IBC 2014: Blackmagic Design’s Grant Petty speaks

IBC 2014: Blackmagic Design’s Grant Petty speaks

As is traditional, Blackmagic Design have followed up their official press statement with an epic email from CEO Grant Petty, a man who loves to talk about new releases almost as much as we love to hear about them. Here’s this year’s instalment. 


It’s IBC 2014 time and we have some very exciting new products this year and I wanted to update you on all the details!

This IBC, as well as new products, we are announcing that we have acquired eyeon software and their amazing Fusion software. This software is amazing and it’s used on so many high end Hollywood feature films and is extremely powerful.

We are also announcing 2 new cameras, a new Ultra HD multi view, new 12G-SDI based Ultra HD monitoring and a DeckLink card, new DaVinci Resolve update, a new 40 x 40 router, new mini converters and a lot more!

The news we are announcing is:

  • Blackmagic acquires eyeon software
  • DaVinci Resolve 11.1 Update
  • Blackmagic Production Camera PL and Cinema Camera PL
  • Blackmagic MultiView 16
  • SmartView 4K
  • Smart Videohub 40×40
  • DeckLink 4K Extreme 12G
  • Mini Converters with 6G-SDI and Ultra HD
    • Mini Converter SDI to Audio 4K
    • Mini Converter Audio to SDI 4K
  • Mini Converters with 6G-SDI and Ultra HD
    • Mini Converter H/Duty SDI to HDMI 4K
    • Mini Converter H/Duty HDMI to SDI 4K
    • Mini Converter H/Duty SDI to Analog 4K
  • New Blackmagic Videohub Software
eyeon Software

For years we have been amazed by the incredible Fusion software and what an amazing feature set it has for compositing. It has been the tool used on over 1000 major Hollywood feature films, and has been used on some of the most recent blockbuster movies for some of the most complex effects scenes in these movies. It’s an incredible tool and it’s really Hollywood’s secret to doing some of these major effects shots.

Now we have just completed acquiring eyeon software and for us this is extremely exciting as, similar to DaVinci, we now have a second powerful software tool that has remarkable creative power. The guys at eyeon are also excited as now we can add better sales and support for eyeon’s software tools. So I think it’s a very good match.

If you have never taken a close look at Fusion, please check out the eyeon website. There are some nice videos there showing what it can do.

But what I think is really amazing is the whole “node” based way of working. I think when you first see Fusion and its nodes, it can look a little intimidating, but then when you realize what you are looking at, it suddenly hits you how easy and clean this way of working is.

If you have used a timeline in an NLE, then you might think this is an easy way to add layers and do effects. However when you start doing anything complicated in a timeline, such as add a few clips, then add a few effects to each clip, with each effect having multiple parameters to adjust, it can get very complex, very quickly.

We all know what that’s like when you are trying to adjust something and you have to dig around looking for the correct parameter to adjust and try and work out which plug on what layer it’s on. It can become quite complex and cumbersome.

This is what nodes solve. With nodes, each thing to do is a little node, and you have a whole collection of effects you can just connect up to do anything you like. When you want to adjust anything in a shot, you just check on the node and adjust it. It’s all right there, laid out very simply and you can see it all. It’s so incredibly simple. It’s just like plugging in LEGO bricks.

What’s funny is that it becomes a bit addictive and I find you want to just spend hours plugging in different effects and experimenting! It’s very creative, once you see how simple it is.

Of course, Fusion has a massive palette of effects. There are motion graphics, a fantastic tracker, color correctors, particles, great keyers, plus even fantastic paint with rotoscoping and onion skinning. The whole environment is full 3D and there are incredible 3D tools and simulations. There are way more features than I can list here!

We will be showing Fusion on the Blackmagic Design booth at IBC and if you are coming to the show, please drop by. We will also be posting the latest full release of Fusion 7.0 and this is the latest edition of the software, and it’s even better than ever!

We think this acquisition of eyeon Software is very exciting and we will keep you updated with what we do and we look forward to chatting with existing Fusion users about what we can do in the future as we grow the software team working on it.


DaVinci Resolve 11.1

The DaVinci Resolve software we released recently has been received really well and we have been so happy with the response. It’s nice when you work hard and people are happy with the results because then you feel all the late nights and lost sleep were worth it!

However of course, there are always some little things we missed or could not quite get the time to add into the update so we have this new DaVinci Resolve 11.1 update to fix that!

We have added in a bunch of new features including a new full screen timeline view, editable in and out points in the viewer, gap trimming, the ability to add multiple transitions simultaneously, independent track heights, fade in and out opacity settings on video tracks and the ability to swap edits. Also now when folders are dropped into the media pool, the whole folder hierarchy is preserved. So there are lots of little updates in this release.

This software is available now to download from the support page on our web site.

Blackmagic Production Camera 4K & Cinema Camera PL

Also new this year are two new cameras. What we have done is added models of our Blackmagic Production Camera 4K and Blackmagic Cinema Camera with PL lens mounts. This means you can use cinema lenses on the camera, which is great because these two cameras are being heavily used on feature films now so it’s great to have models with PL lens mounts.

The PL mount is made out of machined steel so unlike the cheap adapters made from aluminum, the PL lens mount on these cameras won’t bind onto the lens and get stuck. There are nice big tabs to allow you to put good positive pressure on the lens fastening ring, and the whole mount is incredibly strong so it can hold a heavy lens. Because the whole chassis of this camera is machined out of aluminum, it has a lot of strength and can hold these heavy lenses.

When we were originally designing this camera design it was going to be a PL mount. That’s why we chose to machine the chassis out of a block of solid aluminum. However when halfway through development we realized that a lot of people who would want this camera would want something better than a DSLR, and they would most likely have Canon lenses. So we changed the design to EF for the original model.

Since that time we have been busy releasing other models, however now we have been able to come back and release a full PL mount model. What’s funny is when you look at these new cameras, it’s quite surprising to see how small the camera itself is and it’s not much smaller than the lens mount. The choice of metal chassis makes the whole combination work well.

Of course the PL mount front face can be removed and you can shim it yourself. So you can collimate a lens onto the camera for matching the lens and camera perfectly. The PL mount also lets you use decades of “vintage glass” so you can get the look of old cinema film by using the very lenses they used back in those days.

We now have 5 models to choose from in this chassis, with 2 different sensors and 3 different lens mounts. This means you can choose from a 4K sensor with 12 stops of dynamic range, global shutter and large Super 35 size, or the 2.5K sensor with 13 stops of dynamic range, rolling shutter but better low light performance. So you can choose the model that’s best for the type of work you need to do.

The Blackmagic Production Camera 4K PL is US$2,995 and the Blackmagic Cinema Camera PL is US$2,295. We are building these cameras now so they should be available from next week.


Blackmagic MultiView 16

The Blackmagic MultiView 16 is a new multi view that lets you see up to 16 SDI inputs on a single display. It supports Ultra HD so that means you can use an Ultra HD TV or monitor and see all your views in twice the resolution and twice as sharp as normal HD multi view. With the large screen televisions now supporting Ultra HD resolutions, you can get an amazing quality monitoring solution.

The Blackmagic MultiView 16 also supports any combination of SD, HD and Ultra HD SDI inputs because it includes 16 6G-SDI inputs with each input including a re-sync and loop output. Also, any input can be routed to any view, and you route from the front panel or via the external Ethernet connection. We have used the Videohub protocol for the external control so our Videohub software will control it!

I think this is a great solution for broadcast and master control monitoring, but it can also be used on post production to keep track of multiple video feeds. Because you can switch between 4, 9 and 16 view layouts, it’s quite flexible.

Blackmagic MultiView 16 will be available in October for US$1,495.


SmartView 4K

We have a very nice new Ultra HD rack mount monitor called SmartView 4K. SmartView 4K is a full resolution Ultra HD broadcast monitor with a native resolution of 3840 x 2160, a bright LCD screen plus features such as 3D LUTs, adjustable on screen markers, H/V delay, blue only, external Ethernet control, tally and more.

SmartView 4K features multi rate 12G-SDI inputs that automatically switch between SD,HD and Ultra HD formats up to 2160p60. With 12G-SDI, SmartView 4K supports full resolution Ultra HD high frame rate support. SmartView 4K also features a machined metal design that has front panel controls and it even has a VESA mount on the rear for non rack mounting. It also includes a built in AV power supply as well as a separate DC supply for battery use.

This monitor looks amazing and the pictures on it are amazingly sharp. SmartView 4K will be available in December when the supply of LCD’s arrives and it will retail for US$1,995.


Smart Videohub 40×40

We have a new larger router model as part of our routers family based on 6G-SDI technology and it also handles SD, HD and Ultra HD SDI connections simultaneously on the same router at the same time.

This new model also features a machined metal front panel so they look really nice, but they also include a full control panel with a 5 inch high resolution LCD screen so you can see what you are routing. The screen is much larger on this model because it’s 2 rack unit in size to accommodate the 80 BNC connections for the SDI connections.

The control panel includes buttons to direct select a crosspoint, a spin knob for scrolling router cross points as well as a “take” button. The LCD screen can display nice large labels and the new routers include over 10,000 separate unicode characters so we can handle non roman labels such as Japanese, Chinese and more.

The LCD screen can also display video from the video inputs or even outputs. We call this new feature “visual routing” and it allows you to scroll through the router destinations or sources and see the connections as video on the LCD screen as the labels updates. This model also has redundant power supplies.

Smart Videohub 40×40 features 40 inputs and 40 outputs for $2,995 and it will be available in October.


DeckLink 4K Extreme 12G

Our DeckLink cards have always featured the latest video technologies and now we have a new model that features the latest 12G-SDI connections. DeckLink 4K Extreme 12G is even better than just a 12G-SDI capture card, because its includes Dual Link 12G-SDI capture and playback as well as a fast 8 lane PCI Express Generation 2 connection to the computer.

That means it has extremely high performance and can do dual stream video capture and playback at resolutions up to 2160p60. Dual stream capture and playback at these resolutions allows dual stream 3D as well as simultaneous fill and key capture and playback even when operating at Ultra HD at 60 frames per second.

It also supports the HDMI and analog connections our other DeckLink cards have, but we have moved the HDMI onto a second mezzanine card. That card can also be easily removed if you want to install it as a single card. However the reason we have used a second daughter card on this model is because we have 2 sockets for optical fiber modules.

We have started doing this on a lot of our 12G-SDI products, where we are also putting sockets for optical modules, so that means if you want to run optical fiber, you can install it direct into the product. 12G-SDI optical modules are not available yet, however you can use 6G-SDI modules for lower frame rates. Later when SMPTE 12G optical fiber modules are available, you will be able to install them for optical fiber support.

We have added optical fiber sockets to a range of our 12G-SDI products and that includes Teranex Express, SmartView 4K, DeckLink 4K Extreme 12G and the Blackmagic Studio Camera 4K can be upgraded from its default 6G-SDI optical module to a 12G-SDI optical module when available.

This new DeckLink card is the perfect solution to DaVinci Resolve 11 high end online editing and color correction, however it is also fantastic for a range of software for Mac OS X, Windows and Linux computers.

DeckLink 4K Extreme 12G will be available in October for US$1,495.


New 4K Mini Converters

We have continued to upgrade our Mini Converter range over the past year and we are now introducing even more models of Mini Converter with 6G-SDI for use in SD, HD and Ultra HD video systems.

The new models are Mini Converter SDI to Analog 4K, Mini Converter Analog to SDI 4K and are perfect when you need to embed and de-embed audio. This also means all our relevant Mini Converters now support Ultra HD and we have a whole family of converters that work in SD, HD and Ultra HD.

These new models replace the old models and are all available now for $295 which is lower cost than the older HD models these new ones replace.


Mini Converter Heavy Duty 4K

We have also upgraded our heavy duty mini converters to use the same 4K design as the standard models. These heavy duty ones are similar, however feature an extremely strong metal chassis that can be run over with a car without damage!

We even ran one over with a Centurion tank and it survived and kept working. These are extremely tough converters and are fantastic for live production and outdoor use.

These new models include the Mini Converter H/Duty SDI to HDMI 4K, Mini Converter H/Duty HDMI to SDI 4K and Mini Converter H/Duty SDI to Analog 4K. These models will be available in October for US$345 each.


Blackmagic Videohub software 6.0

We have a new software update for all Videohub routers and this new software completely replaces the older software and it’s much nicer to use and it also separates out the setup utility from the router control panel software into separate applications.

The Blackmagic Videohub Control has a new user interface with nicely designed buttons that allows you to customize and control the Videohub routing from your desktop. For setting up and labeling routers, there is a new software utility called Blackmagic Videohub Setup and you can use this to setup all Videohub routers on your network or connected via USB.

The new Blackmagic Videohub software is simple and easy to use and supports the latest technologies such as high resolution “Retina” displays that use paper resolution screen displays. Blackmagic Videohub Setup also lets you save and load router configurations for backup.

This new Blackmagic Videohub Software 6.0 is available now for download free from our web site. If you have a Videohub router, then please download and upgrade!


That’s about it for this IBC and I hope this update has been useful! I apologize for its length, however each new product we are launching this IBC is quite feature rich and different to other products we have done in the past, so there is a lot to talk about!

If you’re heading to the IBC show this year, I hope you get the chance to see these new products in action and to have a chat with us!


Grant Petty
Blackmagic Design

Want to know more? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest IBC news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook or keep an eye on our roundup post.

IBC 2014: Your Avid Everywhere update roundup

IBC 2014: Your Avid Everywhere update roundup

At IBC 2014, Avid reveals new platform solutions and services that uniquely address the most strategic challenges of broadcast, pro video, and pro audio professionals.

Avid today announced a series of significant product and services innovations delivering the next phase of Avid Everywhere, the company’s strategic vision for the media and entertainment industry, centered on connecting creative professionals and media organizations with their audiences in more powerful, efficient, collaborative, and profitable ways. The company introduced new innovations to the Avid MediaCentral Platform and its associated modular application suites.

“With so much change and pressure facing the media industry, Avid has stepped forward to provide much-needed leadership for our customers and the entire media community,” stated Avid President and CEO Louis Hernandez, Jr. “The initial phases of the platform and application suites we announced in April as part of Avid Everywhere are now available in the market. Customers and partners worldwide are gaining the benefits of the industry’s most flexible, open, and integrated ecosystem—all the way from content creation to distribution and monetisation. And now we’re announcing the next phase of this journey, with a major new services initiative and MediaCentral Platform innovations that will help our customers and partners position themselves for continued success, both now and into the future.”

The Avid Advantage–Raising the bar for service in the media industry

Citing the importance of raising expectations for service, education, and customer collaboration across the industry, Avid announced “The Avid Advantage,” a major all-encompassing service and delivery initiative. With The Avid Advantage, the company is rolling out a host of expanded and flexible services, support, and education programs to help customers maximize and accelerate the return on their investment with complete flexibility.

MediaCentral Platform innovations

Since Avid launched the Avid MediaCentral Platform at NAB in April this year, the company has continued innovating, with the rollout of new tools and partner integrations that extend capabilities across news production, media asset management, graphics, audio, and video production.

Today’s platform innovation announcements include:

–  Avid Resolution Independence Avid is introducing a completely fluid architecture for working with material of any resolution – SD, HD, 4K and beyond – on premises, in the cloud, across the entire workflow.

– Avid Connectivity Toolkit The next phase of this comprehensive third-party developer program, first announced at NAB 2014, now gives partners access to the resources, documentation, certification, and services they need to create products and solutions that integrate with the Avid MediaCentral Platform ecosystem and sell them in the Avid Marketplace.

Artist Suite Innovations

– Expanded high-res editing and delivery The next release of Media Composer | Software will include native 4K editing, enabling editors to simply and easily access, manage, edit, monitor, and deliver high-res media.

– Resolution flexibility Avid introduces the Avid DNxHR extensible media codec.

– Powerful live show mixing and editing Avid introduces the new Avid VENUE | S3L-X compact live sound system, providing unprecedented versatility, reliability and value for stage, studio and beyond.

– Portable, high-performance music creation Avid introduces the new Pro Tools | Duet and Pro Tools | Quartet, combining industry-leading Avid Pro Tools | Software with portable audio interface hardware from Apogee.

Media Suite Innovations

– Expanded content search across multiple systems: with Media | Index support for iNEWS

– Avid will preview the new Avid MediaCentral Platform-enabled capabilities coming to Interplay | MAM in the future – giving teams the power and flexibility to access media and work on projects from practically any device, everywhere.

Storage Suite Innovations

– Accelerated broadcast workflows The new Avid AirSpeed | 5500 helps customers ingest and play out multiple media formats without having to invest in costly converters, now with support for Sony XAVC.

Want to know more? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest IBC news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook or keep an eye on our roundup post.

IBC 2014: JVC show prototypes for GY-LS300, new PS monitors and more

IBC 2014: JVC show prototypes for GY-LS300, new PS monitors and more

JVC is focusing on its current live streaming camcorders at IBC, with a presentation held each hour to fully demonstrate the outstanding networking capabilities of this range. Part of this presentation is a connection from the JVC stand to a field reporter, out and about in Amsterdam.

JVC is also demonstrating a prototype of its new GY-LS300 Super 35mm sensor 4K handheld production camera, along with a number of 4K technology design concepts. And to further illustrate the fusion of traditional broadcasting with the internet, JVC is transmitting a live stream from its stand, allowing you to watch the main stage presentations online via www.jvcpro.eu/ibc2014.

GY-LS300 compact 4K camcorder

A prototype model of the new GY-LS300 compact handheld camcorder is being shown at IBC, featuring JVC’s exclusive Super 35mm 13.6MP 4K CMOS image sensor, developed by JVC’s sister company, AltaSens, for 4K 24/25/30p recording. The camera uses Micro Four Thirds lenses, originally developed for DSLRs to deliver cinema-quality images in a compact camcorder, and also accepts a wide variety of stills and video lenses for filmmakers who have already invested in expensive lenses (converters available for PL-mount and other lenses). This first prototype has an advanced codec and onboard recording system, providing 4K imaging on standard SDHC/SDXC UHS-I U3 memory cards, and its dual codec system also delivers simultaneous recording and streaming for both HD/SD and HD/proxy files. The camera features the 4K CAM logo and marks the start of this new camera series from JVC.

Live streaming camcorders

JVC’s popular camcorders – the GY-HM600/GY-HM650 handheld, GY-HM850 shoulder mount and GY-HM890 studio models – will be demonstrated both on the stand and during regular live stage presentations. With the latest firmware upgrade (v.3.03), both the GY-HM600 and GY-HM650 handheld camcorders now deliver 1080p 50Mbps recording in Extreme High Quality (XHQ) mode, ie virtually lossless H.264 recordings with high bit rates of 50Mbps, and feature an enhanced Auto Focus System with selection of focus area. The upgrade also offers advanced streaming functions for the GY-HM650 camcorder, including ZIXI data transfer technology and additional bit rates in various resolutions.

The GY-HM850 and GY-HM890 ProHD shoulder-mount cameras feature a built-in streaming engine, with FTP and 3G/4G connectivity, to allow live HD transmission directly from the camera. A built-in processor with proprietary algorithms, advanced content-aware error correction and JVC’s new Advanced Streaming Technology (AST) maximize bandwidth, provide real-time feedback of streaming status and compensate for up to 30 percent packet loss to ensure reliable transmission, even under difficult conditions.

Beyond their reliable, high quality live HD transmission, the GY-HM850 and GY-HM890 3-CMOS cameras with interchangeable Fujinon 20x autofocus zoom lenses also deliver amazing HD (and SD) imagery, even in low light conditions. User-friendly features include dual SDHC/SDXC card slots for recording footage in a variety of native file formats, four-channel audio with two XLR mic/line inputs, 4.3-inch LCD monitor, LCOS colour viewfinder, HD-SDI and HDMI out, and genlock and time code terminals for multi-camera setups. The GY-HM890 also includes an HD/SD-SDI Pool Feed input for increased ENG flexibility. Plus, for studio or multi-camera field production, it accommodates JVC fibre or multi-core camera modules and is compatible with JVC’s full range of components and accessories.

4K technology design concepts

JVC provided a glimpse into an expanding 4K future at NAB earlier this year, with new technology design concepts, and these models will also be on show at IBC. Signalling JVC’s entry into the digital cinematography marketplace, the GY-LSX1 is a 4K shoulder-mount production camera equipped with a Super 35mm sensor and PL lens mount, which delivers full 4K imagery at up to 50/60p, as well as full HD imagery at up to 240p for super slo-mo applications. Equipped with a live 4K output and a host of recording options, this ergonomic camera sets the standard for next-generation professional acquisition. Like the handheld GY-LS300 camera, the GY-LSX1 features the new 13.6 MP 4K CMOS image sensor and records to SDHC/SDXC UHD-I U3 memory cards.

The new Super 35mm CMOS image sensor is also being integrated into a two-piece mini 4K camera system, the GW- SP100. This tiny camera produces beautiful 4K video, with 4096×2160 or 3840×2160 resolution at up to 50/60p recorded locally to SDXC UHS-I U3 memory cards. It has an interchangeable MFT lens mount system, chosen due to its very shallow flange depth, which offers the greatest flexibility to end users who have already invested in lenses. The design concept camera system features a video unit with a foldable and detachable 7-inch HD LCD monitor and offers the same IP capabilities as the GY-HM890 camcorder, with HD wireless video transmission and wireless camera control.

The mini 4K camera can also be attached to the MT-GB001 gimbal option; this may be used with a helicopter system for aerial shooting, with anti-shaking and anti-blurring technology ideal when used with a handheld system. So, while the mini 4K camera produces images suitable for cinematic applications, the system also has applications for broadcast news and could open a whole new world for broadcasters.

Integrated IP broadcasting solution and streaming

JVC and Zixi, an IP broadcasting company for cloud-enabled networking, have formed a partnership to push forward IP-based network video solutions for secure HD broadcast signal transmission. The first result of the cooperation between JVC and Zixi is an integrated IP broadcasting solution already included on the JVC GY-HM650, GY HM850 and GY-HM890 camcorders. On 12th September at 15:00, Gustav Emrich, JVC’s European Product Manager, and Israel Drori, President and Founder of Zixi, will give a joint presentation at IBC Content Everywhere Cloud Solutions (hall 3 stand A19).

JVC has also joined together with Wowza Media Systems, LLC, provider of Simply Powerful Streaming software, in their Works With Wowza partner programme. Together, JVC and Wowza will give content creators the ability to instantly stream video from live events including breaking news, corporate events, concerts and sports. With streaming capability built into JVC professional camcorders, joint customers can now stream over both GSM and Wi-Fi networks, providing powerful live video experiences while on the go.

Finally, JVC is running a promotion with STREAMSTAR, providing a free three-month trial of WEBCAST LiTE IP software, including the streaming platform, for all customers who own one of the GY-HM650/850/890 camcorders. This software will allow you to process up to four streams from your camcorders and transmit edited data live to a CDN network, and also review the results on the internet (up to 150 streaming hours per month in total across all users).

Other JVC design concepts and prototypes

JVC is demonstrating its Near Eye Display design concept at IBC, which is a head-mounted viewfinder designed specifically for video production. Featuring D-ILA technology, the image produced by the Near Eye Display when worn is equivalent to an 18″ 720p monitor at a distance of one metre. With exceptional stability and easy to adjust for comfort, the display can act as a remote viewfinder for multiple cameras. The JVC IBC stand also features a prototype production-style electronic viewfinder, the LCDVFe, along with a range of three new semi-professional LCD full HD displays for presentation or digital signage use – the PS-320/400/500 monitors (32″, 40″ and 50″ respectively).

Press conference: Saturday 13th September, 13:00-13:45, Room F004, Media Centre.

JVC is holding a press conference on the Saturday at IBC for members of the media (please email marketing@jvcpro.co.uk to register), where the company will introduce a number of products, systems and concepts. There will be an exclusive presentation by our new European President, Mr Hisao Kikuchi, and our European Product Manager, Gustav Emrich, who will provide an insight on many of the changes at JVC KENWOOD along with introducing key new products. We hope the press conference will give you a good headstart on our company’s direction.

Want to know more? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest IBC news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook or keep an eye on our roundup post.

IBC 2014: Atomos announce Power Station for continuous power in the field

IBC 2014: Atomos announce Power Station for continuous power in the field

We’re yet to be disappointed by an Atomos release, and their latest IBC announcement – a combined battery/charger designed to bring continuous power to us peasant folk with limited budgets – hasn’t let us down. Here’s the official press statement on the all-new Atomos Power Station…

Atomos is known for delivering creative solutions to real world professional production and post production problems. Today Atomos enter the battery market with what is the most advanced power management offering in decades. Unveiling the new Power Station at IBC 2014 (Hall 9, D.25), Amsterdam, this new accessory means cameramen will never be left without power in the field, powering multiple devices and giving endless hot swapping of commodity camera batteries – Endless Power.

“The Power Station is the Anton Bauer for the masses.” said Jeromy Young, CEO and Founder of Atomos. “With Power Station we’ve solved perhaps the biggest problem of all – the need for an endless supply of power. You don’t need massive batteries or multiple batteries for different devices anymore. The Power Station allows you to use smaller lighter more affordable camera batteries and output up to 3 DC streams for cameras, monitors, recorders and lighting. It also doubles as a super-fast charger for your batteries – finally a complete solution.”

By utilising the Atomos ‘Continuous Power’ technology Atomos have made a product which will give cameramen the peace of mind and allow them to focus on the shot and not the clock.

Power Station is a dual battery device with connections to power up to 3 DC devices and 2 USB devices simultaneously. Dual DC outputs and included splitter cable allow powering of up to 3 DC devices on the rig. With a maximum output of 5W, the Power Station allows users to charge an entire rig from DSLR and lighting to monitors and Atomos recorders. Meanwhile the dual USB power source allows users to charge a single high powered 2A device (eg iPad) or two lower powered 1A devices with two included 2600mAh batteries enough to charge an iPhone5 from 0 to 100%, three times over. If you need more juice, just swap the dead primary battery for a new one while the secondary continues the job – endless power.

With the Power Station cameramen will know exactly how much power they have at any given time. The independent left and right LED displays on the front of Power Station give a quick 5 step visual guide on the power remaining for each battery from 100% down to 10%. You will always know when to swap the exhausted battery and have hours to do so. There are also DC Adapters available for popular cameras including A7s, GH4, 5DMKIII, FS700, C100 and more.

Power Station is also an advance super-fast charger for dual batteries by simply charging the included 2600mAh NP series batteries in 1 hour for maximum speed and convenience.

Pricing and Availability

The Atomos Power Station will ship for $295, €219 and £179. Itwill ship at the end of October and be in customer’s hands for their productions in November via the Atomos Worldwide reseller network.

Want to know more? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest IBC news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook or keep an eye on our roundup post.

IBC 2014: Blackmagic Design buy eyeon, announce PL cameras, update Resolve, release new converters and generally overwhelm us with news

IBC 2014: Blackmagic Design buy eyeon, announce PL cameras, update Resolve, release new converters and generally overwhelm us with news

Perhaps the most surprising Blackmagic Design announcement of IBC 2014 is that eyeon software is now a wholly owned subsidiary of Blackmagic Design – they’ve even moved Fusion 7 over to the Blackmagic stand. But they’ve also released Resolve 11.1, PL versions of their cameras, new routers, a new Decklink card, five new converters and more…

Blackmagic Design acquire eyeon, showcase Fusion 7

“Fusion 7 is one of Hollywood’s leading visual effects compositing and motion graphics tools and has been used on thousands of feature film and television projects. Most recently, Fusion 7 has been used on feature films like Maleficent, Edge of Tomorrow, Sin City: A Dame to Kill For, The Amazing Spiderman 2, Captain America, Gravity and more,” the official press release reminds us.

“Fusion 7 combines the best in motion graphics and high end visual effects compositing into a single application. In addition to its advanced compositing tools, Fusion 7 also includes comprehensive paint, rotoscope, keying, layering and titling tools, along with an amazing particle generator system. It can import geometry from other applications as well as create its own elements, like text and particles, from scratch. Elements can be composited together and quickly output using Fusion’s GPU accelerated render engine. Multiple renders can be combined in one project to render different aspects of the same scene. Fusion 7 goes beyond just compositing layers and has a full set of creation tools for building objects and scene elements in a 3D system that can handle millions of polygons with complex shading.”

“We’re really excited about the acquisition of eyeon,” said Grant Petty, Blackmagic Design CEO. “Fusion compositing, 3D and motion graphics software has been used on some of Hollywood’s biggest visual effects blockbusters. When used together with DaVinci Resolve for editing and grading, Fusion also gives customers the world’s most advanced tools for 3D compositing, visual effects, motion graphics design and more!”

“Blackmagic Design is the most progressive company in professional post production today,” said Steve Roberts, CEO and founder of eyeon. “With their focus on developing the best solutions and a global network of offices, Blackmagic gives customers the products and services they deserve. The acquisition of eyeon will provide greater development and support of Fusion and Generation, where customers will now have more dynamic, comprehensive, and faster solutions for their creative needs.”

“Fusion 7’s great 3D improvements have added to our toolkit, giving us options that greatly expand our ability to quickly put together shots and make final adjustments without the need to go back into a 3D app for changes,” said David Stinnett, VFX Supervisor, Blur Studios, Thor: The Dark World and Amazing Spiderman 2. “Fusion 7 expands our ability to stay flexible for whatever the job demands.”

“The great thing about using Fusion for motion graphics is that you have an unlimited number of ways to create and design shots so you don’t have to leave the package to get the job done,” said Dunn Lewis, Motion Graphics and VFX artist. “Fusion can handle it all. With its full true 3D compositing environment, motion graphic tools, Spline editor for precise animation curves, Timeline for timing effects and Node based system for compositing, you can overcome any challenge.”

eyeon will continue to support its customers and expand its sales channels with the added strength of the Blackmagic Design organisation. eyeon will also continue developing solutions for the VFX and post-production industries, including its flagship application, Fusion.

Resolve 11.1 goes into public beta

Not to get predictable, but we’re obviously insanely excited about Resolve 11.1, which hits public beta with dozens of user-suggested improvements in place. The final version is due at the end of the month, but here’s what the press release has to say in the meantime:

Editing enhancements in the new DaVinci Resolve 11.1 are designed to help editors work even faster than before. Resolve 11.1 includes improved asymmetric trimming, a new Swap Edit command, the ability to trim gaps in the timeline, editable in/out points in the source viewer, graphical fade sliders for video opacity, action and title safe overlays, independent track heights, a full screen timeline option, the ability to add transitions to multiple clips at the same time, and more.

DaVinci Resolve 11.1 also features dramatically improved integration with Final Cut Pro X that allows colorists to spend more time grading and finishing projects, and less time recreating elements from editorial. There is improved support for Multicam clips, Synchronized clips, and mixed frame rate Compound clips. Speed changes with Bezier curves are now imported from Final Cut Pro X, along with settings for frame blending and optical flow retiming. In addition, Compound clips can be broken apart and renamed in the Resolve timeline.

Colorists get support for object tracking and stabilization of compound clips, second layer input support for OpenFX plugins, the ability to pick colors in the viewer for OFX plugins, and new group menu options to load, delete and rename groups. DaVinci Resolve 11.1 also includes support for visually lossless compressed DNG RAW clips, Panasonic Varicam vRAW and AVC-I, improved color decoding for Phantom CINE RAW files, new Phantom Cine Log gamma selection in the camera raw settings, VFX I/O LUTs for Gamma 2.2 and Gamma 2.4, and more. Linux customers also get OpenCL support for AMD GPUs.

DaVinci Resolve 11.1 adds new support for Dolby Vision image processing. Customers will be able to work with 40x more brightness than a conventional television, a vastly improved, fuller color palette, and up to 1,000 times more contrast to reveal depth and detail that makes images look astonishingly real.

“DaVinci Resolve 11 was a huge release for us and we have been surprised by the incredible rate of upgrades,” said Grant Petty, CEO, Blackmagic Design. “It has been the fastest downloaded product update we have ever had. We’re committed to the community and are continuing to make Resolve even better. Feedback has been overwhelmingly positive, and has encouraged us to work even harder to add as many customer feature requests as we can to the 11.1 update.”

DaVinci Resolve 11.1 Key Features

– Editable in and out points in the source viewer.
– Graphical fade sliders for video opacity.
– Action and title safe overlays in the edit page.
– Improved asymmetric trimming.
– A new Swap Edit command.
– The ability to trim gaps in the timeline.
– A full screen timeline option.
– Improved Final Cut Pro X XML import and export.
– Improved FCP X XML import and export.
– Trim support for Quicktime and MXF clips.
– Native mixed frame rate support for compound clips.
– Allow transitions to be added to multiple selected clips via Cmd+T.
– Find Source Viewer clip in Media Pool via Option+F.
– Second layer input for OFX plugins.
– OpenCL support for Linux to support AMD GPUs.

Blackmagic Design Cinema Camera and Production Camera 4K get PL variants

With these two new PL mount models, Blackmagic Design customers can now choose from five separate variations of this small, tough design. With a combination of two different sensor types as well as three different lens mounts, customers can now simply select the features they need based on the work they do.

The Blackmagic Production Camera 4K PL gives you a high resolution Super 35mm size sensor with global shutter and a more creative depth of field. Customers get incredible Ultra HD images with 12 stops of dynamic range and a large sensor with minimal crop factor so they can capture amazing wide angle, feature film quality shots. When working in HD, customers can use the high resolution images to reframe and zoom into shots without any quality loss.

The Blackmagic Cinema Camera PL has a 2.5K sensor with a super wide 13 stops of dynamic range that delivers truly cinematic quality images. Both cameras have dramatically wider dynamic range than traditional video cameras that preserves more detail in the blacks and whites of an image. For example, customers can shoot indoors with the correct exposure and still get full detail through windows outside. Every detail captured by the cameras’ sensors is preserved in the RAW files and can be edited and grade natively using the included DaVinci Resolve software for the highest possible quality output!

MultiView 16

Also on Blackmagic’s slate is MultiView 16, the world’s first native Ultra HD multi viewer that allows customers to use the new large screen Ultra HD televisions and Ultra HD monitors for displaying images at twice the resolution of an HD multi view. With full frame re-sync in each input Blackmagic MultiView 16 supports the display of up to 16 mixed SD, HD and Ultra HD video sources all at the same time. MultiView 16 will be priced at only US$1,495.

Blackmagic MultiView 16 outputs both 1080p HD and native Ultra HD over SDI and HDMI monitors, making it possible to use professional broadcast monitors or the new massive Ultra HD consumer televisions for incredibly sharp, high resolution multi view monitoring that is twice the resolution of traditional HD multi viewers. Customers can choose layouts from 2×2 for 4 sources, 3×3 for 9 sources and 4×4 for 16 sources.

Blackmagic MultiView 16 includes sixteen multi rate 6G-SDI inputs with separate loop thru that are compatible with existing SD, HD and Ultra HD equipment. All 16 inputs feature automatic frame re-synchronization, so each view is like an independent video monitor, regardless of the input standard. That means customers can mix and match up to 16 different video standards all at the same time!

Blackmagic MultiView 16 is the perfect solution when there are lots of video feeds to monitor and limited space. Customers no longer have to connect multiple monitors, dozens of cables or run extra power. Simply plug in cameras, decks, switchers, routers and feeds into the SDI connections on Blackmagic MultiView 16 and they can see everything with amazing clarity and detail on a single Ultra HD display.

Because it works natively in Ultra HD, customers get four times the number of pixels in each view so the video looks sharper and clearer than ever before. Blackmagic MultiView 16 delivers an incredible 4 full resolution 1920 x 1080 HD video sources when running in 2×2 layout, or 16 half resolution 1080 HD videos sources at an amazing 960 x 540 resolution when running in 4×4 layout!

Blackmagic MultiView 16 is easy to use and includes an elegant machined metal front panel with dedicated buttons for quickly selecting any source. Video can be routed to any position on the grid at the push of a button or with the spin knob control, so it works just like a video router. MultiView 16 can also be controlled remotely over a network using the included Mac and Windows software, as well as from Videohub hardware control panels installed throughout a facility. There is also an SDK for custom broadcast integrations.

“Using MultiView 16 is like having 16 independent broadcast monitors on a single display,” said Grant Petty, CEO, Blackmagic Design. “Facilities that don’t even care about working in Ultra HD can still get a huge benefit as when using an Ultra HD monitor connected to it, they get twice the resolution of regular 1080 HD inputs for twice the image clarity. That’s really critical when monitoring camera feeds where you want to check focus. Being able to view up to 16 mixed format sources on a single screen all at the same time, in such amazing quality and with incredible detail is mind blowing!”

Blackmagic MultiView 16 Key Features

– World’s first multi view to allow the use of Ultra HD television for twice the image sharpness.
– Display up to 16 SDI sources on a single HD or Ultra HD display via SDI or HDMI.
– 16 multi rate 6G-SDI inputs with loop thru, compatible with all SD, HD and Ultra HD equipment.
– Automatic frame re-synchronization allows simultaneous display of mixed SD, HD and Ultra HD formats.
– Choose from solo, 2×2, 3×3 or 4×4 grid views.
– Supported output resolutions: 1920 x 1080 and 3840 x 2160.
– Easy to use front panel controls with dedicated source buttons, LCD screen and spin knob control.
– Durable elegant machined metal portable 1RU design with professional connections for 24/7 reliability.
– Built in 90V – 240V AC international power supply for use anywhere in the world.
– Remote control via Ethernet using the included Mac and Windows software.
– Remote control via Ethernet using Blackmagic Videohub hardware control panels.
– SDK available for custom integrations.

Availability and Price

MultiView 16 will be available in November 2014 for US$1,495 from Blackmagic Design resellers worldwide.

Smartview 4K

SmartView 4K is a professional Ultra HD broadcast monitor with a native resolution of 3840 x 2160, an amazingly bright LCD screen with a wide viewing angle and advanced broadcast features such as 3D LUTs, adjustable on screen markers, H/V delay, blue only and more. SmartView 4K features multi rate 12G-SDI inputs that automatically switch between SD, HD and Ultra HD formats up to 2160p60. With 12G-SDI, SmartView 4K is an incredibly future proof design with unprecedented full resolution Ultra HD high frame rate support all built into the attractive thin rack mount design.

When monitoring SD, 720 HD or 1080 HD SDI sources, the built in Teranex processor uses advanced patented and proprietary PixelMotion™ algorithms to automatically de-interlace and scale video to the native Ultra HD resolution of the LCD. This means customers get visually transparent, artifact free scaling for the best quality possible and a fluid smooth viewing experience.

The 6 rack unit size machined metal design of SmartView 4K features a built in control panel for access to advanced broadcast features such as built in 3D LUTs, H/V delay, blue only for checking hue and image noise and customizable frame markers. The machined metal design also has a metal internal chassis allowing VESA mounting points on the rear so the monitor can be rack mounted, or mounted on articulated arms similar to computer monitors. This allows installation in news rooms, walls and other non rack mount locations.

With the advent of SDI video in the mid 1990’s some features on analog broadcast monitors were lost. One of these feature was the H/V delay that allowed broadcast engineers to view data and signals in the horizontal and vertical blanking. With SmartView 4K, customers get these features retuned and with the H/V delay feature, customers can shift the image to monitor data and information in the SDI blanking, such as embedded audio data, subtitles, VITC and more.

Blackmagic SmartView 4K includes both universal AC power as well as 12V DC power inputs so it can be used with a battery or plugged into standard AC mains power, making it the perfect professional monitor for any broadcast facility, mobile broadcast truck, or even on location and in fly away kits. There is also a SMPTE compatible optical fiber SDI socket for allowing customers to optionally add an optical fiber SDI module if they want to run optical fiber direct to their monitor without converters. Optional optical fiber is important with the high speeds of 12G-SDI where customers might feel more comfortable about the reliability of optical fiber.

Blackmagic SmartView 4K can be controlled from the front panel or remotely via rear mounted Ethernet connection with loop output using the included Mac and Windows software. It also supports VESA mounting so customers can install it on articulated monitor arms, on walls or in equipment racks. When used on set, the dual 3D LUTs can be selected on and off with the push of a button, and the DC power input allows a V-Lock battery pack to be mounted on the rear of the monitor and plugged into the DC input for long running time where no AC power is available.

SmartView 4K Key Features

– Large, bright 15.6 inch native Ultra HD resolution LCD rack mount monitor.
– Multi rate dual 12G-SDI connections, auto switching SD, HD and up to 2160p60 Ultra HD formats.
– Built in Teranex processor automatically de-interlaces and scales SD and HD video up to Ultra HD resolution for improved quality on lower resolution video inputs.
– Advanced broadcast features such as 3D LUTs, adjustable on screen markers, H/V delay and blue only.
– Optical fiber SDI module socket so customers can add a SMPTE compatible optical fiber module.
– Control via front panel or remotely via Ethernet using included Mac and Windows software control panel allowing remote control and adjustments from a single location.
– Both AC and 12V DV power inputs allowing mains and battery operation.
– Rack mount and VESA mount points allowing rack or non rack installation.

Availability and Price

SmartView 4K will be available in December 2014 for US$1,995 from Blackmagic Design resellers worldwide.

Smart Videohub 40×40 Ultra HD router

Blackmagic Design today announced Smart Videohub 40 x 40, the newest model in its family of mixed format routers with Blackmagic’s unique visual routing user interface and 6G-SDI technology allowing SD, HD and Ultra HD routing all on the same router at the same time. Smart Videohub 40 x 40 will be priced at US$2,995 and available in October.

The Smart Videohub family of professional SDI video routers are the world’s first Ultra HD mixed format routers to include built in large 5 inch high resolution video monitoring and spin knob router control. The Smart Videohub 40 x 40 includes 6G-SDI technology so customers can simultaneously connect and route any combination of SD, HD and Ultra HD video all on the same router at the same time. Even if a customer has 40 different television formats connected to the router inputs, Smart Videohub 40 x 40 would route any of them to any combination of the outputs, all simultaneously.

Smart Videohub 40 x 40 also includes an elegant machined metal front panel with full router control as well as built in LCD monitoring. Using the front panel, customers can perform direct entry of router cross points using buttons, or they can use the spin knob control.
Blackmagic Design’s unique, revolutionary Visual Routing combines the spin knob and button entry with easy to read custom router labels over live video from the inputs onto the LCD. When any input or output is selected, the video is displayed live on the LCD. This allows customers to see their router connections as video on the LCD as they scroll the knob to select routing. This unique feature means customers can route video simply by looking at it!

Smart Videohub 40 x 40 features advanced 6G-SDI connections that allow high resolution Ultra HD video using a single SDI connection, while retaining full compatibility with all SD and HD-SDI equipment. This means customers get industrial strength, stable and reliable SDI video connections with the flexibility to work in any television format they like. Even if customers are not running in Ultra HD now, they can still take advantage of the innovative design and lower cost of Smart Videohub 40 x 40 while working in regular SD or HD today, knowing that they are ready for Ultra HD the moment they need it!

Blackmagic Smart Videohub 40 x 40 includes full front panel controls, dual built in power supplies for redundant power and increased reliability, external ethernet control, RS422, and support for tri-sync and black burst reference. The router can also be controlled remotely via Ethernet using Blackmagic Design router control software for Mac OS X and Windows, or with the Blackmagic Smart Control and Master Control hardware router control panels.

“Our family of Smart Videohub 12 x12 and 20 x 20 models of routers have been incredibly popular in post houses and smaller broadcast facilities,” said Grant Petty, CEO, Blackmagic Design. “The new Smart Videohub 40 x 40 brings all of the great features of the incredible Videohub family, plus adds redundant power and a much larger bright high resolution screen is possible because of its larger 2 rack unit design! That means, features such as visual routing and labels are so much larger and clearer, and you can see where your routing is from clear across the room!”

Smart Videohub 40 x 40 Key Features
– Features 40 multi rate 6G-SDI inputs and 40 multi rate 6G-SDI outputs that support auto switching of SD, HD and Ultra HD formats.
– Built in control panel with dedicated source buttons allows direct entry with spin knob control.
– Built in LCD monitor allows large labels or for display of live video for visual routing.
– Built in crosspoint buttons on front panel allows direct selection of crosspoint.
– Take and clear buttons allow conformation of selected crosspoint before going live.
– Includes Ethernet port for external router control plus RS422 port for controlling router via serial link.
– Built in menus available from the front panel LCD for selecting Ethernet IP settings for remote control.
– Supports Blackmagic Design router control software for Mac OS X and Windows.
– Supports Blackmagic Smart Control and Master Control hardware router control panels.
– Dual built in power supply’s for redundant power operates from 110V to 240V.
– Compact 2 rack unit design, ideal for large systems as well as OB van use.

DeckLink 4K Extreme 12G capture card

Blackmagic Design today announced DeckLink 4K Extreme 12G, a new Dual Link 12G-SDI capture and playback card that includes an extremely fast 8 lane PCI Express Generation 2 connection to the computer allowing extremely high performance such as dual stream video capture and playback at resolutions up to 2160p60. Dual stream capture and playback at these resolutions allows dual stream 3D as well as simultaneous fill and key capture and playback even when operating at Ultra HD at 60 frames per second.

The new DeckLink 4K Extreme 12G is the ultimate digital cinema capture card featuring two full frame DCI 4K inputs and outputs! The multi rate 12G-SDI connections work with SD, HD and Ultra HD all the way up to full frame DCI 4K at 4096 x 2160 resolution at 60 frames per second. DeckLink 4K Extreme 12G supports 10-bit YUV and 8-bit, 10-bit and 12-bit RGB as well as 3D up to DCI 4K at 4096 x 2160 resolution at 60 frames per second.

The new DeckLink 4K Extreme 12G includes a new mezzanine card design that adds HDMI in and out on a second daughter card along with sockets for adding 2 optical fiber modules for Dual Link optical fiber SDI in and out. SMPTE compatible optical modules can be added up to 12G-SDI speeds, allowing customers to choose to connect equipment using optical fiber connections instead of regular BNC copper cables for dramatically longer cable length, even at the faster 12 Gb/s speeds.

DeckLink 4K Extreme 12G is perfect for customers working on feature film, commercial, visual FX, and television productions that require high resolution, deep color, stereoscopic 3D and high frame rate support.

DaVinci Resolve 11 customers will benefit from the simultaneous capture and playback support as this lets them capture direct from cameras on set, grade the live video with multiple nodes of correction and then to output the video to an on set monitor, all live and in real time! This makes lighting a film set easy and allows DOP’s, directors and colorists to work together to optimize the film’s look on set.

OEM developers will also like the multiple new features in these models as they greatly benefit customized system development. These new features include full frame genlock timing, closed caption in all bit rates, automatic input detection support, better CRC input checking, extremely low latency and direct GPU support, plus the ability to write pixels directly into the card’s frame buffers and the ability to write their own custom drivers.

DeckLink 4K Extreme 12G includes two 12G-SDI inputs and two 12G-SDI outputs, reference input and RS422 deck control ports for capture and playback of all SD, HD, Ultra HD and DCI 4K formats. The card also includes HDMI input and output, AES/EBU balanced XLR and unbalanced RCA inputs/outputs, and analog video I/O via the included breakout cable.

“In developing the new DeckLink 4K Extreme 12G we set out to design a card that just had everything we needed for high end feature film work in DaVinci Resolve, and we said to the engineers, don’t worry about cost, just make it as awesome as you can!” said Grant Petty, CEO, Blackmagic Design. “This new DeckLink 4K Extreme 12G is the result and it’s got everything we could want! But at the same time it’s also compatible with analog equipment from decades ago, all in the single card! Plus it’s still an affordable US$1,495, which is exciting!”

DeckLink 4K Extreme 12G Key Features

– 2 x 12G-SDI in and out, supports SD, HD up to 1080p60, 2K, Ultra HD and up to DCI 4K at 4096 x 2160 resolution at 60 frames per second.
– HDMI 4K in and out, supports SD and HD formats up to 1080p60.
– Component analog in and out, supports SD and HD formats up to 1080p60, s-video and composite.
– 4 channels of balanced analog audio in and out on jack connectors.
– 2 channel AES/EBU balanced audio in and out on jack connectors.
– Genlock/tri-sync input.
– Sony compatible RS-422 deck control.
– Dual optical fiber sockets for adding optical fiber modules, up to 12 Gb/s speeds.
– Supports uncompressed 8, 10 and 12 bit and compressed video capture and playback.
– Plugs into older model MacPro, Windows and Linux computers.
– Supports DaVinci Resolve, Final Cut Pro™, Adobe Premiere Pro™, Photoshop™, After Effects™ and more.
– Includes free developer SDK for Windows, Mac and Linux.
– Includes free Media Express capture and playback software for Windows, Mac and Linux.

Availability and Price

DeckLink 4K Extreme 12G will be available in October 2014 for US$1,495 from Blackmagic Design resellers worldwide.

New 4K Mini Converters and 4K Heavy Duty Mini Converters

Blackmagic Design today announced new Ultra HD compatible Mini Converters and Heavy Duty Mini Converter 4K models that feature 6G-SDI technology, allowing customers to use a single type of converter for all conversion needs in SD, HD and Ultra HD television formats. These new models replace the previous models for each conversion type and all standard models retail at US$295 while the heavy duty models retail for US$345.

The new Mini Converter 4K and Heavy Duty Mini Converter 4K models will be demonstrated on the Blackmagic Design IBC 2014 booth in Hall 7, Stand H20.

New 4K Mini Converters are the perfect solution for broadcast and post production engineers who need to install equipment that’s Ultra HD ready, as each converter operates as a normal SD or HD converter and then will automatically switch to Ultra HD when a 6G-SDI input is connected. Live production customers will love the ability to use these new Mini Converters in all kinds of situations when doing Ultra HD live production work. Even connecting to old SD televisions from an Ultra HD program feed is possible, so customers don’t have to worry about what kind of equipment they might find at a venue they are integrating with.

Mini Converter Heavy Duty models feature an aluminum design that is super tough yet compact and lightweight, making them perfect for use on location. All models include the latest 6G-SDI technology, auto switching between SD, HD and Ultra HD formats, redundant SDI inputs, loop through SDI, balanced analog and AES/EBU switchable audio, standard 1/4” jack audio connections and an international power supply.

Unlike traditional converters that are suitable for indoor use, Blackmagic Design’s Mini Converter Heavy Duty is designed to meet the tough and demanding conditions of live production. Each converter is machined from a solid block of aluminum and is designed to keep working, even while being run over by a car or a truck!

New 4K Mini Converter Model Summary

Mini Converter SDI to Audio 4K de-embeds 4 channels of analog audio or 8 channels of AES/EBU digital audio from any SDI video connection. Access the audio in any SDI video connection for output to a massive range of audio equipment such as audio mixers, analog broadcast decks, audio monitors and more. Only US$295.

Mini Converter Audio to SDI 4K embeds 4 channels of analog audio or 8 channels of AES/EBU digital audio into any SDI video connection. Customers can embed professional audio from devices such as audio mixers and analog decks into SDI video connections for use with SDI routers and decks or to add extra audio channels to video converters. Only US$295.

Mini Converter H/Duty SDI to HDMI 4K converts from SDI to HDMI. Includes 6G-SDI inputs allowing for SD, HD and Ultra HD automatic switching, redundant SDI inputs, loop through 6G-SDI output, built in down converter and analog or AES/EBU audio outputs de-embedded from the SDI video input. This model will automatically detect an HD HDMI device and down convert when an Ultra HD input is connected. Only US$345.

Mini Converter H/Duty HDMI to SDI 4K converts form HDMI to SDI. Includes 6G-SDI outputs allowing for SD, HD and Ultra HD automatic switching, two 6G-SDI outputs, HD to SD down conversion, plus analog or AES/EBU audio inputs for embedding into SDI output when audio from HDMI input is not being used. This model features an override switch to allow it to tell an HDMI 4K device to output regular HD when HD-only operation is required. Only US$345.

Mini Converter H/Duty SDI to Analog 4K converts form SDI to component, S-Video or composite. Includes SD, HD and Ultra HD auto switching, redundant SDI input, down conversion, plus analog or AES/EBU audio outputs de-embedded from the SDI video input. This model will automatically down convert an Ultra HD SDI input when detected to regular HD on the component outputs or standard definition when S-Video or composite is output. Only US$345.

“With these new models, our whole range of Mini Converters now supports Ultra HD so customers are ready for the future with these new designs. Thousands of our customers rely on our converters for their mission critical production and broadcast work every day, and it’s exciting to provide model updates as new technologies become available,” said Grant Petty, CEO, Blackmagic Design. “Our 4K Mini Converters feature the latest Ultra HD technology and the new Heavy Duty Mini Converters combine this technology with our most rugged and durable design ever, giving customers the 24/7 reliability they need in even the most extreme locations!”

Availability and Price

Mini Converter 4K models are available now from US$295 from Blackmagic Design resellers worldwide , and Mini Converter Heavy Duty models will be available in October 2014 for US$345.

Videohub 6.0

Blackmagic Design today announced Videohub Software Update 6.0, a whole new software suite for the company’s popular Videohub range of SDI routers that provides new client control and setup applications for easier and simpler router operation. Blackmagic Videohub 6.0 is available now for download free of charge.

Videohub Update 6.0 software will be demonstrated on the Blackmagic Design IBC 2014 booth in Hall 7, Stand H20.

The new Blackmagic Videohub 6.0 update includes 2 new software applications for both Mac OS X and Windows computers. The Blackmagic Videohub Control features a new user interface that includes elegantly designed buttons that allow users to customize and control their Videohub routing from their desktop. Blackmagic Videohub Control is perfect when customers are working on editing, color correction or other computer based workstations and want to change routing in their facility.

Blackmagic Videohub is simple and easy to use and supports the latest technologies such as high resolution “Retina” displays that use paper resolution screen displays. Blackmagic Videohub Control can be installed on multiple computers in a post production facility or broadcaster so all users can quickly launch the software and change route cross points with the press of a button.

For configuring and installing Blackmagic Videohub routers, the administration software, Blackmagic Videohub Setup, has been designed to make it extremely fast to install and label router inputs and outputs and to change other settings on Videohub routers. It automatically finds all Videohub routers on the users network, or any routers connected locally via USB and then lets the administrator or broadcast engineer simply select the router and change its settings.

Blackmagic Videohub Setup also allows customers to save and load router configurations so they can backup the router in case they need to quickly load the router settings in the future, or even change router configurations between jobs, common on smaller routers in live production environments.

Blackmagic Videohub Setup also supports both Mac OS X and Windows computers and supports high resolution Retina displays.

Download Videohub 6.0 here at the Blackmagic Design site.

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IBC 2014: Sony unveils new PXW-FS7 compact 4K XDCAM camera with a Super 35 CMOS sensor

IBC 2014: Sony unveils new PXW-FS7 compact 4K XDCAM camera with a Super 35 CMOS sensor

The new PXW-FS7 is optimised for long-form with XAVC-L recording, native E-Mount lens flexibility, high speed XQD media and a comfortable, robust design.

Sony’s newest addition to its large sensor line is a complete camera system that delivers long-form recording capabilities with 4K resolution in a compact, hand-held design. The new PXW-FS7 XDCAM Super 35 camcorder combines the flexibility of native E-mount technology, the recording efficiency of the XAVC-L codec; the transfer speed and intelligence of XQD memory cards; and comfortable, handheld ergonomics, including a new “Smart Grip.”

The new camcorder is designed for a range of long-form shooting and production applications, from “cinéma vérité”-style documentaries and reality TV to magazine shows, commercial and corporate applications.

Native E-Mount; A-Mount Lens Compatibility

The PXW-FS7 is a native E-mount camcorder designed to give users maximum lens options and flexibility, smooth and silent iris, focus and zoom control, with auto exposure and SteadyShot stabilization. An extremely shallow, 18 mm flange-back distance enables the use of a range of 35mm lenses. Sony’s optional LA-EA4 A-mount lens adaptor allows compatibility with a wide range of high-quality A-mount lenses.

The new camera will be available in two versions: body-only, and the PXW-FS7K version with a new servo zoom E-Mount lens FE PZ 28-135mm F4 G OSS (SELP28135G).

The new E-mount lens is the world’s first 35mm full-frame interchangeable power zoom lens. It features constant F4 value, independent rings for iris, zoom and focus control, and is dust- and moisture-resistant. The SELP28135G has SteadyShot stabilization, minimum focus breathing and is enabled with Sony’s new Super Sonic wave Motor (SSM) to reduce zoom noise while shooting.

The PXW-FS7 is compatible with Sony´s new XAVC Intra and XAVC Long GOP formats, each supporting 10-bit 4:2:2 recording (XAVC-I, 180fps; XAVC-L, 120fps). Recording in UHD (3840 x 2160) resolution, slow motion up to 60fps and Full High Definition (1920×1080) with 60/50 progressive frames is possible. A firmware update in early 2015 will enable native HD recording in the Apple ProRes HQ 422 codec, when using an optional extension unit (XDCA-FS7).

Through the XDCA-FS7’s FS-RAW interface, the PXW-FS7 is capable of 4K/2K RAW recording with Sony’s HXR-IFR5 and AXS-R5, or with a compatible third-party external recorder.

The PXW-FS7 features 2 XQD card slots that support simultaneous recording and relay recording. To support the FS7’s Slow and Quick motion and internal 4Krecording, a new 128 GB XQD G series with ultra-high speed transfer up to 440MB/s (read) and 350MB/s (write) has been developed. XQD cards are also available in 64 and 32GB capacities.

The camera includes a low-pass video filter, progressive pixel reading and advanced camera processing to give users a broad span of creative treatments and options such as high speed recording, high resolution and high sensitivity, with less aliasing and less rolling shutter.

The camera’s 4 built-in ND filters allow full exposure control in a range of lighting conditions, without requiring external ND filter equipment. S-Gamut3/SLog3 & S-Gamut3.Cine/SLog3 are supported for flexibility of post-production options.

The camera’s 11.6 million-pixel Super35 Exmor CMOS sensor delivers enhanced sensitivity, shallow depth of field, a high signal-to-noise ratio for fantastic low light performance.

The new camera is designed to provide a range of creative shot options. It can be used hand-held, and is also designed for balanced shoulder-mount use without the need for additional rigs. The flexible viewfinder mounting system lets users easily relocate it for changing shooting positions.

The supplied Smart Grip provides easy access to key camera functions including focus magnification; the user menu; REC start/ stop; and zoom. Its assignable wheel allows control of Iris, Focus, Audio Level and Gain.

The camera’s image sensor and signal processor are contained in an environmentally sealed chamber. Heat is directed to an external radiator with a fan for active cooling.

Sony is also introducing an optional accessory, the VCT-FS7 light-weight rod support system featuring 15mm rods and an adjustable shoulder pad. This lets shooters use additional peripherals and easily attach follow focus systems or an external recorder.

Key features of the PXW-FS7

– Sony’s Super 35 Exmor CMOS Sensor.
– Native E-Mount; Compatible with A-Mount lenses (LA-EA4 A-mount lens adaptor required), 18 mm flange back distance.
– On-board UHD 4K (3840 x 2160) and Full HD (1920 x 1080) recording.
– Wide choice of recording systems.
– XAVC (Intra/Long GOP).
– MPEG HD, 4:2:2, 50 Mbps (HD only).
– Apple ProRes codec (with future upgrade and extension unit, sold separately).
– RAW recording (with extension unit and outboard recorder, sold separately).
– Slow & Quick Motion for over-and under-cranking.
– Dual XQD card slots.
– 16-bit analog-to-digital converter.
– ISO 2000.
– Supports S-Gamut3Cine/S-Log 3 encoding.
– Die-cast magnesium frame.
– Environmentally sealed electronics.
– Wireless operation with CBK-WA100, sold separately.
– GPS.

The following are planned availability and suggested list pricing for the PXW-FS7 and accessories:

PXW-FS7 4K XDCAM Super 35mm Camcorder (body only) – October 2014, suggested list price less than $10,000.

PXW-FS7K 4K XDCAM Super 35mm Camcorder (with FE PZ 28-135mm F4 G OSS lens) – December 2014, suggested list price less than $13,000.

XDCA-FS7 Extension Unit – December 2014, suggested list price less than $2,500.

SELP28135G FE PZ 28-135mm F4 G OSS lens – December 2014, suggested list price of $2,500.

VCT-FS7 Light-weight rod support system – December 2014, suggested list price less than $1,200.

Want to know more? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest IBC news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook or keep an eye on our roundup post.

IBC 2014: Matrox unveils quad and six-head PCI Express graphics cards

IBC 2014: Matrox unveils quad and six-head PCI Express graphics cards

Matrox Graphics Inc. today announced the first two cards in the eagerly anticipated Matrox C-Series — the Matrox C420 quad-output and the Matrox C680 six-output PCI Express graphics cards —e ngineered for stability, reliability and advanced multi-display capabilities. Both cards feature 2GB of on-board memory and mini DisplayPort connectivity. They deliver outstanding performance for control room, digital signage, enterprise, industrial, security, A/V, and embedded system applications.

The low-profile Matrox C420 quad card features passive cooling for increased reliability and silent operation. Its low power consumption makes it a perfect fit for small-form-factor and embedded systems. The single-slot Matrox C680 supports up to six displays or projectors. Compatibility with the latest Ultra-HD and 4K panels makes C680 a versatile solution for multi-screen workstation setups. More displays can be supported by inserting two C680 cards into a system. The board-to-board framelock feature ensures synchronization of all displays to reduce tearing on digital signage and video walls.

Both new video cards work with the robust Matrox PowerDesk desktop management software for Windows that lets users easily configure and manage multi-display setups. PowerDesk gives professionals a comprehensive set of tools to control a variety of display configurations including stretched or independent desktops, clone mode, pivot, bezel management, and edge overlap. Matrox advanced desktop management features also let users determine where and how program windows are displayed on the desktop — a productivity tool designed to enhance multi-display experiences.

“This introduction of C-Series expands our line of multi-display graphics card to offer our customers higher performance, higher display density solutions,” said Caroline Injoyan, business development manager, Matrox Graphics Inc. “We will continue to support our professional users with the premium technical assistance, long product life cycles and easy-to-use PowerDesk desktop management software that Matrox is known for.”

Key features of Matrox C-Series

Matrox C-Series PCI Express x16 graphics cards are designed with AMD GPUs featuring DirectX 11.2, OpenGL 4.4 and OpenCL 1.2 compliance. Secure mini DisplayPort connectors prevent loose cabling. The low-profile Matrox C420 supports up to four displays with a maximum resolution of 2560 x 1600. Matrox C680 supports up to six displays with a maximum resolution of 4096 x 2160. Bundled with Matrox PowerDesk for Windows, Matrox C-Series is compatible with Microsoft Windows 7, 8.1 and Linux operating systems.

Want to know more? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest IBC news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook or keep an eye on our roundup post.


IBC 2014: Sony announce new PXW-X200, F55 updates, docks and more

IBC 2014: Sony announce new PXW-X200, F55 updates, docks and more

Just when you thought you’d got a handle on the rapidly expanding PXW range, they go and sneak in another one. But they’ve also updated the F55 and F5, and released a whole slew of workflow accessories, so we suppose we’ll forgive them. 


Sony’s latest boasts 1/2″ type sCMOS sensors and a x17 soonFuji lens. It records in LONG-GOP and XAVC-Intra to SxS cards, but does allow proxy recording to an SD card. According to the press release, “Sony’s new addition to its XDCAM range of solid state memory camcorders, the PXW-X200, incorporates an improved 1/2 inch-type Exmor™ 3CMOS sensor, a new 17x zoom lens and XAVC Intra/Long GOP recording with 4:2:2 10-bit sampling. The successor to Sony’s PMW-200, the new camcorder has a 1/2 inch-type 3CMOS sensor and MPEG HD422 (50 Mbps) recording capability.”

Like many of its fellow PXWs, the PXW-X200 it allows for NFC and camera control over WiFi, so is ideal for events where you can’t (or don’t want to) be behind the camera at all times – this function and live streaming will both be added in a firmware update early next year.

In terms of format support, we hand you over to Sony’s press squad:

The camcorder efficiently compresses Full HD (1920×1080) resolution images using MPEG-4 AVC/H.264, and records XAVC using 4:2:2 10-bit sampling. In XAVC, the user can select Intra-frame compression at a maximum of 112 Mbps or high-efficiency Long GOP compression at 50/35/25 Mbps. In addition to XAVC Intra/Long GOP, the PXW-X200 also records in MPEG HD422 (50Mbps), MPEG HD420 (35/25 Mbps), MPEG IMX (50 Mbps) and DV (25 Mbps) formats. Four channels of 24-bit 48 kHz LPCM audio are recorded in XAVC and MPEG HD422, while four channels of 16-bit 48 kHz LPCM are recorded in MPEG HD420. The multi-format support is useful for different shooting applications and can be adjusted to meet users’ requirements. Operating on globally-established XDCAM HD422 or XAVC formats allows the PXW-X200 to deliver high-speed, intuitive workflows along with greater operational convenience.

The PXW-X200 should be available from November 24th.

F55, F5 and CBK-55-BK

The latest update for Sony’s F55 and F5 is a paid upgrade which requires an install by Sony, which makes it all sound very unnecessary and inconvenient until you learn that it will allow you to lease ProRes and DNxHD recording options on a project-by-project basis, so you can capture in whatever codec suits your work. There’s also a new 4K option available for the F5 (see below).

If you want to move your F55 or F5 into a broadcast environment, you’ll want to equip yourself with a CBK-55-BK dock, which turns both of them into broadcast cameras by altering the backplate. It’ll work with any F55 or F5 that’s on v5 of the firmware or later, and will set your back around €8000.

In Sony’s words:

We are excited to announce significant new updates and enhancements for both the F5 and F55 CineAlta 4K camera systems. As you know these cameras have benefited from an assortment of accessories, and a long and very rich firmware development timeline that has seen powerful new features implemented at no cost to the end user. These ongoing efforts have made them amongst the most advanced motion picture cameras available today

Continuing this tradition and further reinforcing our commitment to these cameras, there are several important announcements. All of the information below is detailed in our new charts

Version 5.0 firmware:

Our rich firmware development timeline continues with the introduction of version 5.0. This update has a number of powerful features such as interval recording (time lapse), simultaneous recording with HDCAM SR and MPEG 50Mbps 422, and much more. Version 5 is required in order to utilize everything explained below. Please refer to the v5 chart for more detail

– Free
– Planned Availability: December 2014

NEW Shoulder-mount ENG and Documentary docking unit – CBK-55BK

After significant feedback from people in the industry, many of whom were shown the preliminary design, we are excited to announce the newly designed ENG/DOC shoulder mount unit for both the F5 and F55. You can easily transform your F5 and F55 into the perfect Documentary and ENG run-and-gun shoulder mount camera by simply docking the camera body into the unit, no cables and with no fuss. The new design includes support for the AXS-R5 RAW recorder. A detailed chart explaining the CBK-55BK is below.

– Target Price: $7999.99 (USA)
– Planned Availability: December 2014

Apple ProRes and Avid DNxHD encoding – CBKZ-55PD

The F55/F5 cameras have established codecs including 10 bit XAVC, HDCAM SR 444, 422, MPEG 50Mbps 422, and 16-bit RAW via the optional AXS-R5 recorder. By popular demand, we are implementing Apple ProRes and AVID DNxHD encoding via an option board to be installed at the Sony service center. SxS Pro+ and XQD S-Series and G-Series media are supported for recording.

This optional hardware upgrade will offer even more flexibility in the workflow, allowing users to stay in ProRes or DNxHD throughout the entire pipeline, if they so choose. Please refer to the codec chart below for more details

– Target Price: $2250
– Planned Availability: December 2014

F5 4K upgrade program – CBK-55FX

As you may be aware, some users are able to modify the All File of the F5 to enable 4K XAVC internal recording. This modification is not authorized by Sony and may cause unforeseen operating conditions as a result of the F5 not being programmed by Sony to perform the 4K recording properly.

Due to the widespread adoption of 4K in the marketplace, and to further protect customers’ investments in the F5, Sony is implementing 4K internal recording and 4K output capabilities by way of an optional upgrade program.

We are happy to announce the CBK-55FX, a 4K Upgrade Option for the PMW-F5. Installed 4K capabilities are XAVC 4K/QFHD recording and playback, 4K SDI and 4K HDMI Output and Simultaneous recording (XAVC 4K or QFHD) with MPEG 50Mbps 422. This option will be activated by license key which will be purchased and installed by the end-user. Further details will be provided shortly

– Target Price: $998
– Planned Availability: December 2014

Want to know more? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest IBC news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook or keep an eye on our roundup post.


IBC 2014: NewTek Unveils TalkShow

IBC 2014: NewTek Unveils TalkShow

NewTek today unveiled TalkShow VS-100, a video calling production system designed specifically for television studios and live video producers. With TalkShow, any television or live video producer can easily reach 300 million monthly connected Skype users and incorporate them as guest speakers into live programs with full-frame Skype video calls. Attendees at the 2014 IBC Convention in Amsterdam from September 12-16 can be the first to see the new TalkShow system at the NewTek stand 7.K11.


The turnkey TalkShow system builds upon Skype TX software from Microsoft for initiating, receiving, monitoring and managing video calls, with a unique set of live production tools not found in other video calling systems. With TalkShow, users have access to customizable settings for fully colour correcting live video calls (including features for automatic colour balancing) as well as SDI-embedded audio, and compressor/limiter, equalisation, and adjustable head-room controls for further improving audio quality. These tools allow producers to deliver enhanced video/audio experiences that are critical when producing credible, high-quality broadcast programming and are simply not possible with standard desktop video messaging products. Additionally, producers using TalkShow with TriCaster multi-camera video production systems will be able to route Skype video calls directly to and from a TriCaster over a network connection without tying up an additional HD-SDI input.

“Almost every live TV and video programme includes a conversation between people-whether it’s a news or entertainment show, a sporting event, or even a corporate meeting,” said Dr. Andrew Cross, president and CTO of NewTek. “While there’s been a growing trend to incorporate social media – such as live Twitter feeds – directly into these programmes, integrating a two-way dialogue over Skype dramatically shifts the experience to a more engaging and participatory event. TalkShow truly breaks down the fourth-wall in traditional live television. It’s a fast, easy, low-cost way to reach anyone in any location with a simple Skype video call and to enrich program content with immediate access to the fresh perspective, analysis and opinions that only a guest speaker can deliver.”

Angie Hill, general manager for Audience Marketing from Skype added, “Skype TX is an important part of our offering to media, so we’re delighted to welcome NewTek to the Skype family. We’re now able to bring new dimensions to broadcasters’ productions and inspire a brand new generation of media moments.”

TalkShow: Make, Receive, Monitor and Adjust Skype Video Calls

TalkShow is the only production system for live video calls that enables broadcasters to manage all aspects of a live Skype video call in the control room like any other video source – and adjust the visual and audio quality of each call. The low cost, integrated hardware and software solution is broadcast ready, offering dual channel Ethernet connectivity, two channels (1 in, 1 out) of HD-SDI I/O that includes reference signal, professional XLR audio support, Tally support and more. The 1RU system allows producers to easily incorporate TalkShow into any live production or studio environment and:

– Access anyone they can reach online including the rapidly growing audience of 300 million monthly connected Skype users worldwide, to include more expert analysis and perspective in their shows, without specialized networking tools, ENG clients or proprietary software to call into a live broadcast or event.

– Transform any Skype video call initiated to or from a desktop, laptop, X-Box gaming system, Skype enabled TV, or mobile device into full-frame video, with automatic aspect ratio conversions and balanced audio. TalkShow operators can work free of audio/visual distractions such as secondary call notifications and advertisements.

– Colour balance video images with full proc-amp controls and automatic color correction to adjust image attributes for any lighting environment, enabling video calls with poor lighting and contrast to appear with far higher quality.

– Deliver reliable broadcast audio signal quality with SDI-embedded audio, and built-in compressor/limiter tools that keep call volumes at consistent levels and prevent audio clipping. Additionally, producers who often wrestle with scratchy audio and nasal-like midrange tone that results from small telephonic microphones can adjust overall tonality and background noise of any Skype call using the onboard graphic equaliser.

– Actively monitor live Skype video calls with full Tally support that allows operators to see when TalkShow Skype feeds are currently live in a programme.

– Easily manage multiple, simultaneous Skype calls within a single, user-friendly interface that offers operator previews, continuous call quality monitoring, and automatic fallback to custom still images when unforeseen bandwidth constraints occur.

Pricing and Availability

The TalkShow VS-100 model is expected to ship in Q4 2014 and is available to order now at a special introductory price of $3,995 USMSRP, which will remain in effect through November 26, 2014. International pricing will vary.

Want to know more? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest IBC news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook or keep an eye on our roundup post.


IBC 2014: Avid announce 4K Media Composer at Avid Connect

IBC 2014: Avid announce 4K Media Composer at Avid Connect

Avid Connect was probably the most hotly-anticipated of IBC’s opening conferences in our office, and judging by what we’ve heard back so far, it didn’t disappoint…

4K Media Composer

The big news of the day was the announcement of a 4K-friendly version of Media Composer, which is due to drop later this year. 4K support comes courtesy of a new architecture called Avid Resolution Independence, which the senior vice president of products and technology Chris Gahagan says will allow editors to “efficiently manage, edit, and deliver high-res media.”

“Media Composer will solve [current] issues by enabling video professionals to work with native 4K formats in realtime, and create the high quality, inspiring content that today’s audiences demand—all using their existing production infrastructure and workflows.”

 It’ll also mean you spend less time transcoding, ingesting and generally hanging around watching your computer think, which is never a bad thing.

Introducing DNxHR

Not content with upping Media Composer’s resolution, Avid have also announced a new codec called DNxHR. The new codec will be at the centre of Avid’s Resolution Independence Architecture, which is being built into MediaCentral Platform, as it allows editors to scale from proxy to mastering resolutions in order to perform editorial tasks using full res rasters.

Want to know more? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest IBC news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook or keep an eye on our roundup post.