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ARRI has unveiled ALEXA LF, a complete large-format system that meets and exceeds modern production requirements, delivering unprecedented creative freedom while also being backwards compatible with existing lenses, accessories and workflows, at the 2018 BSC Expo in London. The ALEXA LF camera, ARRI Signature Prime lenses and LPL lens mount together comprise an entirely new system, offering an immersive, emotionally engaging look.

Featuring a large-format sensor slightly bigger than full frame, ALEXA LF records native 4K with ARRI’s best overall image quality. Filmmakers can explore a large-format aesthetic while retaining the ALEXA sensor’s natural colorimetry, pleasing skin tones and proven suitability for HDR and WCG workflows. Different sensor modes cover any deliverable requirement and versatile recording formats-including efficient ProRes and uncompressed, unencrypted ARRIRAW up to 150 fps-provide total flexibility.

Accompanying the ALEXA LF camera are 16 large-format ARRI Signature Prime lenses, ranging from 12 mm to 280 mm and fitted with the new ARRI LPL mount. While the Signature Primes exemplify state-of-the-art optical precision, they render organic, emotional images, gently softening and texturising the large format. A fast T-stop of T1.8 facilitates shallow depth of field and the smooth focus fall-off gives subjects heightened presence in the frame.

Blackmagic Design announced Blackmagic URSA Broadcast, a new high end, professional broadcast camera designed for both studio programming and live production. URSA Broadcast works with existing B4 broadcast HD lenses, can be used for both HD and Ultra HD production, features a 4K sensor, extended video dynamic range, traditional external controls and buttons, built in optical ND filters, dual CFast and dual SD card recorders, and much more. Blackmagic URSA Broadcast is available now for only US$3,495 from Blackmagic Design resellers worldwide.

URSA Broadcast is like two cameras in one, an incredible field camera for ENG and programming work, as well as a professional studio camera. The camera features traditional broadcast controls along with exceptional image quality, all in a compact design that is ideal for fast paced, fast turnaround production work. The key is URSA Broadcast’s new extended video mode which captures incredible looking video with accurate skin tones and vibrant colours.

That means customers don’t have to colour correct images before going to air, making URSA Broadcast perfect for news, live sports, studio talk and game shows and more. URSA Broadcast lets customers shoot, edit and get stories on air faster than ever before.

URSA Broadcast is also designed to work with the equipment and systems traditional broadcasters already have. For example, customers can use their existing B4 HD and Ultra HD lenses with URSA Broadcast. Unlike other broadcast cameras, URSA Broadcast records onto inexpensive standard SD cards, UHS-II cards and CFast cards, and records 1080i or 2160p video into standard .mov files, with .mxf to be added in future updates. URSA Broadcast records using DNx145, DNx220X or ProRes, so video doesn’t need to be copied or transcoded. This makes it fast to work with video from URSA Broadcast because it’s compatible with virtually all existing broadcast systems and editing software.

The B4 lens mount and matching sensor on URSA Broadcast enables wide depth of field, so broadcast customers can shoot without constantly chasing focus. The lens mount features high performance optics with spherical aberration correction specifically designed to match the camera’s sensor.

The ⅔” mount lets customers use existing HD lenses or Ultra HD lenses. Because B4 lenses are par-focal and have an extremely wide depth of field, images stay in focus when zoomed in and out. That lets customers work faster because they don’t need to change lenses or refocus between close up, medium and wide shots. URSA Broadcast also supports full electronic B4 lens control so customers can adjust focus, iris and zoom using the camera’s controls, or remotely from an ATEM switcher or ATEM Camera Control Panel. In addition, the standard B4 lens mount can be swapped with optional EF, F and PL mounts so customers can use everything from inexpensive high quality photographic lenses all the way up to massive cinema lenses. URSA Broadcast features a high quality 4K image sensor and a new extended video mode with better dynamic range and colour fidelity.

Blackmagic Design announced the all new Blackmagic Camera Fiber Converter and Blackmagic Studio Fiber Converter which convert standard television industry connections for video, audio, power, talkback, tally and more into a single SMPTE hybrid electrical and fibre optic cable. This allows cameras to be placed up to 2 km away from a studio or outside broadcast truck using a single cable. The Blackmagic Camera Fiber Converter is available for US$2,995 and the Blackmagic Studio Fiber Converter is available for US$2,995. Both fibre converters are available now from Blackmagic Design resellers worldwide.

Whether it’s in a studio or out at a large sporting venue, customers working in live production often need to place their cameras both far away and close to the action. SDI connections are common, but they have limited range. Plus, when working in large theatres or massive stadiums, it can also be hard to find locations with power. Running multiple cables for power, talkback, tally, video and audio feeds normally requires expensive interfaces and extenders. This can make set up incredibly complex and increases the chances of a technical error.

The Blackmagic Camera Fiber Converter and Blackmagic Studio Fiber Converter solve this problem by converting all essential connections and full camera power into a single convenient SMPTE hybrid electrical and fibre optic cable that can be run long distances up to 2 km away. That means cameras can be placed anywhere and connected back to broadcast trucks parked outside of a venue or back to a central control room in a studio.

The new Blackmagic Camera Fiber Converter and Blackmagic Studio Fiber Converter transform your URSA Broadcast and URSA Mini cameras into a complete studio solution. One converter is located on the camera and one is located far away back in the studio or outside broadcast truck. It’s the perfect solution for news, magazine style talk shows, game shows, multi camera sitcoms and even massive outdoor sporting events. Best of all, it costs tens of thousands less than other broadcast camera solutions. This means web producers, professional AV customers, houses of worship and educators can now afford to use the same high end broadcast technology that professional broadcasters use.

The cable used between the camera and studio converters is a standard SMPTE 311M hybrid electrical and fibre optic cable with a standard SMPTE 304 connector on each end. The cable features a 2 way fibre pair, data pair and power pair, along with a central strength member that gives it the needed durability for continuous use.

The Blackmagic Studio Fiber Converter provides an industry standard 200 volts of power to the camera converter for both the camera and its accessories. The converters at each end have dedicated micro controllers that continuously monitor power and will instantly cut it if a leak is detected. High voltages to the SMPTE cable are not enabled until the converters ensure that all safety checks have been completed. This means Blackmagic Studio Fiber Converter and Blackmagic Camera Fiber Converter are compliant with SMPTE fiber standards, making them incredibly safe to operate. At the camera end, power is stepped down and made available to the camera and accessories via standard 12 volt connections.

The Blackmagic Camera Fiber Converter attaches to the back of URSA Mini and URSA Broadcast cameras and converts all of the video and audio connections, along with camera control, PTZ, talkback, tally and power into the SMPTE hybrid electrical and fibre optic cable.

Because studio cameras are operated from the rear camera position, the camera fibre converter also adds standard studio camera controls to the back of the camera. Customers get control for return feeds, dual intercom controls with the ability to mix in program audio, record, focus and iris controls, headset connectors, audio and more. The camera converter even includes a V mount plate on the top for attaching accessories such as a professional Blackmagic Studio Viewfinder.

The Blackmagic Studio Fiber Converter, which is located at the other end of the camera chain back in the studio or outside broadcast truck, converts all of the signals from the camera back into standard television industry connections that can then be connected to camera control units, live production switchers, audio mixers and more. Both converters feature familiar broadcast controls and are designed to work exactly the way experienced camera operators expect.

The converters feature standard television industry connections, including the latest 12G-SDI, for working with all HD and Ultra HD formats up to 2160p60. Customers get an Ultra HD camera feed, 3 independent return HD feeds, full remote camera control, PTZ, and ethernet. For talkback, the converters feature two dual channel intercoms with 5 pin XLR connections for professional talkback headsets. In addition, there is a redundant back up intercom that can be used to set up or troubleshoot if the fibre link is down.

Available immediately, the new model adds HDMI loop-through connectivity to popular 60fps Ultra HD capture card

Magewell -- a developer of innovative video interface devices -- is now shipping the Pro Capture HDMI 4K Plus LT, the latest member of the company’s popular Pro Capture family of PCI Express capture hardware. The new model extends the powerful feature set of the previously-released Pro Capture HDMI 4K Plus with HDMI signal loop-through connectivity to simplify wiring and workflows.

Like the earlier model, the Pro Capture HDMI 4K Plus LT captures video up to 4096x2160 at 60 frames per second over an HDMI 2.0 input interface, enabling high-quality Ultra HD acquisition for markets and applications including broadcast, medical imaging, gaming, streaming, surveillance, and virtual reality (VR) production. The new loop-through connection reduces workflow costs and complexity by enabling source signals to be sent simultaneously to additional displays or equipment without the need for an external HDMI splitter.

The new loop-through capabilities deliver these benefits for any type of user but will be particularly popular with price-sensitive gamers, who can now record and live-stream their 4K gaming sessions at 60fps from the HDMI output of their game console without requiring a splitter to also connect their monitor.

“The Pro Capture HDMI 4K Plus LT is yet another example of how we are constantly listening to our customers and responding to their needs,” said Amy Zhou, Sales Director at Magewell. “While the original Pro Capture HDMI 4K Plus model continues to be very popular, end-users and integrators in a variety of markets have asked for loop-through support to help them streamline their infrastructures. We’re pleased to address these requests with this new card.”

As with all Magewell Pro Capture cards, input video -- along with embedded audio -- can be sent to multiple software applications simultaneously, with independent control of the resolution, frame rate and video processing settings for each. 10-bit, FPGA-based video processing provides high-quality up/down/cross-conversion, graphic overlay, de-interlacing and more without taking valuable host system CPU cycles away from third-party software.

The Pro Capture HDMI 4K Plus LT supports Windows, Mac and Linux operating systems and is compatible with all popular encoding, streaming, live production, web conferencing, lecture capture, medical imaging and VR creation software. A comprehensive SDK lets third-party developers directly leverage the full, advanced feature set of Magewell cards in custom software applications and turnkey solutions.

The new Pro Capture HDMI 4K Plus LT is available immediately. The original Pro Capture HDMI 4K Plus also continues to be available for OEM partners who have previously certified the earlier model and wish to continue using it in their systems.

Panasonic is proud to introduce the new hybrid Digital Single Lens Mirrorless Camera LUMIX GH5S with expanded video recording capability and enhanced image quality. Designed and developed for professional filmmakers, the LUMIX GH5S achieves highest-ever image sensitivity and video image quality in the history of LUMIX cameras, especially in low-light situations. The new 10.2-megapixel Digital MOS Sensor with Dual Native ISO Technology and Venus Engine 10 faithfully reproduce even dark parts of the image, allowing high ISO capture when the use of supplemental lighting may not be possible. This sensor is a multi-aspect type with a sufficient margin for realizing the same angle of view in 4:3,17:9,16:9 and 3:2 aspect ratios. The sensor also enables photo shooting in 14-bit RAW format, providing higher flexibility for professional RAW stills development workflows. When shooting in dark environments, videographers can now focus on filming that perfect shot as they no longer need to worry about noise which often results from having to use higher ISOs.

The Dual Native ISO Technology suppresses noise to produce cleaner footage when taken in all light. Both videographers and photographers can now enjoy the same diagonal field of view across all aspect ratios with the True “Multi-Aspect Ratio” Function. This feature means you can easily swap between difference aspect ratios giving you the accuracy you want from your lenses, and making the process easier while producing and editing in post-production.

The LUMIX GH5S is compatible with Time Code IN and OUT, like the professional camcorders, which is easy to set using the flash sync terminal and bundled conversion cable for a standard BNC terminal. This is especially important for “lip synchronization” when using multiple cameras. The LUMIX GH5S can be used as Time Code generator for other GH5S cameras and professional camcorders. The Time Code IN/OUT functionality makes a production teams job pain-free as it provides synchronization for both video and audio devices used on multi-cam productions.