Post Production and Camera Update


– Hi, good morning. Thanks for joining us this morning. I’m Grant from Blackmagic Design and we’ve got a bunch of
nice updates for you today. So we wanted to give you a briefing and sort of explain what they are and kind of why we’ve developed some of the new things
we’re gonna show you today. So first up, I’d like to
talk about DaVinci Resolve. Now we’re doing something
a little bit different here than what we normally do. What we’re gonna do is we’re
gonna actually announce, today we’re gonna
announce the final release of DaVinci Resolve 16.0. That’s the one we launched recently. It’s been in public beta up until now. Now the reason we need
to complete this update is because DaVinci is
obviously a Hollywood tool used by large studios and
post-production companies around the world. And these large studios need to upgrade their systems before the next
programming season starts. If they can’t upgrade the system, they really can’t use the software until the following season,
so it’s really important they get those systems upgraded now before the season starts. And we have a responsibility
to these large facilities because that’s the world that
DaVinci Resolve comes from. So even though you can
download it for free, the reality is it’s a big Hollywood tool and we need to be
responsible and release that. But the thing is we wanted to keep going. We’ve got a lot of new
features that we introduced like the Cut Page for example, which we introduced on 16.0, and we wanted to keep
going on those features. We didn’t wanna stop because we had a lot of really good feedback. So what we’re gonna do is
we’re gonna go final on 16.0, but we’re also gonna
launch a new public beta of DaVinci Resolve 16.1. So what that means is you’ll be able to, DaVinci Resolve 16.0
will be released today but at the same time, we’ll also post a new DaVinci Resolve public
beta which is the 16.1. So it’s a bit different
to what we normally do, but we wanted to keep going. So we wanted to release the
version of DaVinci Resolve 16 so people can get going on that, but we also wanted to keep
going and adding new features and we can’t keep the beta going forever. In the beta, obviously we
can collaborate with editors, we can get new features
and get them working right. It’s been a lot of fun
adding those features, so we really wanna, with
the 16.1 in public beta, that means we’ve got a
good finished version 16, but we can keep collaborating
on some of the new ideas that we’re putting into the tool. Because the ideas are new, we’re not quite sure if they’re right so you kind of put these features in and then you kind of argue a
lot about exactly the right way that they’re supposed to work. But it does bring it back to
what we’ve been trying to do with the Cut Page, the new Cut Page, is we’ve been trying to build the world’s fastest editor. I’ve got a lot of friends
in post-production who I remember going,
being awake in the office at one in the morning and
people had finished jobs. I remember one friend of
mine, a Harry operator from UK and he was so happy
that he finished this work and he was so proud of what he’d done. And I remember thinking,
that was one in the morning and his eyes were red, he
can barely sit on the stool in the bar downstairs
and he’s having a drink and the clients had gone
and he’s sort of chatting about the job and you know,
I used to think why does he have to be here at one in the morning, like it’s amazing that some
of this work takes so long but he was super happy
with the work he’d done. And I think that when
you think about these experiences I had when I
worked in post-production, that you know, can I make a faster editor, can we turn around work quicker? It’s not just about some of
the features that are in there, but it’s really what’s the fastest way we can turn work around? DaVinci customers are
not really hobbyists. They’re actually in the
business of making money. They wanna fund their creativity so it’s really important that
we turn jobs around fast. That’s what we’ve really been focused on. So we’ve got a bunch of new
features that I wanna show you. There’s actually some things
that have come from feedback from when we first introduced
the Cut Page a few months ago. There’s also some new things as well. So it’s really something
we’ve been focused heavily on. So look what I’ll do is I’ll,
if you cut across to the UI over here, I’ve got a
iMac Pro set up here, now I’m not a demo guy but
I’ll do my best to show it, and some of these features are new so I haven’t had a
chance to use them a lot but it’s been pretty exciting. So I’ll come over here. So if you look at the UI here, you can see that the
first thing we’ve done is put the timelines now
in the master bin in here. So they’re all in one spot. Before you could find they were
down inside various folders, now it puts them all in one spot. So what I’ll do is I’ll load in some media and now what we’ve done is
we’ve done a four camera shoot. Some of them were shooting a wide shot with the audio track we want, other ones were starting and stopping. So we’ve got media from
four different cameras. We also put the media from each camera into a different folder. So what I’ll do is I’ll load in, I’ll go to the desktop and get that folder from the top there, and
what I’ve got in here is the four folders. Now we have introduced a new
feature in DaVinci Resolve 16 called the source type. What it’ll let you do is go and click, by clicking this button
here or pushing the button above the search dial on the keyboard, it would immediately grab all your media and create one large tape that
you could scroll up and down and see all your shots. We even have a little preview feature here where it would fast
play the content for you so you could actually
reveal all your shots and would vary the playback speed based on the length of the clips see a really fast way of
seeing what you’ve got. A lot of people obviously who are editing didn’t shoot the content so sometimes they’ve got to quickly review
what they’ve been given. So the source tape was great. The problem is that with the source tape is it only worked in the folder you’re in. So what we’ve done now is we’ve added, so every folder below where
you are in the bin here will actually include the
media and the source tape. So you notice I’ve got
no real media in here. We’ve just got the folder of the shots. But it’s included all the
media in the source tape here. So what this means if I go
down into one of the folders, you’ll see the source tape reconfigures. And you can see there’s a path up here so you can see now there’s
a depending, you know, they’ve got the file path
essentially in your bins of the folders that are in there so you can see the different levels. And you can go between
them and click between different folders here. So what you can see as
we go into a folder, their source tape reconfigures. So now I’m really just
looking at camera three’s media folder, and you can see it’s just showing me camera three. So these are all the
times that camera three started and stopped recording. And as I’m moving through the content, you can see it’s highlighting
in the bin as it does. And of course you’ve still
got the ability to do the clip view, so you can see
it’s scrolling up and down the various clips, and there’s
a list view there as well. So that all still works,
but now it gives you a way of isolating your folders. Now if you go back to the master, you get all the media that’s
in this level of the bin down visible in the source tape. So that’s really great. And also, the other thing we’ve done is we’ve got a nice little menu in here. So if you click this menu, you can go into the different folders directly. And as you can see as I click, then you can see the source
tape reconfiguring itself. So that’s pretty nice. But every time I wanna see everything, I just go back to the master
and now I’ve got everything. So what I’ll do is I guess
the first thing I’m gonna do is build a quick timeline
so I can show you some of the other features. So I’ll do that quickly. So let’s add a shot. Camera one was a wide shot. It had everything and it also
had the audio track on it. Now we did two versions
of this cooking demo, so that’s why there’s two clips here. So we’ll choose the second one. Now what I’ll do is I’ll get, because it was a moment
before he started talking, I’ll scratch trim the front to get the audio. There it is, that’s where he says hello, and I’ll just leave the end there. And I’ll drop that down to the timeline so there’s my wide shot. Now what I’ll do is I’ll
put a cutaway on this so I can show you the next feature. So we’ll go into, oops,
I went back too far. Let’s go to camera three. Let’s sort by timecode, which we are. We’ll go, maybe this shot
here looks pretty nice. Here’s a bit here. Yeah, that looks pretty good. I’ll put an in and out point on the, I’ll use the keyboard for that because I’ve got these big in and out point keys. Okay, so here’s my in point. And there’s, that’s a good out point there. So I’ve got my shot here. Now I can click on the buttons here and I’ll do a source overwrite. So what that’s done now is it’s, and that was another new feature we added, it takes the shot here, finds where it synchronizes
to the timeline, adds it on the layer above. So what I’ve got here now is a nice edit where he’s chopping the media and it pans down and you can see he’s chopping the vegetables there. So the reason I did that… Let me save so nothing goes
wrong in the middle of the demo. The reason I wanted to show you that is we’ve added something, one of the things we did in Resolve 16 is we added these sort
of intelligent features. A good example is the transitions. You know if you are close
to an edit point here, you don’t have to be on the edit point. You don’t to put an in point. I mean, you can if you want. But if you click dissolve,
it’ll add a dissolve. So I can switch on and off of effects, which I thought was a
really fast way to work. But if I’m more over
closer to this transition, then it knows that this is the transition you’re probably talking about
so it adds the transition here so you don’t have to
put and in and out point. Now you can put an in and
out point on the timeline. But you don’t necessarily have to do it. Now the problem is, and also
we’ve got insert features and other things like that. One of the problems you’ve got though, is you don’t quite know
what it’s gonna do. When you get really busy, I think DaVinci needs
to give you a feedback on what it actually thinks you wanna do. So if you’ll notice,
these little icons here. These are called smart indicators. And as you move around the timeline, you can see they’ve shifted around. And what they’re doing is
they’re showing you the point where it’ll do the next
action, the smart action. So in this case, if I’m
putting a transition in and you can see it put it
where it said it was gonna do it,
so you’ve got that little, just a little feedback mechanism there to let it show you what it’s gonna do. Now one of the big requests
we had was cutting timeline, cutting clips in the timeline. That was a huge request. Again, we wanted to keep it really fast. So you’ll notice we’ve added
over here a little scissor icon. If I click that, you’ll see it’s sliced
the clip and that’s it. That’s all you have to do. No matter where you
are, you click on that, it’ll slice the timeline
right there for you and you can click on that and
delete that shot if you want. And you can see the smart indicators are actually moving around
now depending where I am. So even they’ve seen the
new transition points and they’re showing you an indication so if you want to insert
something in there, you don’t have to be on that shot, it’ll tell you now it’s
gonna insert something if you wanna go insert
another shot in there. I’ll actually undo that because I don’t really wanna do that. Now one of the other things
that’s worth talking about is we’ve done a bunch of
upgrades on the keyboard. There’s been some keyboard button changes. And we’ve also changed
some of the software in the search dial. So the search dial now, we have
the scroll, jog and shuttle. And so when I’m moving
around the timeline, I’ve got jog, I can move to shuttle. That moves much faster. But what we’ve done is
we’ve changed the behavior a little bit. This scroll function is now adaptive. So if I’m moving around a point here and I look for a transition
point, it’ll slow down the jog. It’ll sort of go into
a jog mode by itself, and that lets you kind of find an in point if you’re looking for something so you don’t need to keep clicking between jog and shuttle. You can if you want, but
we’ve made the scroll function a bit more intelligent. One of the other things
we’ve done is we’ve changed the buttons for the trimming. We’ve now made the trim buttons, they were called roll in roll out, which is kind of an idea I originally had thinking that they’re modifiers. If I push say roll in on the keyboard and I now move the search dial, it’s trimming the in point. I can do the out point. I’ll put a transition on. I can also roll the transition point. I can roll the transition duration. I can also slip clips,
which I won’t do here because it’s synchronized. Now what’s happened is we’ve changed the names of those buttons because everyone fedback
that they just want them to be the same names as the trim functions in DaVinci itself. So they’re called trim in,
trim out, transition duration, things like that. So another thing we’ve
done is we’ve redone the function buttons. Now on the keyboard we showed
when we launched the keyboard, the function buttons were
doing computer functions. But we’ve now changed those to
make them editing functions. So all the function buttons now are used for various
functions in the software. So a good example is
on the right hand side, we’ve added extra editing modes. So we’ve got some of the more
traditional editing modes, even though we’ve got
most of the smart ones on the top left hand side. We’ve also got extra transitions. Like if you push F4, we’ve got a window that comes up and you can scroll through and
pick a different transition. Oh, we’ve also got
picture in picture as well so you can do a quick picture in picture just using the keyboard
on the function buttons. So you can see that the
keyboard’s had a few changes and it’s made it a bit more useful. As we’ve kind of developed the software, we’ve also found ways of sort of you know, they’ve actually been
co-developed in many ways. We’re kind of developing together. It’s an opportunity to
make an editor keyboard that’s somewhat traditional work with the software and
sort of add some features that we couldn’t normally add. So it’s kind of interesting to see how they’re both co-developed. But what I’ll do, as I mentioned before, I’ll keep using the keyboard
and mouse for this demo so you actually see what I’m doing, unless there’s some feature
that uses the keyboard only. So we’ve got a bit of an edit here. You can see I’ve got basically just got a wide shot
down on the base track and I’ve got a little edit
above it of a cut away. But one of the problems
you’ve got is when you use, particularly when you’re
using the source tape here, if I’m going on here really,
the great thing about the source tape is I can just pretty much use the shuttle control. I can pretty much just
look for nice shots. And wherever I see something interesting, I can just basically
do an in and out point, lob it into the timeline. So you’re really in the source tape just throwing shots over in the timeline. The problem is you don’t
wanna have to keep going to the timeline to playback
and see how it feels, so we thought it might be nice to give us, to provide a bit more assistance. So we’ve got a new feature
called the boring detector. And what it does, it shows
you when an edit is boring because the shots are getting too long. But it can also show where
the shots are too short. And it’s a live analysis,
and it’s always on. So what I’ll do is I’ll show you. The little icon over
here with the Zs on it. Well, metric that’s a zed
and z in imperial I guess. If I turn that on, out
comes up a little here and you can see it’s already
applied the analysis. I’ve got 10 frames here,
but I can change that but I’ll, sorry, 10 seconds of… So any shot that’s longer
than 10 seconds is boring, and any shot shorter than
five frames is a jump cut. So I’ll click on analyze
and what it’s done now is it’s provided a live highlight
of anywhere in the shot, in the timeline that’s boring. So as I’m moving over here, if I get this shot here and I extend it, you can see the boring
bit’s moving up and down. So what it means is if
I’m in the source tape, I’ll go back to the source tape here and I’m lobbing shots
down into the timeline, I can see where things
are getting a bit boring. I can go along and drop some shots in and keep you know, it’s sort of just a way of giving me feedback in the timeline while I’m not in the timeline, I’m actually sort of in the source tape throwing shots into the timeline. So it can be a really useful of just providing some feedback. You don’t have to keep
playing the timeline just to see if your edit looks interesting. This is much faster. So I think that’s such a simple thing, but I think it’s quite nice. Now what I’ll do is before
I show you the next feature, it’s probably worth
explaining how we shot this, because this job we shot with
the Pocket Cinema Camera. What makes the Pocket Cinema Camera, what makes this shot different
is the Pocket Cinema Cameras have timecode built into them. So what they can do is they can generate time-of-day timecodes. So every time you record,
it’ll put that time of day timecode into the shot. Now what we’ve done is we’ve made, the reason for this is to sync
multiple cameras together. So what we’ve done is
when we did this shoot, we used four cameras. You can see I had the four cameras in their different folders. And what we did is we sunk
them with one of these little timecode boxes. You can see one there. Now what that does is, in fact, all we do is we, the
Pocket Cameras are nice because if you plug the timecode box into the audio input of the camera, it’ll detect that that is timecode and it will then sync the internal timecode generator to this box. So what that means, if you
walk around to each one of the cameras and just
plug it into each camera, it’ll sync each camera
and then that camera now will be locked to the
time of day timecode. So when you record, it’ll
put the right timestamp. But what it does, it locks
all those cameras together using the same time because
they’ll all be synchronized and they’ll all be accurate. It’ll be accurate for about an hour or so, so every so often if
you change your battery or get going again, you
can just resync them all. I mean, an URSA Mini Pro
would stay synced all day, but that’s a more expensive camera. This is a much smaller
camera so it’ll stay synced for more than an hour or two. But this is why multiple cameras can start and stop recording. And to make it work, what
you do is you just open up the side here and you just
plug the timecode generator on the side there. Now what’ll happen is
that the camera will, the camera’s off at the moment
but it’ll detect this input, it’ll see that it’s timecode, it’ll lock the internal generator then you just unplug it and
the camera will stay locked. And every time you start
and stop recording, it’ll add that timecode to the camera. This is how we got, all these cameras have
got matching timecode and this is how we did it. So doing essentially
the work in the camera saves a lot of time in editing. I mean, imagine if you’re
shooting a music festival or something like that,
you could have one shot just sort of, one camera
getting the wide shot, but you’ve got other roving cameras just going around and shooting
various actions on stage, starting, stopping
recording any time they like and it all just sync
together in the edit later. So it’s pretty nice that
the Pocket Cameras do that, and any camera that does
timecode will do that. But the Pocket Cinema Cameras are a full digital film camera shrunk
down into a small size so that’s one of the
features that they have that make them so powerful, and that’s what we’re gonna use to show you the next feature. So I’ll go back, if we go back to the UI, I’ll come back over here… So we have a new feature
which is we call sync bin. It’s a new kind of bin and what it does, it arranges all your
media in a different way. Normally, bins like what you can see here are just full of clips, and
you can have thousands of clips and you’ve got to sort through them all. But the sync bin is like a digital system that sorts through your clips for you. Now what I’ll do is let me
show you what that looks like. You’ll see up the top here, I’ve got an icon called sync bin. That’s a normal media media pool,
and I’ve got sync bin here. And when I click it, what it does in fact actually it’s funny because I’ve got, I’m
down in camera three, it’s only showing me camera three. The sync bin also does the same thing that the source tape does. It only shows you the clips in the folder you’re in and below. So it is a good way of
actually separating shoots. We did two different shoots
on the day we shot this. We could have actually
put them in separate bins. It would have been easy to organize so only the shots from that one shoot would have been sunk. So what I’ll do is I’ll just
move up to the master here, it’ll now show me all the shots. So you can see I’ve got, well I’ll go back down to here. So I’ve got two shots up here. Now it organizes it by camera order, and it uses the timecode of
the media to find the match. So what it’s done is it’s gone off, looked through all your
bins, all your shots and it’s found the shots that
synchronized to this point in the timeline, and the
sync bin is all controlled from the timeline. You’re actually running
the timeline up and down. In fact, as I do that, you
can see I’ve got various shots starting and stopping. You can see that camera three and four, and you can see there was a lot of shots in camera three’s folder
when we looked at it before, and you can see they’re all in here and they’re coming and going. And you can see them all arranged in time. So as I go up and down the timeline, you can see it’ll show me the clips. And if I play, it’ll play them… We’ve only got two shots there. Let’s go down somewhere here. So you can see, I’ve got
all the different angles of the shot here. Now I’ve organized them by camera number. It uses the camera metadata to do that. That’s how it’s worked out
that there’s four cameras. So if your camera doesn’t
have camera shot metadata, you can do that and I’ll
show you in a minute. So I can scroll up and down the timeline, and what it’s doing is
it’s getting all the shots that synchronize at this
point in the timeline, it’s laying them up there,
it’s by camera order. So what I can do is I can do an edit. Now you notice that it’s
showing me the views. The viewer now has a
multiview of those shots that it’s found, and
it’s a four-way multiview because I have four cameras. So all I have to do to do an edit is pick the shot that I like. And in this case, I like shot number four. So I can click on shot
number four in the UI or I can go back using the
little closed box here, or I can push number four on the keyboard. So if I push four, it comes up. Now what it’s done is
it’s set the in point. You’ll notice the in point
is set to the position on the timeline that I
am because it’s assuming, again it’s trying to help you, it’s trying to be smart. It’s assuming this is the
point that you wanna put a shot in, and it’s just
on a default five seconds. Now you can trim that if you like. You can move around, get the bit you like. Now, once I’ve got that shot selected, all I have to do is put source overwrite and it’s dropped the shot in. So it’s the same edit mode that you do from the source tape, and that’s
how you drop the shots in. Now what that also does,
as I scroll up and down the timeline, you’ll
notice that the red border has moved around. The red border is showing you which camera is currently active. So at the moment, the wide shot’s active and I can see that camera one is active. As soon as I move over here,
it goes to camera four. I can see the red border
around camera four. Now if I pick camera three, and I think that looks, no I
don’t wanna do camera three, so I wanna back out, I
can click the little X with the mouse or on the
keyboard I can push Escape and it goes back to the multiview. Now every time I do an edit, so let’s move down the timeline a bit, well, he’s doing some more
stuff in the wok there, let’s push camera number four again. That looks pretty nice. Let’s do source overwrite, there it is. And I think, well that looks pretty nice.
Camera two looks pretty nice so let’s push camera two. Its left the CTI on
the end on the out point of the last shot, so I can just go and pick a different camera. I can click source overwrite again. Now that’s pretty cool. He’s gonna turn around, so let’s go back to camera number one. Well, camera number one’s already there, so in this case I don’t need to do that. Let’s get that side shot though, that side shot looks pretty cool. So camera two, source overwrite. That looks pretty nice. Camera three looks like it
might have something nice. And then camera two looks good, and back to camera one. I can actually still do camera one even though it’s just matching
what’s on the timeline. Now every time I drop up, actually I’ll put the clips because I’m doing a source overwrite, it’s actually already had
a clip that I put on there on the timeline before, so I just drop these clips over the top. It’s kind of funny because
I’m using source overwrite. source overwrite automatically puts a clip on top of the clips
that are already there. So I already had a cutaway that I’ve done, I just basically went
right over the top of it by putting the clips up on layer three. And because I only care
about the audio on layer one, I’ll turn the audio off
on that track as well. So you can see, I can just scroll along and look at whatever
the best shots are. I can move all up and down the timeline. As you can see, as I
put the shots in here, the boring detector’s
cleared the space away because things are looking
more interesting now. Now you can set the,
and this is what’s nice, you can just see all the shots and just choose whichever
shot you like the best. I mean, it really is quite amazing. I mean, here you can see and
it all just stays in sync. It’s really exciting. So if your camera doesn’t, like I mentioned before,
if your camera doesn’t do camera numbers, you
can set camera numbers. If I go to the media page and I click over here
and go to say my media, I can click on media and go
into the scene info here. And here’s my camera here. So this camera is set to C, and all the shots in camera C are set. Then I can select all
and change that camera and that’ll change all the shots in there. So it’s a really easy way. If your camera doesn’t do camera numbers, it’s super easy to set that. You can set a whole folder full of media and set all that to the camera
number instantly if you like just by going to that page. And at that point, then when
you go into the sync bin, whoops, I’ll go back to the master, it’ll organize your
camera numbers for you. Now one of the other things
that’s quite interesting is you think, well, there is
a situation that can happen where you might have more, and what I’ll do is I’ll
trim the timeline back to show you this, but you can get a situation
where if I get to the end of my timeline, I’ve got more media than I do on the timeline itself. So for the first time ever, we’ve actually got the
ability to scroll off the end of the timeline. So what this means is that
you don’t actually really have any, like the end of the
timeline is not the limit. The media and the sync bin is. So if I scroll down here, you
can see that the timeline’s shrinking back over here and
I just keep scrolling off. And so the sync bin keeps working. So there’s a bit here where he’s putting the noodles in in camera two. That looks kind of cool. So I can keep editing and I
can actually, in some ways, I could build the base layer. If I wanted, I could put
the opening shot down and then build the base
layer by actually using the sync bin from various angles and various views that I have. So I don’t have to have
that continuous wide shot. I can actually build
even just a base layer using the sync bin because I can go off at the end of the timeline. And what’s really interesting about this, if I push camera number
two, what you’ll see is what it’s done is it’s realized that because you’re off the
end of the timeline, it shouldn’t just do
the default in point set where the CTI is and the
out point five seconds because you’re gonna have
a hole in your timeline. So it’s realized it’s
actually flipped them the other way around. So what it’s done is put the out point where my CTI is, and the
in point is actually the bit where the end of the timeline is. So now if I do an edit there, and I’ll use the keyboard and
let’s push the Append button, there it is, it drops that clip right on the end of the timeline.
And it fits perfectly because the in point of
the clip that was selected was the out point of the
last part of the timeline. So it’s a fantastic way of
just basically stacking shots down the timeline. So I could just go along
and keep picking other shots and adding it to the end of the timeline and just build my entire
timeline that way. So it’s not just about doing cutaways. Sync bin can actually do, like you could build
the whole edit with it. It really, in some ways
I like to think of it as kind of a digital assistant editor that’s off looking through
potentially thousands of clips. We only have about 50 clips here, but looking through thousands of clips, organizing all your media for you and presenting only
the shots that you need which are really related to
the point that you’re in. Even when you go off the
end of the timeline itself, it’s still synchronizing back to what the previous layer was in the timeline so you can keep going. It’s trying to be smart and trying to help you turn around jobs faster. Now what’s interesting
about this is we thought that this wasn’t even fast enough. I mean, if I use this feature, so let’s just go back up
the timeline here a bit and find a spot for us out of place, it’s not just a blank
spot in the timeline here, and what we’ll do, let’s
just quickly review the steps we need to do to
do a sync bin-based edit. So I like, well actually
there’s some action going on, on the wok here. That looks pretty cool. Shot two looks pretty good. Let’s do shot two. So I push shot two, I’ve
got a five-second segment. I’ll do a source overwrite. Let’s drop it on the timeline. I think the shot number
four looks pretty good, so let’s pick number four. In fact I’ll move the
out point a little bit because he’s putting some stuff in there. I’ll do another source overwrite. So you can see the steps involved, right? I have to push a camera number, I have to… That selects it, I then
can change the trimming of the in and out points. Then I do a source overwrite transition to put that shot into the timeline. So there is a faster
way, and let me show you an even quicker way that
we’ve worked out how to do it. So if I, and this only works on the editor keyboard,
so because I’ve got the editor keyboard, if I
say I like shot number three, all I have to do is push
the number three and hold it and when I turn the search dial, it’ll now scroll in camera
number three for me. And I release, and there it is. Now this feature is called live overwrite. What you’re really doing is
just painting the clips down. So it’s the same as selecting the clip, setting its in and out
points and then pushing the source overwrite edit mode, but it’s doing it all in one go. So I can look at camera number two, I can push on it, and then
turn the search dial down. It’ll, oh, he’s moving the
wok there, looks pretty cool. And that looks nice. Release, camera number three’s come up, it’s found camera three. That’s kind of an interesting close up. Let’s go for that one. I add that. And he’s talking. Oh, he’s gone off the shot
there, we’ll go back a bit. Now let’s get number two. I like camera number two. So I can just sort of slide those in as he’s bringing that across. So now what I’m really doing, this is kind of like, I’m
sort of just scrolling along the timeline,
dropping shots in as I like. So it’s a pretty exciting function. And you can just scroll
along and wherever you like you can just put in a camera just by rotating the knob,
the search dial, sorry, and it goes in. So it’s pretty exciting. This is a pretty exciting feature. And it’s kind of funny how one feature kind of breeds into another. So we think the sync bin’s
a really fast way to edit, but source overwrite, oh
sorry, live overwrite, this is called live
overwrite, is even faster because you can live paint
shots into the timeline just by pushing the camera number and rotating the search dial. So it’s pretty nice. So the next feature I’d like to show is we’ve improved the close up feature. So what I’ll do is I’ll go
into the start of the timeline. Let’s get on the front
because there is a part at the front of the timeline where he’s talking to the camera. So you can see, in fact
I’ll go out of the sync bin and I’ll go to the timeline here. Let me save so the demo
demons don’t get me. So we’ve got a nice close up of, sorry, we’ve got a nice wide
shot of the chef talking, but I’d like it to start with a close up because he’s talking to the camera. What I can do now, if I go to here and I’ll put an out point
in here and I’ll… So I’ve got a section of the clip, of the time I’d like to be a close up. Now when I push close up, what it does is it does a face detection and it does a framing of the face section. So it’s detected his
face, it’s positioned him, centered and in a nice sort
of framing in the timeline, and that’s just, I can go along now and take anywhere I’ll get a wide shot. You see he’s actually a little
bit off to the left in here, but it’s centered his face
nicely in the timeline here because it’s looked at
what’s in the content and positioned it based on that. So anywhere I like, I mean,
he spends a lot of time in this video over the cooker so he’s not really talking
to the camera very much. But you can see we can go
along and take wide shots and create close ups of him
just by going down the timeline and adding all those. So that’s pretty exciting. Now the next thing
that’s worth showing you is you’re not always gonna have shots that have got all
the timecode in them. So what we’ve also added is a sync window. So if you go up here, there’s a sync icon and you can see the sync window. Now remember how before I
talked about that we’ve done two shoots, so you can see them both here. It’s actually really interesting. You can sort of see your media. Now this again is also
doing the same thing that the source tape uses
and also the sync bin uses. It’s looking at the folder you’re in. So you can still isolate
media from each other even in the sync window. So as I move along, you
can see the relationship between the different clips. And at the moment,
because I’ve got timecode, I don’t really need to use this. It’s automatically
synced everything for me. You can see this is a great way of seeing the sync relationship of all your media. You can see the different
camera numbers here, and you can see later when
we did the second shoot, this is the one I was
drawing on when I was doing my demo edits. And you can see that they’re
actually displaced in time. Now normally you’d probably
put them in separate folders so you could just work in the area itself. Now in the sync window, you can do, it defaults to sync by timecode because I had timecode. But you can also sync the audio and you can sync manually as well. So if I went to the audio
feature here and clicked sync, I think one of the reasons
we did the second shoot was because we did some better audio on the second shoot, I believe. So you can see now it couldn’t
find a bunch of clips. I think that might be
from the early shoot. So there it is all sunk by audio, and you can see the relationship is there. It’s listened to all the
audio tracks from the cameras and sunk them all. You can also sync manually if you like. You can move clips around. I haven’t done that. But I’ll go back to timecode because that’s what I’m doing. In fact, I won’t accept it. But if I did, I will accept it so I can show you what it looks like. If I accept the sync and
I go into the bins now, you can see there’s a sync
icon and all the clips. You can actually identify
which clips have been sunk and which ones haven’t. Kind of confirms that they’ve been synced because you can see that sync icon. So let me undo that
because I don’t want that to happen to my media. Now what’s really good
about that sync window is you can like sync action cams. Like if you had a bunch of action cameras and people tend to use three
or four of those or more so you can really sync
all those cameras up. In this case, it would be a lot easier because they’re all
recording the entire duration of what you’re doing so
you only have to sync a couple of different shots together. But you’d be able to
set the camera number, sync them and then use
all the sync bin features to do all the fast editing of
all those different angles. Or in some cases, like we’ve
got people who use HyperDecks for ISO recorders on live productions and it gives you the
ability to sync those up, although HyperDecks
obviously record timecode. Even multiple smartphones,
you could have a bunch of smartphones where
people have been recording, like there might be some major event or something happening and a
whole bunch of different people have recorded smartphone media. You could sync those
clips in the sync window then use the sync bin to pick
which shots look the best and get all that continuity right. So it’s pretty exciting. So that’s not all. There are some other features
that we’ve added to DaVinci. We’ve got in the Edit
Page, we’ve done more than just the Cut Page. In the Edit Page, we’ve got
copy and post and transitions across multiple edit
points in the timeline now. Again, it’s all based on feedback. We’ve got improved easing
whens it applies smooth to the keyframes so like an s-curve. You’ve got better, sort of more organic sort of responses there. We’ve also improved the syncing of video and audio on multicam
clips using audio waveforms in the Edit Page as well. The Color Page has got some
additions in this beta. ResolveFX and OpenFX plugins can now process and
modify the alpha channel, which is a new thing
they couldn’t do before. Also in Fairlight, we’re
supporting 96 kHz and 192 kHz sample rates with the DaVinci Resolve Studio version, which is the $300 paid version. So that’s all this stuff you see is in the free DaVinci Resolve. That high sample rate stuff’s
in the studio version. We’ve also support, just
in general we support full-screen preview on a separate monitor if you plug the monitor
straight into the computer. We support a full-screen
preview on that now. We’ve also got improved
Vimeo, some render settings. And they’s improved options for setting the description and
visibility and the passwords when you’re uploading the videos. So that’s a nice change. So again, we wanna really thank you a lot for all your support. We’ve been moving much faster
thanks to this support. I mean, without you guys, buying some of the extra control panels and upgrading to the paid version, we wouldn’t be able to support
a larger engineering team. So we’ve been, the
engineering team is bigger than it’s ever been before. Now all the people that have got the, well, this is a free update even for people that have paid for the DaVinci Resolve
Studio will get this update for free when it’s released. As usual, that’s what we’ve
been doing for a while. And this comes back to this
sort of model that we’ve got. There’s people who talk about cloud models and things like that,
and I’d mentioned this on an interview I’ve done with
one of the media recently. But yeah, what we’re
really trying to do here is we believe that making
DaVinci Resolve free is kind of the best way to
help people get started. One of the biggest criticisms we had when we first acquired DaVinci, which is almost 10 years
ago, I think next month, and it was a very
different application then, just did color correction only, but all the large
facilities would complain they couldn’t get enough colorists and we constantly hear that. There’s not enough colorist,
VFX artists and editors. So we think by having a free version, that means you can get going. And it means there’s no
limit to what’s possible. I mean, this is a high-end Hollywood tool, which you can essentially
download for free. But it means you’re
learning on a proper tool. It’s not sort of a consumer product. So what that means is that you
could be learning this week and the next week you’d be
working on a feature film if you’re extraordinarily talented. But that’s the way things are. I mean, it really comes
down to how creative are you and what can you achieve. I mean, that’s what we’re trying to do. If we can help you succeed
and then hopefully obviously we get the benefit when you
upgrade to some software or buy a control panel,
but I think that this to me seems a much healthier win-win
type of strategy I think because we have to help you succeed. And then when you succeed,
hopefully then we succeed because you can buy an
upgrade for the software or something like that. So if you’ve grown and
you’ve made some income, please go out and purchase
DaVinci Resolve Studio because, and if you did, then it’s working, we’ve seen increased sales, we’ve got extra revenue which
we’ve put into engineering. So it’s going really well so far. So again, thanks for all that. Now this public beta 16.1
will be available later today, and it’ll be posted on our website. Okay, so the next thing to
talk about is UltraStudio. Now obviously, UltraStudio
is really in some ways part of DaVinci Resolve
and other software. Now we have three main
models of UltraStudio Thunderbolt products. The UltraStudio HD Mini is reasonably new. Its 3G-SDI. It’s got, let me show the models there. It’s got 3G-SDI, HDMI out, analog for archiving, Thunderbolt 3. And that’s a reasonably new model. It’s also got a design where you can take the front panel off and
put a Teranex Mini Smart panel on the front because
it’s Teranex Mini size. It’s only a third of a rack-width wide and it also powers
through the Thunderbolt 3 from the computer. Now we’ve got the UltraStudio
4K and the 6G-SDI. It’s got HDMI and analog
and Thunderbolt 2. And then we’ve got the
UltraStudio 4K Extreme, which is a monster of a product. It’s got 12G-SDI, HDMI, analog. It’s also got a microphone and headphone sockets on the
front, and it’s Thunderbolt 3. Now the problem I’ve got
is that the UltraStudio 4K has some limitations as you can see here. It’s getting old now. The features are all slightly strange, not quite suited I think to
what we need to be doing. But the big thing is its Thunderbolt 2. It’s not Thunderbolt 3. The other two models are Thunderbolt 3. And one of the other problems
we’ve had with this model, it’s an older generation technology, generated a lot more heat and so the fans were a little noisy. That’s one of the complaints
we had with this model. So we think the UltraStudio 4K, being such an old model,
is now time to replace it, and that’s what we’ve done. So we have a new model, it’s called UltraStudio 4K Mini. Now let me show you a
nice picture of it here. In fact, let me bring one
out and I’ll show you. I have one here. Here’s the actual unit itself. I put it down there next to DaVinci where it loves to work with. So you can see on the front
there, it’s a nice design. It’s half a rack width,
so it’s similar to some of the other products we’ve got. You can still use a Teranex
Mini rack shelf with it, but it looks great on a
desktop here you see as well. It fits in better with the range. It includes the nice front panel standard. It doesn’t come off because obviously it’s a bit more
complicated than the little Teranex Mini UltraStudio HD Mini. This is the UltraStudio 4K
Mini, a little bit wider, it’s got some more functions on the front. You can see the front panel
has a headphone and mic input, which were popular on
the big 4K Extreme model, so we’ve moved it down. And also, the microphone
supports phantom power, which is nice. Now the connections are more modern. It’s got Thunderbolt 3, so
it’s a newer technology. Thunderbolt 2 is fading away quickly now. It’s got 12G-SDI so it can do
all the formats up to 2160p60, but you can also do fill
and key up to 2160p30. So it’ll do fill and key
if you provide graphics for a graphic station
into, say, a live switcher. Now it’s got a HDMI input
for consumer products so you can capture from consumer cameras. It’s also got an HDMI
output so you can monitor on large screen TVs. They make fantastic monitoring. One of the main uses for
DaVinci for this with DaVinci is monitoring on big TVs. Now it also, like the HD Mini,
it’s also got analog input, the capturing from old
decks and consumer gear. So one of the great things
about these products is being able to capture
from old archive decks, like we’ve got a whole bunch
of decks over here on the side. And you wanna be able to
get content from all those. In fact, the great thing
about this product is you never know what
you’re gonna be capturing and what you’re gonna be
interfacing to, that’s what it is. It’s a universal breakout
box in many ways. Now it has balanced analog audio in. So when you’re capturing from pro decks like the one inch machine
or the Betacam SP, you can capture in analog audio. It’s also got balanced
audio out, which is great when you’ve got a big sound system like a big power amplifier in an edit room and you’ve got some nice speakers and you can really blast away and hear incredibly clear sound. So those balanced audio
outs are nice for that. Now it even includes RS422 deck control. All the three models have that, and this is how you can
control your broadcast decks if you’re capturing in
specific segments off tapes. And it also includes the
Media Express software, which gives you deck control and you can, it’s a much simpler app to use. You can just mark in and out shots, in and out points, sorry,
and grab stuff in. Now I’ll show you the… There you go, there you
can see a list of features, the Thunderbolt 3,
12G-SDI, HDMI, analog YUV, balanced audio, headphones and
microphone and deck control. And you see, we’ve got it set there. Probably wouldn’t have it right in front of the monitor like that, but you can see it’s a nice companion for DaVinci Resolve. Now if I go to a close up at the front, because I’m not sure if you
can see it on the camera, you can see there’s a couple
of other things we’ve done. We have an SD card slot on the front. And the reason for that is that when you’re shooting with a Pocket Camera, you could be shooting
Blackmagic RAW on an SD card. So we thought it’d be nice just to be able to insert that into the front of the unit so it’ll now mount that on the desktop. So when you plug in the Thunderbolt 3, you’re getting all the video I/O but you’re also getting
an SD card slot. Now if we show the back of the unit, and I’ve got a close
up of the graphic there but I’ll turn it around so you can see it on the camera as well.
Let’s get a close up. You can see all the
connectors on the back. You can see on the right hand side the balanced audio in and out. You can see the analog
on the, the mid right, and then the HDMI in and
out right down the middle. The SDI, the 12G-SDI is there on the left. You can see the output
connectors are A and B. That’s how you get the fill and key out. That’s a separate, you know, and it takes the RGB alpha,
converts it into fill and key on those video outs. You’ve got an SDI input that’s 12G-SDI, and there’s a loop out so you
can loop out to other gear. There’s also the remote connector there and you can see the Thunderbolt connector. Now what’s interesting is
if you look at the back, you can see there’s a USB socket. What this lets you do is
turn it into a sort of a docking station. So I know I often use a lot
of work I’m doing on a laptop, I come back and I plug in, you can plug your mouse and
keyboard into that USB socket and then when you plug your
laptop into the Thunderbolt, the whole system comes up,
you get your monitoring, your video connectivity,
your audio connectivity and your keyboard mouse
all come up together. So it’s sort of a bit like
a docking station for video more than a simple kind
of a simpler I/O box. It’s not just a breakout box, it’s a bit more than that. And it’s AC powered, which
means it doesn’t draw any power from the computer. And in fact, it provides
45 Watts of trickle charge back to the connected laptop. So the laptop will stay charged and you can, it basically transforms into a desktop editing system when you plug your laptop into this. So if we look at the lineup now, we can see that graphic there
with the three products, it’s much more normal. Here you can see that
it steps up to 12G-SDI. Both UltraStudio 4K models
now have that 12G-SDI. They’ve got the Thunderbolt 3. And they both got the headphone
and microphone on the front, so they’re really nice. Now this new model, you can
see they’re gonna work nicely with the new Mac Pro. That’ll look really good. Now the price and
availability, it’s in stock and will be 995, which is the same price as the UltraStudio 4K it’s replacing. But it’s got more functionality on it and it’s half the size, and the connections are
obviously more modern with 12G-SDI and Thunderbolt 3. Now that’s in stock now. It’s a fantastic DaVinci
Resolve monitoring solution. It’s great for getting archived clips from DaVinci Resolve as
well, so pretty exciting. Okay, so next up I wanted to talk about the Blackmagic Pocket Cinema Camera 4K. Now before we get going,
I should quickly apologize if you’ve been waiting for backorder. We’ve been working pretty hard
but we’ve had a few issues with lead times on some of the critical components on this model. Like, the longest lead time
part on this product is 72 weeks, so we are finding that the electronics industry, in
its ever quest for efficiency, somewhat makes it harder
and harder to get parts in a timely manner. But we are working as hard as we can to fill those back orders,
so I’ve just got to apologize if you’ve been waiting for that but we’ve been working hard as we can to get those critical parts. And as we get them in, we turn them around in our new cameras as quick as we can. Now our original design goals for the Pocket Cinema Camera 4K was to make it essentially
the world’s smallest and most affordable digital film camera. And I think we’ve done that. It’s incredible how miniaturized
we managed to do it. Now if you look at a
summary of the features, you can sort of see what
we managed to cram into it. I’ve got a bit of a graphic here which nobody really likes seeing, a boring slideshow graphic. But it’s worth just sort
of summarizing what’s in it so you can then understand
what we’ve got it to do. So of course, it had the
Micro Four Thirds lens mount and a wide dynamic range so
you get Hollywood quality. But it fits in the palm of your hand. It’s a really wonderful design. The ISO was up to 25,600, which is really quite sensitive. We’ve got some shots
people have done in like, we’ve seen people shoot under moonlight. It’s remarkable. Now it had a large five-inch screen so you can focus properly. And when you’re working
in high resolution, you need that big screen, and that’s what we built into it. So I kind of like having
a Video Assist just built in. We put 3D LUTs in it, so it’s got professional lookup tables. It’s got professional audio and it’s got a mini XLR, phantom power, all those things, four microphones. I mean, it’s really quite rich. We have Blackmagic RAW
and ProRes video in it. Of course the SD cards, UHS
II cards and CFast 2.0 media. So we had sort of three
different kinds of media cards. But we also had that
expansion port on the side for recording to flash disks externally. Now we have an 18.96 millimeter
by 10 millimeter sensor, so it fits really nicely
for micro four-thirds. But we matched that with a really nice Generation 4 color science
from our engineering team here, but it’s a great 4K camera. Includes Blackmagic OS with all the benefits of Blackmagic OS. Starts up fast, it’s reliable and it’s got a lot of extra features, software features in the menus. And an included DaVinci Resolve Studio. That was the other thing that came with, a complete solution for
post-production for visual effects, editing, color correction. And we’ve had some fantastic
feedback from the customers. It’s been really exciting. And what’s exciting is
seeing the work people do. But getting into that kind
of collaboration with people as the, you know, you’re
having these conversations at trade shows and thinking
about what the future can be, and now we wanted to act
on some of that feedback. It’s time to, we’re at that point where we’re ready to do that. But another thing I thought
that was worth doing is just mentioning, you
might recognize this camera, this is our original Cinema Camera, the Blackmagic Cinema Camera. And we never really
had a good upgrade path from our original Cinema Camera. It was very innovative for its time. It had a huge LCD for its time. It supported metadata, it
worked with common file formats from editing software, it
had a wide dynamic range. It was exciting. It sort of broke a lot a new ground, and I think it was popular and
people supported us with it. They did all kinds of interesting rigging. And it was really innovative. But the Pocket Cinema
Camera 4K basically has all those features. So the Pocket Cinema Camera 4K has been a pretty good
upgrade path from this model. But the one thing it doesn’t
have is an EF lens mount. The Pocket Cinema Camera is
Micro Four Thirds lens mount. It doesn’t have an EF lens mount. So we thought that what
we really need to do, it’s not really an upgrade from the original Blackmagic Cinema Camera, that’s why we call it
a Pocket Cinema Camera. It’s more an upgrade from that. So moving on, I think what, it’s really important. And the biggest thing that
customers have said to us is that they wanted an EF lens mount. So what we’ve done, oh,
by the way actually, I’ve got to show you something. It’s quite funny. We found out when I was digging around looking for the shot of the Cinema Camera, I also found an old development shot of when we were developing the camera. So there you go, that’s what
an engineer’s desk looks like. And I guess it probably looks exactly what you imagine it to look like. That’s not one of the dirtiest benches that I’ve seen in the
engineering area, so… But there it is, you can
see that wacky rig we had. Originally actually, when
we were doing the camera, it was a PL mount. And then we realized we needed to do EF because if we had expensive lenses, it kind of defeated the whole
purpose of doing the camera. So you can see, this is
the first I think version of the rig where we had
the EF lens mount on it, and it was this weird
kind of rig we could mount to do test shoots with. And we could only capture
through the software at that point on a
computer, so we actually had the Mac there with some
debug software running, and that’s how we
originally got the camera up and running for the first time to get pictures out of it. But anyway, I’ll move on. What we’re doing really
here is we’re gonna essentially announce an EF version of the Pocket Cinema Camera, and that’s I think a better upgrade path for customers from the
original Cinema Camera as well. Plus of course, it’s got
all the same features as the Pocket Cinema Camera 4K. So what we’re really talking about here is we’ll have two models
now, Micro Four Thirds and an EF lens mount versions
of the Pocket Cinema Camera. Now it still has ISO up to 25,600. It still has 13 stops of dynamic range. As you can see here, it
still has 3D lookup tables with a large five inch screen. It has the same professional audio that the 4K model has. It still has Blackmagic RAW. So it’s very similar. You can see it’s very, very similar. But it being an EF lens mount, it does have a larger sensor. So it’s 23.1 millimeters
by 12.99 millimeter sensor. So it’s a bigger sensor that
better fits the EF lens mount. It’s Super 35. But it also means it’s higher resolution. So the resolution is 6144 by 3456. So that means it’s a 6K camera. That larger sensor in the EF model also has a shallower depth of field so you’ve got higher resolution
and a shallower depth of field. So it’s got a slightly
different creative feel when you’re shooting with it. So what that means is… The other benefit of course
for the high resolution is, before I kind of move on
and get too spec happy, the other benefits of course
is that you can shoot wider if you’re doing ultra HD or HD projects. You can shoot a bit wider and then crop down in post production. So it gives you the ability, like you see, the close up feature in the DaVinci here, you can go close on various shots and you can make those decisions. So you can do a single camera shoot and get like two different camera views out of the one camera view. Like, that’s what the close up feature in DaVinci lets you do. You can have a wide shot
and go in close as you need. And you’ve got enough resolution at 6K to be able to do that
without any softening. So that’s pretty exciting. Now it still has DaVinci
Resolve Studio included. So you get the full
DaVinci Resolve Studio. And it will be priced at 2,495. So now being a 6K camera,
what this means is we’re going to call it the Blackmagic Pocket Cinema Camera 6K. So that’s pretty easy to know. So that means we’ve now got
two models in the family, one a 4K MFT model, and
then one a 6K EF model. Now of course it’s got the
same color science as the, so you can intercut the
media really nicely, they’re virtually identical so you can intercut the media between, when you edit, depending
on which camera you know that looks the same. And what’s also interesting
is that this camera design makes 6K really easy. It works exactly the same
as the other 4K camera model so you don’t really even notice that you’re shooting
6K, which is remarkable. L’avantage de la 6K, et surtout si plus tard vous travaillez en 8K, elle s’adaptera parfaitement avec Resolve. La résolution est bien meilleure qu’en 4K C’est un média à l’épreuve du temps, facile à enregistrer. Vous pouvez enregistrer sans problème en Blackmagic RAW sur vos cartes de stockage sur la caméra sans problème. C’est un remarquable petit format. Quand j’enregistrais avec, j’oubliais que c’était en 6K car elle est similaire au modèle 4K. Je vais vous la montrer. Voilà un objectif EF. And here it is here. So I’ll move that over the side. Well, let’s put the lens on. So it’s an EF model. There’s the lens mount on the front there if you can see that. And I’ll put the lens on. So I’m moving it around, you’re trying to get a closed up but… So here’s the camera. It’s all very similar on the back, but on the front you can
see it’s quite different. I’ll put them side by side and
you can see the differences between the two. So there’s a different aesthetic
around the front there, but otherwise all the controls
and features are the same so it’s pretty exciting. So let’s have a look. We’ll look at some of
the close ups of the, I’ve got some photographs
of the camera itself. You can see a bit of a close up there of some of the slides. You can see going in there. There’s a shot of the front. You can see that very
different design aesthetic on the front there
where you’re accommodating that larger lens mount. Still got the four microphones, but you get a bit of a
view there of the sensor. You can see it’s quite a bit bigger. And you’ve got the EF mount there. And there you can see it with the, in fact that’s the same
lens I actually have on the one on the bench here. So you can see the overall
view of the camera there. Same connectors on the side of course. And with EF lens mounts,
you’ve got a massive range of lenses. I mean, there’s some really
specialty lenses in EF. So photography lens, it’s
been around for a long time and there’s such a range
of third-party, Canon, and all those other brands of lenses. And that’s where the
nature stuff comes in. It’s been exciting seeing
those kinds of lenses used, you know, some of that and
some of the possibilities. It’s really quite exciting. Of course you’ve got the beautiful screen with the Blackmagic OS. You’ve got all the same
settings and focus features, which become even more important in 6K. You need to make sure
you’ve got absolutely crystal-clear focus to get the benefit out of the extra resolution. So having all those focus
assist features in there in the back of the camera
is really fantastic. And that’s where the Blackmagic
operating system comes in. Of course you can record to a flash drive. What’s interesting is
the settings of the menus are almost identical to the 4K model, but you do have a few extra
resolutions obviously. And also some extra framerate
settings and things like that. But otherwise, virtually identical. You can see it’s a fantastic companion for DaVinci Resolve 16. And obviously, DaVinci
Resolve Studio comes with it, which is the paid version so
you get all the extra benefits and collaboration features and that of DaVinci Resolve Studio. And now what we’ve also done is we’ve got a new website for the camera, and we’ve put a new workflow page on it. We wanted to highlight some
of the different workflows people have been doing, and
it’s been quite exciting. Some of them have been a bit surprising, some of them have been
more traditional workflows that we’ve been doing
with our earlier cameras. And we’ve also posted some
Blackmagic RAW sample media to the website as well,
so you can download and evaluate the files. You can color grade them using the free DaVinci Resolve
software if you like. If you don’t have DaVinci Resolve Studio because you don’t have a Pocket Camera or you haven’t purchased
it, you can just download the free version of DaVinci Resolve 16.1 because that supports Blackmagic RAW 6K. So you can download some of
those shots from the website, give them a go color grading them and see what they look
like and sort of evaluate the kind of creative feel of
when you’re grading the shots. But we also have some videos of some of the work on
that website as well on the workflow page. We’ve done… There’s a bunch of different shoots, there’s some example
videos of finished work on the workflow page as well. So we’re trying to, and there’s also a bit of production detail
of kind of the background of some of the creative
choices and the lenses and things like that that we
used to create those videos so it gives you a bit of an idea of what kind of workflows
people are doing. We’ve got a bunch of photography here that I could show you quickly, outline some of the kinds of
work people have been doing. Obviously, music videos
has been a new area that people have been using
the Pocket Cameras on, and the dynamic range
and the color science are really just wonderful organic look on the lights in some of these scenes. I mean, I think what’s really interesting is that people might
not have a lot of money if you’re an indie band and
you’re just starting out, but you need good online content to really enhance the production values and really enhance the kind of, that’s how you get
noticed these days, right? It’s music videos. I think that you can do a hell
of a lot in the background just with common items without
a lot of flash equipment and expensive locations. That’s really basically
a curtain in a house with a bunch of lights
and some decorations, so that’s what’s really amazing. And the video clip, music
video looks amazing. Obviously nature. This is where the lenses come in, all these nice lenses make
nature shots look fantastic. I mean, anything you point
at in nature looks great, but I mean, some of the lens options, this is where the EF lenses can
really come in to their own. And again, weddings. Every wedding looks like a
high-end wedding in digital film. It’s quite amazing. We’ve seen a lot of
gimbal mounts being used in live-action type stuff,
which has been really exciting. And also obviously, the
fashion shoots with, you get such a package of social media around fashion shoots these days, and the digital film
creates a level of style in the social media content
that really just is so, just can be just as good as the actual fashion photography itself. And also the camera shoots
stills as well, right? So you get 6K stills out of that, so that’s pretty nice. And of course, traditionally,
we’ve always been into digital film,
sorry, independent film. Independent film is probably
the first group of people that picked up our original cameras because you get that wide dynamic range and just that real film look. I mean, it really is a
digital film camera, right, shrunk down into a small size. And the independent film guys are the ones that picked it up first. But what’s interesting we’ve noticed, and the feedback we get from their peers, is that they love the fact that it’s less intimidating
because it’s so small. When you’re trying to get
that mood right on set and get the actors into their characters, you’re having a less intimidating camera makes a huge benefit to stop, you know, it sort of makes it a
much more intimate feel and the actors can stay
in character better. So it’s a really wonderful creative tool for independent film,
and it’s always exciting seeing the kind of work
people are doing there. But some of the more surprising work was the real estate market and properties. I mean, the cameras have been used on showing off properties and they have been adding some amazing production values to that. That’s been a bit of a surprise seeing some of that work come through. We have some examples of
that on our website as well. And obviously, the YouTube content. I always like the YouTube content because you get a chance to glimpse worlds that you don’t really know
anything about, like surfing. I don’t know anything about surfing. I mean, you know, with this body? But what’s interesting
is that you get a chance to see these worlds, but
the production values are coming up to the point where the people who are doing this kind of work have now got full digital
film production values. So you get this incredibly
very sophisticated, nothing low-end about
YouTube video at all anymore. It’s really, with digital film, you’re getting really high-end
work, so it’s very exciting. So let’s talk about availability. As I mentioned before, the price is 2,495. And the good news is that the Blackmagic Pocket Cinema
Camera 6K is in stock now so you should be able to go and get one. Probably should be in stores later today over the next few days. Now I think this is a
fantastic new addition of the family, having the two models. But I’m really happy to have, you know, a really nice path for our
original Cinema Camera customers who are looking for something new, and I think they’ll be able
to use all those lenses and transfer them across. So that’ll be really nice. So the next thing I wanted to talk about is a new tool we’ve got,
which we’ve developed, and I’ll show you a slide here, it’s called Blackmagic RAW Speed Test. Now Blackmagic RAW itself
is something fairly new, and it’s in the Pocket Cameras and it’s in our Mini Pro
and a few other cameras, and it’s a next-generation codec that we designed to be
a much more a modern codec for smaller files in higher quality. It’s got the quality of RAW
at the speed of a video codec. It’s much better than H.264
codecs and video codecs. It’s visually lossless,
but you get total control over your RAW. You get full RAW controls
in post production. You get full control. And it also, the other thing that’s nice about Blackmagic RAW is it works with Metal, OpenGL and CUDA. It automatically finds GPUs. It’s got enhanced metadata. We actually support these sidecar files so the camera can embed
metadata into the file, but you can overwride the
metadata with a separate file that has the same filename
but it’s just sits off the side as a sidecar file
which has extra metadata in it, and you can even take that metadata file out of the folder and
then essentially remove the user metadata. So if you take a file from the camera and put it in DaVinci and add something, like change the raw settings
or the exposure or whatever you need to do, it won’t
change the file itself. It’ll put that information
down into the sidecar file, which will then override
the settings that were done in the camera, but you haven’t changed, like they’re not lost, the
camera settings aren’t lost. And that also is really important because we can now embed 3D
lookup tables in the file. So we can burn in 3D lookup
tables without burning them in. What’s happening is that the lookup table is being put into the
file, and the file’s having a flag turned on, saying
that it should be used when you load it in DaVinci but you can go into the RAW settings in DaVinci and turn off the 3D LUT
because it’s not actually burned into the video or into the content, it’s just in the file. So it travels with the file,
so you don’t lose which LUT went which file. And at any time, you can turn it off. And you can even overwride the 3D LUT in the sidecar file as well. So you can actually put a 3D LUT, save a 3D LUT into the file, it goes in the sidecar file. You don’t like it, you can
turn it off at any time or you can pull the sidecar file out and it goes back to the
LUT that’s in the file. If you don’t like that,
you can turn that off and just load a 3D LUT
into DaVinci itself. Complete flexibility. So Blackmagic RAW has been really popular. There’s a free SDK for it
to developers adopting it, but what we really wanted
to do is we wanted to, we’ve been doing, obviously
when we develop Blackmagic RAW, we’re doing a whole bunch
of benchmarking on it all the time, so we thought, why don’t we just make that into an app? So we have an app called
Blackmagic Speed Test. Disk Speed Test, sorry,
and that test disk speeds. And that’s been really useful because a lot of flash
disks aren’t as fast as they say they are. They do a kind of a cache internally and then they write through, and they’re not really
good for video work. So they look good when you
do a computer speed test, but the great thing about
Blackmagic Disk Speed Test is it’ll write through
the size of the cache and you get a true,
sustained write performance. So that’s been a really popular tool. So we thought, why don’t we do one for Blackmagic RAW as well
so we can actually test the GPUs and the CPUs and the machine? So it’s essentially a CPU
and GPU benchmarking tool, but it’s using Blackmagic RAW. What it’s doing is it’s basically testing full resolution decode speeds. It’s just decoding as
many frames as it can as quickly as it possibly can. It auto detects and load-shares
the GPUs and the CPUs, so it’s using everything the computer has. But it gives you a sort of an accurate and realistic computer
performance sort of indication. Now there’s some settings in it. You can select constant bitrate 3:1, 5:1, 8:1 and 12:1 in it, and you can run the tests on that. You can also select different resolutions. You can select HD, ultra HD, 6K and 8K. You can select, well, it
basically will show you the different formats
in frames per second. So you can get an indication of whether you can make that work. What I’ll do is I’ll show you. If you come back over
to the user interface, one thing that’s been really interesting is I’ve been running basically a 6K demo on DaVinci all morning. The demo I just did before was… The media was shot on the Blackmagic Pocket Cinema Camera 6K, so this whole demo has been
running 6K the whole time. And the shots aren’t graded, but all the sync bin, all that stuff, it was all running on the
Pocket Cinema Camera 6K. So if I show you, here if
I go into the sync bin, this is all, oops, I got
to go to my master bin. This is all 6K. In fact, if I go back to the media disk, one of the guys mentioned that, I’ll go into a shot here, you can see the resolution there. So inadvertently, when I showed
you the media stuff before, I kind of gave away that
it wasn’t normal media. But there you go. So what I’ll do is I’ll quit DaVinci and I’ll run Blackmagic RAW Speed Test. Here it is here. So you can see it looks very similar to the disk speed test that we had before, but I can select and I’ll select 6K. And then I’ll run a demo run. So what it does, it’s doing a
130 frames a second on the CPU and it’ll run a GPU test, which is doing 163 frames a second in. Now on the Mac, it’s doing Metal, which is Apple’s GPU high-performance API. But it also then will fill
out all the frame rates. So it goes through all
the different formats, fills out all the different frame rates. You can see it doing it here. And then after it’s done,
that’ll just keep cycling through the 6K selection that you did. So it kind of almost becomes, just like if you wanted to test your machine for thermal performance,
it would just keep running and running and running,
and that’s what it does now. You can see it just keeps
repeating the test forever. You can even save a snapshot
of the file if you like if you wanna remember what
different machines did. You can save a snapshot
of the UI from the menu and actually keep copies of
the UI in various systems to get an idea of the
speed and the performance. So we’re gonna make that available. We’re gonna have a new update of the Blackmagic RAW package SDK. Obviously the player,
the Blackmagic RAW player the disk speed, sorry, the Blackmagic RAW Speed Test will be included in that, and that’ll be available today as well. And at the moment, it’s
only Mac OS X only. Now I mean, you can see we’re getting fantastic performance here. We’re probably cheating a little bit because this is an iMac Pro, and it’s an extremely fast machine, custom GPU and stuff in it. And obviously, imagine would it be like on the new Mac Pro with
those crazy bus GPUs and machines are extremely fast. And memory buses are really quick. I mean, it’s so amazing. I can’t wait to try it on the new Mac Pro. But it’s Mac OS only at the moment, and we’ll obviously port that soon. And it should be available
today on our website so you can download
that and give it a try. And also get the upgraded
Blackmagic RAW player so you can play 6K files
if you’re downloading those of our workflow page. Okay, so one last thing I
thought would be worth doing before we finish up is just a bit, I wanted to give a bit of an update on what’s coming up with these cameras. Obviously we haven’t just
done the new 6K model, we’ve been working on new software and we have a new camera update 6.6, which is due, it’s probably
a month or two away. We need just some more time. We need some more time to get it finished out and through QA. But we’re gonna, I
thought it might be worth just giving a quick
preview of what’s coming so you can get an idea
of where we’re heading. So I’ll go through some
of the new features. So obviously one of the big ones that I think is important is languages. The camera update 6.6 is gonna
include multiple languages. So we’ll have English, Chinese, Japanese, Korean, Spanish, German, French, Russian, Italian, Portuguese and Turkish I think that are all languages. In fact, I can show you, we have 6.6 loaded into the camera here. I can show you that now
if I go into the menu. In fact, I’ll go into the menu and I’ll go down to the end here. Setup, there it is there. So you can see on the back of the camera, so you get a chance to
have a look in there, you can see there’s a language menu there. So if I push the button on that, I get all the languages. Now if I click on say… Now the camera’s in Chinese, and the overlays and
everything are all in Chinese. So it’s pretty cool, and you can select whichever language you like. Let me get back to
English on that and update it, otherwise I can’t use the camera. So we’ll get out of that. So that’s pretty exciting. So I think having the languages in there will be really useful. The other thing we’ve added is a level. We’ve got it mapped onto the buttons here so I can turn it on or off. If you see those indicators, I’m not sure if you can
get a good indication there but what it does is it shows you if the camera’s level. So if we put it on the desk
and then I move it around, you should see it moving. You can see it move? So what this lets you do is it tells, like I’ve got a really
portable camera tripod. The problem is when you loosen it off, it flops in every direction. It doesn’t have like,
it’s not a video tripod because it’s really
portable, it’s really small. So the great thing about
this is if I’m trying to tilt up or down,
often I have a struggle to get the camera horizontal. So what’s really nice about the level is you’ve got a level built
in that uses the gyro chip inside the camera. And you can also calibrate the camera at a specific level if you wanted. There might be something you actually need to shoot on an angle. You can actually calibrate
in the angle if you like. But it tells you that, most the time you just,
put it on the desk surface, you calibrate it horizontal and it’ll then set that as the level. So there it is there. So that’s really pretty nice. The other thing we’ve got in the cameras is support for gimbals. They can connect to the
camera now and allows you to start and stop and recording and focus using the controls on the gimbal itself, and we’re supporting the popular gimbals. We’ve also added some new
formats in the 4K model. The 6K model has some new
formats because it’s 6K. Also, we’re gonna be adding
some additional new formats to the 4K model. So in the 4K model,
and we’ve got 4K 2.4:1, we’ve also got a super 16 millimeter crop for Super 16 lenses. And we’ve got a 1.33 times
anamorphic de-squeeze in preview in 16:9 modes. We’ve also got, and this
is gonna be a popular one, we’ve got a four by three anamorphic mode with a two times de-squeeze preview, which is the one people have
been emailing most about. And so that’ll be in the camera as well. So it’ll be pretty nice. Now when it comes to availability, we think it’s probably
one or two months away until it’s complete. It’ll be a free of charge update. There’s no cost to download that. When it’s available, we’ll tweet it. So if wanna be notified of the update, make sure you subscribe
to our Twitter feed so we can get you when that updates posted and we’ll tweet it and then
you just go and download it. But we really wanted to
show you what was coming up so you have a bit of an idea
of what we were working on and where these cameras were heading. So that’s pretty much all
we have for this update. Again, I just wanna thank
you guys for your support. We really do appreciate it. We get a chance to do
all the things we do. I think the creativity that we do and the creativity you do,
the best gift we can give each other is our creativity. It’s what makes us human, I think, and it’s wonderful to be
able to build these things and when you guys buy
them and we get a chance to see what you do with it, that’s the thing that blows our minds. So again, thanks again
for all your support, and we probably hope to
see the next trade show and event where we can keep collaborating and inventing more stuff. So that’s all I have for
now, and thanks for watching. Take care, bye.

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