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Blackmagic Design Refreshes Camera, Software, More

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It’s “been a pretty big year…been a pretty intense year” Blackmagic Founder and CEO, Grant Petty, announced at their annual press conference.

The company started showing some of their converters, including two for HD and a 12G-SDI converter, an SDI/HDMI.

There is also a new HyperDeck Studio Mini H.264 update, which can be used as a master recorder, and it now runs the Blackmagic OS.

The ATEM Television Studio 4K, which allows for Ultra HD live production, switching between 8 different standards. The switcher now has the Fairlight audio controls built into the switcher. Inputs and outputs can be independently adjusted—you can even simulate stereo from the inputs. “It doesn’t matter what you plug in, it just works.”

DaVinci Resolve 15 now has Fusion as part of the video editing/audio editing/color editing application. “I don’t now quite what people are going to do with it…it’s going to be really exciting.” They mentioned that when Resolve came out, many editors “drifted” into color editing because of the color tools available in Resolve, and now they’re looking forward to seeing what happens now that they have the power of Fusion in the application.

“We’re creating freedom here, and people need to be free.”

The integration of the tools allows editors to jump between editing, color adjustments, effects with a single click and have the edits happening at the same point. They showed off doing a 2D warp on a piece of footage without having to jump between apps.

The software has the ability to bring in Fairlight and Fusion projects, and work with them right inside of Resolve, which makes for an interesting-looking workflow. users of Fusion, for example, can import and click on Fusion compositions and projects. Many Fusion compositions have been added to the titling section of Blackmagic, allowing editors to just drop them onto edits to see how they work—it’s a nice way to allow non-effects staff to experiment with special effects without having to master a new program.

The beta of Resolve 15 is out today.

Fairlight, which is available as modules, and there are some upgrades to modules now. The display, for example, now runs the Blackmagic OS, which means it can swap between video and audio duties. The controller unit has been updated with new controls and an updated look.

The 2-bay bundle will be $21,995, and the full bundle 3-bay is $29,995 and the 5-bay is $48,995.

The company also now has a new Cintel film scanner coming out, the Cintel Scanner 2, and is “a few months away.”

Turning to cameras, the company “has been asked so much about the Pocket Cinema Camera” and while it’s “not quite shipping yet” Blackmagic showed off the new Blackmagic Pocket Cinema Camera 4K, that is “completely redesigned…we used all the knowledge from the [previous camera].” It can do 60p 4K and Ultra HD, and uses a Micro Four Thirds sensor and mount, so you can use all the lenses from an Olympus of Panasonic system.

The camera has dual ISO and can record up to ISO 25,600, and has the company’s new 4.0 color science.

The body is carbon fiber/polycarbonate composite a “new material” as “lightness was a huge thing” and they wanted to make this camera so that people could use this to “shoot themselves” with this camera, in situations where a single person is the camera operator and the talent.

Audio was a key design issue for this camera, with four microphones, plus Mini XLR with phantom power.

The small rubber boots are now able to be moved out of the way so that they don’t get tangled with cables. The camera now has a full-size HDMI cable and USB-C. There’s also an SD (UHS-2) and CFast slot and can write to storage cards.

In a nice demonstration, the camera recorded the assembled media to an external storage drive, connected that to a desktop running Resolve and instantly applied color correction.

A still image button on the front allows for a still to be captured during video use, which is handy, particularly for those doing social media posts. Live footage can be combined with still images during production, with no need to extract frames from footage.

The camera will arrive in September “to be conservative” with the date and will cost $1,295.

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