New Blackmagic Products

CEO Grant Petty from Blackmagic Design has just informed us that Blackmagic Design  has just announced a swathe of new products:

Blackmagic Design Introduces URSA Broadcast

The world’s most affordable and flexible professional HD and Ultra HD broadcast camera for live production and studio programs, at the same price of a DSLR camera!

Blackmagic Design today announced Blackmagic URSA Broadcast, a new high end, professional broadcast camera designed for both studio programming and live production. URSA Broadcast works with existing B4 broadcast HD lenses, can be used for both HD and Ultra HD production, features a 4K sensor, extended video dynamic range, traditional external controls and buttons, built in optical ND filters, dual CFast and dual SD card recorders, and much more. Blackmagic URSA Broadcast is available now for only AU$4,835 from Blackmagic Design resellers worldwide.

URSA Broadcast is like two cameras in one, an incredible field camera for ENG and programming work, as well as a professional studio camera. The camera features traditional broadcast controls along with exceptional image quality, all in a compact design that is ideal for fast paced, fast turn around production work. The key is URSA Broadcast’s new extended video mode which captures incredible looking video with accurate skin tones and vibrant colors. That means customers don’t have to color correct images before going to air, making URSA Broadcast perfect for news, live sports, studio talk and game shows and more. URSA Broadcast lets customers shoot, edit and get stories on air faster than ever before.

URSA Broadcast is also designed to work with the equipment and systems traditional broadcasters already have. For example, customers can use their existing B4 HD and Ultra HD lenses with URSA Broadcast. Unlike other broadcast cameras, URSA Broadcast records onto inexpensive standard SD cards, UHS-II cards and CFast cards, and records 1080i or 2160p video into standard .mov files, with .mxf to be added in future updates. URSA Broadcast records using DNx145, DNx220X or ProRes, so video doesn’t need to be copied or transcoded. This makes it fast to work with video from URSA Broadcast because it’s compatible with virtually all existing broadcast systems and editing software.

The B4 lens mount and matching sensor on URSA Broadcast enables wide depth field, so broadcast customers can shoot without constantly chasing focus. The lens mount features high performance optics with spherical aberration correction specifically designed to match the camera’s sensor. The ű” mount lets customers use existing HD lenses or Ultra HD lenses. Because B4 lenses are par-focal and have an extremely wide depth of field, images stay in focus when zoomed in and out. That lets customers work faster because they don’t need to change lenses or refocus between close up, medium and wide shots. URSA Broadcast also supports full electronic B4 lens control so customers can adjust focus, iris and zoom using the camera’s controls, or remotely from an ATEM switcher or ATEM Camera Control Panel. In addition, the standard B4 lens mount can be swapped with optional EF, F and PL mounts so customers can use everything from inexpensive high quality photographic lenses all the way up to massive cinema lenses.

URSA Broadcast features a high quality 4K image sensor and a new extended video mode with better dynamic range and color fidelity. The sensor is designed for both HD and Ultra HD, producing images with fine texture and detail, accurate skin tones, vibrant color and high dynamic range. The images from URSA Broadcast have been designed to be used without additional color correction. This makes editing faster, which is crucial in the fast paced broadcast world. The high resolution sensor is a huge advantage, even when working in HD, because it enables sub pixel image processing and superior anti-aliasing, resulting in super sharp images.

URSA Broadcast is designed to be the toughest and most fully featured camera available. It includes everything customers need in a compact handheld magnesium alloy body that’s durable and light enough to use anywhere. There’s an external high visibility LCD status display for viewing critical shooting information, a foldout touch screen for reviewing shots without needing an extra on-set monitor, professional connections such as 12G-SDI, XLR audio, built in high quality stereo microphones and more. Plus, every single control on the camera has a redundant backup, including the power, so if anything should go wrong in the field, the camera can still be used.

URSA Broadcast also features built in neutral density (ND) filters with IR compensation for quickly reducing the amount of light that enters the camera. The ¼, 1/16th and 1/64th stop filters are specifically designed to match the colorimetry of the camera and provide additional latitude, even under harsh lighting conditions. That means customers can use different combinations of aperture and shutter angle to achieve shallower depth of field, or specific levels of motion blur, in a wider range of situations. The IR filters evenly compensate for both far red and infrared wave lengths to eliminate IR contamination. The ND filters are true optical filters with a precision mechanism that quickly moves them into place when the ND filter dial is turned.

Blackmagic URSA Broadcast puts control buttons, switches, knobs and dials on the outside of the camera, giving customers direct access to the most important camera features. The controls are laid out in a logical order that makes them easy to remember so operators can use the camera without having to look at the buttons, hunt through menus, or take their eye off of the action. URSA Broadcast also features a high visibility LCD status display which shows important information such as timecode, shutter and lens settings, battery, recording status, and audio levels. The status display features a backlight and is designed to be clearly visible in both dimly lit studios and outside in direct sunlight.

URSA Broadcast features both dual C-Fast 2.0 recorders and dual SD/UHS-II card recorders. Both types of media are standard, non-proprietary, inexpensive and readily available at most computer and camera stores. Customers can record 10-bit broadcast quality DNxHD 220X, DNxHD 145 or ProRes files with metadata, making it is easy to integrate URSA Broadcast into existing broadcast systems and workflows. URSA Broadcast can even record lossless 12-bit CinemaDNG RAW files for high quality programming and post production. With dual slots for each media type, URSA Broadcast gives customers redundant recorders and non-stop recording. When the first card is full, recording automatically continues onto the next card so the full card can be swapped while recording continues on the other.

All of the connections on URSA Broadcast are standard television industry connectors so customers don’t need expensive, proprietary cables. The camera features multi rate12G-SDI connections for video output and return program feed input. Both connections automatically switch speed so they work with all HD and Ultra HD formats up to 2160p60 over a single cable. In addition, URSA Broadcast features HD-SDI monitoring out, 2 LANC inputs, balanced XLR audio with phantom power, and timecode/reference input. A 12 pin Hirose connector provides analog and digital broadcast lens control for powering and controlling SD, HD and Ultra HD lenses. There’s also a 4 pin XLR 12V DC power output and HD-SDI monitor output that can be used with Blackmagic viewfinders or any third party viewfinders and monitors.

Blackmagic Design also makes a complete set of professional camera accessories designed to work perfectly with URSA Broadcast. Customers can add a Blackmagic URSA Viewfinder or a large 7 inch Blackmagic URSA Studio Viewfinder. There are microphone mounts, standard V-Lock and Gold battery plates, optional lens mounts and more. The all new Blackmagic Camera Fiber Converter, Blackmagic Studio Fiber Converter and ATEM Camera Control Panel let customers create a complete broadcast camera chain that costs hundreds of thousands of dollars less than traditional camera chains. The fiber converters let customers extend their cameras and power them from up to 2 km away using industry standard SMPTE fiber cables. It includes 1 Ultra HD camera feed, plus 3 HD return feeds, common live camera controls with multiple channels of talkback, and standard television industry talkback headset connections, all in a compact IP video based design that allow it to be connected and controlled from a live production switcher.

“URSA Broadcast lets customers get the most out of their investment in cameras and lenses because it can be re-purposed and used on every type of project, whether it’s out in the field or in the studio. It’s like getting two cameras in one.” said Grant Petty, CEO, Blackmagic Design. “URSA Broadcast is exciting because it makes high end broadcast camera technology available to everyone from AV and web producers all the way up to professional broadcasters, for the same price as a common DSLR!”

Blackmagic URSA Broadcast Key Features 

  • 4K sensor, extended video dynamic range, traditional external controls and buttons, built in optical ND filters, dual CFast and dual SD card recorders.
  • Advanced HD and Ultra HD broadcast camera with 2/3” B4 mount.
  • New extended video mode with better dynamic range and color fidelity producing images with amazing texture and detail, accurate skin tones, vibrant color and high dynamic range.
  • Full electronic B4 lens control support for adjusting focus, iris and zoom using the camera’s controls, or remotely from an ATEM switcher or ATEM Camera Control Panel.
  • Built in dual SD/UHS-II and C-Fast card recorders allow unlimited duration recording in high quality.
  • Records 1080i or 2160p video into standard .mov files using DNx145, DNx220X or ProRes for compatibility with existing broadcast systems and workflows. Standard .mxf will be added in future updates.
  • Support for DNxHD 220X, DNxHD 145, Apple ProRes 4444 XQ QuickTime, ProRes 4444 QuickTime, ProRes 422 HQ QuickTime, ProRes 422 QuickTime, ProRes 422 LT QuickTime and ProRes 422 Proxy QuickTime, CinemaDNG RAW, CinemaDNG RAW 3:1, CinemaDNG RAW 4:1.
  • High quality clear, 1/4, 1/16th and 1/64th stop neutral density (ND) filters with IR compensation designed to specifically match the colorimetry and color science of URSA Broadcast.
  • Fully redundant controls including external broadcast controls which allow direct access to the most important camera settings such as external power switch, ND filter wheel, ISO, shutter, white balance, record button, audio gain controls, lens and transport control, high frame rate button and more.
  • Interchangeable lens mount with B4 mount included as standard. Optional EF, PL and F mount available separately.
  • Status display for quickly checking timecode, shutter and lens settings, battery, recording status, and audio levels.
  • Features all standard connections, including dual XLR mic/line audio inputs with phantom power, 12GSDI output for monitoring with camera status graphic overlay and separate XLR 4 pin power output for viewfinder power, headphone jack, LANC remote control and standard 4 pin 12V DC power connection.
  • Built in high quality stereo microphones for recording sound.
  • 4 inch foldout touchscreen for on-set monitoring and menu settings.
  • Blackmagic SDI Control Protocol for external control or iPad control via Bluetooth®, 2 x 2.5mm LANC for lens and record control.

Availability and Price 

Blackmagic URSA Broadcast is available now from Blackmagic Design resellers worldwide for AU$4,835.

Blackmagic Design Introduces New Blackmagic Camera Fiber Converter and Blackmagic Studio Fiber Converter

Now customers can extend and power cameras from up to 2 km away, all over a single SMPTE fiber optic cable. 

Blackmagic Design today announced the all new Blackmagic Camera Fiber Converter and Blackmagic Studio Fiber Converter which convert standard television industry connections for video, audio, power, talkback, tally and more into a single SMPTE hybrid electrical and fiber optic cable. This allows cameras to be placed up to 2 km away from a studio or outside broadcast truck using a single cable. The Blackmagic Camera Fiber Converter is available for AU$4,155 and the Blackmagic Studio Fiber Converter is available for AU$4,155. Both fiber converters are available now from Blackmagic Design resellers worldwide.

Whether it’s in a studio or out at a large sporting venue, customers working in live production often need to place their cameras both far away and close to the action. SDI connections are common, but they have limited range. Plus, when working in large theaters or massive stadiums, it can also be hard to find locations with power. Running multiple cables for power, talkback, tally, video and audio feeds normally requires expensive interfaces and extenders. This can make set up incredibly complex and increases the chances of a technical error.

The Blackmagic Camera Fiber Converter and Blackmagic Studio Fiber Converter solve this problem by converting all essential connections and full camera power into a single convenient SMPTE hybrid electrical and fiber optic cable that can be run long distances up to 2 km away. That means cameras can be placed anywhere and connected back to broadcast trucks parked outside of a venue or back to a central control room in a studio.

The new Blackmagic Camera Fiber Converter and Blackmagic Studio Fiber Converter transform your URSA Broadcast and URSA Mini cameras into a complete studio solution. One converter is located on the camera and one is located far away back in the studio or outside broadcast truck. It’s the perfect solution for news, magazine style talk shows, game shows, multi camera sitcoms and even massive outdoor sporting events. Best of all, it costs tens of thousands less than other broadcast camera solutions. This means web producers, professional AV customers, houses of worship and educators can now afford to use the same high end broadcast technology that professional broadcasters use.

The cable used between the camera and studio converters is a standard SMPTE 311M hybrid electrical and fiber optic cable with a standard SMPTE 304 connector on each end. The cable features a 2 way fiber pair, data pair and power pair, along with a central strength member that gives it the needed durability for continuous use. The Blackmagic Studio Fiber Converter provides an industry standard 200 volts of power to the camera converter for both the camera and its accessories. The converters at each end have dedicated micro controllers that continuously monitor power and will instantly cut it if a leak is detected. High voltages to the SMPTE cable are not enabled until the converters ensure that all safety checks have been completed. This means Blackmagic Studio Fiber Converter and Blackmagic Camera Fiber Converter are compliant with SMPTE fiber standards, making them incredibly safe to operate. At the camera end, power is stepped down and made available to the camera and accessories via standard 12 volt connections.

The Blackmagic Camera Fiber Converter attaches to the back of URSA Mini and URSA Broadcast cameras and converts all of the video and audio connections, along with camera control, PTZ, talkback, tally and power into the SMPTE hybrid electrical and fiber optic cable. Because studio cameras are operated from the rear camera position, the camera fiber converter also adds standard studio camera controls to the back of the camera. Customers get control for return feeds, dual intercom controls with the ability to mix in program audio, record, focus and iris controls, headset connectors, audio and more. The camera converter even includes a V mount plate on the top for attaching accessories such as a professional Blackmagic Studio Viewfinder.

The Blackmagic Studio Fiber Converter, which is located at the other end of the camera chain back in the studio or outside broadcast truck, converts all of the signals from the camera back into standard television industry connections that can then be connected to camera control units, live production switchers, audio mixers and more. Both converters feature familiar broadcast controls and are designed to work exactly the way experienced camera operators expect.

The converters feature standard television industry connections, including the latest 12G-SDI, for working with all HD and Ultra HD formats up to 2160p60. Customers get an Ultra HD camera feed, 3 independent return HD feeds, full remote camera control, PTZ, and ethernet. For talkback, the converters feature two dual channel intercoms with 5 pin XLR connections for professional talkback headsets. In addition, there is a redundant back up intercom that can be used to set up or troubleshoot if the fiber link is down. The camera converter also includes a 10 pin connection for tracker talkback, which provides an additional talkback feed for a crane operator when both headsets are already in use, and a tally output.

Communication between the two converters is via standard 10G Ethernet. That means all video and return feeds are IP video based. The converters use high end, lossless broadcast quality 10-bit video encoding and decoding. All other connections such as talkback, tally, camera control and lens control are also converted to IP. Both converters are designed to be super fast and have extremely low subframe latency, providing the kind of incredible realtime performance customers need when working on live productions.

The Blackmagic Camera Fiber Converter features an extremely durable all metal design that perfectly matches URSA Broadcast. It features full size standard television industry connections with dust caps to protect them, along with an integrated V-Lock mount on top for adding a Blackmagic Studio Viewfinder. The Blackmagic Studio Fiber Converter features a rack mountable design with a front panel that features a 5 inch LCD and an optical fiber connector, so customers can conveniently plug remote cameras in and instantly see the feed.

To complete the live production solution, Blackmagic Design today also announced a new ATEM Camera Control Panel, which is a compact remote camera control unit designed to control up to four different URSA Broadcast, URSA Mini, Blackmagic Studio or Blackmagic Micro Studio cameras. The ATEM Camera Control Panel works with any ATEM live production switcher and features a large LCD screen, professional joystick, and control buttons that allow a single operator to monitor and adjust a wide range of technical parameters such as the black level, gain, color balance, shutter speed and more. This leaves camera operators free to focus on the creative aspects of live production such as framing and composition. The ATEM Camera Control Panel will be available later this year.

“The new Blackmagic Camera Fiber Converter and Blackmagic Studio Fiber Converter enable customers to finally create a complete professional broadcast camera chain that’s actually affordable,” said Grant Petty, CEO, Blackmagic Design. “It’s exciting because the new converters, along with URSA Broadcast and the upcoming ATEM Camera Control Panel, make it affordable for professional broadcasters to use more cameras than ever. This also means that web producers, educators, AV companies and anyone else that wants to create high quality programs can now afford the same professional technology that high end broadcasters have used for years!”

Availability and Price

The Blackmagic Camera Fiber Converter is available for AU$4,155 and the Blackmagic Studio Fiber Converter is available for AU$4,155. Both products are available now from Blackmagic Design resellers worldwide.

Blackmagic Design Introduces ATEM 4 M/E Broadcast Studio 4K

The world’s most advanced HD and Ultra HD live production switcher with 4 M/E and 16 next generation ATEM Advanced Chroma Keyers for creating incredible Ultra HD programs! 

Blackmagic Design today announced the new ATEM 4 M/E Broadcast Studio 4K, the world’s most advanced high frame rate Ultra HD 2160p60 switcher with 20 inputs, 4 M/Es and a massive 16 next generation ATEM Advanced Chroma Keyers. In addition, the ATEM 4 M/E Broadcast Studio 4K features 2 Ultra HD multi viewers, full 2D DVE, built in SuperSource compositing engines with 4 picture in picture DVEs, full re-synchronization on each input and much more.

The ATEM 4 M/E Broadcast Studio 4K is available now for only AU$8,305 from Blackmagic Design resellers worldwide.

In addition, Blackmagic Design has also announced a free software upgrade that adds all of the same new features to the previous ATEM 2 M/E Broadcast Studio 4K model. That means customers using the ATEM 2 M/E Broadcast Studio 4K get twice as many mix effects rows and 16 new next generation ATEM Advanced Chroma Keyers added to their switcher, absolutely free.

The all new ATEM 4 M/E Broadcast Studio 4K lets customers create live, switched, high frame rate HD and Ultra HD programs at up to 60 frames per second. Featuring advanced 12G-SDI technology, customers can connect the latest 2160p60 cameras using a single, standard SDI cable. The multi rate 12G-SDI connections automatically switch to 6G-SDI, 3G-SDI and HD-SDI so the switcher is compatible with existing HD equipment. The ATEM 4 M/E Broadcast Studio 4K can be used to master programs in 2160p60 while simultaneously outputting them in HD with realtime down conversion. It’s a future proof switcher that lets broadcasters start building a library of amazing Ultra HD content, even if they need to continue broadcasting 1080HD today.

For keying and effects, the ATEM 4 M/E Broadcast Studio 4K gives customers a total of 16 new advanced keyers for more high end creative options than ever before. Customers get 4 new ATEM Advanced Chroma Keyers on each of the 4 mix effects rows. The new keyers feature adjustable on-screen controls for selecting and sampling a region of color, adjustment controls for foreground, background and edges, and chroma correction tools for spill and flare suppression. That means customers can pull clean keys for professional broadcast quality composites and massive multi layer effects.

The ATEM 4 M/E Broadcast Studio 4K works in both HD and Ultra HD. It is designed for action filled sporting events and live concerts where smooth, crystal clear, incredibly detailed, realistic looking video is important. When combined with the extra resolution, higher frame rate and bigger color space of Ultra HD, the ATEM 4 M/E Broadcast Studio 4K makes the fast paced action and incredible drama of live sports look far better than even the highest end, most expensive regular HD production switchers.

The new ATEM 4 M/E Broadcast Studio 4K has hundreds of advanced creative features for creating the highest quality live broadcast programs. There are 4 built in media players and a larger media pool with more memory for graphics and video clips. The ATEM 4 M/E Broadcast Studio 4K features 16 built in all new ATEM Advanced Chroma Keyers, dynamic transitions, a powerful DVE, SuperSource multi layering, power macros, audio mixing, camera control with color correction and much more.

In addition to advanced 12G-SDI technology, the ATEM 4 M/E Broadcast Studio 4K features the highest quality professional broadcast connections. Every input has automatic frame re-synchronization so customers can take any source, even if it’s not referenced, and make clean switches. There are also two balanced XLR audio inputs and outputs for connecting mixers and other pro audio gear. The ATEM 4 M/E Broadcast Studio 4K has both an Ultra HD program output as well as a down converted HD program output, along with 6 auxiliary outputs for sending clean feeds out to giant screens, projectors, recorders or monitors. Dual Ultra HD multi view outputs let customers monitor program, preview and cameras on large screen Ultra HD displays.

The ATEM 4 M/E Broadcast Studio 4K can be controlled using ATEM’s professional hardware control panels or using the ATEM Software Control on a Mac or Windows computer connected via ethernet.

The ATEM hardware control panels are the fastest, most professional way to control a switcher during live production. The ATEM 2 M/E Broadcast Panel features high quality buttons, knobs, faders and joysticks that are built to withstand the demanding needs of live production work. The new ATEM 1 M/E Advanced Panel, which was also announced today, is a compact professional panel featuring the latest broadcast technology, an updated layout designed to help customers work quickly on live productions, and built in LCD screens that display context sensitive tools and settings when you need them. The ATEM 1 M/E Advanced Panel fits in a standard equipment rack and is perfect for tight locations like outside broadcast trucks.

The ATEM software control panel, which is included free, provides a full visual control panel with parameter palettes for making quick adjustments, loading graphics, mixing audio and more. Customers can even combine multiple hardware and software control panels on the same show so different people can be working on switching, graphics, audio, camera control and more, all at the same time.

Blackmagic Design today also announced a new ATEM Camera Control Panel, which is a compact remote camera control unit designed to control up to four different URSA Broadcast, URSA Mini, Blackmagic Studio or Blackmagic Micro Studio cameras. The ATEM Camera Control Panel works with any ATEM live production switcher and features LCD screens, professional joystick for iris and master black control, and control buttons that allow a single operator to adjust a wide range of technical parameters such as the black level, gain, color balance, shutter speed and more. This leaves camera operators free to focus on the creative aspects of live production such as framing and composition. The ATEM Camera Control Panel will be available in May/June this year.

“The new ATEM 4 M/E Broadcast Studio 4K gives customers 4 mix effects rows and 16 amazing new ATEM Advanced Chroma Keyers in the same design as our previous 2 M/E switcher,” said Grant Petty, Blackmagic Design CEO. “Customers can now get a high end live production switcher with more power and creative effects than ever before so they can produce incredible television programs. Plus, existing ATEM 2 M/E Broadcast Studio 4K customers can upgrade and get these incredible new features for free!”

ATEM 4 M/E Broadcast Studio 4K Key Features

  • Full 4 M/E switcher with each M/E featuring 4 ATEM Advanced Chroma Keyers.
  • Switcher can be switched between HD and Ultra HD video formats instantly.
  • 2 x built in Ultra HD multi view allows 16 sources, 2 x previews and program.
  • 20 x inputs for a total of 20 x 12G-SDI. All inputs feature auto re-sync.
  • 1 x down converted program output.
  • Built in media pool graphics storage for 64 RGBA Ultra HD stills and 360 frames of Ultra HD clips.
  • Built in full motion 2D DVE with position, scale, resize and rotate features.
  • Built in SuperSource allows 4 DVEs and 4 keys layered as an independent video source.
  • 4 media players allow graphics to be connected to keyers for fill and key layering.
  • Transitions include cut, mix, dip to color, SMPTE wipes and more.
  • 16 new ATEM Advanced Chroma Keyers (4 per M/E row).
  • 2 downstream keyers.
  • 6 auxiliary outputs include front panel aux switching buttons and LCD screen for viewing.
  • Built in audio mixer live mixes embedded audio from all video inputs and independent audio inputs.
  • Balanced XLR stereo analog audio inputs and 1 HiFi RCA stereo audio input into built in audio mixer.
  • Audio mixer main and preview outputs onto balanced XLR audio outputs and on all video outputs.
  • Internal sources include black, color bars, two color generators and media pool.
  • Ethernet connection for control panel connection. Mac and Windows control panel software included.
  • Compatible with all ATEM Broadcast Panel control panels when hardware panel is required.
  • Black Burst and HD-Tri-Sync genlock input for integration into large systems.
  • Compact 2 rack unit size is perfect for when a lot of power is required in a portable solution.

Availability and Price 

The ATEM 4 M/E Broadcast Studio 4K is available now for AU$8,305 from Blackmagic Design resellers worldwide. ATEM Switchers Update 7.3 is available now free of charge from www.blackmagicdesign.com/ support for all existing ATEM 2 M/E Broadcast Studio 4K customers.

Blackmagic Design Introduces New ATEM 1 M/E Advanced Panel 

Newly designed, compact 1 M/E panel features updated layout and the latest advanced broadcast technology for working with all ATEM live production switchers. 

Blackmagic Design today announced the all new ATEM 1 M/E Advanced Panel, a new elegantly designed compact hardware control panel designed to work with all ATEM switchers. The ATEM 1 M/E Advanced Panel features the latest broadcast technology, smooth professional buttons, knobs, T-Bar fader and joystick, a built in LCD and more. The ATEM 1 M/E Advanced Panel is available at a new low price at only AU$4,155 from Blackmagic Design resellers worldwide.

The ATEM 1 M/E Advanced Panel is designed to give customers a new elegantly designed control panel that ensures precise control over their ATEM live production switcher when producing complex live television programs with multiple cameras and sources. The compact size fits in a standard equipment rack, making it perfect for use in fly away kits, outside broadcast trucks, and at live events with limited space.

The ATEM 1 M/E Advanced Panel features newly designed buttons and LCD based labels that help improve clarity and reduce incorrect key presses. The buttons have customizable color backlighting to indicate status and activity. In addition, dynamic displays are placed above and below the buttons. These provide customizable text, multi language support, and the custom label colors. The combination of button colorization and customizable text labels help customers quickly identify important keys while working on high pressure, fast paced live switched programs.

The layout of the panel has been designed with the help of professional broadcasters. The ATEM 1 M/E Advanced Panel has a new custom design T-Bar fader and buttons that are logically grouped in a familiar broadcast layout, so customers with experience using older panels can get up and running quickly. Dedicated groups of buttons are spaced apart so controls for things such as transitions, macros and keyers can be quickly located and used without the risk of accidentally hitting the wrong button. The ATEM 1 M/E Advanced Panel features a shift button that doubles the number of inputs that can be controlled from 10 to 20.

The new M/E selection buttons allow control of up to 4 independent M/Es on a single panel so customers quickly switch between and control up to 4 mix effect rows, effectively enabling total control of a 4 M/E switcher from a 1 M/E hardware panel. This makes it possible to use the ATEM 1 M/E Advanced Panel with the new ATEM 4 M/E Broadcast Studio 4K.

The upper section of the ATEM 1 M/E Advanced Panel features a large 5 inch LCD with 4 soft buttons and 4 soft knobs, along with a set of dedicated function buttons on the left, and a numeric keypad and professional joystick on the right. The color screen gives customers large clear labels of what’s currently on the preview and program busses. Plus, the screen automatically changes based on the current function and provides controls for quickly adjusting things such as transition rates, effects, graphics and more.

“The new ATEM 1 M/E Advanced Panel is exciting because it gives customers total control of up to 20 inputs and four mix effects rows, all in a compact design that can be taken virtually anywhere,” said Grant Petty, Blackmagic Design CEO. “The built in LCD along with the dynamic button screens, customizable colors and labels takes the ATEM 1 M/E Advanced to a whole new level of design and features for live production. We’ve worked hard to build a state of the art panel that will enable customers to work on their live programs faster and more accurately than ever before!”

Availability and Price 

The ATEM 1 M/E Advanced Panel is available now for AU$4,155 from Blackmagic Design resellers worldwide.

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