Blackmagic Design Unleashes Two New Professional Cameras, DaVinci Resolve 11 and Much More – NAB 2014

This year at NAB, Blackmagic Design have brought to their booth what looks like an entire range of exciting new products. Along with new cameras, they’re bringing a whole new range of Ultra HD products such as converters, routers, DeckLink cards and more. In addition, they’re introducing the first 12G-SDI Teranex Express and 12G-SDI which will be in their new cameras. Also includes is a have a new Cintel film scanner.

Blackmagic Design will be demonstrating all of their new products at NAB 2014 booth at #SL219

The new products announced are:

  • Blackmagic Studio Camera
  • Blackmagic URSA Camera
  • DaVinci Resolve 11
  • ATEM Camera Control
  • ATEM 2 M/E Production Studio 4K
  • Smart Videohub 12 x 12 and Smart Videohub 20 x 20
  • Mini Converters with 6G-SDI and Ultra HD
  • Mini Converter – SDI to HDMI 4K
  • Mini Converter – HDMI to SDI 4K
  • Mini Converter – SDI to Analog 4K
  • Mini Converter – SDI Distribution 4K
  • Teranex Express with 12G-SDI
  • DeckLink SDI 4K and DeckLink Studio 4K
  • Cintel Film Scanner


Blackmagic Studio Camera


A new camera specifically designed for live production and available in 1080 HD and Ultra HD models starting from only $2415 AU$ (Inc GST).
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.

Inside the incredibly tough and lightweight magnesium alloy body, the BMSC 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. The 10” viewfinder is large than most current models and has a bright screen making it well lit for outside/sunlight shooting.

The camera also 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. A built in fiber optic connection, which 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 cancelling 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.

Blackmagic Studio Camera HD is available now for $2415 (AUD, Inc GST) and the Blackmagic Studio Camera 4K will be available in June for $3625 (AUD, Inc GST) from Blackmagic Design resellers worldwide.

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Blackmagic URSA Camera



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 $7235 AUD (Inc GST).

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 colour grading and editing software.

Blackmagic URSA will be available in June/July from $7235 (AUD, Inc GST) from Blackmagic Design resellers worldwide.

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DaVinci Resolve 11

DaVinci Resolve 11

DaVinci Resolve 11

A major upgrade with over 100 new editing and colour grading features. This new update includes major improvements in online editing plus context sensitive trimming, dual monitor support, onset file cloning, photographer style colour grading tools and an amazing new collaborative workflow that allows multiple users to work simultaneously on the same timeline.

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

There are new collaborative workflow tools in Resolve which allows an editor and multiple colorists to work on different workstations, sharing the same timeline and working in tandem as they complete shots. Another advantage of the enhanced editing features is the better round trip collaboration with Apple Final Cut Pro X™.

Color correction features have been upgraded, including new color grading controls that are designed for photographers who are moving into cinematography. There is also a new camera RAW palette featuring highlight and shadow recovery, mid tone detail, color boost, saturation, lift, gain and contrast.

For on set work, DaVinci Resolve 11 can now securely back up and save digital camera files. The new clone tool copies media drives, memory cards and camera packs to multiple destinations simultaneously. All copies are checksum verified, so you get exact bit for bit digital copies of the source media.

The update also features an automatic color chart color balancing tool that 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. It’s really easy to use and you just lay an onscreen grid over the color chart and then auto grade.

This update will be available June free of charge to all DaVinci Resolve users. Most of these new features will also be available in DaVinci Resolve Lite.

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ATEM Camera Control Update

This new ATEM update will allow full control of the new Blackmagic Studio Camera from any ATEM production switcher. This works by sending the camera control commands down the SDI program feed to the camera and lets you adjust focus, iris, gain, and much more. Almost every feature in the camera can be controlled from the switcher!

Blackmagic Design have taken the primary color corrector from DaVinci Resolve and built it into the camera itself and you can control that color corrector remotely from the ATEM switcher. What this means is you don’t just get a simple CCU type of camera adjustment, but you can actually control a full DaVinci Resolve primary color corrector that’s built right into the camera. This lets you do more creative corrections than simple color balancing.

Normally having live studio cameras plugged into a production switcher with this level of control would cost millions, but we are going to offer this update free of charge for both the ATEM switcher range as well as the new Blackmagic Studio Camera.

It’s also fast and easy to use this new software as the ATEM Software Control now has a new Camera page with multiple CCU software panels to control each of the connected cameras. You can even use an ATEM Aux output for monitoring which will switch automatically to the camera you are adjusting. When you want to do more creative control the CCU interface can then expand to a full color wheel color correction interface so you can perform corrections using the same familiar user interface as DaVinci Resolve.

That’s great if you have experience using DaVinci Resolve as it’s the same color corrector. It’s YRGB based and so it works creatively the same way. If you are doing music videos or other really creative live shoots then the built in color corrector will allow new creative styles than were available in live production previously.

Available in June as a download for both the ATEM switchers and the Blackmagic Studio Camera.




ATEM 2 M/E Production Studio 4K

ATEM Production Studio 4K

ATEM Production Studio 4K

Over the last year Blackmagic Design have been introducing new models of ATEM switchers that feature a more refined design and attractive front panels. These models also have more inputs, more audio connections, full control of aux outputs from the front panel and of course the latest 6G-SDI connections for operating in SD, HD and Ultra HD.

However for large jobs they needed a very big switcher that has lots of inputs and more processing features. The result is the new ATEM 2 M/E Production Studio 4K.

It includes too many features to list, however some of the most exciting new features unique to this model are a massive 20 inputs with each input featuring a frame re-synchronizer, 6 aux outputs, 2 independent mix effects rows and the SuperSource multi layering engine with its 4 independent DVE’s and keyers.

This switcher will replace their older ATEM 2 M/E Production Switcher and at only 2 rack units, it takes up less space in an equipment rack than the older model. This new model includes other exciting new features such as independent program and monitoring audio outputs, dual redundant built in power supplies, HiFi and balanced audio inputs, a large 5 inch LCD monitoring screen in the front panel and an elegant machined metal design. It’s really amazing!

The best news is this new model is $1,000 lower in price than the previous model it replaces and is available now for $3,995 (USD). This means you can get an incredibly powerful 20 input 2 M/E switcher for only $1,500 more than the 10 input 1 M/E model.

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Smart Videohub 12 x 12 and Smart Videohub 20 x 20



Exciting new routers based on 6G-SDI technology, which handle SD, HD and Ultra HD SDI connections simultaneously on the one router at the same time, also these new models have some other exciting new features too. These new models replace the older Micro Videohub and Smart Videohub models but include better technology, better design and are much nicer to use. These new models feature a machined metal front panel and also include a full control panel with small LCD screen so you can see what you are routing.

The control panel includes buttons to direct select a crosspoint, a spin knob for scrolling router cross points as well as a “take” button. The LCD screen can display large labels and the new routers include over 10,000 separate unicode characters so it can handle non roman labels such as Japanese, Chinese and more. The LCD screen can also display video from the video inputs or even outputs. They call this new feature “visual routing” and it allows you to scroll through the router destinations or sources and see the connections as video on the LCD screen as the labels updates.

There are two models of Smart Videohub. The Smart Video 12 x 12 features 12 inputs and 12 outputs and retails for $1,395, while the larger Smart Videohub 20 x 20 features 20 inputs and 20 outputs for $1,995 (USD) and are available now.

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New Mini Converters with 6G-SDI and Ultra HD

Mini Converter HDMI to SDI 4K

Mini Converter HDMI to SDI 4K

Blackmagic Design have been upgrading their Mini Converter range over the past year and are now introducing even more models of Mini Converter with 6G-SDI for use in SD, HD and Ultra HD video systems. The new models are Mini Converter SDI to HDMI 4K, Mini Converter HDMI to SDI 4K, Mini Converter SDI to Analog 4K and Mini Converter SDI Distribution 4K. This means almost all of their Mini Converters now support Ultra HD.

What’s exciting about these new converters is they include down converters. So if you’re using the SDI to Analog model and connect an Ultra HD source via 6G-SDI, then it will automatically down convert to 1080 HD, because there is no analog for Ultra HD. You could even be connecting to old composite CRT televisions in a location you are working at and the new converters would down convert an Ultra HD source down to composite so you would still get a picture.

These new models replace the old models and are all available now for $295 (USD).





Teranex Express with 12G-SDI

Teranex Express

Teranex Express


An exciting new model of Teranex converter and this new Teranex Express is an up and down converter that includes the first 12G-SDI connections so you can up and down convert between SD, HD and Ultra HD video standards.

With most of the product lines now supporting Ultra HD, the designers needed a way to convert to and from the Ultra HD world; which is where the new Teranex Express comes in. It features the same amazing Teranex de-interlacer, but it also includes a whole new scaling engine so the up and down conversions are even better than before. Good quality image scaling is important when scaling to Ultra HD frame sizes.

The front panel looks identical to other Teranex models so it’s easy to use. It includes dual link 6G-SDI in and out, but channel A is 12G-SDI. This means it can also convert between dual link 6G-SDI connections and single link 12G-SDI connections. It also has an optical fiber socket so you can add optical fiber SDI connections by adding an optical module if required.

The new Teranex Express will be shown on the NAB booth and will be available in June for $1,395 (USD).

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DeckLink SDI 4K and DeckLink Studio 4K


Decklink SDI 4K

Decklink SDI 4K

With the roll out of Ultra HD products and the new DaVinci Resolve 11 Blackmagic Design decided to upgrade their DeckLink family of capture cards. These are perfect for older MacPro systems as well as Windows and Linux machines.

These new models add 6G-SDI connections for SD, HD and Ultra HD work and are based on the new Desktop Video 10 design so they include RGB frame buffers, low latency and of course can capture and playback at the same time with software that supports this feature. They are fantastic OEM cards as they include a full SDK as well but developers can even write pixels directly into the frame buffers.

These new models replace the older DeckLink SDI and DeckLink Studio models. DeckLink SDI 4K features 6G-SDI in and out, reference input and RS-422 deck control and is available now for $295 (USD).

The more powerful DeckLink Studio 4K features 6G-SDI and HDMI 4K in and out for SD, HD and Ultra HD support, as well as analog component, composite, s-video and 4 channels of balanced analog audio in and out, and 2 channels of AES/EBU audio in and out, plus RS422 serial control and reference input. This new model is $100 lower in price than the previous model and is available now for $595 (USD).

More Info:




Cintel Film Scanner


Blackmagic Design Cintel

Blackmagic Design Cintel


From Blackmagic Design CEO Grant Petty:

“Over a year ago we acquired the legendary film scanning company Cintel. Of course at the time people wondered why we would purchase a film scanner company if film was a dying technology. There was a reason for buying this company and at the time we were hard at work on Ultra HD products and focused on an Ultra HD future.

When you look at Ultra HD, there are 3 ways to generate content. First there is shooting and editing content to create new Ultra HD programming. The second way to generate Ultra HD content is live production and that’s perfect for sports, concerts etc. We have developed whole workflow solutions for these two methods.

However there are already millions of hours of Ultra HD content sitting in vaults on 35mm film. For decades the film and television industry has been generating Ultra HD content without even thinking about it. That’s because everything shot on film is essentially 4K so it’s Ultra HD now. It’s just sitting there ready to be re-scanned as amazing new Ultra HD programming!

However traditionally film has been a more mechanical technology and the electronics were crappy. Even Cintel had very average quality electronics when I used to work on Cintel telecine’s is post production back in the 1990’s.

So we have been hard at work developing a whole new type of film scanner that supports real time scanning of both 35mm and 16mm negative and positive film and it includes the patented Cintel diffuse light source to reduce dust pickup.

But the most exciting feature of this new Cintel film scanner is it’s so super thin it can be wall mounted! It also features a wonderfully gentle fully digital servo system that detects when you are lacing the film and then gently tensions the film slowly. It detects when the film is about to run out and slows down.

The whole design is designed to be zero maintenance so you don’t need engineers to install it and make it run. It features Thunderbolt 2 so all you need to do is plug it in and run the control software on a Mac. If it’s wall mounted you can use those new long 30 meter Thunderbolt cables and connect it direct to your DaVinci grading system!

The new Cintel film scanner will be on show at NAB and we don’t have a firm ship date, as we want to really show it off and get some good feedback on what people think. It’s a radical redesign so I think its best for us to get your advice on anything else it needs before we start shipping it.

We plan to retail the new Cintel film scanner for $29,995 [USD] and that includes film spools, 35mm film gate, cleaning rollers, scanning software and a copy of DaVinci Resolve software. We will have one scanner on the booth desktop mounted and another wall mounted so you can see what a dramatic design the scanner is”.

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Excerpts from press Release and announcement email



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