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Press Release

Blackmagic Design announced that DaVinci Resolve Studio, Blackmagic Cinema Cameras and Pocket Cinema Cameras were used on more than 35 films at the 2016 Sundance Film Festival.

Some of the most anticipated films from around the world, and in every category of the festival, were shot and completed using Blackmagic Design products. These films include Andre Hyland’s comedy “The 4th,” shot using Blackmagic Cinema Cameras and Pocket Cinema Cameras and graded with DaVinci Resolve Studio; and highly anticipated films such as “Other People,” “The Lobster” and Spike Lee’s “Michael Jackson’s Journey from Motown to Off the Wall,” which all were graded using DaVinci Resolve Studio.

Sundance Films That Used Blackmagic Design Cameras:

“The 4th,” shot by DP Shane Bruce Johnston and DP Charles J. Gibson with Blackmagic Cinema Cameras and Pocket Cinema Cameras, and color graded by Mark Todd Osborne with DaVinci Resolve Studio;

“All These Sleepless Nights,” shot by Director and DP Michal Marczak with Pocket Cinema Camera;

“Manoman,” shot by DP Steven Cameron Ferguson with Pocket Cinema Camera; and

“Operation Avalanche,” shot by DPs Jared Raab and Andrew Appelle with Pocket Cinema Camera.

Sundance Films That Used DaVinci Resolve Studio:

“Ali & Nino,” by Colorist Paul Ensby of Deluxe’s Company 3;

“As You Are,” by Producer and Colorist Joseph Mastantuono of Good Post NY;

“Carnage Park,” by Colorist Jason Knutzen;

“Cemetery of Splendor,” by Colorist Chaitawat Traisarnsri of White Light Post;

“Christine,” by Colorist Sam Daley of Technicolor PostWorks;

“Complete Unknown,” by Colorist Alex Bickel of Color Collective at Technicolor PostWorks;

“Equity,” by Colorist Roman Hankewycz of Harbor Picture Company;

“The Eyes of My Mother,” by Colorist Sam Daley of Technicolor PostWorks;

“First Girl I Loved,” by Colorist Narbeh Tatoussian of Blacklist Digital;

“The Fits,” by Colorist Sam Daley of Technicolor PostWorks;

“A Flag Without a Country,” by Colorist Sohrab Nourbakhsh of TANGRAM Studio;

“Goat,” by Colorist Nat Jencks of Outlier Post;

“Indignation,” by Colorist Alex Bickel of Color Collective at Technicolor PostWorks;

“The Itching,” by Colorist Chris Ramey;

“Jacqueline (Argentine),” by Colorist Samuel Gursky of Irving Harvey;

“Joshy,” by Colorist Mark Todd Osborne;

“Land of the Enlightened,” by Colorist Donal O’Kane of Screen Scene;

“The Lobster,” by Colorist Tony Ford;

“Michael Jackson’s Journey from Motown to Off the Wall,” by Colorist Roman Hankewycz of Harbor Picture Company;

“Miles Ahead,” by Colorist Stephen Nakamura of Deluxe’s Company 3;

“Morris from America,” by Colorist Sebastian Göhs;

“Other People,” by Colorist Mike Howell of Color Collective;

“Rams,” by Colorist Norman Nisbet;

“Sing Street,” by Colorist Donal O’Kane of Screen Scene;

“Sleight,” by Colorist Jason Knutzen;

“Sophie and the Rising Sun,” by Colorist Roman Hankewycz of Harbor Picture Company;

“Swiss Army Man,” by Colorist Sofie Borup of Deluxe’s Company 3;

“Trash Fire,” by Cinematographer and Colorist Shane Daly of Reb10digilab.com;

“Under the Shadow,” by Colorist Filipe Fernandes of Creativity Media;

“White Girl,” by Colorist Sam Daley of Technicolor PostWorks;

“Wiener-Dog,” by Colorist Sam Daley of Technicolor PostWorks; and
“Yoga Hosers,” by Colorist Mark Todd Osborne.

Press Photography

Product photos of Blackmagic Cinema Camera, Pocket Cinema Camera, DaVinci Resolve Studio, and all other 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.

Convergent Design released a firmware update for the Apollo and Odyssey monitor/recorders that adds features unavailable on any other device. These new functions are useful in numerous forms of production and add additional power and flexibility to Convergent Design's family of products. The Convergent Design Apollo, Odyssey7Q and Odyssey7Q+ will now support monitoring and recording Dual-4K, Quad-HD 1080p60 and 4K60p. 6G-SDI support (Apollo & Odyssey7Q+) has also been added to accommodate cameras from Blackmagic Design. Additional features & functionality have also been added for Apollo and Odyssey.



Dual-4K (for Apollo & Odyssey7Q/7Q+ with Apollo Option)

Allows recording of two DCI 4K (4096x2160) or UHD (3840x2160) signals simultaneously. Frame rates of 23.98p, 24p, 25p, 29.97p, and 30p are supported. Multi-camera shoots can be monitored and recorded in a single 1” thick device with many hours of recording in Apple ProRes (HQ/422/LT). Dual-4K recording can be useful in interviews, virtual reality and other productions. No other portable device can record Dual-4K.

Quad-HD 1080p60 (Apollo & Odyssey7Q/7Q+ with Apollo Option)

Allows the simultaneous monitoring and recording of four 1080p video inputs at frame rates of 50p, 59.94p and 60p. Higher frame rate recording is often a requirement of virtual reality production. Many small cameras only output 1080 progressive signals at higher frame rates. Only a few portable recorders capture 1080p up to 60fps, and no other device can record Quad-HD 1080p60.

4K60p (Apollo, Odyssey7Q+, Odyssey7Q)
Monitoring and recording of DCI 4K and UHD video signals at up to 60fps in Apple ProRes (HQ/422/LT). High frame rate 4K video signals are available from cameras such as the Sony F55, Panasonic VariCam35, and the IO Industries 4KSDI. 4K60p is a requirement of certain major distribution networks as well as valued in virtual reality and other production formats. No other portable device can record 4K60p video.

6G-SDI Support (Apollo & Odyssey7Q+)

Monitoring and recording of 6G-SDI video signals from Blackmagic Design cameras. 6G-SDI connectivity means that a single SDI cable can carry up to 4K30p video from cameras such as the Blackmagic Design URSA, URSA Mini and Micro Studio Camera 4Ki. The Blackmagic Design 4K HDMI to SDI converter is also supported, so in conjunction with Apollo’s Dual-4K, two 4K HDMI cameras such as the Sony A7S can be recorded in Apple ProRes (HQ/422/LT) on a single device. There are two 6G-SDI inputs so two Blackmagic Design devices can be supported simultaneously. No other portable recorder has dual support for 6G-SDI.

For a limited time, get Blackmagic Design's ATEM Production Studio 4K switcher together with HyperDeck Studio 12G recorder for a discounted price of 2.615 EUR ex VAT! Gear up for Ultra HD production with industry-proven Blackmagic Design technology.

ATEM Production Studio 4K
ATEM Production Studio 4K lets you connect up to 8 SD, HD or Ultra HD 4K video cameras, disk recorders and computers to do true broadcast quality work. You get all the features you expect from a professional switcher including chroma key, transitions, media pool, downstream keyers, audio mixer, multi view and the world's first 6G-SDI and HDMI 4K video connections.

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HyperDeck Studio 12G
HyperDeck Studio 12G is the incredibly advanced and high performance broadcast deck with a native high frame rate Ultra HD design that includes 12G-SDI and HDMI 2.0 all SD, HD and Ultra HD formats up to 2160p60. HyperDeck Studio 12G includes 12G-SDI and HDMI 2.0 for all SD, HD and Ultra HD video formats right up to 2160p60. HyperDeck Studio 12G is the most advanced HyperDeck model and you get every video format in the one compact design.

From independent productions to Hollywood headliners, 51 films debuting at the 2016 Sundance Film Festival used Adobe Premiere Pro CC as their primary digital editing software. Sundance, the preeminent festival for groundbreaking work and emerging talent, will include a total of 175 films made with Premiere Pro CC and other Adobe Creative Cloud tools. From in-competition feature films like “Christine,” “Gleason,” and “Swiss Army Man” to short films and documentaries, like “Richard Linklater - dream is destiny,” Premiere Pro CC usage at Sundance has increased 143 percent since 2015. “With such an ambitious film, we needed the most innovative technology to push creative boundaries,” said Louis Black, co-director of “Richard Linklater - dream is destiny,” which will premiere at Sundance. “Our story relies on combining decades-old archival footage with interviews from the present. We cut the film in Adobe Premiere Pro CC with incredible results.” Recent Premiere Pro converts include the four-time Oscar-winning Coen brothers with “Hail, Caesar!;” director Tim Miller with “Deadpool;” director David Fincher and Oscar-winning editor Kirk Baxter with “Gone Girl;” and director Rhys Thomas and producer Lorne Michaels with “Staten Island Summer.”

Certified SSDs

SSDs which are qualified for Uncompressed 10-bit video capture will also work well for compressed video capture. There are some SSDs which Blackmagic has tested and found to drop frames when capturing Uncompressed 10-bit video. However, they still work well when capturing compressed video.

The following SSDs are recommended for Uncompressed 10-bit or compressed video capture:

ADATA XPG SX900 256 GB (ASX900S3-256GM-C)

Angelbird 240 GB AV Pro

Angelbird 480 GB AV Pro

Digistor 240 GB SSD Professional Video Series (DIG-PVD240S, pre-formatted ExFat)

Digistor 480 GB SSD Professional Video Series (DIG-PVD480S, pre-formatted ExFat)

Digistor 1TB SSD 4K Professional Video Series (DIG-PVD1000, pre-formatted ExFat), not compatible with HyperDeck Shuttle!

Kingston 240 GB HyperX 3K (SH103S3/240G)

Kingston 480 GB HyperX 3K (SH103S3/480G)

Kingston HyperX Savage 120 GB (SHSS37A/120G)

Kingston HyperX Savage 240 GB (SHSS37A/240G)

Kingston HyperX Savage 480 GB (SHSS37A/480G)

Kingston HyperX Savage 960 GB (SHSS37A/960G)

Kingston 240 GB SSD Now KC300 (SKC300S37A/240G)

Kingston 480 GB SSD Now KC300 (SKC300S37A/480G)

Intel 335 Series 240 GB SSD (SSDSC2CT240A4K5)

Intel 520 Series 240 GB SSD (SSDSC2CW240A310)

Intel 520 Series 480 GB SSD (SSDSC2CW480A310)

Intel 530 Series 180 GB SSD (SSDSC2BW180A401)

Intel 530 Series 240 GB SSD (SSDSC2BW240A401)

OWC 120 GB Mercury Extreme Pro 6G (OWCSSD7P6G120)

OWC 240 GB Mercury Extreme Pro 6G (OWCSSD7P6G240)

OWC 480 GB Mercury Extreme Pro 6G (OWCSSD7P6G480)

Samsung 256 GB 850 Pro (MZ-7KE256BW, spacer required)

Samsung 512 GB 850 Pro (MZ-7KE512BW, spacer required)

Samsung 1TB 850 Pro (MZ-1T0BW, spacer required), not compatible with HyperDeck Shuttle!

Sandisk Extreme 240 GB (SDSSDX-240G-G25)

Sandisk Extreme 480 GB (SDSSDX-480G-G25)

Sandisk Extreme Pro 240 GB (SDSSDXPS-240G-G25)

Sandisk Extreme Pro 480 GB (SDSSDXPS-480G-G25)

Sandisk Extreme Pro 960 GB (SDSSDXPS-960G-G25)

PNY Prevail 240 GB (SSD9SC240GCDA-PB)

PNY Prevail 480 GB (SSD9SC480GCDA-PB)

PNY XLR8 480 GB (SSD9SC480GMDA-RB)

Transcend 256 GB SSD720 (TS256GSSD720)

In addition to the above, these SSDs work ONLY for compressed video capture:

Crucial 256 GB M4 (firmware 000F) (CT256M4SSD2)

OCZ Agility 3 240 GB (AGT3-25SAT3-240G)

Sandisk Extreme 120 GB (SDSSDX-120G-G25)

Important Notes About SSD Speed

Some models of SSD can’t save video data at the speed the manufacturer claims. This is due to the disk using hidden data compression to attain higher write speeds. This data compression can only save data at the manufacturer’s claimed speed when storing data such as blank data or simple files. Video data includes video noise and pixels which are more random so compression will not help, therefore revealing the true speed of the disk.

Some SSDs can have up to 50% lower write speed than the manufacturer’s claimed speed. So even though the disk specifications claim an SSD has speeds fast enough to handle video, in reality the disk isn’t fast enough when used to store video data for real time capture. However, this mostly affects HD capture and often these disks can still be used for playback.

Use Blackmagic Disk Speed Test to accurately measure whether your SSD will be able to handle uncompressed video capture and playback. Blackmagic Disk Speed Test uses data to simulate the storage of video so you get results similar to what you’ll see when capturing video to a disk. During Blackmagic testing, we have found newer, larger models of SSD and larger capacity SSDs are generally faster.