FREMONT, Calif.—Blackmagic Design has a new 8K DisplayPort monitoring system that it will officially roll out later this year with the Teranex Mini SDI to DisplayPort 8K HDR. This new platform will feature dual on-screen scope overlays, HDR, 33 point 3D LUTs and monitor calibration and is designed to work with new monitors like Apple’s Pro Display XDR.

The Teranex system front panel includes control and a color display for input video, audio meters and the video standard indicator. The rear panel has Quad Link 12G-SDI for HD, UHD and 8K formats. There are also two DisplayPort connections for regular computer monitors or USB-C style DisplayPort monitors and a built-in scaler to scale the video input standard to the native resolution of the connected DisplayPort monitor.

The unit is also HDR capable, needing only to connect a HDR compatible DisplayPort monitor to allow HDR SDI monitoring. Static metadata PQ and Hybrid Log Gamma formats in VPID are handled according to the ST2108-1, ST2084 and ST425 standards.

Additional features will include two on-screen scopes that can be selected between WFM, Parade, Vector and Histogram; the ability to use third-party calibration probes to align connected displays for precise color; LCD for monitoring and menu settings; and utility software for Mac and Windows.

Blackmagic Design will release the Teranex Mini SDI to DisplayPort 8K HDR system in October at a price of $1,295.

Fremont, CA – November 6, 2018 - Blackmagic Design today announced that the live production workflow for Grammy nominated American rock band Fall Out Boy’s worldwide MANIA tour was upgraded to include its Pocket Cinema Camera 4K, URSA Broadcast and ATEM Camera Control Panel. The tour also used a full AV workflow of additional Blackmagic Design products.

Since bursting onto the scene in 2005 with the hit single, “Sugar, We’re Goin Down,” Fall Out Boy has been topping the charts with hit songs like “Dance, Dance,” “Centuries,” and “Uma Thurman.” The band released its latest album MANIA earlier this year, and just this month wrapped the sixth and final leg of the MANIA tour featuring openers Machine Gun Kelly and other supporting acts.

Production Designer Robb Jibson of Chicago production design firm So Midwest, Inc., and Touring Video Director Patrick Eaton of production and engineering solution provider VER, implemented a full Blackmagic Design setup when the MANIA tour began in 2017 and continued to upgrade the setup throughout 2018 to include a Pocket Cinema Camera 4K, five URSA Broadcast cameras, an ATEM Camera Control Panel, five Blackmagic Camera Fiber Converters and five Blackmagic Studio Fiber Converters.

The Pocket Cinema Camera 4K was used at the front of the house to capture a wide angle shot of the stage, along with a Blackmagic Video Assist 4K monitor/recorder, which Robb used to record each show in its entirety so he and the band members could review each show afterward. The URSA Broadcasts were set up throughout the upper sections of each venue to capture various views of the stage, and the team used URSA Studio Viewfinders and URSA Viewfinders in conjunction with the cameras. Blackmagic Camera Fiber Converters and Blackmagic Studio Fiber Converters allowed the team to run all necessary connections from the URSA Broadcasts to the engineering racks backstage.

“Blackmagic Design has been able to do amazing things with cameras and image sensors,” said Jibson. “The Pocket Cinema Camera 4K works incredibly well in the ever changing lighting in a concert setting. The URSA Broadcast cameras allow touring productions to utilize familiar controls while adapting the brilliance of the Blackmagic Design family of image sensors into a convenient package that reduces the footprint of traditional ENG cameras by 75 percent. This is important for venue sightlines and ticket sales, which ultimately affect the bottom line.”

In addition to the URSA Broadcasts, the workflow also featured several more Blackmagic Design components, including 10 Micro Studio Camera 4Ks positioned on the stage and center walkway for POV shots. All of the cameras were fed into the ATEM switching system and ultimately into two Mac Pros on the engineering racks for content and live generative effects, which were then fed into a Teranex AV to convert the 2160p feeds to 1080p HD-SDI signals destined for the LED screen processors. The ATEM Camera Control Panel allowed the team to control all five URSA Broadcast cameras and all ten Micro Studio Camera 4Ks from backstage. Blackmagic Design’s ATEM 2 M/E Broadcast Studio 4K, MultiView 16, and Smart Videohub 40x40 and Smart Videohub CleanSwitch 12x12 routers were also used on the tour for live switching, monitoring, and routing.

“The ATEM Camera Control Panel brings engineering familiar controls to the URSA family of cameras to give our touring video engineer Nick West control over the iris and black point while allowing our camera operators to focus on the appropriate framing and composition of the shot,” said Jibson. “The unit ties in seamlessly with the ATEM family and allows for all the control in just a quarter of the space.”

“The combination of the URSA Broadcast, ATEM Camera Control Panel and fiber converters worked so well for our touring needs, as everything helped to streamline our setup. The URSA Broadcasts provide a lot of dynamic range and the ATEM Camera Control Panel is portable, easy to use, and powerful. Plus the Pocket Cinema Camera 4K and Micro Studio Camera 4Ks are inconspicuous yet still produce amazing images. This was our best, most dynamic, and most cinematic tour yet, and we owe it to the Blackmagic Design products!” concluded Jibson.

Press Photography

Product photos of Pocket Cinema Camera 4K, URSA Broadcast, ATEM Camera Control Panel, Blackmagic URSA Viewfinder, Blackmagic URSA Studio Viewfinder, Blackmagic Camera Fiber Converter, Blackmagic Studio Fiber Converter, Video Assist 4K, Micro Studio Camera 4K, Teranex AV, ATEM 2 M/E Broadcast Studio 4K, MultiView 16, Smart Videohub 40x40, Smart Videohub CleanSwitch 12x12 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 – October 29, 2018 - Blackmagic Design today announced that New York City based production company Live X used a full Blackmagic Design workflow, including URSA Broadcast, ATEM 4 M/E Broadcast Studio 4K and Micro Studio Camera 4K, to create and live stream this summer’s “Live on the Lanes” game show series for the world’s largest ten pin bowling center operator, Bowlero Corporation.

As a full service design, production and broadcast company, Live X worked with its client So They Went Productions to create the series for Bowlero Corporation's Bowlero brand. With more than 300 bowling centers around the country, operating under four bowling brands, Bowlero Corp provides fun for all ages, including immersive and interactive entertainment like blacklight bowling, arcades, laser tag and over the top culinary creations.

To appeal to today’s younger generation, Live X produced a five episode game show, “Live on the Lanes,” streamed directly to Facebook Live. Sarah Pribis, one of the hosts of the popular trivia game “HQ” served as the host of “Live on the Lanes.” Each episode had more than 500,000 viewers, and in addition to producing the series, Live X engaged viewers at home by having them participate in the game show to win cash prizes.

Lead producer and cofounder at Live X, Corey Behnke, knew it would be a unique challenge to shoot this series, as the team wanted to get as close to the two lanes of action as possible and also needed to maintain a small overall footprint. Corey decided to use five Micro Studio Camera 4Ks, two of which were positioned to shoot the lanes and two on the pins, so they could capture each strike, gutter ball and everything in between. One Micro Studio Camera 4K captured the group of players as they watched the action and waited for their turn.

He also incorporated three URSA Broadcast cameras, two of which served as handheld main action cameras, with the third on a tripod capturing the host, equipped with a teleprompter and an URSA Viewfinder. “We loved using the URSA Broadcast in a way that it was meant to be used,” said Corey. “For a live event like a game show broadcast on Facebook Live, the combination of the URSA Broadcast and the ATEM was perfect. Once you have control set up, you can manage everything from the front bench which is critical in a live situation.”

Live X used an ATEM 4 M/E Broadcast Studio 4K, controlled using ATEM 1 M/E Advanced Panel, with built in DaVinci Resolve style color wheels to simultaneously color correct and control all of the cameras in real time. They also used the Live X custom graphics engine which was keyfilled into the switcher. “It was so helpful to be able to use the ATEM that way. That allowed us to show the scoreboard, the lower third and the bowling animations. The ability to do key fill with the ATEM was game changing.”

“Because of the ATEM, we have tally on the URSA Broadcasts, which is very helpful,” said Corey. “And because of the 2/3 inch sensor size when using 4K B4 mount on the URSA Broadcasts, it was easily to outfit them with lenses, whether we already had them or rented them. 2/3 is pretty ubiquitous in the industry, so that’s really helpful.”

Nine HyperDeck Studio Pros were used to record the feeds from each camera as well as the overall program output. Live X also sent a program feed out of the ATEM 4 M/E Broadcast Studio 4K through two Teranex Mini SDI Distribution 12G units, which allowed them to send the feed to each of the eight cameras, giving them CCU control. Corey also used two SmartView 4K monitors to monitor the program feed out of the ATEM 4 M/E Broadcast Studio 4K.

He continued, “These products are made for live. It’s easy to match the cameras, and everything works together without additional control panel combinations. Another big reason we’ve chosen Blackmagic Design is to future proof for 12G-SDI. The internet is higher resolution than television, and our clients want 1080p30, which is how we shot ‘Live on the Lanes.’ Our clients don’t necessarily need 4K yet, but they will, and it’s great that we’re ready.”

Press Photography

Product photos of URSA Broadcast, ATEM 4 M/E Broadcast Studio 4K, Micro Studio Camera 4K, URSA Viewfinder, ATEM 1 M/E Advanced Panel, HyperDeck Studio Pro, Teranex Mini SDI Distribution 12G, SmartView 4K, and all other Blackmagic Design products are available at www.blackmagicdesign.com/media/images.

About Bowlero Corporation

Bowlero Corporation (formerly Bowlmor AMF) is the largest owner and operator of bowling centers in the world, with over 300 locations, including eight locations in Mexico and two in Canada, specializing in corporate and special events, as well as league and retail bowling. The company was created in 2013 following the merger of Bowlmor Lanes, an upscale bowling and entertainment company, and AMF Bowling Worldwide and continued its growth with the acquisition of Brunswick Corporation’s bowling center business in 2014. The company’s portfolio of bowling center brands includes Bowlero, Bowlmor Lanes, AMF Bowling Co., and Brunswick Zone. For more information, please visit BowleroCorp.com.

About Live X, Inc.

Live X is a full service production company, designing, producing, and broadcasting live events, and creating immersive experiential concepts, for top global brands. From idea development through technical execution, from video, graphics and 3D animation, to live onsite and remote production and streaming, Live X uses innovative technologies to help industry-leading clients all over the world create captivating experiences to increase their audience engagement and build their brands. For more information, please visit livex.tv.

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.

LONDON—As part of the video team for Elton John’s “All the Hits” 2015 world tour, I was in charge of the automation and LED elements of each show. This tour featured an impressive 40-foot computer-controlled LED chandelier running a combination video presentation of the upstage video wall, a custom-designed LED video screen that curved up the back of the stage floor, 16 feet off the arena floor on a 30 degree angle. The chandelier was the focal centerpiece of the set, changing formation throughout the show, in sync with the songs and their respective lighting schemes.

When I took over as the automation/LED elements expert on the tour, I worked closely with and received great support from PRG Nocturne, the concert technology company behind many Elton John tours. I started building out our media server system and looked for a compact and user-friendly interface to receive inputs from our cameras as well as send our video screen feed to the LED walls.

The Teranex converter features dual output of SDI.THE DVI PROBLEM
I began by using the Blackmagic Design UltraStudio Mini Recorder to receive the camera input to one of our media servers, and then moved to the UltraStudio Express capture and playback device. Our media server system ran on two MacBook Pro laptops, so the Ultra- Studio Express with Thunderbolt was the perfect solution for our SDI camera input. From the laptop I was outputting an HDMI signal—which I converted to DVI—to the video screen, and then I was forcing the output with TMB’s DVI Parrot, which allows user-configurable EDID management, to keep the 1920x1080 resolution we required. Having used other Blackmagic Design products, I did some investigating and discovered that the new 12G-SDI Teranex Mini converters from Blackmagic Design would solve this problem.

JUST WHAT WE NEEDED
Once I discovered what Teranex Mini could do, we implemented two HDMI to 12G-SDI models, both with “Smart Panels,” which gave us the option to send SDI feeds out to the video screen and the chandelier, rather than DVI feeds, which had been our conventional way. I found that the dual output of SDI on the Teranex Mini is very helpful as it allowed us to send the signal to both the video screen and the chandelier simultaneously, and eliminated the potential need for an SDI distribution amplifier. I was thrilled to discover that the Teranex Minis were exactly what we needed.

The Teranex Minis have also been very reliable and user friendly. The Smart Panel on the front of each unit includes a color display and user controls so we can quickly monitor video and make sure that a signal was received, as well as change settings right from the front of the converter. On top of everything else, they are also very portable, making it easy to transport.

Lars Kristiansen freelances through his own company, LK Projects, running automation, LED and programming concert elements. He can be contacted atinfo@lkprojects.com.

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

TORONTO—Jesse Sukunda, Julia Schwartz and Ian Duchene are likely the most envied teenagers in Canada. They get paid to play video games on Canadian network channels Family Channel and Family CHRGD. Half of their show, “Gaming Show (In My Parents’ Garage),” takes place in the studio—Jesse’s parents’ garage—and half takes place in the field, with our crew at Banger Films managing the show’s technical setup. Blackmagic Design products are an integral part of our studio workflow.

When Family Channel was looking for new original programming, Banger Films, which specializes in heavy metal documentaries and live concerts, created and developed the “Gaming Show (In My Parents’ Garage),” which was greenlit for 10 episodes.

We had to figure out how to be successful long term with a modest budget, and after researching how to bring gaming content into the production mix, I turned to my Blackmagic Teranex 2D Processor to convert content from different gaming platforms. It worked perfectly, so I built out the rest of our workflow with Blackmagic.

Blackmagic’s SmartView monitor of set of “Gaming Show (In My Parents’ Garage)”FULL HOUSE
Our video sources include professional cameras, gaming consoles, PC, and three consumer action cameras, and it’s critical all sources are closely monitored. We use the Blackmagic’s SmartView Duo monitors for high-quality filtering and scaling, so the image retains a lot of fine detail and we can identify any problems immediately. My gear rack also includes a Blackmagic Design SmartScope Duo. With so many varied sources it’s important to be able to check that every feed is sending legal video because we need to pass Disney’s quality control requirements for delivery.

REVIEW CAPABILITY
We use the Blackmagic UltraStudio Express to capture a multiview output from an ATEM 2 M/E Production Studio 4K switcher. This allows our different departments to review takes and ensure continuity within the footage. Every take gets recorded as a multiview proxy file on the hard drive and piped back into the switcher, allowing anyone to review takes and camera angles. This is played back to 17-inch SmartView HD monitors for viewing by the camera and lighting departments or sent to a consumer TV in the green room. The ATEM switcher has so many outputs, allowing me to mix and match SDI and HDMI for any need.

We often shoot out of order so we need to make sure things like set and wardrobe are consistent scene to scene. The Smartview monitors allow us to review content right on set, which makes everybody’s life easier.

In the end, I don’t know how we could have done the show without the SmartView monitors and other Blackmagic Design gear.

Andrew Kowalchuk is the technical director for "Gaming Show (In My Parents Garage)". He can be reached atandrew@bangerfilms.com.

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