At NAB this year we've got three main themes on the Blackmagic booth.
We're looking at Ultra HD with 6GB SDI, we're also looking at our expanded camera range
and we're also looking at DaVinci Resolve.
I think one of the most important things which has been a revelation I suppose over the last
few months is how 6GB SDI and Ultra HD is becoming more and more prominent.
A CES earlier on this year we saw a lot of screens that were showing Ultra HD and a lot
of people were asking the questions about how we're going to broadcast that, how we're
going to interact with 4K and how we're going to interact with Ultra HD.
So what we've done over the last few months is start to develop a full workflow.
So in the heart of every workflow is a production switcher.
So one of the main announcements this year is our A10 production switcher 4K which is
an 8 channel switcher which has four HDMI inputs which are all 4K compatible or Ultra
HD compatible.
And we've got four SDI connections on there which are all 6GB SDI.
That can also do 4K and Ultra HD, sorry.
Outside of that we've then got to look at the other peripherals.
So how do we capture, how do we play back, how do we monitor?
So the Ultra Studio 4K which we announced last year has had an upgrade now to 3GB SDI.
The audio monitor which is a new product that we show this year also has 6GB SDI on there
as well.
And also we've got the HyperDX Studio Pro which was a product announced last year that
has 6GB SDI too.
What this now means is you've got a full workflow which enables you to capture, monitor and
play back and switch 4K.
But in every part of the production everyone is asking about a camera.
So you then start to look at well how do we acquire those 4K images.
So we announced the Blackmagic Production Camera 4K which is in the same body as the
traditional Blackmagic Cinema Camera but has 4K resolution.
So it's Ultra HD which can be captured either via ProRes or also by Cinema DNG which is
in a visually lossless format.
And that will shoot and obviously capture 4K to record onto an SSD or you can actually
play out directly from the camera using 6GB SDI which will then basically ingest that
directly into either those capture devices that I mentioned before or into your production
switcher.
And then at the other end of the camera spectrum you've got to look at well what else can
we do.
So we look at the form factor of the camera, we look at people's uses and we decided to
introduce a new camera which was the Pocket Cinema Camera.
The Pocket Cinema Camera uses all the ideologies and all of the theories that we had before
in trying to create a camera that has high resolution, that has a wide dynamic range
and also interacts well with colour correction.
So the Pocket Cinema Camera is about the size of your phone, it has 13 stops of dynamic
range, it records in HD, it records in a ProRes format, it also records in a visually
lossless Cinema DNG format as well, it records directly to an SD card, it has a removable
Nikon battery with a Super 16mm sensor and also works for the Micro Four Thirds mount.
So that's a great camera for somebody who wants to be able to shoot in remote locations,
who doesn't have the ability to carry around a large scale camera.
So at one end of the spectrum we've got a Super 16mm Pocket Cinema Camera, at the other
end of the spectrum we've got a Super 35mm, 4K Ultra HD camera with global shutter.
So now we're creating a full workflow and then as you then start to look at well how
does that interact with the colour correction, you then start to look at Resolve and what
we've done with Resolve this year has made a significant update to Resolve which includes
having an online editor built in there, it has open effects, it has the ability to be
able to do on set grading with Resolve Live.
So we're now trying to look at the ecosystem, we're now trying to look at how people work,
how different formats people are using to really create a very very tight workflow.
