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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 film restoration software for the feature film, post production and television broadcast industries.

Blackmagic Design’s DaVinci Resolve 10.1

Blackmagic Design has announced the release of DaVinci Resolve 10.1 software
which adds new editing and 3D stereoscopic features as well as support for Final
Cut Pro™ X 10.1.

DaVinci Resolve 10.1 is available now for download free of charge for all existing
DaVinci Resolve customers from the Blackmagic Design website.

• The update adds innovative editing features such as:
• Allowing users to preview and align multiple camera takes while editing, so
they can quickly switch between takes to show their clients shot options live
from the timeline.
• A functionality enabling editors to copy individual clips in the editing timeline
with a simple drag and drop, making it easier to use the same footage in
different parts of the edit.
• Support for trimming frame based clips such as DNG and DPX that reduces time
in transferring clips for even faster workflows.
• Rich Text title support which allows every character’s size, position and colour
to be adjusted individually directly from the edit page.
• XML import enhancements for both FCP X 10.1 and FCP 7 customers.
Compound clips from FCP X 10.1 with separate A/V elements are now split into
individual clips and imported FCP 7 XML’s include font properties and timeline
markers as well as being able to bring across sizing, cropping and composition
parameters.
• Enhanced 3D stereoscopic tools including a full stereoscopic multi track editing
timeline, enhanced convergence adjustments and automatic alignment.

Blackmagic support for new OS X Mavericks

Blackmagic Design has released new software updates that add full support for Apple’s
new OS X Mavericks operating system. The new updates include OS X Mavericks
compatibility and interface enhancements for the new operating system and are
immediately available for DeckLink, UltraStudio and Intensity Desktop Video products.

Customers can now download the Blackmagic Design software updates, free of charge
from the Blackmagic Design website (www.blackmagicdesign.com).

“We are very excited to be releasing software updates for our Desktop Video solutions
on the same day that OS X Mavericks is available” said Grant Petty, CEO, Blackmagic
Design. “Blackmagic Design works hard to make sure our customers can use the latest
features and up to date software in sync with major OS updates. Our customers can be
assured that they will continue to be able to easily download our software and enjoy
performance improvements when they upgrade to OS X Mavericks and Blackmagic
Design products.’

Blackmagic Cinema Camera shoots Placebo

Alternative rock band Placebo has recorded a live studio set of its new album on the Blackmagic Cinema Camera. The hour-long session was filmed at the famous Rak Studios in London and will be featured as bonus material on the band’s soon to be released seventh album, titled Loud Like Love.

Directed by Charlie Target Adams and produced by James Tonkin of Hangman Studios, the multi-camera project incorporated eight fixed camera positions, five of which were Blackmagic Cinema Cameras.

Says Tonkin: “The Blackmagic camera’s wide dynamic range, size and ability to record straight to ProRes, coupled with that beautiful long flat look that you get, make it an ideal choice for live shoots.

“When Charlie and I went through tests from previous shoots he really saw the strength in going down this route. Although he is a young director, Charlie very much prefers the look of film in the same way that I do.

“Knowing that we could shoot and create a look inside the camera meant the Blackmagic camera was the ideal choice. We had to film the whole session uninterrupted and that meant planning as much as we could in advance and then simply going with it on the day.’

With Placebo’s management wanting this to be an honest representation of how the band would play behind closed doors, the aim was to give the film a stripped back look that felt natural on camera. That meant allowing the band to play with as few distractions as was possible.

Tonkin continues: “Although we used a number of sliders and tracks, our camera operators were for all intents and purposes in fixed positions for the whole shoot. And working in a confined space like Rak Studios required careful planning. I had to make certain that we had enough camera angles so that the whole thing would feel coherent, well covered and dynamic. That to some extent dictated my lens selection because as beautiful as primes are, you can’t be stuck on one shot. It just doesn’t give you enough latitude to get what you need when working from fixed position.’

Treating this as a live shoot was perhaps the most challenging aspect of the project for Tonkin.

“You didn’t necessarily know what you’d got until it was all shot,’ he says. “However the simplicity of the settings and menu structure in the Blackmagic camera really worked to our advantage. It allowed me to quickly set up the cameras and ensured everything we shot looked the same. The Blackmagic Cinema Camera for that reason became so much easier to deal with in the grade because you had a neutral starting point on all of the footage.’

Post production involved an edit in Final Cut and then the material was graded on Blackmagic Design’ DaVinci Resolve.

“Being involved in both the filming and grading of the content has a definite advantage,’ said Tonkin. “You have a better understanding of what you can correct in post, or how best to shoot some things and what lighting ratios will allow you to push and pull things in the grade.’

Blackmagic infiltrates African market

Earlier this year, Blackmagic Design, a leading innovator and manufacturer of creative
video technology, announced that South African company Stage Audio Works had been
appointed its official distributor for sub-Saharan Africa.

Tim Siddons, Blackmagic Design channel sales director, was on the Stage Audio Works
stand at Mediatech Africa to demonstrate the latest products.

“The line between broadcasting and live events is blurring,’ said Siddons. “Blackmagic
Design has seen its broadcast market grow significantly over the years and now we’re
making serious in-roads into the live events sector too.

“As a business our particular focus at the moment is growth in Africa and we’re
expecting to see a fast acceleration in the use of our products on the continent. Up until
recently we didn’t have a suitable channel in place to distribute our products into Africa
so this region was left behind in terms of our activities. We have also recognised the
need for local pro-level support for our resellers and customers. This was our reason for
appointing Stage Audio Works as our official distributor – they are absolutely the right
company for the job.’

Blackmagic Design re-sellers in South Africa are Zimele Broadcasting Services, Pro-Sales
and Protea Electronics.

Three of Blackmagic Design’s ATEM live production switchers were on show at the Stage
Audio Works stand at Mediatech Africa, including the Production Studio 4K, which was
launched at NAB this year. This is the world’s first Ultra HD 4K production switcher with
support for Ultra HD live production with 6G-SDI and HDMI 4K technology. It allows
users to connect up to eight SD, HD or Ultra HD 4K video cameras, disk recorders and
computers for live production. The ATEM Production Studio 4K includes all the features
expected from a professional switcher, including chroma key, transitions, media pool,
downstream keyers, audio mixer, multi view and the world’s first 6G-SDI and HDMI 4K
video connections.

Siddons stressed that Blackmagic Design products and systems are built around the
customer’s needs.

“We believe our Teranex advanced standards converter will be an important product for
South Africa. Teranex processors have a heritage in Hollywood but are now available at
affordable prices for everyone. This product is perfect for live production and, with the
built-in Thunderbolt port, can also be used for cleaning and converting content for
authoring, as well as video capture and playback for editing, design and effects.

“At Blackmagic Design we call Teranex “the Swiss Army Knife’ as it fixes anything – it’s
the perfect video converter, standards converter and capture and playback tool all in
one. A Teranex system is currently being tested by the SABC,’ concluded Siddons.

Blackmagic Design

At IBC Blackmagic Design will showcase the latest UltraHD live production solutions.

Blackmagic Design is one of the world’s leading innovators and manufacturers of
creative
technology for the feature film, post-production, television broadcast and live event
industries.

The company’s DeckLink capture cards launched a revolution in quality and affordability,
and are now the world’s most popular video capture and playback solutions.
Blackmagic Design’s DeckLink 4K Extreme features 6G-SDI technology for high
bandwidth
video standards, including UltraHD 4K.

The company’s new range of digital film cameras are defining the future of filmmaking,
combining the benefits of wide dynamic range image capture with the Emmy Award-
winning DaVinci colour correction tools.

Blackmagic Design’s ATEM production switchers have radically changed live production,
with a range of switchers offering hardware and software control for live production up
to
UltraHD 4K resolution.

With converters, routers, monitors, disk recorders and more, Blackmagic Design
provides
end-to-end solutions that meet the demands for the highest technical quality.

Weaving that “Blackmagic’ across Africa

Products from Blackmagic Design are making in-roads into Ghana and Namibia.
When international footballer Michael Essien wanted to broadcast his charity football
match from his home country Ghana earlier this year, the natural choice was In5
Broadcast, a UK-based company known for cost effective outside broadcasts.

However, with no high definition (HD) broadcast equipment hire in Accra, it was
necessary for the In5 Broadcast crew to take a complete fly-away studio on the plane. It
made an interesting sight at London’s Gatwick Airport seeing the six-man crew arrive
with 17 flight cases, including a particularly heavy EVS.

The original plan was a day trip to Ghana, but fortunately the crew was permitted to fly
with the footballers one day early, giving them an evening to pre-rig the studio before
the game.

As the stadium is very large, the only option was to use fibre to the cameras, not just in
terms of the cable lengths, but also to keep the shipping weight down.

Says In5 Broadcast owner Carl Owen: “The Blackmagic ATEM Camera Converter was the
obvious choice due to its size, weight and having tally and intercom built in. It is also
ideal for real time scores, leader boards and on-screen graphics. I was also very pleased
with the ATEM 1/ME Production Switcher as a compact and lightweight character
generator.

“Not everything goes well on live broadcasts, and one locally sourced camera needed
urgent attention just five minutes before kick-off so we dispatched someone to run
around the pitch perimeter to adjust the camera. That seemed to amuse the locals who
cheered his valiant effort and giggled rather a lot.’

Ninety seconds before the OB crew went live on the satellite feed to London a young
local boy from the satellite truck entered the control room and said: ‘Everybody looks
very tall and very thin’.

Owen continues: “The boy was describing Anamorphic 16:9 stretch. It was clear we
needed to send 4:3 images, not 16:9 widescreen. The standard conversion from HD to
SD was handled by Blackmagic Design’s Teranex 2D, so with literally just seconds to go,
we pressed the aspect ratio button and the picture was re-scaled. The local lad had
clearly never seen a Teranex, and could not believe that one touch of the button could
instantly fix what he imagined was an insurmountable problem.

“For the next 75 minutes all went as planned, until suddenly one camera went to black
without warning. We dispatched one team member to investigate. A few minutes later
the camera came back on line. The problem? Unbelievably, a security guard saw a mains
socket under the camera and, realising his mobile phone battery was flat, unplugged the
camera and plugged in his phone charger. The joys of the outside broadcast!’

House of worship

Production values on television are higher than ever and in order to remain relevant
houses of worship (HoW) have to adapt.

Based in the Namibian capital Windhoek, the Emmanuel Pentecostal church is a single
campus ministry affiliated with the Apostolic Faith Mission (AFM). The sermons are offered in English and Afrikaans.

Wanting to create a more engaging experience for parishioners the in-house AV team
approached Event Technology to help build a multi-display, multi-camera and multi-video
source system that could stream content live online. Being a volunteer-run organisation,
simplicity and functionality were two major considerations. The church specified a full
HD system.

Emmanuel’s AV team chose a Blackmagic Design ATEM 1 M/E Production Switcher to
handle mixing of all of the video sources.

“With its array of digital inputs, multiple SDI outputs, powerful video processing and a
software control panel, while providing professional broadcast switching at a fraction of
the price of full hardware units, the 1 M/E was the ideal solution for our client,’ said
Joppie Maritz of Event Technology.

Multiple Blackmagic Design SDI to HDMI Mini Converters take care of delivering an SDI
signal to three Christie Projectors, while two Audio to SDI Mini Converters take care of
embedding eight channels of analogue audio to SDI for multi-track capability. The
output is shown on three Da-Lite screens and two 46-inch Samsung LED television
screens.

Multi screen media is delivered every to the congregation every Wednesday and Sunday,
while recording services and streaming live video over the internet.

“Three HD-SDI cameras are connected to the ATEM 1 M/E, whose multiview output
makes mixing the footage much simpler,’ reveals Maritz. “The ATEM’s downstream keyer
is then used to overlay lyrics and messages while various picture in picture (PIP) and
transitions are used to keep the on screen content dynamic and exciting.’

A HyperDeck Studio broadcast deck records a master mix from the ATEM along with
embedded audio onto solid state drivers (SSD), after which material from those drives is
transferred to an archiving system for offline editing.

To stream sermons the AV team uses an UltraStudio Express and third party streaming
software. A live video output from the ATEM with embedded audio is captured via the
UltraStudio and volunteers upload the content to Ustream, a video-on-demand
platform, for storage and streaming.

The latest news is that Blackmagic Design has appointed Stage Audio Works as its
distributor for sub-Saharan Africa.

Blackmagic Design supports Media Composer 7

Blackmagic Design has announced that DeckLink, UltraStudio and Intensity desktop video products will support the release of Avid Media Composer 7.

Among the features of Avid Media Composer 7 are accelerated and simplified file based workflows, including new background processing and automation tools which enable editors to ingest 2K and 4K media and deliver content directly to HD without needing to transcode and resize.

With the enhanced high resolution workflows, Media Composer 7 will work seamlessly with a range of Blackmagic Design products, including DeckLink, UltraStudio and Intensity for capture and playback in the highest quality compressed and uncompressed formats. The rack mount UltraStudio 4K and the DeckLink 4K Extreme PCIe card will provide customers the flexibility to work with virtually any media format in Media Composer 7 depending on their workflow needs.

DeckLink, UltraStudio and Intensity include the world’s highest performance capture and playback cards for Mac, Windows and Linux. Including both PCIe and Thunderbolt based technology, these products come in both internal and external models and are used by professionals globally in every aspect of film and video production.

“It’s exciting to see how quickly Ultra HD and 4K content is growing, and with the integration of Blackmagic Design desktop video products with Media Composer 7, it will open up opportunities for our customers to work with the highest quality compressed and uncompressed formats, and speed up these high resolution workflows to deliver even more amazing quality content,’ said Grant Petty, CEO, Blackmagic Design.

F1 Grand Prix live with Blackmagic products

Blackmagic Design today announced that BP Satellite Solutions is providing RF camera services to broadcasters televising the FIA Formula One World Championship using Blackmagic broadcast infrastructure products, including the Compact Videohub and Videohub Smart Control.

Commentary teams from TV Globo, RTL Germany, ZDF Sport, VIASAT (Sweden, Denmark and Norway) and MTV3 Finland are using the solution to present wirelessly from the F1 paddock, pitlane and starting grid.

The Netherlands based company has built its RF camera solution around the Blackmagic Design Compact Videohub router and Videohub Smart Control router control panel. Five wireless camera feeds from the F1 Indian Grand Prix were delivered via the Riedel Fibre Network and recorded on several HyperDeck Studio SSD recorders. Capturing in ProRes, the HyperDeck Studios are then used for playback, and subsequent quality control after production.

During the race BP Satellite Solutions provide broadcasters with camera transmitters, receivers and intercoms. They also supply IP based audio equipment and Blackmagic Design SmartView Duo monitors for the broadcasters’ commentary positions and engineering galleries.

For televising the Grand Prix, broadcasters such as TV Globo or RTL acquire the television feeds from rights holder Formula One Management (FOM) and subsequently package it up for transmission with the addition of race build up and commentary. The most basic output is a Mixed Master that includes footage from trackside, pitlane and helicopter cameras. That can be enhanced with the addition of further feeds including in car telemetry and extra on board cameras from FOM as well as race build up filmed by the broadcaster themselves.

Brazilian broadcaster TV Globo acquired the Indian F1 Grand Prix camera signals via eight ATEM Camera Converters from FOM and connected to two ATEM Studio Converters.The signals were then fed into a Blackmagic Design Compact VideoHub via four Blackmagic Design Mini Converters Fibre to SDI. An ATEM 2M/E Production Switcher with ATEM 1M/E Broadcast Panel was then used to mix the viewing package and add race commentary while audio was embedded and de embedded using Blackmagic Design Mini Converter SDI to Audio and Audio to SDI.

The final output from TV Globo was then sent via satellite, which is handled by Multilink Holland, the technical supplier for FOM and EBU for world wide video distribution, for transmission in Brazil.

Says Patrick Hendrik of BP Satellite Solutions: “Multilink Netherlands approached us earlier this year and asked us to recommend a solution for TV Globo. The brief was simple enough, it had to be compact and reliable. Our work on the Dakar Rally last year had shown just how reliable Blackmagic could be, even in the most extreme of environments. And so we had no hesitation in recommending Blackmagic for use by TV Globo.’

Blackmagic Design acquires Cintel

IBC2012, the premier annual exhibition for professionals engaged in the creation, management and delivery of electronic media and entertainment content worldwide, runs from 7 to 11 September at Amsterdam RAI. Here is a taste of some of the technology that will be on show.

On 24 July 2012 Blackmagic Design announced its acquisition of the assets of Cintel International, one of the world’s leading researchers, designers and manufacturers of motion picture film scanners.

According to Stuart Ashton, director of Blackmagic Design, EMEA, this acquisition gives Blackmagic Design the ability to combine its vision and expertise with Cintel technology to provide the best technology for artists using film, create more efficient and affordable ways to bring film into a digital workflow, and offer better ways to archive and restore existing archive film worldwide.

“Cintel products are among the most trusted names in the film scanning business, and the incredible design expertise that has been built into every one of the Cintel products is amazing. Their film scanner and telecine technology is used worldwide and there is more than 80 years of design experience built into the current generation of products,’ comments Ashton.

As per the deal Blackmagic Design owns the intellectual property (IP) and all aspects of Cintel’s entire portfolio of film scanning products. This includes all of the IP, name and brand ownership and product development rights for the Cintel diTTo and dataMill digital scanner lines, URSA, C-Reality, DSX, and Millennium telecine lines, as well as imageMill data management products.

Ashton stresses that Blackmagic Design will not be selling past models of Cintel products.

“We will research the Cintel product lines to establish which ones we want to continue with. Customers who would like to purchase an existing Cintel product, or spare parts for older Cintel products, are asked to contact Cine Solutions Inc or Cine Solutions UK, which currently have an inventory of older products.

“As part of the acquisition agreement, Blackmagic owns the IP for all Cintel products, and Cine Solutions was able to purchase the remaining inventory of spare parts for old Cintel products. Cine Solutions will not be manufacturing any new Cintel products, and will only be able to sell inventory of existing Cintel products and spare parts,’ explains Ashton.

In addition Cine Solutions will also provide service and support for existing Cintel customers which will be handled by UK based Cine Solutions Ltd. and US based Cine Solutions Inc. Both are independent of Blackmagic Design and will supply replacement parts and repairs, provide expert engineering services as well as a 24/7 maintenance help line to all users of equipment previously manufactured and supplied by Cintel International.

Ashton notes that the Blackmagic Design team has always loved film. “We feel that the industry is still very much alive and thriving. Blockbusters including Black Swan, Wrath of the Titans and The Hangover Part II are all recent examples of movies shot on film.

“Although it is currently in the middle of some big changes, the film market continues to evolve and the way in which film is used on a daily basis changes all the time. What hasn’t changed is the acknowledgement that film is an extremely creative way to capture images.’

Screen Africa magazine – August 2012

Blackmagic Design acquires Cintel

Video technology manufacturer Blackmagic Design has acquired the assets of Cintel International, one of the world’s leading researchers, designers and manufacturers of motion picture film scanners. Through this acquisition, following the liquidation of Cintel International earlier in 2012, Blackmagic Design has acquired the intellectual property (IP) and all aspects of Cintel’s entire portfolio of film scanning products.

This includes all of the IP, name and brand ownership and product development rights for the Cintel diTTo and dataMill digital scanners lines, URSA, C-Reality, DSX, and Millennium telecine lines as well as imageMill data management products.

“This is a very exciting acquisition for Blackmagic Design. Cintel products are the most trusted names in the film scanning business, and the incredible design expertise that has been built into every one of the Cintel products is amazing,’ said Grant Petty, CEO, Blackmagic Design.

“The film market is in the middle of massive changes and how film is used is changing every day. What hasn’t changed is the acknowledgement that film is an extremely creative way to capture images. This acquisition gives Blackmagic Design the ability to combine our vision and expertise with Cintel technology to provide the best technology for artists using film, more efficient and affordable ways to bring film into a digital workflow and better ways to archive and restore existing archive film worldwide,’ continued Petty.

Service and support for existing Cintel customers will be handled by UK based Cine Solutions Ltd. and US based Cine Solutions Inc. Both are independent of Blackmagic Design and will supply replacement parts and repairs, provide expert engineering services as well as 24/7 maintenance help line to all users of equipment previously manufactured and supplied by Cintel International.

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