Blackmagic Update

Blackmagic Update

– Hi I’m Grant from Blackmagic Design and today I’ve got a bunch of
updates I’d love to show you about some product updates
and some new products. But first what I’ll do is I’ll, I’d love to show you some
new capture cards we’ve done, and then I can get into some
of the products after that. I’ll start with the first
new capture card we have. It’s called DeckLink Quad HDMI Recorder. Now this is it here. What we’ve done, it’s a
four-channel HDMI 2.0 capture card. It basically records independently from each one of those inputs. Each HDMI input is independent and each input can actually
have a different video standard. So it’s kind of like
four capture cards in one and it’s very similar to the
DeckLink Quad card we have. Now the inputs, because they can do different video standards,
they can really do any SD, HD, Ultra HD or 4K DCI format. It does both SD formats, NTSC and PAL. It does 720p formats up to 720p60, It does 1080i formats up to 1080i60, 1080p formats up to 1080p60, and 2060p formats, which is
Ultra HD formats, up to 2160p60. So it does all those formats,
all at the same time. Well not all at the same
time, with four you can do four different standards at the same time, one on each input, and the inputs will switch automatically, they switch instantly, you
don’t have to restart it or anything like that. And there’s also an
automatic standard detection on all the inputs. So what I can do is, I’ve
actually set one of these cards up so I’ll quickly show you,
really what it’s able to do. If you look over here to the side we’ve actually got a PC,
’cause it’s a capture card, we’ve got it plugged into the PC here with four different sources. Now these three inputs over here, this is Media Express running. We’ve actually copied
Media Express four times. It’s like a capture and playback app that comes with the capture cards. And we have 1080 HD formats here and that’s an Ultra HD format. And they’re all independent. These are three different frame rates here and they’re all running at the same time, independently of each
other, so the Media Express is actually connecting
to each Media Express is connecting to a different
input on the same card and if you’re a developer they actually literally look
like four separate cards on the one card, so it’s
obviously a lot smaller than plugging in four separate cards. And you can see we’ve got four
live inputs coming on here. All different video standards,
all running at the same time. So it’s really exciting,
extremely powerful especially with multi-channel uses where you’ve got software
that needs multiple channels like software switching
and the streaming servers and things like that. The other thing we’ve done,
because it’s an HDMI input card, it also handles computer resolutions. So it can do all the major
computer resolutions. It can do 640×480 and 800×600 if anyone actually uses those anymore. It does 1440×900 and 1080, it does 1600×1200, 1920×1200 and 1440, and it does 2560×1440 and 1600. So it does quite a lot of resolutions and those computer resolutions
are supported in 50p and 60p. The other nice thing
about the card is it’s got up to eight channels of
embedded audio on each channel and it else detects HDR metadata packets. The apps can tell if the input is HDR and it can capture the static
HDR metadata from the input. It conforms to CEA-861,
so it means that software that’s using this can
record HDR content to file or you can stream it. The other nice thing about the card is it works with HDMI timecodes. So it’ll detect timecode
on the HDMI inputs and any software that supports timecode will actually then
automatically be able to support the HDMI timecode as well. Now it’s a high-speed PCI Gen 3 design. It’s an eight-lane card, I believe. And so it’s extremely fast. That’s how it gets the
speed to be able to do all those four channels of
Ultra HD high frame rates. So, you can use it on
quite a range of computers but you’re going get really
good speeds on fast computers. This is going be available in March and it’ll be 545 US retail. The next product we’ve got is an update and it’s a DeckLink 8K Pro update. Now what this does, is this
is a Decklink 8K Pro here, which is a card we already have shipping and it mostly is used
for DaVinci customers doing feature film editing, ’cause it’s obviously an
8K card using quad link. Now, what we’ve done is, we’ve actually expanded
its capability now. There’s a bunch of updates in this update but what we’ve done is,
the new update will allow it to work as a four-channel 12 GSDi card. So, it actually looks
the same as this card, the DeckLink Quad. It basically looks like
a DeckLink Quad card, as in that every one
of those four channels is completely independent. They can be four different
video standards at once which means that now
this product really does, not just feature film work,
with something like DaVinci, it also does broadcast work because it can do the multi-channel stuff. Of course we’ve got a
bunch of other updates with this card as well, so it’s actually quite
a big software update. We’ve improved support for HDR so now we support HDR
static and dynamic metadata which conforms to ST-2108 and also we’ve added SDR, HLG and PQ transfer characteristics to the card and it conforms to ST-425. So it’s an even better
feature film solution now which is really important
for DaVinci Resolve ’cause it’s kind of the flagship card that’s used with DaVinci Resolve for large feature film work. Also to expand on that,
we’ve added some of the newer feature film frame rates. So it does more frame rates than before which makes it a much
bigger job to test it because there’s so many
different frame rates it does because our capture cards
tend to do everything. So the new frame rates
we’ve added is 47.95, 48, 95.9, 96 frames per second,
100 frames per second, 119.88, and 120 frames a second formats, and they’re supported in HD, 2KDCI, Ultra HD and 4K resolutions,
you get those frame rates. The other thing we’ve added
is another broadcaster kind of feature in many ways, which is that a really
good feature for servers, you know, graphics stations.
There’s now two internal keys in this card, so we’ve increased that. So what you get is, there’s
four connectors on this. You can actually have two
sets of fill-in key outputs. So you can have fill, key, fill, key and what that lets you do is feed graphics into other products like switchers, but you can have also two internal keyers. What you get is you get
two fill-in key outputs or two internal keyers, or one of each. So it’s kind of like two
keys and you can use them in either filling the fill-in key out or doing the key internally. So depending on what you like. The fill-in key always outputs
as a fill in the key channel. The key channel’s the hole cut output so you would feed that
to say an ATEM switcher where the switcher itself
is doing the keying or you can actually do it inside
where you’re playing back, you’ll playback stream, alpha
channel actually is used to overlay that playback
stream over the input video that’s coming in. So you can use it either of two ways. You can do the key in here
or the key in the switcher, it’s up to you. So that’s a really
powerful broadcast feature. Fantastic for use with switchers. And that’s accessible by the SDK so any application that supports that now will be able to use this. Another feature for broadcasters too, is synchronized capture and playback. Now we can synchronize
the capture and playback of the four channels. What it means is you can
synchronize the start of playback or the capture across multiple channels. So it’s perfect to sync multiple displays, like if you’re feeding
the output of this card, to four giant screens, and they’re actually separate
channels, like separate files, you can synchronize those so
you don’t get a sync problem between the different screens. If you had a giant video
wall you’re driving, the last thing you need is one of those segments to be delayed. So it’ll make sure that when
you’re playing back those clips they’re all synchronized
perfectly together even though they’re running
on separate channels. So it’s quite a powerful feature obviously for developers mostly but also can do the same
thing for file recordings. If you’re doing multiple file recordings, and they’re the same video standard, you can actually trigger them
to all start at the same time. That means that the files
themselves are also starting on exactly the same frame. So that’s quite a big update. It’s extremely powerful but it’s gonna be a free-of-charge update, so it supports all DeckLink 8K Pro cards that have been shipped. You can download that off our website. It’s available now. And, you look for Desktop Video 11.0, that’s the software update
that’ll support this, Desktop Video 11.0. The next one we’ve got is, we have a card that’s called
DeckLink Quad, DeckLink Quad? DeckLink Duo. It’s basically a Decklink Duo
card that’s been shrunk down. One of the problems with
the DeckLink Duo card is it handles, it’s
basically four channels but it’s really two channels. It’s bidirectional, so it’s
actually four channels. So you can do four-channels
in, four channels out, or any combination of the two. What we’ve done is we’ve taken that card and we’ve shrunk it down
to a low-profile design. It’s still a four-channel
independent card. Each channel is completely independent, it’s essentially a
3G-SDI bidirectional card because as I said, the
channels can be reversed so it’s a four-channel card really but you can do two channels
of capture and playback at the same time. It’s a low-profile
design so it is the same as the DeckLink Duo 2, in fact it’s almost the same electronics. If you’re using a DeckLink
Duo 2 it’ll work the same but it fits those low-profile server PCs and it ships with, obviously you can see a
low-profile bracket there. But it’s the same connectors
as a DeckLink Duo 2 but they’re little mini BNC connectors instead of the normal size ones. And like the other cards it can do all the frame rates up to 1080p60. So it can do NTSC, PAL, 720p up to 720p60, 1080i up to 1080i60, 1080p up to 1080p60, each channel can be a different format that switches instantly, and there’s also auto
standard detect on the inputs. Each channel can do up
to 16 channels of audio and the developer can select which number of channels they want. It’s got a built-in keyer so it can compose and input over a live graphic. We can output a fill-in
key to the two SDI outputs so you can do external
keying in a switcher, like an ATEM switcher. It’s a four-lane Generation
3 PCI express card so you can use newer computers with the high-speed connectors but it also fits in smaller computers and that’s how we get the
speed for the multiple streams. That’ll be available in March as well and it’ll be 495. So there you go, that’s the capture cards. It’s of course not the only updates, we’ve got a few more things. Before I get to this, I wanted to talk about
the Blackmagic Duplicator. We’ve been selling the
Blackmagic Duplicator for a little while now. What the Blackmagic Duplicator is, and we’ve got one over in the rack here, it lets you record to 25
SD cards at the same time. I’ll move over here so I can show you. What it does is, it’s designed, we originally designed this because we had a bunch of customers who would go out and do a live event and at the end of the event
they wanted to sell the content to their customers. Like literally as they’re
leaving the event, it could be a school,
where they’re recording some sort of school performance and they can actually sell copies. Schools use that to fundraise, and they can actually sell
copies of the performance when the kids go home with their parents they can actually literally
watch the show that night and it’s obviously a
great multi-camera job so you don’t have an audience with people with iPhones recording. But also for seminars and it’s all sorts of
other situations like that. Now you can record up
to 25 cards at a time but you can also daisy-chain
units to record even more cards. It records in H.264 and
H.265, you can select that, so the files are really small and it’s been a fantastic
solution to sell programming to people after live events finish. And we have a new software
update that we’re introducing and it gives us some new capabilities. It’s called Blackmagic Duplicator 1.2 and it’s not just a
duplicator now, it’s also, what we’re adding is single disk recording so it allows us to record
extremely long recordings ’cause it does it on one card at a time. Very much like the HyperDeck does. How that works, let me show
you how it works initially. So if I record, I’m now recording as the Blackmagic Duplicator records now and this is what we can now change. Just use it as a single disk mode, it records one card at a time
until all the cards are full. It just keeps stepping
through the empty cards. You can keep replacing
cards to keep it recording and it’ll keep, you can
use it to basically capture events that might happen a lot of times and people have got recorders
off stream coming in and if something actually happens they want to be able to capture that. Well if you’re recording all the time then you can basically make
sure you capture everything. It’ll record for weeks at a time. If you’re running 1080
HD, we’ve had it recording for more than two weeks, with a full set of large cards in there because the file sizes are so small and even if you’re using Ultra HD at 60p it still records for
days, it’s quite long. So it’s really good for broadcasters who are doing off-air, almost
logging type recordings, or if you’re doing high-end security, but that’s not all. We’ve also got a slight change to the, like an extra mode, which is
single disk overwrite mode. You can go to the menu and
change it from duplication to single disk mode, but
there’s also this other mode called single disk overwrite. Now what that does is it
records until the cards are full but once the last card is filled, it goes to the oldest
recording and erases the card and keeps recording. So essentially records
on a continuous loop and let me show you. I’ll just show you how that works to get a bit of a better
understanding on what it’s doing. If I go in, like I showed you, we can use it as it is now and I’ve got some filled cards. We put some full cards in here so we can show you the
single disk recording mode. In fact we filled these cards using the single disk recording mode. You can see it’s recording on
all the cards at the moment and when you stop recording you can then give that content to someone. We’ve then got an append
record button here which allows it to record
on the end of the file you previously recorded ’cause if you’re giving content to someone you don’t want to give them a card with 15 files on it. If you had to pause, say for a seminar, you really just want one file. So we even have an append
recording feature here. But if I now, this
duplicator’s obviously got the new software on it. If I go into the menu here and I can go into the record settings, you can see that I’ve
got this mode menu here and I can change that, so I push change and I’m in duplicate. So what I can do is switch
across to single disk mode. You can actually see the single
disk overwrite mode there. But I’ll select the single disk mode here and then once I go, I’ll go out, and if I hit record you can see now it’s only recording the one card and it’s previously
filled all those cards, now it’s recording on this card, and it’ll keep going all the
way through and it’ll stop. Now you can change out the cards. You could change out these full cards. Once it gets to the end it’ll
come back and keep recording. It’ll be looking for any card
with any empty space on it. But if you use the single
disk overwrite mode it’ll take the oldest card,
which’d be this one in this case and erase it and keep recording. So if you were doing 1080 HD
this could just keep going around and around. It might
take two weeks to cycle through and if you’re a broadcaster
who’s, you’re recording, you might want to be recording constantly from a bunch of incoming feeds ’cause if something happens, a breaking news kind of situation, you’ve actually managed to capture it all so you don’t have to worry about that you just leave it recording. Or if you’re doing off-air logging, a lot of broadcasters need to
keep only a couple of weeks so there might be enough space and you just leave it
recording constantly. You don’t need to keep swapping cards to keep a log of what
you’ve actually broadcast. And of course, for security
situations as well, if this is recording in
Ultra HD for days on end, if something happens you can
have incredible good quality recordings of something that’s happened. So Blackmagic Duplicator
1.2 is a free update. It’s kind of like getting a
whole new product in many ways ’cause it adds these major new features and that’ll be available now to download. You can just go to our
website and download that. We’ll come across here
to the Pocket Camera which we’ve had sitting here. This is an update that a lot of customers have been waiting for. We have a new Blackmagic
Pocket Cinema Camera 4K, software update, and its major function that it
does is adds Blackmagic RAW. We’re adding Blackmagic
RAW 1.2 to the camera and what that does is,
it adds the features that obviously you know about, probably from the URSA Mini Pro. So you get constant bitrate, 3:1, 5:1, 8:1 and 12:1 settings. You also get constant quality, Q0 and Q5. But we’ve added a couple
of other features as well. We’ve added support for a double-tap zoom. We had that on some of the other cameras and people really wanted
that back in this camera. We have used it for a focus feature, but in fact we’ve changed it back to the double-tap for the zoom but you can still tap and focus but you tap and hold now,
and then you’ll get that. The other thing we’ve done is we’ve added some ACES color gamuts in AP0 and AP1 and also we’ve added
ACEScct gamut support. That works if you have the
latest 1.2 Blackmagic RAW SDK and the applications that support that have used the latest Blackmagic RAW SDK. One other thing we’ve done which is a bit of a negative I guess, is that we’ve removed the
DNG format in the camera. We’ve had a patent claim. Someone’s complaining that
the DNG format we’re using is infringing their patent. We didn’t invent the DNG format so we don’t really know a
lot of the details about it. It’s a bit hard to analyze the patents in some ways because of this. So it’s a bit costly and
expensive to analyze those claims. We know Blackmagic RAW really well. We’ve done a lot of
research on Blackmagic RAW and Blackmagic RAW is
a much better format. So what we’ve decided to
do is remove the DNG format from the camera, and we’re
replacing it with Blackmagic RAW. It’s not really something
that we wanted to do but we fell like, it’s
not worth the effort to put all that investment in analyzing and heavily checking out
and spending a lot of money on the DNG format that’s
essentially obsolete. We’re also removing the DNG format from URSA Mini Pro as well. DNG is really, essentially
an obsolete format now. It’s a stills-based format, so
it’s hard to play the clips. The colorimetry is often wrong because it doesn’t really
manage all that stuff. It’s not really very well
supported by applications. We’ve supported it in DaVinci but it’s not really well supported. The compression performance is
not really very good either. If you get more than 4:1 it
starts looking really bad and because it’s individual still frames the copying’s really slow. And also, of course it
does, it’s not very good, it’s not a very high performance format. It’s very CPU intensive. In fact, let me show you
that before we move on. So you can understand
really, in many ways, why we’ve thought about doing this and really, the reasons for it. If you can switch to
the computer over here. I’ve got a laptop here. I’ve got two DNG folders here and I’ve got a Blackmagic RAW folder. If I go into the DNG lossless format you can see, I’ll scroll down a bit here. If I open up one of these
files you can see that I can look at the file but
the colorimetry is not right and that’s pretty much what you’ve got. But the worst thing is that if I go to any of the other compression levels I can’t even open the files. It’s just not, the software
doesn’t understand them. And also as you can see it’s a folder full of thousands of frames
and they’re very slow to copy and I can’t just play them. I mean, I can open up a single frame but I can’t just play the
clip, so I’ve just got that. Whereas with Blackmagic RAW
it’s a single file format so it copies quickly. Very high performance. You can see I’ve got some
Blackmagic RAW clips here which are actually from when
we did the Blackmagic RAW. So you can see I just
open that up and play it. I’ve got the right colorimetry. This player is using the SDK. DaVinci uses the SDK,
other software use the SDK. So the colorimetry’s all
being handled by that. But not only that, that
had a gamut applied to it that was set in the camera. If I take the sidecar file out I can even open up, and I’ve even got, I’ve got a lot of
control in Blackmagic RAW to get back to the original film gamut. So you can really see how much more advanced Blackmagic RAW is and we think that,
while it’s not something we really would like to do, it solves a whole lot of problems and really just lets us focus on a format that we know
really, really well. Blackmagic RAW’s a modern
format, it’s much better, it’s a single file. You can override the gamut settings, you can customize the
files in the sidecar. You’ve got the constant
quality and constant bitrate so you can get a known data rate but you can also get a known quality because you know the data rate float, if you’ve got something tricky to encode it’ll just not care about the data rate and that’s why the constant
quality setting’s really nice. It better understands the kind of work that people are actually doing. Plus you get fantastic quality even 12:1 which is super important. The colorimetry’s better. The SDK allows support in
a wide range of software and we even support color gamuts, like ACES color spaces and things like that. So it’s just a much more advanced format and I think it’s a worthwhile replacement. And yeah, of course the most logical thing on the Pocket Camera is, you can record Ultra HD to an SD card which I think is the
big benefit that you get by having Blackmagic RAW in the camera. CFast cards are great, they’re fast, but they are a little bit
more expensive than SD cards so it’s nice to have that option because the Pocket Camera has
both SD cards and CFast cards. You can plug them in, and of course the external
recording to a flash disk. It’s also, while I’m talking about this, it’s worth just chatting quickly
about some recent updates. If you haven’t downloaded
the latest software for the Pocket Camera,
it’s really worth getting, as we did an update
just before this update that added some new features. We’ve added support for
recalibration of the sensor. As you know sensors can
drift a little bit over time so it’s nice to be able
to do that in the camera. We’ve also added 2:1
frame monitoring guides, we’ve improved the media formatting UI, we improved the audio monitoring latency, we improved some auto-focus performance, we improved the signal-to-noise
ratio on the camera mic, we improved battery life quite a bit. We also improved the
three-and-a-half millimeter audio input UI, and we did some AV sync
performance improvements as well. So I think it’s a really nice update and so one thing, it’s
probably worth mentioning. We have had a lot of
people ask us, recently, how do we add Blackmagic RAW
to the the URSA Mini Pro. How can we do these kinds of updates? I thought to answer those question we might just take a moment to explain how we are able to do this. A lot of our products have updates and people are always a
bit shocked when we do them so I thought I might just mention why. One of the ways we do this
is because our products use an electronic component called an FPGA. An FPGA is a bit like a box of LEGO. It’s basically just a collection of gates and you assemble them any way you like. So what we do is when we release software we’re not actually just
releasing the software that runs on the
microprocessor in the camera, we’re actually also loading
in the hardware itself because the chip, the FPGA chip,
is actually fairly generic. So when we load the code in via the USB you’re actually getting
essentially new hardware as well as getting new software
that’s running on there, and that’s kind of the secret on how we add all these new features. I can show you just quickly what I mean. If you look at a Pocket Camera, here’s a Pocket Camera
that’s been opened up. We asked the guys to
basically get a Pocket Camera and pull it to bits. It’s probably a prototype,
it’s not my real one, so don’t feel like we’ve
done something cruel to the poor Pocket Camera. But if you look inside, this is actually what a Pocket Camera kind
of looks like inside. There’s a lot of stuff in there. But if we open up the PCB here, you can see that on the back, and it’s a lot of audio
shielding and other components, but if you look here this
is the FPGA chip here and what that lets us do is, we can load our design into there. That’s how we’ve been able
to do all these updates. You can see there’s a
lot of other components in there as well. So what that means is,
consumer products use a chip called ASICs which
are basically fixed. They often spend years to develop and then they can’t do any
changes to them over time which is what really in some
ways creates the difference between consumer products
and professional products. Professionals need new
video standards all the time and there’s always new
things coming along, so FPGAs let us change anything. We’re basically changing the
hardware and the software. This is how we added Blackmagic RAW after the camera shipped. It’s how we added the
H.64 to the Duplicator. The Duplicator product
when we first shipped it only did H.65 but the computer industry didn’t adopt H.65 as quick
as we thought they would so we added H.64 to
the Duplicator as well. And of course we’ve added now the single disk recording mode as well. That’s how we changed and updated the color science on the cameras. It’s how we added the HDR features. We changed the URSA Mini menu. So a few years ago we had
a different menu design for URSA Mini. Completely changed the menus
and even the microprocessors running in the product itself. That’s also running on the
FPGA so we changed that. And it’s also how we added all the URSA Mini studio features. The URSA Mini originally
wasn’t a studio camera. We added a lot of studio
features to it by doing that. So this update for the Pocket
Camera is available now. It’s a free download from our website. And keep updating us on your workflows. One of the reasons we’ve
been able to do this is ’cause everyone’s, the
community’s been so great at really working with us to
get some of these new features thought through, so keep
updating us on what you’re doing and we love to see what you, we love all the work you’ve been doing, we’re hanging off YouTube
all the time watching the sort of stuff you guys are doing. It’s really very exciting. It’s been quite exciting, it’s such a great platform,
the Pocket Camera, and there’s a lot more stuff
again that we’re gonna add. So there is one more
thing though, we have. We actually have a new
Blackmagic URSA Mini Pro 4.6 G2. It’s a new generation
of Ursa Mini Pro 4.6. It replaces the previous model. I’ll bring one up here. Here it is. Now you notice it looks similar but inside we’ve completely
redesigned the electronics. It’s all new electronic design so we can add more features and we can increase the camera frame rate. This is actually essentially
an improved sensor, a new generation sensor in there as well. So this, even though it looks the same, and the form factor itself is great, it is actually a lot more powerful now. We’ve more than doubled the
frame rate in Blackmagic RAW but we’ve double the
frame rate even in ProRes. So to give you a summary, it does 120 frames a second
in 4.6K, in Blackmagic RAW, and 150 frames a second in
4K DCI with Blackmagic RAW, 150 frames a second in
Ultra HD in Blackmagic RAW, and 300 frames a second in 1080 HD and 2K DCI in Blackmagic RAW, and obviously that’s windowed. For some of these formats, for some of the highest frame rates, you’ll need to use 12:1
for the high frame rates but that’s really why you
can see Blackmagic RAW, we focus so hard on getting
good quality at 12:1 because that gets the datarate low enough to be able to fit it onto
the media cards that you use like CFast cards. Even in ProRes though, also
Blackmagic RAW’s designed to work at high frame rates. We can’t quite get those
frame rates in ProRes but we can get them in Blackmagic RAW. In ProRes though, we’ve had
a big improvement as well. We’ve get 80 frames a
second at 4.6K in ProRes, 120 frames a second in Ultra HD in ProRes, and 240 frames a second in HD in ProRes. The other thing, we’ve also,
the other big advantage of this is we’re getting a faster
readout from the sensor so it really gets any
rolling shutter issues and pushes them even further
away, it’s a non-issue. And also, there’s some
improved sensor colorimetry, sorry, color uniformity
on the sensor as well, so that’s always nice. Now, we’ve also upgraded the
image processing in the camera. There’s new black-shading
calibration we’ve got, there’s an improvement to the Generation 4 color science as well. We also have embedded 3D LUTs. One of the things we
do, the URSA Mini Pro’s a fantastic research camera in many ways. We do a lot of the new
things on URSA Mini Pro. I’m actually running Blackmagic
RAW 1.3 in this camera which is being completed. That allows you to embed 3D LUTs into the Blackmagic RAW clips themselves and we have new controls
in the 3D LUT settings in DaVinci resolve 15.3,
which’ll be out in a few days. Also, I’ll get onto that in a sec, but some of the other improvements, we’ve got some audio improvements as well. We’ve got improved circuitry
for quieter XLR audio inputs and new line-level adjustments for the audio on the XLR inputs. The other benefits we can get is, we get USB-C recording to
flash disks on the camera now, so that’s really cool. Let me show you that actually
’cause it’s pretty cool. I’ll turn the camera on,
and I’ll show you the, what it is, I’ll turn the camera on first and I’ll go into the menu and show you the Blackmagic RAW settings and then we’ll do a flash recording. I’ve got a flask disk here somewhere. Here it is, and I’ll record that. Now, the camera’s started up and I’ll swing the screen around. You can see it there. In fact I’ll just bring
the menu settings up. Where are they? And oh, there it is there. So if you look at the camera display you can see there, I’ve got
the Blackmagic RAW settings. And what I might do is I might
turn on the Pocket Camera because I forgot to show you that, but I’ll show you the
Blackmagic RAW settings on the Pocket Camera as well. There they are. I don’t know if you can
get both of these up. I probably should have
shown you this before when I was talking
about the Pocket Camera. But there’s the Blackmagic RAW settings on the URSA Mini Pro, and there’s the Blackmagic RAW settings in the Pocket Camera as well. There it is there. I’ll try not to get a reflection. So there’s that, and there it is, yeah. So you can see that it’s
in both cameras now. What I’ll do is I’ll
plug in the flash drive and show you that working. So I’ve got, it plugs into the
same spot where the USB is. The electronics have been upgraded so the USB-C’s much higher speed now and it can host disks. If I turn the camera around, and I’ll start recording on
there and you can see there, I hope the cable’s not in the way. Now what the camera’s
doing is it’s recording to that flash drive,
to the media directly. Before we could only really do, I’ve got the cable in the way, so I’ll get that out of the way there. But you can see normally we
could only do software updates through the USB-C on
the Generation 1 camera, but now we can record, that
connector’s much faster and we can record directly to it. A few of the other benefits
we’ve added to the, I’ll stop recording actually. I can do that from the front. There it is now. So you can record straight from the disk that you’re gonna edit from. You can move that to your editing system and record straight from it. So I’ll move the camera round, so I can talk about some
of the other features. It’s also, we’ve done a
bunch of the software updates that we had on the Pocket Camera. We’ve added touch to focus on EF lenses, but if you’ve got a B4 or a PL servo, lens with servos on it, ’cause obviously you can
change the lens mount, then the touch also
works on PL and B4 lenses if they support the servo focus. We’ve also added some
common off-speed frame rates because it does the high frame rates, they’re the off-speed frame rates, so we’ve added direct
selection for some of those, so you can just select them. We’ve also added third-of-a-stop
increments for the ISO and we’ve also added some
real quick media switching on the heads-up display. So there’s a bunch of new features there. We talked about the fact that the camera has Blackmagic RAW 1.3. Blackmagic RAW 1.3 adds some new features and the big one is that
it can do, the 3D LUTs and as I mentioned, this URSA Mini Pro is really where we do
a lot of the research into Blackmagic RAW technology. On this camera there’s no DNG, we’re using Blackmagic RAW instead. It’s Blackmagic RAW that lets us do a lot of these new features. So it’s quite important actually. The DNG’s fairly useless now. What we can do with Blackmagic RAW 1.3 is, apart from the high framerates,
is we can get the 3D LUTs basically burned into
the Blacmagic RAW file. The great thing about
recording the LUT into the clip is that you can disable it any time. It’s not actually literally burned in. It’s not like it’s actually
affecting the video. Like the gamut settings and
things, it’s in the file but it’s never burned in. You can always turn it off and on. But if you use a LUT it’ll
actually put it into the file. So if you’re looking at the LUT it’ll put it in the clip anyway and it’s always there. And it’s written into the header so that’s how you can disable it, ’cause it’s used, the SDK
essentially will see it and use it if you want to use it. In DaVinci Resolve there’s
an Apply LUT setting in the RAW settings, and that’s
how you turn it on and off in DaVinci Resolve. So it’s up to you. I know a lot of colorists
who don’t want to use LUTs. They like to actually grade in
from the original film gamut. Other guys love using LUTs, so it’s really totally up to you. The 3D LUT’s always in the file. It’s up to you to decide whether
you want to use it or not but what it does mean is that
all the file’s past editors will have 3D LUT in it. So you really can’t get the
wrong LUT with the wrong file and ’cause it’s non-destructive it’s not gonna cause any issues. You can overwrite it. You can even overwrite it
with an alternative LUT if you want because the sidecar
file can also take a LUT. So you can have a LUT in the main file, or you can have a sidecar
file with a LUT in it. It’s really up to you and
so it’s quite powerful, and that’s supported in
Blackmagic RAW SDK 1.3. So any software that uses that will get the advantage of this feature. It’s not actually, the SDK is available but the initial support, I think it’s a couple of days actually, will have the Blackmagic RAW SDK online, so it might not be quite online now. I should’ve checked with the
guys before we did the video but I think it’s literally
a couple of days away. We do have some initial support, actually I think the SDK is available, DaVinci Resolve 15.3 is a few days away. But either way, in a couple of days’ time we’ll have our support for those. And we have some initial
support in DaVinci Resolve 15.3 which is due in a couple of days but it’ll get better at NAB, we’ve got obviously a bigger update, in fact, quite a big update
we’ve got at DaVinci, NAB with DaVinci Resolve, so it’s gonna be really interesting. And we’ve got more time to improve support for
the Blackmagic RAW 1.3. One other quick thing we do
have in Blackmagic RAW 1.3 is also thumbnails on Windows. There’s a bit of better Windows support. There is a couple of
other things we’ve done on the cameras as well. This, we get a lot of obviously people giving us feedback on suggestions and we’ve done a lot of
those in here as well. We’ve added a LUT icon to the text overlay on the heads-up display so you can see it. We’ve added an ND filter
indicator on there as well. We’ve added timecode preset
icon in there as well so you can get a bit better
status on the screen. We’ve added new media formatting UI so it’s a bit easier to format media. You can also now remap the HFR button. The HFR button, the high
frame rate button on the side, when you push that it enables
the overclocked frame rate. Well, you can not make it do that, you can make it do something else. And you can also disable
the function buttons and that HFR button as well if you like. So you can just disable them, ’cause I mean, I tend to disable them, I tend to hit the buttons
when I’m pushing record because I’m stabbing away
with my stumpy fingers and it all goes horribly wrong. So disabling those buttons
is actually something I use, so it’s pretty nice. And of course, as we mentioned,
you can save the 3D LUTs into the Blackmagic RAW files. We’re starting production on this camera next week I believe, later next week. Its price’ll be 5995
so it’s the same price as the older model, and the older model, there’s some of the older model available but this is replacing
the Generation 1 product, so obviously there’ll
probably be some nice deals on the original model. The Blackmagic RAW SDK,
the Blackmagic RAW 1.3 SDK will be available in a couple of days so look out for that if you’re a developer and you want to add
support for Blackmagic RAW, the latest version of Blackmagic RAW. So look, that’s the update that we have. I hope this was useful and
had something in it for you. Again, I want to thank
you for all your support. Without the support we
couldn’t do what we do and so we hope that what
we do helps what you do, and then we can all just work together. I think what we really love about the Blackmagic customer base is everyone’s really cooperative and everyone works together, and it’s a privilege
to be in this position, to be able to build these products, but also be able to
work with all you guys. So again, thanks for all your support. We really appreciate it and obviously thanks for
watching the video as well and I’ll be seeing you at the next show. Alright, take care, bye.

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