Blackmagic Design

Dylan Rucker’s short films and music videos are known for their gritty realism. So natural colors and beautiful landscapes are what he wanted from the Blackmagic URSA Cine 17K 65 and Thalia 65 series lenses.   “I love working with cameras that bring out colors and textures that are true to what I see! I haven’t shot a whole lot on Blackmagic cameras before, so I was really interested in shooting with their new 140 megapixel sensor. We spent two days capturing cowboys and cowgirls riding horses, driving trucks, and just being in the dry, sandy desert. So this shoot was all about being authentic.”   “65mm cinematography is as close as you get to see in real life. Even when shooting on a 24mm lens, the field of view is more like a 14mm, but without the distortion you get with full frame. So there’s more depth and separation with 65mm cinematography, that makes everything feel super real!”   “Having a 65mm sensor in a camera the size of the URSA Cine, means you can easily throw it on a drone, car rig, Steadicam or techno crane. It also has 16 stops of latitude and these cool monitors on the operator and assistant side, that really speed things up! This camera has off speeds that were great for some of the horse scenes, and surprisingly, it will also shoot in 8K and 4K as well.” View the video, download the clips and read the full story at http://bmd.link/v7ekMp

Of Two Lands’ founder, French filmmaker Florent Piovesan has just returned from shooting with the Blackmagic URSA Cine 17K 65 in Iceland.   “I’ve shot on Blackmagic’s cameras before, so I found it pretty easy to understand the URSA Cine 17K 65. Because this landscape has been featured in films like Prometheus, Interstellar, Oblivion and Game of Thrones, I wanted a set of lenses that would show this landscape exactly as it is. I wanted everything to be authentic, so I decided on Tokina Vista Cine primes.”   “I have tried to capture the breadth and depth of Iceland on S.35 cameras before, but it didn’t do the landscape justice. The landscape is just too big for most sensors to handle. Whereas the 2.2:1 open gate 65mm sensor could capture everything including the 3 dimensional depth to this landscape. It was the first time my cinematography could capture what I was seeing and feeling. Everything just looked epic, straight out of a Hollywood movie!”   “I also find shooting 17K gives you more options in post, just because you can punch in and pull three or more scenes from the same shot in 4K. So 65mm cinematography gives you more separation, a wider perceived field of view and extra dimensional space than full frame. That makes shooting 65mm cinematography on a Blackmagic Camera the perfect choice for documentaries, and I think it could also be great for TVCs too!”   View the video, download the clips and read the full story at http://bmd.link/Uv3svY

Today we announced Blackmagic Camera 9.3 update which adds support for the new Blackmagic URSA Cine 17K 65. When designing the URSA Cine models, we wanted to build a dream camera that has everything you would ever want in a high end digital film camera that could shoot for extremely large screens and immersive IMAX style environments. Blackmagic URSA Cine 17K is the realization of that dream with a massive 65mm image sensor, a body with industry standard features and connections, and seamless integration into high end workflows. There’s been no expense spared in designing this camera and we think it will truly revolutionize all stages of production from capture to post!   In addition, this update adds support for remotely controlling Blackmagic URSA Cine cameras using Blackmagic Camera for iOS. This means you are able to mount a Blackmagic URSA Cine 12K in a location that’s not easily accessible to monitor and control settings like focus, white balance, frame rate or shutter angle remotely using a phone or iPad. It also enables you to start and stop recording on a connected URSA Cine camera and use it as part of a multi camera shoot!   This update adds user pixel recalibration for Blackmagic URSA Cine models to ensure precise pixel tuning if the camera has been subjected to extreme temperature changes.   Blackmagic Camera 9.3 update is available now as a free download from http://bmd.link/d4iUmj

Today we released DaVinci Resolve 19.1.4 which adds support for Blackmagic RAW files shot on the new Blackmagic URSA Cine 17K 65 camera.    This update also adds support for Apple ProRes encoding on Windows and Linux systems and support for Samsung Log LUTs. In addition, this update adds improved network decode performance and exporting of embedded AAF files, allowing you share projects between DaVinci Resolve and audio workstations while retaining the timeline structure, embedded media and metadata.   DaVinci Resolve 19.1.4 update is available now as a free download from http://bmd.link/gdK7wq

Today we released Blackmagic Video Assist 3.19 update which adds support for Blackmagic RAW recording from Panasonic UB50 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 3.19 update is available now as a free download from http://bmd.link/w3nqxE

Today we released Blackmagic Videohub 10.1 update which adds NMOS support to Videohub Smart Control Pro and Videohub Master Control Pro. This additional support means you can use either control panel to make connections between sources and destinations on any 2110 IP network, just like a traditional SDI router. Blackmagic Videohub 10.1 update is available now as a free download from http://bmd.link/qMirRY

The Beginner’s Guide to DaVinci Resolve 19 now available! This step by step training guide is for both new and existing users. Using a project based approach, you will discover how to use the editing tools, grade your film using DaVinci Resolve’s legendary color correction tools, enhance your soundtracks with the Fairlight page, and build custom visual effects using the Fusion page. What You’ll Learn • How to edit your own projects using the industry-standard editing tools in the edit page. • Normalize audio levels, add sound effects and automatically mix music using the new Ducker track effect. • How to read video scopes to adjust contrast, color balance and saturation for the perfect grade. • Create secondary corrections using unique intuitive tools such as the Color Warper and Color Slice. • How to add Power Windows™, track objects and add ResolveFX. • How to set up projects, create proxy files for editing, as well as sync and manage audio files. • Enhance your audio editing and mixing using the Fairlight page. • Build your own titles and visual effects using the Fusion page. • How to deliver projects to a variety of formats including those for popular social media sites. • How to work collaboratively using Blackmagic Cloud workflows. • Dozens of tips and tricks throughout the book that will transform how you work! This book is designed for both beginners and professionals. Beginners will find clear and concise lessons to get you up and running quickly. If you’re a professional switching from another system, you’ll find lessons that cover everything from basic editing and trimming to working with audio, adding text, effects, and more. You’ll also find dozens of pro tips and tricks that will help you make the switch to DaVinci Resolve! Download now from http://bmd.link/r9Wuz4

South African cinematographer and director, Sean Viljoen recently shot a camera test using the PYXIS 6K in Zimbabwe. Sean talks about why shooting with a full frame 3:2 sensor on cine primes, is now a game changer for wildlife cinematography.   “Often your proximity to wildlife is the greatest challenge, and mostly you're on a longer lens shooting really compressed shots. That said, I’ve always been a fan of documentary filmmaking that connects the viewer to characters by shooting handheld with that really ‘close and wide look’. I love shots where you get a real sense of intimacy that comes from shooting on full frame lenses. We wanted to experiment with filming wildlife in this way, in contrast to the more traditional long lens natural history cinematography that is more common.”   “And so when you are shooting wildlife and people, it can be difficult to make your shots match. Shooting on long lenses for wildlife, there is obviously compression that comes with those longer focal lengths. So when it comes to shooting people such as the wildlife rangers in this project, I prefer to have their faces and shoulders in proportion to be able to match the proportional natural history elements."   “With the PYXIS 6K’s full frame sensor I am able to use Zeiss CP.3 lenses on a hand held rig so I can get closer to the subject, easily moving around my subjects to find the right framing. With an S.35 camera I would need to have gone wider on the lens choice because of the crop factor, which can introduce some distortion with wide and close shots of the subject. With the full frame I could move in or pull back for the best framing, without having to worrying about distortion issues.”   Watch the video and read the full story at http://bmd.link/4VtX79

Today we released ATEM Switchers 9.7 for all ATEM Television Studio models, which adds downstream key tally override that allows you to override the tally signal if the downstream key is at 100% opacity. This means if a replay is being broadcast, the tally will let the camera operator know that they are not on air, allowing the camera to be repositioned, ready for the next shot. If the downstream keyer is not fully opaque, the tally will remain red so the camera operator knows they’re on air and need to hold the shot. This update also adds support for routing the webcam source, live editing of recorded files and network storage for drives. ATEM Switchers 9.7 update also adds the ability to upload recorded files from ATEM Television Studio to the Blackmagic Cloud as soon as you stop recording. This allows you to share footage for editing or color grading as soon as your live production is finished, speeding up the workflow for creating television shows. This update also adds support for SRT streaming, giving you much lower latency and more secure encrypted streams. In addition, this update also adds support for Visca over IP camera control to ATEM Television Studio. This means you can connect up to 100 third party cameras and control pan, tilt and zoom by simply adding their IP address in the Camera Control tab of ATEM Software Control. With this update, ATEM Television Studio can control the latest generation PTZ cameras and camera heads, perfect for tracking people walking on a stage, zooming in on speakers at meetings or adjusting cameras used for security surveillance. There are also a range of improvements to multiview including the option to remove all borders, customize border colors and the ability to enable or disable labels individually. ATEM Switchers 9.7 update is available now as a free download from http://bmd.link/94aNts

Today we introduced Blackmagic Cintel 6.1 update which adds the option to select 8mm perforation or film edge as your image stabilization reference. This means even greater scanning stability, particularly when using print film with hand painted magnetic stripe. There is also improved image stabilization when scanning 16mm black and white film with clear film base, resulting in steadier, smoother images. This update also ensures that DaVinci Resolve will prompt you to recalibrate when the film gauge is changed, as well as adding improved film handling for a wider range of reels and cores of varying gauges, lengths and pack diameters. Blackmagic Cintel 6.1 update is available now from http://bmd.link/ucdgsy