Blackmagic Design announced its participation in Netflix’ recently started Post Technology Alliance, a new partnership program between camera manufacturers as well as software vendors and Netflix, that replaces and amends the delivery specifications that were previously in place. It is aimed at making technical support for creatives and manufacturers simpler and better, thus improving workflow, but also quality of content.  The Post Technology Alliance has been announced by Netflix in September in a Medium post detailing the points of the new program. Whereas the earlier delivery specifications already contained ample information on cameras and codecs that were recommended by Netflix, the Post Technology Alliance goes further than that. Camera manufacturers and software vendors can be chosen in four categories: cameras, editorial, color grading and IMF encoding. While Netflix doesn’t expect every tool used in production to be covered by this, they are planning to expand those categories to include other important disciplines like sound production. Lenses for example won’t be covered. Furthermore Netflix made sure to stress that this is not a prescription for usage, but every filmmaker should chose her tools for creative reasons primarily. The four initial categories of the Netflix Post Technology Alliance Blackmagic Design Included in All Categories The URSA Mini 4.6k and the URSA Mini Pro 4.6k had previously already been included in the delivery specifications for Netflix. However as of this moment, Blackmagic Design is the only company to be included in all of the four categories the program currently consists of, with the URSA Mini 4.6k and URSA Mini Pro being included in the camera category and DaVinci Resolve Studio 15 (that is the paid version of Resolve) in the other three (Premiere Pro was included in Editorial, while Final Cut Pro X was omitted completely). This of course makes the cameras produced by Blackmagic Design even more appealing, as both of the cameras mentioned here come with the Studio version of Resolve included. Grant Petty, CEO of Blackmagic Design said: “Professionals creating films and episodic shows for Netflix have to focus on creativity, quality and being able to launch globally in multiple formats. So having a post process that is efficient, easy to use and always improving is essential. We are honored Netflix sees that DaVinci Resolve brings that in each of the software categories of the Post Technology Alliance” A Push Forward That Has Paid Off DaVinci Resolve 15 in edit view Blackmagic Design seems to be on a roll recently. The introduction of the URSA Mini Pro was able to rectify some of the earlier problems the company had with quality control, shipping cameras on time, as well as form factors that were less than appealing to shooters. Then DaVinci Resolve Studio got a huge boost, with version 14 expanding the previously rather basic editing features to a professional level, while also incorporating Fairlight, a full-on audio mixing suit into the software. Version 15 saw the inclusion of Fusion, Blackmagic’s professional grade VFX solution into Resolve itself, making it possible to incorporate VFX work into edits, without even leaving the application. And of course there are the big ones, the introduction of the very popular Blackmagic Pocket Cinema Camera 4k and Blackmagic RAW, their proprietary highly efficient compressed Raw codec. It will be interesting to see what the company comes up with next. You can find out more about the Netflix Post Technology Alliance program here. What do you think about the Post Technology Alliance by Netflix and Blackmagic’s participation in it? Are you shooting Blackmagic cameras, or will this make you more likely to consider them? Let us know in the comments!

While the anticipation for the new Blackmagic Pocket Cinema Camera 4K is increasing, we were lucky enough to be invited by Blackmagic to a small event, dedicated to exploring the camera a little bit further. During the one day occasion, we had a chance to “play with it” and get answers to our questions. Mind you that throughout the event we were NOT allowed to film with the camera by ourselves and all the Pocket Cinema Camera 4K images above are courtesy of Blackmagic. Blackmagic Pocket Cinema Camera 4K – Solid Body construction Camera Availability It seems like an eternity since we conducted the exclusive interview with Grant Petty, Blackmagic Design’s CEO at NAB, yet actually, it happened 5 months ago… Now, after being able to see the camera again – what has changed since the announcement? Well, maybe the most essential piece of information we got (On top of the excellent technical presentation from the Blackmagic guys) is that the camera is on track to be delivered in time. (B&H is stating Oct. 5th as expected delivery on their site). This is certainly good news to anyone who is waiting for his/her camera to arrive and start shooting with it. A graph taken from BM presentation simulating the camera ISO range and latitude Dual ISO Explained In addition, we have learned that the Dual ISO in this camera works in an “intelligent” way, meaning, there are two native ISO values (400 and 3200), but this breaks into two “banks”, from ISO 100 to 1000 and from ISO 1250 to 6400. Within the transition between those blocks (ISO 1000 to 1250), the LOG curve resets itself, so the Dynamic Range in all ISO values stays the highest possible. In order to achieve this, the camera is designed to increase ISO values by 1/3 stops instead of the usual stop increment. In other words: “No matter what ISO value you are using, expect to get the best possible latitude coming out of this camera”. (I’m quoting Blackmagic Design here). Blackmagic Pocket Cinema Camera 4K – Have a large hand? You will feel comfortable holding it External recording solution via USB C is a very welcomed feature We also learned the following (In no particular order) Blackmagic is promising 13 stops of Dynamic Range. We are looking forward to testing this in house Rolling shutter has not been tested yet. (We will test it in house, as well) The camera can be charged via the USB connector. With no doubt, a welcomed feature A Canon LP-E6 battery should last for around 50 minutes While recording to an external media via the USB C connector, the images can not be captured internally simultaneously The HDMI output signal supports images in full HD 10bit 422 only ProRes 10bit Extended Video Mode retaining greater latitude is also available with this camera (I really appreciate having this feature, especially when shooting for a production that requires “out of the box” good images, as this mode helps in protecting highlights better) Photos can be taken with the camera in 4K resolution (Can be useful to create “continuity photos”, for example) A photo taken from BM presentation simulating the extended Video Mode. In the right hand side, the Extended Video Mode   Extended Video Mode in color science 4 OS Final Thought All in all the Blackmagic Pocket Cinema Camera 4K is a very promising device, for a very competitive price, which carries the need to provide a certain picture look and feel on its shoulders. Saying that, as its bigger (and more expensive) siblings are know for their “cinematic aesthetic” and picture quality. When it comes to lowlight picture performance, the samples we saw looked good up to ISO 4000. As we were not permitted to film by ourselves, we could not stretch it and see how the camera behaves when shooting in higher ISO values. My main concern regarding this camera actually is not the picture quality – as Blackmagic Design is usually doing well in this department – but its usability. It is not that small and it is shaped a bit differently than most other popular mirrorless cameras (Good or bad, time will tell), although its size could be quite comfortable for larger hands. It has a very large LCD screen and no matter how bright it is, for some users like me, a viewfinder is really missing in order to be able to judge exposure and framing (Not to mention the additional stabilisation support through the body contact point). The autofocus functionality is a bit limited (Not continuous) and before getting flamed, when working with a gimbal as a single operator this might be a helpful feature. This brings me to the next point: In-Body Image Stabilisation. As this camera lacks this feature, we will have to rely on stabilized lenses, especially for some run & gun jobs. Reviewing what I just wrote, I’m asking myself if I got too spoiled while building expectations, as the latest offerings from reputable companies are quite intriguing. At times, when working “solo” all those features are needed in order to execute my work in the best possible way. On the other hand, when it comes to recording formats (ProRes and lossless 12-bit RAW in 4K DCI up to 60fps) at this price point, Blackmagic Design surpasses  every competitor! I’ll become more knowledgeable after receiving the camera and after I will start working with it. I’m looking forward to testing it soon. Only while working with it and simulating a real production, I will be able to make thorough conclusions. Blackmagic Pocket Cinema Camera 4K – Looking forward reviewing the camera The music used in the video above is courtesy of Music Vine. Get 20% off with code C5D20 (valid until 31st of March 2019) What do you think? Will you be picking up the Blackmagic Design Pocket Cinema Camera 4K when it ships later this month? Full disclosure: Johnnie and other media representatives were guests at the Blackmagic Pocket Cinema Camera 4K pre-launch event in Manchester, England. Blackmagic Design paid for the transport and accommodation for this day trip. There was no other payment involved whatsoever. 

SSD recording has become quite popular in the film and video community. This is probably due to the incredible success Atomos has had with their monitor-recorders, which have become commonplace mainly with the DSLR-shooting crowd. But while RED was pretty early to adopt SSDs (albeit proprietary ones) into their workflow, other manufacturers haven’t been following suit throughout their whole range of cameras. Blackmagic has released a recorder to take steps and change this (see announcement here). So is SSD recording on the URSA Mini now a thing? Blackmagic Design’s SSD recorder for the URSA Mini cameras Some context Blackmagic has come a long way since the introduction of their first URSA-branded camera in 2014. Following the introduction of the URSA Mini 4K, the URSA Mini 4.6K and more recently the URSA Mini Pro and Broadcast have garnered a tremendous following, both, among professionals as well as enthusiasts and the short-film-low-budget-crowd. Of course, this has partly been due to the more affordable price tag, compared to other offerings like the Canon C300Mk II, RED Raven and Canon C200, but also the ability to shoot CinemaDNG Raw in 12bit natively, without the need for an additional recorder. Yet, where the recently announced Blackmagic Pocket Cinema Camera 4K offers the innovative ability to record to external SSDs via USB-C, the URSA cameras still have to rely on CFast 2.0 cards, which despite all price drops, still break the bank for more frugal filmmakers. Although Blackmagic’s own recorder fits the URSA Mini nicely, the community’s reaction has been less than favorable – to say the least. The two main reasons seem to be: No support for 4.6k 60p Lossless Raw: The URSA Mini 4.6k and URSA Mini Pro use both CFast 2.0 cards simultaneously for this codec, alternating between both cards and writing one frame to each. Because even CFast 2.0 cards can’t take the full brunt of that codec – and a single SSD can’t either. Blocking of the rear SDI ports without passthrough: If you use the fabulous URSA Viewfinder (as you should) your front SDI-ports are blocked. The Blackmagic URSA Mini SSD Recorder will then block the rear SDI-ports. And since both devices don’t feature SDI-pass-through, the camera is effectively blocked for wireless transmission units, or a monitor for your focus puller. Alternatives for SSD Recording on the URSA Mini The market offers two readily available alternatives: The Atoch C2S recorder The CCTech Pro SSD Mount The Atoch C2S and CCTech off-brand SSD recorders Both recorders are similar, in that they use breakout adapter cables that are to be inserted into the CFast 2.0 slots, to effective bridge the gap to the SSDs. In contrast to the Blackmagic solution for SSD recording on the URSA Mini, they offer two SSD slots, making them capable of recording the 4.6k 60p Lossless Raw CinemaDNG, mentioned above, which the SDI connection utilised in Blackmagic’s solution isn’t capable of. The main difference between the two off-brand products is, that the older Atoch C2S recorder needs external power via 12-24V DC (without any measures for securing the cable in place), while the CCTech is capable of using the same internal connection the Blackmagic Recorder uses. Additionally, when the breakout cables aren’t in use, they can be neatly stowed away in the SSD slots, making the solution more travel friendly (surpassing even the Blackmagic cable brackets). The downside of the CCTech is lacking support, being available only on Ebay (and Amazon in some places); the Atoch C2S on the other hand is sold by B&H. Here’s a chart comparing the three solutions: So, what do you think? Is the in-house support and the attractive price-tag of Blackmagic Design’s URSA Mini SSD Recorder worth losing the most demanding codec the camera is able to shoot, or would you be willing to try one of the after-market-solutions for SSD recording on the URSA Mini? Maybe, you would also still prefer using CFast 2.0, no matter the cost? Let us know in the comments.

8Sinn now releases new cage which they claim is the first Blackmagic Pocket Cinema Camera 4K cage on the market. It comes in two versions and offers various accessories and more types of handles. 8Sinn Blackmagic Pocket Cinema Camera 4K Cages. Source: 8Sinn 8Sinn is a camera accessories manufacturer based in Poland. The company is not new in the field of camera cages – they produced quite a few interesting cages mainly for the mirroless segment of cameras – the Sony a7 series and the Panasonic GH series. Now they are releasing a new cage what they claim to be “the first cage for the Blackmagic Pocket Cinema Camera 4K”. This interesting little camera was introduced in April 2018 at NAB in Las Vegas and should start shipping now in September 2018. It is highly anticipated by a lot of filmmakers as it offers very interesting performance for relatively low price. Things like 4096 x 2160 DCI 4K 60 fps recording in CinemaDNG Raw, Raw 3:1, Raw 4:1 and various ProRes 422 options used to be reserved for much more expensive rigs. To see our hands-on video with the BMPCC4K from NAB and read more information about the camera you can click on this link. 8Sinn designed two versions of the cage for the new BMPCC4K plus a couple of accessories, handles, etc. 8Sinn Blackmagic Pocket Cinema Camera 4K Half Cage First of two new 8Sinn’s camera cages for BMPCC4K is the half cage. It was created to increase functionality and give users totally free access to the right side of the camera and multiple 1/4″ mounting points and cold shoe on the other side. It is made from one piece of high quality air-aluminium that minimize mechanical and other types of damages to minimum. Rounded edges and corners ensure safe and comfortable grip. 8Sinn Blackmagic Pocket Cinema Camera 4K Half Cage. Source: 8Sinn The 8Sinn cage was designed not to intrerfere with camera body structure at any point and not to prevent any of the controls. The cage is equipped with HDMI cable clamp that was designed to protect and keep the HDMI cable plug safely in place. Clamp can be adjusted to different brands’ plugs sizes by expanding two parts of the clamp. The cage is attached to the camera body by two mounting screws (upper and lower). Besides those two screws, 8Sinn has placed additional pins on the inside surface of the cage – these pins are dedicated to cameras’ bottom openings – their task is to prevent the camera body from twisting/sliding after being mounted in the cage. The dimensions of the 8Sinn half cage are 132 x 112 x 75 mm (LxHxW) and the weight is 199g. 8Sinn Blackmagic Pocket Cinema Camera 4K Cage The second Blackmagic Pocket Cinema Camera 4K cage has a full-cage-design to protect all sides of the camera. It has the same build quality and functions as the half cage, but it naturally offers more 1/4″ mounting points. It also offers strap holder on the right side of the camera which allows to use any hand strap and ensures steady holding of the camera. 8Sinn Blackmagic Pocket Cinema Camera 4K Cage. Source: 8Sinn The 8Sinn BMPCC4K cage is obviously a bit longer and heavier than the half cage – its dimensions are 194.50 x 112 x 75 mm (LxHxW) and the weight is 291g. Handles and Accessories 8Sinn offers their new Blackmagic Pocket Cinema Camera 4K cage in sets with three different types of handles: Top Handle Basic is the cheapest option of all three. It is fixed in place with no rotating or sliding options and it offers two cold shoe mounts and a couple of 1/4″ and 3/8″ mounting points. Top Handle Pro is slightly more expensive than the Basic version and offers more flexibility through the NATO rail mounting. The position of the handle can also be changed thanks to the dovetail clamp by the handle itself. It also offers two cold shoe mounts and a couple of 1/4″ and 3/8″ mounting points. Top Handle Scorpio has the same pricing as the Pro version. It offers the option to rotate the handle thanks to the big screw mount. It also features a 15mm rod mount and has four cold shoe mounts and a couple of 1/4″ and 3/8″ mounting points. 8Sinn Handles – Basic, Pro and Scorpio. Source: 8Sinn 8Sinn furthermore offers rod support piece which fits into all 8Sinn cages and provides support for 15mm rods. It offers Metabones speedbooster support and is equipped with quick release system. There is a screw to regulate the rods height. In connection with the rod support piece 8Sinn also offers universal lens support piece mountable on 15mm rods. Last but not least 8Sinn offers a flat monitor holder with a safety NATO rails mount. This type of flat holder is perfect for instance in combination with the rather big Atomos Recorders as it allows for more compact rig build. 8Sinn Cages Accessories. Source: 8Sinn The Blackmagic Pocket Cinema Camera 4K cage sets from 8Sinn are available for preorder and should ship in the first week of September 2018. Prices start at $179.00/€157.85 (without VAT) for the Half-cage version without handle. What do you think of the new 8Sinn Blackmagic Pocket Cinema Camera 4K Cage? Are you planning to buy (did you preorder) that camera? Let us know in the comments below.

Beta versions 7 and 8 were published in just under two weeks, so a final release of Resolve 15 was kind of imminent. today is the day, people: The final version of DaVinci Resolve 15 is here and it’s still free to download. If you want the full package you can purchase the Studio labeled version for $299. After the announcement of DaVinci Resolve 15 at NAB back in April the first public beta followed quickly after the show has concluded. Now, 4 months later, the final version of Resolve 15 hits your download folder. With the package comes a massive 2632 pages reference manual as a PDF. DaVinci Resolve 15 To get things straight right away: There’s no upgrade cost for previous Resolve 14 users. As a new user, you can either download the free version at no cost or purchase Resolve 15 for $299. If you happen to own a dongle for version 14, there’s no upgrade cost whatsoever. Here’s Peter Chamberlain, DaVinci Resolve product manager, on that matter: Everyone can download and use the free version. Customers with DaVinci Resolve Studio dongles and activation keys, and those with Fusion Studio dongles can download and use DaVinci Resolve Studio v15 at no cost. [posted on the Blackmagic Design Forum] Let’s move on to the features of Resolve 15. If you already played around a little with previous beta versions you know what’s coming: Fusion is now an integrated part of Resolve. The tabs (as in: workspaces) at the bottom of the screen now include: Media, Edit, Fusion, Color, Fairlight and Deliver. Watch the video below for a fairly extensive overview of the new features: The above video came out just after the announcement of Resolve 15 so there might be slight changes to some features but you get a pretty good idea of the deep integration of Fusion and Fairlight into Resolve. In contrast to Adobe whose approach is to develop a whole suite of dedicated apps, Blackmagic has put all the features of several acquisitions straight into their main software tool: DaVinci Resolve. When they acquired Resolve it was just a color correction and grading tool. After that a NLE style video editor was added with version 10 in 2013. Then came Fairlight, a full-fleged suite of audio tools for manipulating and mastering audio. Now, with version 15 their latest acquisition has been merged into Resolve: Fusion, which is an advanced node based compositing tool. Installation files for Resolve 15 plus a massive reference manual. If you’re a Adobe user you could compare Resolve to Premiere Pro (editing and grading), Audition (audio) and After Effects (compositing). These are very different applications, though. Adobe After Effects for example uses layers while Fusion is based around nodes. The good thing is this: Round-tripping has become a lot easier with both, Adobe and DaVinci Resolve. No more exporting, transcoding, importing, manipulating, exporting again. Adobe uses their so-called dynamic link technology  in order to link (and update in real time) assets from After Effects to Premiere Pro. In DaVinci Resolve all you have to do is hopping back and forth between the different workspaces and that’s it. All changes are being updated in all other workspaces as you go. Download Today Using a beta labeled program is not exactly what you want to do if you’re in the middle of a paid job. Since Resolve 15 is now out of beta it’s safe to download and check out, I would say. I’ve been working with Resolve 15 beta versions on a couple of smaller projects for the past months and I barely experienced a real bad crash except for the Fusion tab which should be stable by now. The Studio version has some advanced features unlocked such as noise reduction, some 3D tools, a list of motion effects or the support for multiple GPUs. Most of what I’m doing works great with the free version but since the full Studio version is only $299 you might want to consider buying this if you need these advanced features. A dongle for the studio version also comes bundled when purchasing one of Blackmagic cameras. Resolve 15 is available for Mac OSX, Windows and Linux. You can download it from Blackmagic Design’s website or though Apples MacStore. A word of warning, though: In order to work with the new version you need to upgrade your database. There’s no going back after that so you might want to backup your database before installing Resolve 15 for the first time. Links: Blackmagic Design | comparison between free <–> studio version | full change log Do you use DaVinci Resolve for your projects? What do you think about version 15? Share your thoughts in the comments below!

Thomas Fletcher together with Gary Adcock are both continuing the tradition of updating their Camera Comparison Chart with information gathered from numerous conversations with various cinematographers, rental houses, and manufacturers. Fletcher/Adock Camera Comparison Chart 2018 Page 1 Fletcher/Adock Camera Comparison Chart 2018 Page 2 It’s extremely helpful to look at cameras this way – purely for the specs – because it really allows you to see every feature side-by-side and assess it. I can only wish that future charts will mention cameras like the Canon C200, Sony FS5 and even more so, some popular mirrorless products like the Sony a7S II and Panasonic GH5(s). A step in this direction will allow us to have a comprehensive overview of the equipment the industry is currently dealing with. (I also hope that the new Blackmagic Pocket Cinema Camera 4K will find its way to this chart). One thing to remember. The camera prices mentioned in this chart are “List Prices”, so the actual prices might be cheaper. For example, the Sony FS7M2 is currently being sold at B&H for around $9,000 while at the chart it is $13,199, so if you want to compare cameras based on prices, please check for the most updated information. While looking at that comparison chart, please take a moment to read what Thomas and Gary have noted: Portions of these chart are subjective. This is not scientifically tested and collected data. We have sincerely tried to assemble accurate information to share with the industry. Our goal is to help producers make an educated decision in a rapidly changing camera and optical landscape – that said – numbers do not tell the whole story – look at the images and consult your cinematographer. We encourage you to test for yourself! click here to head for the comparison chart PDF directly. What other cameras would you like to appear in future comparison charts? Let us know in the comment section below.

A new line of Tilta cage has been announced for medium sized camcorders. The shoulder-mount configured rigs are designed specifically for the Canon C200, Sony FS5, Panasonic EVA1 and Blackmagic URSA Mini Pro. Tilta has become quite well known for it’s camera-specific cages. We’ve seen heavy support in the top and low end spectrums of the market, with skin-like support for RED as well as modular designs for mirrorless cameras. Tilta has now taken a turn to the mid-range market, targeting specifically the Canon C200, Panasonic EVA1, Sony FS5 and Blackmagic URSA Mini Pro. Speaking on the line as a whole (each is very similar, just ergonomic shifts to cater for specific cameras) the Tilta cage is broken down into 4 main components: Bottom Plate with shoulder support Top Plate Rear battery plate Extension arm Bottom Plate The bottom plate is the heart of the system. It has 15mm LWS rods on the front, rosettes on both sides, 15mm rod mounts to the rear (non pass-through) and padded shoulder support. Pretty standard stuff, but there are a couple of nice unique features. The plate is both VCT and ARRI Dovetail compatible – two solid industry-standard mounting options for tripod mounting. There is also a slider plate that mounts directly to the camera, this allows fore/aft adjustment to perfect balance on the shoulder, but the neat little feature I like is the lens/lens adaptor support on the front. Lens mounts and particularly lens adaptors on mid range cameras are not so solid; you can get a lot of play with the likes of the Sony FS5 and metabones adaptor. This lens support can help prevent movement, mounting to the plate itself keeps things very compact. Extension Arm The extension arm bolts to the rosette on the side of the bottom plate, extending the native camera handle for better ergonomics. The extension cable is brand specific (Sony/Panasonic/Canon etc.). It would’ve been nice to see one-touch adjustment to this arm like we see with other manufacturers. Top Plate The top plate is where features changes model to model. All offer camera to native top handle mounting in a compact fashion. The Tilta cage for the EVA1, FS5 and USRA Mini Pro all have front and rear 15mm rod support. Fronts can be used for accessories like magic arms for external monitors, follow focus motors, recorders etc. The rears are reserved for the battery plate. The Canon C200 Tilta cage top plate doesn’t feature front rod support, instead has a rosette on the rear for the battery plate, and “precision fitting and grip for Optional C200 top Handle”. Battery Plate All battery plates are primarily designed to mount via the top plate of the Tilta cage. I really like this way of rigging; it gives you the ability to strip the bottom plate if you want to go lightweight; it also gives you greater adjustment of fore/aft on the camera on the bottom plate. If you prefer to mount them on the bottom plate, this can be done via hex screw and simply using the 15mm rods on the bottom plate. Battery plates are available in Gold or V-Mount, and have the following outputs: • (2) 12v DC outputs • (1) 8v DC output • (1) 14.8V PTAP output Availability is expected early March 2018 for each Tilta cage, with pricing range from $650-$730.

Blackmagic Design’s new camera, the URSA Broadcast, is a 4K-capable live event and studio-focused camera that builds on the URSA Mini Pro lineage, but in a form factor that lends itself to ENG work. The camera, priced at $3,500, is at a more accessible price point than many other broadcast cameras on the market. All the details below:  The Blackmagic Design URSA Broadcast Designed to work with B4 mount broadcast lenses, the Blackmagic Broadcast camera has internal ND filters (¼, 1/16th and 1/64th), 4K sensor and records to dual C-fast and SD card slots. The camera records 1080i or 2160p video into NLE friendly .mov files, with a .mxf recording option promised in a future update. The B4 lens mount allows for electronic control of iris, focus and zoom, and the B4 mount can be swapped out for EF, PL or F mounts. Beyond the different lens mounts, a full range of Blackmagic accessories are available for the camera including gold and V-mount battery plates and fiber converters. The Blackmagic Design URSA Broadcast On the surface, the URSA broadcast seems like a feature-rich and shoulder-friendly camera at an impressive price point. The camera is available now and we’ll post updates and video as the camera starts to make its way into the field. Technical Highlights: 4K sensor dual CFast and dual SD card slots ⅔” B4 mount Support for DNxHD 220X, DNxHD 145, Apple ProRes 4444 XQ QuickTime, ProRes 4444 QuickTime, ProRes 422 HQ QuickTime, ProRes 422 QuickTime, ProRes 422 LT QuickTime and ProRes 422 Proxy QuickTime, CinemaDNG RAW, CinemaDNG RAW 3:1, CinemaDNG RAW Internal ND Filters (1/4, 1/16th and 1/64th) Optional PL, EF and F mounts available Available ports: Dual XLR mic/line audio inputs w/ phantom power, 12G‑SDI output XLR 4 pin power output for viewfinder power, headphone jack, LANC remote control and standard 4 pin 12V DC power connection 4 inch touchscreen display What do you think of the new Blackmagic Design broadcast camera? Comment below!