Black Magic 2.5K cameras now for under $2000.

[Paulo Teixeira]

Here's an email that I and many people received today. Sorry if it was already posted.

Hi,

I wanted to email you about some exciting updates. We have new software for ATEM switchers, HyperDeck recorders, and desktop video products, as well as a fantastic price reduction and shipping update for cameras.
Camera Update

The new Blackmagic Pocket Cinema Camera is now shipping and there is a software update for it posted on our web site.

There are some new features in the software for the Pocket Cinema Camera. You can now focus by pushing the focus button when using an active MFT lens. This makes it very easy to accurately focus. The focus peaking feature is still there and you enable it by double pressing the focus button. The focus zoom feature is enabled by double pressing the OK button.

There will be an update for the 2.5K Blackmagic Cinema Camera soon that will also add these features, plus new de-bayer processing that will improve the cameras sharpness when shooting non RAW files.

The Blackmagic Production Camera 4K is not yet shipping as we need some more time. Our first batch of sensors was delivered only this week, so we have not been able to complete the software for the camera. We expect to start shipping in about 3 to 4 weeks once the final software work and testing is completed.
Blackmagic Cinema Camera Price Reduction

We have worked very hard over the last year to be able to build the Blackmagic Cinema Camera at a lower cost so we can reduce the price and allow access to digital filming to a wide range of cinematographers and photographers.

We have done it and from today the Blackmagic Cinema Camera EF and MFT models will be reduced in price to US$1,995. This is very exciting and is one of the proudest moments of my life to be able to do this!

I think people will be able to use the savings to invest in some exciting lenses and rigs to really boost the creative possibilities. The Blackmagic Cinema Camera is a fantastic design that's now well proven. The advantage of the 2.5K sensor is it has enough resolution to eliminate the bayer resolution loss of a HD sensor, but when shooting RAW it produces files that are too not to big to store and work with easily. It's a fantastic solution.

All orders placed that have not yet been filled, can be reduced to the new lower price.
HyperDeck Software 3.8

We have an exciting new version of software for the HyperDeck SSD recorders and this new update adds 6G-SDI support on the output for HyperDeck Studio Pro and adds on screen menus to both HyperDeck Studio models where you can set formats and other features. We have also added a new ethernet remote control support.

This is really easy to use and you connect HyperDeck to your network, set the IP address of the HyperDeck in the menu and then Telnet into the HyperDeck to get control. If you type play, the HyperDeck will play and if you type stop, then HyperDeck will stop. You can get clip lists and all kinds of control functions. There are more details in the instruction manual on the protocol.

This update is free of charge and on our web site now.
ATEM Switcher Software 4.1.1

We have a new software update for the ATEM switchers and it's a big update with lots of new features. It includes a new save and restore that allows you to save the state of the switcher into an XML file, including all your media pool, into a folder of images. You can load that XML file back into the switcher to fully restore it with all settings and media back online.

You can even save parts of the switcher, such as a single keyer or even SuperSource and use them like Marcos. If you save the switcher, you also have the choice to load parts of the switcher, or the whole switcher. You can keep saving to keep rolling backups and each XML file is like a time based snapshot of your switcher state through the whole job. The media pool will keep adding any changed images to the media folder so you will get all media that's used in the job and can restore back to any point in time. Its very powerful.

We have also been opening up some of the power of the new ATEM Production Studio 4K model that includes HDMI and 6G-SDI that operates in SD, HD and Ultra HD resolutions. This update now adds new 1080p progressive video formats including 23.98, 24, 25, 29.97, 50 and 59.94fps. This really opens up the number of devices you can plug in.

This update also fixes a bug in the ATEM Production Studio 4K that stopped some devices using RGB HDMI such as Playstation, Xbox, computers and GoPro cameras from working with the switcher HDMI inputs.

This software update is available now from our web site for download.
DaVinci Resolve 9.1.5

We have a small software update for DaVinci Resolve 9 that adds improved compatibility with Avid Media Composer 7.0 round trip, supports reel names in Final Cut Pro X XML, adds support for Avid EuControl Software Package Version 3.0, improves handling of multi track Quicktime audio files and adds improved Cinema DNG file format support.

This update is available for download from our web site.
Desktop Video 9.7.7

This new software update now adds support for the 4K DCI modes and adds improved compatibility for HDMI on the UltraStudio 4K and the DeckLink 4K Extreme models. We have also improved support for Avid Media Composer for the UltraStudio Mini Recorder and DeckLink Mini Recorder models.

This software update is available now for download from our web site.
Splice Community Web Site

Over the last few years I have spoken to more and more people at shows and seminars, and one thing that really struck me is how hard it is to be the best at editing, color correction, design and effects in this industry.

This is one very tough industry, but it’s so incredibly exciting! In my time in post production I have spent many hours at a post facility at 2 a.m. talking to editors who have just come out of a 15 hour session. You might know that feeling!

I have spent hours listening to editors, effects artists and colorists talking about the jobs they just completed and how it went and it was really exciting. I really want to share those stories with everyone!

So I have created a new community page where we have people talking about their stories and posting their projects and images online. It’s not about Blackmagic here, as I really just want to share people's stories about their work and how they got started in the industry.

I get to talk to so many people from thousands of post production and broadcast facilities, so I hope this website lets others enjoy these stories as well.

When we proposed this website to people in the industry, they were really receptive to the idea and have been fantastic in supporting it. They have really opened up and shared the tough times as well as the good times. They have explained how they got started in the industry and even the big breaks that made them who they are today. It’s fantastic and we are so lucky that we have had this support.

If you are interested in reading these stories, please head to Splice: Latest Edition

I hope that Splice will be a community space where you can go to see the background stories behind so many great projects. We will feature everything we can from feature films, shorts, TVCs and documentaries. There are loads of projects from directors, DPs, editors, colorists, visual effects artists and post houses who have all shared their stories.

So please check it out! If you want to tell your story, please let the guys know via the website or Facebook. I hope you like it.

Splice website: Splice: Latest Edition Twitter: https://twitter.com/splicecommunity Facebook: www.facebook.com/splicecommunity
New York Seminar

We are hosting an event in New York City to show our latest products. This is a great opportunity if you have not been able to make it to one of the big trade shows to be able to come and meet us in person and get to see our newest products. We'll be showing our new Ultra HD and 6G- SDI equipment, the latest DaVinci Resolve 10, our Cinema Cameras, and the rest of our latest developments.

This event is a great opportunity to get a sit down demonstration of our products, catch theater style presentations, speak directly with the Blackmagic Design team, and mingle over the provided refreshments with colleagues from the area!

Date: Thursday August 8th
Time: 11:00 AM – 7:00 PM
Location: New Yorker Hotel, 481 Eighth Ave, New York, NY

For more information and to register to attend, please visit: Spend a day with Blackmagic Design

I hope you found this update useful!

Regards,

Grant Petty
Blackmagic Design

[Noa Put]

I wonder if all the negative buzz surrounding them about their delivery issues made them take this step, maybe the 5dIII raw functionality did it and not sure if existing owners will be cheering, but it needs to be said, at that pricepoint and with those specs it puts every camera manufacturer out there to shame. I think people should stop complaining about having to wait for this camera, it's worth the wait, I mean, there are handicams that cost more...

[Jerry Porter]

I got the same email this morning and I think they just pushed me over the edge with that price point.

[Terry Nixon]

We just updated the pricing of the Blackmagic Cinema Camera on the Texas Media Systems website:

Blackmagic Cinema Camera MFT-Mount - BMD-CINECAM26KMFT $1995 at Texas Media Systems

Blackmagic Cinema Camera EF-Mount - BMD-CINECAM26KEF $1995 at Texas Media Systems

[Chris Joy]

@Terry Nixon - you show both the EF and M43 in stock, is that accurate? I may dump my pocket cam order and get the Cinema cam...

[Al Gardner]

Maybe they will drop the price on those ridiculous accessories, like the camera handle for a $195 bucks.
A friggin bent handlebar.

[Alex Anderson]

I/m going to buy the cam for $2k and make a doc about all the pissed off previous customers. :-)

all I can say is boo hoo. Only lost $1k>? I bought Topaz 3D animation software for $15k when it came out in the mid 80's. It ran on Dos. I had to buy a $9500 Vista card, a new computer, a $500 frame accurate controller card for my $30k Betacam recorder to do simple animations. Today you can get free 3Danimation software of high quality, like Blender, and a $300 computer at Micro Center and render out stuff in an hour to 1TB hard drives that cost $60 each. I used to render stuff over night for 24 hours back then. boo hoo to all the kids today losing only $1k. How much do they make on one job with that camera? If not more than $1k, then they are definitely not professionals. Ok, how about one week to earn $1k? Two weeks working at McDonalds ?? LOL .

Alex

[Jon Fairhurst]

Good points.

Consumers should never complain about lower prices - even when they paid higher prices earlier.

That said, it's valid to ask the seller/mfg if they have a recent-purchase policy. Sometimes, mainly on directly-purchased software, you can get a free upgrade when the new version comes out shortly after your purchase of the obsolete version. If you paid the higher price yesterday, it doesn't hurt to ask for a rebate - if not a full refund, if you're still within the return window.

[D.J. Ammons]

Bill the BM Cinema Camera still come with Resolve at the $1995 price point?

[John McCully]

I cancelled my order for the BMPCC and obtained a complete refund a few hours before I received the email from Grant Petty. The two events were in no way connected nevertheless I believe I was doubly fortunate, if you will. The reason I cancelled my order for the BMPCC was after giving serious if not speedy consideration to the matter I concluded that not having seen any footage that remotely corresponds to my intended usage and knowing the footage would be softer based on statements from Grant Petty himself I though why am I doing this! How dumb is that?

Noa Put said he thought it was pretty dumb if not in so many words. He was correct, I’m thinking.

And of course as usual there was delay upon delay, for which in retrospect I guess I am grateful, sort of. Never thought I’d think that.

So what now?

The lovely footage shot by Andrew Julian in particular his ‘Drive Through Snow Canyon with the Blackmagic Cinema Camera’ was what initially got me going down the BMCC path and after seeing that, and more to be honest, I ordered one. But when the sexy little BMPCC came along promising more or less the same I cancelled the BMCC and ordered the pocket cam and paid a deposit.

So now I shall take a deep breath, smilingly, let the dust settle, and then wait a while.

Reminds me of the story of the old bull and his young son. They were standing up near the top of a hill and they spied a herd of young cows down below in the valley. ‘Hey Dad’ said the young bull, ‘let’s race off down there and mate with one of those cows, eh’. The old bull took another chew on his cud, smiled, nonchalantly passed wind, and said ‘Son, how about we just stroll down there nice and slow-like and mate with them all’.

I just might be following in the footsteps of the old bull, so to speak, as the price is certainly moving in the right direction, and it isn’t over yet, I reckon. What’s the rush! It’s not as if I have revenue generating projects chafing at the bit.

And by-the-way, I’m having second thoughts about 13 stops of dynamic range, the cinematic look and all that bull, but that’s another post altogether.

[Josh Bass]

Can anyone chime in on real world shooting cost with this and the pocket cam? I realize lenses are all over the place on that respect but what else would one need to have a simple (ENG) shooting kit? Viewfinder? Media? Batteries? External audio recorder? What doesnt it come with that it needs, and how much do those things cost, other words?

[Craig Seeman]

I guess it depends on the kind of ENG work you do. I'll start with a story.

I was shooting a press conference with my Sony EX1. After it finished I started to break down. My assistant, on the other hand, ran after the subject with his Canon Vixia and shot the subject being interviewed by a major daily reporter. I had the same video everyone else had. He was the lone shooter. Guess which video got used? The Vixia.

For ENG work the shallower depth of field of large sensor cameras may not be critical and good zooms can be very pricey. That said the Pocket camera seems to have some advantages.

As per my story, smaller and more mobile has advantages. When it comes to "unexpected" news, the camera you have with you also has more advantages. I can carry the Pocket camera around without being encumbered.

Another key is the Pocket camera has a removable battery. While it may only last about an hour, I'm already seeing prices of about $15/ea for the battery. It's easier to carry a few of those than a big heavy external batter for the Cinema camera. The Pocket camera battery is similar to those found in some DSLRs (Nikons?) so they're going to be readily available if you need to grab one locally,

While the SSD recording media of the Cinema Camera will hold more than the Pocket's SDXC which currently top at at 128GB but SDXC and SDHC are readily available so if you're backed into needing more you can get one.

It seems much of the rest of the gear is similar in that one would need a cage, external audio inputs, monitor in many cases. I don't think there's much of a cost difference there.

Another noteworthy difference is that I believe the BMPCC MTF is Active which might help with some lens options.

One thing to consider is that the prices on these cameras are so low, getting one of each isn't out of the question. After all, you can get the BMCC and BMPCC for a combined $3K. Or maybe you'll want the 4K and the BMPCC for a combined $5K

Gear prices are a bit all over the place (and BMPCC gear market is still under development) so it really depends... on what you find your common ENG circumstances to be. Press Conferences? Interviews in the field? Run & Gun action?

My own experiences has me lean towards mobility. Of course both can have a shoulder rig but I'm going to bet I'm always going to have room for a Pocket and won't always have room or time to assemble an erector set rig.

[Duane Adam]

Does this suggest a price drop of the 4k camera to $2,995 after the initial orders are filled? I have one on order but I'm thinking of cancelling it. Cameras depreciate quickly enough without the manufacturer's help.

[Josh Bass]

Thanks. I looked at a review of the Cinema Cam after I posted this and saw that cost aside, it probably wasn't for me.

I do a mix of more typical talking head interviews, runnin' around getting b-roll, shooting lectures/seminars, maybe other stuff occasionally. The review emphasized it really wasn't meant for anything other than formal production environments (at least in that author's opinion).

[Jon Fairhurst]

Alex was just giving an example of how gear prices can fall in the industry - based on personal experience.

I still remember seeing a million dollar audio sampler at an NAB long ago. It was amazing. You could play footsteps on a keyboard for Foley. Now, you can play a whole Orchestra on a laptop with $149 software.

It might feel bad when prices fall just after you purchase, but it means that your next purchase will have that much more value.