Hi, I'm Grant from Blackmagic Design and we'd like to show you what we've got new this
year's IBC.
We've got quite a range of products this year.
We've got a new monitor, a new router, a new multi-view, some new converters, we've got
a capture card, some new cameras, we've got a DaVinci update and we're also announcing
that we've just acquired Ion software and obviously they make the amazing Fusion software
which is used on a lot of high-end Hollywood films so I'll update you a bit more on that
in a moment.
But first I'd love to start with the new multi-view that we have.
What's really exciting about this multi-view is it's got 16 inputs of course but it's
Ultra HD multi-view so you can use all these big screen TVs in the stores that you can
go and get and even consumers are buying, you can now use for a multi-view and get
double the resolution and double the sharpness of all the views displayed on there.
What's also good about the multi-view is it's got 16 different inputs and they can all be
different video standards so you can have 16 different video inputs like SD, combinations
of SD, HD and Ultra HD all coming all at the same time and it will still work because
each view is like an independent middle monitor in itself.
It can reconfigure it, you can change between 4, 9 or 16 views at the same time.
You can also reroute any of the source views to any of the, any of the sources to any of
the views which is really flexible because if you're running it in say a large broadcaster
and you might be running a bunch of these, you might want to have a bunch of incoming
camera feeds in one area and a bunch of workstations in another so you kind of rearrange it, the
layout as you want based on, because you don't always get around the back and plug the inputs
in and it works very much like our router so if you look at the front panel you can
see there's a little screen there in the spin knob controller and you've also got the button
pad so that works, I mean at the moment you're looking on the screen at the layout screen
but you can also run it the same as a router and you can get the source and destination
but the destination is not called destination, it's called view and you just route the sources
in.
There's a solo button so you can push that and if you just want to look at one view
and it also, it runs on the Ethernet socket on the back, it runs our video hub protocol
which means you can use any of our video hub control panels and control software to control
it.
It's $1,495 and it's going to be available in November and we think it's pretty exciting.
I mean you can see some, we've got a photo here of it being used in a master control
situation and you can see that, you know, with it mounted in the front of the desk you've
got some control over it but of course you can mount the unit in behind the monitor
and then use external control via Ethernet if you liked.
If we go to the next photo you can see it being used in a more mobile situation in a
van and you can see that you can use maybe less of a view, you might not have actually
16 going into a van but it's small enough to be able to be mounted in a van.
It doesn't matter whether you're running SDHD, UltraHD, it'll work because every input
is 6GB STI and in the different feeds that you often get I've found in live production
you get a lot of different feeds coming in and every input having a re-sync just takes
care of it all.
So it's great and you can see there we've got it in the back of a little tiny car.
You know we've got a lot of people doing production even out of the small motor scooters and things
so you know you'd be surprised a number of different, you know, locations, these kinds
of products wind up.
So I think it's very exciting and you know it's pretty exciting to build one but I've
been asked by a lot of people to make one so I think we've got a really great one here.
The next thing we'd like to talk about is this really fantastic UltraHD monitor we've
made.
It's a full resolution UltraHD monitor so that panel on the front there is full UltraHD
and the other thing that's exciting is it's a 12GB STI product so you can run 2160p60
which is really amazing.
I mean that means you can plug it into an AOSA camera and you can see full 60p on it in
UltraHD.
It'll work in SD and HD as well and it automatically switches and it uses Teranex processing in
the scaling so you get a really nice looking image.
I mean the picture quality is so high.
I mean I joke with one of the guys you've got to wear a crash helmet because you can
bump your head into it because you think it's reality you just like a reach in it's so
nice you know.
You can also see it's a machine metal design we've got a really, the whole plate front
is machine metal and we've got a control panel in the front with some controls so you can
select the input and other controls like that but we've also put in HV Delay.
A lot of the old broadcast monitors had HV Delay and it was very nice to be able to see
what was in the blanking and we kind of lost that these days with digital where the blanking
tends to be blanked off but we've got that in there so I think that's a little retro
but it's quite nice.
We've also got look up tables in there, people needed look up tables and we've built in
two 3D look up tables and you can enable them from the front panel, there's blue only and
there's also some frame guides you can adjust yourself as well.
If you look at the back panel you can see that, well I think the most obvious thing
is there's a visa mount, mountings on the back of it, the whole chassis on the back
is actually a metal but there's a plastic cowling on the back there but you can visa
mount it so you could use it on articulated arms in you know say newsrooms and other situations
like that but if you look at some of the connectors we've got AC power which is built in and we've
got a DC input as well so you can run it on batteries, we've got Ethernet loop through
so you can centrally manage all your monitors from a Mac or Windows computer, we've got
two 12 gig SDI inputs so you can switch between them and they're just over here and there's
a 12 gig SDI output so whatever input you've got selected then comes out the output but
we've also got an optical fiber cage so you can plug in an optical fiber module if you
want to run an optical fiber straight to the monitor.
With 12 gig SDI I think that's a bit more important because people are running longer
lengths and you've got the ability to put an optical fiber module in.
At the moment 12 gig optical fiber modules don't exist but when they do you can plug
those in but you can put 6 gig or 3 gig optical modules in as well and there's a teleconnector
on there as well.
So I think it's a beautiful little monitor, it's going to be 1.995 and it will be available
in December when we get the panels, it's bright, beautiful and it's pretty much compatible
with any video standard we can think of and you can see a photo of it here being used
and what we've done also, if you look at an audio monitor in that photo below the unit
and we've designed them to accompany each other, they're sort of designed to go together
and you can see the way the front bezel sort of comes down into the front of the audio
monitor so they look good together, it's a nice combination.
So yeah we're pretty excited to have this and it's a really pretty state of the art,
it's got all the technology we could kind of throw at it, it all built in.
Next up I'd like to talk about this router we've got here, it's a 40 by 40 6 gig SDI
router, it's got 20 in, 20 out.
We introduced some 6 gig SDI routers recently in 12 by 12 and 20 by 20 and this is a 40
by 40, much larger one with two rack units in size and it has redundant power and it's
got the same sort of control panels as the front of the other units, it's machine metal
and you see we've got it plugged in the back there and there's a hell of a lot of cables
all plugged in not because we're using it to drive the multi-view but if you just look
at the left of the image you can see just down here there's some redundant power supplies,
you've got the two power sockets, there's the ethernet and it runs all the same protocols
as the other routers, it's a beautiful big machine metal front and it's also got a much
larger 5 inch screen on there so you can do some really big labels and it looks really
clean and when you're using the picture view you can see that the image is really cleanly
so it looks pretty nice, we've got a photo of it being used where you can see that it's
doing the visual routing where you can scroll the knob and really scroll through all the
destinations but you can see the video from the sources as you're scrolling through so
it's a really easy way to route because you can sort of just look at the sources as you're
going through and you've got some nice big labels and on this model you've also got the
video standard being shown so I think that's exciting, that's 2.9 on 5 and that'll be shipping
in well next month which is October.
Now the next step is if you've been a video hub user and you've used the software to set
up the video hubs you'll notice that it's a bit primitive to software it, we've built
that software in the days when we didn't have 288 sized routers and so it's difficult to
configure a 288 sized router with it but it's also getting a bit old looking and so we really
wanted to replace that so we've also got online today which you can download if you've got
a video hub router new software so you can go and download the Blackmagic video hub software 6.0
and it gives you what it's done, we've taken the two, there was two really uses for that
software of course that was controlling the router and setting up the labels in the router
we've broken them into two different applications, there's Blackmagic video hub setup which is
now used for setting up the labels and setting up the router but now there's Blackmagic video
hub control which is the control panel software that you can give to all the people in your
facility and they can use that to control from Mac or Windows machine you know from
their desktop all the routers so what I'd love to do is I'd love to give you a quick
demonstration of how that looks like and how it works so if you have a look at the computer
screen here I can show you, so you can see we've got the two software applications now
Blackmagic video hub control and Blackmagic video hub setup so I can run the Blackmagic
video hub control and that gives me all the control of the router so you can see I can
select sources here, now you can give this, this is off where you can give to everybody
in your facility so you know everyone who's got a computer that's connected into the network
and take this utility and they can control the router but there's no way to label the
router in here so the setup utility is used for that.
The other thing that's quite nice is you can customise this so I can go into the edit
buttons in here and click on a button and just go edit, I can change to this video
truck icon and then click done and I've now got you know different destinations here
so it's quite a nice very elegant looking layout, it supports the retina graphics on
a Mac OS X so it's very beautifully sharp looking UI and you can also change the size
of the window, I can change any size, I can go to full screen mode, I can go out of full
screen mode so you can even use touch screen computers and there's a list view as well
so you can change the list view and it keeps the size for that.
So that's the control utility and then if you want to change the settings in the router
such as labels, you can come into the setup utility and you can see it here, it's found
the video hub, it's found the 40x40, I've got my rack right here, I can click on that
and I can see I've got label changes I can make, I can make that multi view on the outputs
which I've got coming in here or you can set other settings as well, you can see there's
quite a few settings here.
So it's very easy to set up the router now when you're using a video hub and this software
is available now so I definitely recommend downloading it and installing it because
it supports all the video hubs and I think it's quite a big improvement.
So that's that, so the next products I'd love to talk about is we've got some new mini
converters, this is SDI Audio and Audio to SDI, we've upgraded a bunch of our mini converters
at NAB and we've just continued to roll out new models of Ultra HD Mini Converter, there's
six gig SDI Mini Converters, they do SDHD and Ultra HD and switch instantly.
The good thing about them is that that means we've pretty much done all the range of our
mini converters now and they're all available in Ultra HD models, 4K models.
So I think that's nice to have the complete range is ready for the future and as you're
migrating to Ultra HD, all the converters that you're installing have automatically
got that capability.
We've also done some heavy duty versions of those, we've got a few heavy duty converters
that are in really tough machined metal cases, we've run over these with cars, we've even
run over some of these converters with a centurion tank and it survived and kept working while
we did that.
It's a bit crazy but it was just really, we were having some fun with how strong they
were.
A lot of people with live production needed some converters that were just super tough
and really protected the connectors well as well so the heavy duty mini converters
are at 345, they'll be available in October, the audio converters are available now but
these ones will be available next month and they're 345 each and they're available in
the SDI to HDMI SDI and the SDI to analog models.
So that's pretty exciting.
So the next thing I'd like to talk about is DaVinci Resolve, we've got a new version
of DaVinci Resolve which we've posted on for download today, it's a Resolve 11.1 and
what we've really done with this version of Resolve, we've added a lot of little things
we didn't quite get the time to do in the original DaVinci Resolve 11 release.
Lots of small things, it's fairly obvious but they're kind of important to do and some
of them have come back as feedback to us where people are like you know this should work
this way or this should work that way so you know as people tell us we've done one release
it's like okay ready for the next release so I'd love to show you, I'll launch DaVinci
and we can have a look at the new features and I'll run it now.
Okay so I'll open up the timeline and go into the edit page and there I've got myself
a timeline so I'll double click on one of the clips and bring it up into the viewer
and one of the new features is I can adjust the inner and out points and if you can see
it reflects down into the timeline, the other thing that's in here is also is gap trimming
so I can trim a gap now the same way as I trim a clip which is kind of nice.
Also one thing I'm not doing here I've got a single screen running here so if you're
running dual monitors there's a new feature where you can bring the timeline up full screen
but it's available only on dual monitor setups but I'm just running a single monitor here
so that's kind of nice if you really need to get into the timeline and get into the layers.
Another feature is multiple edits at the same time so I can select a couple clips and just
go Command T and insert the default transition on the multiple edit points.
I'll undo that so it doesn't stay there.
The other thing I can do is if you drag a folder into the media pool now, before it
used to keep just the top level of the hierarchy but it keeps all the folders in the hierarchy
now so if you've got folder inside of folder inside of folder it'll keep all that in the
right hierarchy which is a really useful thing of course.
One of the other features is we've got independent track heights so I'll show you that so I can
go to one of the video tracks here and change its height independently of the other tracks
but you can be really useful so prioritizing tracks.
I can also come down if you notice I can come down here now and blend in a video track which
is kind of useful if I bring a video track over the top of another one I can kind of
blend it in and as I go through it you can see it essentially it's like a crossfade but
really you're blending layers and in and out points.
You can do that in the audio tracks now you can do it in the video tracks as well.
One of the other cool features which I really quite like is the swap edit feature so if
you hold down the option key and you drag a clip down the other side it'll swap the
edits over and keep the duration the same so there's quite a lot of really nice little
features in this release it's available now for our website so please download it and
it's there to grab in both the DaVinci Resolve Lite version which is the free version and
the full version.
Okay next up we need a really powerful capture card to work with DaVinci because it's doing
high frame rates, high resolutions so we've got a new Decline 4K Extreme 12G here it is
sitting on the bench.
Now this thing we pretty much just said to the guys the engineers just go for it we want
to make sure we've got a card that can do everything we want to do it really almost
doesn't matter what the price is.
Now luckily we've come in at a $1,495 price point which I'm pretty impressed about because
you know we really just wanted to put everything in it and we possibly could.
It's the the exciting thing about it is it's dual link 12G STI which means that it can
do two streams of 2160 Ultra HD 60p at the same time.
Now you need that for 3D where you want to run dual channels in stereo but also if you're
running fill and key.
So we kind of felt like it wasn't worth doing a card with one 12G STI connection and what
we really wanted was two so we could do things like fill and key at the same time or 3D.
Now to handle that we've got a much faster PCI Express interface you can see down the
bottom there there's eight lane Gen 2 PCI Express it's four times faster than before
and one of the other things it's got all the same features as the Decline 4K Extreme card
so that's nice because it means you can do analog in and out, HDMI in and out, I mean
it's got analog and digital audio in and out and embedded audio.
It's obviously dual link 12G in and out so it's got a lot of you know all the connections
in and out so it can pretty much take care of connecting with anything but you've noticed
the other difference between this and the other you know the Decline 4K Extreme card
is it's got a mezzanine card on the side and what we've done is the reason we've done that
is it lets us do the HDMI of course and that's gives us the two HDMI sockets and that's kind
of an exciting thing because it means you get I'm sorry the optical fiber sockets because
you can upgrade it to add optical fiber to the you know into the card itself directly
if you need to in the future.
That'll support 12G STI optical modules for the moment they don't exist but as they come
available then you can plug them in but you can put a 6G optical module or even a 3G optical
module if you'd like and now that's dual optical modules because obviously it's dual
link in and out and I think this will be again important if you know you're running large
broadcast systems and you want to sort of run around you know 12G STI signals in the
future you kind of want to know you've got something you can upgrade and sort of move
to optical fiber and get some certainty on cable length you don't have to worry if you're
on the edge of the cable lengths you know you can you get much longer distances with
optical fiber and also optical fibers future proof you can keep upgrading the end points
and the optical fiber cable itself is the same.
So we think that's a really great product that's $1,495 and it'll be available in October.
Next up we've got some new cameras now when we originally designed the Blackmagic Cinema
camera you know a few people asked about why it was really such a you know you know quite
a machined heavy-duty kind of design and the reason for that is originally it was being
designed as a PL mount camera and we realized halfway through the development that we really
probably need to use EF mounts so people could use Canon lenses because we felt a lot of
people would be using this camera that we DSLR users and this you know was designed
to be you know a sort of a better video recording or film you know digital film recording camera.
So we changed the lens mount but now we've kind of come back to the original concept
and put the PL mount on and it's really beautiful I mean it's an extremely strong lens mount
I mean if I take off the lens cap here you can see beautiful machined steel so it's
made out of you know what's steel it's not aluminum which means it's not going to bind
onto the lenses which a lot of you know these adapters do we've got some whole ring of bolt
holes around the front so that whole front ring comes off and you can shim the lens and
then you can you know you can screw it back on so you can collimate the lens to the camera
and get a similar lens perfectly aligned to it.
The great thing about PL mount lenses of course is that all this vintage glass that's out
there over decades you can if you want to shoot something from the 80s or 70s or 60s because
you obviously the older lenses can get PL mount modified it you can pretty much go back and
grab the lens that they used in those days to shoot you know the very stuff that was
done in the 60s or 70s and you know you can use that glass on the on the current cameras
so I think it's really exciting it's a beautiful beautifully machined metal and it's strong
so I've got this ridiculously heavy Canon lens which I think is 18 pounds or something
like that I think it's 8 kilograms and what I can do is mount that on the front of the
camera it's got easily enough strength because the whole design I mean the whole this is
machined out of solid aluminum so the whole design is extremely tough so what I'll do
is I'll mount this lens on here so you can see how it goes on there it is there and you've
got these nice big tabs on the front so you can you know mount it on and I better tighten
the lens the camera up there it is and you can see it you know it easily has the strength
to hold this massive lens and it's a very heavy lens again it's a nice vintage lens
so you can get that style I mean the great thing about these old lenses is the materials
they used and the glass and the coatings and stuff you know there's you know the way the
light interacts with all the elements and everything I mean you really can't you know
as easily reproduce that you know with you know software I mean it's just such a nice
thing to be able to go back in time and just put the very lens on they used in those days
so it's kind of exciting but you can see it's very tough you know it's really quite a strong
mount which is important when you realise where these cameras are being used they're
being used in you know all sort of situations in you know very small you can't always get
rail mounts and things to support the lens so it's a beautifully tough you know interface
and I think what's also exciting is I think the mount itself looks better I think it's
a it's you know it's sort of I think it's well balanced you know it's nice to see that
original design that we originally imagined you know as a product now we've got it for
both you know there's both models of the black magic production camera 4k PL and also you
know is also the original black magic cinema camera have got the PL mount so that's kind
of nice and it means we've got now five models so you've really got a range of being able
to choose between different sensors and three different lens mounts so you can see we've
got the 4k you know super 35 size global shutter sensor if you want a you know larger sensor
and 4k resolution with 12 stops of dynamic range if you want better low light performance
and you want 30 more dynamic range and we've got the beautiful you know to an off-case
sensor and you've got you know the choice between PL and EF mounts and of course on
the smaller sensor you can also get the micro 4 third so I think it's a great combination
because you can pretty much choose the lens mount and sensor you want based on kind of
what you're doing and so I think it's really nice to have that choice you can see the you
know the great thing about this is it being so strong and so small and now with a professional
really professional lens mount you can see the sort of things that people are doing with
it in the photo here you know I've seen recently someone sent me a photo of four of our cameras
on one crane head at the same time I mean it's just really been very exciting watching
the kind of things people have been doing if you look at the next photo they've got
another photo here of really I think what the camera's original spirit of it was about
was you know very handheld very portable a lot of people rigged them up heavily but we've
got Ursa and some larger cameras now and it's great to see you know where these cameras
have been used in you know crash boxes and all kinds of really tight locations we couldn't
get a larger camera in and of course the quadcopters I mean it was funny to see the video recently
of the quadcopter that crashed and just dropped out of the sky and you know smashed the lens
and the quadcopter but the camera kept working so it was pretty cool to see that because
we really did design it to be that strong but I some ways feel like we've never really
had the advantage of we've never been able to take the advantage of such you know really
over engineered body until now it's really I feel like there's a greatly balanced product
so there we're starting to build those now and they're available the prices of you know
the production camera 4k is the same price as the current one the cinema camera version
slightly more so check out website for the prices so we think that's really exciting
and hopefully people are really can you know keep doing some amazing work with this okay
so the next step or really the last big thing I wanted to talk about is that you know we've
just acquired our own software I mean they make fusion you know the fusions software
and it's incredible I mean the number of high-end Hollywood movies that are used with this I
mean we've got a slide showing some of those movies I mean it really just incredible really
it sort of feels like it's Holly you know the secret of Hollywood you know high-end Hollywood
work has been the fusion software and this is the stuff I can do I mean it really is
quite incredible and I think we're very excited to be part of that and really to have this
as part of like magic you know now of course we can improve the support we can grow the
engineering teams and and do a whole lot more with it so I think it's going to be very exciting
what I've got is I've actually got the fusion software here so I'd love to show you just
quickly I'll get it running and and show you okay so there it is running now I'm actually
running on a Mac and a virtual machine so it's probably a little clunky than it would
normally be if it was running on that Windows machine but it's a Windows native bit of software
now what's really funny I think about fusion is when you first look at it you know you
see all these nodes and it looks pretty complicated in fact it looks a bit like a circuit board
I mean you first look at anything wow this is complicated but I think what's interesting
is if you've had any experience in editing you know you and you've used timelines before
and a lot of people are familiar with timelines you realize that you know when you add a couple
of clips to a timeline you add a couple of effects to each clip and then you've got
a whole bunch of parameters in each effect and you start to do anything complex really
anything with a couple of you know more than a couple of clips it can start getting really
busy very quickly and you spend half your time navigating around trying to find out
you know that edge on the key where is that exactly watch the layer it's on which effect
is it in where do I adjust you know I need to adjust to make the effect of you know the
change that I want to make and it can get quite complex I mean you see some of the features
we've even just added in the resolve where we've got you know the full Windows support
for the timeline and you know variable track heights and a lot of that so you can sort
of navigate around the layers and I think the thing I find exciting about nodes is
that what you've essentially done is a bit like the equipment here you know you just
bolt things together you get you know that thing and you plug it into that thing and
the video goes from that thing to that thing so I think if you haven't experienced nodes
before I mean if you're an experienced effects guy you're probably going to think what's
he talking about but if you've never seen a node based you know effects tool before
then I think you know it's quite exciting and it's quite simple and I can show you
quickly how that works I've only been playing with Fusion for a little bit so but I've been
it's sort of addictive I've just been like plugging things together but I think you know
the great thing about nodes is they're much much easier when you start doing more than
a few things I mean I've got a clip here which I can click on and I just push the number
one key and I can then look at it so it's all pretty simple now I can go along the
top here and add some text and you can see what it's done is it's bought me a couple
of extra nodes and I've got my little text generator down here and all I did was click
on that and I can push number two and I can see it in the other viewer and that's pretty
much it I mean all you really do is connect things to other things and you can pretty
much do anything you like I mean it's kind of like Lego bricks you've got this plug
stuff together and it's kind of becomes weird and addictive because you just start playing
with it and you spend hours fooling around plugging things together so I can show you
what I'll do is I'll click on this text object and I'll put in this is text which I've got
there and you can see I can see that on the right hand side the great thing is there's
two viewers so you can click on any node and push one and look on the left view or push
two and look on the right view I can go to the merge here and I can push two and I can
see now they're being composited on top of each other because what's happening is the
background node here has been fed down into the background and the text has been fed into
the foreground over the top and that's pretty much it and it's kind of exciting it's just
really that's pretty much all there is to it I can move the text around pretty easily
and if I want to break one of the links I just go and click on it and it goes away and
then I can come down here and I'll put a brightness contrast plug in here and then I can pretty
much just connect that up into the front there and I can connect down here into the foreground
there it is and so I can then click on here and push two and I can see what that looks
like and then you can see this is where all the nodes and connections are and up the top
of the view is on the right hand side is all the parameter adjustments so what I can do
is I can click on that node and I can come along here and do a little bit of sort of
adjust and some of the contrast I'll bring it down a bit contrast and maybe put a little
bit of gain into it and make it look really kind of punchy bit flurry and then if I go
back to this node and push two you can see now it's composited the color change underneath
the text but you can just keep daisy chaining more and more clips I mean it's really quite
amazing you just and there's whole pallets and pallets and pallets I mean there's so
much infusion it's got I mean I mean it's just this the number of you know stuff that's
in it is incredible I mean it's I mean there's even paint and there's graphics and there's
particles that can create smoke I mean create clouds you can create things flying everyone
it's a 3d space you can do everything in 3d space with multiple cameras I mean you can
generate 3d itself you can manage 3d projects I mean there's just it's it's mind-blowing
I'm only just getting my head around how much is really in here so I'm obviously go and
check out the iron software's website because they've got a lot of content on there that
shows you some pretty advanced stuff and they've even got shots of whole scenes out of movies
where you can really see how they've connected these movies up I mean how they've connected
all effects up to do some of the shots and some of the movies that you like I think the
other thing that's really amazing I find is it and it's one of the things with DaVinci
now when you're in DaVinci and you're working the timeline and doing color correction and
you look up the top right hand side on the top right hand corner of the UI you know you
see a no graph and most of the time most people just see one node which is the color corrector
they're doing but the guys who experience colorists know that if you want to keep working
the image and keep working the shot you just keep adding more nodes and keep adding more
corrections and you know you can pretty much like color grade every window in a building
and you know the street and the grass and the cat that's walking by with a tracker and
all this sort of stuff and you know and that capability that you have in DaVinci is generally
a little bit out of the way in DaVinci but here you've got it you know I mean obviously
you know a lot of people don't use those nodes in DaVinci but in here this is really the
heart of how this product works I mean you've got all the timeline stuff for doing animations
of course but really I think it's quite a lot of fun to just you know have so many different
types of effects and features in here I mean it's really quite remarkable so check out
the Ion website there's a lot more on their website about how it works and really some
of the most advanced features you can do and I'm really just getting started with myself
but it's pretty exciting so this is the roundup of what we have for IBC I hope we've made
some things if you like and it's exciting and if you get a chance to come by the booth
at IBC then we'd love to have a chat and meet you so thanks for watching.
