Press Releases For : April 8, 2014

DPA Microphones Presents Live Solutions at the 2014 NAB Show


Company to Show updates for its d:dicate™ Recording and Podium Microphone solutions as well as gold and nickel grids for its d:facto™ Vocal Microphone


LAS VEGAS, APRIL 8, 2014DPA Microphones will showcase updates to its range of high-quality live microphone options at the 2014 NAB Show (Booth C3333). Among the updates on display are enhancements to its superior d:dicate™ Recording Microphone range, which delivers high-quality audio across many applications, including live broadcast presentations, speeches and press conferences. The company is also presenting the gold and nickel grids for its award-winning d:facto™ Vocal Microphone, which is ideal for live concert broadcasts and singing competition programs.

Now incorporating the new modular MMC4018 Supercardioid Capsule and the modular 4000 and 2000 microphones, the d:dicate Recording Microphone range allows users to combine various capsules with DPA’s state-of-the-art preamps for extra versatility. These preamps include the A, which is a Class-A transformer-less design; the B, a low-cut and high-boost filter version; the compact C option for visually unobtrusive miking and the new modular MMP-E active cable preamp for hanging or table applications.

Ideal accessories for vocalists who want to add more sparkle to their onstage performances, the new grids for the d:facto Vocal Microphone are available as accessories to existing solutions and are delivered as metal grids with foam and pop screen. Additionally, the nickel option matches the finish available on the Sennheiser 2000, 5200 and 9000 wireless mic systems, and comes complete with capsule and corresponding adapters.

“We saw a demand in the market to attain the d:facto sound with more than just the traditional black grids,” says Christian Poulsen, CEO of DPA Microphones. “These grids are just the solution, as they bring an exciting new visual dimension to a microphone that is already internationally acclaimed for its great transparent sound.”

With a true studio sound for the live stage, the d:facto offers an extraordinarily natural sound with high separation and extreme SPL handling, giving users unlimited possibilities for their performances. In addition to use with the wired DPA handle, the d:facto provides singers and engineers the added benefit of a state-of-the-art adapter system, which allows for seamless integration with many professional wireless systems.

ABOUT DPA:

DPA Microphones is the leading Danish Professional Audio manufacturer of high-quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to always provide its customers with the absolute finest possible microphone solutions for all its markets, which include live sound, installation, recording, theatre and broadcast. When it comes to the design process, DPA takes no shortcuts. Nor does the company compromise on its manufacturing process, which is done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability and, above all, pure, uncolored and undistorted sound. For more information on DPA Microphones, please visit www.dpamicrophones.com.

Email This Post Email This Post

Related Topics: News

RED RELIES ON NIPROS CAMERA SYSTEMS FOR NAB DEMOS

LAS VEGAS – NAB BOOTH #N314: Seeking a high performance camera system to support NAB demos of their 4K/HD EPIC DRAGON Cinema Camera, RED Digital Cinema engineers reached out to Samaserve CTO Sal Sandoval for details on the Nipros LS-750GT and LS 750 camera-mounted fiber adapter systems. The demos, scheduled throughout the 4-day NAB Show, will find the DRAGON providing a live 4K feed produced at the Vizrt booth (#SL2419)’s “Virtual Studio” set that will be sent to the Snell booth (#N1820), located in separate halls, via fiber-optic cabling for viewing and live switching

“I first learned about the LS-750 and 750GT Systems from Sal Sandoval last year,” said Steve Pizzo, co-founder of Element Technica, a division of RED Digital Cinema. “I reached out to Samaserve in December when we began formulating our NAB 2014 demo program. We needed a comprehensive camera system capable of flawlessly transmitting uncompressed 4K and HD signals simultaneously from Vizrt’s booth to Snell’s booth for display on a large, high res Samsung screen. The specs on the Nipros System met all our requirements.”

In February and March, Nipros’ Sandoval provided Pizzo with an LS-750 system for testing at the Red facility in Burbank. The rig’s signal conversion and other features for 4K acquisition performed flawlessly. “Those trials convinced us that the system was ideal for our purposes,” Pizzo said. “[Sandoval] then demoed a 750GT system, which further assured us that Nipros met all of our needs.”

The flagship Nipros LS-750/GT camera-mounted fiber adapter system, which is being used at the Vizrt Demo area in booth SL2419, supports virtually any 4K camera. The system acquires and flawlessly passes simultaneous uncompressed 4K and HD signals for distances of up to 1.24 miles with the option of distances beyond 6.2 miles. The LS-750/GT offers users five 3G SDI streams directly out of the camera, as well as one return 3G/HD-SDI/SD-SDI signal. All types of 4K plus HD, or five separate HD streams, can be transported simultaneously, with the ability to mix the five asynchronous 3G/HD/SD streams independently. RED Digital is using 4K signals from a Nipros LS 750 System at the Snell booth where the feed is switched live via a Kahuna 360. Both the LS 750/GT, which offers up to 300 watts of power at the camera and has 12/24-volt capability, and the LS 750 which offers 60 watts of power, are on display at the Nipros booth as well as on the RED and Vizrt demo sites.

“Nipros Systems was a primary catalyst behind my partners and I deciding to form Samaserve,” Sandoval said. “Earning this level of support at an early stage in the introduction of an important new system is critical. We are extremely pleased to have earned RED’s trust to support their DRAGON Cinema Camera Demos.”

Photo: Nipros Systemized Camera System in use with a RED DRAGON Cinema Camera for NAB 2014 live demos at the Las Vegas Convention Center.

###

Samaserve \ sam-ma-serve \ n 1 An enabler 2 : Sole authorized Sales, Marketing, Service and Support arm for the entire Nipros (nee- pros) range of broadcast and professional digital video production technology 3 : Samaserve offers 3 a : systemized, 2K, 4K, HD-compatible and SD camera solutions 3 b : deep product knowledge 3 c : proactive, cost-effective, future-proofing counsel 4 : connectivity via www.samaserve.com

Email This Post Email This Post

Related Topics: News

Projection Studio Collects Second Guinness World Record

Projection and video artist Ross Ashton collected his second Guinness World Record, this one for the ‘Largest Card Illusion Reveal’ which took place at the 2014 e-Luminate Festival in Cambridge, UK and was a collaboration with Italian illusionist Alexis Arts.

The five minute choreographed performance in front of a live audience featured projected video effects and animations throughout, beamed onto the side of the chapel at Sidney Sussex College. It culminated in two audience members picking cards which were then revealed on the wall as giant projections measuring 128.25 square metres!

This was declared as ‘Officially Amazing’ by the adjudicators from Guinness World Records.

It’s the second world Record Ashton has collected for his work. He comments, “It’s fantastic to achieve two world records within two years! Working with Alexis on this show was a real pleasure and another completely different performance genre in which to be involved”.
Ashton’s first World Record was gained in 2012 for the ‘Face Britain’ video projection work onto the front of Buckingham Palace in London, officially confirmed as a Guinness World Record for the ‘most artists working on the same art installation’.

Ashton is one of a handful of artists who has been permitted to use Buckingham Palace for his work, and the Face Britain images were formatted to use it as a wide-screen canvass for 32 animated mosaic portraits of HM The Queen, made up from 201,948 self-portraits submitted by children from around the UK. All these portraits were carefully scrutinized by Guinness World Records and certified as individual artworks.

The Largest Card Illusion Reveal was created using a single 17K Panasonic projector, rigged onto a specially constructed tower at the end of the lawn in front of the building.

Ashton chose this specific projector for its “Brightness, compact size and reliability”. He adds the support from Panasonic throughout the 12 day e-Luminate Cambridge Festival – of which Ashton is the Artistic Director – has also been excellent.

The annual e-Luminate Cambridge Festival has been set up to connect ambitious art with ingenious technology to shed light on low carbon innovation.

Lighting Designer Ira Levy Selects Clay Paky Fixtures for H&M Flagship Store in Times Square

When Swedish retail giant H&M opened its newest US flagship store in Times Square, lighting designer Ira Levy selected Clay Paky Sharpy and A.leda Wash K10 LED-based lights to enhance the store’s futuristic, high-tech look. A.C.T Lighting is the exclusive distributor of Clay Paky fixtures in North America.

The H&M Times Square branch encompasses 42,000 square feet and has a number of tech-savvy features, including a mezzanine with Social Media Lounge, 7,000 square feet of LED screens, a 53-foot glitter wall, interactive mannequins and a virtual runway for shoppers. Lady Gaga cut the ribbon to open the new store and spent time with 20 lucky shoppers who had waited overnight in line for the privilege of being the first through the doors.

“The idea was for the store to appear as if shoppers were coming to a New Year’s Eve party 24 hours a day,” says Ira Levy who heads New York City-based Levy Lighting | NYC. “The flagship store is located across from where the ball drops on New Year’s Eve, and it has a club environment with lots of glitter and reflective surfaces. We use moving lights to add energy to the retail experience and shoot the lights against all the reflective surfaces, almost like a stylized mirror ball.”

Levy has employed Sharpys and A.ledas in the space. “The ceiling height is about 60 feet, so we wanted to have a light that is able to punch through the ambient light in a highly-illuminated space. But we also needed to hit all the way to the ground floor. Sharpy gives me that,” he says.

Levy was also looking for a fixture “with a very long lamp life. We have scheduled maintenance four times a year based on calculating Sharpy’s lamp life,” he explains.

The A.leda Washes give Levy the option of color washes in that same area. “The zoom gives me a lot of range,” says Levy. “I’m able to have tight beams for long throws and wider beams to illuminate shorter distances. I wanted color out of an automated light and something that had a long maintenance life, and I get both from the A.ledas.”

The lighting designer reports that he’s been “very happy” with both fixtures, which are “working great” in the high-profile store. “I used to work with Clay Paky and know the quality and reliability of the units. A lot of companies make [moving light] fixtures, but I wanted top quality motors and have been happy with Clay Paky’s in the past. I’m very happy with their performance.”

Levy was also impressed with A.C.T Lighting’s customer service. “They’ve been great, really supportive with very good back up,” he reports. “A.C.T staff members have been very responsive to everything and always available to me. I’ve never had to wait for anything.”

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, commented, “The A.ledas and Sharpys work very well together in the H&M store and we’re honored to have been chosen to help illuminate this retail institution.”

About Clay Paky
Headquartered in Seriate (Bergamo), Italy, Clay Paky SPA has a history of designing and manufacturing innovative professional show lighting. The company was founded in 1976 by entrepreneur Pasquale Quadri who anticipated the enormous impact the evolution of technology would have on the show and entertainment worlds.

Calibre UK’s FoveaHD MEMC Standards Converter Scores at world cup

40 Calibre UK FoveaHD MEMC standards converters will be used for frame rate conversion of World Cup broadcasts this summer

Image processing specialists, Calibre UK announces that a massive installation of its FoveaHD motion estimated and motion compensated standards converter will be used for frame rate conversion of live footage for transmission to viewers in countries with 50Hz television standards throughout the highly anticipated world cup Brazil matches during Summer 2014.

“Brazil uses 59.94Hz TV standards but the vast majority of football and soccer nations watch 50Hz television,” said Tim Brooksbank, Chairman and CEO at Calibre UK. “This poses a huge challenge for broadcast of this live content as frame rate conversion of fast moving sports events is particularly challenging.”

“Fast live action sports, especially with long camera pans combined with many moving objects each with complex detail motion can be totally unsuitable for conversion using linear techniques which lead to either substantial motion smear, motion judder, or both.”

Frame rate conversion is notoriously hard to get right with less than a handful of companies offering high-end solutions. Most high-end solutions are prohibitively expensive for many studios and even large broadcasters would find the cost of such a large installation as is needed for the world cup to be eye-wateringly high, but lower cost solutions generally don’t perform well, especially on challenging content. Football and soccer is particularly difficult to process well.

“Calibre’s FoveaHD uses a very efficient yet powerful MEMC implementation which gives it true high-end performance with high-end processing capabilities yet at a mid-market price point. This is a truly unique combination of price and performance among frame rate converters,” explained Brooksbank.

“We believe that this is one of the largest and most significant installations of MEMC frame rate converters ever undertaken. We are very pleased FoveaHD will be used for such an important worldwide event having been chosen in the face of strong competition from established market leaders.”

The Calibre UK FoveaHD MEMC frame rate convertor will be demonstrated on the Calibre UK booth SL4330 at NAB 2014.

ENDS

About Calibre
Multi-award winning British company, Calibre has over the past 26 years achieved world recognition providing image scaling and processing technologies for use in broadcast/television, digital cinema, large venue projection, LED videowalls and surgical medical applications. Calibre manufactures products under its own brand-names as well as providing products and technology to several market leaders in the Pro-AV market worldwide. Calibre is a market leader in innovation, utilizing its own, UK & Germany-based in-house hardware and software design teams for all its product developments and its own UK manufacturing.

www.calibreuk.com

Blackmagic Design Announces Blackmagic URSA

Introducing the world’s first digital film camera designed to revolutionize on set workflow while featuring a user upgradable sensor and lens mount, large 10 inch fold out monitor and more!

 

NAB 2014, Las Vegas, USA – April 7, 2014 - Blackmagic Design today announced Blackmagic URSA, a new high end digital film camera designed to revolutionize workflow on set. Built to handle the ergonomics of large film crews as well as single person use, URSA has multiple accessories built in, including a massive 10 inch fold out on set monitor, large user upgradable Super 35 global shutter 4K image sensor and internal dual RAW and Apple ProRes recorders.

 

Because the sensor and lens mount assembly can be changed, customers can choose EF or PL lens mounts, or even a broadcast video sensor with B4 mount, then upgrade the camera in the future. The Blackmagic URSA EF model will retail for $5,995.

 

Blackmagic URSA will be demonstrated on the Blackmagic Design NAB 2014 booth at #SL219.

 

Blackmagic URSA is designed to be used on high end feature films, commercials, episodic television production, documentaries, electronic news gathering, music videos and more. When used on jobs with a large crew, customers can easily dress the camera with high quality cinema lenses, rails, follow focus, matte boxes and more. With built in scopes for exposure, focus and audio levels, built in dual recorders and the large 10 inch fold out on set monitor, customers can dramatically reduce on set equipment because it’s all built into the camera.

 

The Blackmagic URSA features a larger professional size that has the space for powerful cooling that allows higher frame rates while keeping the chassis cool and the fan quiet. The sleek futuristic machined aluminum design is incredibly strong and has been designed for large film crews while being able to be field upgraded to new sensors by the user. Each area of the camera has been divided into separate DOP, camera assistant and audio engineer work stations. The DOP station features a large 10 inch fold out on set monitor and separate 5 inch screen for settings, camera status and scopes. The camera assist station features a separate screen for camera settings, status and scopes and an audio station features audio meters, controls and audio connections.

 

Blackmagic URSA is a true professional digital film camera with a 4K sensor, global shutter and a wide 12 stops of dynamic range. The wide dynamic range is superior to regular video cameras or even high end broadcast cameras and results in dramatically better images that look like true digital film. The large Super 35 size sensor allows for creative shallow depth of field shooting and high resolution Ultra HD, 12 bit lossless compressed Cinema DNG RAW and Apple ProRes™ allow for easy post production workflow with minimum storage requirements.

 

The Blackmagic URSA features a modular camera turret that can be simply replaced by removing 4 simple bolts! The camera turret includes the sensor, lens mount and lens control connections and can be upgraded in the future when new types of sensors are developed. There are currently 4 models to choose from, URSA PL supports PL mount lenses and URSA EF supports EF mount lenses from Canon, Zeiss and more. Both of these models include the large Super 35 sized global shutter digital film sensor. The URSA Broadcast B4 model, available late 2014, features a broadcast video Ultra HD sensor and B4 lens mount used in broadcast. The URSA HDMI model has no sensor and its lens mount is replaced by a “cheese plate” of mounting points and a HDMI input, allowing any third party camera to get the benefit of the URSA camera body features.

 

“Our goal when developing the URSA was to build a camera that had all the cooling capacity for higher frame rates, and a large on set monitor as well as built in scopes so you had everything you need built into the camera itself. The problem with spending so much money building in such incredible accessories is that they become outdated as sensor technology moves on. So we designed the ability to upgrade the sensor so customers can simply bolt on a new sensor and turret assembly in the future!”, said Grant Petty, CEO, Blackmagic Design, “We think this is a revolution and this upgradable design means we have been able to put a lot more effort into the design of the camera body itself and the quality of the screens, recorders, cooling system and processing power than would normally be offered. The result is one of the most amazing television products I have ever seen!”

 

Blackmagic URSA PL and URSA EF Key Features

Large high resolution 4K Super 35 mm sized sensor with superior handing of image detail.
Professional global shutter for smooth pans and image motion.
Wide 12 stops of dynamic range allows capture of increased details for feature film look.
Compatible with extremely high quality PL or EF mount lenses.
User upgradable design allows customers to upgrade and change the sensor and lens mount.
Built in dual CFast 2.0 card recorders allow unlimited duration recording in high quality.
Open file formats compatible with popular NLE software, such as Apple ProRes and compressed CinemaDNG 12 bit RAW. No custom file formats.
Support for ProRes HQ, ProRes 422, ProRes LT, ProRes Proxy recording at resolutions up to Ultra HD.
Features all standard connections, including dual XLR mic/line audio inputs with phantom power, 6G-SDI output for monitoring with camera status graphic overlay and separate XLR 4 pin power output for viewfinder power, 6G-SDI monitoring input, headphone jack, LANC remote control and standard 4 pin 12V DC power connection.
Built in stereo microphones for recording sound.
3 separate built in LCD monitors for camera settings and metadata entry. Large 10 inch screen folds out for full resolution HD monitoring with wide viewing angle and high brightness.
Supports Ultra HD and 1080 HD resolution capture in 23.98, 24, 25, 29.97, 30 up to 60 fps.
Features liquid cooling system allowing higher frame rates when future sensors support this feature.
Supports quick release tripod mounts and adding V-Mount and Anton/Bauer mount battery plates.
Includes full copy of DaVinci Resolve software color grading and editing software.
Availability and Price

Blackmagic URSA will be available in June/July from US$5,995 from Blackmagic Design resellers worldwide.

 

Press Photography

Product photos of the Blackmagic URSA, and all other Blackmagic Design products, are available at www.blackmagicdesign.com.

 

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com.

Email This Post Email This Post

Related Topics: News

Blackmagic Design Announces DaVinci Resolve 11

Major update dramatically improves online editing features, adds new photographer friendly color correction tools, on set media management and much more!

 

NAB 2014, Las Vegas, USA – April 7, 2014 - Blackmagic Design today announced DaVinci Resolve 11, a major upgrade with over 100 new editing and color grading features. This new update includes major improvements in online editing plus context sensitive trimming, onset file cloning, photographer style color grading tools and an amazing new collaborative workflow that allows multiple users to work simultaneously on the same timeline.

 

DaVinci Resolve 11 will be demonstrated on the Blackmagic Design NAB 2013 booth at #SL219.

 

The new DaVinci Resolve 11 has over 70 new editing features based on feedback from professional editors. With DaVinci Resolve 11, editors now have dual monitor support and familiar professional tools like dynamic JKL trimming, audio crossfades and fully customizable keyboard shortcuts for faster editing. Trimming tools are context sensitive, which means DaVinci Resolve automatically knows whether editors want to ripple, roll, slip, slide, extend or shorten edits, based on the position of the mouse. This makes editing super fast because time is not wasted switching tools and clips can be trimmed on multiple tracks simultaneously in the same direction, or asymmetrically.

 

DaVinci Resolve 11 features a new spline curve keyframe editor integrated into the edit timeline that positions keyframes directly under each clip and in context with the clip. Editors can now also add and animate open FX plugins directly in the timeline as well as use plug-ins for transitions.

 

The new collaborative workflow tools in DaVinci Resolve 11 allows an editor and multiple colorists to work on different workstations, sharing the same timeline and working in tandem as they complete shots. An example is a colorist could be color grading or tracking windows while another colorist fine tunes grades that are all immediately updated as the editor edits. Each user can see the timeline update so they are all working on the same job at the same time. Sharing the same timeline makes it much easier for creative teams to stay in sync and work faster on large complex jobs such as feature films and television programming.

 

One of the most exciting advantages of the enhanced editing features in DaVinci Resolve 11 is the dramatically better round trip collaboration with Apple Final Cut Pro X. This is possible because more of the features in each application are compatible so projects can be moved back and forward easily. A powerful example of this integration is when a Final Cut Pro X customer might be shooting an independent film but then wants to move their edit to a large Hollywood post production facility for color grading and finishing. This is an exciting workflow that makes it possible to allow independent filmmakers to integrate with the largest post production facilities.

 

Color correction features have also been upgraded in DaVinci Resolve 11, including all new RAW image and color grading controls that are designed for photographers who are moving into cinematography. The new camera RAW palette features highlight and shadow recovery, mid tone detail, color boost, saturation, lift, gain and contrast. DaVinci Resolve 11 solves the single frame limitations of photo enhancement systems and gives photographers advanced control over RAW images so they can pull the maximum detail from high dynamic range footage in real time.

 

Adding to DaVinci Resolve’s powerful on set tools, DaVinci Resolve 11 can now securely back up and save digital camera files. The new DaVinci Resolve clone tool copies media drives, memory cards and camera packs to multiple destinations simultaneously. All copies are checksum verified, that means users get exact bit for bit digital copies of their source media. The new clone tool is included in the free DaVinci Resolve Lite and can be installed on a laptop for on set use.

 

DaVinci Resolve 11 also features a unique and powerful automatic color chart color balancing tool that works on all types of footage including video, RAW and even film. The new color match tool automatically gives a primary base grade by analyzing shots containing standard color chip charts even if they were shot in different lighting conditions with different exposure and color temperatures.

 

DaVinci Resolve 11 also adds optimizations to OpenCL image processing which allows improved rendering speeds on the new Apple MacPro systems. The MacPro features dual GPU’s so is the ideal solution for customers looking for an “off the shelf” solution that easily handles the high processing speeds when working on Ultra HD work in the deepest YRGB 32 bit float processing quality.

 

“This is a massive update and we are really excited about DaVinci Resolve 11”, said Grant Petty, CEO, Blackmagic Design, “Since we added the new editing tools into DaVinci Resolve we have had some great feedback from editors working on high end feature film and television programming jobs. We have rolled this great advice into DaVinci Resolve and now it’s a fantastic full featured online editor. Of course we continue to add wonderful color correction and on set tools into this release as well. This is the best version of DaVinci Resolve we have ever released and we are going to provide this update to all DaVinci Resolve customers free of charge. This means the cost of switching to the worlds most exciting online editor will be zero!”

 

Availability and Price

The update to DaVinci Resolve 11 will be available in June for download from the Blackmagic Design web site free of charge for all current DaVinci Resolve customers.

 

Press Photography

Product photos of DaVinci Resolve 11, and all other Blackmagic Design products, are available at www.blackmagicdesign.com/press/images

 

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com

Email This Post Email This Post

Related Topics: News

Blackmagic Design Announces Cintel Film Scanner

New Cintel film scanner features an innovative new wall mount and desktop design with Thunderbolt 2 for real-time scanning of 35mm and 16mm film up to 30fps in Ultra HD resolution!

 

NAB 2014, Las Vegas, USA – April 7, 2014 - Blackmagic Design today announced a new model of Cintel Film Scanner designed with an architectural aesthetic that’s so thin it can even be wall mounted!

 

The new Cintel film scanner will be demonstrated on the Blackmagic Design NAB 2014 booth at #SL219.

 

With consumers purchasing large Ultra HD televisions in massive quantities right now, the demand for great Ultra HD content has never been greater and will become a boom market in the next few years. Ultra HD is incredible quality and there are millions of hours of Ultra HD content that’s been generated over the last 100 years locked up in 35mm film that is stored in vaults worldwide.

 

The new Cintel scanner will scan negative and positive 35mm film into amazing quality Ultra HD so customers can unlock the extra resolution from 35mm film that no one has been able to see until now. 35mm film is natively 4K so the extra quality is already in the film. This means there is no easier way to generate Ultra HD feature films and television programming for customers to view on their new large screen televisions than scanning filmed entertainment thats already been produced, including classic hits.

 

Designed to hang beautifully on your wall, the Cintel film scanner is constructed using aircraft design techniques for a stiff and vibration free main deck to ensure smooth film handling. The core chassis has been designed as a super rigid structural space frame, which results in a design that’s dramatically lighter allowing it to be wall mounted in a facility, making it part of the environment of a color correction suite. Whether wall or desk mounted the innovative design includes sliding doors, built in cleaning rollers and new digital servos to keep your film clean and ensure handling of valuable negative remains gentle.

 

The new Cintel film scanner is an innovation in technology. Film traditionally has been a mechanical technology and film products have suffered from poor quality electronics that required experienced engineers to keep them working. The Cintel scanner has been designed with the latest Blackmagic Design image processing technology and features a Thunderbolt 2 connection. The high-speed Thunderbolt 2 port provides massive bandwidth for transferring 4K video in real time, so you can connect the device to your Mac and scan the film directly into your color correction system. That makes setup and use extremely fast plus eliminates slow file copying after scanning. Because Cintel is an OS X Thunderbolt 2 peripheral, you get easy to install software updates that add new features and it also means customers have the freedom to upgrade their computer whenever they choose.

 

In the past when film was the main way to get high quality images for post production, Cintel telecine’s and DaVinci color correction was the standard combination used worldwide. Now these two wonderful brands are back together again because the Cintel film scanner includes a full copy of DaVinci Resolve software. Now customers will get full color correction features included so they can take advantage of the Cintel scanner’s amazing image quality. Customers will never be limited creatively by their equipment because you’ll have incredible film looks combined with the same powerful color correction toolset used by the world’s leading cinematographers!

 

The Cintel film scanner will include everything customers need for a complete solution to film scanning and grading. The Cintel scanner includes powerful built in Image Mill stabilization and grain reduction, a 35mm film gate (16mm purchased separately), two film spools, a set of four cleaning rollers, DaVinci Resolve 11 software and desk mount feet included. Unlike many film products, there are no fees for installation, no software update fees, no license transfer fees if a customer ever should want to sell their Cintel scanner in the future.

 

“Everyone purchasing these wonderful new large screen Ultra HD televisions are desperate for content. The amazing thing is there are millions of hours of Ultra HD content already in existence and it’s just sitting there on rolls and rolls of 35mm motion picture film!”, said Grant Petty, CEO, Blackmagic Design, “The new Cintel scanner is the perfect way to give this film new life and to get all those old classics into a new age. It’s very exciting and is why we acquired Cintel, as we believed in the brand and what we could do with it. The new Cintel scanner is the result and it’s been exciting to combine all this amazing cutting edge technology with the elegance and timeless image quality of film!”

 

Availability and Price

The Cintel film scanner is being previewed at NAB 2014 for customer comment and will retail for US$29,995 later in 2014 once all the NAB customer feedback has been included into the product.

 

Press Photography

Product photos of the Cintel Film Scanner, and all other Blackmagic Design products, are available at www.blackmagicdesign.com/press/images

 

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com

Email This Post Email This Post

Related Topics: News

Blackmagic Design Announces Powerful ATEM 2 M/E Production Studio 4K

New advanced Ultra HD live production switcher allows live production in SD, HD and Ultra HD, with 20 6G-SDI sources, SuperSource™, DVE, motion graphics and much more!

 

NAB 2014, Las Vegas, USA – April 7, 2014 - Blackmagic Design today announced ATEM 2 M/E Production Studio 4K, a new extremely powerful 2 M/E based Ultra HD live production switcher with 20 6G-SDI inputs, SuperSource layering engine and much more for $3,995.

 

ATEM 2 M/E Production Studio 4K will be shown on the Blackmagic Design NAB 2014 booth at #SL219.

 

The new ATEM 2 M/E Production Studio 4K includes 20 independent SD, HD or Ultra HD 4K video inputs with each input featuring a full frame synchronizer. ATEM 2 M/E Production Studio 4K also includes all the features expected from a professional switcher, including chroma key, transitions, DVE, media pool, downstream keyers, audio mixer, two multi view outputs and 6G-SDI and HDMI 4K video connections.

 

This new high end model of the ATEM Production Studio family includes all the powerful features of the other models as well as the exciting SuperSource multi layer processor. SuperSource provides customers with a completely separate 5 layer switcher with the power of 4 picture in picture DVEs and 4 keyers assigned to any ATEM video input. SuperSource allows for multi camera interviews or picture in picture production while leaving all M/Es, keyers and the DVE completely free for other tasks.

 

ATEM 2 M/E Production Studio 4K supports 6G-SDI so it can be switched between most SD, HD and Ultra HD video formats instantly. Ultra HD is four times the resolution of regular high definition video for a massive 3840 x 2160 frame size. The new 6G-SDI and HDMI 4K video connections effortlessly handle Ultra HD and customers can connect all cameras using a single cable. There is also a high definition down converted HD-SDI program output for when the switcher is operating in Ultra HD formats, but a regular HD program feed is required.

 

The ATEM 2 M/E Production Studio 4K features a strong and elegant 2 rack unit machined aluminum front panel based design. The front panel keypad lets customers select between each of the 6 independent auxiliary output sources and the 5 inch LCD screen provides instant feedback on the status of the auxiliary output. The aux switching is also a valuable tech monitoring tool for setting up and for live aux switching during production.

 

The ATEM 2 M/E Production Studio 4K includes the ATEM Software Control Panel for both Mac and Windows that provides complete control of the switcher from a laptop or desktop computer. This software provides full control of transitions, keyers, built in audio mixer and switcher settings. If customers prefer working with a traditional hardware control panel they can add either a ATEM 1 M/E Broadcast Panel or ATEM 2 M/E Broadcast Panel.

 

ATEM 2 M/E Production Studio 4K features two built in multi view monitoring outputs so customers can view all sources on a single SDI monitor or HDMI TV. Because the multi view outputs are down converted to HD, even when operating in Ultra HD, customers can still use commonly available HD monitors or televisions. Each of the two multi view outputs includes independent views for program, preview and 8 switcher sources.

 

ATEM 2 M/E Production Studio 4K includes the same high quality transitions found on regular high definition professional switchers, but now all these transitions operate in native Ultra HD. Customers get the choice of mix, dip and wipe effects with full control of the transition type, pattern, length and other attributes. ATEM 2 M/E Production Studio 4K includes 2 built in media players that can store up to 32 full resolution Ultra HD still frames with key and fill. Media players are ideal for lower third name straps, logos and more. ATEM 2 M/E Production Studio 4K also includes a Photoshop™ plug in that allows direct download of graphics and titles from Photoshop to the switcher.

 

For seamless multi layering, ATEM 2 M/E Production Studio 4K includes 4 upstream keyers and 2 downstream keyers. The upstream keyers includes independent chroma, pattern, shaped and linear keying. These keyers are independent of the SuperSource processor which adds another 5 layers to the massive number of layers available in this switcher.

 

A built in audio mixer is also included that allows any switcher to use embedded HDMI and SDI audio from cameras as well as external audio from the analog XLR and HiFi audio inputs. Customers can use the mixer in direct input mixing or in audio follow video where the audio from each camera will automatically be cross faded while switching. The analog audio inputs are great for microphones, audio mixers or music players.

 

ATEM 2 M/E Production Studio 4K uses an aviation grade operating system that ensures mission critical reliability, unlike cheap computer based switchers that interrupt video if the computer crashes.

 

“With a flood of Ultra HD televisions hitting the market, consumers are gearing up for an amazing transition into a cinema viewing experience in the home! This new ATEM 2 M/E Production Studio 4K is a massive switcher that’s $1000 less than the model it replaces, but features a better design, better technology and many more inputs, plus of course the ability to operate in Ultra HD!” said Grant Petty, CEO, Blackmagic Design. “Live production is the fastest way to generate massive amounts of Ultra HD content quickly and live events offer some of the most exciting sources for entertainment. We think even the largest broadcaster will find the new ATEM 2 M/E Production Studio 4K has all the features and inputs they require for large complex live production jobs!”

 

ATEM 2 M/E Production Studio 4K Key Features

Full 2 M/E switcher with each M/E featuring media players, chroma key, transitions and more.
Switcher can be switched between SD, HD and Ultra HD video formats instantly.
2 x built in multi view allows 16 sources, 2 x previews and program on HD-SDI and HDMI outputs.
20 x inputs for a total of 20 x 6G-SDI and 1 x HDMI input. All inputs feature auto re-sync.
2 x 6G-SDI program outputs, 1 HDMI 4K program out and 1 down converted HD-SDI program out.
Built in media pool graphics storage for 32 RGBA Ultra HD stills and 180 frame Ultra HD clips.
Built in full motion 2D DVE with position, scale, resize and rotate features.
Built in SuperSource allows 4 DVE’s and 4 keys layered as an independent video source.
2 media players allow graphics to be connected to keyers for fill and key layering.
Transitions include cut, mix, dip to color, SMPTE wipes and more.
4 upstream keyers include chroma keyer and 2 downstream keyers are included.
6 auxiliary outputs include front panel aux switching buttons and LCD screen for viewing.
Built in audio mixer live mixes embedded audio from all video inputs and independent audio inputs.
Balanced XLR stereo analog audio inputs and 1 HiFi RCA stereo audio inputs into built in audio mixer.
Audio mixer main and preview outputs onto balanced XLR audio outputs and on all video outputs.
Internal sources include black, color bars, two color generators and media pool.
Ethernet connection for control panel connection. Mac and Windows control panel software included.
Compatible with all ATEM Broadcast Panel control panels when hardware panel is required.
Black Burst and HD-Tri-Sync genlock input for integration into large systems.
Compact 2 rack unit size is perfect for when a lot of power is required in a portable solution.
Availability and Price

The ATEM 2 M/E Production Studio 4K is available now for US$3,995 from Blackmagic Design resellers worldwide.

 

Press Photography

Product photos of the ATEM 2 M/E Production Studio 4K, and all other Blackmagic Design products, are available at www.blackmagicdesing.com/press/images

 

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com

Email This Post Email This Post

Related Topics: News

Blackmagic Design Announces Blackmagic Studio Camera

Introducing the world’s smallest live broadcast camera with the world’s largest viewfinder!

 

NAB 2014, Las Vegas, USA – April 7, 2014 - Blackmagic Design today announced Blackmagic Studio Camera, a new camera specifically designed for live production and available in 1080 HD and Ultra HD models starting from only $1,995.

 

Blackmagic Studio Camera will be demonstrated on the Blackmagic Design NAB 2014 booth at #SL219.

 

Blackmagic Studio Camera is one of the most advanced broadcast cameras for live production because it includes features specifically targeted at the requirements of live production! Currently customers often need to use cameras designed for general video production for live work and this means they don’t get features that live production demands, such as large viewfinder, talkback, tally, optical fiber and a super strong metal design.

 

Inside the incredibly tough and lightweight magnesium alloy body, the Blackmagic Studio Camera features a very large 10” viewfinder, long duration 4 hour battery, talkback, tally indicators, phantom powered microphone connections and built in optical fiber and SDI connections that let you connect to a live production switcher with a single cable!

 

One of the problems of cameras used in live production is small viewfinders and the Blackmagic Studio Camera includes a massive 10 inch screen that allows incredible creativity when framing and accurately focussing. The viewfinder’s LCD is extremely bright and has a very wide viewing angle so it is perfect for use even in direct sunlight. The camera also includes a large fold up sun shield making it perfect for outdoor use and the sun shade also acts as a privacy shield when in use.

 

The Blackmagic Studio Camera features an active Micro Four Thirds lens mount that is compatible with an incredibly wide range of lenses and adapters. This allows customers to use high quality photo lenses for smaller setups or fixed camera use, and then use high end broadcast ENG lenses for large live broadcasts using an MFT to B4 lens mount adapter. This means customers can start out with a more affordable setup based on photo lenses and then move to larger but more expensive ENG lenses as they grow their business.

 

The Blackmagic Studio Camera includes a built in fiber optic connection, allowing customers to get the many advantages of long lengths and small size and weight of optical fiber for a single thin tether cable to connect cameras to your live production switchers. The optical fiber connection is bi-directional and carries HD or Ultra HD video with embedded audio, talkback, tally and even camera remote control. The built in talkback allows the camera operator and crew to communicate at all times during production using commonly available and very robust general aviation headsets for better quality talkback with better noise canceling at a much lower cost.

 

The Blackmagic Studio Camera supports the tally SDI standard used on the ATEM range of live production switchers and tally lights illuminate automatically with a light on the front for talent, and a light above the viewfinder for the operator, making it easy for the cast and crew to see which cameras are on air. To allow independent operation with only a single optical fiber cable, the Blackmagic Studio Camera also includes a massive 4 hour battery that means the camera has enough power for use on long live productions as well as setup time before the event starts. The operator side control panel allows instant access to focus, iris and on screen menu settings. On screen menus are overlaid on the viewfinder and slide on and off as needed.

 

“I have dreamed of a camera perfectly designed for live production for a long time”, said Grant Petty, CEO, Blackmagic Design, “When we looked at how we would design a camera for live production what really surprised us was how small we could make it, but then the viewfinder would also become small. We did not want a small viewfinder, we wanted a very large viewfinder and so we ended up with this amazing camera that’s incredibly tiny, but then the viewfinder is incredibly large. It’s really a dream to operate a camera with such a large viewfinder and it’s amazing the detail in focus and framing that’s available to the operator! I totally love this camera and it’s my dream product!”

 

Blackmagic Studio Camera Key Features

High resolution 1080HD in HD model and Ultra HD sized sensor in 4K model.
Built in large 10 inch super bright wide viewing angle LCD viewfinder with sun shade.
Built in optical fiber and regular SDI connections for camera output and monitoring input.
Compatible with high quality Micro Four Thirds lenses. Compatible with other mounts via common third party adapters such as B4 broadcast lens mount.
Built in, two way digital quality talkback using high quality affordable general aviation headsets.
Includes front and rear tally indicators using tally over SDI protocol.
Features all standard connections, including dual XLR balanced mic/line audio in with switchable phantom power, headphone and microphone jack for talkback, LANC remote control and standard 4 pin XLR broadcast standard DC 12V power connection.
On screen menus for all camera settings.
Supports 23.98, 24, 25, 29.97, 30 and up to 60 fps in HD model, up to 30 fps in 4K model.
Compatible with ATEM range of live production switchers.
Availability and Price

Blackmagic Studio Camera HD is available now for US$1,995 and the Blackmagic Studio Camera 4K will be available in June for US$2,995 from Blackmagic Design resellers worldwide.

 

Press Photography

Product photos of the Blackmagic Studio Camera, and all other Blackmagic Design products, are available at www.blackmagicdesing.com/press/images

 

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com.

Email This Post Email This Post

Related Topics: News

About

Stay up to date on the latest technology news. Select press representatives post company news several times a day. Check back often to get the latest news on product releases, mergers and acquisitions, and product applications. To be included in this virtual press conference, please contact The Wire.

Calendar

April 2014
M T W T F S S
« Mar    
 123456
78910111213
14151617181920
21222324252627
282930  

Your Account

Subscribe

Subscribe to RSS Feed

Subscribe to MyYahoo News Feed

Subscribe to Bloglines

Google Syndication