Panasonic introduce AU-EVA1 at Cine Gear Expo

Panasonic introduce AU-EVA1 at Cine Gear Expo

Panasonic have surprised us with a brand new camera at this year’s Cine Gear Expo. Called the AU-EVA1, it’s a 5.7K EF mount cinema camera that weighs just 1.2kg and shoots to low cost SD cards. 


AU-EVA1_Slant

Positioned between the GH5 and the VariCam LT 4K, the AU-EVA1 is designed for handheld shooting of documentaries, music videos, adverts and the like. The camera’s small size and light weight mean it’s also good for gimbal and rig mounted shooting.

The AU-EVA1 has a 5.7K Super 35mm size sensor, delivering an image that can be sampled down to 4K, UHD, 2K or even 720p. The camera is capable of shooting 10-bit 422, with RAW output to be added in a future update. The AU-EVA1 can shoot 4K 60p and 2K at up to 240p.

Like the Varicam LT, the AU-EVA1 is capable of dual native ISO, a technology that allows you to extract more information from the sensor increasing the level of noise or artefacts in the film, leading to crisper images and better low light performance.

Also imported from the VariCam range is V-Log/V-Gamut capture, which gives you high dynamic range, bolder colours and more realistic skin tones – the log curves of V-Log are reminiscent of those of negative film, and V-Gamut delivers a colour space even larger than that of film.

AU-EVA1_Side

Port-wise, you get 4K HDMI and SDI outputs, plus two balanced XLR audio inputs so you can get professional quality audio.

Prices are yet to be completely confirmed, but Panasonic have promised us a body only camera this autumn for under €8000.

Looking for something similar?

This camera is on the same level as Sony’s FS5 and FS7, and comparable to the also-recently-released Canon C200, (a whole 200g heavier and with Cinema RAW Light support already built in; shoots Full HD at up to 120 fps HFR).

The EVA1 is expected to ship in October, but you can pre-order yours here. If you want to know more, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter, or ‘Like’ us on Facebook.

Introducing the Canon Cinema EOS C200

Introducing the Canon Cinema EOS C200

Canon have added a new camera to their Cinema EOS range, the C200. The camera uses newly developed Canon Dual DIGIC DV6 processors to record 4k UHD 50p MP4, 4k DCI RAW and continuous 120 fps High Frame Rate in Full HD without crop, all internally.

canon_c200

As well as this advanced capture technology, the C200 boasts Canon’s best ever Dual Pixel CMOS Auto Focus technology and a new touch screen LCD monitor, providing smooth autofocus operation and effective tracking. All this is packed into a lightweight body of just 1.4kg, making the C200 ideal for long handheld shoots, or drone or gimbal mounting.

Key features include:

– Internal 4k 50p recording with Cinema RAW Light and MP4.

– Continuous 120 fps (maximum) High Frame Rate with no cropping at Full HD.

– 15-stops of dynamic range with Cinema RAW Light and up to 13-stops of dynamic range in MP4 (Canon Log / Log 3).

– ISO range of 100 to 102,400.

– New dual DIGIC 6 processors.

– Dual Pixel CMOS autofocus with touch control and face detection, face priority and face only focus options.

– New 4” touch panel with touch autofocus capability.

– Single CFast 2.0 and dual SD card slots.

– XF-AVC video format will be available as a future firmware upgrade in 2018.

Cinema RAW Light workflows

Canon’s Cinema RAW Light codec enables the camera to process RAW image quality, but with the flexibility of a smaller file size – you can fit about 15 minutes of Cinema RAW Light footage on a 128 GB Cfast 2.0.

Canon has worked with several partners to ensure Cinema RAW Light is integrated with various software programs. As a result, editing and grading of the Cinema RAW Light video format will be supported in Blackmagic Design DaVinci Resolve. Editing will be possible in Avid Media Composer, using the Canon RAW plug-in for Avid Media Access. This format can also be processed using Canon’s Cinema RAW Development application,.

Availability and pricing

The C200 can be pre-ordered now and will be shipping from late July. You can choose between a body-only model for £6415 ex VAT or one with a 24-105mm f/4L IS USM kit for £7150 ex VAT.

Canon also plan to release a single unit CG-A20 charger with an RRP of £325 ex VAT and a new CL-V2 Clamp base with an RRP of £358.35 ex VAT.

Looking for something similar?

This camera is on the same level as Sony’s FS5 and FS7, and comparable to the UA-EVA1 that Panasonic announced at Cine Gear Expo (200g lighter with a 5.7K Super 35mm size sensor; no current RAW support but Panasonic have confirmed it will arrive in a future update.)

If you want to know more, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter, or ‘Like’ us on Facebook.

 

Blackmagic Design’s pop up tour of Europe hits Soho on 6th June

Blackmagic Design’s pop up tour of Europe hits Soho on 6th June

From the 6th to the 8th of June, Blackmagic Design will be hosting a pop-up event at 19 Greek Street, Soho (W1D 4DT, for the satnav crew).

Doors will be open from 10am till 6pm every day except Wednesday, when they’ll be staying open late so you can mingle with your fellow Blackmagic Design users,

What’s on? 

Blackmagic are offering you the chance to see the exceptional new DaVinci Resolve 14 (to recap: 10 times faster than before, new editing and colour correction tools, full Fairlight audio post production and multi-user collaboration), and to get hands on with their DaVinci Resolve Micro Panel and DaVinci Resolve Mini Panels.

They’re also running free three-hour Resolve Training Classes twice a day – places for these are limited and likely to fill up fast, though.

There will also be the chance to try out the Blackmagic URSA Mini Pro in an indoor garden set, and of course you’ll be able to put all your questions to the Blackmagic team.

What’s it cost? 

Nothing. Nada. Zip.

Where do I sign up? 

You can register to attend here.

If you want to know more, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter, or ‘Like’ us on Facebook.

What’s new in NEXIS?

What’s new in NEXIS?

Avid have continued their trend of releasing clusters of updates for their NEXIS shared storage system, with recent additions taking us from NEXIS 7.1 to 7.4. Here’s what you’ll be able to enjoy once you’ve updated…

Avid NEXIS 7.1.1

The Avid NEXIS 7.1.1 patch releasencludes an important fix for Avid NEXIS systems with clients that inadvertently attempt to connect through a 100Mbps Ethernet connection. Anything other than 1Gb or 10Gb is not a supported connection speed, and the client would fail to connect. However, beginning with v5.0, the client’s attempt to connect at an unsupported speed caused the Storage Manager to assert and the Avid NEXIS system to become temporarily unresponsive. This fix prevents the system from asserting, and rejects the unsupported client connection. Those clients must modify their connection speeds to connect to Avid NEXIS.

Avid NEXIS 7.2

The Avid NEXIS v7.2 release includes support for adding Media Packs to a mirror-capable Storage Group during a maintenance window (no client I/O to Workspaces in that Storage Group). However, there are a few parameters: the Media Packs must be the same capacity as those already in the mirror- capable Storage Group, and each Engine you are adding to the mirror-capable Storage Group must have the same number of Media Packs as the Engines already in it.

For example, if a mirror-capable Storage Group contains three Avid NEXIS | E4 Engines each with two 60TB Media Packs, you can add another Avid NEXIS | E4 Engine with two 60TB Media Packs to the same mirror-capable Storage Group.

The update also adds: support for macOS Sierra (v10.12.2) clients; support for Avid NEXIS File Gateway software on an AS3000 Server, and open access to Avid NEXIS workspaces using the Avid NEXIS | File Gateway installed on that Avid AS3000 Server running Microsoft Windows Storage Server 2008 R2. This allows access to Avid NEXIS from clients and infrastructures that do not have the Avid NEXIS Client installed.

The Avid NEXIS File Gateway server and software are available now and documentation is available on the Avid Knowledge Base. When interface checking in relation to redundant controller configurations, the default gateway IP address must be reachable by a ping command, otherwise the interface is disabled. This can cause the Avid NEXIS Engine or System Director Appliance to become disconnected from the network. Before upgrading to Avid NEXIS v7.2, make sure there is a default gateway IP address configured, and that it can be reached by a ping command. For more information, see the Avid Knowledge Base.

Avid NEXIS 7.3

With the arrival of NEXIS 7.3, the Avid NEXIS Client Kit is now available to download from the Avid Download Centre. Avid ISIS and Avid NEXIS customers can download and install the latest Avid NEXIS Client software, which connects to both Avid NEXIS and Avid ISIS (v4.7.5 and higher) systems.

Avid have fixed an issue introduced in Avid NEXIS v7.2 where the System Director was using the ping command to determine the presence and connectivity of the default gateway IP address, and counting on a valid address being configured. The ping command is no longer used to determine the presence or validity of a default gateway address. Avid recommends updating to Avid NEXIS v7.3 from v7.1 or earlier to avoid the possibility of losing access to the interface if no default gateway is configured, or if it is configured incorrectly.

They have also fixed an issue where the hardware status on the Agent was displaying incorrect or no information for the power supplies and fans in an Avid NEXIS | E5, an ‘Edit While Capture’ issue where constant reads of a data chunk led to a delayed write failure.

They have also added support for the following Myricom 10GbE Rev C NICs for use in Avid NEXIS clients: 10G-PCIE2-8C2-2T, 10G-PCIE2-8C-T and 10G-PCIE2-8C2-2S. The Myricom driver bundled with the Avid NEXIS kit works for these NICs.

Avid NEXIS 7.3.1

The Avid NEXIS v7.3.1 release fixes an issue in Avid NEXIS 7.2 and 7.3 where under some circumstances, including intermittent network connections, external user authentication using LDAP would fail. Update all client systems to Avid NEXIS Client v7.3.1 before updating the Avid NEXIS system to v7.3.1. The Avid NEXIS v7.3 client cannot connect to a system running Avid NEXIS v7.3.1 or higher.

Avid NEXIS 7.3.2

The Avid NEXIS v7.3.2 release fixed a timing issue where in some circumstances, an Avid Interplay Media Indexer would assert (blue screen).

Avid NEXIS 7.4

The Avid NEXIS v7.4 release adds support for CentOS Linux version 7.3 as a client operating system. Clients running CentOS and the Avid NEXIS v7.4 client software can connect to an Avid ISIS system running v4.7.5 and higher, and to any Avid NEXIS system. The CentOS client kit is available in the Installers page in the Management Console and also in the Installers_Client\ folder in the Avid NEXIS kit, and is named AvidNEXISClient_el.centos.x86_64_7.4.0_5.bin.

Avid Client software for Linux now displays and connects to more than 10 remote System Directors. Previous versions of the Linux client limited to 10 the number of remote System Director connections (and the number displayed in the Client Manager’s Systems pane). The Client Manager now displays and connects to as many remote System Directors as are configured in the Remote Hosts dialog box.

The release also fixes an edit-while-capture workflow problem involving clients using dual 1Gb connections to the Avid NEXIS.

If you want to know more, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter, or ‘Like’ us on Facebook.

 

In an Avid environment? Get certified on Avid Nexis, ISIS and Interplay with our training

In an Avid environment? Get certified on Avid Nexis, ISIS and Interplay with our training

Our friends at root6 are Avid Learning Partners, meaning that they’ve got Avid’s seal of approval to deliver training.  

As well as delivering official Avid qualification courses (the kind with an exam and a certificate), they have training programmes of their own (no certificate), and can develop bespoke training courses for your team on request (we can make you a certificate if you really want one).

What do these courses cover?

Avid Interplay for editors A four hour ‘essentials’ course for editors who need to interact with the Avid Interplay workgroup environment through the editing application. Designed for those of you new to using a NewsCutter or Media Composer on Avid Interplay. It looks the same but the rules have changed.

Course cost: £375 per person at Berwick Street,or a  £1750 flat fee to train up to six people at your site.

This course is scheduled on demand – just give us a call to book a session.

 

Avid Interplay System Administration A far more in-depth three day course designed for administrators responsible for the day-to-day operation of an Avid Interplay environment.Covers administrating the Avid Interplay Engine and Avid Archive Engine (if applicable), and how to work with databases in the system. Additional topics include naming conventions, deletion strategies, deletion protection, daily and weekly maintenance, and archiving. This course (or equivalent experience) is a required pre-requisite of the Interplay ACSR path.

Course cost: £1185 per person at Berwick Street, or a £5250 flat fee to train up to six people at your site.

This course is delivered periodically – the next set of dates is to be confirmed.

 

Avid NEXIS System Administration This classroom course provides an in-depth understanding of how to administer and maintain an Avid NEXIS system. The course covers a range of administration topics such as how to create and manage workspaces, check system status, troubleshoot issues, create and understand user accounts, connect to clients, mount/dismount workspaces, configure a multi-engine system, and deal with hardware failures. The course also covers basic maintenance and troubleshooting of the Avid NEXIS|PRO, E2 and E4 hardware.

Course cost: £400 per person at Berwick Street, or £400 per person if delivered onsite – although this requires a minimum of four and a maximum of six.

This course is delivered periodically – the next set of dates is to be confirmed.

 

ACSR Avid NEXIS System Support In this three day course, students focus on the installation, administration, and architecture of the Avid NEXIS system, learning to connect, configure, and troubleshoot the system. Lab work and exercises give students practical experience in integrating systems and applying troubleshooting techniques.

Course cost: £1500 per person at Berwick Street (not including the exam).

This course is delivered periodically – the next set of dates is to be confirmed.

 

Avid ISIS 5000 Administration In this two day course students will learn how to administer their Avid ISIS 5000 system. You’ll review how to replace a failed data drive and configure storage groups and workspaces, as well as learning basic maintenance and troubleshooting on the System Director and ISIS Chassis hardware.

Course cost: £750 per person at Berwick Street, or a flat fee of £3500 to train a maximum of six people at your site.

This course is delivered periodically – the next set of dates is to be confirmed.

 

Avid ISIS 5000 System Support In this three day course, students focus on the installation, administration, and architecture of Avid ISIS 5000, learning to connect, configure, and troubleshoot the system. Lab work and exercises give students practical experience in integrating systems and applying troubleshooting techniques. This certification course culminates in an exam. Candidates meeting the Avid ACSR Program pre-requisites and who pass the exam are Avid Certified Support Representatives (ACSR) for Shared Storage.

Course cost: £1220 per person at Berwick Street, or £5250 to train a maximum of six attendees at your site.

This course is delivered periodically – the next set of dates is to be confirmed.

Where are the the courses held?

Most courses are held in our new training facility in Berwick Street, Soho, but many can also be provided at your own premises, by prior agreement, if you can provide an appropriate space for us to park our training machines.

Where do I find out more?

You can see root6’s full course list (and get in touch with them) here on their website.

If you want to know more about Avid training, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook.

 

Celebrating 25 years of Adobe Premiere Pro

Celebrating 25 years of Adobe Premiere Pro

Our birthday twin Premiere Pro has turned 25 this year (both us and Adobe’s industry-leading NLE began life way back in 1992). And while we’ve been building our modest creative technology empire, Premiere has managed to seduce the Coen Brothers, David Fincher and a small army of editors, as evidenced by their birthday video, below. 

Obviously all of these people are just as excited by our birthday, and the gifts they definitely sent us are merely lost in the post.

It’s easy to see why Premiere won people over, though – its earliest iteration was the first software-only editing system that you could run on a normal computer, and by 1994’s version 4.0 it was hitting full screen broadcast quality with 60 fields per frame. By 1996, it was offering a 4K frame size for use with digital signage, and has continued to push resolution limits, with the current version maxing out at 16K x 10K.

Since 2006, a Dynamic Link to Adobe After Effects connected traditional editing timelines to motion graphics and visual effects production, and cross disciplinary support has only increased since the move to Creative Cloud.

You can see a longer, more nostalgia-heavy and occasionally surprising (did you know Netflix had been around since 1997?) rundown of Premiere’s illustrious history here.

In the latest iteration, previewed at NAB, new media manager features in both Premiere Pro and Media Encoder give you much greater control over the handling of your files during the ingest process, and allow for more flexibility when working with very large media. You can set Premiere Pro to copy media to a specific location on your machine as it imports, and even begin editing immediately while your media copies in the background. If your workflow requires a transcode, you can easily set Premiere Pro or Media Encoder to handle that step for you too.

You can also generate proxies on ingest, and toggle between these and your full-res media at one click, in order to better support 6K and 8K workflows. There’s also support for advanced Lumetri scopes and the Rec2020 colourspace.

And when it comes to the workflows of the future – VR, for example, Premiere is ready: VR Video mode allows you to use pan and tilt controls to preview the experience inside the sphere. You can even click-drag directly on the video clip and freely pan around so you know what your viewer would be seeing when looking in a given direction. When you’re ready to share, you can easily add a metadata flag to ensure you’ll get the full panoramic experience on supported sites like YouTube and Facebook.

If you want to know more about Adobe, give us a call on 03332 409 306 or email adobe@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter, or ‘Like’ us on Facebook.

Introducing Adobe Admin Console for Enterprise

Introducing Adobe Admin Console for Enterprise

If you’re using the enterprise versions of Creative Cloud and Document Cloud, chances are you’ve noticed Adobe’s new Admin Console. This is designed to help large organisations protect valuable content, secure their Adobe environment, and manage large groups of users from one central location. 

In the video below, Adobe’s Jerry Silverman shows you just some of the ways Adobe’s Admin Console makes it easier for you to provision and track licences. It supports three types of identifier, including federated ID, allowing IT teams to manage all users from a single, central console, while still supporting a self service IT philosophy.

 

If you want to know more about Adobe, give us a call on 03332 409 306 or email adobe@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter, or ‘Like’ us on Facebook.

 

NAB 2017: Blackmagic Design CEO Grant Petty on this year’s Blackmagic crop

NAB 2017: Blackmagic Design CEO Grant Petty on this year’s Blackmagic crop

Blackmagic Design DEO Grant Petty’s annual communique is a highlight of NAB. This year, he holds forth on Ultramatte pricing, ATEM Television Studio Pro HD, and the Fairlight audio features you can now find in the flipping amazing-looking DaVinci Resolve 14. 

DaVinci Resolve 14

Today we announced DaVinci Resolve 14, the biggest release in the history of the software! It’s quite a dramatic upgrade. With this update, we were really focused on solving some of the bigger problems in post production.

The first problem was performance. We have made some dramatic performance gains and DaVinci Resolve 14 is now up to 10 times faster than the previous release. It’s very fluid now and much more responsive.

Also another big issue in the film and television industry is audio. For years we have been sending audio off to people in the music industry to do our audio post production. Then we have to wait for them to finish and import the finished audio file back into our edit. It’s very slow and cumbersome.
What we really need are audio tools designed specifically for the film and television industry. With DaVinci Resolve 14 we have built in Fairlight audio on its own new page in the software. It’s incredibly powerful and can play back up to 1000 tracks with parametric EQ, dynamics and plug ins on every track, all in realtime, when used with the Fairlight Audio Accelerator card. It’s also very powerful when run on a stock computer system as well.

Because audio for film and television is a lot more complex, we think integrating it into DaVinci Resolve will make it so fast and easy. It’s just a button click away. Plus, it also works with the full sized Fairlight consoles so it makes an amazing combination.

To make this workflow really fast, you really want people to be able to edit, color and do audio post production all working together, on the same job at the same time. To make this easy DaVinci Resolve 14 now integrates extremely powerful collaboration tools to make that easy.

With editing, advanced color correction and these new Fairlight audio tools, DaVinci Resolve 14 is like getting 3 high end applications in one! We hope it dramatically changes post production from kind of a linear to a more parallel workflow, so everyone can work at the same time, giving editors, colorists and audio engineers more time to be creative.

Watch What’s New in DaVinci Resolve.

The performance improvements and new audio features are built into the free DaVinci Resolve software you can download for free. However, the new collaboration tools and some of the new plug ins are only available in the paid DaVinci Resolve Studio.

The good news is that we have reduced the price of the full DaVinci Resolve Studio to only $299, so it’s much more affordable now.

We have a public beta of DaVinci Resolve 14 available today, so you can download it from the Blackmagic Design website and try it yourself. We would love to hear your feedback!

Download now.

ATEM Television Studio Pro HD

Recently we launched ATEM Television Studio HD, a portable live production switcher for broadcast, professional and AV users which has been extremely popular because it had powerful features such as 8 inputs, re-sync in each input, built in DVE, aux out, support for talkback, chroma key, flash based media store and also a control panel on the front!

Today we released the new ATEM Television Studio Pro HD, which has all of the same professional features, but is integrated inside of a professional desktop mounted control panel. You can now get all those ATEM Television Studio HD features built right into a professional control panel!

Plus, you get a full CCU control area on the top of the control panel so you can control cameras for doing amazing multi camera live work. This works with all Blackmagic Studio and URSA Mini cameras that can be controlled via the SDI.

The control panel on ATEM Television Studio Pro HD is extremely high quality. It uses the same high quality buttons that our highest end switchers use, plus there are a lot more buttons for transition selection, keying and more.

ATEM Television Studio Pro HD adds an integrated hardware control panel which is great for more complex, fast paced live events. It features 4 HDMI and 4 SDI inputs so you can work in all formats up to 1080p60.

We think the new ATEM Television Studio Pro HD will be perfect for all kinds of work from professional studio or live sport broadcasts, to internet talk shows, concerts and seminars, and more!
ATEM Television Studio Pro HD will be available in May for US$2,295

Learn more.

Bluetooth for URSA Mini Pro

When we recently launched Blackmagic URSA Mini Pro, we kept its Bluetooth feature secret until now. We have developed a new iPad app that gives you full remote control of the camera settings as well as metadata entry. We are also going to open the protocol to developers who want to use the API to customize their own control solutions.

With a fully open API and developer support for bluetooth on URSA Mini Pro, customers can build applications to remotely adjust camera settings, control the built in DaVinci Resolve color corrector, add metadata, sync cameras and much more! The possibilities are endless and we’re excited to see what you’re going to make with it!

While this will be shipping next month, we will be demonstrating it on the booth at NAB and would love to show you!

Learn more.

Blackmagic Video Assist updates

We also announced Video Assist 2.4 update which adds support for localized interfaces in 10 different languages! So now it’s much easier to use worldwide because it runs in your native language!

We support Chinese, English, French, German, Italian, Japanese, Korean, Portuguese, Russian, Spanish and Turkish! All you need to do is connect your Video Assist or Video Assist 4K to the USB and select the language you want in the Video Assist Utility software!

This Blackmagic Video Assist 2.4 software update will be available today for download for all Video Assist models and free of charge.

But that’s not all we have done for Blackmagic Video Assist! This year we also have new professional scopes that have been added to the Video Assist 4K model. These new scopes are professional, highly accurate and include waveform, RGB parade, vectorscope and histogram. They can be used full screen, you can overlay them on top of the incoming video, or put them in a small picture in picture window.

I think these scopes are incredibly powerful. I want to use them next to my grading monitor so I can see RGB parade when doing editing and grading. But I think they also make a nice broadcast scope to use around production areas. Of course they are also great for setting exposure on cameras too!

The new scopes will be available in June as a free software update for all Blackmagic Video Assist 4K customers. We will be showing them in the Video Assist section of our NAB 2017 booth.

Download now.

New UltraStudio HD Mini

Today we also introduced UltraStudio HD Mini, the world’s first portable Thunderbolt 3 capture and playback solution designed for archiving, edit monitoring, streaming and live broadcast graphics.
With UltraStudio HD Mini, we have taken a different direction by including some new connections people needed, and dropping some of the connections people don’t use anymore. No one uses analog out anymore!

However, people are capturing from older analog and digital broadcast decks for archiving content to modern digital media files. People also want to run live graphics into switcher with fill and key and of course we often need to get high quality monitoring in HDMI and SDI when editing and color grading and need perfect AV sync. It also works with Open Broadcaster software for live 1080p streaming.

UltraStudio HD Mini has been designed to do these tasks well, and we have fit it all into the small Teranex Mini sized design. It’s even Thunderbolt powered so you don’t need to connect it to a power supply. You can even power it from your laptop battery! You can sit it on your desk beside your laptop, making it a great portable solution to take on the road.

If you add the optional Teranex Mini Smart Panel you also get video, audio meters and status, including a new frame buffer indicator to assist in evaluating disk performance on broadcast systems. You can also rack mount multiple units using the Teranex Mini Rack Shelf.

UltraStudio HD Mini includes 3G-SDI and HDMI outputs for edit monitoring. Plus the 3G-SDI outputs are dual link so you can output separate fill and key to live switchers.

The inputs include 3G-SDI as well as Y,Cr,Cb analog component or NTSC/PAL inputs, along with balanced analog inputs for connecting to older digital or analog broadcast decks for archiving. There are even deck control and reference inputs!

UltraStudio HD Mini is in stock and available now from Blackmagic Design resellers worldwide for only $495. The optional Teranex Mini Smart Panel is $85.

Learn more.

 

H.264 for Blackmagic Duplicator 4K

When we launched the Blackmagic Duplicator 4K last year, it was received well and people understood the idea of doing live production and selling content to customers directly.

The problem is that we got ahead of ourselves. H.265 has not been adopted as widely as we hoped. So this year we are releasing a software update that adds H.264 to the Blackmagic Duplicator 4K. It’s a free software upgrade and, because H.264 is so popular, everyone you sell content to can read the files!

This software update is available now and you can just download it to get this new format. Now you should have confidence that when you give someone the media from the duplicator that they can read it!

Of course the H.264 files are bigger than the same video compressed to the more modern H.265, however for the duplicator, that’s only a few dollars more for the blank media cost. We still hope that H.265 will become more widely adopted and people can start using it more, however H.264 will do well in the near future!

The Blackmagic Duplicator 1.1 update is available now as a free download from the Blackmagic Design website.

Download now.

Ultimatte 11 now more affordable

Finally, we announced an immediate price reduction for Ultimatte 11 from $24,995 to only $9,995.
Since we acquired Ultimatte in October, last year, we have been working on its production and we have made some very good improvements. We think this price reduction is dramatic, but the real reason for working so hard on making Ultimatte 11 more affordable is because we want to help people get an Ultimatte on every camera in a live set.

We think people can build their own virtual sets by using multiple locked off cameras on a green scene set. If the keying looks real, and Ultimatte does that, but also if you don’t move the cameras while they are on air, you can build your own virtual set using still frames keyed in behind the locked off cameras. It’s a nice simple way to get started into virtual environments, but the issue was Ultimatte previously cost way too much to be able to do this.

Of course for decades Ultimatte has been the worldwide leader in blue and green screen removal technology for the broadcast television and feature film industries, so you get a high quality keyer that can do an amazing job in making virtual sets look truly realistic. We hope this reduction in price helps people explore their creative options for virtual environments. In many ways you can almost get 3 Ultimatte 11’s for the same as what a single Ultimatte 11 cost a year ago!

We have a separate Ultimatte booth this year and its down the hall a little from our main Blackmagic Design booth, so people go and check it out!

Learn more.

That’s about it for this year. We are going to be filming the press conference again this year, so if you would like to learn more, please follow the link below to watch the video.

We really want to thank you for supporting us throughout the year. We couldn’t do it without you and if you are heading to NAB this year, please drop by our booth as we would love to catch up for a chat!

Watch the press conference video.

If you want to know more on the biggest and best NAB Show releases, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter‘Like’ us on Facebook or take a look at our roundup post.

NAB 2017: Blackmagic Design announces new professional scopes and multi-lingual support for Video Assist

NAB 2017: Blackmagic Design announces new professional scopes and multi-lingual support for Video Assist

Blackmagic Design today announced the immediate availability of Blackmagic Video Assist 2.4 update which adds support for multi-lingual support for 10 separate languages. This means customers can now use Video Assist in their native language. This update is available now as a free update for all Blackmagic Video Assist and Blackmagic Video Assist 4K customers.

Also demonstrated at the NAB 2017 show are powerful new professional scopes operating on the Blackmagic Video Assist 4K model, including waveform, RGB parade, vectorscope and histogram that can be viewed full screen for accurately evaluating video signals passing through Blackmagic Video Assist 4K. These scopes are shown as a development preview and will also be available in June as a software update free of charge for all Blackmagic Video Assist 4K customers.

Customers can see a beta demonstration of the new language support and preview the new professional scopes on Blackmagic Video Assist 4K at the Blackmagic Design NAB 2017 booth at #SL216.

The new scopes make the Blackmagic Video Assist 4K model perfect for live production monitoring, as portable test scope for broadcasters, and even for balancing color when color grading using the RGB parade scope.

The new localized Video Assist adds interface support for Chinese, English, French, German, Italian, Japanese, Korean, Portuguese, Russian, Spanish and Turkish. This broad language support now makes it easier for more customers to use Video Assist anywhere in the world.

“Video Assist has become an indispensable part of everyone’s production kit,” said Grant Petty, Blackmagic Design CEO. “It’s the perfect portable field monitor and recorder. The addition of full blown professional scopes makes it even more exciting and useful for customers. Plus, the new multi-lingual interface will make it easier for non-English speaking customers to use it!”

Availability and Price

Blackmagic Video Assist 2.4 update is available now from the Blackmagic Design website free of charge for all current Blackmagic Video Assist and Blackmagic Video Assist 4K customers. Blackmagic Video Assist 2.5, which will support scopes on the Blackmagic Video Assist 4K model will be available in June.

If you want to know more on the biggest and best NAB Show releases, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter‘Like’ us on Facebook or take a look at our roundup post.

NAB 2017: Blackmagic Design announces remote Bluetooth camera control for URSA Mini Pro

NAB 2017: Blackmagic Design announces remote Bluetooth camera control for URSA Mini Pro

Blackmagic Design today announced a new open protocol for URSA Mini Pro cameras that will allow customers to create their own remote control solutions via Bluetooth. The protocol is being demonstrated at NAB, with the API and sample code anticipated to be released to customers free of charge in June 2017.

The remote bluetooth camera control test application and API will be demonstrated on the Blackmagic Design NAB 2017 booth at #SL216.

All URSA Mini Pro cameras feature built in bluetooth, but it hasn’t been enabled until now. The built in Bluetooth will allow customers to send and receive commands from up to 30 feet away. To make the new Bluetooth support even more flexible, Blackmagic Design has developed a new open protocol and is publishing a developer API, along with sample code, for customers that wish to build their own camera control solutions.

A demonstration iPad app and sample code will be provided to customers that want to use this feature. The iPad app allows customers to create digital slate applications that feed metadata, such as scene, shot, take information and even full script lines to multiple cameras on set while shooting. Common remote control of camera settings like frame rate, format and shutter angle are all possible from the demo app.

With a fully open API and developer support for URSA Mini Pro Bluetooth, customers can go well beyond the demonstration app. They can build an iPad application to remotely adjust camera settings and motorized lenses while the camera is mounted on a crane. Technically skilled customers could even build an application that uses the camera’s built in DaVinci Resolve color corrector so that images can be graded live during a shoot.

New workflows are also possible. A great example of this is that customers can mount Blackmagic URSA Studio Viewfinders on multiple URSA Mini Pro cameras to create a live multi camera shooting scenario, however instead of connecting to a switcher, the iPad can trigger all cameras to record to their internal media with matching metadata. This means the media can be later edited using DaVinci Resolve 14 multicam editing to work as fast as live production, however with the accuracy of post production. That’s faster, lower cost and higher quality editing than was easily possible in the past.

“URSA Mini Pro has been received extremely well by our customers,” said Grant Petty, Blackmagic Design CEO. “Customers love the broadcast features and controls, the built in ND filters and interchangeable lens mount. Now, the possibilities are truly endless because customers are going to have the tools they need to build completely custom remote control solutions of their own design using the new Bluetooth support!”

Availability and Price

Camera 4.4 update, which will support the URSA Mini Pro bluetooth API and sample code will be available in June 2017 as a free download from the Blackmagic Design website for all existing URSA Mini Pro customers.

If you want to know more on the biggest and best NAB Show releases, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter‘Like’ us on Facebook or take a look at our roundup post.