Blackmagic Forum View topic Video Assist LUTs?
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Blackmagic PYXIS features a massive full frame sensor with a native resolution of 6048 x 4032. That's almost three times larger than a Super 35 sensor and allows customers to shoot with a shallow depth of field or to use anamorphic lenses uncropped for a true cinematic look. Whether users are shooting in bright sunlight or in almost no light at all, the 13 stops of dynamic range with dual native ISO up to 25,600 provide stunning low noise images in all lighting conditions. URSA Mini Pro includes a 4‑pin XLR industry standard power connector that works with 12V to 18V external power supplies. That means it’s easy to use the camera with all of your existing power supplies and batteries!
DaVinci Resolve Edit
Given the company's history of adding features to the Video Assist via firmware, the hope has to be that it's possible to offer proper support for V60 and V90 cards, but they wouldn't comment, when asked. There are 3 mounting points located on the top and 3 mounting points located on the bottom of Video Assist. Using the bottom ¼ inch holes, you can securely attach it to the top of your camera as the ultimate viewfinder! The three ¼" holes on top allow you to hang it from rigs and use it as a monitor for the entire crew. The standard sized mounting points make it easy to mount and are compatible with third party rigging equipment. The menu icon at the top right of the heads up display takes you to the main control dashboard which gives you quick access to every single setting and parameter on your Video Assist. The dashboard features easy to navigate tabs for adjusting Record, Monitor, Audio, Setup and LUT settings.
Dual Media Recorders for Uninterrupted Recording
The record tab makes selecting the video input and recording format fast and easy! Tapping on Blackmagic RAW, ProRes or DNx will highlight the appropriate variations below so you can make your selection. Automatic recording triggers can be set to follow video start and stop or timecode. You can also select the number of audio channels to record, LUT options and more. Turn URSA Mini into a professional studio camera with large and bright 7 inch screen, removable sunshade, adjustable mount and knobs for control of brightness, contrast and focus peaking.
Blackmagic URSA Cine 12K and 17K
I still see a MAJOR selling point adding a hinge to the screen as is, at the cost of $1-200 (can't imagine being more...). Mountain Attack, a ski mountaineering competition, was the first real world test of the URSA Broadcast G2 live broadcast SRT streaming capabilities. The 82mm lens cap easily snaps on to protect your camera’s lens from scratches, dust, moisture, and fingerprints when the camera is not in use. The 77mm lens cap easily snaps on to protect your camera’s lens from scratches, dust, moisture, and fingerprints when the camera is not in use. The 58mm lens cap easily snaps on to protect your camera’s lens from scratches, dust, moisture, and fingerprints when the camera is not in use. Constant Quality footage with extremely high or low frequency detail can fall outside of the average ranges quoted above.
I really like the idea of having different apps available to download and having some sort of a wifi or bluetooth connection, even if it's just for streaming video from the device to a larger display on set. Even if their device came on the market in the $1,000 range, I think it would be good for the competition and consumers. The timecode display at the top center has a variety of options that tell you everything you need to know with just a quick glance.
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It also supports direct streaming to YouTube, Facebook, Twitch and others via RTMP and SRT either via Ethernet or using a cellular connection. Since the streaming is built into the camera, customers and csee stream status and data rate directly in the viewfinder or LCD. The Pyxis 6K arrives in June for $2,995 with three mounts (Canon EF, Leica L and Arri PL). A slot at the top front lets you slide in your iPad, and from there you can connect via Bluetooth or USB-C. The company promises a "professional" feel to the controls, which consist of three weighted trackballs, 12 control dials and 27 buttons. With those, you can perform editors, tweak parameters like shadows, hues and highlights, and even do wipes and other effects.
@dmanthree there is also a growing amount of L-Mount cinema lenses, as many camera makers move to mirrorless mounts (RED uses RF, Sony their E-Mount). Most come in PL as well, but some (for example, Cooke SP3 or Sirui anamorphics) are now exclusive to mirrorless mounts. And, as Samuel said, you're free to adapt anything to L-Mount at the cost of mount rigidity. The Fusion FX editor adds some new tools that ease 3D object manipulation and on the audio (Fairlight) side, BMD introduced the "Dialogue Separator FX" to separate dialogue, background or ambience. DaVinci Resolve 19 is now in open beta for everyone to try, with no word yet on a date for the full release. As usual, it costs $295 for the the Studio version and the main version is free.
If you find yourself wondering 'why would I even want an external monitor/recorder' then I'd suggest you spend a few moments reading our article on the topic. The short answer is that it's a great way to expand the tools for, and maximize the quality of, video capture on your current camera. Blackmagic Video Assist includes professional scopes to help you evaluate signal. Tapping on the scope icon at the top right lets you choose between waveform, parade, vector or histogram.
When uploading to Blackmagic Cloud, customers can use an Apple or Android phone to get a connection to the internet via mobile data. Simply connect the phone to the USB-C port and Blackmagic PYXIS will configure for mobile data. Customers can also connect via wired Ethernet using the camera’s Ethernet port. This lets customers get their media out as customers shoot so post production teams anywhere in the world can start work in real time.
Blackmagic Video Assist includes a built in professional audio recorder that’s much better quality than the audio found in most cameras, eliminating the need to carry around extra audio equipment. When working in SDI formats, you can record 2, 4, 8 or 16 channels of audio. Blackmagic PYXIS features a wide range of connections for audio, monitoring, power and more. The camera includes a 12G-SDI out for monitoring with support for HDR and Ultra HD output. That means customers can connect an SDI display for on set monitoring of images, with or without overlays that show critical information and camera status. SDI allows for much longer cable runs than HDMI making it easier to reach monitors that are further away on set.
With multiple mounting points and accessory side plates, it’s easy to configure Blackmagic PYXIS into the camera customers need it to be. PYXIS’ compact body is made from precision CNC machined aerospace aluminum, which means it is lightweight yet very strong. Customers can easily mount it on a range of camera rigs such as cranes, gimbals or drones. All this means customers can build the perfect camera for the any production that’s both rugged and reliable.
You get the world’s most advanced solution that combines professional editing, color correction, audio post and visual effects all in one software tool! DaVinci Resolve is used to finish more Hollywood feature films than any other solution, so you'll get the best possible post production tools to edit native video from your camera and retain every bit of quality. All Blackmagic Video Assist models are packed with high end recording and monitoring features in a small, lightweight package that can be connected to virtually any camera. The front features a large HDR touchscreen, there are video connections and SD card slots on the side, and space for two Sony L-Series batteries on the back. Video Assist features a wide range of video and audio connections such as multi-rate SDI for SD, HD on all models and Ultra HD on the 12G-SDI models.
Scopes with picture in picture or picture overlay and opacity control. BM cameras are full of caveats and I speak as an URSA owner that shot two solid movies on them. I love the Panasonic cameras for what they do, and I've been a user since 2009 with the GH1, but this is another class of camera. For some jobs, it's hard to beat the Panasonics, but sometimes, a box camera is simply much more practical.
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