Blackmagic Design

Blackmagic Design's extremelynews-rich NAB 2024 welcomed, among other things, two new digital film cameras from the brand: URSA Cine 12K and PYXIS 6K. The former is the materialized answer to the question "what would a camera from Blackmagic Design look like regardless of the selling price".

It's the successor to the URSA Mini Pro 12K OLPF, now with Blackmagic Design's second generation 12K RGBW sensor (larger pixels, 36x24 mm, 16 EV dynamic range, up to 12K 3:2 Open Gate 12288x8040 80 fps), recording on proprietary interchangeable modules (the camera currently comes with an 8TB M.2PCIe SSD module, with future plans for a 16TB version, or a module with dual CFexpress card slots), network interface (Wi-Fi, 10G Ethernet) with Blackmagic Cloud and streaming support, PL, LPL and EF interchangeable bayonets (also Hasselblad in the future), standard Lemo and Fischer connectors for power and accessories, Blackmagic RAW and H.264 recording (proxy), interchangeable B Mount battery plate (Gold and V-Lock plates will be available as an option). The camera is already on sale and comes with accessories (PL/EF bayonets, 8TB module, handle and B Mount plates, Top Rod Mount 15 and Baseplate 19 etc.) in a Pelican case. A kit variant with the new electronic viewfinder is also on sale. The manufacturer is also working on a 65mm 17K sensor, but this won't be available until later this year.

Camera PYXIS 6K will go on sale in June and, in addition to the film industry's favourite "box" version, will offer a 6K FF sensor with 13 EV dynamic range, L-Mount, PL and EF bayonets, 1G Ethernet, compatibility with URSA Cine accessories (including the Blackmagic URSA Cine EVF viewfinder), recording on a pair of CFexpress Type B cards (Blackmagic RAW, H.264 proxy; up to 6048 x 4032 Open Gate 3:2 36 fps) or to external USB-C SSDs, BP-U battery power, and a 4" high-brightness touchscreen display with FHD resolution.

In addition to a host of new products, Blackmagic Design also launched several updates at NAB 2024, including. Desktop Video 12.9, which is dedicated to the model UltraStudio 4K Mini, now with support for 10-bit YUVA 4:2:2 up to 2160p30 keying mode, as well as the ability to quickly deactivate Fill and Key outputs for the new instant replay features of DaVinci Resolve 19 and ATEM overhead. The 8.4 update for HyperDeck recorders implements features for video recording and playback within a network infrastructure, NTP support, HTTP and HTTPS browsing and file transfer, and new network security features on models HyperDeck Studio 4K Pro, HyperDeck Studio HD Pro, HyperDeck Studio HD Plus a HyperDeck Studio HD Mini. Download here.

Blackmagic Design today announced DaVinci Resolve 19 a major new update which adds new AI tools, over 100 feature upgrades such as IntelliTrack AI, Ultra NR noise reduction, ColorSlice six vector grading, film look creator FX, multi source editing, new multipoly rotoscoping tools, new Fairlight AI audio panning to video, ducker track FX and ambisonic surround sound plus new features in Blackmagic Cloud for large customers.

DaVinci Neural Engine AI
DaVinci Resolve 19 introduces powerful new DaVinci Neural Engine AI tools and over 100 feature upgrades. Editors can work directly with transcribed audio to find speakers and edit timeline clips. Colorists can produce rich film like tones with the ColorSlice six vector palette and produce cinematic images using the new film look creator effect which emulates photometric film processes. In Fairlight, the IntelliTrack AI can be used to track motion and automatically pan audio. VFX artists in Fusion have an expanded set of USD tools plus a new multipoly rotoscoping tool. The cut page has new broadcast replay tools for live multi camera broadcast editing, playout and replay with speed control.

License management
The new Organizations app in Blackmagic Cloud enables larger companies define a single organization or company. Now customers can create groups or teams and quickly share projects to an entire group rather than one by one. Customers can also manage storage access, share Presentations, and create a single sign on. It also lets customers buy or rent DaVinci Resolve Studio licenses. This makes it easier for companies to assign and manage the allocation of licenses within large groups. Licenses can be costed against specific projects and then removed when it’s complete.

Cut page
For editors, improvements to the transcription workflow make it possible to edit clips based on the transcribed text directly on the timeline. The analyzer is now able to detect multiple voices, allowing customers to assign names to different speakers and refine text based search and text replacement operations.

The cut page now supports realtime selection of live camera recordings for instant replay to air with slow motion and stingers. The new multi source viewer lets customers see all their live cameras, or even just clips with a common timecode, in a single multiview screen. Customers can scrub, play and select shots to add to the timeline or simply play to air. They can even switch live from any of the available angles. When watching live cameras or clips in the multiview, when a signifiant event occurs, customers can instantly capture the moment with a point of interest or POI marker. The POI is placed on all the clips at that same time so it’s easy to quickly find the event on every camera angle, play them to air and even automatically build a highlights timeline.

The pace of live TV is frantic so the new replay palette controls in the cut page are clear and quick to navigate. Customers can set a POI with a single key, select a camera and cue the event. Then select run to play to air automatically via ATEM. They can switch cameras or once it’s done, simply dump the playout to prepare the next replay. There are also new stinger transitions which are moving graphic and sound transitions to let the viewer know the program has switched from live to a replay, then back, or even just switched to a new scene. It’s the fastest way to see all your cameras live and edit to the timeline while the cameras are still recording!

Color page
UltraNR is a new DaVinci Neural Engine driven denoise mode in the Color page’s spatial noise reduction palette. Colorists can use it to dramatically reduce digital noise from a frame while maintaining image clarity. Combine with temporal noise reduction for even more effective denoising in images with motion. While the new Film Look Creator lets customers add cinematic looks that replicate film properties like halation, bloom, grain, flicker, gate weave and vignetting. Colorists can adjust exposure in stops and use subtractive saturation, richness and split tone controls to achieve looks usually found on the big screen.

The new ColorSlice six vector grading palette uses subtractive color processes to adjust image color density, saturation and hue, allowing customers to produce rich filmic colors and looks. Parameters in each customizable vector slice let colorists enhance and deepen color without spill, in a way that looks naturally pleasing.

Fusion page
The new uVolume feature allows direct import of VDB volumetric files, eliminating the time-consuming conversion of volumetric data from fluid dynamics simulators, etc. It also adds creative control over imported effects such as smoke, fire, clouds or explosions, including density, temperature and color parameters. Another new tool, MultiPoly, displays all masks in a single list, eliminating switching between nodes for faster and more accurate rotoscoping. It is ideal for complex projects: users can view, select, add and edit specific masks, switch their visibility and adjust other parameters from a single location.

Fairlight page
The new IntelliTrack AI is powered by the DaVinci Neural Engine, and can also be used in Fairlight to automatically generate precision audio panning by tracking people or objects as they move across 2D and 3D spaces. With AI audio panning to video, customers can quickly pan multiple actors in a scene, controlling their voice positions in the mix environment. The AI based dialogue separator FX lets customers rebalance dialogue against background sound and the reverberant sound of the room. Customers get controls for voice, background and ambience so customers can reduce, remix or remove competing sounds. It’s perfect for field recordings and interviews in busy locations.

The ducker track FX lets one track auto adjust the level of another track without the need for setting up complex side chain compression or automation curves. Customers can automatically set music or background noise to lower when dialog is present, then fine tune the audio mix with advanced controls.The music remixer track FX lets customers adjust music to fit with the style of their show. Controls include mute and level adjustments for voice, drums, base, guitar and more. Customers can turn a vocal piece into an instrumental, automate changes and refocus the music mix to the instruments customers want to hear.

Ambisonic surround sound is a new spherical format which lets audio engineers record, mix, monitor and deliver full sphere soundtracks. Fairlight now has fully integrated native operation with 1st to 5th order busses and tracks, native effects processing, 2D and 3D spherical panning, binaural and channel based monitoring, dynamic in-viewer metering and head tracking support.

New DaVinci Resolve 19 features

• IntelliTrack AI for image tracking and stabilization
• DaVinci Resolve Replay Editor support
• Section Cut now also available as a media player and instant replay system
• New multiview option to display time-synchronized footage during editing
• Add interest markers and create replay roster from multiview view and timeline
• Ability to edit timeline content based on transcription of source clip dialogue
• New ColorSlice palette for color correction
• Advanced UltraNR technology for noise reduction
• Easier management of complex colour correction projects
• New Film Look Creator tool for emulating film footage
• New background blur feature
• Multi Poly tool for easier rotoscoping of complex objects
• Improved USD data import for Material X and advanced volumetric shading
• Improved mask creation toolset
• Fully integrated native ambisonic 3D audio processing
• Video-based audio scrolling in Fairlight (IntelliTrack)
• Music Remixer FX for remixing voice, drums, bass, guitar and other instruments
• Dialogue Separator FX for separating dialogue from background or ambient acoustics
• Ducker Track FX for automatic level management

Blackmagic Design at NAB 2024 have just unveiled a range of new products incl. the entire ecosystem of products for SMPTE 2110 IP video, the third generation Blackmagic SmartView 4K preview monitor and Blackmagic Audio Monitor listening unit, now also with an IP interface, as well as the affordable ATEM Micro Panel for easy overhead control using ATEM Software Control, a dedicated DaVinci Replay Editor console for quick editing of news stories using DaVinci Resolve, a Blackmagic MediaPlayer 10G 4K media player, a Blackmagic Ethernet Switch 360P network switch specifically designed for broadcast use, two new Blackmagic Cloud Store Max 24TB and 48TB network storage devices, and last but not least, a new 19. daVinci Resolve with a number of new automated AI tools (motion tracking, video editing via dialogue editing, etc.), an upgraded Fusion section with an emphasis on 3D effects, etc.

The surprise is the new high-end Blackmagic URSA Cine 12K digital cinema camera with a second generation 12K Blackmagic Design sensor with 16 EV dynamic range, recording on very fast proprietary media using M.2 PCIe SSDs (8TB or 16TB), Wi-Fi and 10G Ethernet interfaces (among others), interchangeable PL, LPL and EF bayonets and support for many formats up to 8K, 9K and 12K. The 12K variant of the camera is now on sale ($14,995 USD excl. VAT incl. accessories), with a 65mm 17K sensor (!) and interchangeable LPL and Hasselblad bayonets also in the future. Media can be easily copied using the integrated Ethernet interface or via the optional Blackmagic Media Dock. Equally interesting is the next featured camera, the Blackmagic PYXIS 6K "box" camera, featuring a 6K FF sensor with 13 EV dynamic range, interchangeable L-Mount, PL and EF bayonets, recording to a pair of CFexpress cards, 10G Ethernet interface and compatibility with URSA Cine accessories (e.g. optional Blackmagic URSA Cine EVF viewfinder). The latter will go on sale in June for $2,995 excluding VAT.

New beta version of FW for Blackmagic Design cameras implements support Blackmagic Cloudand direct upload to projects DaVinci Resolve from the cameras Blackmagic Pocket Cinema Camera a Cinema Camera 6K! You will also enjoy the output in webcam/UVC mode over the USB-C interface, the ability to update and manage cameras within an Ethernet network and other new features...

New features in Blackmagic Camera 8.6

Updates for the following models:

• Pocket Cinema Camera 4K
• Pocket Cinema Camera 6K
• Pocket Cinema Camera 6K G2
• Pocket Cinema Camera 6K Pro
• Cinema Camera 6K

New features/fixes:

• Support for use of cameras in webcam or UVC device mode
• New media viewer
• Support for deleting media
• Ability to upload to Blackmagic Cloudu
• Direct media upload to projects DaVinci Resolve
• Ability to update and manage cameras within an Ethernet network
• REST API support for remote control
• NTP support
• FTP support
• Support for security certificates
• Media management via web interface
• Media sharing using SMB protocol
• Support for mobile connection aggregation on some camera models
• Improved reliability for transcription of gyro sensor metadata
• Increased reliability for USB-C drive detection