Tag: blackmagic designs

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BMPCC6K For Only $1,995???!!!! Price DROP!!!

BlackMagic Design never ceases to amaze me because today they announced that they lowered the price of the 6k camera by $500! That’s right, this is not an April Fools joke but its really happening.

One of the reasons they cite for the price drop is,

“With the current demand for multi camera live streaming from home broadcast studios, the Blackmagic Pocket Cinema Camera 6K makes a perfect studio camera when combined with the recent studio camera software update!”

This is another example that BMD is ultimately supporting the industry even during these hard times and doing their best to get the tools to create into our hands.

Compared to other 6k cameras they are by far the best bang for the buck but it’s almost unfair to compare BMD color science, features, performance and let’s not forget the FREE ALMIGHTY Davinci Resolve. But here are some other 6k cameras and prices: ZCAM E2-S6 Super 35 $2,995, Panasonic S1H $3,997.

I still cant believe it! Great job BMD!!!

Read the complete press release HERE

ProEXR File Description =Attributes= cameraAperture (float): 36 cameraFNumber (float): 8 cameraFarClip (float): 1e+30 cameraFarRange (float): 1e+18 cameraFocalLength (float): 40 cameraFov (float): 14.6528 cameraNearClip (float): 0 cameraNearRange (float): 0 cameraProjection (int): 0 cameraTargetDistance (float): 2.21183 cameraTransform (m44f): [{0.888939, -0.440282, -0.126249, -0.43253}, {1.41103e-17, 0.275637, -0.961262, 0.305}, {0.458025, 0.854503, 0.245025, 0.778948}, {0, 0, 0, 1}] channels (chlist) compression (compression): Zip dataWindow (box2i): [0, 0, 5999, 3999] displayWindow (box2i): [0, 0, 5999, 3999] lineOrder (lineOrder): Increasing Y name (string): “” pixelAspectRatio (float): 1 screenWindowCenter (v2f): [0, 0] screenWindowWidth (float): 1 type (string): “scanlineimage” vrayInfo/vrayrevision (string): “28079 Feb 27 2018 02:25:11” =Channels= A (float) Ambient Occlusion Output.B (float) Ambient Occlusion Output.G (float) Ambient Occlusion Output.R (float) B (float) Black Anodised Alpha (2).B (float) Black Anodised Alpha (2).G (float) Black Anodised Alpha (2).R (float) Black Anodised Glossier Alpha (2).B (float) Black Anodised Glossier Alpha (2).G (float) Black Anodised Glossier Alpha (2).R (float) Black Anodised Inner Alpha (2).B (float) Black Anodised Inner Alpha (2).G (float) Black Anodised Inner Alpha (2).R (float) Black Band.B (float) Black Band.G (float) Black Band.R (float) Black Metal Grain Alpha (2).B (float) Black Metal Grain Alpha (2).G (float) Black Metal Grain Alpha (2).R (float) Black Perforated Alpha (2).B (float) Black Perforated Alpha (2).G (float) Black Perforated Alpha (2).R (float) Black Plastic Gloss Alpha (2).B (float) Black Plastic Gloss Alpha (2).G (float) Black Plastic Gloss Alpha (2).R (float) BodyApha.B (float) BodyApha.G (float) BodyApha.R (float) Button Black Gloss Alpha (2).B (float) Button Black Gloss Alpha (2).G (float) Button Black Gloss Alpha (2).R (float) Button Black Satin Alpha (2).B (float) Button Black Satin Alpha
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Where Have I Been???!!!!

I have been immersed in a massive indie solo documentary that I am preparing for film festivals in 2020 so all my time is spent editing, editing and then editing. As you can imagine it is a labor of love and I remain focused.

So what has changed or developed in the past few months has truly shocked me and the market. Everything from Red being outed by Jinni Tech with several videos on

Youtube unveiling the tech and the off the shelf origins to BlackMagic Design releasing their BMPCC6k. The times are surely changing but is it innovative progress?

The v1 introduction of the BMPCC4k was truly ground shaking and revolutionary with the dual iso, lowlight performance, 4k, form factor, dynamic range, color science and powerhouse codecs CDNG and Prores. We must not forget the insanely low and unreal price of $1,295! I have tested it against Red Gemini 5k which the DP purchased for $19,500 for the brain alone and aside color science the performance to price ratio was insane! The v1 BMPCC4k with CDNG stood its ground.

But then came the infamous letter from lawyers claiming BMD was infringing on Red ‘s patent for CDNG and boom the next firmware update introduced a new codec called BRAW which was BMD’s attempt to provide a replacement for CDNG. But after testing and discovering aliasing/moire, chromatic aberrations and softer image I deemed it a failure. To add insult to injury for those who purchased the camera with CDNG clearly advertised and now having it forcefully removed because of firmware updates was a bad move on BMD’s part. OK, I’ll stop ranting about that for now LOL.

Those hoping for another great technological leap forward with the BMPCC6k have clearly been let down with the fact that the camera cannot record 4k in BRAW. With the latest update BMD continues to add features such as anamorphic and level guides.

The marketing hype is clearly the “K-Race” but other manufacturers are going large format. Take a look at Kinefinity and ARRI, with the later name truly the giant and holy grail for true cinema. Hell, even Z Cam is going to Full Frame format.

As the market, we can clearly change where manufacturers are going and what they are creating by simple economics. Innovative products will continue to be used after more advancements have been made and a good examples is the original BMPCC which is still used by indie folks to create amazing content. Recently it was tested side by side with the BMPCC4k and many people fell in love with the little true pocket camera! How can a 1080 camera look more cinematic and appealing than a 4k? It may be subjective but the point is innovation is timeless and advancements have a shelf life.

If BMD and others want to continue to advance cameras that is their prerogative and business model but I would encourage them to innovate and create true magic.

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Sell The Farm For The BMPCC6k!? Hurry : )

Ok, ok, I have been on hiatus from the blog for a while actually working filming, editing and getting funding for my documentary. It’s all going very well thank God! So what disturbed my deep focus? The announcement of the BMPCC6k rang like a gong at 2 am, LOL! My first inclination was WTF BMD how can you step on this great camera that has truly been an innovation from the BMCC, BMPC4k and the beloved BMPCC. After further researching and talking to the PR rep here are the TWO biggest selling points they are marketing.

  1. Depth of field
click image to expand. Image pulled from BMD wesbite.

2. Sensor size

click image to expand. Image pulled from BMD wesbite.

These are the basic marketing points that BMD is focusing on and the fact that you no longer need a focal reducer/speedbooster for your EF lenses. A few things to consider and I am sure users will start to test the products and release their findings but these questions must be asked.

  1. How can the SD, CFAST, or SSD handle the data rates and file size for record/playback.
  2. With such a demanding resolution is there anything degraded such as highlights or DR?
  3. Based on the DOF image provided by BMD and others who started posting on forums the difference is barely noticeable.
  4. Also not all codecs are available in FPS.
  5. The pitch that you can reframe 6k to smaller 4k, 2k or 1080 is that really necessary if you are framing each shot carefully?
  6. Is this BMD’s way of undercutting the industry leaders such as RED who recently threatened a lawsuit?
  7. Honestly, do you really need 6k? You must watch Steve Yedlin part 1 and 2 http://www.yedlin.net/ResDemo/index.html
  8. Be patient and wait for the reviews and comparisons.

Anyways, good luck on your camera search. I will be posting some informative videos in the next few weeks. stay tuned.

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FAIL! Quick Look: CinemaDNG vs Braw! Firmware 6.2

I have received a few emails wanting a lighter image so I added a node in Davinci Resolve and slightly adjusted the curves. The nodes were applied to the entire timeline and NOT just the clip so the gamma/extended video and curves were equally applied to each clip. Nothing on the camera was moved the only thing is that the camera was updated in place on the tripod. The stills were obtained in Davinci Resolve via the color tab and “grab still” function. If BRAW looks in inferior because of perceived compression of the internet then CinemaDNG should look inferior also. The larger shot has a color chart and highlight blown out area for further testing. The images below are zoomed in.

Please read previous post for the specs of the test : (

I am disappointed in the softer image with BRAW and have now lost the CinemaDNG codec with the upgrade. At this point I would have preferred CinemaDNG and BRAW instead of keeping Prores.

Further proof below of the softness of BRAW. Maybe some of you prefer a softer image out of camera but in my opinion if you are spending over $1k on lenses why allow a codec to soften it for you? The “softness” may be due to BRAW’s inability to capture pixel data and interpret it correctly. Whatever the exact cause it is an epic fail.

click photo to enlarge
click photo to enlarge
click photo to enlarge
click photo to enlarge

This has to be one for the books….so close then a fumble on the one yard line.

Puff the magic went away,

MT
edito/founder

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New Power Usage Test Weipu Port and Chart! Firmware 6.1

Image result for watts measure tool
Measures watts, amps, volts, kwh

The previous post tested the OEM and third party battery consumption now that BMD has improved the power usage of the camera but now I tested the weipu port in 4:1 and HQ with SSD and SD in both record and standby mode. Does the weipu port consume the same amount of power as the battery compartment?

I used this instrument and ran the camera through the crucible of various codecs and modes of operation. Due to time constraints I only ran the specs that are most common: 4k dci, 4:1 and Prores HQ. The Viltrox efm2 adapter was used since it consumes power and the native manual mft lens (Voigtlander 17.5mm) which uses no power. The same goes for the SSD which uses power and the SD which uses less power.

The results are interesting and please leave a comments on your thoughts. You can definitely see the difference from the original firmware release, good job BMD!

Keep the magic alive,

MT
editor/founder

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Firmware Update 6.1: test battery life, format media, and more

The very first firmware update for the BMPCC4k is now available for download and install. Does it have the much anticipated BRAW? Some are openly posting on forums that it will never reach our cameras but apparently the delay has caused much doubt.

Scroll all the way to the bottom to see my test results. Unfortunately BRAW was not included in this update but here are a few cool things that were updated:

What’s new for Pocket Cinema Camera 4K

  • Added support for pixel remapping in camera.
  • Added 2:1 monitoring frame guide.
  • Improved media formatting user interface.
  • Improved audio monitoring latency performance.
  • Improved auto focus performance.
  • Improved signal to noise ratio performance of camera internal microphone.
  • Improved power efficiency for improved battery life.
  • Improved 3.5mm audio input selection interface.
  • Improved AV sync performance.
  • Fixed an issue where time and date is not updated on camera when connected to the Blackmagic Camera Setup utility.
  • Fixed an issue where the 3.5mm audio input level is 6dB lower than expected.
  • Fixed an auto focusing issue with Lumix 20mm f/1.7 lens.
  • Fixed an issue where some USB-C external SSDs were not detected when connected before camera is powered up.
  • Fixed an issue where some batteries might shut off earlier than expected.
  • Fixed an issue where low battery indicator is not displayed appropriately.
  • Fixed an issue with camera not being detected by host computer when connected to certain USB ports.
  • Updated dynamic range and ISO chart in user manual.

Here is the link to download on your MAC OS or Windows

Battery test #1: 53 min record time
4k dci, 4:1, 24 fps, ssd, Viltrox adapter, OEM battery

37 min the battery indicator turned red
battery died at 52 min

Battery test #2: 46 min record time
4k dci, 4:1, 24 fps, ssd, third party battery

38 min the battery indicator turned on, 20%
battery died at 46 min, 4%

Battery test #3: 56 min record time.
4k dci, 4:1, 24 fps, ssd, OEM battery
I forgot to push the record button on the other camera but the OEM battery with no Viltrox adapter lasted 56 min.

Conclusion of the battery tests: The OEM batteries have improved by roughly 20-15 minutes when recording 4k dci, 4:1, 24 fps, ssd, Viltrox adapter, OEM battery and approx. 15-10 min with third party batteries. Keep in mind these tests were conducted by constantly recording and Prores will consume more battery power and reduce battery life by about 10 min. Also an adapter with electronics (aperture control) will consume a little bit of battery and so does the SSD. According to my test the Viltrox reduced the battery life by roughly 4 minutes.

Another helpful feature included in the update was a 3 second format media selection so that you do not accidentally format the media by just pushing it once. Now you will need to make the selection and keep it pushed for 3 seconds before the drive is formatted.

Also a “pixel remapping” function that should fix any dead or hot pixels .

One downside is that my grid display feature no longer works : ( Another problem is that the Viltrox efm2 adapter may stop working but that can be fixed by simply downgrading the focal reducers firmware to 2.3

All in all, good job BMD for improving an already amazing camera and I look forward to the next update.

Keep the magic alive,

MT
editor/founder

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Cinematic AF! Voigtlander 17.5mm .95 & SLR Magic 25mm .95 BMPCC4k

Here is a brief look at how cinematic the BMPCC4k can be utilizing the Voigtlander 17.5mm .95 and SLR Magic 25mm .95. This was the first time shooting a live sports event with these legendary lenses and I learned a tremendous amount. I typically only shoot in the studio with these lenses. The DOF was extremely shallow. ALL HANDHELD and monopod!!

details:

  • both lenses shot wide open .95
  • iso 3,200
  • codec Raw 4:1, 60 FPS
  • film
  • 4k dci
  • edited in Davinci Resolve 15, correction and slight grading.

Please post a comment and let me know your thoughts. Make sure to like and subscribe to this blog for the latest news and updates.

Keep the magic alive,

MT
founder/editor

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Iso & Noise!!! Let’s test the BMPCC4k in LOWLIGHT!

I decided to take a closer look at how the BMPCC4k dual iso can handle lowlight and the results are truly amazing! Not only did I test iso 400, 3200, but also 6400 and 12800. I performed light noise reduction and the results must be seen to believe. 

Specs: 4k dci, Raw 4:1, 24 FPS
Lens: Sigma 18-35mm @18mm 1.2

Keep the magic alive,

MT
editor/founder

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Resolve 15.2 Update!

I got an email from BMD this morning and wanted to pass on the great news that Davinci Resolve has been updated and could be signal that Blackmagic Raw will soon come to the BMPCC4k. Let’s keep our fingers crossed and until then update Resolve for additional features. 

Keep the magic alive,

MT
editor/founder

From BMD

Blackmagic Design Announces DaVinci Resolve 15.2

Major new release adds over 30 features customers have asked for including even faster editing, visual keyboard customization, new beauty correction tools, audio mastering plugins and more!

Fremont, CA – November 14, 2018 – Blackmagic Design today announced DaVinci Resolve 15.2, a major update to its editing, color correction, visual effects and professional audio post production software. DaVinci Resolve 15.2 has been designed based on feedback from professional customers around the world. It includes over 30 new features that simplify and streamline everyday tasks so editors, colorists and sound engineers can work even faster.

DaVinci Resolve 15.2 is available today for immediate download from the Blackmagic Design website. DaVinci Resolve 15.2 will also be demonstrated on the Blackmagic Design InterBEE 2018 booth at #8216. A video showing these new features can be viewed on the Blackmagic Design website at www.blackmagicdesign.com

The editing timeline in DaVinci Resolve 15.2 draws at a higher frame rate which makes editing and trimming feel faster, more responsive and more fluid than ever. In addition, new animations have been added so clips slide in and out of position, making it easier to see exactly how different edits affect other clips in the timeline.

Visual dup detection lets customers see when the same clip has been used more than once. In addition, clips displayed in the bin now display usage indicators for the current active timeline. White vertical lines highlight the currently marked portion of a clip, while red horizontal lines show which frames are used. The timeline can also be cleaned up by flattening down unused clips, and timecode entry has been simplified throughout the application.

DaVinci Resolve 15.2 also adds features that make pancake editing, which is the editing of clips between multiple timelines, much easier and faster than before. Timelines or compound clips can now be loaded into the source viewer and edited into the current timeline in their decomposed state. Most importantly, editors can tap the X key to instantly mark a clip in the source timeline and edit that clip directly into the active program timeline.

The inspector, on-screen controls and metadata viewer on the Edit page now automatically update to show the relevant information for the highest visible clip under the playhead. That means customers no longer have to manually select a clip to change a parameter.

Keyboard customization has been completely redesigned in DaVinci Resolve 15.2. The new visual interface lets editors quickly see which keys are in use and assign shortcuts. The included keyboard sets emulate other popular editing applications, making it easier for editors switching to DaVinci Resolve. Keyboard sets can be shared between systems and shortcuts can now be assigned to different pages and user interface panels within the application. Shortcuts can even be assigned to commands in contextual pop-up menus. New highlights make it easier to see which portion of the interface is active so customers know which keyboard shortcuts they can use.

DaVinci Resolve 15.2 also includes new ResolveFX plugins. The Blanking Fill plugin automatically fills black letterbox or pillar box areas of the screen with defocused video. This makes it easier to use vertical video or photos in standard widescreen timelines because customers no longer have to manually create a background. The new Beauty plugin is designed to gently and realistically smooth textures and blemishes on skin and other surfaces. Colorists will also find new plugins for ACES transformations and limiting gamut. In addition, colorists can now bypass mixer node inputs by turning off connected nodes and can export gallery stills with custom label names.

The Fairlight page includes dozens of refinements along with new FairlightFX plugins that make fixing common problems and mastering final audio faster and easier than before. The new Stereo Fix plugin features presets for the most common channel mapping operations so clips can be fixed with a single click. This lets customers quickly fix problems such as dual-channel mono dialogue that was edited in stereo tracks.

The new Multi-band compressor features realtime spectral analysis and four different independently adjustable frequency bands. This lets customers achieve the desired overall volume without creating artifacts when mastering sound. The Fairlight page also adds new VCA groups for ganging channel strips together. This makes it possible to adjust the gain on multiple tracks simultaneously.

Since it was announced at NAB last April, Blackmagic Design engineers have been listening to feedback from professional customers around the world and have been working hard to add the features they need. Over 110 new features have been added to DaVinci Resolve since April.

“The momentum of DaVinci Resolve and the speed at which it’s being adopted is incredible,” said Grant Petty, CEO, Blackmagic Design. “It’s exciting because many of the new features in DaVinci Resolve 15.2 are things that will make a difference to artists that use it each and every day. This is a massive release that customers are going to love!”

New features added since the release of DaVinci Resolve 15

Edit

  • High frame rate timeline refresh with animations.
  • Visual keyboard customization.
  • Support for custom shortcuts in different parts of the UI and contextual menus.
  • Highlight indicators showing active portion of interface.
  • Live save and backup support for new, unsaved projects.
  • Import and export dialog boxes now remember last used location.
  • Undo history available in edit menu.
  • Keyword dictionary management tool.
  • Duplicate frame detection with visual indicators on clips in the timeline.
  • Clean up timeline feature to remove and flatten unused clips.
  • Simplified timecode entry.
  • Clip usage and marked range indicators in media pool icon view.
  • Split dual pane media pool option on edit page.
  • Shortcut for editing compound or nested timeline source clips into current timeline.
  • Inspector, overlays and metadata view now update based on highest clip under playhead.
  • Dynamic zoom automatically turns on when on screen controls are moved.
  • Temporary snapping toggle while dragging.
  • Maximum number of characters per second setting for subtitles.
  • Subframe audio transition editing.
  • Blanking fill ResolveFX plug-in automatically fills frame for clips with different aspect ratio.
  • Match frame for the selected clip in the timeline (for a stack of two clips that intersect the playhead).
  • Create subclass from media pool markers.
  • Add flags to clips in media pool.
  • Show source timecode overlays for audio and video tracks in the timeline viewer.
  • Keyframing for OpenFX dropdown and checkbox based parameters.
  • Show clip marker annotations on the timeline viewer.
  • Create clip annotations for a selected clip on the timeline from the timeline viewer.
  • Display marker annotations and overlays for the selected clip marker under the playhead.
  • Delete transitions across clips when one of the clips is deleted.
  • Swap clips in the edit timeline using cmd/ctrl+shift and dragging.
  • Perform insert and swap edits by holding cmd/ctrl+shift while dragging clips from the media pool or source viewer.
  • Custom clip colors for subtitle elements.
  • Insert nested and compound clips in decomposed state during edit operations.
  • Keyword support added to clip and timeline markers.
  • Marker keywords column on the edit index.
  • Display multi-cam angle name in the timeline and source viewer.
  • Clip level panning in the edit and Fairlight inspectors.
  • Export subtitles from timeline track context menus.
  • Export the current subtitle track in the timeline from the file menu.
  • Constrain motion with shift key while modifying title, transform and dynamic zoom viewer overlays.

Fusion

  • Create new Fusion compositions independent of the edit timeline.
  • Saver nodes and loader nodes.
  • ResolveFX plugins on the Fusion page.
  • GPU accelerated OpenFX plugin support.
  • Temporal OpenFX plugins.
  • Frame range sliders automatically scale to render range.
  • Console dialog now accessible from all pages.

Color

  • ResolveFX ACES transform plug-in.
  • ResolveFX gamut limiter plug-in.
  • ResolveFX beauty smoothing plug-in.
  • Bypass mixer node input by turning off connected nodes.
  • Support for exporting gallery stills with custom label names.
  • Tool usage badges.
  • LUTs can be applied on compound nodes.
  • Shared nodes can be converted to a corrector node.
  • Change clip color from the thumbnail context menu on the color page.
  • Display multi-cam angle name on color page clip information.
  • Support for ResolveFX and OpenFX static keyframes in the color page.
  • Hard clip option in the tone and gamut mapping sections of color space transform ResolveFX.
  • Access and select between multiple inputs for OpenFX nodes.

Fairlight Audio

  • FairlightFX multi-band compressor.
  • FairlightFX stereo fixer.
  • Support for modifying transitions created on edit page.
  • Navigate timeline by typing timecode.
  • Darker clip colors for modified clips.
  • Support for adding FairlightFX to multiple select clips at the same time.
  • VCA grouping for ganging channel faders together.
  • Audio ducking using side chain compression in track dynamics.
  • Search field in the Fairlight page track and marker index.
  • Default audio crossfades changed to 0dB.
  • Reset command for edited audio samples in a clip.
  • Round trip audio clips to third party audio processing applications.
  • Cache clips with FairlightFX and AudioFX.
  • Bounce clips with FairlightFX and AudioFX to a new layer.
  • Paste attributes for audio tracks.
  • Remove attributes for audio tracks.
  • Solo-safe for audio tracks and buses by cmd/ctrl-alt-clicking solo buttons in the mixer.
  • Fairlight FX soft clipper.
  • Sub-bus and aux-bus routing in nested timelines.
  • Automatically disable source audio clips after bouncing audio effects.
  • Show source timecode overlays for audio and video tracks in the timeline viewer.

Deliver

  • Added support for exporting alpha when rendering TIFF files.
  • Added support for encoding at maximum bit rate for Kakadu JPEG 2000 when rendering DCP and IMF in DaVinci Resolve Studio.
  • Added support for Kakadu based lossless JPEG 2000 encoding in DaVinci Resolve Studio.
  • Improved performance when rendering H.264 clips on Windows.
  • Added support for rendering with Dolby Vision/HDR10+ tone mapping applied.
  • Added support for modifying the filename field in the deliver page.
  • Added support for delivering supplemental IMF packages with versioning metadata for frame replacement and shot replacement workflows.
  • Added support for importing IMF packages and supplemental compositions as timelines.
  • Added support for encoding per frame timecode metadata in Grass Valley HQ and HQX clips.
  • Added support for Photon validation of IMF packages in the media pool and in the render settings in the deliver page.

Collaboration

  • Support for collaboration across different network subnets.
  • Support for Fusion in collaborative projects.
  • Adding or modify markers without locking a bin.
  • Indicator for clips with color grading and Fusion comp updates on edit page.
  • Command to refresh single clip or all clips on edit page.

General

  • Supports hardware accelerated decode of long GOPonic AVC clips on NVIDIA hardware.
  • Supports stereoscopic 3D multi-view EXR files.
  • Improved scripting with ability to add and query markers, flags and clip color metadata.
  • Support for storing alpha channel when caching to uncompressed 16-bit float – HDR.
  • Support for storing alpha channel when caching to uncompressed 10-bit float formats.
  • Support for caching compound clips, Fusion clips and nested timelines.
  • Support for tetrahedral 3D interpolation in DCTLs.
  • Support for ACES 1.1.
  • Processing Fusion compositions in linear gamma in color managed and ACES workflows.
  • Copy and paste actions for Dolby Vision trim data in the application menu.
  • Alt/option + middle click to copy Dolby Vision trim metadata for the current target display.
  • Alt/option + shift + middle click to copy Dolby Vision trim metadata for all target displays.
  • Clip thumbnail indicator can show clips analyzed for Dolby Vision and HDR10+.
  • Support for importing clip markers from a Final Cut Pro 7 XML file.
  • Support for preserving bin hierarchy when importing media and metadata from a Final Cut Pro 7 XML file.
  • Support for importing marker colors and duration markers on clips when importing media using FCP7 XML files.
  • Support for exporting subtitle files in project archives.
  • Support for automatic generation of MD5 media hash lists from clone tool operations.
  • Display audio channel names in clip attributes.
  • Show clip color indicator on media pool thumbnails.
  • Change clip color from the application menu on the media, edit and color pages.
  • See bin name in the title bar of a floating media pool bin.
  • Add information about synced audio name option, audio channel metadata.

Availability and Price

DaVinci Resolve and DaVinci Resolve Studio 15.2 are now available for download from the Blackmagic Design website free of charge for all current DaVinci Resolve customers.

Press Photography

Product photos of DaVinci Resolve 15, as well as all other Blackmagic Design products, are available at www.blackmagicdesign.com/media/images

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com

—

What’s new in Blackmagic Camera Setup 6.0

Improvements for URSA Mini Pro

  • Improved ISO range on URSA Mini Pro.
  • Improved in camera playback.
  • Improved status display info for off-speed.
  • Improved responsiveness of color corrector.
  • Improved timecode support.
  • Improved metadata support.
  • Improved shutter metadata.
  • Add HDR metadata support in SDI stream.
  • Add 2:1 monitoring frame guides.
  • Add ability to lock timecode from SDI Input.
  • Add frame guide options in SDI Camera Control Protocol.
  • Fixed LCD clean feed record indicator bug.
  • Fixed stills bug.
  • Updated URSA Mini and SDK manual.

New features for URSA Viewfinder

  • Add Generation 4 Color Science.
  • Add 4.6K Film to Extended Video LUT.
  • Add support for 2:1 frame guides.
  • Improved anamorphic frame guides.
  • Improved false color.
  • Fixed Extended Video 6.0 Beta LUT bug.
  • General performance improvements.

New features for URSA Studio Viewfinder

  • Add Generation 4 Color Science.
  • Add 4.6K Film to Extended Video LUT.
  • Add support for 2:1 frame guides.
  • Improved anamorphic frame guides.
  • General performance improvements.
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A Couple Dollars A Month Keeps BMPCC4k User Tech Blog Going!

I need your donations to continue writing, filming, and creating content focused on the Blackmagic Pocket Cinema Camera 4k. I am a one man crew that dedicates many hours to create content for users looking for knowledge and information for this innovative camera. Only with your support can I continue to create the tests, reviews and in-depth articles about the BMPCC4k. 

I have owned the BMPCC4k since October 15, 2018 and immediately starting doing in-depth tests to discover the potential and performance of this amazing camera. Hence, the blog was born so I could share my user knowledge of the camera. 

www.BMPCC4k.tech is the first user tech blog dedicated to the Blackmagic Design Pocket Cinema Camera 4k. I publish articles, videos, how-to’s, news and reviews of anything and everything relating to the innovative BMPCC4k. 

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Keep the magic alive, 

MT
editor/founder

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