Tag: URSA

Review: Blackmagic Design URSA Mini Pro 12K and DZOFilm Pictor 20-55mm T2.8 Cine lens (Updated)

by davidhague178181403, posted in Broadcast News, Features, Reviews, Reviews Hardware: Mounts - Tripods, Gimbals, Mounts, Cranes, Jibs etc), Today

Reviewed by Dr David Smith, Imaginaction

Updated:

At the bottom of this page is a 17 minute video review. A review of the lens starts at approx 7:46

Blackmagic Design have really pushed the limits in producing the latest version of the Ursa Mini Pro with a whopping 12,288 x 6480 pixel (80 megapixels) Super 35 sensor. If you plan to use the full 12K resolution, be prepared for everything to be huge. The camera, with large V-lock battery, handgrip and DZO Pictor 20-55mm cine lens weighed in at 6.55kg. The files, encoded with new, highly efficient proprietary codecs, will also be huge, as will the data transfer rates required to record these large images at up to 60 frames per second, but the results will blow you away.

All data are recorded solely in Blackmagic Design’s proprietary BRAW format. This requires editing in Da Vinci Resolve Studio, although Vegas Pro 19 and above will also natively handle BRAW files.1 There are several ways to record the RAW data, either at constant quality or constant bitrate. Four compression levels are available with constant bitrate recording, ranging from 578MB/s at 5:1 down to 160MB/s at 18:1 compression.

Choose variable bitrate, and your data rates will lie in the range 289 – 1,156 MB/s at Q0 quality, down to 97 – 413MB/s at Q5 quality.

The Blackmagic RAW codec is designed to work with various performance modes, so if you decide to shoot 12K and edit and finish in an 8K timeline or 4K timeline then the performance will be much faster and you may not necessarily need a high performance graphics card.

All of this data can be recorded internally on two CFast 2.0 cards or on two UHS-II SD cards, with the useful option of hot-swapping out cards as they fill up.  Alternatively, data can be recorded externally via the rear-mounted USB-C 3.1 Gen 2 Super Speed powered expansion port, recording to external media such as a high performance SSD drive. For this review a Samsung 1TB T7 SSD was used 2

It is important to use the cable supplied with the SSD drive, not an after-market version. I encountered numerous data interruptions, signalled by an exclamation mark in the red record button on the LCD screen, until I swapped to the Samsung USB cable that came with the T7. Once formatted, you can test the disk’s performance using the BMD Speed Test. On a PC, you’ll need to download the free BMD Desktop Video app which includes the Speed Test app. This will check that the read and write speeds of your SSD drive and your computer’s drives are adequate to handle the load imposed by the Ursa 12K.

Controls and connectors

Having satisfied yourself that the recording media are up to the task, the fun really begins. The Ursa Mini Pro 12K has been thoughtfully designed, drawing on the expertise of experienced cinematographers to ensure that everything you need is close to hand and easily accessed during a shoot. This care and attention to detail really pays off.

ISO/Gain, Shutter and White Balance levers are placed at the front of the side panel and status indicators are clearly visible in the LCD screen on the left hand side. This LCD panel opens to reveal the microphone selectors and phantom 48V power switches. Beside these are the four slots for memory media as well as a USB-C port for software updates. This port should not be used for data recording, which is handled by the high-speed USB port at the base of the rear panel. At the bottom of the side panel are record, playback and menu buttons. All very self-explanatory and easy to read with crisp white lettering on black buttons.

The inside of the side panel door features a large, colour LCD touch screen. This is where the very clear menu options can be displayed. The menu system is logical and well laid out and the screen itself is a very crisp monitor. The touch screen functions very well and the virtual on-screen buttons are large enough to be easily selected even under field conditions.

There is a large viewfinder which has its own menu system with buttons on top covering zoom, display and peak functions. Key functions include colour or monochrome, zebra, display overlays, display LUT, peaking, false colour, zoom and meters. The viewfinder zoom function is invaluable in getting precise focus which with pro-grade optics and an 80 megapixel sensor is critically important. 

The various inputs and outputs comprise three SDI jacks (one IN, two OUT) and two XLR audio input jacks with optional phantom power. These upward-facing jacks are protected when not in use by a sturdy rubber flap.  In addition to these mic inputs there are two inbuilt mics at the top front of the body, providing stereo audio input. Audio levels are controlled by two volume wheels on the door.

A four-position ND wheel is positioned at the front beside the lens mount. Below this are various controls which only apply when a servo-assisted lens is fitted.

Beneath the sturdy upper carrying handle, which has three ¼” 20 threaded sockets, are the mesh covered outlets for the ventilation system. I have always been concerned that upward facing vents may be vulnerable to dust, sand or rain although I’m sure the Blackmagic people have ensured that the risk of such entry is minimal.

I found the camera really good to use, provided you mount it on a sturdy tripod. There is a shoulder mount accessory that screws onto the base of the camera and that works well, especially with servo lenses having their own dedicated hand grip.

So what do 12K videos look like and how difficult are they to shoot?

Two decades ago I worked as Associate Producer on a large format (IMAX) feature film called Australia, Land Beyond Time. This was shot on an IMAX film camera, using 70mm film passing horizontally through a revolving gate. The film is therefore 70mm high by 15 perforations wide, hence the name 1570 film. Apart from the immense difficulties of trying to film wildlife with a very large, very noisy film camera, perhaps the most critical issue was focus. The depth of field was tiny so focus was critically important and difficult to achieve using a viewfinder basically similar to that on a Bolex 16mm camera. This is why the zoom function on the Ursa viewfinder is such a boon.

IMAX film purportedly has a resolution of up to 16K although direct comparisons with the pixel count in a digital film are not straightforward. Projected from a film projector, the image can fill a screen such as the one in the Melbourne IMAX cinema which is 32 metres wide by 23 metres high. The Melbourne cinema also features a 3D laser digital projection system with a resolution of 4K (2 x 2K projectors) and superior brightness and evenness on the huge screen.

IMAX certified cameras

Arri Alexa

4K

Sony Venice range

6K

Arri Alexa 65 IMAX camera

6.5K

Panavision Millennium DXL2

8K

RED Ranger Monstro

8K

 

As of August 2022, the Ursa Mini Pro 12K has yet to be certified by IMAX. Its specifications make it eminently suitable for that role, although the aspect ratio would need to be adjusted to match that of an IMAX screen, namely 1.43:1.

The reason I’ve made this digression into the world of IMAX is that IMAX 1570 film cameras are huge, extremely expensive, heavy and noisy. Recording dialogue is not feasible so in a drama actors must resort to ADR to successfully record dialogue. An IMAX 3D camera has two film magazines and weighs in at around 120kg. They also typically have a limit of around five minutes of shooting per magazine, with significant wastage as the film takes some time to accelerate up to speed and to slow down after you button off. In the IMAX film world cost is a major consideration. Film stock and processing are extremely expensive and the camera itself cannot be purchased, instead being rented at around $15,000 per week, with bookings being required up to two years in advance.

By comparison, the Ursa Mini Pro 12K weighs in at around 7kg, is silent and has essentially unlimited shot duration, depending only on the storage media. It also records sound. The total cost of the rig I have reviewed here is around $25,000 and the media, while not cheap, are readily available and re-usable. Especially in the case of live action and also wildlife film making, the Ursa Mini Pro 12K is an extremely attractive package.

Lenses

There is no point having a camera of this quality with such a superb sensor without providing the finest quality lenses. The lens reviewed here is the DZOFILM Pictor 20-55mm T2.8 Super 35 zoom  lens, supplied by Videoguys in Melbourne. It is a compact lens with all-metal internals and a moderately fast aperture of T2.8 throughout the zoom range. It is also a parfocal lens which means that focus is retained throughout the zoom range as well. I tested this by filming a calibration chart. With peaking switched on,  the chart glowed red as the peaks verified focus at 55mm. Then, zooming out to 20mm, the red peaks clearly indicated that focus was retained.

This Pictor cine lens retails for around AUD$3,999 which is an almost unbelievably low price. Videoguys are marketing a pair of Pictor lenses, 20-55mm and 50-125mm both T2.8 for AUD$8,299. At that price you would be very well set up for shooting a variety of projects with high quality results.

The description on the box promises ‘Gentle Sharpness and Moderate Contrast, Fine Details Capturing and an Organic Look and Cinematic Feeling’. Which is quite a promise. Given that a well regarded Japanese lens such as the FujiFilm XK 20-120 T3.5 retails for $24,000, how would the Pictor lens, at one fifth the cost, compare? The answer, based on my brief two weeks with the lens, is that the Pictor performs surprisingly well.

The lens is very well made, both physically and optically. With all-metal internal workings and an ultra-compact size it is an ideal lens, particularly for a film maker making the leap into cinema quality production. It is not servo controlled, which helps decrease both the weight and price.

The focus, zoom, and aperture rings move smoothly and with just the right degree of resistance. All three are equipped with standard 0.8 MOD/32-pitch gears to suit a variety of servo and focus-pulling options. The focus ring moves through a full 270 degrees which greatly aids focus-pulling.

Focus breathing, whereby a lens appears to slightly change focal length when focusing, is virtually absent in this lens. This feature, together with its parfocal property, is very unusual in such a relatively inexpensive lens and makes it an attractive option for someone moving into cine-style shooting.

The lens features a 16-blade iris which produces what DZOFILM describe as ‘Dreamatic Bokeh and Esthetic Transition’. This is marketing speak for producing pretty coloured dots in the soft focus background, and it’s a look commonly sought after in artsy feature films. This lens will make Bokeh-craving directors very happy.

The graduations for focus, zoom and iris are very clear, with large, bright yellow numbers on the black background. The focus ring has two sets of numbers, with distance in feet being read from the left, and meters from the right. Simple and sensible.

The Pictor lens has a Super 35 PL mount and comes with an EF adapter kit supplied. Also supplied is a set of shims that are required to adjust the back focus when using the EF mount. A lens support bracket is also provided.

Results  

The Mini Pro 12K is a delightful camera to use. I used it exclusively on a heavy Miller tripod both for security and stability. Although the weather was pretty much against me, with strong winds and overcast skies, I filmed a variety of shots around the Portarlington ferry terminal, including some shots of the Melbourne-to-Portarlington ferry coming into port and docking Fig. 13.

I also filmed some sunsets which included some very fine details, with birds flying through frame, a man fishing on a breakwater, silhouetted against a shaft of sunlight across the water, and a tiny speedboat tracking across the bay. I wanted to demonstrate the exceptional resolution that can be achieved with this camera and lens combination.

This still was taken from the timeline at sunset, filming at 12K resolution. In the camera’s viewfinder the detail was stunningly crisp. Even in this still the detail is very clear and in the close-up of the same image you can even see the fisherman’s fishing rod.  

The colour and detail in these views of a yacht in the harbour are impressive.

Initially I encountered some problems with dropped frames when filming at maximum quality 12K. I received very prompt, helpful advice from New Magic’s Technical Support Manager, Warwick Morris. It turned out that the problem was very simple: I was not using the USB cable supplied with the Samsung T7 SSD drive. However I did notice that when filming at 5:1 compression in 12K, the camera would stop recording after something like 30 to 40 seconds. I did several tests and found that dropping down to 12:1 or even 18:1 compression allowed recording to continue uninterrupted indefinitely. Also if special interest was that the files recorded at 18:1 were just about indistinguishable from those recorded at the highest quality, basically due to the power of the 80 megapixel Super 35 sensor and the DZOFILM Cine lens.

Overall I was extremely impressed with the quality of the footage I obtained, even despite the less than optimal weather I encountered. The colour is rich and deep and the fine detail is stunning.

The Ursa Mini Pro 12K will perform brilliantly at its highest settings, provided your recording media and computer system can cope with the load. For example, I recorded about one hour of 12K footage which resulted in almost a terabyte of BRAW files. Similarly Warwick from New Magic stressed that the absolute minimum specs for a graphics card should include at least 20GB of video RAM. That will be an expensive card. For example an MSI card with 24GB VRAM retails for around AUD$2,400 while a PNY card sporting 32GB tops out at just on AUD$13,000.

My primary video editing software is Vegas Pro which I have used and praised for two decades. My system comprises a Ryzen 7 2700X CPU running at 3.7GHz, 32GB RAM and an Nvidia GeForce GTX 1660 Super graphics card with 6GB DDR5 video RAM. This system handles 4K video perfectly well without the need for proxies but I was prepared for it to seriously struggle with 12K RAW video clips from the Ursa. That was certainly the case.

However, this camera is far more versatile than that. Given that most of us regard 4K as very high resolution, you could set up with 4K and minimum compression, and film documentaries, corporate and educational videos that would place minimal strain on any reasonable computer and look fantastic. And then if someone came along with a big pot of money, you could throw your hat in the ring and film your IMAX-quality masterpiece with the very same camera. What a lovely position to be in.

Da Vinci Resolve Studio

The Ursa Mini Pro 12K produces video files in just one format, Blackmagic Design RAW, or BRAW. In order to edit these files the best option is to use Blackmagic Design’s Da Vinci Resolve Studio. Resolve is an immensely powerful suite of apps and it is absolutely free. It is definitely not a ‘basic’ version and is actually testament to the philosophy of Blackmagic Design’s CEO Grant Petty, whose respect for film makers is legendary. Grant writes: With DaVinci Resolve, you get a complete set of editing, advanced color correction, professional Fairlight audio post production tools and Fusion visual effects combined in one application so you can edit, compose, grade, mix and master deliverables from start to finish, all in a single tool! And I say once more – it’s free.

Resolve includes Fusion, comprehensive colour grading and effects and even the full Fairlight audio suite. The free version is limited to 4K resolution video files, so for this 12K project I was provided with Resolve Studio. I’m not reviewing Resolve Studio here but simply commenting on how I fared as a new user.

I had to step onto the Resolve learning curve which, with a couple of exceptions, proved pretty straightforward. My main difficulty initially was finding where my projects were stored in Resolve. Under the File tab there is no ‘Projects’ option. I searched online and learned that the project files are located deep in the C drive, but that you have to open them from within resolve. I sent a distress call to David Hague and the ever-patient Warwick Morris at New Media and learned that there’s a little house icon at the bottom right of the main screen which opens the Project Manager. Double click on a thumbnail and that project opens. I only mention that here as a service to readers who might try exploring Resolve and face the same ‘lost projects’ dilemma. They’re not lost, just hiding in a different place.

Most of the files I recorded here were at 12K, 5:1 compression and they wouldn’t play back on either Resolve or Vegas Pro. There is an option in Resolve to build proxy files on the fly during playback. This helped a little but the solution that worked best was to take the time to build proper proxy files. These played back perfectly on my system. I also built proxies in Vegas Pro 19 and playback was perfect there as well.

Grabbing stills from the timeline is simple. Move the cursor to the frame you want, switch to the Color tab at the bottom and open the Gallery. Right click on the preview pane and select ‘grab frame’. The image will appear in the gallery. Right click on it and choose the format you’d like to save it in. I chose TIFF.

Coming to Resolve as an absolute beginner, I was impressed. It was fast and responsive and produced very high quality H.265 mp4 renders. I found most tasks intuitive and easy to get my head around. Resolve made use of twin monitors automatically as required and my Shuttle Pro 2 worked immediately. No setting up required. Bear in mind that Resolve is an immensely powerful and fully featured suite of apps and you can reasonably expect to spend some time learning your way around all the features on offer. It will be well worth your while because Resolve may well become your NLE of choice.

Conclusion  

Blackmagic Design have produced a real winner with the Ursa Mini Pro 12K. It is a remarkable camera that is really well designed and built. It is also incredibly good value at its list price of around AUD$10,000 as reviewed. It really is several cameras in one, being able to record superb 4K video that has small file sizes and great editing performance, but can then be extended right up to the full 12K for movies that will be perfectly at home in the cinema or on giant home TVs.

As Grant Petty writes in the Mini Pro 12K user manual, We hope you use your URSA Mini or URSA Mini Pro to produce some of the world’s most exciting films and television programming, music videos and commercials! Amen to that!

 The DZOFILM Pictor 20-55mm T2.8 Cine lens is also excellent value. It is compact, well built and has all the features you will need for professional cinematic shooting. Given it’s a truly parfocal lens with virtually zero breathing, it represents unusual value at the price of around AUD$4,500.

Bringing it all together is the brilliantly fully featured software suite Da Vinci Resolve Studio. For those working on video projects up to 4K, the free version is obviously unbeatable. For projects  at higher resolution, Resolve Studio is also excellent value at AUD$479.

Thanks to these great products I really enjoyed my foray into the cinematic world of 12K. The only downside was that I had to give all this beautiful gear back at the end of the review.

 

1 Blackmagic RAW can be handled natively by Davinci Resolve, Silverstack by Pomfort, On-Set Dailies by Colorfront, EditReady by Divergent Media (now Hedge), Scratch by Assimilate, Baselight by FilmLight, ShotPut Pro by Imagine Products, ProVu by Imagine Products, PrimeTranscoder by Imagine Products, Lightworks by Editshare, BRAW Studio by Autokroma, Edius by Grass Valley, Screen by Video Village, Kyno by Lesspain Software, SynthEyes by Andersson Technologies LLC, Mistika by SGO, Flare by Autodesk, Flame by Autodesk, Flame Assist by Autodesk, Lustre by Autodesk, Nuke Studio/Hiero by The Foundry, NeoFinder 8 by Norbert M. Doerner

2 The Samsung T7 is not on the Blackmagic Certified List. For a complete list of SD, CF and SSD  certified media click here

Blackmagic Design Ursa Mini Pro 12K

RRP body only, as tested AUD$10,095

Supplied by New Magic

https://newmagic.com.au

 

 

 

 

 

DZOFILM Pictor 20-55mm T2.8 Cine lens

AUD$3,999

Supplied by Videoguys Australia

www.videoguys.com.au

Da Vinci Resolve Studio available from Blackmagic Design

www.Blackmagic Design.com.au

 

Media Storm Produces Realistic Fake Window Videos with URSA Mini Pro 12K

by davidhague178181403, posted in Case Studies, Today


Fremont, CA – December 14, 2021 – Blackmagic Design today announced that Media Storm, one of the most popular content creators on Chinese video sharing platform bilibili.com, produced high quality fake window videos including under the sea, waterfall, bamboo forest, trains and Mars scenes for project maker XGIMI. All the fake window videos were shot with their Blackmagic URSA Mini Pro 12K camera in 12K and were edited and graded on DaVinci Resolve Studio.

“When XGIMI approached us about creating something interesting related to projectors, we felt we could do the fake window challenge, which originated from Tik Tok early this year, to bring the beauty of nature through these ‘windows’ to those who wanted but rarely had chances to go into nature,” explained Tim Pan, founder of Media Storm.

Many fake window videos are up to 1080p HD, and will get blurry if enlarged and the accompanying white noise is not immersive enough. “That’s not acceptable to us, who are always pursuing the best possible image and sound quality,” said Tim. “We wanted to make something that would provide viewers a much better immersive experience and we didn’t want to regret not using the best possible image quality to record it.”

“So, factors like resolution, dynamic range, color science and the ability to record RAW, which all affect image quality, were what we cared the most about. The up to 12K resolution made the URSA Mini Pro 12K the best choice without question to capture massive details from nature,” he continued.

Light intensities vary greatly across nature and natural light keeps changing, which set strict requirements for the camera’s ability to preserve highlights and shadows. The URSA Mini Pro 12K’s 14 stop dynamic range gave Media Storm the confidence to handle it and its internal ND filters would be another great tool to control the brightness of the image, according to Tim.

Being a user of all Blackmagic cinema camera models, Media Storm knew natural, beautiful colors had always been one of Blackmagic camera’s strengths. “Blackmagic Generation 5 Color Science in the URSA Mini Pro 12K even addressed color channel clipping.”

To look natural, a realistic fake window video cannot be assembled by editing separate short clips into a longer one. “Every single take has to last some tens of minutes. Considering we would need RAW for best possible quality, the URSA Mini Pro 12K’s ability to record Blackmagic RAW to an external USB-C drive and its compressed Blackmagic RAW options were necessary and these were another two reasons we chose it for this project.”

With the URSA Mini Pro 12K, Media Storm’s crew went on the journey to locations scattered across China, including primeval rainforests in Xishuangbanna in Southwest China for tropical scenes, the arid region of Eboliang in Northwest China for the Mars scene, a mountainous region in Guizhou province, Southwest China for the waterfall scene, Chimelong Ocean Kingdom in Zhuhai, South China for the under the sea scene and Hangzhou for the train and bamboo forest scenes. The URSA Mini Pro Camera 12K was put to the test at the locations with different challenges.

“Its ability to resist moisture and dust was surprisingly awesome. To capture the grandness of the waterfall, we set the camera very close to it, where it was like raining on us and we got drenched just in one minute or two. We spent almost two hours there without taking any protective measures for the camera, but it worked without a glitch,” Tim recalled. “Also, at Eboliang, where strong winds lifted sand and dust into the air, the camera worked properly through the shoot. We are not recommending you use your camera this way, but we gotta say the URSA Mini Pro 12K was really reliable, saving us a lot of trouble and time.”

He continued: “The URSA Mini Pro 12K also showed its great heat dissipating ability in Xishuangbanna, where it was more than 30 degrees Celsius, although the camera body was burning hot, the recording kept running until the external drive quit on us due to overheating. We had to cool the drive down with ice before its write speed went back to normal. The 14 stops of dynamic range helped us completely capture the details in highlights of the golden hour. It would have been very difficult for other cameras to preserve both the whites in the sky lit up by the bright sun and blacks on the ground.”

All footage was captured at 12K, 50fps, in Blackmagic RAW 12:1. “The resolution of 12K gives us sharper details, which is helpful to make these nature scenes look more realistic and more immersive. The 50fps keeps the motion smooth and details crisp. Also, this frame rate was really handy when we created the gravity loss effect for the Mars scene,” said Tim.

“We chose the compression ratio of 12:1 to strike a balance between less storage consumption and better image quality,” he said.

Media Storm is known for their Davinci Resolve workflows for editing and color grading. “This project was also completed on Resolve. For most of it, we used a proxy workflow but sometimes we also directly edit 12K Blackmagic RAW clips and the editing, playback and grading work on our workstations went well. Actually, when at locations, our cinematographer had no trouble reviewing edits and roughly grading the original 12K Blackmagic RAW footage on his laptop computer,” Tim concluded.

After the fake window project, Media Storm has also worked with China’s national level new media platform Yangshipin app to shoot ten cultural relics unearthed from China’s Sanxingdui Ruins site that has a history of about three thousand years in 12K using the URSA Mini Pro 12K.

 

More new Blackmagic Design products

by davidhague178181403, posted in Broadcast News, Press Releases General, Today

Certainly not resting on their laurels, Blackmagic Design today announced new Micro Converter 12G models, a new URSA Broadcast G2 and a URSA Studio Viewfinder G2.

The releases are below:

Blackmagic Design Announces New Blackmagic URSA Broadcast G2

Next generation broadcast camera with 6K digital film sensor featuringdual gain ISO up to +36dB, H. 265 and Blackmagic RAW file formats and more!

Blackmagic Design today announced Blackmagic URSA Broadcast G2, a next generation professional broadcast camera with 6K digital film sensor that brings digital film quality to both traditional and online broadcasters. The advanced 6144 x 3456 digital film sensor provides exceptional low light performance with dual gain ISO of up to +36dB as well as 13 stops of dynamic range. Blackmagic URSA Broadcast G2 also includes H.265 and Blackmagic RAW file formats, Blackmagic generation 5 color science, as well as a USB-C expansion port for external disk recording, and more.

Blackmagic URSA Broadcast G2 is available immediately from Blackmagic Design resellers worldwide for AU$6,299.

The new Blackmagic URSA Broadcast G2 is an incredibly powerful camera designed for both traditional and online broadcasters. The 3 cameras in 1 design allows it to work as a 4K production camera, a 4K studio camera or a 6K digital film camera. It’s a perfect solution for broadcasters because it uses the lenses and batteries customers already own. Customers can record to common SD cards, UHS-II cards, CFast 2.0 cards or external USB disks, using common file formats such as H.265, Apple ProRes and Blackmagic RAW. This means it’s compatible with all video software and broadcast media management systems. Customers can even change the lens mount. No other broadcast camera is so flexible.

The large 6K sensor combined with Blackmagic generation 5 color science gives customers the same imaging technology used in digital film cameras. The 6K sensor features a resolution of 6144 x 3456 so it’s flexible enough for broadcast and digital film work. When using B4 lenses, customers get a 4K window of the sensor for Ultra HD broadcast use. Then if customers change to a PL or EF lens mount, they can use the full 6K resolution of the sensor for digital film. With 13 stops of dynamic range, customers get darker blacks and brighter whites, so it’s perfect for color correction. Using digital film in broadcast is a revolution in image quality.

The new URSA Broadcast features incredible low light performance so customers can shoot using ambient light or even under moonlight. The Blackmagic URSA Broadcast G2 features gain from -12dB (100 ISO) up to +36dB (25,600 ISO) so it’s optimized to reduce grain and noise in images, while maintaining the full dynamic range of the sensor. The gain can be set via a camera switch, the LCD menu or remotely using the SDI remote camera control protocol.

The URSA Broadcast G2 features a B4 broadcast lens mount that includes optics specifically designed to match the camera’s sensor. The B4 lens mount lets customers use modern Ultra HD lenses or lower cost HD lenses. Older HD lenses often feature resolutions well beyond HD, so customers get great quality at low cost. B4 lenses are fantastic because they are par-focal, so the image stays in focus as customers zoom in and out, so customers don’t need to constantly chase focus as they shoot. Customers also get full electronic lens control to adjust focus, iris and zoom using the camera’s controls, or remotely. Plus if customers want to use alternative lenses, they can change the mount to PL, EF and more.

URSA Broadcast G2 features high quality neutral density (ND) filters that let customers quickly reduce the amount of light entering the camera. The 1/4, 1/16th and 1/64th stop filters have been specifically designed to match the image sensor and color science of URSA Broadcast G2, providing customers with additional latitude and better colorimetry. This lets customers use different combinations of aperture and shutter angle, in a wider range of situations. The IR filters have been designed to evenly filter both optical and IR wavelengths, eliminating IR contamination. Plus the filter status on the LCD can be displayed as a fraction, number, or stop reduction.

URSA Broadcast is designed to work with standard file formats that are used by all broadcast systems and editing software. Customers can record in ProRes 422 HQ and ProRes 422 into QuickTime files. The new Blackmagic URSA Broadcast G2 model can even record into H.265 for incredibly small files at 60:1 to 285:1 compression ratios, in 10-bit broadcast quality. Plus customers can record to Blackmagic RAW files, a revolutionary new format designed to capture and preserve the quality of the sensor data from the camera. That means customers get the perfect range of file formats designed for all types of workflows.

With dual CFast 2.0 recorders and dual SD/UHS-II card recorders, customers can choose the media that’s best for them. Both types of media are standard, inexpensive and readily available at computer and camera stores. Plus with dual media slots, URSA Broadcast gives customers non stop recording. When a card is full, recording automatically continues onto the next card so customers can swap a full card while recording continues. Customers get enough speed to record high quality ProRes and H.265 video file formats, even when working in Ultra HD at high frame rates. That means URSA Broadcast G2 is easy to integrate into their existing broadcast systems. Customers can even record 12-bit Blackmagic RAW cinema files.

The Blackmagic URSA Broadcast G2 features a high speed USB-C expansion port on the rear of the camera that allows customers to record to external disks or connect to a wide range of accessories. If customers plug in a large and low cost external USB flash disk, customers can record ProRes, H.265 or even high quality 12-bit Blackmagic RAW files for later editing and color correction. That means customers can just move the disk to a computer to work, and don’t need to waste time with file copying. Plus the USB port will power the disk that’s plugged in.

The Blackmagic URSA Broadcast G2 is not just a great Ultra HD camera, but it’s also an amazing HD camera too. The high resolution sensor and generation 5 color science creates amazing images with high dynamic range and wide color fidelity. But when customers need to do HD work, the camera will scale the image sensor down to 1080HD video standards. This helps customers get stories on air fast, in HD or Ultra HD video standard, anywhere in the world. Plus when working in HD, the high resolution sensor allows sub pixel image processing for superior anti-aliasing and sharp images. Blackmagic URSA Broadcast G2 is a future proof camera that’s perfect for both HD and Ultra HD production.

URSA Broadcast G2 features an interchangeable lens mount so customers can easily swap the included B4 lens mount for an EF, PL or even F mount. URSA Broadcast G2 comes with a B4 mount already installed, plus a spare EF mount is included. That means if users are starting out customers can change the mount and use low cost photographic lenses. Photographic lenses are incredible quality because they’re designed for high resolution photography. Customers can also purchase optional PL and F mounts separately. If users are shooting for digital film, the PL mount is best as it’s the most common lens mount for cinema lenses. With URSA Broadcast G2, customers get a single camera that works with virtually all modern lenses.

Featuring the same generation 5 color science as the high end URSA Mini Pro 12K, the new URSA Broadcast G2 delivers an even greater advancement in image quality with stunning, accurate skin tones and faithful color in every shot. Customers get a new dynamic 12-bit gamma curve designed to capture more color data in the highlights and shadows, for better looking images. The color science also handles some of the complex Blackmagic RAW image processing, so color and dynamic range data from the sensor is preserved via metadata which customers can use in post production.

The optional zoom and focus demands allow customers to use photography lenses for live production. The focus and zoom demands have USB-C connections so they control the lens via the camera’s electronic lens control. Each zoom and focus demand has 2 USB-C ports, so customers can daisy chain them then connect to the camera with a single USB connection. The design has an incredibly precise feel so customers get very fine lens control, and customers can frame and adjust the lens without taking their hands off the tripod handles.

There’s a wide range of accessories that are specifically designed to work perfectly with URSA Broadcast G2. However, a shoulder mount kit, V-Lock battery plate and top handle are included so customers don’t need to purchase anything extra. Plus customers get a spare EF lens mount if they don’t own a B4 lens and would like to start out using a photography lens. Customers can add the optional Blackmagic URSA Viewfinder, or for live production, customers can add a Blackmagic URSA Studio Viewfinder. There’s also an optional fiber converter that can power the camera from 2 km away via the single SMPTE fiber. For long duration recording, URSA Mini Recorder gives the option to record to external SSDs.

“Customers love the flexibility of the original URSA Broadcast and have been asking for a camera that also delivered the quality of digital film quality for broadcast use,” said Grant Petty, Blackmagic Design CEO. “We’ve listened and the new URSA Broadcast G2 means that customers now don’t have to choose between a broadcast focused camera design or digital film images. With URSA Broadcast G2, they get both! URSA Broadcast G2 can be used as a production camera, a studio camera or a digital film camera, so it’s really 3 cameras in 1. We think both traditional and online broadcast customers are going to really enjoy the creativity of being able to shoot Hollywood quality digital film!”

Blackmagic URSA Broadcast G2 Features

  • Native 6K sensor with 13 stops of dynamic range.
  • Up to +36dB ISO for incredible low light performance.
  • USB-C port allows recording directly to external disks.
  • Includes Blackmagic generation 5 color science.
  • Features incredible quality Blackmagic RAW recording.
  • Optional focus and zoom demands for lens control.
  • Compatible with new Blackmagic URSA Mini Recorder.
  • Includes full DaVinci Resolve Studio for post production.


Availability and Price
Blackmagic URSA Broadcast G2 is available now for AU$6,299 from Blackmagic Design resellers worldwide.

Blackmagic Design Announces New Blackmagic URSA Studio Viewfinder G2

New lower price and super bright 2,000 nit display make it even easier to turn URSA Broadcast G2 into the ultimate live camera!

Fremont, CA, USA – Friday, November 12, 2021 – Blackmagic Design today announced a new studio viewfinder model, Blackmagic URSA Viewfinder G2, with a super bright 2,000 nit display, ideal for use in bright sunlight. The new URSA Studio Viewfinder G2 is also available at a new lower price of AU$2,365, a reduction of AU$470 which will help to make it even more affordable for customers to combine URSA Studio Viewfinder with URSA Broadcast G2 to turn it into the ultimate live production camera!

Blackmagic URSA Studio Viewfinder G2 is available now from Blackmagic Design resellers worldwide for AU$2,365.

The Blackmagic URSA Studio Viewfinder G2 is based on a large 7 inch display and is perfect for tripod mounted studio camera use. It totally transforms the camera into a true studio camera. The studio viewfinder also includes a large tally light and easy to access controls. It’s even fully adjustable.

The Blackmagic URSA Studio Viewfinder G2 mounts using a standard V-Lock mount, so it’s easy to attach it to the top of a camera. It can mount to the top of the camera body, or the top of the SMPTE fiber converter if customers have one installed on the camera. It features a bright 7″ 2,000 nit display with grip handles so it’s very easy to position it independently of the camera, even while their camera is on air. The mount allows the viewfinder to be tilted up and down and rotated sideways. Then customers can adjust the lock knobs to vary the amount of tension on the viewfinder adjustments. There’s also a metal sunshade for use when in bright outdoor locations and the sunshade can be removed quickly when not needed.

The URSA Studio Viewfinder G2 features on screen as well as separate physical controls for adjusting framing and focus features. The menu dial allows customers to scroll through menus and change settings as needed. However the most exciting controls are the 3 knobs on the right side of the viewfinder, which give customers smooth control of the LCD brightness and contrast, as well as directly adjustable focus peaking control. The focus peaking control allows customers to constantly adjust peaking to make focus easy at the zoom setting customers are using. Plus, there are 3 customizable function buttons customers can program to control features such as zebra, false color, focus peaking, luminance waveform, LUTs and more.

The back of the Blackmagic URSA Studio Viewfinder G2 features a large tally light that illuminates red for on-air, green for preview, and orange for ISO recording. As the director cuts between cameras on the ATEM switcher, tally information is sent back to the camera over SDI so the light is lit when the camera is on the air. Customers only need to set the correct camera number in the URSA Broadcast G2 menus. The tally light is very large so it’s easy to see when the presenter is a long distance from the camera. Plus, the Blackmagic URSA Studio Viewfinder G2 also includes clip-on number decals that insert into the tally light, so each camera is clearly numbered and easy for presenters to see.

The big bright tally light on the top of the viewfinder is one of the features that can be controlled over the SDI video connection. The Blackmagic SDI Control Protocol takes advantage of blanking space in the SDI data stream to add talkback, tally and other camera control information direct to the camera via the program return feed. This also works with the viewfinder as it has the same control sent to it from the camera via its SDI input. The Blackmagic control protocol is an open standard and is documented in the URSA Broadcast and ATEM switcher manual. That means anyone can create custom solutions for Blackmagic cameras, switchers and Blackmagic URSA Studio Viewfinder.

“Customers have enjoyed the flexibility of being able to transform their URSA Broadcast into a live production camera for studio or outdoor live events, and have been asking for a brighter display particularly for use in bright sunlight,” said Grant Petty, Blackmagic Design CEO. “We have worked very hard to build this studio viewfinder at a lower cost, and we think even more people will be able to take advantage of this price reduction to move into a more advanced and much higher quality live production workflow.”

Blackmagic URSA Studio Viewfinder G2 Features

  • Integrated V-Lock mounting plate for quick setup.
  • Super bright 2,000 nit, 7” display.
  • Detachable metal sunshade.
  • Large grip handles and variable tension pivot points.
  • Physical dials, knobs and customizable function buttons.
  • Large RGB LED tally indicator with clip on perspex camera numbers.
  • Connects to SDI input and power from camera, so no extra cables or power supplies needed.
  • Compatible with Blackmagic SDI Control Protocol for full control of camera functions.


Availability and Price
Blackmagic URSA Studio Viewfinder G2 is available now for AU$2,365 from Blackmagic Design resellers worldwide.

Blackmagic Design Announces New Micro Converter 12G models

New family of miniaturized and affordable broadcast converters feature a new advanced design that supports all 12G-SDI formats up to 2160p60.

Blackmagic Design today announced a new family of Micro Converter 12G models that lets customers use HDMI equipment with professional SDI systems. These new models feature custom hardware developed by Blackmagic Design and include features previously only found on high end converters. Micro Converter 12G models include features such as 3D LUTs and more SD, HD and Ultra HD video formats.

Micro Converter 12G models are available immediately from Blackmagic Design resellers worldwide from AU$175.

The new Blackmagic Micro Converters are incredibly tiny broadcast video converters that let customers connect between consumer HDMI and professional SDI equipment. The rugged and miniaturized design makes them small enough to be used anywhere. Customers get professional 3G-SDI or 12G-SDI connections, depending on the models, so customers can work with SD, HD and Ultra HD formats up to 2160p60. Micro Converters use USB for power, so they can be powered directly from televisions or laptop computers. Customers can even purchase them without power supplies. Only Blackmagic Micro Converters feature custom electronics that conform to global broadcast specifications, and can be updated to new standards in the future.

The Micro Converter SDI to HDMI 12G model is perfect for monitoring in all SD, HD, 4K and Ultra HD standards up to 2160p60. It includes a 17 point 3D LUT for color calibrating monitors. Customers can also output the 3D LUT on the 12G-SDI loop output. Plus it supports DCI film rates including 4Kp24, 4Kp47.95 and 4Kp48.

The Micro Converter SDI to HDMI 12G model is perfect for connecting HDMI cameras and computers to professional SDI equipment. Customers get two 12G-SDI outputs for connecting to SD, HD or Ultra HD equipment. When working in HD it supports 3G-SDI level A and B. This model also supports film standards including 4Kp24, 4Kp47.95 and 4Kp48.

The Micro Converter BiDirectional SDI/HDMI 12G model can convert in both directions, in different standards at the same time. Customers can convert SDI to HDMI and HDMI to SDI simultaneously. Plus it supports camera control protocol conversion, so customers can use Blackmagic Pocket Cinema Cameras with professional SDI live production switchers.

Unlike other small SDI converters, Blackmagic Micro Converters feature the highest quality broadcast technology, miniaturized into an incredibly strong metal enclosure. Each converter has the highest quality broadcast industry standard SDI and HDMI connectors. Blackmagic Micro Converters include a USB connection for power, as well as for changing settings via the converter utility on Mac and Windows. Because the USB powers the converter, customers can even power it from televisions or laptop computers. There are even LEDs for status. Customers can also buy Blackmagic Micro Converters with an AC power supply including 4 adapters for international use.

Unlike cheap converters, Blackmagic Micro Converters include the highest quality signal processing and deep bit depth video pipeline. Micro Converters have been engineered with precision electronics so customers get very low SDI jitter, allowing customers to extend SDI cables over long distances. That’s vital for live production where equipment such as cameras can be a long distance from switchers. Blackmagic Micro Converters work with both 8 and 10-bit video formats, in RGB or YUV, and in all SD, HD and Ultra HD formats, depending on the model, up to 2160p60. They even support 1080p24, 1080p47.95, 1080p48, 4Kp24, 4Kp47.95 and 4Kp48 film rates. Plus customers get fully embedded audio and timecode support.

For color accurate monitoring, some models include a 3D LUT. Customers can apply custom looks, color and gamma changes in real time for on set monitoring. Plus LUTs can also be applied to the SDI loop output, allowing customers to use the converter as a 3D LUT processor. 3D LUTs are great for allowing a low cost computer monitor or TV to be used as a color calibrated broadcast or grading monitor. 3D LUTs are included on the SDI to HDMI 3G, SDI to HDMI 12G and BiDirectional SDI/HDMI 12G models. Customers can even use DaVinci Resolve to create custom 3D LUTs. Because DaVinci Resolve can be downloaded free, it costs nothing to start creating their own library of 3D LUTs. Imagine reproducing old film stocks.

Micro Converter 12G models have everything for the latest HDR workflows. Simply connect a HDR monitor, projector or TV and customers are ready for HDR 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. Micro Converter 12G models handle 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. There is also support for ST2082-10 for 12G SDI as well as ST425 for 3G-SDI sources. Both Rec.2020 and Rec.709 colorspaces are supported.

Blackmagic Micro Converter 12G models add all the SDI and HD formats of the 3G models plus powerful Ultra HD and 4K formats. 12G-SDI formats include 2160p23.98, 2160p24, 2160p25, 2160p29.97, 2160p30, 2160p47.95, 2160p48, 2160p50, 2160p59.94, 2160p60, 4Kp23.98 DCI, 4Kp24 DCI, 4Kp25 DCI, 4Kp29.97 DCI, 4Kp30 DCI, 4Kp47.95 DCI, 4Kp48 DCI, 4Kp50 DCI, 4Kp59.94 DCI and 4Kp60 DCI, 4KPsF25 DCI, 4KPsF29.97 DCI and 4KPsF30 DCI. All these formats mean the Micro Converter 12G-SDI models have the film and television standards of the future so customers can move to Ultra HD whenever they want.

“Our Micro Converters are very popular and these new models are now using a custom design that runs Blackmagic OS so we can now include many more features than the old models could support because these new models are intelligent,” said Grant Petty, Blackmagic Design CEO. “We think customers will love these new models and we look forward to releasing new software updates for them as we add even more new features!”

Micro Converter 12G Features

  • Extremely small design for portable operation.
  • Supports upgrading software via USB connection.
  • Includes 3D LUT for monitoring on SDI to HDMI model.
  • Includes support for HDR via SDI and HDMI.
  • Supports 12G-SDI and HDMI timecode standards.
  • Features 12G-SDI technology with built in SDI re-clocking.
  • Includes camera control features for Blackmagic ATEM switchers.
  • Supports all video standards in NTSC, PAL, 720 HD, 1080 HD and 2160 Ultra HD.
  • Models can be purchased with or without power supply.


Availability and Price
Micro Converter 12G models are available now from AU$175 from Blackmagic Design resellers worldwide.


 

 

Feature Film Thriller Night Caller Shoots With URSA Mini Pro 4.6K G2

by davidhague178181403, posted in Case Studies, Features, Press Releases General, Today

Blackmagic Design announced today that the independent feature film “Night Caller” was shot on the URSA Mini Pro 4.6K G2, as well as edited and finished in DaVinci Resolve.

A gritty horror thriller, “Night Caller” follows telephone psychic Clementine Carter as she is pulled into a complex web of mystery when she receives a call from a serial killer. Predicting his murders before he commits them puts her into a terrifying game of cat and mouse.

Filmmaker Chad Ferrin, who is known for cult classics such as “Exorcism at 60,000 Feet” and H.P. Lovecraft’s “The Deep Ones,” had worked to land larger funding for “Night Caller” early on, but soon found different inspiration to get it made. “‘The Deep Ones’ was such a success artistically and financially,” said Ferrin, “that it sort of injected all of us with a dose of ‘Roger Corman inspiration’ to just get few bucks together and crank out a modest budget, quick turn around film.”

Bringing aboard cinematographer Kyle McConaghy, the two dug deep into 70s and 80s films that evoked a grainy, shadowy world, which was the style both were inspired by for the “Night Caller” story. McConaghy chose the URSA Mini Pro G2 for the shoot from his past experiences and his knowledge of the image it could produce. “The G2 is amazing. I’ve filmed a few features on it now and I appreciate it more every time. The functionality is great and the image is so organic and film like. I shot with a different camera on my last feature, and I regretted not using the URSA almost every minute of the shoot!”

Shot in only 10 days, the team knew they would have to move fast. “Shooting that fast can get pretty challenging, but can also be rewarding,” said Ferrin. McConaghy dove into creating the unique style for the film, while adapting to the tight budget and schedule. “I’ve always been envious how old films can embrace unflattering lighting, be it the hard light of 50s films or the flat, naturalistic lighting of 70s films.”

“In my experience, the URSA Mini Pro is one of only a couple cameras that can still look authentic and filmic even in non ideal lighting situations” added McConaghy. “In one scene, Clementine has a conversation with her psychic colleague in the lobby. The practicals of the lobby were these presumably old fluorescents underneath this dirty, off white plastic. We didn’t have the time or budget to replace the bulbs or augment with additional lights, so I just went with the natural lighting. That is now maybe my favorite look in the film. The Blackmagic color science looks so much like film stock and was able to render us this really great filmic texture.”

Shooting a film with limited budget also meant limited equipment, and often using only existing light. “The URSA Mini Pro isn’t always given credit for its low light ability,” said McConaghy. “But it really does such a great job capturing detail even when you have to push the exposure. In one pivotal scene, Clementine visits the site of a murder by this long outdoor staircase. It was a night scene, but with only the not so bright street lights and one Astera light tube, we were able to effectively light a very large space and maintain so much detail in shadows.”

Evoking the classic looks of the 70s and 80s meant embracing color and saturation, and McConaghy was confident the camera could handle it. “The color rendering of the G2 is second to none,” said McConaghy. “With other digital cameras, I often fight trying to get a saturated, (filmmakers) ’Argento’ or ‘Refn’ look while not looking like someone just added 50 points of saturation.”

“Other camera brands’ colors just look more artificial or something. But the URSA Mini Pro and Generation 5 color science is so pleasing. In Clementine’s psychic office, we have so many competing colors; a bright orange from practical Chinese lanterns, a blue and red from a neon sign right by her desk, and green coming from her computer screen. While the look was fairly stylized, it rendered super naturally in post.”

In the spirit of true low budget filmmaking, Ferrin chose to edit in the free version of DaVinci Resolve for the first time, and was surprised at how easy it was to switch. “Editing in Resolve was great! I cut my last two films with other programs so I was a bit on the fence about using a new system. But I gave it a shot, and boy, I’m glad I did. I can say with all honesty that Resolve is the best editing software I’ve ever used. And the fact that it’s free is the icing on the cake to the cheapskate producer in me.”

In addition to his cinematography duties, McConaghy also graded the film using DaVinci Resolve. “From early on, Chad’s overall mantra when I asked ‘what do you want it to look like?’ his answer was ‘The 70s’. We really tried to get something dirty and, hopefully, film stock looking in the grade. I started by creating a custom LUT and added a healthy dose of grain which we used on the G2 during production for reference, and to help with achieving our look.”

“Also, shooting Blackmagic RAW was amazing,” added McConaghy. “It’s so forgiving and natural and it lent itself to being pushed. I think we filmed the whole feature in Constant Quality Q0, and only had around 6 TB of footage. We definitely shot with Q5 when time was short and we knew a card change or offload wasn’t possible. And heck if I can tell what was shot on Q0 or Q5.”

With the help of the LUT, the quality of Blackmagic RAW and a talented crew, McConaghy didn’t have to dig in too hard to find the look he wanted. “I normally use a healthy dose of Power Windows in Resolve, but our gaffer Rapha Bola did such a great job with the lighting, and the image captured was so solid I felt like we could just kind of let the image sit where it was.”

The Royal Shakespeare Company Streams Live with Blackmagic Design

by davidhague178181403, posted in News: Camera Hardware

Blackmagic Design today announced that the Royal Shakespeare Company (RSC), a major theater company, implemented a live, multicamera production based upon the URSA Mini Pro 4.6K G2 and ATEM Television Studio Pro HD switcher to keep theater goers entertained.

Based in Shakespeare’s hometown of Stratford-upon-Avon, the RSC is known across the world and, before the pandemic, produced around 20 productions a year. The RSC played regularly in London, Stratford-upon-Avon, and on tour in the UK and internationally.

RSC’s Mark Kendrick says, “Our doors closed in March last year, and so far, we have been unable to reopen them to the public. With our doors set to remain closed through the winter, we looked to a digital first approach and live streaming a series of plays performed on our main stage.”

The festival opened with a celebration of The Boy in The Dress, an adaptation of David Walliams’ book. The festival also features plays for public audiences and educational organizations, including adaptations of Shakespeare’s work by acclaimed author Michael Morpurgo.

“One of the main challenges was, how do we give those productions the same buzz and feel as live theater?” explains Kendrick. “We had to create a workflow that combined our existing theater knowledge and practices with the principles of broadcast.”

“We pride ourselves on world class theater production,” adds Kendrick. “Whatever we did had to match the high standards our audiences have come to expect from us.”

He continues: “We decided to film each performance from the audience’s perspective, which meant getting out into the stalls. Every production has been slightly different, and so we adapted the camera positions to suit. However, as a general rule, we had two operated URSA Mini Pro cameras located centrally in the stalls, and a third provided an angled shot from the stage side. We also relied on the Micro Studio Camera 4K to capture wide shots of the stage and auditorium.”

Actors now play to the camera instead of the house. “This has proved challenging in certain respects,” explains Kendrick. “As there is also an obligation to keep the cast and crew safe and socially distanced. We also found that we had to approach lighting the stage differently to ensure we still got a quality look on screen.”

All the cameras are connected over SDI, routed to a Smart Videohub 12G 40×40, and vision mixed via an ATEM Television Studio Pro HD.

Kendricks says, “The image quality from the URSA cameras is exceptional and we are impressed with their build quality and reliability; the cameras often run for more than 12 hours a day, yet never miss a beat. The workflow and integration with the software control and HyperDeck Studio Pro recorders allow us to create macros which made hitting show cues seamless.”

“Our knowledge and understanding of how to capture live theater has grown considerably, and this has opened up ideas and conversations about what is possible to us post Covid,” concludes Kendrick. “We will always be a live venue, but this new knowledge could pave the way to reaching more audiences worldwide in the future.”


Dropkick Murphys’ St. Patrick’s Day Concert Live Streamed

by davidhague178181403, posted in Audio, Case Studies, Press Releases General, Streaming, Today

It’s a sign of the times that even something as Y-U-G-E as St Patrick’s Day couldn’t go ahead. So live streaming became the go to option, and in the US, Bosaton based Celtic punk band, Dropkick Murphys for the first time in 24 years, didn’t play live but instead performed a full live concert via Facebook, YouTube and Twitch by streaming.

And they used Aussie expertise to get it done.

Llive streaming and audio visual production company, Events United was tasked with creating a high quality live streamed concert experience within a tight timeframe. The live stream idea was finalized only 48 hours in advance of going live.

Events United had already begun to build out a substantial streaming studio in response to many live events being postponed or canceled for the next few months. The setup needed to be expanded for a full band on stage, so as Dropkick Murphys’ live stream came to fruition, the team had to add even more AV gear to the workflow. Events United Producer Tim Messina worked tirelessly to make sure everything was done on time with a high quality look.

A Blackmagic Design Smart Videohub 40×40 12G router served as the hub of the live workflow. Seven cameras fed into the router, along with two computers for CG overlays and full screen video/graphics playback. Those feeds were routed into an ATEM 4 M/E Broadcast Studio 4K live production switcher connected to an ATEM 1 M/E Advanced Panel. Tim advised on the program cut during the show, and Video Director Jonathan Martell worked with the camera operators and directed Technical Director Kent Rich. Switching the cameras, Kent cut the main program on the ATEM 1 M/E Advanced Panel, which was then sent back to the router.

From there, the feed was sent to encoders and to several of Blackmagic Design’s HyperDeck recorders, including four HyperDeck Studios, three HyperDeck Studio Minis, HyperDeck Studio Pro and HyperDeck Studio 12G. Each camera was ISO recorded, and there were two recordings made of the program cut as well, one being the primary and the other as the backup. Audio was ingested into the ATEM 4 M/E Broadcast Studio 4K through a Teranex Mini Audio to SDI converter.

“Unlike the standard concert experience where everything is designed to look amazing to the audience, a live stream is a different ball game,” said Jonathan. “It didn’t really matter what this show looked like in the studio. The only thing that mattered was how everything came through the camera lens. We were able to work together alongside the band’s crew to make sure everything worked well to provide an amazing live stream.”

Jonathan noted that the team appreciated the ergonomics of the ATEM 1 M/E Advanced Panel, as well as the ability to remotely control the HyperDeck recorders, which made it very easy to sync up all the recordings.

“Blackmagic Design’s equipment was fast and easy to configure, had the right amount of processing power, and was reliable throughout the shoot,” said Jonathan. “We have multiple switchers in our inventory, but we chose the ATEM 4 M/E Broadcast Studio 4K because of its flexibility and input and output count. Blackmagic Design routers are the backbone of our video systems because they are reliable and affordable. Our team is all about premiere production services, and we really love working with our clients like Dropkick Murphys to help them realize the full potential of their ideas and events.”


Blackmagic Design News. And lots of it…

by davidhague178181403, posted in News, News: Camera Hardware, Press Releases General, Today

Overnight (Australian time), Blackmagic Design CEO got on the blower and announced a raft of new products and enhancements. With no NAB this year (or any other shows in the foreseeable future), this seems a timely way of doing it – and no doubt saves a shedload of $ in the process as an aside.

Blackmagic Design Announces New ATEM Mini Pro

Blackmagic Design today announced ATEM Mini Pro, a new low cost live production switcher with all the features of ATEM Mini but now with extra features for recording, streaming and monitoring. ATEM Mini Pro includes a new hardware streaming engine to allow direct streaming via its Ethernet connection to YouTube Live, Facebook and Twitch. There is also support for recording the stream direct to USB flash disks in H.264, plus support for recording to multiple disks for continuous recording. The new model also includes a multiview on the HDMI video output that allows all inputs to be monitored on a single monitor, as well as live status of recording, streaming and the audio mixer.

ATEM Mini Pro is available immediately from Blackmagic Design resellers worldwide for AU$1185 (Inc GST).

ATEM Mini switchers make it easy to create professional multi camera productions for live streaming to YouTube and innovative business presentations using Skype or Zoom. Simply connect ATEM Mini and customers can switch live between 4 high quality video camera inputs for dramatically better quality images. Or connect a computer for PowerPoint slides or gaming consoles. The built in DVE allows exciting picture in picture effects, perfect for commentary. There are loads of video effects too. All ATEM Mini models have USB that works like a webcam so customers can use any streaming software while the ATEM Mini Pro model adds live streaming and recording to USB disks.

There’s also HDMI out for projectors. Microphone inputs allow high quality desktop and lapel mics for interviews and presentations.

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

There’s never been a switcher that’s easier to use, as customers simply press any of the input buttons labelled 1 to 4 on the front panel to cut between video sources. Customers can choose between cut or effects transitions by selecting the cut or auto buttons. Unlike cut, the auto button tells ATEM Mini to use a video effect when switching inputs. Customers can select from exciting transitions such as dissolve, or more dramatic effects such as dip to color, DVE squeeze and DVE push. The DVE is perfect for picture in picture effects and customers can instantly set up different picture positions. There is even a still store for titles and graphics accessible via external software control.

With 4 independent HDMI inputs, customers can connect up to 4 high quality video cameras. All video sources will re-sync to the switcher if they operate at different video standards so customers don't have to worry about connecting video devices as they all just work. Imagine taking advantage of the low light capability of better cameras for theater production, weddings, school concerts and music videos.

To ensure maximum compatibility, ATEM Mini features a USB connection that operates as a simple webcam source. That means customers can plug in and instantly get working with any video software. The software is tricked into thinking the ATEM Mini is a common webcam, but it’s really a live production switcher. That guarantees full compatibility with any video software and in full resolution 1080HD quality. ATEM Mini works with software and platforms such as Open Broadcaster, XSplit Broadcaster, YouTube Live, Facebook Live, Skype, Zoom, Twitch, Periscope, Livestream, Wirecast and more.

The ATEM Mini Pro model has a built in hardware streaming engine for live streaming via its Ethernet connection. That means customers can live stream to YouTube, Facebook and Twitch in better quality, without dropped frames and with much simpler settings. Just select the streaming service and enter the streaming key. There are palettes in ATEM Software Control for streaming setup, plus streaming status is also displayed in the multiview. Streaming status is easy to understand as the data rate indicator shows internet speed required for the video format users are using.

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

With two independent 3.5mm stereo audio inputs, customers can connect desktop and lapel microphones. With 2 extra stereo audio inputs, customers can ensure a host and guest both have lapel microphones when doing interviews. ATEM Mini features a full Fairlight audio mixer and all HDMI audio inputs and both microphone inputs are all connected separately to the audio mixer so customers can live mix from all audio sources.

Each of the 4 HDMI inputs feature their own dedicated standards converter. That means ATEM Mini will automatically convert 1080p, 1080i and 720p sources to the video standard of the switcher. The HDMI output is a true "aux" output so customers can clean switch each HDMI input or program to this output. If users are using program/preview switching, the HDMI out can be selected to preview, or on the ATEM Mini Pro model, it can be selected to display a full multiview.

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

The built in “media pool” allows the loading of up to 20 separate broadcast quality RGBA graphics for titles, opening plates and logos. Customers can even use still frames for complex effects such as graphic wipes. ATEM Mini can even grab stills from the video output and add them to the internal media pool. Graphics can be loaded via ATEM Software Control or downloaded directly from Photoshop using the ATEM Photoshop plug-in. The Photoshop Plug-in is perfect for graphics that change often, such as scoreboards, as customers can download directly into the media player.

For news or on-set presentation work, ATEM Mini is perfect as it has an upstream ATEM Advanced Chroma Key plus an additional downstream linear keyer. Customers can even use it for title overlays by creating graphics with a green or blue background and the keyer will knock out the green and make the background transparent.

When doing larger live productions with multiple cameras, it’s very useful to see all their video sources at the same time on a single monitor. The ATEM Mini Pro model includes a professional multiview that lets customers see all 4 video inputs, plus preview and program on a single HDMI television or monitor. Each camera view includes tally indicators so customers know when each source is on-air, and each view also has custom labels and audio meters. Customers can also see the media player so customers know what graphic is selected. Plus multiview even includes status for recording, streaming and the Fairlight audio mixer.

With a built in Fairlight audio mixer, ATEM Mini makes it possible to do complex live sound mixing. The internal mixer features a total of 12 channels so customers can mix audio from all sources. That’s audio from all HDMI sources and the 2 stereo mic inputs. Each input channel features the highest quality 6 band parametric EQ and compressor, limiter, expander and noise gate as well as full panning.

For a more broadcast style workflow, customers can remote control their cameras from ATEM Mini. Blackmagic Pocket Cinema Camera 4K and 6K models can work as studio cameras with control sent via the HDMI connection to ATEM Mini. That means customers can control the camera settings as well as the camera’s color corrector from ATEM Software Control. Imagine changing ISO and tint, plus lens iris, focus and zoom, so camera operators can focus on the shot. There are two types of control interface, CCU layout for traditional tint color control and a DaVinci color corrector interface allowing the camera’s built in DaVinci color corrector to add incredible digital film “looks” to their live production.

“This is an amazing new model as it has all the power of the original ATEM Mini and adds even more features with built in recording, streaming and multiview monitoring,” said Grant Petty, Blackmagic Design CEO. “What’s been surprising is the types of work customers have used the ATEM Mini model for and we never expected it to be used for such large events! So now with this new ATEM Mini Pro model we are making this easier because customers can stream via the Ethernet, while at the same time record to files on a USB disk, all while monitoring all cameras, media and status on a single HDMI video monitor. It’s really exciting and we can not wait to see what customers do with this new model!”

ATEM Mini Pro Features
• Features miniaturized control panel based design.
• Supports connecting up to 4 cameras or computers.
• USB output operates as a webcam and supports all video software.
• Live streaming via Ethernet supported on ATEM Mini Pro.
• Recording to USB flash disks in H.264 supported on ATEM Mini Pro.
• Two stereo audio inputs for connecting desktop or lapel microphones.
• Automatically standards converts and re-syncs all HDMI inputs.
• Includes free ATEM Software Control for Mac and Windows.
• Internal media for 20 RGBA graphics for titles, opening plates and logos.
• Includes ATEM Advanced Chroma Key for green/blue screen work.
• Multiview allows monitoring of all cameras on ATEM Mini Pro.
• Audio mixer supports limiter, compressor, 6 band EQ and more!
• Supports remote HDMI control with Blackmagic Pocket Cinema Cameras.

Availability and Price
ATEM Mini Pro is available now for AU$1185, including GST from Blackmagic Design resellers worldwide.

Blackmagic Design Announces HyperDeck Studio Mini v7.1

– Blackmagic Design today announced HyperDeck v7.1 a major new software update that adds multiple new features to HyperDeck Studio Mini broadcast recorders. The new updates include a new H.264 codec that supports true interlaced HD formats, a new AAC audio codec allowing uploading files direct to YouTube, much faster Ethernet transfers of 110 MB/s and support for longer duration in a single file of at least 3 hours.


HyperDeck Studio Mini v7.1 is available for download now from the Blackmagic Design website.


HyperDeck Studio Mini is a miniaturized broadcast deck that’s so compact and portable customers can use it anywhere. Customers get a choice of incredible quality H.264, ProRes or DNx codecs recorded to SD or UHS-II card media in either QuickTime or MXF file formats. HyperDeck Studio Mini has features such as 6G-SDI for all formats up to 2160p30, HDMI for monitoring, dual SD card slots for non-stop recording and built in sync generator that lets customers daisy chain and synchronize multiple decks together.

HyperDeck Studio Mini features multi rate 6G-SDI connections so customers can work with all SD, HD and Ultra HD formats up to 2160p30. Customers get an SDI input and two SDI outputs that can be used for fill and key. The HDMI output makes HyperDeck Studio Mini perfect for connecting to big screen televisions, projectors and digital signs. For large digital signage, there’s reference input and a reference generator with reference output that lets customers sync multiple HyperDecks for ganged playback.

HyperDeck Studio Mini features traditional deck style transport controls, including a small search dial for jog and shuttle. The compact LCD shows timecode and transport information, plus a full color thumbnail preview of the current clip in record or playback. It also displays information about each card’s recording status, along with video format, frame rate information and audio levels, all on the same display.

HyperDeck Studio Mini records to both regular SD cards and high performance UHS-II cards. Customers can use standard SD cards, or UHS-II cards when customers want to record Ultra HD. SD cards are incredibly tiny, so customers can create an archival library of your content that takes up a fraction of the space required by old tapes and disks. Plus now with the latest software update, HyperDeck Studio Mini recordings can be more than 3 hours long in a single file.

With the latest software update HyperDeck Studio Mini can record SD, 720p, 1080p and now 1080i HD true interlaced formats in H.264, allowing broadcasters to reduce costs even while recording and archiving thousands of hours of video. H.264 files are extremely small and range from 36:1 to 124:1 compression for lower file sizes, even while retaining great broadcast quality video. With the latest software, H.264 files now have AAC audio so customers can upload recordings direct to YouTube. Plus with modern computers, H.264 files work with all edit software and are fast to use. Plus HyperDeck Studio Mini also supports ProRes in 422 HQ, 422, 422 LT and Proxy, plus DNx formats too.

HyperDeck Studio Mini features dual media slots for non stop recording. When the recording card becomes full, recording automatically continues onto the next card. That means users will never have to worry about missing an important shot. That’s perfect when recording at longer live events because the cards are also hot swappable, so customers can swap a full card for an empty one while recording continues in the other slot.

The SDI and HDMI connections are multi-rate, so they can handle SD, HD and Ultra HD television standards. SD formats include NTSC and PAL. 720p HD standards include 720p50 and 59.94p. 1080i HD interlaced formats include 1080i50, 59.94 and 60, while the latest software update means customers get true interlaced support in H.264 files, making HyperDeck Studio Mini perfect for broadcasters. 1080p HD formats include 1080p23.98, 24, 25, 29.97, 30, 50, 59.94 and 60p. Customers can even do 1080 PsF formats. If customers are working in Ultra HD, up to 2160p30p formats are supported via 6G-SDI.

Built in 1G Ethernet means HyperDeck Studio Mini is perfect for broadcast server and digital signage use. With the latest software updates, customers can now transfer up to 110 Megabytes per second, which is so fast it allows customers to copy video files as fast as the SD card can handle it. To upload media files remotely, customers can use the FTP protocol or use common FTP client software. Customers can also remote control HyperDeck using an easy text based protocol, so it’s easy to use simple Telnet to test their control commands.

HyperDeck Studio Mini records files that are compatible with virtually all post production software. When recording in H.264, customers can upload files from HyperDeck Studio Mini direct to streaming services such as YouTube, Facebook, Vimeo, Twitter and more. If customers are working with popular editing software such as DaVinci Resolve, Final Cut Pro X, Adobe Premiere Pro or Avid Media Composer, customers can start editing and color correcting without having to transcode or convert the files.

 

“This is a massive software update for HyperDeck Studio Mini and it’s like a whole new model, but because it’s a software update, thousands of customers will get it for free!” said Grant Petty, Blackmagic Design CEO.” With a new H.264 codec, a new AAC audio codec, longer single file recordings and improvements in video quality, we think our customers will love this new update!”


HyperDeck Studio Mini v7.1 Features
• Longer single file record times of at least 3 hours.
• New H.264 codec with interlaced video support.
• New AAC audio codec allows H.264 file uploads direct to YouTube.
• Dramatically faster Ethernet file transfers up to 110 MB/s.

  • Supports QuickTime and MXF file wrappers.

Availability and Price
HyperDeck Studio Mini v7.1 is available now for download from the Blackmagic Design website.

Blackmagic Design Announces Blackmagic Camera Update 6.9

– Blackmagic Design today announced new software update for its popular Blackmagic Pocket Cinema Camera 4K and 6K models that include powerful studio camera features. Now customers can connect to an ATEM Mini switcher and get control of the camera parameters, lens and tally light. ATEM Mini can control up to 4 cameras via the HDMI video connection and ensure all cameras are perfectly matched for a professional live studio workflow. Now the same Blackmagic Pocket Cinema Camera can work as a digital film camera and a studio camera!


Blackmagic Camera Update 6.9 is available for download now from the Blackmagic Design web site.


Video and control is via the HDMI connection, which is available as soon as customers plug the cameras in. The record light becomes a tally light so customers can see which camera is on air. The ATEM Software Control camera page has a camera control unit (CCU) style interface for adjusting and matching their cameras. Move the CCU control vertically for iris and left to right to adjust black level. It’s the same as a broadcast CCU. There are also controls for color tint to balance the camera as well as focus, gain and shutter speed. Customers can even ISO record Blackmagic RAW in the camera for editing later.


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

 

The Blackmagic Pocket Cinema Camera 4K model features a 4/3 image sensor with 4096 x 2160 resolution and an MFT lens mount, allowing customers to capture wide dynamic range and Hollywood quality, digital film images in the palm of their hand. The MFT mount lets customers use super compact, lightweight and affordable lenses so customers can take the camera anywhere, even locations that are too hostile for larger cameras.

Featuring a larger 6144 x 3456 Super 35 sensor and EF lens mount, the Blackmagic Pocket Cinema Camera 6K model lets customers use larger EF photographic lenses to create cinematic images with shallower depth of field, allowing creative defocussed backgrounds and gorgeous bokeh effects. This means that customers can shoot in 6K and then in post production zoom and re-frame to allow wide shots and close ups to be created, all from a single camera and without losing image quality.

Blackmagic Pocket Cinema Cameras have an incredible 13 stops of dynamic range which means they preserve more detail in the lightest and darkest areas of an image than simple video cameras can. This allows customers to set exposure for an indoor scene and still retain the details of bright outdoor light coming through a window.

The Blackmagic Pocket Cinema Camera features dual gain ISO up to 25,600, which means both the 4K and 6K models are optimized to minimize grain or noise in images, while maintaining the full dynamic range of the sensor. The native ISO of 400 is ideal for scenes with on-set lighting. The dual gain is changed automatically so it’s easy to capture great images when customers don’t have time to set up lights.

Blackmagic RAW is a revolutionary new format designed to capture and preserve the quality of the sensor data from their camera. Video formats such as H.264 are highly compressed, plus add noise and artifacts, causing original sensor detail to be lost forever. Blackmagic RAW eliminates this problem and gives customers stunning images with incredible detail and color throughout the production pipeline from camera to edit, color and mastering. It also saves camera settings as metadata so customers can set ISO, white balance and exposure in camera or override them later while editing, all without any loss of quality. Blackmagic RAW files are also small and fast to use making them easy to
work with.

Blackmagic Pocket Cinema Camera features a large, bright 5 inch touchscreen that makes it easy for customers to frame shots and accurately focus. The touchscreen displays critical information while users are shooting, menus for setting up the camera and intuitive touch to focus controls. On screen overlays show status, a histogram, focus and peaking indicators, levels, frame guides, playback controls and more.

With the advanced Blackmagic OS, customers get an intuitive and user friendly camera operating system based on the latest technology. The interface uses simple tap and swipe gestures to adjust settings, add metadata and view recording status. Customers also get full control over advanced camera features such as on screen focus and exposure tools, 3D LUTs, HDR, metadata entry, timecode, Blackmagic RAW settings and more.

The new ATEM Mini makes it easy to create professional multi camera productions for live streaming to YouTube and innovative business presentations using Skype. Simply connect a Pocket Cinema Camera to ATEM Mini for dramatically better quality images. Plus connect a computer for PowerPoint slides or gaming consoles. There’s even a DVE that allows picture in picture effects plus lots of video effects and transitions. All ATEM Mini models have USB that works like a webcam so customers can use any streaming software while the ATEM Mini Pro model adds live streaming via Ethernet and recording to USB disks. ATEM Mini also has advanced broadcast features for high end work.

“This is a very exciting software update because it allows the Blackmagic Pocket Cinema Cameras to become even more useful as they can now be used for both digital film production or live production for streaming,” said Grant Petty, Blackmagic Design CEO. “We’ve seen a lot of customers use the Blackmagic Pocket Cinema Cameras with ATEM Mini for live streaming because of their fantastic images, great low light capability and very creative looks when using 3D LUTS. Now customers will get new studio camera remote control plus a powerful built in DaVinci color corrector, so there’s even more creative options for live production!”


Blackmagic Camera Update 6.9 Features


  • Works as a studio camera when connected to ATEM Mini.
    • Designed from carbon fiber polycarbonate composite.
    • Wide 13 stops of dynamic range for film looks.
    • Up to 25600 ISO for incredible low light performance.
    • Features incredible quality Blackmagic RAW recording.
    • Built in 5″touchscreen allows accurate focus when shooting 6K.
    • Blackmagic OS as used in URSA Mini and URSA Broadcast cameras.
    • Supports remote tally, lens and color corrector with ATEM Mini.

Availability and Price
Blackmagic Camera Update 6.9 is available now for download from the Blackmagic Design website.

Xiaolu Xue’s Blockbuster Whistleblower Shot with Blackmagic Cameras

by davidhague178181403, posted in Case Studies, Today

New Chinese blockbuster film by Xue Xiaolu, “Whistleblower,” used a number of Blackmagic Design cameras to shoot the film, including URSA Mini Pros, Micro Cinema Cameras and Micro Studio Camera 4Ks. The camera packages, along with a number of other Blackmagic Design products, were used to shoot a large number of scenes for the action thriller.

The international blockbuster film, shot in China, Australia and Africa, follows a Chinese expatriate working for a mining company who, after a fatal accident, discovers that new technology developed by the company may be a health risk.

A joint Chinese and Australian production, the film includes a number of high paced, dramatic vehicle stunt scenes shot by DP Marc Spicer ACS, 2nd Unit DP Mark Wareham, ACS and DP Ricky Schamburg, as well as other crew members that were part of the teams that shot several of the “Fast & Furious” films.

Michelle Pizanis was the AC on the project, an industry veteran who has worked on some of the biggest action films, including “Mad Max: Fury Road,” “Star Wars: The Force Awakens,” “Furious 7” and “Thor: Ragnarok.” Already familiar with Blackmagic Design cameras and products from a number of other films, Pizanis was tasked with building the action stunt rigs for “Whistleblower.”

The film’s action and stunt scenes rival any other blockbuster, and included high speed chases on roads and water, incredibly dramatic fight scenes, POV shots from body rigs on actors as they were sliding through tunnels and other tight spaces, and a huge number of physical effects. To capture this, Pizanis needed to design a set of rigs that were able to capture every shot reliably regardless of whether it had to go through a heavy impact, was attached to a crashing vehicle, or was dropped from a height.

To accomplish this, several multicamera rigs were created, including a background plate array using URSA Mini Pro cameras, multiple car and motorcycle rigs built around Micro Cinema Cameras and Micro Studio Cameras. Each rig also used Blackmagic Design Video Assist 4Ks for recording and monitoring.

One of the bigger rigs was a background plate array that was attached to a chase vehicle. “We used six URSA Mini Pros for our background plate array, and these were amazing. With the dial-in filtration we were able to avoid using matte boxes and external filters, which allowed us to align the cameras inward facing as close as possible with six identical 20mm Zeiss PL Ultra Primes,” Pizanis said.

“When we went to Malawi in Africa, we took these cameras and they were perfect to travel with as all six cameras fit in two pelican cases. After using them on the plate arrays we also used the cameras in full production mode, recording in RAW for all of our B-roll footage.”

The film crew also kept a single URSA Mini Pro available to shoot wide establishing shots. “Quite often these shots were a lock off shot on a Dutch tilt, and this saved us time in having to strip the A or B camera down, and also allowed us to do multi camera coverage on that scene,” she said.

For car and other vehicle stunt shots, they used rigs made up of four Micro Cinema Cameras and two Micro Studio Camera 4Ks. These smaller cameras were perfect for tight shots and getting anywhere on a vehicle.

“The Micro Studio 4Ks were used when the cameras weren’t in harm’s way so that we could record 4k. When the cameras were in harm’s way we used the Micro Cinema Cameras because we could record directly to the camera and put them in Pelican cases to protect them from impact. They all rendered perfectly on impact,” Pizanis continued.

“The Video Assist 4Ks were used for our array set up and also as our portable video village as we were most impressed with their auto recording. When the camera recorded via a transmitter, we were able to record to the monitors and watch playback. We were able to build a trigged switch to record all cameras simultaneously and also have gen lock and time code using the Ambient NanoLockit,” she said.

The “Whistleblower” was also shot using Blackmagic Design products on Digital Imaging Technician Michael Easter’s cart to provide a critical viewing environment during photography. The Blackmagic gear allowed Easter to receive live images from the cameras on set via wireless SDI and enabled him to apply temporary looks to the footage, monitor camera configurations, assess exposure, gather and display reference materials for each scene and setup, and pass graded footage to the live monitors on set for the creative team.

Easter used a number of Blackmagic Design products, including Smart Videohub 40×40, Videohub Smart Control, UltraStudio Mini Monitor and Mini Recorder, SmartScope Duo 4K and DaVinci Resolve.

“There are a number of Blackmagic devices on my DIT cart. At the heart of this was the Smart Videohub 40×40. In combination with the Videohub Smart Control I am able to route images from wireless SDI receivers to my LUT boxes, to my Grade 1 Reference OLED Monitors, to a quad-split SDI device, route images to and from the Video Operator and to the various other systems on the cart. During production, there were some days where we had live images from 7 cameras to 7 monitors hanging off the workstation,” Easter said.

“Also, I am able to capture and display reference video and stills using Mini Monitors and Mini Recorders. To assist in managing exposure, I had a SmartScope Duo 4K set to either histogram, waveform, or a false-color exposure tool from one of my LUT boxes. I used DaVinci Resolve to back check footage.”

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