The long-awaited DaVinci Resolve video editing program is now available from the Apple app store in Australia.
DaVinci Resolve for the iPad allows creators to extend video workflows in new ways and new places. Optimized for MultiTouch technology and Apple Pencil, DaVinci Resolve for iPad features support for cut and color pages providing access to DaVinci’s award winning image technology, colour finishing tools and latest HDR workflows.
You can read more on the actual app here.
Lake Forest High School, located outside of Chicago, IL, uses the HyperDeck Shuttle HD recorder/player for sports replays during school sporting events.
Steven Douglass, new media instructor at Lake Forest High School, produces live streams for the school’s sporting events, including basketball and volleyball, as well as stage performances throughout the year. Productions exclusively use student talent as crew, from camera operators and announcers to technical directors and support crew, with teachers acting in an advisory capacity only.
Douglass employs a full system of Blackmagic Design cameras and equipment, including multiple Blackmagic Pocket Cinema Camera 4K digital film cameras and Blackmagic URSA Mini Pro 4.6K G2 digital film cameras, giving each production up to eight live cameras as needed. The student technical director uses an ATEM Mini Extreme ISO live production switcher for switching, as well as the HyperDeck Shuttle HD for playback. Shows are live streamed with highlights turned around immediately for social media posting. While the setup is extensive, Douglass is always looking for opportunities to enhance the experience while keeping within a budget.
“Ever since I saw the HyperDeck Shuttle HD at NAB, I wondered how it might help us solve our need for instant replay,” said Douglass. “Most systems cost too much money, but the HyperDeck Shuttle HD appeared, and it seemed to solve our problems.”
While still a traditional HyperDeck broadcast deck with its ability to record and playback using SD cards, UHS-II cards and USB-C external disks, the HyperDeck Shuttle HD is designed as a desktop device, with a large search dial that makes scrolling through footage quick and easy. Incorporating it into Lake Forest High School’s system is simple; the HyperDeck Shuttle HD connects to the ATEM Mini Extreme ISO, which feeds the HyperDeck Shuttle HD a program out signal. A separate monitor connected to the HyperDeck Shuttle HD allows the operator to quickly scroll back for a replay and be ready to feed that footage back into the ATEM Mini Extreme ISO when needed.
“The ability to replay the program feed not only provides a key new tool for our announcing team and audience, but it also creates accountability for the production overall,” noted Douglass. “We tested it out with volleyball, which has minute long timeouts that need to be filled with engaging content beyond shots of the coach talking and the athletes listening. The replay with the HyperDeck Shuttle HD helps us engage the audience during these times and gives the announcers a moment to provide highlights during the pause in action.”
Using the HyperDeck Shuttle HD adds a level of complexity to the student led programs, one that challenges the young announcers and crew. “The downtime during timeouts is a significant challenge to the flow of high school live production,” added Douglass. “If we have slipups from students, who are maybe giving a little too much personal commentary, it’s during this time. With a simple replay system like this we solve that problem and add tremendous value. We still need to get more reps on this, as students without a lot of experience calling games are nervous and worried about what they are saying, so adding playback can be challenging. But we already know the HyperDeck Shuttle HD adds tremendous value for our audience during these high engagement events.”
This official Blackmagic Design hands on training guide takes you through a series of practical exercises that teach you how to use DaVinci Resolve’s colour correction tools in detail.
You’ll learn a wide variety of workflows, effects, and the tools necessary to perform Hollywood calibre grades.
Download the PDF book from: https://www.blackmagicdesign.com/au/products/davinciresolve/training#books
“Sons of Summer,” the long awaited sequel to the 1977 cult classic “Summer City,” was shot with multiple Blackmagic Design digital film cameras and graded in DaVinci Resolve Studio editing, grading, visual effects (VFX) and audio post production software.
The film is the third in the series from legendary Australian producer Phil Avalon, with the original 1977 low budget production introducing Mel Gibson to audiences prior to his breakthrough role in Mad Max two years later. The second edition came in 1988, titled “Breaking Loose: Summer City II.”
Directed by award winning director Clive Fleury, “Sons of Summer” features Australian star Isabel Lucas and New Zealand actor Temuera Morrison. The plot takes place in the same universe as the past films, and tells the story of Sean (Joe Davidson) who is a troubled but charismatic surfer trying to outrun his tragic past.
Sean and his surfer friends decide to take a trip up the coast to honor the anniversary of his father’s death. But his attempt to deal his way out of money troubles catches up with him. He has stolen a load of drugs and now a hitman is on a rampage seeking revenge. With each murder the hitman moves one step closer to Sean and with his girlfriend kidnapped, he needs to hatch a plan to set things right.
When Producer Tim Maddocks was putting the film together he reached out to long term collaborator, DP Anthony Rose, who he knew would create a great look for the film.
“Earlier in the year Anthony and I were on a documentary shoot using a different range of cameras and he mentioned the ease of working with Blackmagic Design cameras by comparison. So when the opportunity arose for him to come on board ‘Sons of Summer’ we talked extensively about the look of the film,” Maddocks said. “I mentioned my love of anamorphic lenses and Anthony came up with the package of Blackmagic cameras to suit our shoot. As a producer, the excellent value for the money was a nice bonus to achieving the filmic look we were after.”
Rose explained that he used a range of different Blackmagic Design products to suit the needs of various scenes, including three URSA Mini Pro 12Ks, an URSA Mini Pro 4.6K G2 and two Pocket Cinema Camera 6K digital film cameras. “We used three 12K cameras shooting in 8K for most scenes as the A and B camera along with the third always rigged on a Steadicam,” he said.
“On top of that, we used the URSA Mini Pro 4.6K G2 for high speed shots and two Pocket 6K cameras for hard to get shots on a gimbal inside cars, and for low profile car mount rigs for the chase sequence.”
Rose, who has directed more than 250 videos and countless TV commercials both in Australia and internationally in a career spanning more than 20 years, said he loves working with Blackmagic Design cameras due to their “filmic look and feel.” He added, “With a tight budget I was able to have multiple cameras pre built and ready to go, which saved time and money. We used the SSD recorders on the 12Ks with 960GB cards so we could basically shoot all day which was a big help. And with minimal lighting in some tricky high contrast and low light conditions I could trust the sensors to deliver.”
Using DaVinci Resolve Studio for grading, the film was produced almost entirely within a Blackmagic Design ecosystem. “Grading footage shot with Blackmagic Design cameras in DaVinci Resolve made it easy to get the look we wanted. We used a 1000 nit monitor for grading and the Blackmagic Design footage really came alive. Our colorist was fresh from grading Elvis and was very impressed with the BRAW files,” Rose said.
Rose said working with Fleury and Producer Phil Avalon was a pleasure. “Clive and Phil immediately had confidence in my approach to shooting the film. With a tight schedule we needed to move fast and be flexible. We decided to shoot anamorphic which was a big step but wanted the film to have a cinematic edge and play with widescreen framing,” he concluded.
“Sons of Summer” is set to hit Australian cinemas next Easter, with a multiplatform release in the US slated for mid 2023.
Over the last couple of years, I have made mention a number of times to how the ripper little Blackmagic Design ATEM Mini Pro has the ability to replace the equipment that was used to create the Microsoft office and Windows 95 training videos I wrote and directed.
One thing I have not stressed enough though I suspect, is that whilst the ability to include downstream and upstream keys, switch between 4 video and 2 audio inputs, store up to 20 online graphics (titles, lower 3rd etc), control cameras and mix audio amongst other things, the major thing is this can be done in a live broadcast as well as recording a session to an SSD for later playback.
So, I thought it might be interesting to describe that process to give a better idea of the workflow. I have set up a sample session to mimic a live broadcast. Equipment consists of a Blackmagic Pocket Cinema Camera 6K Pro and a GoPro 9 and GoPro 10 (inside Media Mods to get the HDMI connectivity) for vision input on HDMI ports 2-4, my desktop giving input to HDMI 1 and a single Sennheiser MKE600 for audio input.
I have created a number of lower 3rds and some graphics with transparency in Adobe Photoshop and pre-loaded them into the Media Pool of the Blackmagic Design ATEM Mini Pro.
I have set it so that a live broadcast via Facebook Live is in place via the Ethernet port, and the session is also being recorded to a Samsung T5 connected to the ATEM Mini Pro USB-C port. To set the stream up, here are the steps:
The sequence I will use to demonstrate the basics of the workflow are:
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As mentioned, to create the full screen graphics, I used Adobe Photoshop. Similarly, the lower 3rds were also created here but instead of saving as a PNG with alpha channels, the ATEM Control software comes with a nifty bult in plugin that is installed into Photoshop when you install the ATEM Control software. This allows you to export directly from Photoshop straight into the Media pool of the ATEM Control software and creates the image with all the right parameters.
And I have finally found a use for Powerpoint! Just kidding, there are many slide show apps you could use for this, but if you have Powerpoint anyway, you may as well use it. I just created a slide show of four slides – the opening and closing images and the two screen shots of the ATEM Control software. I manually stepped through the slides as needed when they were displayed on my second monitor acting as HDMI 1 on the ATEM Mini Pro.
When I started playing the sequence and controlling the vision with the ATEM Mini Pro, it was all recorded onto a Samsung T5 SSD connected to the ATEM Mini Pro’s USB-C port. Of course, it you were going live via say Skye, Teams or Zoom, the USB-C port is connected to the PC if you want the ATEM Mini Pro to act as a pseudo webcam.
Simple! And versatile.
This is a very basic demonstration of using the ATEM Mini Pro in conjunction with the ATEM Control software, but you get the idea of what can be done. There are many other things you could do to enhance it – obviously I didn’t catch any audio and next time I will record an audio dialogue explaining what I am doing as well. I also used simple auto fades as transitions, but I could have used any of the built in DVEs of the ATEM Mini Pro in conjunction with those in the ATEM Control software. Similarly, the duration of the transition was left at the default, but I could have controlled that too if I’d wanted.
If you wanted to stick to exact timing, say you wanted to intersperse sponsor graphics between sections for an exact period, you could use macros for this – and any other operation for that matter.
To give you an idea of the breadth of the functionality of the ATEM Mini Pro, the English language section of the manual is 148 pages! I have had my unit now for getting on for 2 years and I am still finding out things of which it is capable.
And that doesn’t include the sibling models of the ISO, Extreme ISO, SDI, SDI Pro ISO and SDI Extreme ISO! Even at just over $2.5K, the top of the range unit is extraordinary value, and the Mini Pro I have at $500 is just staggering in its value for money.
If you have any questions, or I have not explained something either clearly or in not enough depth, feel free to contact me.
– Blackmagic Design today announced the all new Cintel Scanner G3 HDR+, which features a completely redesigned light source that allows real time HDR film scanning in Ultra HD. Demonstrated earlier this year at NAB 2022 in Las Vegas, the new high intensity LED grid array light source allows customers to get even better quality images from scanned film at much higher film scanning speeds.
The new Cintel Scanner G3 HDR+ is available immediately from Blackmagic Design resellers worldwide for A$54,259.
For decades, Cintel has been the leader in film scanning technology. Now the new Cintel Scanner G3 HDR+ advances the art of film scanning even further. The new Cintel Scanner G3 HDR+ features a completely redesigned light source that allows real time HDR film scanning in Ultra HD. The new model also retains the great features of the Cintel Scanners, such as digital servos, gentle capstan drives, advanced color science, 35mm and 16mm film support and an elegant architectural design that can even be wall mounted! The Cintel Scanner is perfect for unlocking vast archive film libraries for conversion into new Ultra HD masters so they can be uploaded for streaming and online distribution!
The new high intensity light source in Cintel Scanner G3 HDR+ is now 6 times more powerful. The RGB LED grid array illumination source has a square array of 576 high power LEDs arranged into a grid pattern, which are focused onto film using a new light cylinder. This design means that more than twice the silicon area for generating light is available, resulting in more light being directed at the film. There are tens of kilowatts of power contained in each illumination flash to scan a single frame of film. HDR scanning speed is also now up to 3 times faster at full real time speed of 30 frames per second in Ultra HD. The Cintel Scanner G3 HDR+ also features improved color science and up to an additional 3.5 stops of HDR range.
A new film inspection mode allows customers to check the condition of the original film, so they can check if there are any scratches or dust. This new feature is available by simply pressing and holding the stop button. The light source will be adjusted so light becomes focussed in a single direction. This then allows dust and scratches to be seen instantly. The light source can be fully controlled in software, which means the customer gets better control and can check the film before scanning.
“We’ve been demonstrating this new light source technology over this past year and we are now very excited to be able to include it in our newest Cintel Scanner G3 HDR+ model,” said Grant Petty, Blackmagic Design CEO. “The new Cintel Scanner G3 HDR+ has all the great features of our previous model, plus now it includes an all new high intensity light source so our customers can get incredible image quality scans, and also at higher speeds.”
Availability and Price
Cintel Scanner G3 HDR+ is available now for AU$54,259 from authorised Blackmagic Design resellers worldwide.
Sydney based colorist Fergus Rotherham used DaVinci Resolve Studio and the DaVinci Resolve Advanced Panel to grade the new series “Heartbreak High,” a reboot of the classic 1990’s Australian drama series.
“Heartbreak High” is an Australian television show that ran from 1994 through 1999 and was one of the world’s most popular high school drama series. The new series, which airs globally on Netflix, is a reboot of the show and follows the day to day actions and emotions of a new set of teens and their friends and families.
The series, directed by Grace Otto, Adam Murfet, Jessie Oldfield and Neil Sharma with Simon Ozolins and Drew English as directors of photography, completed production and post production in Australia. Colorist Fergus Rotherham was brought in to help create the look of “Heartbreak High,” which included finding a new modern image while still paying homage to the show’s original feeling.
Rotherham is an experienced freelance colorist who has worked on a large number of commercial, TV and film projects around the world since first learning DaVinci Resolve Studio in 2014. Post production for “Heartbreak High” was completed through Blue Post in Sydney.
“DaVinci Resolve was used on ‘Heartbreak High’ even before cameras started rolling. It started with early discussions with Simon and Gracie where we worked out how to create a nostalgic look with a modern take. We wanted to retain some grit and texture from the original while bringing through some new color to give it a playful contemporary edge. From there, Simon and I spent time in preproduction designing a show LUT on Resolve,” Rotherham explained.
Following production of each episode, Rotherham would start to work on the grade and prepare it for delivery in 4K HDR Dolby Vision. He relied on DaVinci Resolve Studio’s numerous management features and time saving efficiencies to focus on the craft of color correction.
“Resolve is incredibly efficient, and the ability to set the administration rules and use the same node structure on each episode saved a lot of time throughout,” he said. “Also features such as curves, stills management, timeline sorting and the ability to record from multiple sources simultaneously are incredibly powerful when working at such pace.
“I also used the HDR grading wheels heavily throughout the show to retrieve detail or adjust the contrast curve. Split screen was another tool we often used to compare scenes and make sure the look was the same throughout each episode. It also gave us a great storyboard of the look that was developed.”
Rotherham also relied on DaVinci Resolve Studio and the DaVinci Resolve Advanced Panel to maintain consistency throughout each episode while working at a fast pace. He explained: “As a freelancer I use the Resolve Micro Panel more frequently than the Advanced, however, for series or feature work that master in HDR and require a trim pass for the deliverables, I find the Advanced Panel’s trim controls save a lot of time during the process.”
“One tool that I did keep coming back to for the series for speed was the shared node. I used this in conjunction with the append node for selected clips, which I had mapped to my keyboard. This allowed us to efficiently try new ideas or tweak a scene in a matter of seconds,” he continued. “We also used a variety of OFX plug ins built in Resolve to achieve disorientation in scenes or enhance lighting setups to elevate a narrative beat, as well as the odd clean up with patch replacer.”
“Heartbreak High” is streaming now on Netflix.
One of the features of the Blackmagic Design ATEM Mini Pro that I love is the is the Picture-in-Picture, or PIP effect. For those not familiar with PIP, this means you can have the output from HDMI 1 on the Blackmagic Design ATEM Mini Pro displayed in a frame over the top of any of the other HDMI inputs in your output stream.
Say for example you have 2 inputs; HDMI 1 is the feed from your desktop monitor showing some software you are reviewing or a technique you are explaining, and HDMI 2 is from a camera facing you explaining the process.
There are two ways of approaching this – one just using the Blackmagic Design ATEM Mini Pro and the other bringing the Blackmagic Design ATEM Control Software into the act.
In the first way, just using the Blackmagic Design ATEM Mini Pro, by selecting a PIP type on the console (the section I have drawn a red box around above) and pressing the ON button in the Picture-in-Picture panel, whatever is in the output from HDMI 1 will appear in a small box at the top right and over the top of the other currently selected HDMI unput. Note that in this method, the content to about in the PIP MUST be in HDMI 1. You can change the position of the frame by choosing a different location button from the panel.
In method number two, you basically follow the steps as in method one, but have a lot more control by using the DVE section of the Blackmagic Design ATEM Control Software.
Effectively, PIP is what is known as a DVE or digital video effect and uses an Upstream Key to do its magic.
To achieve this, whilst offline, set up the PIP as you want using the Blackmagic Design ATEM Mini Pro, and then using Blackmagic Design ATEM Control Software, find the Upstream Key panel in the switcher section, choose your source HDMI (here I have it as Desktop which is HDMI 1) and then using the position and size buttons, you can change the size and location of the PIP.
(Note: in the Blackmagic Design ATEM Control Software you can change the label names for each HDMI input.)
As you can see, you can also add masks, shadows, add a border and change its size and colour and more. To learn each of these, I find it best to simply have a play and see what happens with different parameters.
One thing that I’ll cover in a later tutorial is creating macros using the Blackmagic Design ATEM Control Software. With macros, among other things you could automate the PIP process so you don’t have to set the size, position etc each time; just store all the parameters in a macro, and when you need it, call the macro into play and voila! All done autotragically.
– Blackmagic Design today announced DaVinci Resolve 18.1, a major new update that adds support for editing in vertical resolutions such as TikTok, Snapchat and Instagram TV, as well as automatic locking of individual timelines within bins for multi user collaboration. This update adds DaVinci Neural Engine enabled AI dialogue leveler and AI voice isolation tools to the cut, edit and Fairlight pages as well as vector keyframing for Fairlight automation curve editing. Fairlight grid support has also been added allowing customers to position clips on a grid based on timecode or musical tempo. DaVinci Resolve 18.1 also makes projects imported from ATEM Mini ISO projects easier to edit for customers, with audio now attaching to the video clips.
DaVinci Resolve 18.1 is available for download now from the Blackmagic Design website.
DaVinci Resolve 18.1 lets customers produce, export and post work quickly and easily on TikTok, Snapchat, Facebook shorts, Instagram TV and more. With added support for social media vertical resolutions such as 1080 x 1920, customers can choose square and vertical resolutions directly in project settings making it faster to setup a timeline to produce videos. Collaboration with other editors at the same time is also easier with the new timeline locking operation. This automatic operation prevents two users selecting the same timeline by locking it to the first user without the need to lock the whole timeline bin. Multiple editors can now work on different timelines in the same bin at the same time.
For audio, DaVinci Resolve Studio 18.1 adds new AI based voice isolation track FX so customers can remove loud, undesirable sounds from voice recordings. By adding DaVinci Neural Engine enabled voice isolation to the cut, edit and Fairlight pages using a new DaVinci Neural Engine AI based core effects process, customers can isolate dialog from background sounds in a recording, eliminating everything else from moderate noise to aircraft and explosions leaving only the voice. Voice isolation is perfect for interviews and dialogue recordings from noisy locations.
The built in dialogue leveler track FX in the inspector processes and smoothes dialogue recordings without the need for tedious level adjustments on clip gain or automation curves. Controls include real time scrolling waveform display, focus presets and three process options which allow customers to easily achieve natural sounding results. With the new vector keyframing of Fairlight audio automation curves, customers now have the ability to graphically enter, edit, trim and nudge keyframes with standard tools. Plus, there’s a new automation editing view which allows for faster and simpler management of curves and keyframes. DaVinci Resolve 18.1 also adds Fairlight grid support so customers can position clips on a grid based on timecode or musical tempo.
Editors now get a faster and smoother editing experience in this update with improved project importing when using ATEM Mini, so that audio is now attached to the video clips automatically making imported projects much easier to edit and helps improve workflows. DaVinci Resolve 18.1 adds DaVinci Resolve Speed Editor functionality to the edit page, including multicam switching, audio level, trim in, trim out and more! Plus, customers can use these functions in conjunction with the search dial for even more speed. There’s also support for subtitle track presets and per-track formatting rules. This means customers can now adjust individual settings for each subtitle caption, including font and style while retaining the track setting for size and background.
For Fusion users, customers can speed up their workflows with added support for magic mask in the Fusion page. The magic mask palette uses the DaVinci Neural Engine to detect animals, vehicles, people and objects, tracking their movement in a shot. Now customers can produce these clean traveling mattes directly in the Fusion page to add effects to characters or stylize the background. Plus, customers can now search for common keywords and categories for more than 200 tools. With this smart search functionality customers can filter the list without knowing the exact tool name to quickly find and apply tools to their visual effects.
DaVinci Resolve 18.1 also adds support for Dolby Vision 5.1.0 cinema trims, so customers can adjust the brightness levels of their high dynamic range images to optimize them for both cinema and television audiences. Customers can now also scale the DaVinci Resolve user interface incrementally to optimize the resolution for their specific Window or Linux display making it much easier to see the fonts on all aspects of the interface.
There are also significant performance improvements with multiple tools. Updates to the internal processing result in up to 10x faster Text+, 5x faster stabilization, face refinement tracking and analysis, 4x faster spatial noise reduction, better playback performance with large node graphs and improved Blackmagic RAW decoding on Apple silicon.
“This is a major update with new added support for social media vertical resolutions. Now, customers can work quickly and easily to create video posts for sites such as TikTok, Snapchat, Facebook shorts, Instagram TV and more,” said Grant Petty, Blackmagic Design CEO. “Plus, there are some other exciting performance improvements as well, such the new DaVinci Neural Engine AI enabled voice isolation tools, and new features for Fusion, such as support for magic mask. We’re always excited to see what our customers can do with these amazing updates to DaVinci Resolve.”
DaVinci Resolve 18.1 Key Features
* Vertical resolution options in project settings for social media.
* Select custom thumbnails and channels for YouTube uploads.
* Support for individual timeline locks enhancing multi-user collaboration.
* New DaVinci Neural Engine enabled voice isolation in Studio.
* New Dialogue Leveler for natural smooth audio.
* Vector keyframing for Fairlight automation curve editing.
* Fairlight grid support for editing to timecode or musical tempo.
* Reorganized and streamlined view menu.
* Support for Resolve FX Dust Buster in the edit timeline.
* Improvements to ATEM Mini ISO project import to keep audio attached to video clips.
* Improved speed editor functionality in the edit page.
* Subtitle caption properties can now be overridden individually.
* Support for subtitle track presets and per-track formatting rules.
* Support for Magic Mask in the Fusion page.
* Support for Dolby Vision cinema trims.
* Support for fractional display scaling for Windows and Linux
Availability and Price
DaVinci Resolve 18.1 update is available now for download free of charge from the Blackmagic Design website.
Just over a week ago I reviewed the SanDisk Pro-Blade Ecosystem and discovered its minor quirks and an … ahhhm… omitted entry in the user notes.
But all in all, I thought the concept was a brilliant one, and still do.
Now, in my further playing investigations, I have discovered something else. I alluded to this in the original article, but only now managed to get around to testing it.
Will the SanDisk Pro-Blade Ecosystem work as an external SSD for a Blackmagic Pocket Cinema Camera 6K Pro?
And the answer is yes, but again with a weird quirk.
I had formatted the drive for Windows as per the finally discovered documentation covering this area that is missing from the user notes (thank you Norman at SanDisk Tech for this – https://support-en.wd.com/app/answers/detailweb/a_id/30566 ), and connected the Blackmagic Pocket Cinema Camera 6K Pro to the Transport unit containing the Mag (the actual drive).
And damn it, the camera would not see it in the installed media on the main screen in the LCD.
However going into the bowels of the camera’s OS, and the area covering storage, it DID see the drive as unformatted. So, in for a penny and in for a pound, I used the camera to again format the drive.
It took around 30 seconds for the 2TB and then lo! It was there, and I have a tasty 5 hours + of storage available.
Why it needed a camera format (both were set for NTFS) I have no idea, but what the hell, I don’t car, it worked and Windows can still the SanDisk when it is plugged in to the USB-C port.
Footnote: It is imperative in both cases you use the USB-C cable that comes with the SanDisk Pro-Blade Ecosystem. From my experience, other 3rd party USB-C cables may not work, but your mileage of course may vary.
Image: The Blackmagic Pocket Cinema Camera 6K Pro inside a SmallRig cage and the SanDisk Pro-Blade Ecosystem. If you are interested in the cage I reviewed it here and they are available for a wide range of cameras from the Videoguys.
The mounted light is an Aputure AL-M9 (reviewed here) available from Kayell.
Film, Video & Virtual reality 