Blackmagic Design

Today we announced Blackmagic Camera 9.1.2 update which adds new REST API commands for remote camera control. This enhances the already existing REST API functionality in URSA Cine which allows you to control the camera over a network via secure and easy to use commands. It also fixes a bug where focus markers on the 1st AC page would disappear when the camera was power cycled. This means you can now power cycle the camera or switch between playback and shooting modes and the user added focus markers will be retained. Blackmagic Camera 9.1.2 also adds support for the Blackmagic PYXIS Monitor as well as for third party display port monitors. This means you are able to use PYXIS Monitor or display port USB-C monitors with your Blackmagic URSA Cine 12K LF with full touchscreen support and menu controls. In addition, this update includes a number of small improvements when using URSA Cine 12K LF with Blackmagic Cloud, enhanced playback performance, improved button lock behaviors and a newly revised manual with 12K LF dynamic range chart and additional information. Blackmagic Camera 9.1.2 also adds improved updating via Ethernet, better lens support and fixes a brief display glitch on startup. Blackmagic Camera 9.1.2 update is available now as a free download from http://bmd.link/XPTHau

Today we released DaVinci Resolve 19.1, which includes a range of features and improvements that will give you more control and significantly speed up your multicam, audio and visual effects workflows. On the edit page, there is a new trim slider for the audio menu of the inspector, allowing channels of a source clip to be trimmed independently. You can trim one or more channels at once, allowing you to balance the audio of a multichannel recording before editing it in the timeline. There are also new menu actions to select nearest in, out or roll edit points, and improved audio ducker support allowing you to select multiple tracks to trigger the ducking. For Fairlight, audio tracks can now be duplicated or disabled from the track header context menu, while duplicated tracks will make an identical copy, including all media, settings and automation. You can also reorder tracks and busses by dragging their name in the mixer and when trimming audio you will now see the waveform overlays of the clip being worked on and the clip next to it. These improvements will make it clearer and easier to make adjustments to your audio. There are new Fusion effects, including generators so you can quickly create backgrounds such as stage curtains, a star field and gradient or radial lines. There are also new title templates to make it easy to add more interesting titles to your work including those with a glass effect, rainbow style or a gradient outline. In addition, Fusion media inputs will now honor upper or lower field dominance for interlaced footage. There is also a new tool in Fusion which lets you export USD assets and scenes from compositions, including all geometry, lighting and cameras. When color grading, you can now copy the active node stack layer from timeline clips in the gallery and apply to clips on your current timeline. If you're working with a DaVinci Resolve Mini Panel there is now a dedicated setting in the menu that allows you to more easily edit custom curve control points using your panel. For DaVinci Resolve Studio, there are improvements to object mask caching, so you can edit clips prior to the object mask node and the mask will be retained. There is also new support for decoding and playback of spatial photos and videos. This means you can now edit, color grade and apply effects to this footage and render it for playback on your Apple Vision Pro. This update also adds reorder functionality to jobs in the render queue. This means you can now drag and drop jobs in your render queue to change the order when your priorities change and you need to render something quickly. There’s also the ability to encode 10 bit H.265 Main10 formats in DaVinci Resolve on Windows, giving you higher quality rendered images, as well as a new context menu option on the media page to automatically sync bins from file folders. DaVinci Resolve 19.1 update is available now as a free download from http://bmd.link/u3J9Vz

Today we released Fusion Studio 19.1, which adds new Fusion effects including generators so you can quickly create backgrounds such as stage curtains, a star field and gradient or radial lines. There are also new title templates to make it easy to add more interesting titles to your work including those with a glass effect, rainbow style or a gradient outline. In addition, Fusion media inputs will now honor upper or lower field dominance for interlaced footage. This means the effects you apply will display and render correctly based on the original scan pattern. There is also a new tool in Fusion which lets you export USD assets and scenes from compositions, including all geometry, lighting and cameras, speeding up your post production visual effect workflow. This update also includes support for USD 24.08 with improved MaterialX performance and polygon and B-spline viewer toolbar controls. Fusion Studio 19.1 update is available now as a free download from http://bmd.link/TcsYqw

Today we released Blackmagic Camera for iOS 2.1 which adds support for using the new iPhone 16 camera control with Blackmagic Camera, allowing you to open it with a simple click or double click. You can also open Blackmagic Camera from the control centre, the lock screen or the action button, giving you more ways to quickly access Blackmagic Camera and start recording. In addition, you can now use the built in iPhone 16 camera controls to more easily navigate the display and adjust functions such as zoom, exposure, focus, ISO and select LUTs. Blackmagic Camera is now also compatible with motorized gimbles and stands using Apple DockKit, which allows you to more easily track objects and people in your frame. When docked, Blackmagic Camera will follow you as you move around, which is great for video presentations. There is also improved performance for recording high speed ProRes 4K clips on iPhone 16 Pro models. When logging into Blackmagic Cloud you will now be able to view all organizations you’re a member of and select which one you want to sync your footage to, speeding up your post production workflow. There are also new recording bit rate options for H.264 and H.265 codecs meaning you can now select between low, medium, high and maximum bit rates. This means you have more control over your file sizes and the quality of your images. This update also adds audio to off speed recordings, allowing you to play back your audio at the slower or faster rate along with your captured images. There is also improved remote monitoring performance when recording with proxies providing more consistent refreshing of images so you get higher quality monitoring. Blackmagic Camera for iOS 2.1 update is available now as a free download from https://lnkd.in/g6YQfAmH

Today we released Blackmagic Camera for Android 1.4 which adds support for bluetooth microphones as well as the ability to monitor audio while recording. This means you can now use your existing wired or bluetooth headphones to monitor your audio when shooting. This update also includes support for external timecode sync using Tentacle Sync giving you frame accurate recording across multiple Android cameras, making it easier to edit multicam footage in post production. Blackmagic Camera for Android 1.4 adds new recording bit rate options for H.264 and H.265 codecs meaning you can now select between low, medium, high and maximum bit rates. This allows you to have more control over your file sizes and the quality of your images. This update also adds support for compatible Oppo devices, Sony Xperia series 1, 5 and Pro-I devices as well as general performance and stability improvements. Blackmagic Camera for Android 1.4 is available now as a free download from https://lnkd.in/gRRQK8ad

Today we released Blackmagic Video Assist 3.17 update which adds support for Blackmagic RAW recording from Fujifilm X-M5 and Panasonic Lumix S5D 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 3.17 update is available now as a free download from http://bmd.link/9jdLHF

Today we released DaVinci Resolve 19.0.2 which adds support for decoding MPEG transport stream clips, giving you a greater range of file types to use in post production. There is also improved audio alignment when replacing clips in the media pool, meaning you can use newer clips versions with mismatching timecodes, while keeping the video and audio in sync. There is also support for new media pool API scripts to select clips, plus per clip custom metadata as well as source start and end values. These new API scripts will allow you to streamline your post production workflow by automating time consuming, repetitive tasks when working with media pool clips. This update also improves handling of metadata in EDL clip names, meaning when you export a clip in an edit decision list, the clip name will be retained in the metadata and correctly displayed when imported back into DaVinci Resolve. Also, when using the replace clip command, the destination track settings will now be retained, allowing you to perform multiple edits in succession with your chosen destination settings. DaVinci Resolve 19.0.2 update is available now as a free download from http://bmd.link/bX7on3

Shot Sequencing for Replay in DaVinci Resolve This short video explains how shot sequencing works in DaVinci Resolve when doing live action replays. Shot sequencing allows you to play multiple shots in a replay without building a timeline, so you can create live replays with multiple angles at any length. Additional information can also be found in the DaVinci Resolve Replay Editor instruction manual at http://bmd.link/xWrzoV

US Cinematographer Steve Gainer ASC, ASK shot the background plates and studio cinematography in FF using the new URSA Cine 12K LF camera. All of the plates were shot using a single camera with the Entaniya HAL lens 220° lens. “The most important aspect of a camera for LED volume shooting is reproduction and dynamic range. And in the past, the challenge has been how to balance the colors in both of those worlds, especially skin tones. And so I really wanted to see how shooting the person in front of the volume wall would look using the exact same color science as the ‘thing’ on the volume wall!” “Being able to shoot plates at ultra-high resolution with 16 stops of latitude, has been something only a specialist camera could do. The URSA Cine can shoot at even higher resolutions in 12K 3:2 (12,288 x 8040) for the backplates. And for the principle cinematography, you have a range of options from 2.4:1 12K (12,288 x 5112) at 120 fps, 8K or 4K at 220fps, and also Super 35 (4-perf equivalent) in 9K up to 100fps. “With these tests, I would’ve liked to have pulled back and had something in the foreground like some trees. Just to have some middle ground, given I was using Cooke’s flagship S8/i FF spherical lenses and the Hawk C Series anamorphic 2X lenses. However, these tests were more about shooting 12K foreground and 12K background elements. Which on set, I gotta say looked absolutely fantastic.” “The URSA Cine is the perfect single camera for shooting plates. Being able to shoot on the Entaniya HAL lens with its 220° field of view, was an absolute joy. It’s just so much fun playing around on optics you don’t get to use very often. This lens works perfectly at open gate 3:2 12K up to 80 fps. And, at that resolution, you have almost 100 million pixels to play with which is insane. I am not too sure anyone has ever shot at that sort of resolution on this lens before?” “When we shot the Hollywood Boulevard scene, I was able to use a single camera using this fisheye lens. The URSA Cine did away with needing a camera array, making it a serious option for the XM2 Pursuit drone, Shotover K1 or a Technocrane. Especially now this camera comes with Preston and Lemo connections, and 12V/24V power.” Watch the video and read the full story at http://bmd.link/gyU4HF

Today we released Blackmagic Camera for Android 1.3, which adds support for recording timecode with your clips, allowing you to quickly synchronize video and audio in post production. This update also adds anamorphic desqueeze functionality and lens correction settings as well as support for off-speed and time lapse recording. By recording at a different frame rate from the one intended for playback, you can create slow motion or fast motion effects to set a mood or emphasize a dramatic moment. For supported Pixel 6, 7, 8 and 9 models there is support for higher frame rate recordings including 120fps at 720p and 1080p, and 240fps at 720p. While for Pixel 7, 8 and 9 phones there is added support for 240fps at 1080p. This update also adds support for the Xiaomi 13T phone, as well as new foldable phones including Samsung Flip 5/6 and Samsung Fold 5/6. Download now from Google Play, free of charge, at https://lnkd.in/gRRQK8ad