IBC 2016: Grant Petty on Teranex AV, DeckLink Mini 4K and Blackmagic acquisitions

IBC 2016: Grant Petty on Teranex AV, DeckLink Mini 4K and Blackmagic acquisitions

Blackmagic Design always arrive at events like IBC with a raft of new releases, and for those among who struggle to keep up, Grant Petty’s regular roundups are one of the highlights of the event. Read on to see what the man himself has to say about this year’s releases and the future of Blackmagic Design.

Hi,

I just wanted to send a quick email to update you on our new product announcements and other major news about Blackmagic Design at IBC this year!

First, we are excited to announce two major acquisitions! Blackmagic Design has acquired Ultimatte and Fairlight. Ultimatte is the worldwide leader in realtime blue and green screen removal solutions for broadcast television, while Fairlight creates cutting edge professional digital audio products for everything from live events to film and television post production!

We’re also thrilled to be introducing Teranex AV, a new broadcast standards converter designed specifically for the professional AV market. We’ve also got updates to our popular DeckLink Mini Monitor and DeckLink Mini Recorder products that bring them from HD up to 4K so you can work with everything up to Ultra HD 2160p30, even HDR! In addition, we have a new low price on our popular HyperDeck Studio 12G.

We’ve also been working on some incredible new software updates. Today we’re announcing an update for the Blackmagic Video Assist 4K which adds false color support, new bit rates for DNx formats and more. We’re also releasing the the final GM for Fusion 8.2 on Linux, along with a great new update for DaVinci Resolve 12.5 customers!

Blackmagic Design Acquires Ultimatte

ultimatte

Almost every newscaster and weather reporter stands in front of a green or blue screen while delivering the news and weather. For the past 40 years, Ultimatte has been the industry standard hardware and software used to place these reporters in front of weather maps, stock charts, and other info graphics.

More recently, Ultimatte’s technology has been used to place entire news teams, sports commentators and talk show hosts into completely virtual sets! So this acquisition is very exciting for us and there is a fantastic team at Ultimate who are excited to be part of Blackmagic Design!

 

Blackmagic Design Acquires Fairlight

fairlight

The next acquisition is Fairlight who create some of the world’s most powerful digital audio software and hardware for film and television production. Fairlight also designs consoles for very demanding on-air live productions and these consoles feature full redundancy for mission critical work in broadcast and broadcast trucks plus other areas such as performing arts venues etc.

For post production, Fairlight makes a very wide range of products including compact desktop audio post consoles as well as large format mixers with dedicated controls and audio engines that can deliver up to 1000 tracks of audio with 64 channels of monitoring! Fairlight’s also has some very exciting IP including immersive 3D audio workstations let you deliver 3D sound in formats such as 5.1, DTS, Dolby and more! Its really quite amazing!

The new Teranex AV

teranex-av

Teranex AV is a new broadcast quality standards converter specifically designed for AV professionals. This model is similar to the Teranex Express, however there is specific features for live production use such as low latency, a live freeze frame and internal still store for adding logos and graphics, plus the 1,089 conversions for any format to any other formats up to 2160p60. The very low latency lets you convert video and output it to a projector in sync with the live presenter which is very important for live production.

One exciting feature is that Teranex AV features both 12G-SDI outputs and simultaneous Quad SDI output connections so you can use it for video walls. Another important feature is HDMI 2.0a input with both a loop HDMI output before the processing and a separate HDMI output after the processing. You also get balanced XLR professional audio inputs and consumer HiFi connections so you can plug in laptop computer audio, lapel mics, iPods and more!

The new Teranex AV will be available in September for US$1,695.

New DeckLink Mini 4K Models

decklink

We have also announced upgrades to our popular DeckLink Mini Monitor and Mini Recorder products. These new models include all of the same powerful features of the HD models, but add Ultra HD and HDR support.

Both models are low profile 4 lane generation 2 PCIe cards that feature 6G-SDI and HDMI 2.0a connections for working in all SD, HD and Ultra HD formats up to 2160p30. You get both full height and half height PCIe shields so you don’t have to buy any costly extra accessories! Both DeckLink Mini 4K models are fully compatible with the Blackmagic Desktop Video SDK, making them perfect for OEMs or developers that are building custom playback or recording solutions.

The DeckLink Mini Monitor 4K and DeckLink Mini Recorder 4K are both available now for US$195 each.

New Lower HyperDeck Studio 12G Price

hyperdeck

Today we announced a US$1,000 price reduction for HyperDeck Studio 12G to only $1,495! This is exciting and it’s possible because more customers have adopted 12G-SDI technology so we have been able to put a lot more work into the manufacturing of the design. This has allowed us to reduce the construction costs and so pass those savings!

This will really help boost 12G-SDI workflows and because 12G-SDI is compatible with all existing equipment it will work with all SD, HD, and of course Ultra HD formats up to 2160p60 over a single cable! This allows you to replace older Quad Link equipment with single cable. HyperDeck Studio 12G has been very popular and it’s the world’s most advanced Ultra HD solid state broadcast recorder with VTR style controls, 12G-SDI and HDMI connections, 10-bit 4:2:2 uncompressed recording, and both ProRes and DNxHD file formats for recording to smaller files that are beyond broadcast quality!

HyperDeck Studio 12G is available now for US$1,495.

New Video Assist 2.2 Update

video-assist

We will also be showing the new Video Assist 2.2 Update at IBC! This is a major new update which adds new features to the Blackmagic Video Assist 4K model. These new features make it easier for you to adjust exposure and check focus, because it adds new false color monitoring exposure tools and expanded focus assist options.

In addition, if you are using Avid systems running on Windows you now have the ability to save DNxHD 220, 145 and 45, along with DNxHR HQ, SQ and LB files as MXF instead of .mov which improves compatibility and performance. It also adds the ability to manually control the screen orientation and turn off the auto rotate feature which makes it easier for customers to use Video Assist 4K with handheld gimbals and other equipment designed to move the camera and rig simultaneously.

Video Assist 2.2 Update will be available next week as a free update from the Blackmagic Design support web site. Blackmagic Video Assist 4K is available now for US$895.

DaVinci Resolve 12.5.2

Today we released DaVinci Resolve 12.5.2, a new update that adds support for additional metadata embedded into the RAW files from Blackmagic URSA Mini cameras running the new operating software, new color space tag support when exporting QuickTime, Fusion Connect for Linux, additional smart bin options, new color page timeline filtering based on plug-in use and much more! Download it now here.

For more on the latest IBC releases, take a look at our roundup post, give us a call on 03332 409 306, email broadcast@Jigsaw24.com or pop your details in the form below. For all the latest news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook.

Upgrading Swansea City FC to HD and exceeding Premiership standards

Upgrading Swansea City FC to HD and exceeding Premiership standards

Having finished in the top half of the Premiership and qualified for the UEFA Europa league, Swansea City decided it was time to update their media infrastructure in order to give fans, pundits and their analysis team the best possible coverage of each game. Using Blackmagic Design’s production gear, they were able to update their network to HD, increase the number of video feeds they can deal with and how quickly they can be dealt with.

During summer 2013, Swansea City’s senior multimedia officer, Mark Williams, decided to update the AV system at Liberty Stadium. “It’s a relatively young stadium, and at the time there was no idea that we’d have Premiership football straight away, so everything was done in the most economical way possible. This only included provision for analogue systems throughout the stadium, as opposed to the digital we all know today.”

At the end of the 2013 season, Liberty Stadium could only send a single camera feed from their OB facilities to the rest of the stadium, and were struggling to keep up with the Premiership’s requirements.

“When we first came up to the Premiership, there was a requirement for 80 different cable runs between the stadium and the OB compound, whereas at the start of the season there needed to be 240 in place [to cater for more overseas television],” explained Mark. “We wanted to make sure that we took the specification from the Premier League and at very least we matched it. We were hoping to future proof the system for years to come.”

Managing feeds centrally using ATEM Television Studio

As well as increasing the stadium network’s capacity, Mark wanted to improve the efficiency of the media team’s workflow. They decided to centralise their entire system by creating a Fibre bridge between the control room and OB compound using a pair of ATEM Studio Converters and an SDI-to-Fibre converter.

“The ATEM Television Studio has been fantastic,” said Mark. “It gives us the ability to switch the video between different sources, and monitor all the various sources [which is important because] in addition to the video feeds coming in from the game itself, we’ve got cable runs going down to a couple of interview areas – two in the tunnels and one in our press room. So it’s allowed my desk to become a mini television gallery; I can monitor all the feeds, make sure everything is running smoothly and then switch stuff to the live TV in the concourse, or between the various computers that we’ve got in the office to record things.”

Helping analysis teams make the most of every game

Once broadcasters supply the feeds to the control room, Mark and his team use a pair of 16×16 Micro Videohubs to route the signals to over 130 press seats, 54 commentary positions, the team’s analysis department and their commercial arm.

“The strange thing about football analysis is that they need video in order to do their work, but that’s the one thing that they never get taught. We’ve had a lot of interns and new graduates, and they’ve learned a lot about the tactical analysis side of things, but not what they need to do in order to get that video content in the first place. So we worked with the coaches and the analysis department to make sure they get what they need, because regardless of what we do with the press, ultimately it’s what goes on on the pitch that’s key.”

In order to help the analysis team further, Mark’s next job is to move them from their current analogue system to an H.264-based one that allows them to capture HD feeds during international games, where no analogue signal is available.

“We use one of the Blackmagic Design’s H.264 Pro Recorders, and the great thing about them is that you can take any of the various formats that are out there, whether they be HD, SD, analogue, composite, you name it, and convert it into a feed that literally just goes into [any computer] via USB cable, which almost any machine can handle,” explained Mark. “It allows the team to have an entire game in full HD quality in a fairly manageable file size, which they can feed off to the coaching staff, copy to laptops or stick it on hard drives, so when they do their more detailed analysis afterwards, they’ve got the best quality that they can.”

Improving efficiency and speeding up recording workflows

“I realised one of the things we needed to do was make our workflow more efficient,” explained Mark. Because they never know how much time they have between two managers coming in to be interviewed after a game, the media team can’t work on the first interview until the second is complete – “we don’t want to waste time filming and recapturing, so we capture while we’re filming.”

Mark and his team now use Micro Videohubs to direct one interview feed to each of the media department’s Mac Pros, enabling them to record both independently while recording the OB compound’s post-match broadcast to an Atomos Samurai. “We’ve got multiple systems that allow us to keep working rather than sitting and waiting for something to happen. At the last game it went from an hour and 15 minutes from when the interview finished [to us having processed it] to something like 15 minutes.”

Finding an IT provider to help with the transition

“The very first Mac bought by the club was bought from Jigsaw24,” Mark said. “All the analysis software was on PC, but all the editing software was on the Mac, so we needed the flexibility of working between the two [which is only possible on Mac].

“We saw it as a good opportunity to build up a lasting relationship, because not only do Jigsaw24 do Macs, but they also do all the Blackmagic Design kit, they do camera equipment, and it made sense for us all to look for a company that was able to cater for all the various aspects of what we did.

“The sales team have been really helpful, and really patient with me as well, to be totally honest! And I spent hours on the phone with them, because they were our main go-between with Blackmagic Design, and were instrumental in being able to stretch our budget further than it was originally going to go.”

Continuing to move to digital

The system at Liberty Stadium is still evolving, and future developments include plans to add a giant screen to the stadium so that they can stream content to fans mid-game and, behind the scenes, to replace their analogue-to-digital converters with HyperDeck Shuttles, which will allow them to record ProRes straight to SSD.

Want to know more? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook.

Building your 4K workflow: UltraStudio, DeckLink and the PVM-X300

Building your 4K workflow: UltraStudio, DeckLink and the PVM-X300

If you think it’s time to get cracking with 4K but aren’t sure where to start, the good news is that there are plenty of increasingly affordable options out there for you. One of the leading 4K pushers is Blackmagic Design, whose popular UltraStudio and DeckLink lines are now both 4K capable. And if anyone’s been hanging round the blog long enough to remember the time we stitched four monitors together to get a 4K image, you’ll be pleased to hear Sony have a far simpler solution to hand now…

For capture and playback: Blackmagic Design Decklink 4k

Blackmagic Design’s popular Decklink range of capture cards allow you to get your hands on SD, HD, 2K and 4K footage faster, with throughput rates of up to 40 Gbps. The key thing about Decklink 4k cards is their flexibility: you can plug them into Mac, PC or Linux workstations, and choose to work to a range of film and television standards to ensure that whatever assets you create are in the correct format for your client from the get go. And, despite coming in at a very reasonable £625 ex VAT, these cards offer fantastic image quality. You can work in 10-bit SD, 10 or 12-bit HD, and for 2k and 4k in YUV 4:2:2 and RGB 4:4:4. Each pixel is copied like for like with no generational loss or damaging compression.

Another boon for anyone working in 4K is the inclusion of the new 6G-SDI and HDMI 4K connections on the Decklink 4K Extreme. This takes the old quad link HD-SDI connections and multiplexes them in order to reduce your cable count, giving you the ability to get four times the resolution of standard HD using only two BNC SDI cables. All of which means that working on 4K projects in programmes like Nuke and Resolve is now far more affordable, and will require far fewer changes to your infrastructure due to the lower cable and router point count.

For connecting to decks, cameras and monitors: Blackmagic Design UltraStudio 4K

UltraStudio 4K is Blackmagic Design’s leading breakout box for 4K workflows. Thunderbolt-equipped for faster throughput and featuring virtually every type of video and audio connection you’re likely to encounter, this unit is perfect for a rack or your desktop. Like the Decklink range, it supports  6G-SDI video technology for a more streamlined 4K workflow, and well as including HDMI 4K, analogue component video, 16 channels of SDI audio, two channels of balanced analogue, two channels of unbalanced AES/EBU audio, timecode, up/down/cross conversion, reference and serial deck control.

The latest Thunderbolt cables mean that your UltraStudio 4K can now be up to 30 metres away from your main computer, and the internal power supply means there’s no need to clutter your desktop with (or fork out for) an external plug pack. Win.

For monitoring: Sony PVM-X300

This 30″ LCD monitor is currently available with 24 months’ 0% finance, but that’s not the only reason why we’re keen on it. The IPS LCD screen ensures a wide viewing angle, while the inclusion of the same Trimaster technology that powers Sony’s OLED monitors means you can be sure of high colour quality and accuracy. The PVM-X300’s four 3G-SDI and HDMI 1.4a connections are designed to work natively with the F55, allowing you to connect the camera via a single HDMI cable to view 4K, which is great for on-set monitoring.

Sony have a direct SxS 4K player in the works that will allow you to play back XAVC 4K material directly from an SXS Pro + card, and control it from the PVM-X300’s control panel. Full details of this are still to be announced, but it’s an option that will be available after launch of the monitor this summer.

Want to know more about what’s in store for your 4K workflow? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook