News

Convergent Design constantly works to add more features and functionality to the Odyssey family of professional monitor/recorders. This release includes new features & functionality and adds more power, performance and versatility to the Odyssey7Q+, Odyssey7Q and Odyssey7. Convergent Design continues to update and expand the capabilities of the Odyssey7Q+, Odyssey7Q and Odyssey7 monitor/recorders to help extend the lifespan of their products.

New Features in the Release:

Expanded Odyssey LUT System, including custom 3D-LUTs

– Improved & Expanded set of Preset LUTs

– Support for user-loadable custom 3D-LUTs (up to 140, Odyssey7Q, Odyssey7Q+)

– 17x, 32x, 33x, 64x, 65x 3D-LUT (.CUBE format) Supported

– .CUBE Luts translated for Odyssey using CD 3D-LUT Converter App

– LUTs are currently for MONITORING only, not “baked in”

– LUTs viewed during recording noted in XML file metadata

– Extended and Legal Range LUTs Supported (EE vs LL)

LUT Routing to Tools & Outputs

– Image Analysis Tools can measure “LUTTED” image or original source

– Video outputs can independently turn ON/OFF LUT or Mirror OLED

Anamorphic Desqueeze

– 2.0x, 1.5x, 1.33x Support

– Corrected image sent to video outputs, recording unaffected

4K / 2K Monitoring Modes (Odyssey7Q, Odyssey7Q+)

– 17:9 Letterboxed within 16:9 image or Center-Cut to 16:9

– Letterbox or Center-Cut image sent to video outputs, full frame recorded

Monochrome Monitoring Mode

– View Luma only or individual Red, Green, or Blue channel in grey tone

Dual Zebras

– Set high & low for each, can overlap, separately selectable colors

Expanded False Color Mode

– Added Pink for Six colors

– Each color set high & low, can overlap

Expanded OLED Controls

– Advanced Monitor Calibration Control

– Color channel bias controls, SMPTE color bars reference

Improved Multi-Stream Mode Switching

– Switch between inputs without image flicker or glitch

Safe Eject at Power Down

– Automatically closes all file directories on shut down

Improved Sony FS RAW color reproduction

– Improved image quality in CinemaDNG and Apple ProRes recording

– FS700 Apple ProRes recording with S-Log2 or REC709(800%)

– FS7 CinemaDNG & Apple ProRes require SGamut3.Cine Color Space

Fixes & Improvements...

– FIXED Aud Out (Headphones) unmute

– FIXED Audio gain settings when switching Analog to SDI

– FIXED Safe Eject process to remove OLED flashing during procedure

– FIXED FS700 4K RAW -> HD Apple ProRes detection

– IMPROVED 4K Apple ProRes playback

– IMPROVED 4K pixel zoom 1:1 and 2:1

– IMPROVED PSF output support in all modes

– IMPROVED Reduced overall power usage

– IMPROVED Interlaced playback support

– IMPROVED 4K -> HD Apple ProRes playback

Software Updates...

– CD Apple ProRes Transfer Utility 1.7

– LUTs viewed during recording noted in XML file metadata

– Pomfort LiveGrade Support for Odyssey LUTs

Panasonic has announced a collaborative initiative between Panasonic and NewTek to promote and support interoperability between AW-HE130 integrated PTZ cameras and NewTek TriCaster multi-camera video production systems. The AW-HE130 is the first integrated pan/tilt/zoom camera with a production-quality, built-in MPEG-4 streaming encoder, audio embedding and Power over Ethernet+ (POE+) compatibility, enabling a single-wire digital broadcasting solution. Together with TriCaster switchers, the HE130 offers creative possibilities never before available for remote, mobile and streaming production. In addition to supporting IP control of and accepting IP streaming inputs from the HE130, appropriately configured TriCaster systems will soon employ Panasonic's "Easy IP Set UP" software (native in the HE130) to facilitate rapid setup and reassignment of cameras. The Panasonic HE130 is the successor to the extraordinarily popular AW-HE120 three-sensor IP-enabled integrated PTZ camera, used by hundreds of broadcasters, sports teams, universities and houses-of- worship. The HE130 adds many useful features including MPEG-4 streaming up to 24 Mbps of production-quality video and audio, optical image stabilization, 3G-SDI output (up to 1080/60p), POE+ and three new high-sensitivity, low-noise 1/3" 3-MOS imagers.

Press Release

Blackmagic Design announced that all signal distribution at the event areas for this year’s Eurovision Song Contest (ESC), hosted at the Wiener Staatshalle in Vienna, Austria, was delivered via an SDI based live production workflow featuring six Blackmagic Design Smart Videohub routers.

The audiovisual (AV) infrastructure for the annual European wide extravaganza, now in its 60th year, was devised by Vienna based live event specialist Concept Solutions and distributes HD video signals to more than 125 monitors and screens throughout the multi purpose indoor arena.

As well as the main staging hall, where 60 countries competed for the chance to perform in a live two hour televised spectacular, the ESC also had dedicated halls for media, backstage and catering, the judging panel, VIPs and the official ESC delegation. Each was equipped with a multitude of displays and screens to keep attendees up to date and a Smart Videohub 12x12 or 20x20 was assigned to manage video signals for each individual zone. Three video channels produced by the production hub were delivered to screens; the main hall feed for rehearsals, semi finals and the grand finale, an information channel for competitors and an internal communications channel. More than a hundred Blackmagic Design Mini Converter SDI-HDMI were also installed throughout the arena’s SDI infrastructure.

Florian Weber of Concept Solutions explains the rationale for multiple video routers: “The hall based complex meant that each zone within the event were quite distinct, both in terms of purpose and location, and we had to balance this with a reliable, failsafe audiovisual workflow that would perform perfectly throughout weeks of rehearsals and performances. Assigning a router to each hall gave us a simple and clear structure for our signal distribution, and any issues would be quick to spot and rectify during a live production. The SDI infrastructure ensures we had reliable signal path throughout the complex that meets industry standards.”

“Each area was also distinct in terms of what the people in that particular room require in terms of information, so we have the ability to tailor the content they are watching depending on their needs. For example, the media room needed to get a real sense of the main hall events, whereas the backstage areas required a more varied flow of information and entertainment to keep the show running smoothly at all times. We rely on the Smart Videohub for many of our live events, and we knew that they would be the most effective choice for staging such a major spectacle.”

Press Photography

Product photos of Smart Videohub, MiniConverters and all other Blackmagic Design products, are available at www.blackmagicdesign.com.

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.

The new Blackmagic Camera 2.4 software update adds frame guides support and new camera control setup software for Blackmagic Production Camera 4K as well as general performance improvements.

Press Release

Blackmagic Design announced that Marvel’s “Avengers: Age of Ultron” 2nd Unit shot extensively on the Pocket Cinema Camera. Joss Whedon’s highly anticipated sequel to “Marvel’s The Avengers” was lensed by cinematographer Ben Davis (“Guardians of the Galaxy”).

When Tony Stark tries to jumpstart a dormant peacekeeping program, things go awry and Earth's mightiest heroes are put to the ultimate test, as the fate of the planet hangs in the balance. As the villainous Ultron emerges, it is up to the Avengers to stop him from enacting his terrible plans, and soon uneasy alliances and unexpected action pave the way for an epic adventure.

The film differs quite significantly from the original Avengers movie. “The first was about a coming together, whereas this film is about a coming apart, which is reflected in the tone of the script,” explains Ben. “The narrative of the film is far more dark and menacing, so the visual approach was grittier, darker and more earthbound.”

“Avengers: Age of Ultron” features an extensive amount of 2nd Unit work and Davis required a small, high quality digital film camera for the film’s stunt sequences. “I was a big fan of what Anthony Dodd-Mantle had achieved on “Rush” using small camera platforms, especially when it came to mounting them in unusual places and the shots he was able to achieve,” he reveals. “I decided to get a Pocket Cinema Camera in for testing after bumping into DIT friend of mine who’d recently purchased a one, and was raving about it. For me, it was a no-brainer really, it was all about the latitude and size. Suddenly I had a small camera which not only output a 12-bit RAW image, but it also had a latitude that was getting up to and around the level of high end digital cinema film cameras.”

“There are two large battle sequences in particular during the film, the first is at the beginning and the second features in the third act, and we very much wanted these to be shot as a war correspondent would cover news in a conflict zone. What we needed was a lightweight camera that we could then distribute around the set during the filming of battle sequences that would give us more than twelve frames of good quality HD material that we could match with our main camera package. For this we used eight Pocket Cinema Cameras paired with either a 14mm pancake lens or a 12-35mm zoom, which we then mounted to impact points around the set. Say for example a truck was being blown up and thrown through the air and we wanted to capture it landing on top of a car, we would put one of the Pocket Cinema Cameras in a small metal housing and put it in the car. Another instance involved mounting the Blackmagic camera to a tank, because we could literally strap it one on the end of a magic arm and bolt it to almost anywhere we wanted it to be on the tank.”

“When I got the Pocket Cinema Cameras in I thought they would be a nice to have, however I ended up using these far more than I ever thought we would,” concludes Ben. “The appealing thing about this camera is its size to quality ratio. The footage is usable for a much longer cut time than previous incarnations of small camera platforms and so the camera does in fact become far more useful.”

Press Photography

Product photos of the Blackmagic Pocket Cinema Camera 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.