News

Press Release

Blackmagic Design has announced that Goldcrest Post has utilized a Blackmagic Cintel Film Scanner for a major restoration project to upgrade asset formatting for all of Goldcrest Film’s prestigious library titles, which were scanned to Ultra HD 4K and remastered in 2K.

Led by Goldcrest’s CTO, Laurent Treherne, the project involved remastering sixteen of Goldcrest Film’s titles, including “Dance with a Stranger” (1985 ), “Absolute Beginners” (1986 ) and “White Mischief” (1987). “With an increase in the number of OTT services there is a growing demand for high quality film originated content,” Laurent begins.



Laurent goes on to explain that as well as meeting the clients’ demand for 4K quality content, the Cintel Film Scanner allowed Goldcrest Film to keep the restoration workflow within the group. “As with any restoration, we knew the project would entail numerous challenges. They included locating suitable source elements, repairing damage, identifying reference images for color grading and re-versioning picture and sound files into formats suitable for the modern consumer. The versatility and speed of the Blackmagic infrastructure helped us to address those challenges.”

A dedicated DaVinci Resolve workstation was set up alongside the Blackmagic Cintel Film Scanner in order to create a standalone, single workstation pipeline that would not impact on Goldcrest’s DI work. The film elements were inspected and cleaned in laboratory conditions, then each reel was scanned in 4K onto a dedicated high speed storage volume and conformed and reframed to 2K.

The files were dustbusted and then graded in DaVinci Resolve Studio. Finally the Goldcrest team rendered the DSM archive and the HD deliverable. “We deliver in HD ProRes HQ 422, as that’s the delivery requirement for multi title library distribution deals, however Ultra HD 4K is increasingly a consideration for clients, so it’s an important requisite, certainly for future sales strategies,” explains Laurent.



The Cintel’s performance has been incredibly beneficial from the outset of the project, in particular how the scanner was able to work with negative film splices. “What’s impressed us the most from day one has been the scanner’s performance with negative film splices. What would jump in the gate of other scanning devices simply flows through the Cintel without a hitch. This represents a considerable time and cost saving over standard workflows which tend to require numerous shot stabilization fixes to address such artifacts.

The Blackmagic workflow for scanning, conforming and grading is straightforward, flexible and a low cost way of approaching remastering whether used as a standalone scanner with a single operator, or in conjunction with complementary scanners,” concludes Goldcrest Post’s managing director, Patrick Malone. “We’ve been impressed by how much detail we’ve gotten from some of the more challenging 35mm picture elements, and the quality and speed of the Ultra HD scan from both negative and print have been excellent.”



Press Photography
Product photos of all Blackmagic Design products, are available at www.blackmagicdesign.com/press/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.

Panasonic Corporation announced a firmware upgrade for its P2 camera recorders (AJ-PX5000G, AJ-PX800G, AJ-PX380G, and AJ-PX270) and recorder (AJ-PG50) for broadcast use. The upgrade is the result of a partnership with LiveU and TVU Networks, enabling IP connection (wired or wireless) to LiveU or TVU Networks devices for parallel use (bonding) of multiple cell phone lines. Providing higher and more stable quality for live streaming of video content, and this enables high-speed FTP transfers of recorded files. The status of the LiveU or TVU device is also displayed in the camera's viewfinder to allow real-time confirmation of the connection conditions.

Combined with Panasonic's P2 Streaming Server (P2SS) and P2Cast, this produces a comprehensive solution for a variety of broadcast needs.

P2 Live Streaming Solution

Compatible P2 camera recorders are equipped with a QoS mode for streaming use. This mode optimizes the signal bit rate in real-time depending on the connection conditions of the cell phone line. Bonding with a LiveU or TVU device makes it possible to stream video with greater stability and a higher bit rate. The streaming video is sent through a LiveU or TVU server to the P2 Streaming Server (P2SS).

P2Cast Cloud Workflow

Compatible P2 camera recorders feature a Rec During Uploading function that automatically uploads proxy image files while recording. Uploading is possible to Panasonic's Cloud News Production System, P2Cast, or to a client FTP system. P2Cast uses a cloud application to set IN and OUT points in the proxy video. After producing the EDL, only the necessary scenes extracted in the form of high-quality video files from the on-location camera will be received. This achieves very efficient workflow. Bonding connection with a LiveU or TVU device accelerates the transfer speed and increases stability for a faster workflow.

Creatives are always on the go, needing a tool that can adapt to their ever-changing projects. Watch as Director Mark Toia describes his major three requirements for a creative tool and why WEAPON 8K S35 is the camera that checks all of the boxes: image quality, ease of use, and size/weight.

New Beta Build of firmware for RED WEAPON, EPIC-W, SCARLET-W, and RAVEN digital cinema cameras feature the ability to bake-in 3D LUTs into 2K ProRes and Avid DNxHR/HD files.

DSMC2 Beta Build v6.4.23

Added baked-in 3D LUT controls for Apple ProRes and Avid DNxHR/HD

Added per monitor 3D LUT status to RED Standard Overlay

Added clip name as prefix to exported LUT filename

Added notification when auto calibration is loading

Added 'BETA' to splashscreen on startup

Added future RED accessory support

Added REDMOTE v9.7.13

Fixed Aperture scroll bar in the Lens Info dialog after lens swap

Fixed parsing error notification exiting playback after playing a large Apple ProRes clip

Fixed intermittent black level changes during record

Fixed 'Buffer Overflow ' error with Avid DNx444 at high frame rate

Fixed 'Incompatible Battery' message when V-Lock Battery Module attached directly to brain

Fixed audio vu RCP messages to include peak values

Fixed blank display after FW upgrade of RED Touch 7" LCD

Fixed camera freeze on record start while changing frame rate

Fixed loss of aperture setting after hot swap of the lens

Fixed intermittent media mount errors on startup and when media is inserted

Fixed intermittent UDF mount failures

Fixed 'recording halted' error with Apple ProRes 422LT

Removed PRO IO reference from GPIO/Sync dialog for DSMC2 camera

Notes

* Secure Format media before using Pre-Record.

* The horizon feature requires Gyro calibration be completed prior to use.

* Do not 3D sync when GEN ICON is not illuminated or yellow.

* Image Magnify is available during preview only.

* HD-SDI is True Progressive and does not support 1080i or 1080 PsF signal formats.

Firmware (BETA):

WEAPON FIRMWARE (6K CF, 8K S35, 8K VV, 8K VV ANA):
https://www.red.com/downloads/5632ad24cc11fa24c10009fd

WEAPON FIRMWARE (MAGNESIUM ONLY):
https://www.red.com/downloads/57112c00104ec8361a001ab9

RED EPIC-W FIRMWARE:
https://www.red.com/downloads/58deba68cc11fa6f4c000115

SCARLET-W FIRMWARE:
https://www.red.com/downloads/57112c21104ec8361d001bae

RED RAVEN FIRMWARE:
https://www.red.com/downloads/57112c46104ec8361d001bb4

At Cine Gear Expo 2017 in Hollywood, CA, Panasonic previewed the AU-EVA1, a new 5.7K cine-ma camera positioned between the Panasonic Lumix GH5 4K mirrorless camera and the VariCam LT 4K cinema camera. Compact and lightweight, the AU-EVA1 is tailor-made for handheld shoot-ing, but also well suited for documentaries, commercials and music videos.

The EVA1 contains a newly designed 5.7K Super 35mm-sized sensor for capturing true cinematic images. By starting at a higher native resolution, the 5.7K sensor yields a higher resolving image when down-sampled to 4K, UHD, 2K, and even 720p. The increased color information results in a finer, more accurate finished image.

One of the key features of the VariCam 35, VariCam LT, and VariCam Pure is Dual Native ISO. Utilizing a process that allows the sensor to be read in a fundamentally different way, Dual Native ISO extracts more information from the sensor without degrading the image. This results in a cam-era that can switch from a standard sensitivity to a high sensitivity without an increase in noise, or other artifacts. On the VariCams, Dual Native ISO has allowed cinematographers to use less light on set, saving time and money, as well as allowing for a great variety of artistic choices. The EVA1 will include Dual Native ISO, but the camera is currently being tested to determine final ISO specifi-cations.

The ability to capture accurate colors and rich skin tones is a must for any filmmaker. Like the VariCam lineup of cinema cameras, the EVA1 contains V-Log/V-Gamut capture to deliver high dynamic range and broad colors. V-Log has log curve characteristics that are somewhat reminiscent of negative film and V-Gamut delivers a color space even larger than film. The EVA1 will also import the celebrated colorimetry of the VariCam line.

Weighing only 1.2 kg (body-only) with a compact form factor (17 x 13.5 x 12.5 cm) and a removable handgrip, the EVA1 can be used for efficient hand-held shooting applications and can also be mounted on a drone, gimbal rig or jib arm for complex yet smooth camera moves. There will also be numerous mounting points and Panasonic is currently working with top accessory makers to allow further customization with the EVA1.

Ideal for indie filmmakers, the EVA1 records to readily-available, lower-cost SD cards. The camera can record in several formats and compression rates, and offers up to 10-bit 4:2:2, even in 4K. For high-speed capture, the EVA1 offers 2K up to 240 fps. In terms of bit rates, you can record up to 400-Mbps for robust recording. A complete breakdown of recording formats will be available at the time of the EVA1's release.

For lensing, the camera utilizes a native EF-mount, giving shooters access to the broad EF lens ecosystem, including dozens of cinema-style prime and zoom lenses from numerous manufacturers. Electronic Image Stabilization (EIS) is employed to compensate for camera shake and blurring, which will help smooth out hand-held or shoulder-mount shots on documentary or run-and-gun projects. Behind the lens mount, an integrated ND filter wheel in 2, 4, and 6 stops allows for precise exposure control. The EVA1 also allows the IR Cut filter to be swung out of the path to the sensor at the push of a button. Unique photographic effects and night vision imagery are possible with this control over infrared.

As a professional video production tool, the EVA1 offers dual balanced XLR audio inputs and 4K-capable video outputs in both HDMI and SDI. In a future firmware upgrade, EVA1 will offer 5.7K RAW output to 3rd party recorders.

The EVA1 will ship this Fall for under 8,000 USD (body only).