NAB 2015: Record back in time, customisable tagging and Play-out Server with new AtomOS6

NAB 2015: Record back in time, customisable tagging and Play-out Server with new AtomOS6

Atomos announce a schedule of OS changes that bring with them exciting new features for the already popular Atomos Shogun.

Melbourne, Australia – 13th April: In the space of only 4 months, more than 15,000 Shoguns have rolled off the production line, arming film professionals around the world with the most streamlined, high quality way to create 4K productions. At NAB 2015, Atomos announce even more features for new and existing Shogun users, releasing details of upcoming enhancements for AtomOS6. Available via free download over the coming months, Shogun users will gain the following:

– Custom meta data tagging
– Pre-roll Recording
– Time lapse video
– Playlist generation

“OS updates shouldn’t be just about bug fixes,” said Jeromy Young CEO of Atomos. “For AtomOS updates, equal Free Features that we share with new and existing Shogun users. This is the world you buy into with Atomos.”

The new features open up 4 completely different creative angles for Shogun, described below.

i) Custom Meta Data Tagging.

Shogun, Ninja and Samurai users would already be familiar with the ability to tag content on the go i.e. marking content as Favorite/Reject on the fly or during review and saving out as an XML file that is dropped straight onto the timeline in FCPX. This latest firmware for Shogun takes things one step further. Now users can create their own custom meta data tags, storing up to “10” tags on the Shogun which are completely customisable. Imagine the ability to mark “Directors pick”, “Out takes”, “Over exposed”, “Audio Pop” and more, all the time slicing through the time taken for the main edit in post production. Available with AtomOS6.3 at the end May 2015.

ii) Pre-roll Record or Cache Recording

Sure to be a huge deal for documentary, sports and wildlife videographers, the Shogun will introduce Pre-roll Record. Even with Shogun not in recording mode, it will continually buffer content internally allowing the user to record the previous 8s of HD recording or 2s of 4K the moment you hit the record button. We go back in time to ensure missed takes are a thing of the past. On show at NAB, released with AtomOS6.3 at the end May 2015.

iii) Time Lapse Video

Time lapse lends itself to creative angles on everyday scenes and has traditionally been limited to photography. The Atomos video time lapse feature maximises video creativity by allowing both the duration of recording in number of frames or length of time and the interval be altered depending on the director’s intent and even multi stage recording is possible, altering the time and duration throughout the period of the shoot. Essentially we have made time lapse keyframeable and flexible in the video arena. Creative customers will be amazed at what they can achieve with this feature. On show at NAB, released with AtomOS6.3 at the end May 2015.

iv) Playlist Generation

One of the key features of Shogun is the ability to playback and review 4K footage on screen or out to a monitor taking advantage of the full suite of monitoring tools to check shot accuracy and tagging Favorite/Reject as a result. The new playlist function allows users to not only tag sections within a clip for play-out but also tag entire clips and have them all replayed as a playlist. Convenient when pulling together the best takes of the day or in commercial situations where 4K play-back for immediate storyline review is needed. Shogun is now the world’s first fully portable play-out server. On show at NAB, released with AtomOS6.3 at the end May 2015.

These 4 exciting new OS feature improvements are in addition to the 7 new hardware enhancements, 25% student discount, 3 year warranty and exciting new $1695 price point announced for Shogun at NAB.

Want to know more? Call us on 03332 409 306 or email For all the latest news, head to our NAB roundup postfollow us on Twitter or ‘Like’ us on Facebook.

NAB 2015: Atomos announce ‘Bare Bones’ models

NAB 2015: Atomos announce ‘Bare Bones’ models

‘Bare Bones’ comes to the entire Atomos Monitor Record Line – making Shogun $1,695, Ninja 2 $395, Ninja Blade $795 and Samurai Blade $795. Atomos estimate shipping in May.

Melbourne, Australia – 13th April: The Atomos Shogun was one of the success stories of late 2014, making 4K affordable, manageable and accessible to more filmmakers and helping to accelerate the changeover from HD to 4K all while making production simpler and more affordable. A new variant of the Shogun called Shogun ‘Bare Bones’ will soon be available at an even cheaper price point of $1695.

The current Shogun model (MSRP $1995) includes not only the main Shogun unit but also over $500 of accessories to get users started right away (HPRC hard case, AC adapter, SSD media cases, D- Tap adapter, 5200mAh battery, battery charger, XLR breakout cable and SSD docking station). Customers and channel alike have requested a unit only with AC adaptor version, in order to utilise legacy equipment they already own from Atomos and camera products as well as making a second Shogun unit more affordable. In an effort to meet this request and drive 4K adoption even faster, Atomos have announced a ‘Bare Bones’ version of the Shogun that removes all accessories except an SSD media case and AC power supply, we have also included a high quality soft carry case for protection, all for the low price of $1695. The complete suite of accessories will also be available for $395.

“Shogun Bare Bones is all about accelerating the move to 4K at breakneck speed in combination with the amazing Japanese 4K high quality affordable cameras, allowing customers to utilise legacy Atomos accessories they already own.” said Jeromy Young CEO of Atomos. “We still expect the full Battle Ready Shogun loaded with accessories to be popular but now users can decide what makes sense for their first and second 4K camera rig.”

“We liked the idea so much we decided to extend it to the entire Monitor/Recorder range. Ninja 2 at $395 is a steal, it is our original flagship product and our most successful, Ninja Blade and Samurai blade have the 5” SuperAtom IPS 325PPI monitor, calibration, WFM, Apple ProRes and Avid DNxHD and are bare bones for $795.

Atomos expect Atomos Shogun Bare Bones to be available from resellers in May 2015. The accessories and HPRC case will be available separately for $395 for Shogun and $195 for Ninja Blade and Samurai Blade.

Want to know more? Call us on 03332 409 306 or email For all the latest news, head to our NAB roundup postfollow us on Twitter or ‘Like’ us on Facebook.

NAB 2015: AJA launches new Mini-Converters

NAB 2015: AJA launches new Mini-Converters

Las Vegas, NV, NAB Conference, Booth SL2505 (April 13, 2015)— AJA Video Systems today announced a host of new Mini-Converters, powerful and portable devices that harness AJA’s proven technology for more flexible and extensible digital video workflows. The newly announced FiDO-4T-ST and FiDO-4R-ST enable quad-channel SDI to ST Fiber and ST Fiber to SDI, enabling Fiber transmission of 4K and UltraHD signals, and HA5-4K converts UltraHD/HD HDMI to 4x 3G-SDI.

“AJA Mini-Converters are constantly working around the clock to hold together post, broadcast and production workflows,” said Nick Rashby, President, AJA Video Systems. “These products are the grease in the gears of any digital video environment, and with our new FiDO boxes and HA5-4K we’re making it simpler than ever before to streamline pipelines in multi-format environments.”

FiDO-4T-ST and FiDO-4R-ST are quad-channel 3G-SDI to ST Fiber and ST Fiber to 3G-SDI Mini-Converters carrying up to 4x 3G-SDI signals on a single converter, with the ability to send signals from a 4K/UltraHD source, such as from the CION camera, up to 10 kilometers. Alternatively, the quad-signal path also allows for multiple HD signals to be carried across long distances.

– Convert 4K/UltraHD/HD 3G-SDI to/from Fiber Digital Optical

– Maximize distance with Fiber connectivity

– Carry 4x HD signals up to 10 km over one optical cable

– Ideal for mobile broadcast, studio and venue infrastructures

– Versatile and rugged; suitable for indoor or outdoor use

– 20VDC power

– 5-year warranty


HA5-4K provides a simple and powerful path from UltraHD/HD HDMI to SDI, converting the signal to 4x 3G-SDI.

– Integrate UltraHD/HD HDMI devices into SDI workflows

– 3G-SDI capability for high data rate signals

– Configurable via AJA MiniConfig software for Mac and PC

– Compact size fits easily in small spaces

– 2-channel HDMI embedded audio support

– Audio output delay adjustment

– 2-channel RCA analog audio output

– 5-20VDC power

– 5-year warranty

AJA is also now offering CWDM (Course Wavelength Division Multiplexing) Fiber choices, allowing multiple channels of 3G-SDI to be carried on a single Fiber. The advantage of CWDM is that there are nine pairs of wavelengths, so up to 18x 3G SDI signals can be muxed for transmission across one Fiber cable, extending flexibility in the field for running long video signal paths. The CWDM modules plug into AJA’s existing SFP cages.

AJA extends the CWDM technology into our FiDO stand-alone Fiber offerings with the introduction of the FiDO-2T-CWDM. AJA’s FS1-X and FS2 Frame Synchronizers can also now accept a full complement of CWDM Dual Transmitters, configurable in existing SFP cages, as options at time of order.

Pricing and Availability

FiDO-4T-ST and FiDO-4R-ST Fiber Converters are available for $1,495 US MSRP; the FiDO-2T-CWDM is available for $1,295 US MSRP and can be ordered as one of nine supported wavelengths. HA5-4K is available for $595 US MSRP. Dual CWDM Transmitter options for FS1-X and FS2 are priced at $695 US MSRP.

Want to know more? Call us on 03332 409 306 or email For all the latest news, head to our NAB roundup postfollow us on Twitter or ‘Like’ us on Facebook.

NAB 2015: AJA releases v1.2 firmware for CION production camera

NAB 2015: AJA releases v1.2 firmware for CION production camera

Las Vegas, NV (April 13, 2015) — AJA Video Systems unveiled v1.2 firmware for its CION 4K/UltraHD and 2K/HDprofessional production camera today at the National Association of Broadcasters (NAB) Show 2015. The field-upgradeable software update brings CION users around the world additional image improvements, new features and several other enhancements. It is available for free download here:

CION v1.2 updates:   

White Balance —Improved white balance performance for over exposed image portions

Video Levels — Improved video levels with higher IRE values available for various EI, gamma and color correction combinations.

Gamma/Color correction — Additional gamma and color correction options for higher EI 800 and EI 1000 values.

New LUT support —Internal video gamma LUT for external monitoring of the Expanded 1 or Disabled gamma selections when an external LUT device is not in use.

Auto White Balance Alarm — Notifies users if an image does not contain a sufficient value of white or grey to perform an appropriate white balance and reverts to the unity setting.

Time Lapse Function Indicator — Interval record (time lapse) indication for the superimposed monitoring overlay.

Expanded RGB output — SMPTE or full RGB range values can now be selected for the main SDI outputs.

Ergonomic and lightweight with unparalleled connectivity, CION is capable of shooting at 4K/UltraHD and 2K/HD resolutions. In-camera recording directly to the Apple ProRes family of codecs, including 12-bit ProRes 444, enables incredible image quality capture to cost-effective AJA Pak SSD media at up to 4K/60p, and offers compatibility with a wide range of post production applications. CION can also output AJA Raw at up to 4K 120fps via 4 x 3G-SDI or up to 4K 30fps via Thunderbolt™.

“We’re thrilled by the enthusiasm we’ve seen for CION from the community thus far and we’ve been blown away by the incredible images our users are creating; it’s fueling our team’s efforts to regularly bring users new features and improvements that will help solve common production problems,” says Nick Rashby, president, AJA Video Systems. “CION already offers so many great features at an incredible price point, and this software update is just another example of our commitment to make it even greater with the integration of some of our most popular user requested features.”

CION v1.2 firmware is field-upgradeable, easily uploaded to the CION camera via a built-in web UI with a standard web-browser, and recommended for all CION users.

About CION

CION features a 4K sized CMOS sensor with electronic global shutter and integrated optical low pass filter/Infrared cut filter combined to produce stable, color accurate images without moiré patterning. CION has more simultaneous on-set monitoring outputs than any other camera in its class, alongside a built-in confidence monitor and LAN browser video tap. Users can choose a combination of 2 x 4K/UltraHD and 3 x 2K/HD or 8 x 2K/HD, check each camera feed in multi-cam setups through an integrated LAN connection, and monitor remaining recording time all in tandem. The unique LAN port and embedded webserver facilitates full remote configuration and control, so users can set up and control or gang-control multiple CION cameras via a standard web browser. Made from a lightweight yet strong magnesium alloy and featuring a contoured suede shoulder pad, CION is easy to setup and comfortable to operate. Using AJA’s Pak Dock on set, CION operators can also achieve fast transfer speeds via Thunderbolt™ or USB3 for immediate access to files for back up and editing. Third party lens mounts are available which allow the use of Canon EF/FD, Nikon G/F, ARRI Bayonet, Panavision Lens systems.

Pricing and Availability

Pricing for CION is US MSRP $8,995. AJA Pak SSD media is available at a US MSRP of $695 (256GB) and $1295 (512GB). AJA Pak Dock is available at a US MSRP of $395 along with a host of other AJA camera accessories.

Want to know more? Call us on 03332 409 306 or email For all the latest news, head to our NAB roundup postfollow us on Twitter or ‘Like’ us on Facebook.

NAB 2015: AJA & Atomos to support 4K 60fps AJA Raw on Atomos Shogun

NAB 2015: AJA & Atomos to support 4K 60fps AJA Raw on Atomos Shogun

Las Vegas, NV (April 13, 2015) — AJA Video Systems and Atomos today announced that the Shogun portable recorder will support external recording of AJA Raw files captured by the CION professional production camera.

“We are very pleased to welcome the AJA CION to the Shogun family, our goal is to sit on top of the best image producing devices in the world, CION’s unique design and pristine image quality have captured the attention of Shogun users and we simply had to support it.” Said Jeromy Young, Atomos CEO. “We’re delighted to announce RAW and Avid DNxHR support for the CION at NAB this year, offering both AJA and Shogun customers enhanced functionality and flexibility.”

“Shogun is an established player in portable recorders, with support for many compressed codecs, and now it will offer CION customers an excellent solution for recording pristine AJA Raw,” said AJA President Nick Rashby. “We’re pleased to bring AJA customers an integrated workflow with CION and Shogun to easily record CION’s uncompressed 4K Raw format.”

Atomos Shogun users will now be able to record CION’s AJA Raw at 4K and UltraHD resolutions, at up to 60fps. The AJA Raw format offers simple post production workflow options as it is processed into a common DNG file wrapper supported by major content creation, editing and finishing tools, including new ingest/playout support in AJAs 4K Desktop products.

About CION

Ergonomic and lightweight in design with unparalleled connectivity, the CION production camera is capable of shooting at 4K/UltraHD and 2K/HD resolutions. In-camera recording directly to the Apple ProRes family of codecs, including 12-bit ProRes 444, enables incredible image quality capture to cost-effective AJA Pak SSD media at up to 4K/60p, and offers compatibility with a wide range of post production applications. CION can also output AJA Raw in realtime at up to 4K 120fps via 4 x 3G-SDI or up to 4K 30fps via Thunderbolt™.

About Atomos Shogun

The new wave of 4K cameras are arming the Pro Video world with amazing sensors at affordable price points. Shogun completes the solution for professionals, with a class leading 7″ high resolution monitor, Balanced XLR audio, HDMI & SDI connectivity, Recording direct to 422 10-bit ProRes, Avid DNxHR and RAW, all to high capacity, affordable and open market SSDs.

Pricing for CION is US MSRP $8,995.

Want to know more? Call us on 03332 409 306 or email For all the latest news, head to our NAB roundup postfollow us on Twitter or ‘Like’ us on Facebook.



NAB 2015: Blackmagic Design’s Grant Petty speaks

NAB 2015: Blackmagic Design’s Grant Petty speaks

Our favourite non-alcoholic NAB tradition, the annual email from Blackmagic Design CEO Grant Petty about his company’s (often ridiculous number of) new releases is one of the highlights of NAB for those of us left behind in the office. Here he is on the Ursa Mini (why not Ursa Minor?), the Micro Cinema Camera, Micro Studio Camera and more…


It’s NAB 2015 time and we have some very exciting new products this year and I wanted to update you on all the details!

This year we are introducing an amazing new 4.6K image sensor with 15 stops of dynamic range for URSA cameras, three whole new cameras, a massive update to DaVinci Resolve, and a whole range of 12G-SDI products for broadcast, post production and live production.

In total we are introducing 38 new products today so it’s very exciting! This does mean that this email update is quite long, however it’s easy to scroll through to the products you are interested in reading about!

Each of these products has been a major engineering development and we feel we have really innovated in technology, industrial design and the user experience in every single one!

A great example is DaVinci Resolve. Over the years we have worked hard to build in improvements in each release, however this year I feel we have added more new features to DaVinci Resolve than we have in the last 5 years combined.

The new DaVinci Resolve 12 truly is now the world’s most powerful professional editor and it has over 80 new features including multi-cam, 3D keying, 3D tracking, pro audio with third party audio plug-ins, parameters in the timeline, more trimming modes than any other editor and much much more. Even its user interface has been refined and is dramatically more elegant than ever before.

The new products we are announcing are:

– Blackmagic URSA 4.6K Models
– Blackmagic URSA Viewfinder
– Blackmagic URSA Mini
– Blackmagic Micro Cinema Camera
– Blackmagic Micro Studio Camera
– DaVinci Resolve 12
– Fusion 8 Studio
– Blackmagic Video Assist
– Teranex Mini 12G-SDI Converters
– ATEM Broadcast Studio 4K
– HyperDeck Studio 12G
– Smart Videohub 12G 40×40
– Smart Videohub CleanSwitch 12×12
– ATEM Talkback Converter 4K
– UltraStudio 4K Extreme
– DeckLink 4K Pro

New Blackmagic URSA 4.6K Cameras

When we introduced our URSA high end digital film camera last year, it was designed to be user upgradable. The reason for this is we had secretly been working on a whole new generation of sensor technology that we wanted all URSA customers to have, without obsoleting the camera.

The great news is the millions of dollars we have invested in this new sensor have turned out wonderfully. It’s exactly as we hoped, the new sensor is 4.6K resolution and it has an amazing 15 stops of dynamic range. We have been shooting with the new sensor and have posted a video on the URSA page of our web site if you want to check it out.

The new 4.6K image sensor features a Super 35 size with a resolution of 4608 x 2592 at 120 frames per second. With an extremely wide 15 stops of dynamic range it really rivals most traditional 35mm film stock.

We are introducing 2 new models of Blackmagic URSA camera with this 4.6K sensor. The Blackmagic URSA 4.6K EF model will be available for $6,995 and the Blackmagic URSA 4.6K PL will be available for $7,495. Both 4.6K models will initially start with limited availability shipments in June and ramp up to full volume late July and into August.

If you already own an URSA, then you will be able to upgrade to the new 4.6K sensor for $1,995 for the EF lens mount and $2,495 for the PL lens mount. All you will need to do is purchase this “4.6K turret upgrade” and then you can replace the turret on your URSA cameras to get this new higher performance image sensor. This new 4.6K turret upgrade is also gives you the ability to choose between the EF or PL models if you want to change from the mount you currently own.

What’s exciting is we are also reducing the price of the current shipping 4K models of Blackmagic URSA EF and PL cameras by $1,000. This means if you don’t have an URSA, it’s now more affordable than ever. Plus currently the URSA 4.6K EF is the same price as the URSA 4K EF plus the 4.6K Turret Upgrade so that means you can get started at 4K and then upgrade later if you need the extra dynamic range!

These new Blackmagic URSA 4.6K EF and PL models will be available in late July. We will have some limited quantities of the new 4.6K sensor sooner but we would like to reserve them for current URSA customers who want to upgrade.

Also, please note we have just released a new update for the URSA 4K models that adds new features and frame rates. Please check out support page for details if you have an URSA camera.

Blackmagic URSA Viewfinder

When we originally designed URSA, we included an SDI output, power connector and mounting position for a viewfinder on the front of the camera. Now we are introducing our new Blackmagic URSA Viewfinder which is designed to be a perfect match to the URSA camera.

The Blackmagic URSA Viewfinder has been designed to meet the needs of high end cinematographers as it has a high resolution 1920 x 1080 color OLED display. This means the display is so sharp you cannot see the pixels and so it’s very similar to using an optical viewfinder.

The viewfinder also has proper custom designed precision glass optics as well as a finely adjustable diopter and built in digital focus chart so you can get perfect focus for your eye. There is also a sensor so the OLED is only turned on when you are using the viewfinder. It works really well and preserves OLED life.

It simply bolts onto the front of the URSA camera and then the SDI and power plug into the sockets on the side. It’s adjustable for left and right eye use and there are built in overlays, focus zooming, focus peaking and a tally record light on the viewfinder as well.

The Blackmagic URSA Viewfinder will be available in July for $1,495.

Blackmagic URSA Mini

When we introduced our first Blackmagic Cinema Camera, we really designed it to be hand held, like how a DLSR is used, but its was a true digital film camera with wide dynamic range. Of course a lot of people wanted to use it shoulder mounted and tripod mounted and it was not as good for that kind of use.

Our URSA camera solved these issues, however URSA is designed for a larger crew so it has multiple screens, scopes, high performance and higher frame rates and more. This makes it larger and not as portable as the original Blackmagic Cinema Camera.

The result of all this work is URSA Mini. It’s a portable URSA based digital film camera, and while it does not have all the features of URSA, it has a lot and it uses the same sensors and core processing of URSA. It features magnesium alloy for its design so it’s very small and very lightweight which is perfect for portable and hand held use.

URSA Mini features the same 4K and 4.6K sensor options as URSA and is compatible with the new Blackmagic URSA Viewfinder. It features frame rates up to 60 fps, and it has a bright 5 inch full HD touch screen that folds out and angles. Like URSA, URSA Mini also has dual CFast card recorders so you can continue to record while changing cards and uses the same battery options.

URSA and URSA Mini shoot the same looking images so you can easily use both cameras on the same shoot and intercut the shots perfectly.

URSA Mini is a true digital film camera so it can be used on feature films, television shows, commercials, indies, documentaries, music videos and more. The stunning quality of the 4.6K sensor with 15 stops of dynamic range really lets you capture cinematic shots, while its small size is perfect for solo shooting or intimate handheld shots.

URSA Mini has multiple mounting points so it can be easily accessorized with lenses, rails, matte boxes and more. There is an optional Blackmagic URSA Mini Shoulder Kit, which features a shoulder pad with a quick release mount built into it so it can go from handheld to shoulder or to a tripod without changing any of the rig. The shoulder kit has been designed specifically for URSA Mini so when its used and the Blackmagic URSA Viewfinder is added, this camera looks amazing!

It has an included side handle as standard that has a LANC based record, focus and iris buttons, however when the shoulder kit is used, you can relocate that handle to one of the front rosettes and really hold the camera well on your shoulder. It’s a great shoulder mounted camera rig!

There are 4 models of URSA Mini as there is two lens mounts and two sensor options. URSA Mini 4K EF is $2,995, URSA Mini 4K PL is $3,495. With the new 4.6K sensor, URSA Mini 4.6K EF is $4,995 and URSA Mini 4.6K PL is $5,495. URSA Mini will be available late July and a lot more information is available on our URSA Mini web site below.

Blackmagic Micro Cinema Camera

Our Pocket Cinema Camera has been popular because it’s an incredibly tiny digital film camera that’s super portable. It does not even look like a digital film camera!

It’s a great handheld design, however, it’s also been used for shooting remote shots and it was not really designed for that. So we have been working on a digital film camera that’s specifically designed for remote shooting, and it’s even smaller!

The result is the Blackmagic Micro Cinema Camera, which is a miniaturized Super 16mm professional digital film camera with a new expansion port that lets you use PWM and S.Bus model airplane remote controls to operate the camera wirelessly for capturing action anywhere.

What this means is you can use the same low cost radio control gear that hobbyists use for model aircraft and quadcopters. Normally these receivers plug into “servos” which generate movement when the user adjusts a knob on the hand held transmitter. These connections use a voltage called PVM and we have the same connection on the Micro Cinema Camera. So this means you can plug into the camera and control the camera remotely.

You can even map what camera feature you want on what channel. So you could map the lens to adjust iris or focus. You could use a channel to start and stop recording, so you don’t fill the SD Card with RAW or ProRes files before you are ready for your shot!

To see what the camera is doing, it has a full sized HDMI connector and it even has composite NTSC/PAL out so you can use a low cost hobbyist video transmitter to see what the camera is doing and confirm its recording. Imagine having live feeds back from the camera when its in all kinds of hard to reach locations. I think its going to be exciting to see where this camera is mounted and what kinds of shots it gets.

Because it has an MFT lens mount you can put all kinds of really professional lenses on it, and adapt it easily to other lens mounts. On this camera we even put the buttons on the front of the camera so when it’s mounted on a wall or in a car, you can just start recording from the front. It also has a tally light on the front so you can see if its recording.

Image quality wise, its a true digital film camera because it has a wide 13 stops of dynamic range. This means it’s a big improvement in image quality over consumer “action-cam’s” so you can get all those high energy shots, without the consumer look.

The Blackmagic Micro Cinema Camera will be available in July for $995.

Blackmagic Micro Studio Camera 4K

With such a small Micro Cinema Camera design, we quickly realized that if we removed the built in recorder and digital film sensor cooling and replaced with SDI connections and a 4K video image sensor, we could build a really small studio camera for live production!

The Blackmagic Micro Studio Camera 4K looks the same as the new Micro Cinema Camera but it’s really a completely different camera because its a broadcast quality Ultra HD studio camera!

Although you can use it with an external recorder as a production camera, it’s really designed to be used in live production with a live production switcher. It has an Ultra HD sensor so it works in native Ultra HD and of course with a sensor at that high resolution, it makes an incredible HD camera also!

Because it’s a live camera, it’s features are almost identical to our Blackmagic Studio Camera 4K. It has SDI in and out, a built in color corrector and all the control to the camera can be sent via the SDI input so it uses the same SDI control protocol as our studio cameras and ATEM switchers. It uses 6G-SDI, so supports all Ultra HD frame rates up to 30 fps, but it does 1080 HD frame rates up to 60 fps using the full sensor size.

It includes an expansion connector, but it’s also different. This camera has a PTZ serial connection out and this can be used for controlling a remote head. Any pan, tilt and zoom commands sent to the camera via SDI from the switcher will be output on this PTZ connection and if you have a zoomable MFT lens, it will adjust the zoom on the lens as well.

Also on the expansion connector is a B4 lens control connection so we can control broadcast lenses. We have been asked for this a lot by high end broadcasters and now with this camera and the B4 lens connection you can use add accessories to turn this camera into a fully featured studio camera. Imagine using it as a full sized studio camera with external monitor and broadcast lens. Or using it on set concealed so you can get all kinds of exciting and interesting camera angles!

The Blackmagic Micro Studio Camera 4K will be available in July for $1,295.

DaVinci Resolve 12

We have worked incredibly hard on the new DaVinci Resolve 12 and we now believe we have the world’s most powerful editor. Combined with the worlds most powerful color correction toolset, it really is an exciting update. And its free!

DaVinci Resolve 12 has over 80 new features including a new modern interface, multi-cam editing, powerful new media management tools, an entirely new professional audio engine with support for VST/AU plug-ins, automatic shot matching, 3D keyer, new 3D perspective tracker, enhanced curve editing and so much more.

DaVinci Resolve 12 features a new, modern interface with a lighter overall color scheme and has been designed to look great on high DPI monitors. New top down navigation speeds up layout selections and also gives users more flexibility to customize their workspace.

The new multi-camera editing feature of DaVinci Resolve 12 lets editors cut programs from multiple sources in real time. There are a lot of improvements in editing including all trim modes, multi-slip, slide, ripple and roll have been extended and editors can now select multiple points for dynamic trimming and asymmetric trimming of clips, even if they’re on the same track.

Timelines can be nested, edited together and expanded or collapsed in place to greatly simplify editing of large multi scene projects. New transition curves let editors create and edit custom curves for transition parameters and new on-screen controls let editors see and adjust motion paths directly in the timeline viewer.

DaVinci Resolve 12 includes an entirely new, high performance audio engine that offers higher sampling rates and greatly improved realtime audio playback performance, including reverse playback and tape style slow motion scrubbing during dynamic JKL trimming. Both VST and AU audio plug-ins, along with their custom interfaces, are now supported and can be used on individual clips or entire tracks. Audio parameter adjustments can be recorded and now contain editable automation and full curve editor support. For the first time, editors will be able to export projects directly to ProTools via AAF for audio finishing.

Media Management in DaVinci Resolve 12 has been redesigned to accommodate editorial workflows. Customers can now manage projects and media using new copy, move, transcode, relink and consolidate tools. Whole projects, including media can be archived and restored with ease. Resolve 12 makes it easier to find media in large projects by letting users create smart bins that can display footage based on metadata tags. Users can now import media by simply dragging it in from the Finder or Windows Explorer.

Resolve 12 improves upon DaVinci’s advanced color science by adding support for DaVinci’s own color managed timelines as well as ACES 1.0 transforms. There is an easier to use curves interface, automatic color analysis and matching between two or more clips, an incredibly accurate 3D perspective tracker, and a new 3D keyer with improved matte finesse options. Colorists can now define their own smart filters, convert any window to a bezier, collapse multiple nodes into compound nodes to simplify their view, ripple grades across multiple clips, and flatten pre and post-group grades into a clip’s individual grade.

DaVinci Resolve 12 also now supports remote rendering so customers working in larger facilities can distribute rendering jobs to other Resolve systems that are on the same shared database and shared storage.

This is a really huge update and I feel like we have added more into this release than we have in the last 5 years. A team of almost 100 people have been working on this release and we think it’s the most exciting ever! DaVinci Resolve 12 will be a free upgrade for existing DaVinci Resolve customers.

Fusion 8 Studio

This NAB we will also be showing Fusion 8 Studio. This update will add support for Mac OS X and Linux operating systems as well as Windows. We have worked hard on this update and you will be able to see it running on the demo stations at the show.

Fusion has been Hollywood’s leading visual effects and motion graphics tool for over 25 years, and has been used on thousands of feature film and television projects, including blockbusters like Maleficent, Edge of Tomorrow, Sin City: A Dame to Kill For, The Amazing Spider-Man 2 and The Hunger Games, as well as hit television shows like Battlestar Galactica, Orphan Black and many more.

So this will be an exciting update and I hope it will allow more people to add sophisticated visual effects to their work. The node based user interface is such an easy and incredibly fast way to work when you have multiple clips, effects and layers on an effects. Fusion 8 and Fusion 8 Studio will be available sometime in Q3 this year. We also hope to release a public beta before Q3.

If you would like to try it now, please download the Windows based Fusion 8 as its free of charge and you can start working with it now!

Blackmagic Video Assist

Blackmagic Video Assist, a portable, all in one professional monitor and video recorder that can be used with any SDI or HDMI camera. Blackmagic Video Assist adds professional ProRes recording and full resolution HD monitoring to any camera or DLSR.

Blackmagic Video Assist is perfect when you need need better monitoring and higher quality recording than your camera has, or in the case of our Blackmagic Studio Cameras, you can use it to add a recorder. Also, a lot of older cameras often feature custom file or tape formats and consumer cameras often have strange file formats.

Blackmagic Video Assist solves this problem and it can be mounted on cameras as a large monitor for the entire crew to see, it can be handed to the cinematographer or DOP for setting up shots, or set on a table in front of the director to review each take.

With its larger screen, you check shot composition and check the camera is perfectly focused. It’s easy to use as the touch screen lets you use simple swipe gestures for changing settings and displaying video and audio levels on its “heads up” on screen displays.

Blackmagic Video Assist has a bright, 5 inch high resolution 1920 x 1080 HD monitor and touchscreen with a wide 135º viewing angle and it records broadcast quality 10-bit 4:2:2 video onto widely available SD cards in ProRes file formats. The SD cards can be mounted directly on a computer for cloning and backup using the included DaVinci Resolve Lite so you get a complete editing and color correction solution included.

Even though Blackmagic Video Assist is a HD product, it also has a 6G-SDI input so it can even be used as a Ultra HD monitor!

Blackmagic Video Assist will be available in July for $495.

Teranex Mini

The new Teranex Minis are a range of 12G-SDI mini converters, however they are a very different design to normal mini converters.

Regular Mini converters cannot dissipate the heat generated from 12G-SDI, they have cumbersome power supplies, they cannot use standard XLR connectors and they only have switches for control.

Teranex Mini’s solve all these problems and easily handle the speeds of 12G-SDI without overheating for all video formats from SD to HD, and Ultra HD. 12G-SDI allows Teranex Mini’s to operate in all video standards up to 2160p60 on a single BNC cable.

One of the most innovative features of the new Teranex Minis is they feature an optional “smart” front panel that includes a spin knob, color LCD and multiple buttons. This means the user can simply remove the basic front panel from a Teranex Mini and replace it with a Teranex Mini Smart Panel to allow full setup and control from the front panel. You can see the video being converted, monitor audio levels and even verify timecode and the video standard being converted.

Teranex Minis have many other benefits, including a built in power supply and all models have built in Ethernet so Teranex Minis can be remotely administered. The Ethernet connection can also power the converter so Teranex Minis don’t even need to be connected to power!

The new Teranex Mini design also features proper XLR connectors for balanced analog audio, AES/EBU and timecode connections and the completely redesigned audio electronics have an extremely low noise floor of more than -115dBFS. Teranex Minis also include true Teranex up and down conversions.

Unlike card based rack converters which are expensive and can not handle the high speed of 6G-SDI or 12G-SDI, Teranex Minis can be rack mounted using the optional rack tray. With the 12G-SDI, smart front panels and the rack mounting, I think Teranex Mini’s are a much better solution for broadcasters who need rack mount converters. But of course, Teranex Minis can be hidden in cable ducts like normal converters and they look attractive so they even work on a desktop as all cable connections are from the rear of the converter.

There are 6 models of Teranex Minis. These include SDI to HDMI, HDMI to SDI, SDI to Analog, Analog to SDI, SDI to Audio and Audio to SDI. There are also 6 optical fiber models that include a single SDI connection and a 12G-SDI SMPTE compatible optical SDI module. These optical fiber models include Optical to HDMI, HDMI to Optical, Optical to Analog, Analog to Optical, Optical to Audio and Audio to Optical.

Teranex Minis start at $495 and will be available in May.

ATEM 2 M/E Broadcast Studio 4K

For years, broadcasters have used higher frame rates of 50, 59.94 and 60 fps for live production of sports. When we introduced our new 6G-SDI ATEM range of live production switchers, although they offered high frame rates in HD, they only operated up to 2160p30 for Ultra HD. That’s fine for most live production but we needed to build an ATEM that could operate at high frame rates in Ultra HD.

The new ATEM 2 M/E Broadcast Studio 4K is a fully 12G-SDI based switcher with 20 inputs. It operates just like a normal ATEM so you can just plug it in and start using it. That means you don’t need to change your workflow! All the ATEM features are built in, including DVE, SuperSource, 6 keyers, transitions, all in Ultra HD up to 2160p60. All inputs still include full re-sync.

This new model is not a regular ATEM switcher with 12G-SDI as it also has other general enhancements the other models don’t have. The new model has double the size media pool and the 2 built in multi viewers are HD or Ultra HD resolution so you can have incredibly sharp camera monitoring. There is also 4 built in media players.

The ATEM 2 M/E Broadcast Studio 4K will start shipping June for $5,995.

HyperDeck Studio 12G

With all these new 12G-SDI products, we really need a good quality deck for recording onto! So we have a new advanced HyperDeck Studio 12G, that supports all video formats from SD, HD and Ultra HD up to 2160p60.

HyperDeck Studio 12G features the same familiar VTR style controls as the other HyperDeck models and includes advanced 12G-SDI and HDMI 2.0 connections for recording and playback of high frame rate Ultra HD over a single BNC cable.

HyperDeck Studio 12G will be available in May for $2,495.

Smart Videohub 12G 40×40

We also need a router that works at 12G-SDI and the new Smart Videohub 12G 40×40 is a native 12G-SDI router with 40 inputs and 40 outputs. Like our other 12G-SDI products, it’s multi rate so it automatically works with all your SD, HD or Ultra HD equipment. It can route multiple different video formants on the same router at the same time.

Smart Videohub 12G 40×40, is an incredibly advanced model of the Smart Videohub router family with 12G-SDI technology, allowing all SDI video formats up to 2160p60 to be routed all on the same router, all at the same time.

What’s exciting about this router is all the connections and controls are exactly the same as our regular Smart Videohub 40×40 which is the 6G-SDI model. So this new model is a direct replacement for that router when you need 12G-SDI and it works the same way as all Smart Videohub models. You can use the Mac and Windows control software and the hardware panels, just like other Videohub routers.

Smart Videohub 12G 40×40 will be available in May for US$4,995.

Smart Videohub CleanSwitch 12×12

This new router is part of the regular 6G-SDI router range so it can work with all video standards including SD, HD and Ultra HD up to 2160p30, however what’s different about this model vs the regular Smart Videohub 12×12 is that every single input has a full re-sync.

What this means is that if you have multiple untimed video sources of the same video standard, this router will re-sync those sources and then you change the route to a router video output, the switch over will be perfectly clean without any glitches or slow monitor re-locking. That’s important when routing to a big display or projector at a public venue where you want the route changes to be clean cuts.

This router still handles multiple video formats on the same router and if it does not recognize one of the video formats, it will still route the signal but just disable the re-sync. It can even re-sync different video standards as long as they are the same frame rate as the reference input, and you are switching between the same video standard to a specific output. Its a really nice router and lot of people have bene asking us to build a clean switch router!

Smart Videohub CleanSwitch 12×12 will be available in May for $1,495

ATEM Talkback Converter 4K

With 4K cameras that include 12G-SDI and the new ATEM switcher with 12G-SDI, we need a new talkback product to manage talkback with cameras. However unlike our ATEM Studio Converter, we wanted to change the design.

The new ATEM Talkback Converter now has BNC 12G-SDI connections so you can run simple BNC SDI cables to the cameras, and this means don’t have to run optical fiber if you don’t need it. Optical fiber in this product is optional and the SMPTE SFP modules are not installed, that means you can install them if you need them, and you don’t have to pay for optical fiber interfaces you don’t need.

The new ATEM Talkback Converter also supports 8 cameras so you can double the number of cameras you can talk with on the single unit.

ATEM Talkback Converter 4K will be available in May for $2,495

UltraStudio 4K Extreme

UltraStudio 4K Extreme is easily the world’s most advanced Thunderbolt and PCIe video capture and playback solution. UltraStudio 4K Extreme features many types of video connections including quad link 12G-SDI, HDMI 2.0 and more, plus it includes a built in multi format hardware codec encoder!

UltraStudio 4K Extreme is designed to work with the highest quality and highest frame rate video, all the way up to 3D stereoscopic 4K at 2160p60. You can use it via Thunderbolt, or if you are operating in RGB at high resolutions and frame rates, the PCIe connection via an optional PCIe cable can be used for faster data transfers.

However this is where the hardware codec encoder is a great solution, because on Mac OS X it can encode the data inside the UltraStudio to ProRes before transfer over Thunderbolt so you can use laptops for working in high end Ultra HD and 4K high frame rate formats!

This realtime hardware codec encoder can also encode to H.265 compressed streams. This means you can real time encode into the file format thats becoming the standard for Ultra HD content distribution via the Internet. This is exciting as you have a complete solution for editing and color correction as well as encoding for distribution.

UltraStudio 4K Extreme is a rack mount design, however if you want to use it on your desktop, the rack mount ears can be removed so it looks nicer on a desk. It also includes a full copy of DaVinci Resolve 12 so you get a complete editing and color correction solution!

There are way too many features in UltraStudio 4K Extreme to describe here so please check the UltraStudio web page to learn more! UltraStudio 4K Extreme will be available in June for $2,995 and the H.265 encoding will be a free update that should be available in July.

DeckLink 4K Pro

DeckLink 4K Pro is a new lower cost 12G-SDI solution for capture and playback. DeckLink 4K Pro is a great solution for monitoring on DaVinci Resolve as well as for OEM’s and developers. This new model features dual link 12G-SDI in and out so it supports real time capture and playback of fill and key channels even when operating up to 2160p60 so its an extremely powerful card!

It includes video reference input and supports Mac, Windows and Linux and it also supports the Blackmagic Design DeckLink SDK.

That’s all our news for this NAB and I hope this update has been useful!

I apologize for the length of this email, however each new product we are launching this NAB is quite feature rich and it’s hard to describe in less space!

If you’re heading to the NAB show this year, I hope you get the chance to see these new products in action and to have a talk with us and to share your thoughts!

Grant Petty
Blackmagic Design

NAB 2015: Autodesk announce 2016 Design Suites

NAB 2015: Autodesk announce 2016 Design Suites

Autodesk today announced the release of the new Autodesk 2016 Design Suites that offer more control than ever over all aspects of the design-to-make process through a connected desktop and cloud user experience.

Autodesk design and creation suites provide customers with expanded toolsets, unique interoperability and a consistent user experience.

“Our customers are pushing the boundaries on how products are designed and made, how buildings are built, and how entertainment is created,” said Amar Hanspal, senior vice president at Autodesk. “Autodesk Suites address the entire workflow: from capturing reality and iterating on a design, to physically making that design through 3D printing or other forms of fabrication.”

Each design suite includes AutoCAD 2016, ReCap and 3ds Max. AutoCAD 2016, the most advanced AutoCAD yet, delivers faster, more precise detailed design and documentation with rich visual accuracy. Autodesk’s ReCap technology, also included in every suite, continues to bring Reality Computing to a new level of accessibility and affordability across the Suites with the additions of more native laser scan formats, smart measurement tools, advanced annotation and sync capabilities and more. Autodesk 3ds Max provides customers with the 3D tools they need to create inspirational experiences no matter what their industry demands.

Sophisticated tools for industry-specific challenges

Customers in the architecture, engineering and construction (AEC) and natural resources & infrastructure industries can look forward to enhanced software capabilities, increasingly powerful cloud services and flexible subscription options, in addition to the following enhancements:

Building Design Suite offers improved software performance and better interoperability for visualization, clash detection and detailing.
Infrastructure Design Suite features connected workflows between preliminary engineering and the detailed design phases, better collaboration with extended data exchange capabilities, enhanced project organization tools and improved software coordination with consistent user interfaces.

Plant Design Suite introduces significant enhancements to AutoCAD Plant 3D including tight integration with Autodesk Vault and attachment of Navisworks models as reference models while modeling, plus inclusion of AutoCAD MEP to model electrical raceways and ductwork.
For more details on the building and infrastructure design suites, read the blog post here.

The manufacturing industry offerings provide the most comprehensive technology to design, engineer and fabricate products with new and enhanced capabilities for modeling, simulation and fabrication. The company is debuting new Autodesk AnyCAD interoperability for third-party design files, and new 3D printing capabilities that simplify the preparation of digital models for fabrication on any 3D printer.

Product Design Suite: In addition to AnyCAD and the new 3D printing capabilities, 2016 provides enhancements for visualization, data management, advanced simulation and includes subscription access to the cloud-based Autodesk Fusion 360.

Factory Design Suite: The 2016 version provides factory customers with access to interoperable, layout-specific workflows, cloud-based factory asset resources and powerful visualization and analysis tools that help increase design accuracy, efficiency and communication.
For more details on the manufacturing design suites, read the blog post here.

Digital artists, film makers and game makers will find Autodesk tools helping to address the entire production process, especially when collaborating with multi-discipline teams spread across multiple locations.

Entertainment Creation Suite: Major enhancements focus on animation performance, ease of use, content creation, collaboration, and connected workflows.
For more details on the products in the entertainment creation suite, read the blog post here.

2016 subscriber benefits

Autodesk continues to innovate and improve its Suites and Desktop Subscription products to tightly integrate with Autodesk 360 cloud services. Subscription customers gain access to additional cloud services such as faster rendering and visualization capabilities, simulation, analysis and collaboration tools.

Customers will also experience the new Autodesk Account, a personalized and easy-to-use portal where customers can track and manage all Autodesk products, services, and benefits in one place. Customers will experience a simplified installation, management and upgrade experience, flexible payment terms, and broader access rights across multiple devices.


Autodesk 2016 Design Suites will become available starting April 16, 2015. Availability varies by country. See details and purchasing options at

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NAB 2015: axle Video announces support for new version of Adobe Anywhere

NAB 2015: axle Video announces support for new version of Adobe Anywhere

LAS VEGAS, April 13, 2015 – axle Video, an innovator in software for media management and collaboration, is announcing that its Projectr software will add support for the new version of Adobe® Anywhere, Adobe’s collaborative workflow platform, once it becomes available. Projectr provides an elegant, simple interface for searching, browsing and reviewing media clips from any Mac, PC, iPad or smartphone browser. The system is based on the company’s radically simple axle 2015 media management software, which provides a simple review gateway for multiple participants.

“Adobe Anywhere – which integrates directly into Adobe Premiere® Pro CC, part of Adobe Creative Cloud® – is the ultimate platform for collaboration, boosting the creativity of workgroups,” said Simon Williams, senior director of business development at Adobe. “axle Projectr’s remote proxy browsing workflow makes an ideal complement for Adobe Anywhere.”

With the new release, Adobe now supports both Adobe Anywhere with Mercury Streaming , a multi-location streaming solution for Enterprise customers, and a new single-location collaboration-only version of Anywhere. The new version will bring a more focused collaboration feature set to a broader set of customers who do not have remote editors.

Axle Video will be demonstrating its axle 2015 and axle Edit at NAB 2015 in Las Vegas, booth SL16015. axle’s solutions will also be exhibited at partner booths including Dell (SL14805), and Dynamic Drive Pool (SL2725, near RED at the front of the South Lower hall).

Pricing and Availability
axle Projectr is available as a software-only solution at $8,995, or as a complete integrated system including rackmount hardware at $14,995. The system includes a browser-based media management server for five users. Additional five-user license packages for the system are priced at $3,995. axle Projectr is currently shipping, and is available from axle and its integrators and resellers worldwide.

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At NAB, axle will also announce availability of its axle Edit iPad/iPhone rough cut editing solution, also compatible with Projectr. axle Edit licenses are priced at $1,795 for 5 users.

NAB 2015: Sony go ‘Beyond Definition’ with new solutions showcase

NAB 2015: Sony go ‘Beyond Definition’ with new solutions showcase

Las Vegas, 12 April 2015 – At NAB 2015, Sony is expanding its theme of Beyond Definition, showcasing its latest developments in 4K, including new technologies that address professionals’ needs for diverse 4K content creation and production applications. Sony will also demonstrate present numerous practical solutions that illustrate the emerging era of 4K broadcasting.

“4K was initially used for movie production and digital cinema projection and, it is now advancing into TV shows, documentary films, sports, live concerts, and more,” said Olivier Bovis, Head of Sales, Sony Professional, Sony Europe. “Many countries are successfully conducting trial 4K broadcasts and 4K transmission tests, and 4K in the home is expanding exponentially.”

At NAB, Sony will introduce its newest 4K/HD camera systems and IP-network-based transfer technologies, pointing the way to the practical broadcasting of “killer” 4K content such as live sports and events.

Sony is also showcasing its full range of professional 4K cameras, from the F65, F55 and F5, to the PXW-FS7, NEX-FS700, PXW-Z100 4K camcorders, and newly added 4K option for PXW-X70 as well as variety of consumer 4K cameras. Sony’s 4K professional line-up also includes 4K-ready production switchers, 4K/HD servers and the new PMW-PZ1 4K memory player and BVM-X300, 4K OLED master monitor.

4K Live Production Solutions

HDC-4300: World’s First 4K System Camera with Three Authentic 4K Image Sensors

The new HDC-4300 system camera uses the world’s first 2/3”-type three authentic 4K image sensor. This camera accepts direct attachment of B4-mount HD lenses, and supports the use of large, high-magnification lenses.

The HDC-4300 shoots with wider color gamut, thanks to a new 4K image sensor and prism that is ITU-R BT.2020 ready, the next generation broadcast standard. The HDC-4300 also fully adapts to current live production environments as it is capable of output in both ITU-R BT.709 — the existing broadcast standard.

With the SZC-4002 optional software package, the HDC-4300 is capable of high frame rate shooting of up to 8x in HD. The HDC-4300 will provide thrills to audiences by delivering the true excitement of live sports and concerts. By connecting the BPU-4000 baseband processor unit and the HDCU-2000 or 2500 camera control unit, the HDC-4300 can be built as 4K live production system that moves a giant step forward into the 4K broadcasting.

IP Live Production Systems

Sony is demonstrating how a live production switcher incorporating Sony’s new Networked Media Interface (still under development) can serve as the core of IP Live Production System, IP-based 4K/HD transmission system—constructed in cooperation with supporting manufacturers—capable of delivering low-latency IP transmissions of video signals from cameras such as the HDC-4300. While today’s 4K transmissions typically require large quantities of SDI cabling, the Networked Media Interface will leverage IP technologies to enable 4K transmission via a single Ethernet cable. 30 manufacturers as of today have joined this initiative.

Moving forward, Sony will expand the range of software and hardware supporting this new interface, while working with supporting manufacturers to make these technologies widely available.

Solutions for Documentary Movie Production

Sony’s efficient 4K production workflows deliver high-quality content from shooting to editing to replay. Different shooting styles are supported by a variety of large-format cameras: the top-of-the-line F65, the versatile PMW-F55 and PMW-F5, and the easy-to-handle PXW-FS7.

The PMW-F55 and PMW-F5 cinema cameras, first released in 2013, continue to evolve—with firmware upgrades that extend their functionality and new accessories that enable one-person operation. These improvements open up many new possibilities for shooting with large 4K sensors. Over 5,500 units have been sold worldwide in the two years since these models launched.

Sony’s compact and portable PMW-PZ1 4K memory player is equipped with four 3G-SDI outputs and one HDMI output, enabling stable connection to a wide variety of 4K display devices. It can be easily used on location as a confidence monitor, playing back HD and 4K content immediately; and at events and other venues to replay 4K video in 50/60p.

Sony’s XAVC format—offering efficient compression of 4K/HD high-resolution video—is now fully supported by 73 companies, and is fast becoming an industry standard. Sony will continue to improve XAVC workflows and to expand its lineup of supporting products.

High Dynamic Range

High dynamic range opens the way to a level of creative expression through video never before possible, delivering higher contrast, and higher brightness.

The high-dynamic-range content shot by the F65 and PMW-F55 CineAlta cameras can now be viewed to full advantage on the BVM-X300 4K OLED TRIMASTER EL master monitor, featuring Sony’s proprietary high-contrast high-peak-brightness organic EL panel. Blazing fires, stars in the night sky, sunlight dancing on water — high dynamic range will deliver excitement to viewers and stimulate the creative process.

Bringing high-dynamic-range content into the home is another important goal. Sony is planning to launch a household TV with high dynamic range capabilities within 2015.

Sony remains dedicated to developing innovations that will lead to new levels of video quality and viewer experience.

Sony’s award winning professional HD OLED monitors’ have accumulated sales of more than 40,000 units worldwide since its launch in 2011.

News Production Solutions

Sony is promoting wireless news production workflows by developing wireless adapters and camcorders with built-in wireless capabilities. At NAB, Sony will demonstrate direct transmission of image and audio from a camcorder via 4G/LTE and Wi-Fi networks, and will present solutions for reliable live streaming based on unique QoS technology.

Because they do not require the elaborate equipment used for satellite-based live broadcasts, wireless solutions offer low-cost live streaming and open up a greater freedom for production.

Sony’s soon-to-be released PWS-100RX1 Network RX Station will be launched in June. A firmware upgrade of the CBK-WA100 and CBK-WA101 wireless adapters, also scheduled for June, will allow these units to work in concert with the PWS-100RX1 to support live streaming. The PXW-X180¹, PXW-X200², and PXW-X500¹ camcorders, all with built-in wireless capabilities, will also be upgraded to enable live streaming.

¹Upgrade scheduled for Autumn 2015 ²Upgrade scheduled for June 2015

Sony has been actively developing efficient file-based workflows since the launch of the XDCAM series in 2003. The series is now widely used by broadcasters and video producers throughout the world, with more than 400,000 units shipped to date.
Archiving Solutions

Sony offers a wide range of video archiving solutions—from standalone solutions to large-scale enterprise systems. These solutions are based on storage to optical discs, known for their reliability and stable technology. Sony’s PWS-100TD1 Tape Digitize Station, capable of efficiently digitizing voluminous tape-based assets, is receiving a version upgrade that adds support for XML format transmission of metadata in order to enhance connectivity with systems outside.

At NAB, Sony will demonstrate the digitizing of HDCAM SR files into SStP files at 2× speed when saving into the archive.

Beyond 4K Solutions

Visitors to the Sony booth will see two SRX-T615 4K SXRD projectors used, with edge blending, to project a Foo Fighters concert—shot with F65, PMW-F55 CineAlta cameras and PXW-Z100—onto an 8K×2K screen.

Sony’s PWS-300SR1 Super-Resolution De-Mosaicing Processor can demosaic sequential images from an F65RAW into resolutions up to 8K×4K, and output these images in arbitrary aspect ratios. This product is intended for use at entertainment venues such as concerts, events, theme parks, and museums—where high-level video experiences are desired.
New Products

PXW-X320 XDCAM Shoulder Camcorder

The successor to the acclaimed PMW-320, the new PXW-X320 all-in-one camcorder offers enhanced functionality at a very attractive price, making it ideal for use in a wide variety of settings. With a 1/2″-type 3-chip CMOS sensor, it supports MPEG2 HD422 and XAVC HD Intra/Long GOP formats as well as all legacy codecs; offering a smooth transition from SD to HD. The camcorder’s LSI circuitry delivers low-noise (60-dB S/N) high-resolution images. The unit supports wireless workflows when used together with a separately sold wireless adapter.

Catalyst Edit: Non-linear Editing Software

The new Catalyst Edit™ supports multiple formats, including 4K, RAW, and XAVC. Videomakers can use the already available Catalyst Prepare clip management software to carry out easy editing and color adjustment, and can then drag-and-drop the results into Catalyst Edit for more serious editing. This non-linear editing solution delivers intuitive easy-to-use operation and quick video production on both Mac and Windows operating systems. Catalyst Edit™ is provided within Catalyst Production Suite, media preparation and non-linear editing software package combined with Catalyst Prepare™.

Feature Enhancement of the PWS-4400 Multi-Port AV Storage Unit and its system with Recording Control Software

PWS-RCT1, a recording control software, has been added to the PWS-4400 XAVC-compliant 4K-HD live production server system, enabling easy-to-operate for various recording such as live and studio production. The application’s GUI delivers straightforward operation of the basic control functions (Rec, Stop, Play, FWD, REW, and more) available on each port. The GUI also makes it easy to check signal and recording status, to manage recorded content, and to transfer content to external media.³

A recording control application can be installed into conventional PC⁴ to operate PWS-4400.

In addition, software version 1.4 of the PWS-4400 system adds various enhancements such as the capability to record HD at both 8× and 3× speeds, allowing for smooth slow-motion replays of HD video recorded with HDC-4300 4K/HD camera systems. PWA-MGW1B, optional software enables video file transcoding both from and to XAVC and MPEG2 MXF file format when file archiving/retrieving process is performed.

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NAB 2015: Sony HDC-4300: World’s first 4K system camera with three authentic 4K image sensors

NAB 2015: Sony HDC-4300: World’s first 4K system camera with three authentic 4K image sensors

Las Vegas, 12 April 2015 – Sony’s next generation of HDC series camera technology provides the ability to use the high magnification wide zoom range lenses currently employed by HD 2/3-inch systems while maintaining an adequate depth of field to accurately show all the action during live event broadcasting.

The new HDC-4300 is the world’s first camera to use three 2/3-inch 4K image sensors¹. It supports the same B4-mount lenses as well as the same control surfaces as Sony’s industry leading HDC-2000 series cameras. The existing HDLA-1500 series, control and shading systems, viewfinders and master set-up units are all interchangeable between the HD and 4K systems. Directors and operators can keep their approach to live events – including camera angles, zoom ranges and iris settings – while using familiar camera technology.

“This camera provides 4K capabilities and a workflow that content producers are instantly familiar and comfortable with,” said Norbert Paquet, Strategic Marketing Manager, Sony Professional, Sony Europe. “We’ve developed the HDC Series as a flexible platform for our customers to maximize their ROI on multiple applications. The HDC-4300 is multi-format for daily HD applications, sports on the weekends with up to 400fps, and futureproof with 4K acquisition.”

The new HDC-4300 is capable of 4K/HD operation, with2x, 3x Super Slow Motion as standard, and higher speeds up to 8x available, to produce high-quality replays and specialty program effects.

The camera uses ultra-high-precision alignment technology to realize three 4K sensor on a new prism. This allows the support of the next-generation ITU-R BT.2020 broadcast standard’s widened color space for future-proof masters or post-production options for today’s productions shown on tomorrow’s 4K services.

Direct attachment of B4 HD lenses

Standard large-format B4-mount lenses mount directly onto the HDC-4300. This gives broadcasters the flexibility needed for live sports broadcasts: 4K capabilities while maintaining their customary HD-lens operating styles.

SZC-4001 software

Sony’s SZC-4001 software license (sold separately) allows broadcasters to take advantage of 4K capabilities. This software is available as Weekly, Monthly or Permanent for greater flexibility.

Super slow motion (up to 8x) at HD resolution

The SZC-4002 software license (sold separately) enables the system to shoot full HD (1920 x 1080) at frame rates up to 479.52/400 fps, as well as 59.94/50, 119.88/100, and 179.82/150 fps. Users can save these high-frame-rate shots to Sony’s PWS-4400 multiport 4K/HD Live Server. This software is available as Weekly, Monthly or Permanent for greater flexibility.

HD/4K live production for sports

The HDC-4300 accepts the same configurations as existing 4K live systems.

A BPU-4000 baseband processor unit receives the camera signals via SMPTE fiber and connects to an HDCU-2000 or 2500 camera control unit. This provides power and full intercom, tally, and return capabilities.

Users can seamlessly blend an HDC-4300-based system with existing HDC Series camera system. The HD signals from the HDC Series cameras and from the new camera system can be adjusted to match colorimetry.

The addition of other 4K products, such as the PWS-4400 multi-port 4K/HD Live server, a multi-format switcher capable of real-time 4K signal processing based on the MVS-8000X, and Sony’s new BVM-X300 4K OLED or PVM-X300 4K LCD monitors creates an end-to-end 4K live production solution.

HDC-4300 – additional features:

– HD cut-outs – two full HD images to be cut out from the 4K picture in real-time including a selectable zoom and perspective mode (requires software license SZC-2001)

– Many of the picture adjustment functions of HDC Series cameras are supported by the HDC-4300 system

– Dynamic focus (4K focus-assist function) – a focus point can be displayed on the viewfinder with a marker in 4K mode for easy focusing.

– Auto lens aberration compensation 2 (ALAC2) function

– Color reproduction adjustment functions

– Gamma table selection

– User gamma function

– Natural skin-tone detail function

– Knee saturation function

– Low-key saturation function

The HDC-4300 4K/HD live camera system is planned to be available in summer of 2015.

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