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Posts Tagged ‘Cinema’

DJI announces the Ronin 4D, the world’s first 4-axis cinema camera with 8K/75p recording, Raw capture, LiDAR AF and more

20 Oct

DJI has kicked off its string of announcements with the Ronin 4D, a new—and arguably revolutionary—cinema camera system that combines a cinema camera with four-axis image stabilization, LiDAR focusing and wireless transmission to create the ultimate all-in-one shooting experience.

The DJI Ronin 4D attempts to create an ‘integrated cinematography solution,’ in DJI’s own words. At the heart of the Ronin 4D is CineCore 3.0, a proprietary chipset DJI is calling ‘its most powerful cinematic imaging platform to date.’ According to DJI, this system can capture internal 8K Raw video ‘with precise color reproduction, advanced assistive functions with a high-performance AI engine, and multi-link monitoring and control with low-latency image processing.’

To pair with the new chipset is a pair of new full-frame (36mm × 24mm) Zenmuse X9 gimbal camera systems, available in 8K and 6K versions. Both the X9–8K and X9–6K will be able to record Apple ProRes 422 HQ and ProRes RAW, as well as your standard H.264 codec. The Zenmuse X9–8K tops out at 8K/75fps while the X9–6K tops out at 6K/60fps with the option to get 120 fps footage at 4K resolution.

Zenmuse X9 cameras feature interchangeable lens mounts, but will be available at launch with options for its proprietary DL mount and Leica M mount lens systems. DJI says it should also work, at least in theory, with ‘other mounts with short-flange focal distances,’ but doesn’t elaborate on whether or not it will be offering any other interchangeable mounts at this time.

The sensor inside the X9–8K and X9–6K offers dual-native gain and can capture ‘over 14 stops of dynamic range.’ There are also nine built-in physical ND filters that can be adjusted from ND2 to ND512 for times when you need to reduce the amount of light hitting the sensor. Footage captured with the new Zenmuse X9 camera systems will be processed by DJI’s Cinema Color System, which it says ‘delivers natural skin tones and enables effortless tonal consistency across a project when using different cinema cameras.’

A comprehensive list of recording specs for the Zenmuse X9-8K camera system.

Moving onto the four-axis gimbal, DJI says the Ronin 4D ‘has been designed with an innovative industry-first active Z-axis to eliminate vertical camera shake effectively.’ DJI has also taken inspiration from its drone lineup to add a set of downward-facing ToF sensors, as well as forward and downward dual-visual sensors, a built-in IMU and a barometer to achieve the best stabilization possible.

The Ronin 4D will feature three different autofocus modes: manual focus, autofocus and a new Automated Manual Focus (AMF) mode. The latter two modes use the onboard LiDAR Range Finder, which casts over 43,200 points as far as 10M (33ft) to locate and track subjects in situations where traditional AF might not work due to the lack of light. The unique AMF mode will track subjects and turn the focus wheel during recording, with the option for the camera operator to jump in and manually pull focus when needed. To help in manual focus and AMF modes, there will be LiDAR Waveform available on the monitor to help cinematographers ‘locate focus points and pull focus with extreme precision.’

Once again taking inspiration from its line of drones, DJI has developed an all-new O3 Pro transmission technology that can output 1080p/60fpsd video to remote monitors via the 4D Video Transmitter. DJI says the transmission range is roughly 20,000 feet and notes the video feed is AES 256-bit encrypted for end-to-end privacy. The system uses 2.4GHz and 5.8GHz bands, as well as the DFS frequency band, which DJI says ‘significantly improv[es] stability and anti-interference performance, even in crowded signal environments and locations that feature complex architectural structures.’

While third-party monitors can be used, DJI is also offering a new 7” wireless monitor with 1,500 nits of brightness and a built-in gyro that effectively turns the monitor into a motion controller for the Ronin 4D camera system. The High-Bright Remote Monitor includes an integrated microSD card slot for 1080p/60fps proxy recording and connects with a slew of accessories, including the Ronin 4D Hand Grips, DJI Master Wheels, DJI Force Pro and the new DJI Three-Channel Follow Focus. Multiple monitors can be used at once and customized independently to fit the production’s needs.

Video can be recorded to media three different ways: to SSD over USB-C, to CFexpress Type-B cards via the internal card slot and directly to DJI’s proprietary PROSSD 1TB SSD, which DJI claims ‘delivers the best performance and highest stability for internal recording at maximum resolution and frame rate.’ The Ronin 4D has built-in microphones capable of recording two-channel 24-bit audio, but also has two 3.5mm ports on the body as well as the option to add two XLR ports via the Expansion Plate for further input options.

The Ronin 4D uses the same TB50 Intelligent Battery used by DJI’s Ronin 2 and Inspire 2, which offers up to 2.5 hours of shooting time. Below is the full launch event video:

The 6K version of the DJI Ronin 4D will be available for $ 7,199 in December 2021. It will includes the main body, a Zenmuse X9–6K gimbal camera, a LiDAR Range Finder, a High-Bright Main Monitor, Hand Grips, a Top Handle, TB50 Intelligent Battery and a carrying case. The 8K version of the DJI Ronin 4D will be available for $ 11,499 ‘at a later date’ and will include the Zenmuse X9–8K Gimbal Camera as well as a PROSSD 1TB. The 4D Video Transmitter, High-Bright Remote Monitor and DJI PROSSD 1TB will also be available to purchase separately.

You can find out more about the DJI Ronin 4D on DJI’s website and download sample footage on DJi’s dedicated download page.

Articles: Digital Photography Review (dpreview.com)

 
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Sirui rehouses its 1.33x anamorphic lenses for cinema rigs and adds T-stops

15 Aug

Chinese anamorphic lens manufacturer Sirui has introduced a new set of lenses bases on its existing four models. The Sirui MARS lenses are designed to offer better handling for rigged cameras, and come with built-in mod gears for both aperture and focus rings. The apertures have also been reclassified as T-stops and the focus throw of each of the models has been significantly extended to make accurate focus adjustments easier with follow focus equipment.

While the standard 1.33x anamorphic lenses from Sirui come in a range of mounts, the MARS set is offered only for the Micro Four Thirds system – though the company tells me they are considering other mounts for the future. The focal lengths on offer are 24mm, 35mm, 50mm and 75mm, which correlate directly with the existing lenses. To unify the iris though the f/1.8 lenses now are marked T2, and the f/2.8 aperture of the 24mm is now marked as T2.9. Further modifications to the lenses include harmonised filter threads at 67mm (the existing 24mm takes a 72mm filter) and each of the MARS lenses is heavier and longer than its original equivalent.

From the group shot photograph it appears that Sirui has managed to reposition focus and aperture rings so that they all fall in the same place. This will allow lens changes without too much rig adjustment, helped too by the fact that now each lens has its own 1/4in thread mounting socket aligned between the two rings. The lenses also now have focus and iris scales that are visible from the side of the lens instead of only from the top.

Sirui says it hasn’t changed its optical designs for these lenses in the process, and the number of elements used and the way they are grouped is exactly the same as in the original models – though some close-focus specifications have changed.

At the moment the lenses are available only as a set rather than individually, and they come in a hard case that can hold them all. The sets are due to begin shipping on 20th August, and will cost just under $ 4000 – a premium of about $ 600 over buying all four of the original versions. For more information see the Sirui website.

Manufacturer information:

SIRUI MARS 1.33x Anamorphic Lens Set for Micro 4/3

  • Lens Kit for Micro 4/3 mount
  • 2.4:1 cinematic widescreen vision
  • 1.33x crop anamorphic front element
  • Built in Mod Gears
  • Long Focus throw
  • 1/4inch screw mount
  • Fast T2 aperture (35mm, 50mm, 75mm), Range T2-T16
  • Fast T2.9 aperture (24mm), Range T2.9-T16
  • Oval shaped bokeh and horizontal flaring
  • Create a cinematic feel in your videos
  • 67mm filter thread
  • Manual focus

With its 1.33x Ratio, the lens takes full advantage of the 16×9 sensor crop that these cameras shoot video in to produce a 2.4:1 aspect ratio that is synonymous with theatre movie experiences.

The lens kit uses an optically distorting anamorphic front element to squeeze the horizontal axis of the shot by 1.33 times which allows for more information to be fit onto the sensor. This is then stretched back out in post-production or in-camera (see manufacturers specs for compatibility) to create the wider field of view and ratio compared to a conventional aspherical lens.

The lens kit reproduces flares beautifully whilst the coatings on the lens keep them from obscuring the entire frame. The fast aperture of T2 to T2.9 to creates a very shallow depth of field increasing the oval-shaped bokeh effect that is found in anamorphic lenses. this soft out of focus area is one of the many benefits that a true anamorphic lens brings over its filter counterparts or digital crop bars that are used to imitate the anamorphic ‘look’.

SIRUI MARS 1.33x Anamorphic Lens Set is in four focal lengths: 24mm, 35mm 50mm and 75mm, which allow you to shoot from wide angle to telephoto. The solid build quality, signature anamorphic look and the affordable price combined to open up more opportunities for creative composition.

1.33x Squeeze for 2.4:1 Aspect Ratio

Normal spherical lenses shoot standard 16:9 video.
With a cylindrical optical element in the front, SIRUI anamorphic lens squeezes the image down 1.33 times horizontally. When the final image is desqueezed, you’Il end up with an ultra-wide CinemaScope 2.4:l aspect ratio.

Oval Bokeh Balls and Blue Lens Flares

The elliptical highlights and blue light streaks produced by SIRUI anamorphic lens offer plenty of anamorphic feel, adding a sprinkle of magic to your footage.

Comprehensive Focal Lengths

MARS has a collection of four focal lengths in the set, covering the most important focal lengths to shoot a complete project. This lens set will definitely give videographers more control over various settings.

Precise T-Stops

The lens set features declicked aperture rings measured in T-stops. Among the four lenses, except for the 24mm with a T-stop of 2.9, the other three have the same T-stop of 2.0. These fast lenses perform extremely well under low light conditions.

Solid Build Quality

This lens set is of full metallic housing with standard 67mm filter threads. The weight and size of the lenses differ slightly due to different mounts. A threaded front is included for screw-in accessories like the matte box.

Built-In Mod Gears

Mod gears on the focus ring and the aperture ring are designed for extra smooth control. To save you the trouble of readjusting accessories when changing lenses, the diameter and the distance between the focus ring and the aperture ring of each lens is made the same.

Long Focus Throw

To gain enough space for accurate focus pulling, the four lenses are all engineered with a long focus throw (the longest one reaches up to 303 degrees). Graduations on both sides of the focus ring allows you to quickly pull focus to the desired position.

1/4″ Screw Hole

With a 1/4″ screw hole at the bottom, the lens can be mounted directly on the quick release plate to maintain the balance of the whole setup.

M4/3 Native Mount

This lens set is available in native mount for Micro Four Thirds, compatible with Z CAM BMPCC4K, Olympus and Panasonic (specific models) cameras. Unified native mounts make shooting a lot easier for people who want to step into the anamorphic world.

Waterproof and Drop-Proof Strong Suitcase

Plastic injection molding housing, high-density EVA lining as well as the embedded rubber ring make the suitcase strong enough to meet an international standard rating of IP68, ensuring tight protection from the inside to the outside. This suitcase facilitates photographers/videographers to carry the lens set around without worrying about the safety of the gear.

Articles: Digital Photography Review (dpreview.com)

 
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Sony announces its new FX6 full-frame cinema camera with 10-bit 4:2:2 4K/120p internal recording

22 Nov

Sony has announced the launch of its new FX6 full-frame 4K cinema camera, which merges Sony’s cinema technology and form factor with advanced imaging technologies taken from its Alpha mirrorless camera systems.

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At the core of the camera is a 4K 10.2-megapixel full-frame backside-illuminated CMOS Exmor R sensor powered by a Sony Bionz XR image processing engine — likely the same setup used in the Sony a7S III. Sony notes the sensor offers 15+ stops of dynamic range and has a maximum ISO of 409,600 for ultra-low-light shooting.

The FX6 captures 10-bit 4:2:2 full-frame footage at 120 frames per second (fps) at 4K and 240 fps in 1080. If you use the onboard 12G-SDI port, the FX6 can output 16-bit SDI Raw 4K/60p video. Sony has also added its S-Cinetone look profile, which is inspired by its Venice colorimetry and also found in the company’s FX9 cinema camera.

Footage is stored to one or both of the camera’s dual CFexpress Type A card slots, which are also backwards compatible with SD UHS-II cards. It’s worth noting though that any recording over 100 fps will require the use of the faster CFExpress Type A cards, as even UHS-II SD cards won’t have the bandwidth to get the job done.

Below are still frames pulled from footage captured with the FX6:

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The FX6 uses Sony’s E-mount for attaching lenses, making it compatible with more than 50 native lenses and countless dozens third-party lenses. The FX6 features the same 627-point Fast Hybrid AF system found in the FX9 and Sony’s Alpha mirrorless cameras, including advanced Face Detection and Real-time Eye AF. The FX6 also has internal electronic variable ND filters, which can be manually adjusted ‘in smooth increments from 1/4 to 1/128.’ Below is a video demonstration of the FX6’s electronic ND filter at work:

The FX6 is constructed of a magnesium alloy chassis that measures 11.6cm (4.6”) x 15.3cm (6”) x 11.4cm (4.5”) and weighs 890g (1.96lbs). The included 3.5” LCD viewfinder can be attached to various locations on the body, thanks to its modular design.

Other features include built-in Wi-Fi, four-channel audio recording and compatibility with Sony’s Catalyst Browse/Prepare software as well as Sony’s Content Browser mobile app that can be used to monitor video and control focus, iris and even zoom remotely.

The FX6 full-frame cinema camera from Sony will be available for $ 6,000 in December through Sony and authorized retailers. It will also be available as a kit with Sony’s FE 24–105mm F4 G E-mount lens for $ 7,200. Sony is also releasing a new FE C 16–35mm T3.1 G lens in December that will retail for $ 5,500.

Press release:

Sony Electronics Launches FX6 Full-frame Professional Camera to Expand its Cinema Line

FX6 Combines the Best of Sony’s Industry-leading Digital Cinema Technology with Advanced Imaging Features from Alpha™ Mirrorless Cameras

FX6 Product Highlights:

  • 4K 10.2 megapixel full-frame back-illuminated CMOS Exmor R™ sensor
  • Compact and lightweight body design for on-the-go shooting
  • Ultra-high sensitivity with ISO expandable up to 409,600 for very low light conditions
  • 15+ stops of dynamic range[i]
  • S-CinetoneTM look profile, also used in FX9 and inspired by VENICE colorimetry
  • BIONZ XR™ image processing engine, first used in Alpha 7S III
  • Fast Hybrid Auto Focus, also used in Alpha cameras and FX9
  • Recording up to 4K 120p / HD 240p, 10-bit 4:2:2 color depth in full-frame[ii]
  • Support for up to 12G-SDI and 4K at up to 60p 16-bit SDI RAW output
  • Compatible with more than 50 native E-mount lenses

SAN DIEGO – November 17, 2020 – Sony Electronics Inc. today officially announced the FX6 (model ILME-FX6V) camera, the latest addition to Sony’s Cinema Line, a series of products that brings the company’s expertise in imaging technology to a broad range of filmmakers and content creators.

Sony’s Cinema Line, which also includes the VENICE and FX9 cameras, delivers a coveted filmic look cultivated from extensive experience in digital cinema production, as well as enhanced operability thanks to an innovative body design, extensive durability and intuitive customizability.

As part of the Cinema Line, the all-new FX6 incorporates Sony’s core technologies of image sensor, processing engine, and AF (autofocus) performance. FX6 is also compatible with the wide range of Sony E-mount lenses for creative flexibility.

“The new FX6 is the latest example of Sony’s drive to continuously push the boundaries of imaging technology based on the needs of our customers,” said Neal Manowitz, deputy president of Imaging Products and Solutions Americas, Sony Electronics. “With the advancement of our Cinema Line, we are dedicated to enabling the extraordinary skills and talent of today’s content creators and cinematographers. The FX6 leverages technology from Sony’s industry-leading VENICE cinema camera and marries it with the best of Sony’s innovative Alpha mirrorless camera technology.”

Full-frame Cinematic Image Quality

The new camera features a 10.2 MP[iii] full-frame back-illuminated Exmor R™ CMOS sensor that delivers a 15+ stop wide dynamic range[iv] with high sensitivity and low noise. FX6’s base sensitivity is ISO 800 with an enhanced sensitivity setting of ISO 12,800[v] – expandable up to 409,600[vi] – for shooting in low and very low light conditions. It is capable of recording in XAVC All Intra 4:2:2 10-bit depth with stunning image quality in DCI 4K (4096 x 2160 – up to 60p), QFHD 4K (3840 x 2160 – up to 120p[vii]) and FHD (1920×1080 – up to 240p) for incredibly detailed slow motion. When more convenient file sizes are needed, FX6 can record in XAVC Long GOP 4:2:0 8-bit QFHD 4K (3840 x 2160 – up to 120pvii) and 4:2:2 10-bit FHD (1920×1080 – up to 240p). FX6 also includes a BIONZ XR™ image processing engine, first used in the new Sony Alpha 7S III camera, providing up to four times faster processing performance compared to the FS5 II.

Developed with the same expertise as Sony’s world-leading VENICE cinema camera, FX6 offers advanced cinematic color science including S-CinetoneTM for richer tonal reproduction right out of the box as well as S-Log3, S-Gamut3 and S-Gamut3.Cine for post-production flexibility. FX6’s cinematic color science is optimized for premium applications by capturing the maximum dynamic range from the sensor and providing creative freedom. Leveraging the color science of VENICE, FX6 also allows productions to easily match footage with other cameras in the Cinema Line.

Advanced Video Features

Pulling from Sony Alpha’s impressive AF features, FX6 offers Fast Hybrid AF by combining 627-point[viii] focal plane phase-detection AF with advanced Face Detection and Real-time Eye AF in high frame rates with continuous AF, allowing camera operators to effortlessly and precisely track fast-moving subjects in slow motion without losing focus. Fast Hybrid AF works with over 50 native E-mount lenses. The camera can also capture up to five times slow-motion with 4K (QFHD) 120fps.

The new FX6 also offers internal electronic variable ND filters for easy and seamless control of the camera’s filter density. Users can set variable ND to auto or adjust the filter density manually in smooth increments from 1/4 to 1/128 for perfectly exposed images without affecting the depth of field or shutter angle, even during changing lighting conditions. Combined with the camera’s ultra-high sensitivity, the electronic variable ND filter provides users with outstanding creative control in almost any shooting environment.

Made for Content Creators on the Go

Outstanding Mobility and Operability

Built with a durable magnesium alloy chassis, measuring just 4.6 inches x 6 inches x 4.5 inches (116 millimeters x 153 millimeters x 114 millimeters) and weighing just 1.96 pounds (0.89 kilograms), FX6 has a compact and lightweight design making it easy for users to grab and shoot at any time. The new camera includes a heat dissipating structure to keep the camera’s components within their normal operating ranges to prevent overheating, even during extended recording times. FX6 also features a modular design allowing users to easily pair accessories, such as grips and viewfinders, or attach the camera to other mechanisms, such as gimbals and drones.

FX6’s 3.5-inch LCD Viewfinder can be attached on multiple locations of the camera body for added freedom and easy menu control with touch operation. Using a quick access control menu for commonly accessed features, camera operators can change key settings with a single touch – including Codec, Imager Scan Mode, Picture Size and Frequency, Base ISO and Sensitivity, Shooting Mode and Audio Levels.

Professional-level Reliability

In line with professional workflows, FX6 includes a 12G-SDI output that also supports 16-bit RAW, HDMI output, timecode in/out, built-in Wi-Fi and four channel audio recording (via XLR Interface, Multi-Interface Shoe and built-in Stereo Mic). The new camera also features two media slots compatible with CFexpress Type A cards[ix] for higher overall capacity and faster read and write speeds in addition to SDXC UHS-II/UHS-I cards.

Additionally, Sony’s Catalyst Browse/Prepare[x] software facilitates fast and easy editing. Users can import FX6’s image stabilization metadata into Catalyst Browse/Prepare to transform handheld footage into incredibly smooth and stable visuals. FX6 also has a dedicated Clip Flag button to easily filter and locate preferred takes using Catalyst Browse/Prepare. This software also reflects metadata indicating when FX6 is rotated or in its normal position, eliminating the need to rotate footage beforehand. FX6 is also compatible with Sony’s Content Browser Mobile App to easily monitor and control focus, iris, and zoom remotely[xi].

About Cinema Line

Cinema Line is series of professional cameras that have a filmic look, cultivated from Sony’s long experience in digital cinema production, and enhanced operability and reliability that responds to the wide variety of creator’s high demands.

Cinema Line includes the digital cinema camera VENICE, which is highly acclaimed in the feature and episodic production industry, and the professional camera FX9, which is has been popular for documentary and drama production. With the new FX6, Sony brings versatile creative tools to all types of visual storytellers.

FE C 16-35mm T3.1 G E-mount Cinema Lens

The FE C 16-35mm T3.1 G (model SELC1635G) lens, announced at IBC 2019, will be available in December 2020 to pair with FX6, FX9 and other full-frame Sony cameras. This new lens supports intelligent shooting functions unique to E-mount cameras – such as fast and accurate AF within shallow depth of field – while also offering manual focus options in a form factor familiar to professional cinema creators.

The FE C 16-35mm T3.1 G delivers stunning bokeh and corner-to-corner resolution thanks to two XA (Extreme Aspherical) elements with extreme surface precision of 0.01-micron, circular 11-blade apertures in addition to three aspheric lenses that are positioned in a way that effectively reduces field curvature, astigmatism and, in combination with two ED (Extra-low Dispersion) glass elements, reduces color distortion. Additionally, floating focus provides outstanding resolution at every zoom position. The new lens also features Nano AR (Anti Reflection) coating, to reduce flare.

The focus ring offers a 140-degree large angle of rotation for fine control, with distance scale markers for consistent focus reset during multiple takes. Linear Response MF enables smooth manual focus, allowing users to adjust focus accurately and intuitively. Three independent rings for focus, iris and zoom enable users to get the exact creative results they desire. Each ring has the industry standard 0.8mm pitch gear for use of follow focus accessories, and the 114mm barrel diameter is compatible with industry standard matte box accessories. A two-speed servo provides smooth, accurate control of focal length and can be activated from a switch on the lens or a lever on the FX6 Smart Grip.

Pricing and Availability

The new FX6 full-frame Cinema Line camera will be available in December and will be sold for approximately $ 5,999.99 USD and $ 8,048.99 CAD, at a variety of Sony’s authorized dealers throughout North America.

A new kit featuring the FX6 full-frame Cinema Line camera and FE 24-105mm F4 G E-mount Lens will also be available in December and will be sold for approximately $ 7,199.99 USD and $ 9,658.99 CAD. It will be sold at a variety of Sony’s authorized dealers throughout North America.

The FE C 16-35mm T3.1 G lens will be available in December and will be sold for approximately $ 5,499.99 USD and $ 7,199.99 CAD, at a variety of Sony’s authorized dealers throughout North America.

Exclusive stories about Cinema Line, FX6, FE C 16-35mm T3.1 G and Sony’s other imaging products can be found at www.sonycine.com and www.alphauniverse.com, resources designed to educate and inspire all fans of Sony’s technology for content creation and photography.

Articles: Digital Photography Review (dpreview.com)

 
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Canon announces the EOS C70, a Cinema EOS camera in a mirrorless body

24 Sep

Canon has announced the EOS C70, a digital cinema camera with a body that resembles a mirrorless stills camera. Notably, the C70 uses Canon’s RF lens mount, making it the first Cinema EOS camera to adopt the company’s newest lens system.

The EOS C70 features a Super35 sensor using Canon’s next-generation Dual Gain Output (DGO) technology. The DGO sensor reads each pixel at two different gain levels, with one prioritizing saturation and highlight protection and the other suppressing noise in the shadows.

When combined, Canon claims the camera can deliver 16+ stops of dynamic range at up to DCI 4K/60p or 2K/120p (using a Super16 crop). It can also capture 4K/120p and 2K/180p without extended dynamic range. Recording choices include both All-I and intra-frame options using Canon’s XF-AVC or MP4 (H.265) codecs.

Other features that should appeal to video shooters include dual-pixel autofocus, a motorized 10-stop ND filter, C-Log2/C-Log3, PQ and HLG gamma for HDR, two mini XLR mic inputs, thirteen customizable buttons, and custom in-camera LUTs.

An air intake system provides cooling, allowing the camera to record for extended periods. The cooling system is outside the sealed part of the camera to prevent dust or moisture from reaching the electronics.

The camera features a 3.5-inch 2.76M-dot rear LCD but not an electronic viewfinder. Presumably, Canon expects many Cinema EOS users to put the camera in a rig with their preferred EVF or external monitor.

Alongside the camera, Canon also announced the Canon Mount Adapter EF-EOS R 0.71x, which allows users to attach EF-mount lenses to the C70. Unlike Canon’s existing EF to EOS R adapters, the EF-EOS R 0.71x is an optical adapter that works like a speed booster, making it possible to use EF lenses on the smaller Super35 sensor at their intended focal lengths while increasing lens speed by one stop.

The EOS C70 will be available in November for $ 5499. The EF-EOS R 0.71x adapter will follow in December for $ 599.

READY FOR ACTION: THE CANON EOS C70 4K DIGITAL CINEMA CAMERA PACKS CINEMA EOS IMAGING FEATURES INTO STILL CAMERA ERGONOMICS

The First Cinema EOS Camera with an RF Mount, this New Compact and Lightweight Model Features a Super 35mm Dual Gain Output (DGO) Sensor, DIGIC DV7 Image Processor, ?and 16+ Stops of Total Dynamic Range

MELVILLE, N.Y., September 24, 2020 – Canon U.S.A., Inc., a leader in digital imaging solutions, is excited to announce the company’s first-ever RF mount Cinema EOS camera, the EOS C70 4K Digital Cinema Camera. When the Canon RF mount was first introduced, imaging professionals began to dream about the possibilities that this revolutionary mount system might provide them. One request that Canon consistently heard was to put an RF mount on a Cinema EOS camera so that future lens performance could capitalize on the short flange depth. Just two short years later, those wishes have come true with the new C70 camera.

The unique design of the EOS C70 camera puts a significant emphasis on operational convenience for the end-user. The small form-factor, weighing only 2.6lbs., allows the camera to be easily handheld and dramatically enhances a videographer’s mobility, providing a seamless bridge between the EOS and Cinema EOS families for cinematic applications. Cleverly designed, the camera features a slim, motorized ND filter unit – having a mere 6mm depth – that is built into the short flange back of the RF mount. The motorized 10-stop ND filter provides users with the flexibility to control exposure while keeping the desired depth-of-field and capturing images that feature the desired level of bokeh. Thirteen customizable buttons allow users to select from more than 80 functions to be assigned based on individual preferences.

“The Canon EOS C70 camera is truly a special tool that will undoubtedly satisfy and delight a variety of users on the search for a high-powered piece of video equipment,” said Tatsuro “Tony” Kano, Executive Vice President and General Manager of Canon U.S.A.’s Imaging Technologies & Communications Group. “In today’s fast-moving, ever-changing world of filmmaking and content creation, versatility is key, and the EOS C70 will provide a familiar form and feature set to our entire spectrum of imaging customers. We are eager to see how creatives use this tool and the projects that come from it.”

The camera features Canon’s innovative and next-generation Super 35mm DGO Sensor that further extends the high dynamic range and lowers noise levels by reading out each photodiode with two different gains. One gain prioritizes saturation – protecting detail in highlight areas – while the other suppresses noise in the shadows. The result is an image with up to 16-plus stops of total dynamic range, clean, rich shadows, and vibrant highlights in up to 4K/ 60p or 2K/120p in Super16mm Crop mode. The EOS C70 camera also features Canon’s recently developed DIGIC DV7 image processor that collects the extensive information captured from the DGO sensor and processes it into exceptional HDR imagery while offering choices between Canon Log 2 and 3, in addition to PQ and HLG gamma functionality. The C70 camera can also record 4K DCI or UHD up to 120fps and 2K DCI or HD up to 180 fps – with an important flexibility in the choice of codecs.

The camera supports XF-AVC format (in variable bit-rate) – both Intra and Long GOP with MXF file format. The intra-frame format compresses the data after analyzing each frame separately, while Long GOP format compresses data at a higher rate, creating an even smaller file size. A secondary choice is Long GOP 10-bit 4:2:2/4:2:0 MP4/HEVC (a next-generation HDR video recording compression standard) with an MP4 file format – a first in the Cinema EOS line.

The camera’s independent air intake system is separated from the electrical systems to protect the sensor from water, sand, and dust. In addition, the camera also features two air outlet vents that allow uninterrupted recording for extended periods of time.

Additional features of the Canon EOS C70 4K Digital Cinema Camera include:

  • New Direct Touch Menu System
  • Coordinated Electronic Image Stabilization
  • Two built-in Mini XLR inputs
  • Time-code input/output terminal
  • Custom picture processing via import of 3D LUTs and recording to Look Files
  • Dual-SD card slots
  • Built-in stereo mic
  • Support for optional Canon RC-V100 remote control

Canon Mount Adapter EF-EOS R 0.71x

The Canon Mount Adapter EF-EOS R 0.71x is a new optical adapter that allows users to tap into Canon’s extensive collection of superb full-frame EF lenses when operating the EOS C70 camera. The adapter implements two critically important functions – preserving the similar FF wide angle image onto the 4K Super 35mm image sensor while simultaneously elevating the lens camera sensitivity by one stop. The mount adapter preserves full electronic communication between the lens and camera, enabling optical lens corrections and transfer of lens metadata between the EOS C70 camera and select Canon EF lenses*. ?

Price & Availability?

The Canon EOS C70 4K Digital Cinema Camera is scheduled to be available in November 2020 for an estimated retail price of $ 5499.00. The Canon Mount Adapter EF-EOS R 0.71x is scheduled to be available in December 2020 for an estimated retail price of $ 599.99**. For more information please visit cinemaeos.usa.canon.com.?

* Compatible EF lenses are EF16-35mm F2.8L III USM, EF24-70mm F2.8L II USM and EF24-105mm F4L IS II USM. As of September 24, 2020. Firmware update provided free of charge, compatibility will be added for additional EF lenses in the future. Even if you do not update the firmware, you can use the EF lens, but it is recommended to use the firmware update in order to effectively use the function linked with the camera.

** Specifications, availability and prices are subject to change without notice. Actual prices are set by individual dealers and may vary.

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Lensrentals bought a $10K machine to test the flange-to-sensor distance of more than 2,500 cinema cameras

04 Jun

Roger Cicala and his team over at Lensrentals have made the most of their COVID-19 downtime by spending the past few months painstakingly measuring the flange-to-sensor distance of more than 2,500 cameras to see just how much variation there is from cinema camera to cinema camera (even identical models).

In the first of a two-part series on the testing and results, Roger breaks down why flange-to-sensor distance is important, details ‘how accurate is possible,’ explains how the Lensrental team went about testing and shares the first bits of data from the meticulous testing of popular cinema cameras.

This is what using a $ 10,000 Denz Flange Depth Controller looks like.

To achieve this testing, Roger invested in a Denz Flange Depth Controller, which costs about $ 10,000 and can measure flange depth to the nearest 0.01mm. Even after receiving the new equipment, he and Aaron spent a month confirming its accuracy before eventually training ‘Poor Ben’ on how to use the machine.

Over the following weeks, Ben ended up measuring and re-measuring the flange-to-sensor distance of more than 2,500 cameras worth roughly $ 10M (yes, million).

The red circles denote Canon Cinema cameras that had more variation than is to be expected for the flange-to-sensor distance.

For this first part of the series, Roger breaks down the spread of Canon Cinema Cameras, Sony Cinema Cameras, non-Canon EF-mount cameras and Blackmagic cameras to show just how much variation the models and individual cameras had. To his surprise, there were a few outliers, but as always, Roger seems to have gotten to the bottom of it and has learned through this testing that the Lensrentals team can and will be able to better screen these less-accurate cameras so everything going out their doors is up to snuff.

You can check out the full breakdown on the Lensrentals blog, linked below. Part two will be out in the near future and will address the flange-to-sensor distance of ‘SLR style’ camera bodies.

Lensrentals: The Great Flange-to-Sensor Distance Article

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Z-CAM’s new E2-M4 is an affordable 4K Raw-shooting cinema camera with livestreaming

27 May

Chinese cinema camera manufacturer Z-Cam has revealed it’s releasing a lower-cost version of its E2 camera that seems to lack only multi-cam synchronization from the previous model but which will allow live-streaming without a computer and will cost about $ 500 less.

The Z-Cam E2-M4 has much of the same spec as the Z-Cam E2, including the ability to record Raw footage to an external recorder, a claimed 13-stops of dynamic range and 4K video (3840×1620 pixels) at 160fps with 10-bit color.

The Z-Cam website suggests the E2-M4 doesn’t offer Apple ProRes recording, but the product page claims that it does once loaded with the latest firmware and connected to an Atomos Ninja V. Recording in Z-Raw is listed though. BH also says a future update will allow the camera to support RTMP, RTPS and SRT live-streaming directly from the camera without requiring a computer. live-streaming is also supported via the camera’s Gigabit Ethernet port, which can be used to control the camera remotely.

The Z-Cam E2-M4 uses the same Four Thirds sensor format as the E2, and of course takes a range of compatible Micro Four Thirds lenses — though not all. The Z-Cam E2-M4 costs $ 1499 and is currently available to pre-order from B&H. For more information see the Z-Cam website.

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Blackjet’s CFexpress Type B and XQD card reader, 4-bay Cinema Dock offer Thunderbolt 3 performance

08 May

Blackjet has two relatively new storage peripherals: the new TX-4DS four-bay Cinema Dock with Thunderbolt 3 and the TX-1CXQ reader for CFexpress Type B and XQD cards. Both products offer rapid data transfer speeds up to 40Gb/s due to the inclusion of Thunderbolt 3, making them suitable for users who often shoot Ultra HD footage, manage data-heavy projects or who need to rapidly transfer large batches of images between drives.

The Blackjet TX-1CXQ Thunderbolt 3 hub features support for CFexpress Type B cards and Sony XQD / XQD 2.0 cards with ingest speeds up to 1600MB/s and 500MB/s, respectively. The hub is powered by the Thunderbolt 3 cable that connects the device to the user’s computer. The TX-1CXQ works with Windows 10 and macOS 10.12 and higher.

The model is priced at $ 199 but is listed on multiple online retailer websites as on backorder without clear availability or shipping dates at this time.

Joining the card reader is the Blackjet TX-4DS Thunderbolt 3 Cinema dock, which features four M.2 NVMe SSD enclosures, dual Thunderbolt 3 ports for daisy-chaining up to five Thunderbolt devices (displays, external drives, etc.), and optional reader modules for directly turning the inputs into CFast 2.0, XQD, SDXC, SSD, SxS and CFexpress card readers.

The TX-4DS features a built-in cooling fan and can be configured with RAID 0, RAID 1 and JBOD using the included software. The unit measures 120 x 145 x 155mm (4.7 x 5.7 x 6.1in); it is compatible with Windows 10 and macOS 10.12 or higher.

The enclosure is available from numerous retailers, including Amazon and Adorama, for $ 499.99—the price doesn’t include SSD drives, which are sold separately. You can find out more information on Blackjet’s website.

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Kinefinity’s new MAVO Edge cinema camera can shoot 8K ProRes Raw internally at up to 75 fps

28 Apr

Cinema camera manufacturer Kinefinity has announced the MAVO Edge, an 8K cinema camera with the ability to record ProRes RAW internally.

At the heart of the MAVO Edge is a newly-designed 44.7-megapixel 36mm x 24mm full-frame CMOS sensor that can record 8K ProRes RAW at up to 75 frames per second (fps) and features dual native ISO of 800/3200. It can also record 8K Open Gate (8192 x 5460 pixels) at up to 48 fps, 6K up to 100fps (in Super 35 mode) and 5K up to 120 fps (in Super 35 mode). Powering all of this data is a new processing engine, which helps to pull up to 14 stops of dynamic range from the sensor and minimizes rolling shutter to just 12ms when shooting 8K full-frame (9ms in Super 35 mode).

Illustration showing what section of the MAVO Edge’s full-frame sensor is used depending on the capture mode.

All of the data is recorded to KineMAG Nano cards, which are now built on NVMe M.2 SSD. The MAVO EDGE uses two KineMAG Nano slots, which can record at up to 10Gb per second thanks to its PCIe 3.0 protocol. The two card slots can record identical footage for redundancy or record separately for times when you need to shoot original footage and proxy footage. Kinefinity isn’t keeping its KineMAG Nano drives exclusive either; the company will also be selling KineMAG Nano enclosures so you can use any third-party NVMe M.2 SSD with the camera.

Kinefinity has also included a motorized electronic neutral density (ND) filter, which lets you steplessly dial in the strength between 0.6 and 2.1 ND (2–7 stops of light) in 0.01 stop increments. As for inputs, the camera features two 3G/1.5G SDI ports, Timecode IN/OUT (5-pin), BNC Genlock, 12V RS Output (three-pin), a seven-pin sync port, an R45 Ethernet port, a 12V D-Tap Out a 3.5mm headphone jack a USB-C port and more.

The MAVO Edge uses Kinefinity’s KineMOUNT, which uses adapters to offer compatibility with PL, LPL, Active EF and passive Sony E-mount lenses. Kinfinity has also included an internal three-axis gyroscope for recording the camera’s positioning during filming, but it’s not clear how this information will be used at this time. GPS and Bluetooth 5.0 support is also included.

All of this is housed inside an aluminum alloy frame wrapped in a carbon fiber case . It measures in at 10.5 x 12.1 x 11.9 cm (4.1 x 4.8 x 4.7?) and weighs 1.2kg (2.6lbs). Powering the camera can be done via its two-pin DC input or via batteries via the hybrid battery plate, which can power the camera with either V-mount or Sony BP-U batteries.

The MAVO Edge will retail for $ 11,999 with an expected release in September 2020. The camera is currently available to pre-order through Kinefinity’s website, with a $ 149 deposit. Newsshooter has written up a thorough post diving into the specs and comparing it with similar cinema cameras on the market.

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Blackmagic Design’s Pocket Cinema Camera 6K now costs $1,995 after permanent price drop

24 Apr

Blackmagic Design has announced it’s dropping the price of its Pocket Cinema Camera 6K (BMPCC6K) by $ 500, bringing the retail price down to $ 1,995.

Although Blackmagic Design doesn’t explicitly say the price drop is due to the current COVID-19 pandemic in the press release, it does suggest the decision was made alongside the release of its ATEM Mini switchers to help the current demand for at-home livestreaming efforts, saying ‘With the current demand for multi camera live streaming from home broadcast studios, the Blackmagic Pocket Cinema Camera 6K makes a perfect studio camera when combined with the recent studio camera software update!’

The BMPCC6K offers 6K30p recording on its Super 35 sensor (6144 x 3456 pixels), up to 13 stops of dynamic range, built-in SD UHS-II and CFast card slots, HDMI output, an expandable USB-C port, a built-in 5” touchscreen and Blackmagic OS to run it all. All of that is packed inside the carbon fiber polycarbonate composite frame, which comes with a built-in Canon EF mount.

You can find the new price live at retailers around the globe, including Adorama and B&H.

Press release:

Blackmagic Design Announces New Low Price for Pocket Cinema Camera 6K

Fremont, CA, USA – Friday, 24 April 2020 – Blackmagic Design today announced a new lower price for the popular Blackmagic Pocket Cinema Camera 6K of US$ 1,995. This is a reduction of $ 500 which will help make this camera more affordable for users working on digital film as well as live production with the new ATEM Mini switchers. With the current demand for multi camera live streaming from home broadcast studios, the Blackmagic Pocket Cinema Camera 6K makes a perfect studio camera when combined with the recent studio camera software update!

Blackmagic Pocket Cinema Camera 6K is available immediately from Blackmagic Design resellers worldwide for US$ 1,995.

Blackmagic Pocket Cinema Camera now works as a studio camera for live production when used with ATEM Mini. Video and control is via the HDMI connection, which is available as soon as customers plug the cameras in. The record light becomes a tally light so customers can see which camera is on air. The ATEM Software Control camera page has a camera control unit (CCU) style interface for adjusting and matching their cameras. Move the CCU control vertically for iris and left to right to adjust black level. It’s the same as a broadcast CCU. There are also controls for color tint to balance camera as well as focus, gain and shutter speed. Customers can even ISO record Blackmagic RAW in the camera for editing later.

The elegant design of the Blackmagic Pocket Cinema Camera packs an incredible number of high end digital film features into a miniaturized, handheld design. Made from lightweight carbon fiber polycarbonate composite, the camera features a multifunction handgrip with all controls for recording, ISO, WB and shutter angle right at their fingertips.

Featuring a larger 6144 x 3456 Super 35 sensor and EF lens mount, the Blackmagic Pocket Cinema Camera 6K model lets customers use larger EF photographic lenses to create cinematic images with shallower depth of field, allowing creative defocussed backgrounds and gorgeous bokeh effects.

Blackmagic Pocket Cinema Cameras have an incredible 13 stops of dynamic range which means they preserve more detail in the lightest and darkest areas of an image than simple video cameras can. This allows customers to set exposure for an indoor scene and still retain the details of bright outdoor light coming through a window.

The Blackmagic Pocket Cinema Camera features built in CFast and SD UHS-II card recorders, and a USB-C expansion port for recording direct to an external media disk. Customers can use regular SD cards for HD or higher performance UHS-II and CFast cards for native 4K or 6K when using Blackmagic RAW. Imagine capturing over an hour of full resolution 6K images on a single 256GB SD UHS-II card. The ProRes and Blackmagic RAW files work with all video software.

Blackmagic RAW is a revolutionary new format designed to capture and preserve the quality of the sensor data from their camera. Video formats such as H.264 are highly compressed, plus add noise and artifacts, causing original sensor detail to be lost forever. Blackmagic RAW eliminates this problem and gives customers stunning images with incredible detail and color throughout the production pipeline from camera to edit, color and mastering. It also saves camera settings as metadata so customers can set ISO, white balance and exposure in camera or override them later while editing, all without any loss of quality. Blackmagic RAW files are also small and fast to use making them easy to work with.

Blackmagic Pocket Cinema Camera features a large, bright 5 inch touchscreen that makes it easy for customers to frame shots and accurately focus. The touchscreen displays critical information while users are shooting, menus for setting up the camera and intuitive touch to focus controls. On screen overlays show status, a histogram, focus and peaking indicators, levels, frame guides, playback controls and more.

With the advanced Blackmagic OS, customers get an intuitive and user friendly camera operating system based on the latest technology. The interface uses simple tap and swipe gestures to adjust settings, add metadata and view recording status. Customers also get full control over advanced camera features such as on screen focus and exposure tools, 3D LUTs, HDR, metadata entry, timecode, Blackmagic RAW settings and more.

Both Blackmagic Pocket Cinema Camera models feature a mini XLR input with 48 volts of phantom power for connecting professional microphones such as lapel mics and booms. The four built in microphones have an extremely low noise floor and are shock and wind resistant, allowing customers to capture great sound in any location. There’s also a 3.5mm audio input for connecting video camera style microphones, along with a built in speaker for playback and a 3.5mm headphone jack.

“We have worked very hard to build this camera at lower cost, and we think even more people will be able to take advantage of this price reduction to move into a more advanced and much higher quality digital film workflow,” said Grant Petty, Blackmagic Design CEO. “This has become more important with COVID-19. Many broadcasters have been setting up home studios for presenters, which have used ATEM Mini switchers and Blackmagic Pocket Cinema Cameras. We think with the recent software updates for switcher control of the Pocket Cinema Cameras from the ATEM Mini switchers, combined with this more affordable price it will greatly help this workflow.”

Blackmagic Pocket Cinema Camera 6K Features

  • Works as a studio camera when connected to ATEM Mini.
  • Designed from carbon fiber polycarbonate composite.
  • Wide 13 stops of dynamic range for film looks.
  • Built in SD, UHS-II and CFast card recorders.
  • Features incredible quality Blackmagic RAW recording.
  • Built in 5″ touchscreen allows accurate focus when shooting 6K.
  • Blackmagic OS as used in URSA Mini and URSA Broadcast cameras.
  • Professional mini XLR input with 48 volt phantom power.

Availability and Price

Blackmagic Pocket Cinema Camera 6K is available now for US$ 1,995, excluding local duties and taxes, from Blackmagic Design resellers worldwide.

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Blackmagic Camera Setup 6.8 improves start time and performance for 4K, 6K Pocket Cinema Cameras

04 Feb

Blackmagic Pocket Cinema Camera 6K

Blackmagic has released an update for its Blackmagic Camera models that adds a number of new features, bug fixes and other improvements to the systems.

On both the Blackmagic Pocket Cinema Camera 4K (BMPCC4K) and Blackmagic Pocket Cinema Camera 6K (BMPCC6K), Blackmagic Camera Setup 6.8 improves startup time, improves the USB PTP control performance and fixes an issue with ‘slow mounting of media containing a large number of clips.’

The update also increases 4K 2.40:1 recording pixel height from 1712 to 1720 pixels on the BMPCC4K and fixes an ‘issue where EF lens stabilization cannot be turned on if the camera is started with lens IS turned off’ on the BMPCC6K.

The update also includes Blackmagic RAW 1.6.1, which adds support for Blackmagic’s URSA Broadcast. Other ‘general performance and stability improvements have been made for Blackmagic’s RAW plugin for Avid Media Composer and Adobe Premiere Pro.

You can download the latest update through Blackmagic’s support page.

Update details:

Blackmagic Camera Setup 6.8

Welcome to the Blackmagic Camera Setup!

This software package allows you to update your Blackmagic Camera to the latest software release for new features, bug fixes and other enhancements.

The software installer no longer installs the Desktop Video or UltraScope applications and they will need to be downloaded separately from the Blackmagic Design website: https://www.blackmagicdesign.com/support

To use UltraScope via Thunderbolt with Blackmagic Cinema Camera or Production Camera 4K, download and install the Blackmagic UltraScope software. If you want to use Media Express with the supported cameras, download and install the Blackmagic Desktop Video software.

Please ensure that your device is plugged into mains power before running the software update. To update Blackmagic Camera Fiber Converter you will need to ensure that the unit is powered from the camera using the URSA 12V power supply rather than SMPTE fiber during the update.

Please update your camera before attaching the Blackmagic Camera Battery Grip.

For updating Blackmagic Cameras from Camera 4.0 or above it is advisable to export your presets and LUTs onto a card as they will be removed during this update.

What’s new in Blackmagic Camera Setup 6.8

New features for Blackmagic Pocket Cinema Camera 4K

  • Improve camera startup time.
  • Improved USB PTP control performance.
  • Increase 4K 2.40:1 recording pixel height from 1712 to 1720.
  • Fixed issue with slow mounting of media containing large number of clips.

New features for Blackmagic Pocket Cinema Camera 6K

  • Improve camera startup time.
  • Improved USB PTP control performance.
  • Fixed issue with slow mounting of media containing large number of clips.
  • Fixed issue where EF lens stabilization cannot be turned on if camera is started with lens IS turned off.

No new features in 6.8 for other camera models.

What’s new in Blackmagic RAW 1.6.1

  • Added Blackmagic URSA Broadcast support.
  • Blackmagic RAW Avid Media Composer plugin general performance and stability improvements.
  • Blackmagic RAW Adobe Premiere Pro plugin general performance and stability improvements.

Minimum system requirements for Blackmagic Camera Setup on macOS

  • macOS Catalina 10.15 or later
  • macOS Mojave 10.14 or later
  • A suitable USB 2.0 port

Minimum system requirements for Blackmagic RAW on macOS

  • macOS Catalina 10.15 or later
  • macOS Mojave 10.14 or later
  • AVX, AVX2, or SSE compatible chipset
  • Adobe CC 2019 or later for Adobe Premiere Pro plug-ins
  • Avid Media Composer 2018 for Avid Media Composer AMA plug-in

Minimum system requirements for Blackmagic Camera Setup on Windows

  • Microsoft Windows 10 64-bit or later
  • A suitable USB 2.0 port

Minimum system requirements for Blackmagic RAW on Windows

  • Windows 10 or later
  • AVX, AVX2, or SSE compatible chipset
  • Adobe CC 2019 or later for Adobe Premiere Pro plug-ins
  • Avid Media Composer 2018 for Avid Media Composer AMA plug-in

Installing Blackmagic Camera Utility

Before installing the software, we recommend that you run “Uninstall Blackmagic Camera Setup” first.

While installing Camera Update on URSA Mini and URSA Mini Pro you may notice a pause around the 10% mark in the install process, this is normal and will continue installing after around 20 seconds.

While installing Camera Update on Pocket Cinema Camera 4K you may notice a pause around the 70% mark in the install process, this is normal. Please do not power off the camera as it may still be in the middle of the update process. When the update is completed, the camera will restart into its normal operating state.

After loading the software on the Blackmagic Cinema Camera PL, EF or MFT, you may notice a slight flickering on the built-in LCD screen. This is normal and expected behavior. The flickering will go away after a few minutes of operation.

The Blackmagic Camera Installer package installs:

  • Blackmagic Camera Setup
  • Blackmagic RAW SDK
  • Blackmagic RAW Player
  • Blackmagic RAW Speed Test
  • Blackmagic RAW plugin for Adobe Premiere Pro
  • Blackmagic RAW plugin for Avid Media Composer
  • Uninstall Blackmagic Camera Setup
  • User Manuals

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