Blackmagic Design is live with URSA Cine Immersive pre-orders. If it meets its late Q1 2025 ship date the $29,995 the camera will be the first on the market optimized for the Apple Immersive Video (AIV) format compatible with the Apple Vision Pro mixed-reality headset. Currently, there isn’t much content that takes advantage of the Vision Pro’s immersive features. The Cine Immersive captures 3D footage in resolution of 8160 x 7200 per eye at 90 fps. The package includes a fixed-distance lens and 8TB of onboard network storage. Also in Q1, DaVinci Resolve Studio will be updated to support AIV editing. Continue reading URSA Cine Immersive for Apple Vision Pro Set for Q1 at $30K

After more than a decade, Apple has released Final Cut Pro 11, its first major update to the non-linear editing app. New features include AI-powered masking, spatial video editing for projects destined for the Apple Vision Pro and the ability to generate captions directly in the timeline, as well as some general workflow improvements. Final Cut Pro 11 is free for current users while newbies will pay $299 for a one-time purchase. Improvements have also been made to Final Cut Pro for iPad and Final Cut Camera, adding new creative options across Mac, iPad and iPhone. Continue reading Apple Final Cut Pro 11 Adds AI Features Powered by M Chips

Blackmagic Design is releasing its Blackmagic Camera for Android 1.3 update, which adds support for recording timecode and adds anamorphic lens de-squeeze functionality and lens correction settings as well as support for off-speed and time lapse recording. Available at Google Play free of charge, it supports Google’s latest OS, Android 14, which means it should offer some interesting creative possibilities with Gemini, the new Pixel 9 series’ native AI. Some features are backward compatible. Customers with Pixel 6, 7, 8 and 9 phones can record at frames rates of 120fps and 240fps at 720p, and 120fps at 1080p. Continue reading Blackmagic Camera for Android Adds Array of New Features

Blackmagic Design announced that its new URSA Cine 17K 65 camera is available for orders from resellers worldwide, starting at $29,995. The cinema camera, which includes a massive 65mm RGBW 17,520 x 8,040 sensor with larger photo-sites for 16 stops of dynamic range, was previewed in April at NAB. Its features include interchangeable PL, LPL and Hasselblad lens mounts and industry standard Lemo and Fischer connections. The base model comes with 8TB of internal storage and also has high-speed networking built-in for media uploads and syncing to Blackmagic Cloud. Continue reading Blackmagic URSA Cine 17K Camera Priced Starting at $30K

The Entertainment Technology Center@USC has released the fourth and final installment of its case study, “Fathead: Virtual Production & Beyond.” Chapter 4 of the four-part white paper is titled “Key Contributors: Process Pipelines,” which summarizes key findings of the production and recommended best practices moving forward. “Fathead” — directed by c. Craig Patterson and produced by Erik Weaver, ETC’s director of adaptive production — was shot at Amazon Stage 15 in Culver City as an experiment in virtual production, in-camera VFX and collaborative, cloud-based workflows. Continue reading ETC Releases Final Section of Virtual Production White Paper

China’s Sneaki Design has a new smartphone camera technology called SwitchLens that makes it possible to use professional-quality interchangeable lenses with existing Android and iOS phones. It does this via a phone-mounting external camera unit that has its own one-inch CMOS sensor and coupling device for lenses built to the Micro Four Thirds (M43) open standard. The pro-sized sensor captures still images as 21MP in either the RAW or JPEG formats, and 60p MOV video at up to 4K. Existing M43 compatible lenses from manufacturers including Panasonic and Olympus work with SwitchLens, according to Sneaki Design. Continue reading SwitchLens Adds 1-Inch Sensor, M43 Lenses to Smartphones

Apple is previewing visionOS 2, the next-gen operating system coming this fall for its Vision Pro mixed-reality headset. The new system includes a Mac Virtual Display that creates the ultra-wide equivalent of two side-by-side 4K monitors. The new OS updates navigational hand gestures and adds a Photos app feature that turns existing 2D pictures into spatial images. At WWDC Apple also announced that Blackmagic Design will release the URSA Cine Immersive, the first commercial camera system designed to capture images for the Vision Pro, and Canon unveiled a dual-lens optical setup for APS-C cameras. Continue reading Vision Pro Adds Dual 4K Virtual Display, URSA Cine Immersive

Blackmagic Design has introduced two new attention-getting cameras at NAB 2024 in Las Vegas. The flagship URSA Cine 12K LF (large format) has a new full-frame sensor with 16-stop dynamic range, comes with 8TB of built-in storage, and starts at $14,995. It ships with a Canon EF mount, but also accommodates ARRI PL. Blackmagic will also make the URSA available with a 17K sensor, but has yet to share pricing (though it is expected to cost from $20,000 to $25,000). The $2,995 PYXIS 6K cinema box-style camera offers a choice of three lens attachments: EF, PL or L-mount. Continue reading NAB: Blackmagic Unveils Two New Full-Frame Cine Cameras

Blackmagic Design has unveiled the new DaVinci Resolve 19, with multi-source editing, neural engine AI tools, Resolve FX and Fairlight AI audio panning among the highlight features. With more than 100 feature upgrades in all, Resolve 19 boasts IntelliTrack AI, Ultra NR noise reduction, ColorSlice six vector grading palettes and Film Look Creator FX. The company also announced the DaVinci Resolve Micro Color Panel, a more affordable color panel for DaVinci Resolve software that Blackmagic says was designed in collaboration with the world’s leading colorists. These tools are featured at the Blackmagic booth at NAB 2024. Continue reading DaVinci Resolve 19 Has AI Motion Tracking and Color Grading

Blackmagic Design’s new Blackmagic Cinema Camera 6K is the company’s first with a full-frame sensor. Its 6,048 x 4,032 pixels of native resolution is almost three times the resolution of Super 35, says Blackmagic, which is positioning the $2,595 device as a “large format cinema camera image quality in a portable, lightweight body.” The Cinema 6K abandons the Canon EF mount for L-Mount coupling and greater lens options, and 13 stops of dynamic range with dual native ISO up to 25,600 delivers low noise images in conditions from bright sunlight to “almost no light at all,” according to the company. Continue reading Blackmagic Intros Cinema Camera 6K with Full Frame Sensor

ETC@USC will host its 8th vETC virtual conference at SIGGRAPH 2023 in Los Angeles, August 8-10. The event – which highlights significant presentations of emerging technologies and their impact on the M&E industry – will explore how generative AI, machine learning, and other compelling new tools help simplify building 3D worlds and tackle today’s computer vision challenges. Three days of sessions will be recorded and posted on ETC’s YouTube channel. For those attending SIGGRAPH who may be interested in attending the sessions (located at Z by HP Booth 215), visit the program guide, which includes a full schedule and speaker bios. Continue reading ETC Will Host Sessions at SIGGRAPH Conference This Week

The film “Fathead,” produced by the Entertainment Technology Center@USC, continues to garner recognition. Nominated earlier this year for a NAACP Image Award in the Outstanding Short Film (Live Action) category, the film was most recently included in The American Pavilion’s Emerging Filmmaker Showcase at the 76th annual Cannes Film Festival. “Fathead” — directed by c. Craig Patterson and produced by Erik Weaver, ETC’s director of adaptive production — was featured among 38 short films in the Showcase at Cannes and was announced winner in the Student Short Film category. Continue reading ETC’s ‘Fathead’ Receives Honors at the Cannes Film Festival

Netflix has the largest global audience of any paid streaming service and produces the most original content, optimum position to recommend camera specs and photographic best practices. Netflix requires that at least 90 percent of a program’s content be captured using hardware from its “approved camera list,” which currently includes 51 models from seven manufacturers. There are some exceptions, mainly for documentaries. But the care the company takes in vetting the list — with input from creatives, camera manufacturers and global experts — makes the five-year-old tradition respected guidance for video professionals. Continue reading Netflix-Approved Camera List Has Expanded to 51 Models

The Entertainment Technology Center@USC will host its 6th vETC virtual conference at SIGGRAPH 2022 in Vancouver, British Columbia, August 9-11. During this year’s vETC at the Amazon Web Services booth (1039), speakers will present concepts, workflows, business models and case studies as they apply to virtual production. Many of the companies that worked on ETC’s latest R&D film project, “Fathead” will discuss their discoveries in sessions that will be recorded and posted on ETC’s YouTube channel. The 3-day program with list of speakers and gear to be demonstrated is available on the ETC site. Continue reading vETC to Discuss Virtual Production During SIGGRAPH

Netflix has updated details for approved camera systems as part of its content delivery requirements. “While capturing at a higher resolution is certainly important to image quality, we know it’s not everything,” Netflix camera systems specialist Kris Prygrocki shared, emphasizing that other attributes include dynamic range, color accuracy, noise performance, sensor readout speed, compression, chrome subsampling and bit depth. Other considerations are post-production software support for the recorded file format, proper color management and metadata options, Prygrocki said. Netflix has had camera standards since 2019. Continue reading Netflix Explains Its Camera Requirements and Best Practices