News

Panasonic unveiled the VariCam LT, representing the next generation of 4K cinema cameras. The VariCam LT camcorder inherits the same Super 35mm sensor and superb imaging capabilities that distinguish the award-winning VariCam 35, but with significant reductions in size, weight and price.

Incorporating this identical imaging “DNA” in a more compact rendition, the VariCam LT (model AU-V35LT1G) delivers 14+ stops of dynamic range with V-Log, and the esteemed cinematic VariCam image quality and color science, as well as the VariCam 35's breakout innovation, dual native ISOs of 800/5000.

Weighing just under six pounds and having superior capability to similar sized cameras, the VariCam LT will be the ideal camera for handheld, SteadiCam, jib, crane, drone, gimbal and overall cinema verité work. The VariCam LT is likewise tailor-made for owner/operators, independent filmmakers, documentary makers and corporate production creators.

The VariCam LT delivers superb image handling in multiple formats ranging from 4K, UHD, 2K and HD, and like the VariCam 35, is fully capable of High Dynamic Range (HDR) field capture. The new 4K camcorder offers Apple ProRes 4444 (up to 30p) and ProRes 422 HQ (up to 60p) support for HD recording, as well as Panasonic’s AVC-ULTRA family of advanced video codecs.

New codecs introduced in the VariCam LT include AVC-Intra LT and AVC-Intra 2K-LT, both designed to offer capture rates up to 240fps in imager crop mode, ideal for sports and other fast motion footage.

Powerful color management capabilities combined with VariCam’s extended color gamut and support for the Academy Color Encoding System (ACES) workflow allow for full fidelity mastering of original source material. The VariCam LT offers in-camera color grading, with the ability to record an ungraded 4K master along with all on-set grading metadata. A new color processing feature is “V-LOOK,” which acts as a blend of V-Log and video, and allows filmic documentary acquisition without the same need for intense color grading.

The VariCam LT differs from the VariCam 35 in being a one-piece, short-bodied camcorder vs. a two-piece camera head plus recorder. While the VariCam LT does not feature parallel sub-recording, it does have an SD slot for high-resolution proxy recording. Proxy files can be wirelessly uploaded via FTP, which facilitates wireless color grading. Variable frame rates are available with LongG6 recording. There is one expressP2 card for all formats including high frame rate and HD/2K/UHD and 4K recording (the 256GB expressP2 card can record up to 90 minutes of 4K/4:2:2/23.98p content). RAW output from SDI is planned to be supported by a firmware upgrade in early summer 2016.

The VariCam LT features an EF mount (vs. the VariCam 35's PL mount), suitable for the wide array of lenses available for smaller cameras. The EF mount can be switched out to a robust standard PL mount, expanding the range of compatible lenses that can be used. The control panel can be separated from the camera body to facilitate real-time control and easy menu access. The camcorder has a production-tough magnesium body to assure durability and reliability in challenging shooting locations.

Other features new to the VariCam LT are power hot swap, IR shooting (further enhancing the camcorder's extreme low-light capture at ISO 5000), 23.98 PsF output, and image presets as scene files. Among the camcorder's top-level production assets are ND filters (CLEAR, 0.6, 1.2, 1.8), an optional OLED electronic viewfinder (EVF) with optical zoom functionality, 24-bit LPCM audio for in-camera audio master recording, Focus Assist, anamorphic lens de-squeeze, special REC functions (PreRec, interval, one-shot), IP control via Panasonic's AK-HRP200 camera remote controller, and built-in GPS.

Professional interfaces include: 3G-HD-SDI x 3 (SDI-OUT X 2 and VF), LAN, genlock in, timecode in/out, USB2.0 Host and USB2.0 Device (mini B), and three XLR inputs (one 5-pin, two 3-pin) to record four channels of 24-bit, 48KHz audio. In addition, its flexible interfaces allow use of the Panasonic AU-VCVF10G viewfinder, as well as 3rd party viewfinder solutions.

The VariCam LT will be available at the end of March in two packages, suggested list price $18,000 (body only) and suggested list price $24,000 (body + AU-VCVF10G viewfinder).

Press Release

Blackmagic Design has announced its Production Camera 4K digital film camera was one of only two camera packages to be used in the production of “War and Peace,” a new adaptation by the BBC, based on Tolstoy’s classic novel. The six part drama was lensed by director of photography (DP) George Steel, and graded on DaVinci Resolve Studio by colorist Simone Grattarola.

Director Tom Harper reunited with DP George Steel (“The Woman in Black 2: Angel of Death” and “Black Mirror”) and colorist Simone Grattarola (“Peaky Blinders” and “War Book”) to bring to life Andrew Davies’s (“Pride and Prejudice”) adaptation of the epic story, which follows the fortunes of three Russian aristocratic families during the Napoleonic War.

Second unit production was directed and shot by Stephen Hall and included Blackmagic’s Production Camera 4K, shot spherically. A second Production Camera 4K was employed as a ‘grab bag’ setup for the director. “It was worth its weight in gold. In episode one there is a shot of Andrei Bolkonsky outdoors with the fog swirling around him, before it cuts to a close up. That is something we got using the grab bag,” explains Steel.

He continues: “Having a small, handheld camera that matches your primary package, is perfect. It allowed us to react to unexpected moments.” In fact, George shot one of his favorite scenes using this setup. “Without revealing too much, we film a very intimate moment when Jessie Buckley's character deals with the passing of a loved one,” explains Steel. “We didn’t have time in the schedule to shoot it so while everyone stopped for lunch we spent 45 minutes filming.”

The DP was also a little more creative when it came to using aerial shots. A Production Camera 4K was fitted to an optocopter and used to capture elements of dialogue scenes for example. “In one particular scene we see a top down view of a father and son walking through the snow, which starts with an aerial view through the tree line,” according to Steel.

The biggest challenge in delivering the grade was the sheer vastness of it all, according to Time Based Arts colorist Simone Grattarola. “I’ve not previously worked on anything quite as dense or layered as ‘War and Peace’” he reveals. “There is an arc to the narrative and cinematography that we had to understand and evolve over the six episodes.”

“To do that we worked on two episodes at a time, and then once work had finished on episodes three and four, we’d revisit one and two, and then tweak the grade to ensure that arc unfolded as we intended. And that was repeated once episodes five and six were finished. It’s a rare thing in television that you have the opportunity to go back and do this. But it was something we all pushed for with the producers.”

For the battle scenes Grattarola developed a process of crafting a hand tinted feel. “I began by desaturating everything and then made use of parallel layers in DaVinci Resolve to bring back a specific key channel for specific colors and then washed color back in. Resolve allowed me to recreate something from the past using modern techniques to ensure it is timeless.”

“It’s a testament to Tom [the director], who’s done an exceptional job of modernizing the story and making it relevant again,” concludes Steel. “Simone has delivered a sophisticated, yet subtle grade that was in keeping with Tom’s desire for a natural looking aesthetic. Audiences won’t fully appreciate the arc of the story, cinematography and grade until they’ve watched all six episodes.

Press Photography

Product photos of Blackmagic Production Camera 4K and DaVinci Resolve Studio 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.

This update fixes a bug for 3:2 removal conversions, adds improved algorithms for power usage on Teranex Express, as well as better connection stability for Teranex Setup Utility and more. Recommended for all Teranex models.

What's new in Teranex Utility 4.4

• Bug fix for 3:2 removal conversions on Teranex Express.
• Algorithm optimizations to decrease power usage on Teranex Express.
• Miscellaneous bug fixes for Teranex Express.
• Improvements to connection reliability for the Teranex Setup utility affecting Teranex 2D, 3D and Express.
  
  

Press Release

Blackmagic Design announced that Nagoya Broadcasting Network has built a new 4K editing and grading suite with DaVinci Resolve Studio and Blackmagic Smart Videohub routers. The suite is one of the first 4K editing and grading suites in Japan’s Tokai region that’s able to handle HDR workflows.

Nagoya Broadcasting Network (Nagoya TV) joined Japan’s All Nippon News Network (ANN), broadcasting original TV programs as well as ANN's nationwide TV programs. Nagoya TV produces various content, including news, talk shows and music shows, and has been creating 4K content since 2014.

The new suite, which has been built in Nagoya TV’s main production and post facility, is built around DaVinci Resolve Studio to provide color grading for the station’s new 4K and HDR content. Smart Videohub 40x40 and Videohub Smart Control are used to route media to and from the suite and to manage the various feeds in the suite.

Minoru Murata, manager of the technology strategy department at Nagoya TV, spoke about the recent installation of DaVinci Resolve Studio,”We are encouraged to create more 4K content, so building infrastructure for 4K production has been requested. This suite is compatible with our 2K edit suite and is equipped with 4K ready equipment. We also installed DaVinci Resolve Studio and a 4K master monitor to offer grading services. The DaVinci Resolve Studio is not only for grading. It also supports various kinds of format such as OpenEXR and HDRx, so we can rely on DaVinci Resolve Studio to ingest any footage brought to us."

"We installed Smart Videohub, which has 40 inputs and outputs, allowing us to route 4K and HD flexibly and increase efficiency in editing," said Murata. “The suite receives mixed video feeds of both HD and 4K, and the SmartVideohub is used to ensure efficient and easily manage control over the workflow. Once editing starts, we can easily switch five inputs of quad-Link 4K feed and three HD inputs with little awareness of us handling 4K material, reducing the operators' burden to handle complicated video sources.”

DaVinci Resolve Studio is integral to Nagoya TV’s work with new HDR content as well. ”We are working on content creation using HDR material, which many people in this industry are interested in,” said Murata. “DaVinci Resolve Studio supporting HDR means a lot to our new agenda for HDR and I think it can make HDR production more efficient. We are making HDR content for the NexTV F (Next Generation Television & Broadcasting Promotion Forum) to verify and evaluate technical specifications related to next generation broadcasting service, and we used DaVinci Resolve Studio for it's grading."

Nagoya TV also uses a number of other Blackmagic Design products, such as Smart Videohub CleanSwich 12 x 12. "We purchased the CleanSwitch for outdoor events and location shooting. For example, we used it for our autumn festival 2015 event to switch 4K cameras and 4K players, CGs in real time and project it to mobile 4K multi monitors. The CleanSwitch allowed us to make the system very simple.

"Blackmagic products are affordable and well designed. I like its simple set up and easy to see front panel design," concluded Murata.

Press Photography

Product photos of DaVinci Resolve Studio, Smart Videohub, Smart Control and Smart Videohub CleanSwitch 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.

This update adds DNxHD recording, automatic start/stop recording trigger for HDMI cameras, timecode support for Canon 5D Mk. III, enhanced overlays including time remaining status and clip information on playback, support for SDI Level A signals, extended Zebra range and more. Before installing the software, Blackmagic Design recommends that you run "Uninstall Video Assist” first.

What's new in Blackmagic Video Assist 1.2

• Adds DNxHD codec
• Adds extended Zebra range
• Adds SD card record time remaining on status overlays
• Adds clip playback information panel
• Adds HDMI record trigger