News

Adobe unveiled new 3D printing capabilities in Adobe Photoshop CC. By radically simplifying the 3D print process, Photoshop CC will become the go-to tool for anyone who wants to print a 3D model. Available immediately, as part of a major update to Adobe Creative Cloud, the new 3D printing capabilities integrated in Photoshop CC enable Creative Cloud members to easily and reliably build, refine, preview, prepare and print 3D designs, setting the stage for explosive growth in the 3D printing market. Additional new features in Photoshop CC include the groundbreaking Perspective Warp, which changes the viewpoint from which an object is seen, and linked Smart Objects that radically improves collaboration – updating the final design automatically if the reference file is changed.

Press Release

German Bundesliga team, SC Freiburg, has upgraded its Mage Solar Stadium’s broadcast capabilities to Full HD to help its fans get closer to the action on the pitch. The system is built around Blackmagic Design’s ATEM 2 M/E Production Switcher, ATEM 1 M/E Broadcast Panel and Compact Videohub, which are used in the production of live content for the team’s in stadium television channel.

At the core of the live event workflow is a Blackmagic Design Compact Videohub, sourced from reseller Teltec. The 40x40 video router handles signal distribution across the stadium’s existing fiber network, which was also updated as part of the upgrade with an additional one kilometer of optical fiber cabling. The router currently takes ten video sources into the ATEM 2 M/E Production Switcher, which is used to produce two almost identical programs for the club’s television channel; one sent to the giant LED screens in the stadium and the other to more than 100 HD televisions throughout the stadium’s refreshment areas and VIP hospitality suites.

On match days, the production team takes a clean match feed from Sky, which is produced live from an OB van outside the stadium by Sportscast. Two HD-SDI cameras in the stadium are also connected by Blackmagic Design Mini Converter Optical Fibers to the studio, and provide the production team with coverage of the prematch entertainment and post match press conference with trainers.

Additional content for the TV channel includes prerecorded warm up programs and a summary of the other Bundesliga action happening that day, combined with adverts from match sponsors. Prerecorded content is stored on a pair of Blackmagic Design HyperDeck Studio SSD broadcast decks, which are also used to capture the match day analysis for archive purposes.

The studio upgrade comes after SC Freiburg completed a successful digital signage solution, which enables the team to transmit two video channels in frame synchronization to the stadium’s big screens and digital billboards. The system, designed by software developer Joy Media with Blackmagic Design DeckLink cards, enables advertisers to take advantage of all available screens with highly creative, synchronized content.

“It was a natural progression for us to increase the number of Blackmagic products, as we looked to upgrade the broadcast facilities in the stadium, following the success of the digital signage solution. The studio gives us a flexible and reliable resource that ensures our fans are getting the very best quality content before, during and after each match,” explained Rolf Müller, IT manager at SC Freiburg.

Press Photography

Product photos of the Blackmagic Design ATEM 2 M/E Production Switcher, ATEM 1 M/E Broadcast Panel, HyperDeck Studio, Compact Videohub and Mini Converter Optical Fiber 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 film restoration software for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability, 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 stereoscopic 3D and 4K workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, United Kingdom, Japan, Singapore, and Australia. For more information, please check www.blackmagicdesign.com.

Press Release

Blackmagic Design announced that Santa Monica-based post production facility Prehistoric Digital graded the music video for Lorde’s new single, “Team,” on DaVinci Resolve 10. The company also used Blackmagic Design’s Teranex 2D video processor to complete a range of standards conversions to get the new music video ready for an international audience.

Lorde’s first single, “Royals,” spent nine weeks at #1 on the Billboard Hot 100 chart, and the international pop phenomenon has just been nominated for several Grammy awards.

The concept for the “Team” video came from a dream Lorde herself had, where teenagers lived in their own world filled with hierarchies and initiations. Directed by Young Replicant and filmed in Brooklyn at the abandoned Red Hook Grain Terminal, the “Team” video features two contrasting looks for the two parts of the story. Above ground, a new arrival to the “team” is lead through urban ruins to face his initiation, with the feel of a winter afternoon. Underground, the initiated teens sit in a dark, tropical, forest like setting.

Kevin Cannon, founder and partner at Prehistoric Digital and colorist on the “Team” video, said that in both cases, he wanted the color grade to preserve the mystery of the story and keep many of the details just visible through the haze.

“The precision of the color tools in DaVinci Resolve helped with treading this line and finding the overall balance,” said Kevin. “Then we used extensive tracking Power Windows to ensure that the right details were either revealed or hidden. The speed and accuracy of the tracker was a huge asset. The addition of unlimited windows per node in DaVinci Resolve 10 helped to keep the complicated sets of shapes to a manageable number of nodes.”

After the video was shot, the staff at Prehistoric used DaVinci Resolve 10 to generate several sets of media. First, they created editorial media with cinematographer Todd Banhazl's specific looks and the anamorphic de-squeeze, or a stretching of the anamorphic signal to the correct aspect ratio, incorporated into one set. Second, they made full 2k resolution versions with the anamorphic de-squeeze in LogC for use on any visual effects that might come up. Once the edit was finished, they conformed in DaVinci Resolve 10, linking back to the Alexa camera originals for the color. According to Kevin, DaVinci Resolve was integral throughout the whole post process.

The video also had a tight turnaround, with final VFX adjustments and editorial changes being made right up to and during the color session. Kevin used many of the new online editing tools in DaVinci Resolve 10 to not only match the editorial changes, but also to make new changes when ideas came up in the color session.

Kevin continued: “Creating high quality retiming effects in DaVinci Resolve 10 is certainly the biggest time saver for us, and was an excellent solution for a series of shots in the motorbike joust climax. We also used new features to work with audio in multiple tracks, generating text for slates and a bit of compositing.”

Along with DaVinci Resolve and Blackmagic Design DeckLink and UltraStudio capture and playback devices, Prehistoric Digital also used Blackmagic Design’s Teranex 2D Processor for standards conversion on the video. The original camera media was shot at 23.98 frames per second, as was the final master. For broadcasting in different markets, the team used the Teranex to create 25 fps and 29.97 fps versions.

About DaVinci Resolve

Blackmagic Design’s DaVinci Resolve is the world’s highest performance on set, editing and color correction solution for Mac OS X, Windows and Linux computers. DaVinci Resolve supports more real time color correction than any other system because it’s not limited by the performance of the computer it’s running on. DaVinci Resolve eliminates this performance barrier because it’s based on a cluster of high performance GPU cards, so all processing is always real time. DaVinci Resolve has the power of a true real time performance solution so handles complex color grades even when using dozens of primaries, secondaries, Power Windows™, multi point tracking, blurs, and more. DaVinci Resolve provides incredible performance in a low cost solution which can be easily upgraded by adding extra GPUs for supercomputer power to handle 4K resolutions, stereoscopic 3D and real time grading direct from raw camera files such as ARRI RAW, RED RAW and Sony RAW files which can be handled with ease.

Press Photography

Product photos of DaVinci Resolve and Teranex 2D 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 film restoration software for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability, 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 stereoscopic 3D and 4K workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, United Kingdom, Japan, Singapore, and Australia. For more information, please check www.blackmagicdesign.com.

The newly introduced HXR-NX3 is a professional SD/HD/MP4 camcorder that features Sony Exmor 3CMOS Sensors for outstanding image quality. Dual media slots allow simultaneous or relay recording in AVCHD 2.0 (1080 50p) format. There's also a Slow & Quick Motion feature that achieves smooth 2x slow motion when recording at 25p, or 50x quick motion recorded at 1 frame per second when recording at 50p. In addition to 20x optical zoom, Clear Image Zoom with Super Resolution Technology provides an extended 40x zoom range with excellent clarity and detail. A built-in LED video light, Wi-Fi/NFC remote control capability, and a 3.5 inch LCD panel for enhanced viewing add to the versatility of this multi-purpose camcorder. Available approx. end of January 2014.

Sony released version 3.0 for the F5, and F55 this Holiday season! With close to 30 new features, this is another big release for Sony's digital motion picture cameras. This update is for F5, F55 and AXS-R5, and includes USER LUT's, and look profiles 3D LUT; Center Scan mode for Super 16mm lenses; New log curve and color gamut (S-Log3/S-Gamut3); XAVC QFHD recording (3840 x 2160); MPEGHD 1280x720p recording; Slow and Quick motion on XAVC 4K, XAVC QFHD and Center Scan mode; User definable clip naming; and AES/EBU audio input. For a complete list of changes, visit this page.