FREMONT, Calif.—Blackmagic Design has implemented webcam support to its Video Assist system via a new update. Now, Video Assist—a portable monitor, a recorder, a portable scope and camera viewfinder system—can support webcams from the USB-C connection for Blackmagic Video Assist 3G and Blackmagic Video Assist 12G HDR models.

With the Video Assist Webcam Update, users can now connect to computers and stream live video using any major streaming software or platform in full HD resolution 1080p quality, according to Blackmagic. It does so by having the software tricked into thinking video assist is a common webcam that works with Open Broadcaster, YouTube Live, Facebook Live, Skype, Zoom, Twitch and more.

The new update adds additional features beyond supporting webcams. Among them are touchscreen controls; customizable LCD features; SD/USH-II card support for commonly available media; has standard open file formats that are compatible with popular software; can record direct to external USB-C media disks; has built-in scopes that include waveform, vector, parade and histogram; 3D LUTs can be applied for both monitoring and recording; upgrades cameras to better monitoring and better recording codecs; and offers professional multichannel digital and analog audio.

The Blackmagic Video Assist Webcam is now available for free download from the Blackmagic website. 

ORANGE COUNTY, Calif.—As a full service audio, video, lighting and staging company, MixOne Sound specializes in high-profile entertainment events. When the COVID-19 pandemic hit and restrictions were placed on live events, I discussed with my team ways we could continue live performances while adhering to social distancing guidelines. We came up with an idea to build a new sound stage that allows bands and artists to safely perform on site, while live streaming those performances to remote audiences. We built the stage in three days, made a few tweaks over the next couple days, and within two weeks, we were up and running.

The new setup includes a broadcast control room, as well as a main sound stage featuring a 40x40-foot production area, a 48-foot LED wall, full lighting, 21-foot jib, full streaming and/or recording setup and a total of five Blackmagic URSA Broadcast and URSA Mini Pro G2 cameras.

Being able to enforce strict social distancing guidelines was crucial to the design of the space, which is why we created a separate control room. The control room features many Blackmagic Design products, and one of my favorite pieces of gear that I’ve come to rely on the most is the Blackmagic Video Assist 12G HDR monitor.

RELIABLE AND REASSURING

With four built-in scopes and built-in 3D LUTs, the Blackmagic Video Assist 12G HDR supports formats up to 2160p60. It has a bright touchscreen and supports Blackmagic RAW recording. We use the Video Assist 7-inch 12G HDR monitor to record all of the program out feeds as a backup, but it really is multiple products in one. It has two SD card recorders and allows recording to external USB-C flash disks, but I actually use the USB-C connection to plug in an SSD, since I prefer SSD cards over SD cards for editing and pulling clips.

I rely on the Blackmagic Video Assist 12G HDR’s scopes for waveform monitoring, vectorscope and histogram, and overall, having the monitor as my last piece for a final look is very reassuring; I know that what we’re sending out looks exactly the way I want it to. We use it to record every show, and as soon as the stream ends, the artist can immediately see their full result in its highest quality without waiting for a render. This has blown away many artists.

In the first three months after the sound stage opened its doors, we had more than 40 artists come through to perform, including Fever 333, Animals As Leaders, Tinashe, Dreamers, Dave Koz, Swae Lee, Scary Pool Party, Crown the Empire, Volumes and Bad Omens.

With our new setup, we are set to stream or pre-tape for any project anyone could need that will fit within the space, and we also offer our services for remote or off-site performances, which we’ve used for Corey Taylor, Dance Gavin Dance and CHON. The Blackmagic Video Assist 7-inch 12G HDR monitor is easily packed up and taken off-site along with our cameras, and with a few more key pieces that we keep in a fl ypack ready to go, we are set for any type of performance necessary.

MixOne Sound’s Kevin Garcia has been heavily involved in filming and shooting video for various bands and musical artists over the past decade. He has filmed some of the world’s biggest festivals throughout North America, Asia and Europe. He can be contacted at kevin@mixonesound.com.

For additional information, visit www.blackmagicdesign.com.

Fremont, CA - February 25, 2019 - Blackmagic Design would like to congratulate the 2019 Oscar nominated films and the production professionals whose hard work and creativity helped bring them to life. Blackmagic Design is honored that its products, such as URSA Mini Pro, DaVinci Resolve Studio and Fusion Studio, were used on groundbreaking films including“A Star is Born,” “Bohemian Rhapsody,” and Marvel Studios “Avengers: Infinity War.”

Oscar nominated films that used Blackmagic Design products include:

• Marvel Studios’ “Avengers: Infinity War” used DaVinci Resolve, UltraStudio, Smart Videohub 40x40, DeckLink Quad 2, DeckLink Mini Monitor and a variety of converters for on set work by DIT Kyle Spicer;
• “BlacKkKlansman” graded with DaVinci Resolve Studio by Tom Poole at Company 3;
• “Bohemian Rhapsody” graded with DaVinci Resolve Studio by Greg Fisher at Company 3;
• “The Favourite” graded with DaVinci Resolve Studio by Rob Pizzey at Goldcrest Post;
• “Green Book” graded with DaVinci Resolve Studio at FotoKem;
• “Hale County This Morning, This Evening” graded with DaVinci Resolve Studio by Dave Francis of Technicolor PostWorks;
• “Minding the Gap” graded with DaVinci Resolve Studio by Tyler Roth of Company 3;
• “A Quiet Place” graded with DaVinci Resolve Studio by Stefan Sonnenfeld at Company 3;
• “RBG” graded with DaVinci Resolve Studio by Ken Sirulnick of Glue Editing & Design, along with using Fusion Studio for stabilizing work;
• “Spider-Man: Into the Spider-Verse” graded with DaVinci Resolve Studio by Natasha Leonnet at EFILM;
• "Solo: A Star Wars Story” graded with DaVinci Resolve Studio by Joe Gawler of Harbor Picture Company;
• “A Star is Born” graded with DaVinci Resolve Studio by Stefan Sonnenfeld at Company 3; and
• “Vice” graded with DaVinci Resolve Studio at FotoKem.

Press Photography

Product photos of DaVinci Resolve Studio, Fusion Studio, URSA Mini Pro, UltraStudio, Smart Videohub 40x40, DeckLink Quad 2, DeckLink Mini Monitor 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.

Fremont, CA - December 11, 2018 - Blackmagic Design today announced that DP Eric Koretz used a Micro Studio Camera 4K and Video Assist 4Kmonitor/recorder while shooting the new film “Siberia.” Koretz also used DaVinci Resolve Studio and a DaVinci Resolve Micro Panel on set to develop various looks while shooting.

“Siberia” stars Keanu Reeves as Lucas Hill, an American diamond trader who travels to Siberia after his partner goes missing in the midst of a big deal. While dealing with an impatient buyer (Pasha D. Lychnikoff), Lucas searches for the missing diamonds and finds an unexpected love affair with a local cafe owner (Ana Ularu) even though his wife (Molly Ringwald) is at home.

For the film, Koretz used a Micro Studio Camera 4K and Video Assist 4K to shoot scenes where Reeves’ and Ringwald’s characters are talking to each other through video chat, as well as to capture Reeves watching a video of his missing partner on his laptop.

Koretz explained, “We needed a small camera that could record in 4K and mimic the angle of a video chat. It had to have a small design so the actors could move it around as if they were holding an iPhone or laptop.”

“We shot the footage with the Micro Studio Camera 4K and recorded it with the Video Assist 4K, which was facing the actors so they could frame themselves,” Koretz continued. “The camera and Video Assist 4K worked very well together and it was an easy workflow. We shot in Pro Res 422 HQ which gave us high quality 10‑bit recorded editable files. The footage was then superimposed onto laptop computers and a phone.”

Koretz also used DaVinci Resolve Studio and a DaVinci Resolve Micro Panel to test and develop different looks for the film.

“As a DP, I like having control over the look of my images and exploring what I can do with them,” said Koretz. “For ‘Siberia,’ I liked using DaVinci Resolve Studio to develop LUTs along with my DIT, but also just to explore and test color possibilities on my own. DaVinci Resolve Studio has the simplicity I need as a DP, while also having powerful features.”

“Moreover, the DaVinci Resolve Micro Panel is great because you can take it anywhere. It’s amazing to be able to have that much control in a package that I can essentially take with me wherever I’m filming. Whether I was on set or using the control panel back at the hotel to further test looks for ‘Siberia,’ I was able to have the features I needed right at my fingertips,” Koretz concluded.

Press Photography

Product photos of Micro Studio Camera 4K, Video Assist 4K, DaVinci Resolve Studio, DaVinci Resolve Micro Panel and 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

Fremont, CA - November 19, 2018 - Blackmagic Design today announced that Austin, Texas based full service production studio Zodiac Studios is using an ATEM Television Studio Pro 4K live production switcher and Video Assist 4K monitor/recorders for its ongoing Austin Music Live series. Cofounded by Robert Calder, owner and executive producer at Zodiac Studios, along with Producer and Creator David Christopher, the live streamed series celebrates the rich and diverse local talent that makes Austin the live music capital of the world. Austin Music Live supports and fosters the city’s $2 billion music tourism industry.

Now in its third season, Austin Music Live features a different local music act, including the likes of Texas legend Carolyn Wonderland, and a different venue in each episode. Each performance is captured live and broadcasted via digital platforms such as XUMO, an OTT VOD provider that reaches consumers directly through smart TVs, in addition to YouTube, Facebook Live, Twitter and the Austin Music Live official website. Each live broadcast receives 1,500 to 3,000 views, while VOD content for the series receives 1.5 million views annually on XUMO.

To capture each show, the team brings a mobile production trailer to the selected venue and runs cables to all camera positions within. Each of the five cameras is equipped with a Video Assist 4K, affording camera operators a clear view of what they are shooting while also allowing them to ISO record on each camera. Everything captured by the cameras is relayed back to the production trailer where the ATEM Television Studio Pro 4K is stationed. From the production trailer, Calder creates a compelling viewing experience using the ATEM Television Studio Pro 4K.

“With the ATEM Television Studio Pro 4K, there’s no delay in the stream when switching cameras, which is really critical for pulling off a polished live streaming event. In addition, its multi format input, with re sync and low latency conversion on each input, is incredibly convenient because it allows me to integrate any type of camera in the production with ease. Its media pool can also hold up to 20 small videos for mixed effects and overlays. You used to need a separate computer for that, so it’s a huge plus that cuts down on the amount of equipment we need to bring out with us,” said Calder.

Since Austin Music Live is a mobile production, the team needs a solution that’s both cost effective and portable. “We’re working with limited staff and limited budget, so I’m juggling five different jobs that we’d ordinarily have five different people for,” Calder added. “We need a switcher that has enough fire power to control all our cameras while still being small enough to fit into our mobile production trailer. The ATEM Television Studio Pro 4K lets me communicate with our camera operators via built in talkback and quickly switch from the five different cameras to get the angles we want. This lets us control how we want remote viewers to experience the performances; we want them to feel like they’re right there alongside the live audience.”

“Due to latency requirements, we currently broadcast live and record in 720/1080p, but the ATEM Television Studio Pro 4K’s 12G-SDI and 4K capabilities give us the option to make the switch when it makes sense for us in the future. Knowing that we won’t have to invest in additional equipment brings us peace of mind from a budget standpoint,” Calder said.

“Austin Music Live is our way of helping preserve the local music scene here in Austin. We want everyone, regardless of geographic location, to be able to experience its thriving and robust music scene. With the implementation of the ATEM Television Studio Pro 4K, we’ve achieved a world class, yet intuitive production workflow at a price point that works for us. For me, it’s just a very user friendly, easy to use product; we plan to purchase another unit in the near future,” Calder concluded.

Zodiac Studios plans on using the ATEM Television Studio Pro 4K along with two of Blackmagic Design’s URSA Broadcast cameras on live productions for the Austin Spurs’ 2018/2019 season as their official broadcast partner. The URSA Broadcast was selected for its superior image quality, B4 broadcast mount and small physical footprint.

Press Photography

Product photos of the ATEM Television Studio Pro 4K, Video Assist 4K, URSA Broadcast and 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.

Fremont, CA – November 12, 2018 - Blackmagic Design today announced that the new film “The Oath” was shot with several URSA Mini Pro digital film cameras and edited and graded with DaVinci Resolve Studio, its professional editing, grading, audio post and visual effects software.

Written, directed by and starring Ike Barinholtz, “The Oath” also stars Tiffany Haddish, Billy Magnussen, John Cho, Carrie Brownstein and more. Recently premiered at the LA Film Festival and currently in theaters, the independent film explores how in a politically divided America, a man struggles to survive Thanksgiving without destroying his family. After the government mandates that all American citizens sign “The Patriot’s Oath,” tensions mount as everyone gets together under one roof for the holiday.

DP Cary Lalonde used an URSA Mini Pro PL and two URSA Mini Pro EFs while shooting the film, along with a Video Assist 4K monitor and recorder, and then Colorist Mark Sachen and Editor Jack Price used DaVinci Resolve Studio during the film’s post production. The post production work was done at Los Angeles based post facility Sugar Studios LA, which was equipped with a DaVinci Resolve Advanced Panel for the grading work.

“The URSA Mini Pro’s design and interface are very intuitive. During the shoot, all three cameras were equipped with URSA Viewfinders, and everything from their placement to the cameras’ dials and buttons felt very natural,” said Lalonde. “Having ND filters available at our fingertips helped save time while shooting, since we were able to easily dial ND in and out as lighting conditions changed during exterior shoots.”

According to Lalonde, the URSA Mini Pro footage easily matched the other cameras in the shooting package, so they didn’t need to worry about consistency issues. “For example, in one setup we used the URSA Mini Pro PL alongside two other cameras to capture a six person group scene. We used three cameras to shoot in three different directions at the same time, which was the most efficient way to shoot a four page scene in one setup. Each camera was set to a flat two shot, which worked well for the improvisational nature of the scene.”

Lalonde and the crew also used the two URSA Mini Pro EFs to capture establishing shots. Lalonde explained, “This was especially helpful during the ‘magic hour’ as the sun was setting. To help show the progression of the film, we wanted to establish the house in daytime and nighttime, with traditional and nontraditional camera angels, so we could match the style of the house to the mood of the film. The film starts very traditionally but there’s a sense of derailment as the story progresses.”

Sachen then used DaVinci Resolve Studio on set to grade dailies, as well as for the final grade. While working on set, Sachen also helped with assistant editing work by inputting metadata, synching the dailies, creating string outs and more with DaVinci Resolve Studio. Price was then able to stay in DaVinci Resolve Studio to complete the film’s edit.

“While editing, I’m a big proponent of using split screens for different takes to ensure that we’re using an actor’s best performance, even if it’s a nonverbal reaction. This came into play a lot in ‘The Oath,’ especially since the characters are being inundated with news broadcasts throughout the film,” explained Price. “Picture in picture comps and image stabilization were a piece of cake in DaVinci Resolve Studio.”

“Overall, DaVinci Resolve Studio’s layout and keyboard shortcuts are very intuitive. With editing, ultimately the less time spent trying to leap over technical hurdles and the more time spent on storytelling and emotion, the better,” continued Price. “There’s an astronomical number of bells and whistles within DaVinci Resolve Studio. If you’re looking for a certain feature, chances are it’s there. Its video playback is also extremely sophisticated, to the extent where I was able to edit native 2K ProRes 4444 files on a MacBook Pro with ease.”

Press Photography

Product photos of URSA Mini Pro, DaVinci Resolve Studio, Video Assist 4K, DaVinci Resolve Advanced Panel, URSA Viewfinder and 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.

NEW YORK—Here at Live X, we’re passionate about production and broadcasting, as well as the technologies and techniques that help us and our clients achieve captivating live events and video. We’re so passionate that we create and produce a weekly show to celebrate our favorites in broadcast technology called “Ready Take Live.”

From our 4K broadcast and streaming studio in Manhattan, each episode of “Ready Take Live” features commentary between our host in the studio and our cohosts in the control room. We offer information on different topics ranging from the history of hardware and software switchers, to producing high-quality social live streaming content, to last-minute problem solving on-set. We also share our hands-on experiences with the latest gear that our team uses in the studio and in the field. It truly is a live show about live shows.

THE SETUP

Critical to our workflow on “Ready Take Live” are Blackmagic Design’s SmartView 4K, Video Assist, Video Assist 4K, and Smartscope Duo 4K monitors, which we use in combination with three URSA Mini Pros and five Micro Studio Camera 4Ks.

As cohost and technical director of the show, I offer commentary while live switching in real time. In the control room with me are the audio engineer and the graphics operator. We each have a Micro Studio Camera 4K on us and three Blackmagic monitors in front of us, including a Video Assist and a Smart-Scope Duo 4K.

The Video Assists are great because we can use them to view the return send of program and to white balance the Micro Studio Camera 4Ks before each show. I’ve got my SmartScope Duo 4K running the M/E 2 program feed and the teleprompter so I can keep up with where talent is. Our audio engineer has the program and teleprompter feed on his SmartScope Duo 4K, while our graphics operator has a return of their camera only, as well as a program feed, on theirs. In our main rack in master control, we have two other SmartScope Duo 4Ks that are used for waveform monitoring.

In the studio, we have a SmartView 4K with program running to it, as well as two more Video Assist 4Ks on our two wide URSA Mini Pros. This way, talent always has a confidence monitor wherever they’re looking, so they can always check to make sure they’re framed correctly. We have also used the Video Assist 4Ks for teleprompter on the wide cameras in a pinch.

We love the simplicity and ruggedness of the monitors, and that we are able to rely on them for many different uses. For example, we use the Video Assists to control the cameras, record feeds, as quick access monitors, and more. We think of them as little “video Swiss Army knives.” The SmartView 4K is also great because it has a lot of professional features like multiple SDI inputs, but it’s so affordable.

Additionally, the SmartScope Duo 4K is versatile and gives us multiple options for monitoring. These products are able to be whatever we need them to be in the moment, which, in a nutshell, is what “Ready Take Live” is all about.

“Ready Take Live” can be viewed on YouTube in 4K and on Facebook Live in 1080p30 and has garnered more than 50,000 views in total.

Aubrey Russell is head of production at Live X, a premier live production company in Manhattan. Aubrey has been the technical and supervising producer for the Times Square New Year’s Eve Webcast since 2016. She can be reached ataubrey@livex.tv.

For more information on Live X, please visithttps://livex.tv/.

For more information, visitwww.blackmagicdesign.comor call 408-954-0500.