as metadata, which streamlines post-production efforts. The adapter also works as a hub for the power zoom of the lens, enabling one-hand operation via the servo zoom.
Other highlights of the CBK-FS7BK build-up kit and LA-EB1 mount adapter include:
- Various interface support including genlock/timecode for multi-camera operation and RAW output
- Compatible with Sony BP-GL and BP-FL series batteries
- Newly designed shoulder plate with an extended slide mechanism, allowing users to find the optimum weight balance with their choice of lens
- ENG-style LCD viewfinder included
- Exchange lenses on-site with no tools required
- Image circle is expanded to 13.5mm by magnifying the optical system. F-stop can be as small as 0.6, which can capture bright images
- ALAC (Auto Lens Aberration Compensation) decreases chromatic aberration caused by the lens
The ENG-style build-up kit and mount adapter for FS7 and FS7 II will be available in December 2019.
 Need to hold the lens with CBK-FS7BK or VCT-FS7
 Only support HD and 2K centre scan mode
 By Ver1.1 planned in early 2020 and requires power from CBK-FS7BK or XDCA-FS7
Blackmagic Design Announces New DaVinci Resolve Editor Keyboard
Blackmagic Design today announced DaVinci Resolve Editor Keyboard, 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. DaVinci Resolve Editor Keyboard will be available in August from Blackmagic Design resellers worldwide for AU$1,515.
The DaVinci Resolve Editor Keyboard will be demonstrated on the Blackmagic Design NAB 2019 booth #SL216.
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 cutout in edit consoles.
Availability and Price
DaVinci Resolve Editor Keyboard will be available in August for AU$1,515 from Blackmagic Design resellers worldwide
Blackmagic Design Announces New Blackmagic Pocket Camera Battery Grip
Blackmagic Design today announced Blackmagic Pocket Battery Grip, 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. Blackmagic Pocket Camera Battery Grip will be available in August from Blackmagic Design resellers worldwide for AU$385.
The Blackmagic Pocket Camera Battery Grip will be demonstrated on the Blackmagic Design NAB 2019 booth #SL216.
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 fiber 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 cameras 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 cameras 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 from Blackmagic Design resellers worldwide.
Blackmagic Design Announces New ATEM Constellation 8K
Blackmagic Design today announced ATEM Constellation 8K a major new high end live production switcher with 8K capability that lets customers create content for the next generation of the television industry. ATEM Constellation 8K is available immediately from Blackmagic Design resellers worldwide for AU$15,155.
The ATEM Constellation 8K will be demonstrated on the Blackmagic Design NAB 2019 booth #SL216
The new ATEM Constellation 8K is an Ultra HD live production switcher with so many features, that customers can combine them all to make an incredibly powerful 8K switcher. Customers get 4 M/Es, 40 x 12G-SDI inputs, 24 x 12G-SDI aux outputs, 4 DVEs, 16 Keyers, 4 media players, 4 multi viewers, 2 SuperSource and standards conversion on every SDI input. Then when switched to 8K, all these features combine to make a powerful 8K switcher.
ATEM Constellation 8K features a compact 2RU rack mount design with a built in control panel. This allows operation of the switcher, critical during setup or for emergency use. Also included is a large LCD so customers can see program output and change switcher settings via on screen menus. Although only 2RU size, the rear of the switcher has a massive 40 x 12G-SDI inputs, 24 x 12G-SDI aux outputs, plus balanced audio, Ethernet, RS-422 control and MADI digital audio extra inputs to the internal Fairlight audio mixer
With a built in control panel, customers can simply walk up and take full control of ATEM Constellation at any time. Customers get incredible power with both PGM/PVW or cut-bus style operation. The buttons are the same premium type used on full sized panels, and allow control of transitions, upstream/downstream keyers, media players and fade to black. But users are never limited, as the LCD menus also allow every single operational feature of the switcher to be accessed.
Customers get 40 independent 12G-SDI inputs, with each input featuring its own dedicated up and cross converter. That means it’s possible to convert 1080p and Ultra HD sources to stunning 8K to use them in their 8K programs. When used in HD or Ultra HD, customers can connect up to 40 different sources in all formats up to 2160p60. When running 8K formats, customers can connect 10 Quad Link 12G-SDI 8K sources in all formats up to 4320p60.
ATEM Constellation 8K features 24 independently routable 12G-SDI outputs that can be fully customized. All of these outputs are similar to aux outputs, however they’re more powerful because customers can route any external SDI input and all internal sources to any of these 12G-SDI outputs. All 12G-SDI outputs contain embedded program audio, plus customers get mix minus support, RP-188 embedded timecode, SDI camera control, tally and talkback.
The built in multi views let customers monitor multiple sources in a single monitor. Customers get 4 independent multiview outputs that can each be individually customized or transformed into a single full resolution 8K multiview when customers switch to 8K. Plus all external inputs and all internal sources can be routed to any view. Plus each multiview can be independently set to 4, 7, 10, 13 or 16 simultaneous views. Each view also has on screen status including a custom label, VU meters and tally.
ATEM Constellation 8K includes a wide range of broadcast quality 8K native transitions such as mix, dip, wipe, and more. All transitions can be customized by adjusting parameters such as their duration, border color, border width, position and direction. Transitions are even fully 8K native. Customers also get exciting DVE transitions, perfect for graphic wipes and even stingers when used with the internal media players.
To keep crews working as a single creative team, ATEM Constellation 8K features built in talkback. Talkback supports a front 5 pin XLR headset connector, as well as a rear RJ12 talkback expansion connector for interfacing with industry standard systems such as ClearCom or RTS. Customers get full talkback control including program and engineering loops, sidetone control for hearing the headset mic into the headphones and program mix. ATEM Constellation also supports SDI talkback that uses SDI channels 15 and 16 for 2-way communication with Blackmagic Design cameras. Customers can even use channels 13 and 14 for engineering talkback.
The built in media pool stores broadcast quality RGBA graphics and animations that can be played back instantly by the two media players. For the highest quality, the media pool can hold up to 24 full resolution 8K stills, or 64 Ultra HD or HD stills. Motion graphics clips for use in animations and stingers can be up to 100 8K RGBA frames, 400 frames in Ultra HD or a massive 1,600 frames in 1080HD.
For news or virtual set work, ATEM Constellation 8K is the perfect choice as it features 16 ATEM Advanced Keyers for high quality chroma or luminance keying. The chroma keyer is incredibly powerful and features a color picker to sample background colors for automatic generation of the key parameters. Customers get precise controls for edge and flare, and there is even a foreground color corrector so customers can match the “look” of the foreground layer to the background layer making seamless compositions possible. The keyer can also be used for pattern and DVE keying allowing incredible versatility. Then when customers switch to 8K, customers still get four independent full resolution 8K ATEM Advanced Keyers.
With a built in Fairlight audio mixer, the ATEM Constellation makes it possible to do extremely complex live sound mixing. The internal mixer features a massive 156 channels, for the biggest audio mixer in a live production switcher. 80 mixer channels are de-embedded from the SDI inputs, while an extra 64 audio channels are input via MADI in. Each input channel features the highest quality 6 band parametric EQ and compressor, limiter, expander and noise gate as well as full panning. Customers get extra channels for the analog input, talkback microphone and media players. All this audio power can be controlled via the ATEM Software Control, a Mackie compatible panel or Fairlight Audio Console.
The ATEM Software Control Panel gives customers total control over their switcher and is included free. ATEM Software Control Panel features a beautifully designed interface with a visual switcher and parameter palettes for making quick adjustments. The ATEM Software Control also lets customers access camera control, audio mixing, media, macro programming and even control of HyperDeck disk recorders. Customers can even save the full state of the switcher as XML files, plus all media is backed up from the media pool.
Unlike other switchers, all features are included in the purchase price. That means customers get all features fully enabled and always ready for use. There are no license fees to allow customers to use features and no ongoing monthly costs. This means users will never experience a license expiring 5 minutes before their program starts. Advanced features such as multi view, SuperSource, DVEs or the ATEM Advanced Keyers are always enabled and always ready to use.
“This switcher is so incredibly big that we think customers will love it, even if they don’t need to do 8K production,” said Grant Petty, Blackmagic Design CEO. “The ATEM Constellation 8K will help our customers handle more complex jobs and put more cameras into scenes than ever before possible. It’s very exciting!”
ATEM Constellation 8K Features
• HD and Ultra HD switcher can be switched to 8K.
• Advanced design with built in front panel controls.
• Large 40 standards converted 12G-SDI inputs.
• 24 customizable 12G-SDI outputs.
• Supports all ATEM hardware and software control panels.
• Includes 4 Ultra HD multiview with multiple layout options.
• Includes DVE and stinger transitions.
• Includes 4 Ultra HD DVEs that combine into an 8K DVE.
• Professional talkback compatible with ClearCom and RTS.
• Internal media for stills and motion graphics.
• Includes new ATEM Advanced Chroma Key in 8K.
• Multi rate 12G-SDI for HD, Ultra HD and native 8K.
• Built in 156 channel Fairlight audio mixer.
• Includes free software control panel.
• Compatible with all ATEM hardware control panels.
• Supports Blackmagic Design studio camera with SDI control.
• All features are included with no extra customer costs.
Availability and Price
ATEM Constellation 8K is available now for AU$15,155 from Blackmagic Design resellers worldwide.
Blackmagic Design Announces New Blackmagic MultiDock 10G
Blackmagic Design today announced Blackmagic MultiDock 10G, a new rack mount USB-C disk dock with elegant all metal design that lets customers access and move SSD media disks between cameras, HyperDecks and computers by rapid docking! Blackmagic MultiDock 10G will be available in June from Blackmagic Design resellers worldwide for AU$909.
The Blackmagic MultiDock 10G will be demonstrated on the Blackmagic Design NAB 2019 booth #SL216.
Blackmagic MultiDock 10G is an advanced SSD dock that lets customers access 4 separate SSDs via a single high speed 10 Gb/s USB-C connection. Unlike cheap consumer adapters, Blackmagic MultiDock 10G has been specifically designed for the film and television industry and features a rack mount design with an independent SATA driver chip on each disk, ensuring much faster data transfer speeds. It can even be used for SSD compatibility on HyperDeck Extreme 8K HDR.
Unlike cheap SSD docking cables, the Blackmagic MultiDock 10G is a compact 1 RU all metal design customers can mount in any professional rack. Each disk slot features an illuminated disk indicator so customers can see when disks are being accessed. The rear panel features 2 USB-C connections and a slide switch to allow selecting between using 4 disk slots on a single USB-C connection, or 2 slots on each USB-C connection for shared use.
Blackmagic MultiDock 10G supports up to 4 independent 2.5 inch SSDs so it’s possible to edit directly from the disks customers recorded onto. Simply plug in their SSDs and they will mount on their Mac OS X and Windows computers like regular hard disks. Because Blackmagic MultiDock 10G features 4 independent disk slots, customers can mount all their media from a shoot all at the same time. Blackmagic MultiDock 10G is perfect for accessing media recorded with the URSA Mini Pro SSD Recorder. It’s also the perfect solution to add SSD compatibility to HyperDeck Extreme 8K as it will let customers interchange disks between HyperDeck Studio models.
Blackmagic MultiDock 10G uses advanced USB-C technology so customers get blazingly fast transfer speeds to their computer at up to 10 Gb/s with a single cable connection. That’s more than enough bandwidth to handle the highest resolution video formats including 8K in H.265 from HyperDeck Extreme 8K HDR. MultiDock features a completely independent disk interface chip per disk slot so customers never get slowdowns because of SATA bandwidth issues. Even though customers get all 4 disks connected to a single USB-C connection, customers can also split Blackmagic MultiDock 10G and get 2 disks on one USB-C connection and 2 disks on the second USB-C connection. That’s perfect for dual computer use or increased speed.
Unlike consumer disk arrays, Blackmagic MultiDock 10G is a compact and robust 1 rack unit all metal design that can be quickly installed into equipment racks. The built in power supply ensures no power is used from laptop batteries and it has enough power to run 4 high performance disks all at the same time for use in RAID configurations. Blackmagic MultiDock 10G even supports the RAID software built in to most operating systems, so customers can customize their disk array for their needs.
The secret to using Blackmagic MultiDock 10G with HyperDeck Extreme 8K HDR is the high speed USB-C port on the rear panel called External Disk. When customers plug MultiDock 10G into the HyperDeck External Disk port, it can see the SSDs and use them for recording. When using 2 HyperDeck Extreme 8K HDR units mounted side by side it’s possible to switch to 2 channel mode and use 2 disks with each HyperDeck. This also means it’s possible to use 2 computers with a single MultiDock, one using each channel, or multiple rack mount servers can access the same MultiDock. When an SSD is inserted in MultiDock 10G, it can be seen on the HyperDeck Extreme 8K HDR on-screen menus and customers can select it for record and playback.
“The new Blackmagic MultiDock 10G is exciting because it’s been specifically designed for the television industry and is much better quality than cheap consumer products,” said Grant Petty, Blackmagic Design CEO. “Now customers get a high quality rack mount design and they can move large media disks around fast!”
Blackmagic MultiDock 10G Features
• All metal rack mount design for professionals.
• Allows fast media disk docking.
• Supports all solid state and hard disks.
• High speed 10 Gb/s USB-C connection.
• Usable as high speed RAID storage.
• Use any software on any platform.
• Supports HyperDeck Extreme 8K.
• Allows quick movement of media between edit systems.
Availability and Price
Blackmagic MultiDock 10G will be available in June for AU$909 from Blackmagic Design resellers worldwide.
Blackmagic Design Announces New Teranex Mini SDI to HDMI 8K HDR
Blackmagic Design today announced Teranex Mini SDI to HDMI 8K HDR, a new advanced 8K HDMI monitoring solution with dual on screen scope overlays, HDR, 33 point 3D LUTs and monitor calibration for professional, color accurate SDI monitoring on HDMI 8K screens. Teranex Mini SDI to HDMI 8K HDR will be available in May 2019 from Blackmagic Design resellers worldwide for AU$1975.
The Teranex Mini SDI to HDMI 8K HDR will be demonstrated on the Blackmagic Design NAB 2019 booth #SL216.
Teranex Mini SDI to HDMI 8K HDR is an advanced 8K monitoring solution for large screen televisions and video projectors. Unlike basic converters, Teranex Mini SDI to HDMI 8K HDR can use third party calibration probes to accurately align connected displays for precise color. There are 2 on-screen scopes that can be selected between WFM, Parade, Vector and Histogram. Teranex Mini SDI to HDMI 8K HDR is perfect for film studios and broadcasters who need professional but affordable color accurate monitoring. Customers also get an elegant design with color LCD for monitoring and control of settings.
The front panel feels elegant when placed on a desktop plus it includes buttons and a color display for video monitoring with audio meters and video standard. The rear panel has Quad Link 12G-SDI for HD, Ultra HD as well as 8K formats. There are also 4 HDMI outputs allowing use with 8K televisions that feature quad HMDI inputs, plus a down converter for using 8K sources on Ultra HD or HD televisions. Customers can even convert between 2SI and Square Division all automatically.
Teranex Mini SDI to HDMI 8K HDR has everything for the latest HDR workflows. All that’s required is to connect a HDMI display to get HDR SDI monitoring. Static metadata PQ and Hybrid Log Gamma (HLG) formats in the VPID are handled according to the ST2108-1, ST2084 and the ST425 standards. Teranex Mini SDI to HDMI 8K HDR handles ST425 which defines 2 new bits in the VPID to indicate transfer characteristic of SDR, HLG or PQ. Plus the ST2108-1 standard defines how to transport HDR static or dynamic metadata over SDI. Plus there is support for ST2082-10 for 12G SDI as well as ST425 for 3G-SDI sources. Both Rec.2020 and Rec.709 colorspaces are supported and 100% of the DCI-P3 format.
Two fully independent on screen scopes are included so compliance with broadcast standards is easy when doing critical high end work. Scopes are overlaid on screen so customers can customize position, size and opacity. Customers can select from a range of scopes, including waveform for displaying luminance levels of their input signal. The vectorscope display allows customers to see the intensity of color at 100% SDI reference levels. Customers also get RGB and YUV parade displays which are ideal for color correction and checking for illegal levels. Histogram shows the distribution of white to black detail in their images and highlights or shadows clipping. Teranex Mini SDI to HDMI 8K HDR includes the same high quality 33 point 3D LUTs as used in the film industry. It’s even possible to calibrate the connected display by connecting a third party USB color probe and Teranex Mini SDI to HDMI 8K HDR will analyze the monitor and generate a 3D LUT to correct for color differences between displays. Two independent 3D LUTs can be loaded and customers can select between them from the front panel.
It’s always difficult to know if a monitor is the correct color because every display is slightly different, even between the same model. Teranex Mini SDI to HDMI 8K HDR solves this problem as it can use a third party USB probe for automatically aligning their monitor. SpectraCal C6, X-Rite i1 Display Pro or the Klein K10-A probes are supported and plug into the front of the converter. The converter takes care of all the work and will automatically generate test signals on the monitor during the calibration process.
All Quad Link 12G-SDI inputs have outputs for looping to other equipment. Plus all HD, Ultra HD and 8K standards are supported allowing broadcast or film industry use. In 720p customers get support for 50p, 59.94p up to 60p. In 1080i formats, customers get 50i, 59.94i up to 60i. 1080p, 1080PsF as well as 2160p formats are supported from 23.98 to 60 fps. Customers even get support for 2K and 4K DCI film formats from 23.98p to 60p. 4320p 8K formats are supported at 23.98, 24, 25, 29.97, 50, up to 59.94. With 2SI to Square Division conversion built in, an 8K source will be automatically converted for the monitor. Teranex Mini SDI to HDMI 8K HDR even handles both Level A or B 3G-SDI plus YUV and RGB SDI formats.
The front panel LCD provides confidence monitoring with both images and accurate audio level meters. There are menus for all functions and its easy to scroll through menus “pages” to find settings that need changing. The 3D LUTs can be enabled just by pressing the 1 or 2 buttons. Calibration is also started via the menus and customers simply follow the prompts to calibrate their display. The audio meters can even be switched between VU or PPM ballistics. HDMI instant lock can be enabled to ensure the HDMI display locks instantly if the input video is interrupted. There are settings for configuring scopes, their on screen location or opacity. Customers can even view and edit network settings.
For rack mounting customers can simply add a Teranex Mini Rack Shelf. This consists of a metal tray that holds the converter and allows it to be screwed down before the whole shelf is bolted into the rack. Of course Teranex Mini SDI to HDMI 8K HDR includes rubber feet that customers can attach to the underside of the converter if customers want to place it on a desktop.
“We are excited to announce the new Teranex Mini SDI to HDMI 8K HDR because it provides monitoring features we have not offered in the past,” said Grant Petty, Blackmagic Design CEO. “While we have SDI to HDMI converters in our product range, this new model includes many more features for monitoring. The built in scopes, Hollywood quality 33 point 3D LUT’s, automatic probe based calibration and native 8K are advanced features that will dramatically improve workflows for our digital film and broadcast customers!”
Teranex Mini SDI to HDMI 8K HDR Features
• Includes support for HDR via SDI and HDMI.
• 2 built in scopes live overlaid on monitor.
• Film industry quality 33 point 3D LUTs.
• Supports automatic monitor calibration using color probes.
• Advanced Quad Link 12G-SDI inputs for 8K.
• Down converts 8K to Ultra HD or HD monitors.
• Includes LCD for monitoring and menu settings.
• Utility software included for Mac and Windows.
• Supports latest 8K televisions and projectors.
• Can be used on a desktop or rack mounted.
Availability and Price
Teranex Mini SDI to HDMI 8K HDR will be available in May 2019 for AU$1975 from Blackmagic Design resellers worldwide.
Blackmagic Design Announces New HyperDeck Extreme 8K HDR
Design today announced HyperDeck Extreme 8K HDR, a new innovative broadcast
deck with advanced H.265 8K recording combined with touch screen user interface
and traditional broadcast deck controls. HyperDeck Extreme 8K HDR will be
available in June 2019 from Blackmagic Design resellers worldwide for AU$7,585.
The HyperDeck Extreme 8K HDR will be demonstrated on the Blackmagic Design NAB 2019 booth #SL216.
The new HyperDeck Extreme 8K HDR features the trusted reliability of HyperDeck combined with new innovations such as space saving H.265 files, optional internal cache, 3D LUTs, native 8K and HDR support. With the ability to record native 8K in H.265, customers get reduced storage costs and amazing image quality. The large touch screen ensures a perfect view of their recording as well as control over all deck settings. Customers can then add HyperDeck Extreme Control to transform it into a traditional broadcast deck. This means HyperDeck Extreme 8K HDR is the perfect solution for the next generation of broadcast, live production and digital signage.
Extreme 8K HDR has an innovative touch screen user interface with deck controls
as well as a large screen to view their recording. Then add a HyperDeck Extreme
Control for traditional broadcast deck controls and a large shuttle knob that
feels incredibly luxurious to use. Customers can even rack mount the HyperDeck
and the controller. HyperDeck Extreme 8K HDR also includes 2 media slots, Quad
12G-SDI for 8K, analog connections for archiving, USB-C external disk
recording, plus a front panel speaker and headphone jack. There’s also an
optional cache that eliminates dropped frames if their media becomes full or is
too slow. Both AC and DC power connections are also included for studio or on
With its amazing versatility, HyperDeck Extreme 8K HDR is also great for live production as a master recorder, clip player and for recording ISO cameras. The analog inputs allow customers to record from old video tapes, so legacy programming can be used on the latest streaming services or for use in editing. Digital signage in 8K is easy with HyperDeck Extreme 8K HDR as it has 10G Ethernet for fast media uploads, plus it features a simple remote control protocol. Customers can even use it as a field recorder as it includes HDMI, SDI and analog inputs with built in scopes and 3D LUTs. The scopes also help customers QA masters to ensure compliance with broadcast standards before streaming and broadcast. HyperDeck Extreme Control lets customers connect to legacy broadcast decks, set an in and an out point, then edit. Just add HyperDeck Extreme 8K HDR and HyperDeck Extreme Control to each legacy deck to keep them all archiving constantly with just one operator. It’s even possible to edit across formats by using Teranex Express to convert tapes from SD to HD in one step. Customers can control a wide range of decks, including Digital Betacam, 1 inch C format, and Betacam SP.
The latest Quad Link 12G-SDI is included so it’s possible to record and playback in full resolution 8K for amazing quality. The SDI connections are multi-rate, so customers can use Quad Link 12G-SDI to get compatibility with other 8K products, or switch to SD, HD or Ultra HD using the single link 12G-SDI connection. To allow regular CFast cards to be recorded at high resolution 8K, HyperDeck Extreme 8K HDR uses modern H.265 files for 8K recording and playback. This means HyperDeck Extreme 8K HDR is perfect for connecting to the latest 8K televisions and projectors.
The innovative touch LCD user interface provides incredible control. On screen, there are dedicated buttons for play, stop and record, plus a mini timeline for scrolling through their recordings. Customers can even image swipe to jog. The LCD includes a heads up display of timecode, video standard, media status as well as audio meters. Scopes can be enabled via the touch screen as well as focus and exposure assist. There’s also an extensive range of settings all controlled from the large LCD. Plus customers can load and save 3D LUTs. Customers also get direct buttons for transport control, enabling the 3D LUT and remote enable.
HyperDeck Extreme Control extends their HyperDeck Extreme 8K HDR to add traditional broadcast deck controls. It works like a traditional broadcast deck with a familiar layout. Customers can control up to 8 decks via industry standard RS-422 control. Customers can even rack mount to the HyperDeck Extreme 8K HDR to create a single “broadcast deck” unit. Because it uses standard RS-422, customers can control old broadcast decks and perform edits using set in and out points. That’s perfect for archiving work. Plus customers can even edit between frame rates if standards converting between formats.
CFast media support allows customers to record to commonly available flash memory cards. The H.265 files are small enough to allow long recordings on standard CFast cards. Plus there are 2 CFast card slots so customers can swap out any full cards even during recording, allowing infinite length recording. CFast cards are perfect for broadcast because they are small, high speed and affordable. With H.265, customers can record 498 minutes at 8Kp60 on a 1 TB card, 1,059 minutes in 2160p60 Ultra HD and 2,354 minutes in 1080p59.94 on a 1 TB card. That’s over 8 hours in 8K and over 39 hours in HD.
If recording to other media types is required, then the USB-C Expansion port lets customers plug in an external flash disk for recording. Adding a Blackmagic MultiDock 10G also makes it easy to use SSDs for compatibility with other HyperDeck models. Customers even get on screen menus for managing external disks using the touch screen.
Sometimes their media can fill before customers change to a blank card, or if the card is too slow, then customers can get dropped frames in their recording. To eliminate this problem, customers can install a PCIe flash disk into HyperDeck Extreme 8K HDR to use as a record cache. This eliminates problems with CFast media or external disks, as the cache will automatically take over and record any content the media could not capture. Even if a card fills, recording will continue to the cache until it’s swapped. The cache even lets customers record formats that are too fast for the media card or external disk.
HyperDeck Extreme 8K HDR features a wide range of video and audio connections such as multi-rate Quad Link 12G-SDI for SD, HD, Ultra HD and 8K SDI devices. The 12G-SDI outputs support fill and key when playing RGBA 4:4:4:4 files. HDMI is included for consumer televisions and video projectors. For archiving work, HyperDeck also includes both balanced analog, HiFi audio plus timecode connections. For monitoring there’s even a down converted monitor SDI output that includes overlays. The latest 10G Ethernet is included for high speed upload using FTP protocols.
Customers will be ready for the latest HDR workflows with support for the latest HDR standards and an extremely bright screen with a wide color gamut. The built in scopes even change to HDR scopes when working in HDR formats. Files are tagged with the correct HDR information then SDI and HDMI inputs will also automatically detect HDR video standards. Static metadata PQ and HLG formats are handled according to the ST2084 standard. The bright LCD has a wider color gamut so can handle both Rec. 2020 and Rec. 709 colorspaces. The built in HyperDeck Extreme 8K HDR LCD color gamut can even handle 100% of the DCI-P3 format.
HyperDeck Extreme 8K HDR features full internal waveform monitoring so customers can ensure compliance to broadcast standards when used on high end work. The waveform display provides a traditional luminance (brightness) levels view of their input or playback signal. The vectorscope display allows customers to see the intensity of color at 100% SDI reference levels. Customers also get RGB and YUV parade displays which are ideal for color correction and checking for illegal levels. Histogram shows the distribution of white to black detail in their images and highlights or shadows clipping. The built in scopes can be overlaid on live video, or as a small picture in picture view at the top right of the scope.
The SDI and HDMI connections are multi-rate, so handle SD, HD, Ultra HD and 8K. SD formats include NTSC and PAL. 720p HD standards include 720p50 and 59.94p. 1080i HD interlaced formats include 1080i50 and 59.94. 1080p HD formats include 1080p23.98, 24, 25, 29.97, 30, 50, 59.94 and 60p. Customers can even do 1080 PsF formats. Ultra HD is supported up to 2160p59.94. 2K and 4K DCI rates are available up to 25p. 8K standards are included at 4320p23.98, 24, 25, 29.97, 50, 59.94 and 60p.
8K has 4 times as many pixels as Ultra HD so HyperDeck Extreme 8K HDR uses H.265 files for 8K recording to reduce costs and make working with 8K files easy. H.265 files are extremely small and range from 60:1 to 285:1 compression ratios which means much lower file sizes. Customers can use H.265 for all 8K, Ultra HD or progressive HD formats. HyperDeck Extreme 8K HDR even supports ProRes 422 HQ, ProRes 422, ProRes 422 LT for recording and playback plus ProRes 4444 for playback to fill and key out.
HyperDeck Extreme 8K HDR includes professional audio for modern broadcasters or archiving from older broadcast decks. When working in SDI formats, customers can record 2, 4, 8 or 16 channels of audio in real time. For capturing legacy programming there are 4 XLR analog audio inputs that let customers record all 4 channels from Betacam SP decks. Customers can monitor using 4 on screen audio meters with user selectable VU or PPM ballistics. For consumer devices such as VHS, DVD and set top boxes, there are also direct HiFi audio inputs. HyperDeck Extreme 8K HDR might be the latest in 8K technology, however the analog connections have also been designed to low noise and low distortion broadcast specifications.
Multiple languages are fully supported so customers don’t need to learn another language to use it. Support is included for English, Chinese, Japanese, Korean, Spanish, German, French, Russian, Italian, Portuguese and Turkish.
With 10G Ethernet, HyperDeck Extreme 8K HDR is perfect for digital signage because remote uploads are extremely fast. All models use an easy text based protocol plus customers can use Telnet to test control commands. To upload media files remotely, customers can use FTP, or even use simple FTP client software. When the ethernet protocol and FTP is used with large USB-C disk arrays, HyperDeck Extreme 8K HDR becomes a great broadcast server for ingest, media management and play out.
There’s a wide range of Blackmagic Design products customers can use with HyperDeck Extreme 8K HDR, including the HyperDeck Extreme Control for adding traditional broadcast deck controls. Plus it uses the industry standard RS-422 deck control protocol so it works with any broadcast deck. It’s possible to add the new Blackmagic MultiDock 10G to use regular SSDs for compatibility with media from other HyperDeck models. HyperDeck Extreme 8K HDR is also a perfect mastering recorder with the new ATEM Constellation 8K, or for clip playback and ISO reordering. For monitoring, the Teranex SDI to HDMI 8K allows broadcast monitoring on a television and it also has monitor calibration, 3D LUTs and on screen scopes.
The files from HyperDeck Extreme 8K HDR are common and are compatible with all operating systems or in most video software. Media can be formatted using ExFAT or HFS+ so customers can easily access the media on computers and access the files like regular disks. DaVinci Resolve is perfect for use with HyperDeck because it features editing, color correction, audio post production and visual effects all in one software application.
“We think the new HyperDeck Extreme 8K HDR will offer customers a whole new generation of technology while enabling a new wave of 8K production,” said Grant Petty, Blackmagic Design CEO. “Even if customers don’t need 8K, we think this new HyperDeck has so many features, it will become the centerpiece of live production, digital signage and broadcast!”
HyperDeck Extreme 8K HDR Features
• Supports live production, digital signage and archive use.
• Supports legacy program ingest for streaming.
• Record and playback in full resolution 8K.
• Large LCD screen for with touch user interface.
• Optional traditional broadcast deck controls.
• Dual CFast media cards for non stop recording.
• Records direct to external USB-C media disks.
• Optional media cache eliminates dropped frames.
• Quad Link 12G-SDI for 8K, HDMI and legacy analog connections!
• Advanced HDR support with bright wide gamut LCD.
• Built in scopes include waveform, vector, parade and histogram.
• Latest Multi Rate 12G-SDI for SD, HD, Ultra HD and native 8K.
• Standard H.265 and ProRes files for wide compatibility.
• Professional multi channel digital and analog audio.
• Localized for 11 popular languages.
• 10G Ethernet for extremely fast remote media upload.
• Traditional RS-422 broadcast deck control.
• Compatible with new ATEM Constellation 8K switcher.
• Works with popular NLE software such as DaVinci Resolve.
Availability and Price
HyperDeck Extreme 8K HDR will be available in June 2019 for AU$7,585 from Blackmagic Design resellers worldwide.