Kino Flo launched the Select LED system as a white light source with Green/Magenta selection. Kino Flo used an RGB emitter to control the Green/Magenta color, but they knew that the RGB feature could do more. Kino Flo just needed to sort out a menu system that would be as intuitive when using the controller manually as when using it on DMX.

The solution was to have a second menu option. Those who prefer to work with white light can use the “white menu” that gives the user access to Dimming, Kelvin and Green/Magenta control channels.

Those who want additional features can switch over to the new “color menu”. In the color menu, the Kelvin range travels from 2500K tungsten to 9900K daylight, and Kino Flo has set up a fourth channel called Gel. The Gel channel includes Kino Flo colors to match Candle Flame, Warm White, Cool White, Sodium Vapor, Mercury Vapor, 20K Blue Sky, Green Screen and Blue screen. In addition, there is a range of gels that can be applied to any Kelvin setting. Simply scroll through the menu to choose up to 105 well-known lighting gels.

In the color menu there is also a fifth channel called Hue Angle and sixth channel, Saturation.
These two channels behave similar to a traditional color wheel, where you have white light in the center, the Hue angle determines the color along a 360-degree range, and Saturation determines how much color is applied. For example, if a user wants to review the choices, they can set Saturation to 100% and scroll through 360-degrees of color to choose the desired hue, and adjust the Saturation to their liking. Reducing the Saturation to “0” will take the settings back to white light.

For those that have already purchased these units, there will be a free firmware update available in January 2017 to gain access to the color menu. kino-select-color-select

Kino Flo’s new Select LED’s also come with standard DMX and wireless DMX (Lumen Radio®), 24VDC input, and universal voltage input 100-240VAC (1.3 Amps at 120U). Kino Flo also recently added new Snapbag Softbox and Snapgrid accessories.

Enjoy the possibilities.

VariCamLT RAW Supported by Convergent Design Odyssey7Q+ Monitor/Recorder

VariCamLT RAW Supported by Convergent Design Odyssey7Q+ Monitor/Recorder

Convergent Design have announced the upcoming firmware update for the Odyssey7Q+ and Odyssey7Q monitor/recorders will support the Panasonic VariCamLT 4K RAW output.  When Panasonic unveiled the VariCamLT in February, it announced the 4K RAW output capability for the camera would be added this year.  Panasonic has today released a free firmware update to the camera that enables this ability.  Convergent Design and Panasonic  demonstrated the 4K RAW capture workflow from the VariCamLT to the Odyssey7Q+ recently at the IBC 2016 show in Amsterdam.

“Odyssey supports RAW from more cameras than any other device in the industry,” said Mike Schell, President, Convergent Design. “The VariCamLT is a great camera and an important one in the Panasonic line, and we’re proud to include it in the Odyssey RAW Bundle for the Odyssey7Q+ and Odyssey7Q. Odyssey will support all frame rates and resolutions available for output from the VariCamLT. In addition to our RAW record capabilities, we can integrate the Odyssey’s Image Analysis Tools for focus, color and exposure, as well as its accurate OLED monitor and comprehensive Odyssey LUT System. Together the VariCamLT and the Odyssey7Q+ make a complete professional image capture package.”

The VariCamLT can output 4K 12-bit RAW up to 30fps and 4K 10-bit RAW up to 60fps.  The Odyssey7Q+ and the Odyssey7Q will be able to capture this RAW data and record it in the CinemaDNG format for use in popular post programs such as Assimilate SCRATCH 8.5 Tools & Workflow, DaVinci Resolve, and Adobe Premiere.

The Odyssey RAW Bundle option is required on the Odyssey7Q+ and Odyssey7Q in order to record from RAW data camera sources.  In addition to support for the Panasonic VariCamLT, other RAW camera outputs supported include the ARRI ALEXA Classic, Canon C300mkII & C500, Indiecam GS2K, IO Industries Flare 2K & 4K, and Sony FS5, FS7, & FS700 cameras.  With the upcoming firmware update, the VariCamLT is added to the supported RAW cameras in the Odyssey RAW Bundle for no additional cost.  The Odyssey RAW Bundle can be added to any Odyssey7Q+ or Odyssey7Q at any time by purchasing an activation key from the Convergent Design website.  Permanent activation of the Odyssey RAW Bundle is US$995 and a one-day rental is US$99.

The free firmware update for the Odyssey7Q+ and Odyssey7Q is expected to be available near the end of September.  Visit Convergent Design at IBC booth 12.A34 September 9-13 to demo the VariCamLT and Odyssey7Q+ pairing in person.

Click here for Odyssey RAW Bundle

Click here for the Varicam V4.0 Firmware Upgrade

Blackmagic Design Announces new DeckLink Mini 4K models

Blackmagic Design Announces new DeckLink Mini 4K models

Popular DeckLink PCIe cards are now upgraded with Ultra HD and HDR support!

Blackmagic Design recently announced at IBC, new DeckLink Mini Monitor 4K and DeckLink Mini Recorder 4K PCIe capture cards that include all the powerful features of the HD models but include new Ultra HD and HDR (high dynamic range) features.

These new cards are available in two models, DeckLink Mini Monitor 4K and DeckLink Mini Recorder 4K and both models support all SD, HD and Ultra HD formats up to 2160p30. DeckLink Mini 4K models are available from John Barry Sales now.


The new DeckLink Mini 4K models are low profile 4 lane generation 2 PCI Express cards that include 6G-SDI and HDMI 2.0a connections. This means the high quality connections support broadcast quality 10-bit YUV and 12-bit RGB video, along with the latest Rec. 2020 color and support for high dynamic range (HDR) formats and HDR metadata. 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.

DeckLink Mini Recorder 4K lets customers capture broadcast quality video directly from SDI and HDMI sources like decks and cameras to their computer. The low profile design of DeckLink Mini Recorder 4K makes it incredibly versatile and ideal for integrating into mobile live capture environments and outside broadcast trucks. Both models work with uncompressed and compressed video in open standard file formats such as QuickTime and DPX so they are compatible with virtually all professional editing, color correction and visual effects software. That means customers can use the DeckLink Mini 4K models with software such as DaVinci Resolve, Fusion, Media Composer, Final Cut Pro, Premiere Pro and more.

“Customers have been asking for an Ultra HD version of our incredibly popular DeckLink Mini Monitor and Recorder cards,” said Grant Petty, CEO, Blackmagic Design. “We are very excited that we’ve been able to add Ultra HD as well as high dynamic range support in our popular PCIe cards. Now customers can work with the latest equipment more affordably than ever before, which means that it’s possible for every editing and color correction workstation to monitor or record Ultra HD and even HDR!”

Availability and Price

DeckLink Mini Monitor 4K and DeckLink Mini Recorder 4K models are available now from John Barry Sales.

Blackmagic Design Announces Teranex AV

The world’s first standards converter designed specifically for AV professionals with 1089 broadcast quality standards conversions!

Blackmagic Design announced at IBC 2016, the Teranex AV, a new broadcast quality standards converter designed specifically for AV professionals. Teranex AV features 12G-SDI and HDMI 2.0a inputs, outputs and loop through, along with AV specific features such as low latency, a still store, freeze frame, and HiFi audio inputs for professionals working on live, staged presentations and conferences.

The new Teranex AV features low latency that’s as low as 67 milliseconds, which means that customers can convert any HDMI or SDI video format instantaneously to a different format and output it for projection in sync with the live event. For example, customers using Teranex AV at a concert can project a close up of a virtuoso pianist as their fingers fly across the keys on a big screen projector in synchronization with the live performance.

In addition, customers get advanced HDMI 2.0a processing with input, loop through and output connections. This lets customers convert HDMI to SDI without any additional hardware. They can loop the HDMI signal out to a big screen projector while simultaneously converting it and and sending it to downstream equipment like decks and monitors.


For audio, Teranex AV also features 2 channel consumer HiFi connections, as well as XLR connections for 4 channels of AES/EBU or 2 channels of balanced analog audio. The consumer HiFi connections are critical for professional AV customers because they allow lapel microphones, laptop computers and other devices with consumer audio connections to be used with Teranex AV. Now customers can connect virtually any audio source to Teranex AV and use it to embed the audio with the video and output the signal in any format.

There’s even a live freeze frame feature that temporarily holds any current frame on the screen until Teranex AV is switched to another video output, a black frame, or the still store. This is ideal for conferences and events where customers might need to hold a slide on screen while the presenter makes changes to their presentation in the background. The freeze frame and still store make it possible to always have something on screen at all times.

In addition to HDMI and 12G-SDI connections, Teranex AV also includes quad link 3G-SDI outputs, making it compatible with a wide range of older Ultra HD monitors and projectors that only support quad link SDI 1080 HD inputs. This also makes Teranex AV a great video wall processor because it can split Ultra HD into 4 HD screens, or it can scale regular HD up, split it and output it onto 4 large screens for a tiled video wall. That means customers can create massive multi-screen outdoor displays and digital signs that will amaze the crowd at live events!

Customers also get BNC input and output connections for generating or receiving reference signals. The built in ethernet connection allows for remote control, and an optical fiber cage is available for adding optional SMPTE fiber optic modules so customers can send video and audio over massive distances. Teranex AV even has rear brackets to protect cables and connectors from damage during portable, outside broadcast, or field work.

With Teranex AV, customers get 1089 up, down, cross and standards conversions for all formats up to 2160p60 in full 10-bit quality. Like all Teranex processors, Teranex AV features patented algorithms and powerful processing that give customers visually transparent conversions that are indistinguishable from the original. Conversions use optical quality scaling, have advanced de-interlacing, noise reduction, automatic 3:2 cadence detection, removal and insertion, and retain timecode, ancillary data, audio and more.

Teranex AV brings Teranex’s legendary broadcast quality standards conversions to AV professionals for the first time ever,” said Grant Petty, CEO, Blackmagic Design. “This product is exciting because it has exactly the features customers need for working at live events and conferences. They get 1089 incredible SD, HD and Ultra HD conversions, along with incredible new features designed specifically for audiovisual professionals!”

Key Teranex AV Features:

  • Ultra low latency, as low as 67 milliseconds.
  • HDMI 2.0a, 12G-SDI in, out and loop through connections.
  • XLR connections for 2 channels of balanced analog and 4 channels of AES/EBU audio input.
  • Consumer HiFi connections for 2 channels of audio input from devices like laptops and iPods.
  • Optical fiber cage for adding optional SMPTE compatible fiber optic SDI modules.
  • Internal still store and live freeze modes.
  • Patented Teranex processing for extremely high quality up, down, cross and standards conversions.
  • Retains all ancillary data such as timecode and subtitles.
  • 16 channels of frame accurate audio conversions and full audio channel remapping.
  • Classic Teranex front panel makes it extremely easy for Teranex customers to integrate and use.
  • Reference input for built in frame sync feature and reference output for sync generation.
  • Built-in video test pattern generation with audio test tones.
  • Gigabit Ethernet connectivity for remote control.
  • Built in power supply supports 110V to 240V AC.

Click here to purchase the Teranex AV from John Barry Sales.

Dji Mavic Pro or GoPro Karma – who will be Top Gun?

This is a repost of a blog originally written by Matthew Allard ACS and published on website. See the original post here.

If this was the Miramar air station, Mavic and Karma would be battling head to head for the title of Top Gun. Just like Maverick and Ice Man, DJI and GoPro are the two new hot shots on the block, both trying to out do each other. So which one will come out on top? If you were going into a dog fight, or in this case a video shoot, which one would you want in your corner? While this is impossible to answer until someone does a direct flying comparison, we can at least look at the specifications and features and come to an analytical conclusion just like “Charlie” would.

Size and Speed
The DJI Mavic Pro has folded dimensions of H83mm x W83mm x L198mm and weighs 743g.

The GoPro Karma is H89.3mm x W224.3mm x L365.2mm and weighs 1006g. The Mavic has a claimed top speed of 40mph (no wind), while the Karma can fly up to 35mph.

Winner: DJI Mavic. It is smaller and faster, but how that actually translates to real world flying conditions we will have to see.

Flight Time and Range
The DJI Mavic has a claimed flight time of up to 27 minutes and a maximum flying distance of 8 miles (13km). OcuSync long-range-transmission technology is capable of relaying a signal up to 4.3 miles line-of-sight while supporting 720p HD video (1080p HD transmission in short-range mode). Every time you fly, OcuSync scans a range of available frequencies to find and use the one with the least interference to give you more reliability and control, OcuSync transfers vital statistics of the Mavic to you in real time, and can also be used to download photos and videos at up to 40 Mbps while flying. It can be controlled using the DJI Go app over shorter ranges. If you to want to fly further the you can add a tiny remote controller which increases the range to a claimed 7km. The remote can link to a mobile device and view a live feed from the copter in 1080P.

The GoPro Karma has a claimed flight time of 20 minutes and the control range is limited to 0.6 miles (0.97km).

Winner: DJI Mavic. Not only does it have a longer flight time, but it can also be operated up to 4.3 miles away, which gives it a huge advantage over the Karma.

Camera and Gimbal
The DJI Mavic Pro uses a DCI 4K (4096 x 2160) capable 1/2.3” CMOS camera with a 28 mm f/2.2 lens that has a field of view 78.8°. The minimum focus distance is 50cm (1.6ft). It records up to 60 Mbps in MP4, MOV (MPEG-4 AVC/H.264), and can capture up to 96fps in Full HD. In DCI 4K you are limited to 24fps.

The GoPro Karma can use a GoPro 5 with a 12MP CMOS sensor that is capable of capturing UHD (3840 x 2160) and comes with a range of FOV (Field Of View) options. The widest being 17.2mm and the narrowest is 34.4mm, with a medium FOV setting of 21.9mm also available. The camera has a f stop of 2.8. In 2.7K widescreen and lower resolutions you can use narrower FOV options including Medium, Narrow, and the new Linear mode (only available in 2.7K and 1080p settings), which corrects the lens’s barrel distortion. The Karma has the ability to manually control the ISO and shutter speeds. GoPro also allows you to shoot in the Protune mode which gives you more flexibility when it comes to grading your footage. The GoPro 5 can capture up to 120fps in Full HD. The GoPro 5 like the Mavic records at up to 60 Mbps.

The Mavic along with having a fixed, non removable camera, uses the smallest high-precision 3-axis gimbal that DJI has ever made. With brushless motors on all three axes, the gimbal is claimed to eliminate shake caused by the movements of the Mavic. The GoPro Karma has a detachable gimbal that can be used with the Karma Grip to allow you to capture stabalised material in the air and on the ground. You can also have full manual camera controls for photos and videos, including ISO, shutter speed , and the file format.

Winner: GoPro Karma. With the ability to change the field of view, Protune and a detachable gimbal, the Karma looks like the winner.

The DJI Mavic is loaded with features for such a small drone. including a collision avoidance system, ultrasound, GPS, dual redundant IMUs, and ActiveTrack Subject Tracking Modes. There is also a Selfie Mode with Gestures and a Tripod Mode that caps the Mavic’s maximum speed at 2.2 mph, while the control stick sensitivity of the remote controller is dulled for more accurate framing. It is also great for flying indoors or other small spaces where the Mavic’s normal speed may make it more challenging to fly. Also included is Terrain Follow that uses height information gathered by the on-board ultrasonic system, and its downward-facing cameras to keep you flying at the same height above the ground even as the ground moves.

The GoPro Karma has no collision avoidance system, but it does include the GoPro Passenger App, where one person can pilot via the controller while a second uses the app to monitor the camera and change settings as needed. The Karma definitely offers far fewer features, but for more advanced drone flyers, the ability to have one person flying the drone, while another one controls the camera could be a huge selling point with filmmakers. There is also a Automatic Takeoff and Landing function using a single button on the controller, and Automatic Return Home that lets Karma safely flies back to you when out of range, if there’s a lost connection, or when the battery runs low. GoPro also have a Built-In Auto Shot Paths function that includes a Dronies, Cable Cam, Orbit, and Reveal Modes.

Winner: Jury still out Both companies pack a lot of features into the respective drones, the Mavic definitely has more features built-in and the automation is great for regular users out for fun. Karma may have the edge for filmmakers if the dual operator function works well.

Control System
The GoPro Karma uses a video gamepad-style controller with a flip-up touchscreen that lets you remotely control all camera modes and capture settings. Unlike the Mavic, the Karma has a built in screen. With the Mavic you need to use your smart phone to see what your camera is seeing. The range for the Karma controller is some what limited at just 3280’ / 1000m.

The Karma Controller: designed with Generation X-Box in mind.

DJI GO is what you use to control your Mavic. When your phone or device is connected to the Mavic, it shows you everything the camera sees in near real-time. The Mavic also supports flying on your phone with virtual joysticks, and also gives you full access to all of its Intelligent Flight Modes: TapFly, Trace, Spotlight, Profile, and Circle. The Mavic has a control range of 4.3 miles / 7 km (line-of-sight).

Winner: Tie

The DJI Mavic Pro is $999 US, and includes:

DJI Mavic Pro
Remote Controller
Intelligent Flight Battery for Mavic Quadcopter
3 x 8330 Quick-Release Folding Propellers for Mavic Drone
Gimbal Clamp
AC Power Cable for Charger
16GB microSD Card
Micro-USB Cable
RC Cable with Lightning Connector
RC Cable with Micro-USB Connector
2 x RC Cable Slider

The GoPro Karma is $1099.99 US, and that price does include:
Karma Quadcopter with Harness for HERO5 Black
Karma Harness for GoPro HERO5 Black
Karma Controller with Touch Display
Karma Stabilizer
Karma Grip Handle
Karma Charger
Karma Battery
6 x Propellers
Karma Mounting Ring
Karma Case
Limited 1-Year Warranty
HERO5 Black
The Frame for HERO5 Black
Rechargeable Battery for HERO5 Black
Curved Adhesive Mount
Flat Adhesive Mount
Mounting Buckle
USB Cable

Winner: GoPro Karma. The GoPro Karma definetely looks like the better value for money option for shooters, with a removable camera and gimbal that can be used for other application.

So who is the Top Gun? On paper the DJI Mavic looks to be the winner, but the dog flight is pretty close. Just like in the movie, the under dog can never be written off. Specifications and features are one thing, but the only way to officially see who is the Top Gun will be once they take to the skies. As Goose once said, “I feel the need for speed.”

Source: Dji Mavic Pro or GoPro Karma – who will be Top Gun?

Blackmagic Design Announces DaVinci Resolve 12.5.2 Update Now Available

Blackmagic Design Announces DaVinci Resolve 12.5.2 Update Now Available

New update adds support for additional URSA Mini camera metadata, Fusion Connect on Linux and more!

Blackmagic Design recently announced a new DaVinci Resolve 12.5.2 update for its professional editing and color correction software. DaVinci Resolve 12.5.2 features support for additional URSA Mini camera metadata, color space tags on QuickTime export, Fusion Connect for Linux, advanced filtering options and more. DaVinci Resolve 12.5.2 update is available now for both DaVinci Resolve and DaVinci Resolve Studio customers, and can be downloaded free of charge from the Blackmagic Design website.

DaVinci Resolve 12.5.2 update adds support for additional metadata that is embedded into RAW files from URSA Mini cameras running the new URSA Mini camera operating software. The new software gives URSA Mini customers a completely new “slate” that uses tap and swipe gestures along with predictive data entry and a dictionary of commonly used shooting terminology to make entering metadata faster than ever before. This means customers using URSA Mini with DaVinci Resolve 12.5.2 can now take advantage of this new metadata to organize footage, create smart bins, filter clips and more when editing and color correcting.

Customers that need to export QuickTime files from DaVinci Resolve will now be able to export color space tags with their files. Color space tags are used to identify the color space of a file such as SMPTE-C, Rec. 709, Rec. 2020 and others. This means files generated by DaVinci Resolve 12.5.2 will now include the correct color space metadata information for more consistent playback in other software applications.

DaVinci Resolve 12.5.2 also adds support for Fusion Connect for Linux. Fusion is Blackmagic Design’s advanced visual effects, 3D compositing and motion graphics software for Mac OS X, Windows and Linux. Fusion Connect lets editors and colorists send a clip or a stack of clips from their timeline to Fusion. This creates a linked connection between Fusion and DaVinci Resolve so that when visual effects are added and rendered in Fusion, the results automatically show up in the DaVinci Resolve timeline. Fusion Connect also supports versioning, so artists can create different versions of a shot and view them in context of the entire program in the DaVinci Resolve timeline.

In addition, DaVinci Resolve 12.5.2 provides additional sorting and filtering options for both editors and colorists. For example, editors can now create smart bins for timelines based on their creation or modification date, colorists can filter their timeline based on clips that have OpenFX plug-ins applied and more. Power Windows have also been improved so that opacity is now retained when converting a circular window to a custom curve, and customers that use remote grading can now copy local grades to remote grades.

“We have so many incredible ideas for DaVinci Resolve and we are extremely pleased to be able to offer so many new features to this update! Customers simply love DaVinci Resolve and the response has been overwhelming, especially from editors that are switching to Resolve for the first time.” said Grant Petty, CEO, Blackmagic Design. “This update is the direct result of customer feedback and Blackmagic Design engineers are working harder than ever to deliver the features customers want. We hope that customers benefit from our commitment and our promise to build the world’s best editing and color correction software!”

What’s new in DaVinci Resolve 12.5.2

New Features

  • Support for new URSA Mini camera metadata in RAW files
  • Support for color space tags on QuickTime export
  • Support for Fusion Connect on Linux
  • Ability to filter timeline on Color page based on clips that have OFX applied
  • Support for up to 24 audio channels on the Edit and Deliver page
  • Support for manually enabling and disabling GPUs in preferences
  • Support for display name on ALE export
  • Support for apply grade and append node graph in the main menu
  • Ability to clear tracking data for the current Power Window
  • Support for OpenCL on NVIDIA cards on Microsoft Windows
  • Ability to copy local grades to remote
  • Additional utility functions in DCTLs
  • Support for date created and data modified for timelines when using smart bins

Availability and Price

DaVinci Resolve 12.5.2 update and DaVinci Resolve 12.5.2 Studio update are now available for download from the Blackmagic Design website free of charge for all current DaVinci Resolve customers.

Click here to download DaVinci Resolve

Blackmagic Design Announces New Low Price for HyperDeck Studio 12G

Blackmagic Design Announces New Low Price for HyperDeck Studio 12G

Blackmagic Design reduces the price of HyperDeck Studio 12G to only $1,495.

IBC 2016, Amsterdam, Netherlands – September 9, 2016 – Blackmagic Design today announced a new low price for the popular HyperDeck Studio 12G of only $2,175 inc GST. HyperDeck Studio 12G is the world’s most advanced solid state disk broadcast deck, featuring VTR style controls with 12G-SDI and HDMI 2.0 connections for recording all formats up to high frame rate Ultra HD over a single cable.

HyperDeck Studio 12G will be demonstrated at IBC on the Blackmagic Design booth in Hall 7, Stand 7 H.20.

Since Blackmagic Design introduced 12G-SDI, customers have been adopting it as the new standard for Ultra HD. Multi rate 12G-SDI is compatible with all existing SD, HD and Ultra HD formats and equipment, up to high frame rate 2160p60, all over a single SDI cable. Customers have been replacing older quad link equipment with new 12G-SDI equipment and, as adoption has increased, manufacturing and component costs for products featuring 12G-SDI have dropped. This benefit, combined with recent manufacturing enhancements at Blackmagic Design, has made it possible to now reduce the price of HyperDeck Studio 12G to only $1,495.

HyperDeck Studio 12G gives customers an advanced technology replacement for broadcast decks that were limited to HD only. Customers get the same functionality and control of a traditional broadcast deck but with the advantage of recording directly to 10-bit 4:2:2 uncompressed files for SD and HD, or to broadcast quality Apple ProRes and DNxHD files for SD, HD and Ultra HD.

HyperDeck Studio 12G is the only deck that’s future proof and ready for every kind of production. Customers can use HyperDeck Studio 12G with all of their existing SD and HD equipment today, with the confidence of knowing that it will automatically switch to high frame rate Ultra HD 2160p60 when they need it.


The clarity, sharpness, detail and smooth motion of high frame rate Ultra HD makes it perfect for live sports programming. HyperDeck Studio 12G can be used with the latest broadcast switchers, such as the ATEM Broadcast Studio 12G, to record the master program output. Multiple HyperDecks can even be used to record clean feeds from the switcher, or even ISO recordings from every camera so you have full frame rate 2160p60 video available for instant replays or later post production.

HyperDeck Studio 12G features the latest multi rate 12G-SDI and HDMI 2.0 connections, making it compatible with virtually all SD, HD and Ultra HD formats, including high frame rate 2160p60.

There are two SSD slots allowing for continuous recording of full 10-bit 4:2:2 quality video onto standard 2.5” solid state disks. When one disk is full recording automatically continues onto the next disk. HyperDeck Studio 12G creates files that are ready for post production and SSD cards can be mounted directly on a Mac or PC computer. That means editors and colorists can instantly use the files off the disk without having to convert or transcode them. Files are compatible with all popular post production applications such as DaVinci Resolve, Final Cut Pro X, Premiere Pro, Media Composer and more.

HyperDeck Studio 12G has a compact, single rack unit design that easily fits into any equipment rack, flyaway kit or outside broadcast vehicle. The machined metal design makes it rugged and durable enough to use in even the harshest production environments. The VTR style controls on the front panel are designed to make HyperDeck Studio 12G easy and familiar to use. There are illuminated play, record, rewind, and fast forward buttons, along with a standard jog/shuttle wheel on the front panel. HyperDeck Studio 12G can also be controlled remotely using standard RS-422 deck control or via SDI start/stop triggers.

“The rate at which customers are adopting 12G-SDI as the new standard for Ultra HD is incredible,” said Grant Petty, CEO, Blackmagic Design. “The growing popularity of 12G-SDI combined with a huge investment work in our manufacturing operations has made it possible for us to reduce the price by $1000 to only $1,495. This is exciting because now customers have an even more affordable way to perform professional recordings using state of the art solid state disk technology that’s compatible with every SD, HD and Ultra HD format available!”

HyperDeck Studio 12G Key Features

  • Record and playback of HD and Ultra HD up to 60 fps or 2160p60.
  • Capture and playback with SSDs in uncompressed 10-bit, DNxHD and ProRes quality.
  • Supports QuickTime format to uncompressed, DNxHD and ProRes files and MXF files for DNxHD.
  • Dual slots for continuous recording, when one disk is full it continues to record to the next disk.
  • 12G-SDI inputs and outputs, automatically switch between all SD, HD and Ultra HD video formats.
  • HDMI 2.0 input and outputs with support for Ultra HD 4K.
  • USB connection for software updates to add new features and video formats.
  • RS-422 deck control interface for external control.
  • Ethernet for transport control and setting changes.
  • 1 rack unit size with universal 110/240V built in power supply.

Availability and Price

HyperDeck Studio 12G is available now for US$1,495 from Blackmagic Design resellers worldwide.

Blackmagic Design Announces Major New Video Assist 2.2 Update

Blackmagic Design Announces Major New Video Assist 2.2 Update

Major new update adds improved DNxHD and DNxHR support, as well as new monitoring options!

Blackmagic Design today announced Video Assist 2.2, a major new update for Blackmagic Video Assist 4K customers that dramatically improves DNxHD and DNxHR support, adds false color monitoring, expanded focus options and new screen rotation features. The Video Assist 2.2 update will be available for download from the Blackmagic Design website next week, free of charge for all Blackmagic Video Assist 4K customers.

The new Video Assist 2.2 update lets customers save DNxHD and DNxHR files in MXF containers which improves compatibility with Avid systems running on Windows and removes dependencies on the .mov file format. In addition, customers can now choose between DNxHD 220, 145 and 45 bit rates, or between DNxHR HQ, SQ and LB formats when recording.

The Video Assist 2.2 update also adds false color monitoring exposure tools to the Blackmagic Video Assist 4K. False color exposure tools make it easier to properly set exposure in different parts of the image by highlighting specific color ranges of luminance with a solid color overlay. For example, green indicates neutral grey, while pink tones are good references for skin, which is typically one stop over neutral grey. Using false color helps camera operators keep exposure consistent from shot to shot.

In addition, Video Assist 2.2 update also expands the options for focus assist so customers can now choose whether they want to see red, green, blue, black, white or traditional focus peaking indicators. This makes it easier for customers to accurately adjust focus in a wider range of scenes and under a variety of different lighting conditions. Customers will now also have the ability to manually control the screen orientation and turn off the auto rotate feature which makes it easier for customers to use Blackmagic Video Assist 4K with handheld gimbals and other equipment designed to move the camera and rig simultaneously.

“Customers love the new Blackmagic Video Assist 4K and it has become an indispensable part of every filmmakers toolkit,” said Grant Petty, CEO, Blackmagic Design. “This new update is exciting because it gives customers more recording and file compatibility options than ever before, along with some incredible new monitoring tools that will help filmmakers properly expose their shots and focus them more quickly than ever before so they can shoot with confidence!”

Availability and Price

Blackmagic Video Assist 2.2 update will be available soon as a free download from the Blackmagic Design website.

Click here to visit the Blackmagic Support Center

About Blackmagic Video Assist 4K

Introduced at NAB this year, the Blackmagic Video Assist 4K is a portable all in one monitor and video recorder that can be used to add professional recording and monitoring to any SDI or HDMI camera. It features a bright, high resolution 7 inch screen for checking focus and framing, two high speed UHS-II recorders that work with the latest high performance SD cards for non-stop HD and Ultra HD recording, two extremely high quality XLR microphone inputs for professional audio recording, a built in speaker and more.

Blackmagic Video Assist 4K is perfect for customers that need better monitoring and higher quality recording. Older cameras often feature custom and hard to use file or tape formats, while lower cost consumer cameras often have poor quality file formats and small screens, limiting their professional use. Blackmagic Video Assist 4K solves this problem because it works with every type of camera from DSLRs to older tape based camcorders, and even the latest digital film cameras.

Panasonic Releases 2 New 4K Professional Camcorders

Two new Panasonic models are currently scheduled for release in the Spring of 2016: the UX Premium Model AG-UX180, with a 1-inch (effective size) MOS sensor, optical 20x zoom and UHD 60p recording capability; and the UX Standard Model AG-UX90, featuring a 1-inch (effective size) MOS sensor, optical 15x zoom and UHD 30p recording.

“With an increasing demand for 4K video content, Panasonic is introducing the UX series to make 4K acquisition even more accessible to video professionals,” said Steven Cooperman, Senior Product Manager, Panasonic System Communication Company. “UX camcorders will provide high-mobility shooting and workflow equivalent to our existing professional integrated-lens handhelds.”


The UX series will support recording up to 4K (4096×2160, 24p only) and UHD (3840×2160). (The AVCCAM series allowed recording up to FHD/1920×1080.) UX camcorders will use the SD Memory Card1 as recording media. The UX Premium Model AG-UX180 supports, in addition to 4K and UHD, dual codec recording (UHD *2/FHD), IR recording in low light, and 3G SDI/HDMI2.0 output. The UX camcorders’ 1-inch (effective size) MOS sensor ensures sensitivity equivalent to that of conventional handheld cameras. Variable frame rate (VFR) recording functionality (2-60 fps) is planned in FHD mode.

The availability of these new UX models later this year will bring the company’s line-up of professional 4K cameras to five, including the flagship VariCam 35 and VariCam LT cinema cameras for HDR production in 4K resolution, and the AG-DVX200 4K, 4/3″ large-sensor camcorder.


Australian pricing for both models has yet to be announced, availability is expected late October.

Download the PDF for full specification & product details here.

*1: Video-shooting at 100Mbps or higher requires an SD Card compatible with UHS Speed Class 3 (U3).
*2: Excludes UHD 60p, 4K


Orange Is The New Black – Season 4 Shot On VariCam

Season 4 of Netflix’s top rating series ‘Orange is the New Black’ is airing in Australia on Netflix and Foxtel. Season 4 was shot using Varicam cameras in beautiful 4K imagery, supplied by Panavision.

The series is also close to many Australian’s hearts because one of its stars is fellow Australian actress and DJ Ruby Rose, who plays the role of Stella Carlin. Stella has quite a fan base in Australia and there is one giant question around whether Stella will return for Season 4.

Netflix and chill

A photo posted by Ruby Rose (@rubyrose) on

American Cinematographer recently published a great article  – Behind the Bars – with Cinematographer Ludovic Littee. This article emphasizes the planning, communication and efficiency of the crew while filming.

Read ‘Behind the Bars’ by Patricia Thompson for American Cinematographer

To see the latest goings on at Litchfield Penitentiary check out the trailer: