Blackmagic Design

Today we released public beta 4 of DaVinci Resolve 19 which adds further improvements to the DaVinci public beta, including the ability to live sync video from Blackmagic Design cameras. This allows H.264 proxies from the camera to sync into a DaVinci Resolve bin while the camera is recording. This means that within seconds, editors and colorists in post production facilities around the world can see media arriving in real time. Now they can start editing and grading, even while the camera continues to record. Files are live synced to Blackmagic Cloud as they are recorded, and then live synced to all DaVinci Resolve workstations that are connected to the same cloud project. All you need to do is connect to the project! This update also adds new selection features for Blackmagic Cloud organizations, enabling you to view and switch organizations right from the project manager. This means you no longer have to log out of Blackmagic Cloud to select projects in a different organization. For DaVinci Resolve Studio users, there is a new occlusion mask for the surface tracker so you can more clearly specify the object you want to track, while tracker modifiers in Fairlight will now default to using IntelliTrack to ensure you the best results when applying audio panning. There are also various improvements to Resolve FX film look creator to provide you with a more realistic film look in HDR mode, as well as better halation and handling of aspect ratios when using this effect. Other improvements include a new option to select checkerboard and grey alpha viewer background in the cut and edit pages so you can quickly identify images and clips with alpha channels. New and imported projects will now default to camera originals over proxies if they are available, allowing you to grade or edit using the higher quality original footage. There’s also support for Blackmagic RAW 4.1, improved waveform display for media with synced audio, retention of the playhead position when opening nested clips and a range of general performance and stability improvements. DaVinci Resolve 19 Beta 4 is available now as a free download from http://bmd.link/xjrxHY

Today we released Blackmagic Video Assist 3.15 update which adds support for Blackmagic RAW recording from Panasonic Lumix GH7 and Fujifilm GFX100S II cameras to Video Assist 5” and 7” 12G HDR models. When recording Blackmagic RAW with Video Assist 12G HDR, you can also save the camera’s settings in metadata. This means the white balance and exposure are encoded into the file to be read by DaVinci Resolve, however you can also override these settings later in the RAW settings palette when color correcting. Blackmagic Video Assist 3.15 update is available now as a free download from http://bmd.link/Ek7qgx

Today we announced Blackmagic Camera for Android, which adds digital film features and controls to your Samsung Galaxy and Google Pixel phone! This greatly improves the results you can get so shots can be used for television and film production. You get the same intuitive and user friendly interface as Blackmagic Design’s award winning cameras. It’s just like using a professional digital film camera. You can adjust settings such as frame rate, shutter angle, white balance and ISO all in a single tap. Or, record directly to Blackmagic Cloud in industry standard files up to 8K. Recording to Blackmagic Cloud Storage lets you collaborate on DaVinci Resolve projects with editors anywhere in the world, all at the same time!    Blackmagic Camera for Android is compatible with Samsung Galaxy S23, S23 Plus, S23 Ultra or S24, S24 Plus, S24 Ultra and Google Pixel 7, 7a, 7 Pro, 8 and 8 Pro phones. It is available now from Google Play, free of charge. Learn more at http://bmd.link/FfnNTR

‘An Island Off An Island’ Argentinean cinematographer and filmmaker, Guido Pezz recently shot and directed “An Island Off An Island”. For the past 20 years, Jenene and John have lived a simple life together on Bruny; an island off the island of Tasmania, located at the bottom of Australia. This film is an intimate portrait about life away from the distractions of the outside world. “I have always been fascinated by people who live on islands, isolated away from the world. Bruny Island in Tasmania is one of these wonderfully remote islands, which I was lucky enough to visit some time ago. Whilst I was still living in Australia, my wife and I returned there again for a holiday, making friends with the locals that call the island home.” “Although Bruny Island has a population of nearly 700 people, the island community is really close, where familiarity with each other is so important. The locals on Bruny Island share a unique lifestyle which is totally shaped by their environment. They all hang out together and they all know each other. The island is really divided into two islands, with the inland regions being heavily wooded, with most of the locals living in the north near the coast of Tasmania.” “Although the island has this beautiful coast line and wonderful hinterland around the base of the mountains, I was mostly drawn to the story of the people and the type of lifestyle they have created for themselves in this unique part of the world.” “I decided to shoot this film in June, as this time of the year is the most beneficial in terms of lighting in Australia. Although it's not the best month to be holidaying at Bruny Island because it rains a lot! The week I arrived, there were moments of sunshine, but mostly it was cloudy, rainy and windy. Although that sort of weather can be really challenging, I much preferred these conditions to the harsh light that comes with summer days in December and January. And so all of my scenes and locations were based on the quality of light available at that time of the year.” “Shooting at a place like Bruny Island is difficult to explain. It feels very isolated even though it is fairly close to Tasmania! So it was important to give this documentary a ‘feeling’ of being isolated. When it came to the landscape, there were no particular things that stood out above anything else. There were no epic mountains or rocky outcrops to focus on. Bruny Island is more about what it feels like to live there; and so that is what I was trying to capture. I wanted to translate the essence of living there as authentically as I could.” Read the full story at http://bmd.link/wmYhk3

Today at WWDC, Apple referred to a new camera we’ve been developing called Blackmagic URSA Cine Immersive. This camera is still in development, but we wanted to share some more details here. However it’s not just Blackmagic URSA Cine Immersive we have been working on, as we are developing a full end-to-end workflow with DaVinci Resolve to produce cinematic Apple Immersive Video on Vision Pro. Together, we think Blackmagic URSA Cine Immersive and DaVinci Resolve will give filmmakers the workflow to be able to shoot, edit and deliver Apple Immersive Video. It's quite exciting and the future of entertainment. Based on the new Blackmagic URSA Cine platform, the new Blackmagic URSA Cine Immersive model features a fixed, custom lens system with a sensor that features 8160 x 7200 resolution per eye with pixel level synchronization. It has an extremely wide 16 stops of dynamic range, and shoots at 90 fps stereoscopic into a Blackmagic RAW Immersive file. The new Blackmagic RAW Immersive file format is an enhanced version of Blackmagic RAW that's been designed to make immersive video simple to use through the post production workflow. The Blackmagic URSA Cine also features a custom lens system designed specifically for Blackmagic URSA Cine’s large format image sensors with extremely accurate positional data which is calibrated at the time of manufacturing. Plus the immersive lens data is mapped, calibrated and stored per eye into the Blackmagic RAW file so it travels through the post production process in the Blackmagic RAW Immersive file itself. That eliminates the need for multiple files to capture an immersive scene. The new updates to DaVinci Resolve make it the world’s first immersive video editor. There are a lot of updates and changes to support immersive workflows including a new immersive video viewer which will let editors pan, tilt and roll clips for viewing on 2D monitors. But what's most exciting is we can even allow clips to be adjusted and monitored on Apple Vision Pro itself for a complete immersive editing experience. This is a very nice feature. Transitions rendered by Vision Pro will also be able to be bypassed using XML metadata, giving editors clean master files where the transitions are rendered in the Vision Pro. Export presets will enable output into a package which can be viewed directly on Apple Vision Pro. We are working hard on the new Blackmagic URSA Cine Immersive and the new version of DaVinci Resolve, which will be released later this year. We have also included some photos so you can see more details of the Blackmagic URSA Cine Immersive hardware.

Today we announced Blackmagic Cloud Live Sync, a new feature of Blackmagic Cloud storage that allows a camera to sync media into a DaVinci Resolve bin while the camera is recording. Within seconds editors and colorists in post production facilities can see media arriving in real time and start editing and grading, even while the camera continues to record. This is a revolution in broadcast workflows where post productions artists can see and work with media, seconds after it's been recorded in a camera, from any location globally. The secret to Blackmagic Cloud live sync is the ability of the latest Blackmagic cameras, such as the Cinema Camera 6K, PYXIS, URSA Cine and URSA Broadcast G2, to record a full resolution HD proxy in H.264. These files are live synced to Blackmagic Cloud as they are recorded, and then also live synced down to all DaVinci Resolve workstations that are connected to the same cloud project. All you need to do is connect to the project. It is all automatic! The new Blackmagic Cloud live sync feature will be public beta in mid June as a free download for Blackmagic Cinema Camera 6K and Blackmagic URSA Broadcast G2, with updates for all cameras coming shortly after. This update to Blackmagic Cloud will be included free with current Blackmagic Cloud media sync plans. There will be no additional costs. Live sync on Blackmagic Cloud with cameras recording live into a DaVinci Resolve bin will be demonstrated on the Blackmagic Design Cinegear 2024 booth #S5125. Learn more at https://lnkd.in/gvMk8THc

Today we released ATEM Switchers 9.5, which adds support for Secure Reliable Transport (SRT) streaming protocol to ATEM Mini Pro, ATEM Mini Extreme, ATEM SDI Pro and ATEM SDI Extreme models for much lower latency streaming and more secure encrypted streams. In addition, this update adds the option to sync recordings to the Blackmagic Cloud. This means you can get footage for editing or color grading in seconds, speeding up your workflow! ATEM Switchers 9.5 update also adds support for routing of the webcam source, live editing of recorded files and network storage for external drives.This update also adds a range of improvements to multiview including the option to remove all borders, customize border colors and the ability to enable or disable labels individually. ATEM Switchers 9.5 update is available now as a free download from http://bmd.link/iHgevE

Today we announced that DaVinci Resolve 19 Public Beta 3 now supports Qualcomm’s new all in one CPU, NPU and GPU processor for Windows. DaVinci Resolve has been fine tuned to optimize performance of the DaVinci Neural AI Engine, with NPU acceleration giving you up to 4.7x faster performance of AI tools such as magic mask and up to 2x faster performance for smart reframe on computers with the Snapdragon X Elite processor.   Powerful new DaVinci Neural Engine AI tools and over 100 feature upgrades were announced in DaVinci Resolve 19 which are fully supported on the Snapdragon X Elite processor. Colorists can produce rich film like tones with the ColorSlice six vector palette and Ultra NR adds an additional denoise mode in the Color page’s spatial noise reduction palette. The new IntelliTrack AI optimizes tracking and stabilization in the color and Fusion pages, while for Fairlight, Intellitrack can be used to track motion and automatically pan audio. Editors can work directly with transcribed audio to find speakers and edit timeline clips.   DaVinci Resolve 19 public beta 3 for Windows ARM using Snapdragon X Elite is available now as a free download from http://bmd.link/uxuE49

Today we announced Blackmagic Camera 1.4 update which adds support for organizations in Blackmagic Cloud. This means that if you are a member of an organization on Blackmagic Cloud and you are added to a project, you can login and sync camera recordings automatically to the project library. This update also adds support for 2.76:1 frame guides, as well as adding frame guides to the HDMI monitoring output. You can also now customize the opacity when using grid overlays, making it easier to see grids for aligning shots when shooting horizontally or vertically. In addition, support for off speed recording has been added which means that you can select to record at 48fps and playback at 24fps, and your clips will naturally playback in slow motion. Blackmagic Camera 1.4 update also corrects the image preview when using the anamorphic de-squeeze option, as well as improving audio input recording when an incoming call is received. Blackmagic Camera 1.4 update is available now as a free download from http://bmd.link/psY7Lh

Today we released public beta 3 of DaVinci Resolve 19 which adds further improvements to the DaVinci public beta including support for viewing content in HDR on the UI when using Windows. This allows you to correctly view high dynamic range images without an external HDR monitor. You also get improved performance and control of the node stack function so that you have the option to quickly reset all layers at once instead of one layer at a time. You can also bypass individual node stack layers, giving you greater control over the layers. This update also supports improvements when using replay on the Cut page. Now you can double press the camera key to run the selected camera from the in point, giving you faster and more switching control over multiple cameras. Plus, you can convert the previous POI to a marker for later reference, as well as see the distance between the playhead and the POI in the timeline making it easier to judge the replay length available. There is also added support for the DaVinci Resolve Micro Color Panel, with the ability to see the battery level in the preferences section. For DaVinci Resolve Studio, this update adds improved quality, speed and performance for UltraNR noise reduction. The music remixer is now available for individual clips as well as all clips in a track giving you greater flexibility. It also improves the ability to preview adaptive audio formats in the media pool, source viewer and audio inspector so you can now play up to 36 channels of audio. Other improvements include clearer audio in complex nesting timelines so artifacts such as crackles and noises are removed, as well as improved cursor refresh operation while hovering on edits directly under the playhead during editing. Plus to help avoid accidental deletion when resetting or deleting compositions a user notification has been added, as well as general performance and stability improvements. DaVinci Resolve 19 Beta 3 is available now as a free download from https://lnkd.in/g_hDiQm