Blackmagic Design - Five Product Wish List for NAB 2023
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- čas přidán 9. 04. 2023
- Here are 5 new products that I'd LOVE to see from Blackmagic Design.
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I think it would be cool to have a rack unit converter. 10 HDMI and 10 SDI assignable Input/output
This, essentially 10 12G bi directional converters all racked together in a 1U chassis.
They used to have this with their opengear cards. SDI-HDMI converters which could fit 10-20 in a 2u chassis.
opengear does this
@@p1ngerss YES ! Never find any place to buy OpenGear stuff, I don't even think Blackmagic still supports that
@@zebrazone blackmagic doesnt have to support it, its just a converter
Agree with all products you mentioned 👌
1-Bigger 4K Router at least a 60x60.
2-Instant Replay!!!!!!!!!!!!!!
3- 4K Scope with more features such as Double Diamond
Multiport (min 4) SDI to HDMI converter and vice versa (maybe routable?). Micro converters are fine for single camera but it looks awkward in a rack.
We need BMD PTZ Cameras
Amen, 4K with an NDI option
Amen
Also need BMD Replay systems
a big YES for the hyperdeck studio ISO
They are taking a lot of time on audio in the new switchers, but it would be nice to actually have a control surface that supports those functionalities, separate from the switcher.
Yea, a POE motorised fader control surface, bit like the Allen & Heath IP8.
I’m throwing my vote in for the Hyperdeck Studio Iso. The Atem iso is…ok. But a rack mount iso recorder that records mov would be amazing for our work flow. How great would it be to be able to pull one SSD with all the cameras on it to take to the ending desk?
Are you listening BMD?!
Atomos shogun studio 2 can record 8 channels of 3g sdi
@@lovrooooo Thanks for that, I didn’t know about that unit.
Micro Studio Camera 4K with SDI. Pocket Cinema Camera with 4K SDI or HDMI out. ❤
Spot on Doug, I agree on all counts. For a while I’ve been torn between a new Hyperdeck Studio Plus or another Video Assist 4K, the Duo rack mount monitor with touchscreen to flick between scopes etc. plus have the ability to start playout when switching, like the rack mount recorders would be awesome.
ISO recording device. Yes, please!
.
I have several BM switchers, but they really hit on something with the Television Studio HD. If they just updated the one space 2/3 rack unit to include 2 HDMI outs (assignable), 2 usb-c slots and simply convert internally like the current lines do so that I wouldn't need converters like the updowncross HD, I'd be happy. Oh, and make the cut button bigger - that would be a great product. Having 4 SDI and 4 HDMI inputs covers a lot of ground and a lot of situations.
As far as I know many are waiting for the 4K switcher..
I still think that a replay system is coming. If they take the ATEM mini form factor using the ISO recording for each cam and just replace a few buttons with mark ins/out, etc., it really just comes down to the ability to playlist the replay events. Would love at least a 4 in, 2 out system. Better yet, they could use the Extreme form factor and add a T-bar and then have either an integrated jog/shuttle or just make the Hypderdeck Shuttle able to control it.
I talked personally to Grant in 2019 at NAB about the 4K camera converter. He seemed very intrigued by the idea. Have been hoping for one to come out since then! I’m hoping soon! haha
I'd like to see a wireless solution for connecting a BM camera to an ATEM that preserves full camera control. Something that would work with existing video transmitter/receivers and make use of a wi-fi or bluetooth channel for sending camera control and status to and from the camera, but injecting it into the SDI/HDMI camera feed.
My wish: Bug fixes and features for the existing products. Especially for URSA Broadcast G2 and the micro/mini converters.
We are still running a 1M/E 4K and would love to have an upgrade path for it.
def a 4K camera converter
Would love to see a "studio back" for the BMPCC4K/64 that includes 4K converter functionality with the ZIF demands and a mount for a screen that has a bigger tally light. Kindah somewhere between the Camera Fiber Converter × Studio Viewfinder with a dock for the BMPCC cams and arms for the Focus Demand and Zoom Demand.
Would love to see a monitor calibration device or software for DaVinci and ATEM
Love to see a hardware camera colour calibration interface for ATEM for just the colour...something like a $100 behringer X-TOUCH MINI not the $3000 ATEM Camera Control Panel
finally, some tactical fibre connectors. I realise that BMD is headed away from fibre optics but it's still the best way to get long distance camera connectivity and still retain ARC protocols
Rack mounted switcher with Extreme ISO functions and LCD buttons
Star wipe! :)
Monitors with HDR support.
Hope to see you in action in NAB Las Vegas next week! 🎉😊
I'm planning on being there!
Would like ATEM Mini Extreme ISO functionality in a ATEM Mini Pro form factor with 4 HDMI inputs instead of 8. A bonus would be an integrated open streaming bridge.
I'd also like to see video playback on the entire ATEM mini line. One touch playback of intro videos, credits, ads, overlays, etc... No laptop required. No rack required.
HEVC encoding for the atem mini series for those that are on cellular networks.
Thanks for the video Doug
I'd love to see something similar to the ATEM camera converter but using an SDI workflow, we are currently having basically the same issue you are running Canon cameras at a local church. We run an Atem with one BMD camera and the comms in that camera is much clearer than the other's as the have a lot off hiss and noice
TL/DR a camera converter that can be used with any HDMI camera
Since they offer that with their own cameras, it's difficult to see them doing it as its own standalone product.
+1 for the ISO Hyperdeck! Would love it + the Resolve File for easier Post
Making a Resolve project on an ISO recorder would be difficult, since it doesn't really know what is going on inside the switcher. If the switcher was aware that there was an ISO recorder it could make the project files, though.
@@djp_video Hi Doug! The ISO Recorder only needs to "talk Tally" or had to use the Information of Camera Remote. Its one SDI Input more to send Camera Remote / Tally to the ISO Recorder. Done
That only gets you part of the information you need. It doesn't tell you what type of transition is being done, won't tell you if a source is full-screen or in a DVE window (or where or how big), or on a SuperSource. There's a lot of information that would be needed for such a feature to work well enough to be useful.
@@djp_video Yeah, you're right. The detailed information is missing.
I can hardly remember, but with the Mini and Extreme also not all the Information was recorded correctly (I think Supersource doesn't work on ISO)
But the rough cut, (only recording wich camera is live) would help me personally a lot to get unwanted things easily out of the recording in Post.
But I guess, this Information could be provided by the ATEMS with a Software Update and the BM Network. That could be this hard - look at Companion, wich Informations the Streamdeck gets back from the ATEM (Makro State etc).
Edit: or look at the Communication ATEM - Advanced Panel. They interchange a lot of Information through Ethernet.
Here's my wishlist:
- 1 RU modular converter housing with like 8-16 slots, and then SDI to HDMI / HDMI to SDI modules (maybe even 3G and 12G versions) that you can put in each slot based on your own needs. With a Constellation switcher, computers, and monitors, there's a lot of conversion going on in each direction, and being able to collect them in a rack unit instead of having them dangling about inside the case, would be great! Perhaps also with the possibility of adding fiber conversion modules.
- Bidirectional Streaming Bridge, with acceptable latency for bringing on remote talent without it sounding too weird.
- A box version of the Studio Camera 4K
Blackmagic did produce rack mountable, modular converters in the past, based on opengear. It seems they didn't sell very well, and they discontinued the line.
I'd love to see the Streaming Bridge and similar products revamped to use SRT rather than RTMP to reduce the latency and improve reliability. It's kind of silly for them to have their own proprietary system which doesn't work with anyone else's products and have it based on RTMP (which was never meant to be used in that way) rather than SRT or WebRTC.
Doug, you mentioned in a previous video that BMD almost get it right with their products. There are work-arounds which mean conveniently buying more BM gear. I only have one wish, an ATEM like the HD8 but with constellation 2m/e number of inputs and programmable outputs, iso recording in better formats, and a dang 4k multiview out. ATEM4k20? for $5k?😏
Gladly and Sadly: Audio capture. Yes I know it is Fairlight, and they have a multi-channel PCIe capture card and interface panel system, that syncs up to the Audio Desk they sell. It's technology is dated, and very proprietary. An 8 track unit with inputs/outputs/aux XLR's with 24 combo plug patch bay, with USB and Net. Just some basic controls, with Resolve as follow-up and post production. 8 tracks is enough to mic a drummer, octet of instruments, a small choir, or round table group in-house.
The Camera Converter upgrade would be an interesting one. Since BMD likes to reuse form factors to save costs (smartly), I'm curious if they would drastically alter a future Cam Converter. The Mini Converter Optical Fiber 12G gets it halfway there, but has no space for buttons and the additional audio embed/deembedding needed for talkback through the converter. I'm curious if they lost the internal battery, could they make a Cam Converter in the Teranex Mini form factor? Add the buttons like volume control, program toggle and PTT via one of their smart panels, but it wouldn't need the screen. The only issue would be powering the thing at the camera side - d-tap, USB-C, unless you could squeeze an internal battery in there.
This would be amazing and dare I say it even more useful as the comms alone will be enough for a lot of people to have a full system in place from end to end.
ISO Recording: It would be good to have a "VideoHub ISO", these have multiple ins and outs anyway, "just" add ISO recordings to some of those inputs, user selects which channels to record, maybe 4 ISO's on the 10-way, 8 ISO's on the 20-way, 16 n the 40-way.
Interesting idea. I hadn't thought of integrating recording functions into a Videohub.
I've been asking for a 4K version of the camera converter for at least the last 5-6 years, if not more. Every time I ask about it at NAB, they basically tell me to jump in a lake.
If enough of us bug them about it, maybe they'll pay attention.
@@djp_video Don't get me wrong - I hope people keep mentioning it. I just wouldn't hold my breath. They've communicated that the SMPTE product is the answer (but I can't use it for the same reasons you mentioned). It also adds a ton of money to each camera in the chain.
I just want blackmagic to release an autofocus camera or an autofocus add-on that works with their cameras.
If you think the autofocus is bad now, try their cameras from a few years ago. Wow.
@@djp_video I’ve had many generations. But for my use (docs) continuous would be helpful.
@@djp_video but I agree with you. I should probably be happy with what I have 👍🏼.
nice wishes, what you think about to hdmi based video hub. Is it come one day, like for 10in 10out hdmi, and you could in software reroute, like they have in sdi.
It depends on what it's being used for. HDMI can work fine for small jobs in small spaces, but it doesn't scale very well. If someone is just working at home, small office, or in a small studio HDMI can be a workable solution, but once someone starts trying to move into bigger spaces and use more sources you're starting to tempt fate. HDMI was only designed for short cable runs (of about 2 meters) and the more you push it the more likely you are to have problems. In my mind it makes a lot more sense to go with SDI or fiber once more than a handful of sources are being used, or when the cable runs start to exceed 5 meters or so, as those are specifically designed for those scenarios (and the cables are actually cheaper too). For Blackmagic to produce a routing switcher based on HDMI with that many inputs and outputs is likely to cause people to think that HDMI is suitable for doing larger jobs, and it really isn't... encouraging people to go down that route is possibly setting them up for failure, or at least frustration. I suspect one of the reasons we don't see products like that is that the tech support burden is just too high -- too many potential users trying to push things too hard and experiencing a lot of issues. There are fiber-based HDMI cables out there that let you do longer runs, but you really start to get into big money at that point, and SDI is not only cheaper but works better at that point.
There are a lot of HDMI matrix switches out there that will route signals, though I don't recall having seen any as big as 10x10.
We need a Video Hub or Video Routing Switcher with 4K HDMI and 12 SDI. 10x10 inputs. #thatisall
No HDMI, but there is the AJA KUMO 1616-12G which has 16x16 inputs and outputs of 12G-SDI. Have one myself which works great.
@@davepusey thanks for the suggestion but Blackmagic just released Videohub 12G-SDI video routers and @djp_video has a great summary of them. What quite few of us need is a neat and compact method to integrate hdmi inputs and outputs into our workflow (especially for computers, projectors, hdmi monitors, etc). I have a bunch of converter from both Blackmagic and Decimator Design but these become cumbersome especially for flight packs.
Would love to see Black Magic roll out IPMX and be a leader in that space. Your spot on with your picks!!!
Seeing how BMD has messed up 3G with favoring level B, and seeing how brands like Grass Valley, Evertz, etc. are handing IP, I don't think any contribution by BMD into the IP video space would help unless BMD suddenly learned a lot about professional level broadcast workflows, data center grade networking, etc.
Sony also uses Level B on their camcorders. It isn’t just BMD
Atem switcher software has a list of clips on the connected Hyperdeck; want this for the switcher (atem mini family) as well (so we can playback clips
The Advanced Panels will show the list of clips as well.
How do you rate the newest ATEM studio 4K 8cthat Black Magic is coming out with
I really wish it had more inputs. Eight is a little tight for paid work. Otherwise its a nice product.
A powe r distribution system for micro converters. Which now consists of a mix of microusb and usbc 😢
I disagree with your constellation wishlist for a cheaper 4k model. At this point, if you are going 4k you are going to want a larger number of inputs, MEs, and floating resources so I don't think they would move enough units to compensate for the step up in 12G SDI serializers / deserializers, FPGA bandwidth / scale, and other costs. The rest of your concerns I'd mostly agree with but prioritize differently. For reference I currently work in a higher-end setting with K-Frames and EQX routers, so my desires are going to be quite different.
My top 5 list:
1) Decklink cards with AVC-Intra (100/50) hardware encoding / decoding. This would open the doors to stuff like high density encoding servers, replay systems, etc.
2) A newer revision to the card-based videohubs and related control software. Ideally make it so they still have redundent crosspoints and power supplies, but allow for potentially larger densities and at least allow for MADI embedding, disembedding, and routing so that you can route your SDI audio channels and interface them with stuff like mixers or a larger dante / 2110-30 network. Also would probably be a lot less expensive than larger ultrix builds and could probably replace a lot of the more archaic utah routers on smaller trucks whilst also being able to serve as a full-facility router.
3) A new higher-end switcher with more IO and resources. Something like 12G 64x32, 6M/E, 8 DVEs and 4 super sources would really start rivaling a lot of the carbonite switchers.
4) A re-release of their opengear cards. Simply some stuff like 1x4 DAs, SDI-Fiber, etc. would be welcome compared to the costs that some of those are running for these days
5) A new multiviewer system with custom layouts, PiP sizes, etc. with a larger IO like 32x4
Also in terms of firmware updates, I'd love an update to the hyperdeck studio line to make audio monitoring better. In recording mode, even just being able to quick scroll with the jog wheel to switch which audio channels I'm monitoring would be great. Also a fundamental change to the way that macros work on ATEMs would be nice, even if it is just allowing for conditional logic.
My comment was just that they could produce a lower cost version of the Constellation 8K by omitting the 8K features, but I doubt they will. I think they believe that most people who want a 4K switcher with 40 inputs will be okay with the $11,000 asking price. I do wish there was a cheaper option, though.
What single mode fiber do you use? I'm intrigued by $1 a meter but I don't really know much about single mode fiber. I'm considering using fiber for Dante and IP control and I've heard that single mode is a lot more durable which I need if I'm going to tour it.
Most commonly this one: amzn.to/3ZXoID2
Single-mode is not more durable than multi-mode -- if anything the opposite is true. But single mode can travel a lot farther than multi-mode. And in the case of the Blackmagic Design products, they use single mode exclusively.
For durability you want armored cables like the one linked above. Or maybe even something else more robust than that. The internal fiber carrying any single mode signal is basically the same all around -- the difference is how the cable is protected.
I would like to better understand the capability of the Atem and URSA Broadcast cams ability to do a HDR from Glass to Glass. I have looked everywhere and can’t seem to come up with a definitive answer.
Maybe a idea for a video if you have any insights.
Thanks
The HDR workflow isn't quite fully fleshed out with Blackmagic products. The cameras don't do true HDR, and the ATEM switchers don't really know how to process HDR footage properly.
If someone is shooting HLG (like with Sony cameras) you can get close, but the footage either has to be re-interpreted as HDR in editing, or flagged as being HLG on the output of the switcher (which it doesn't do on its own, and requires a rather expensive piece of equipment to do).
Bottom line is, it would be difficult to make a video demonstrating how it all works because not all of the pieces are there quite yet. They could if they were decide that they wanted to, but there is no complete HDR workflow with Blackmagic products yet.
@@djp_video thanks Doug!
That is pretty much what I thought but you are so hands on I thought you could pet a bow in it.
When does a 4K line complete?
We have no idea.
Does this switcher have 1 or 2 MEs
Which one? The Television Studio models only have 1 M/E
Hyper Deck ISO - for me it doesn’t need to be 4K after using the ATEM Extreme ISO's. On the ATEM, on camera recording can be triggered at the same time as the ISO recording, meaning you have two sync'd versions. The mp4 on the disk and the braw on the camera. When the Resolve project is loaded from the ISO disk it references the mp4 files and give a fairly lightweight version for editing. If the braw files are loaded into the same directory as the mp4 files, it is a single button in Resolve to switch to the 4K versions including all the post edits. I usually wait until I have a reason to need 4K - e.g. colour grading - before switching. You can switch back and forwards anyway whenever you like. This moves the heavy duty recording load onto the cameras, and each camera has to worry about the load for a single file only. You get all 4K benefits without needing some huge server capable of recording multiple 4K files simultaneously. I don't know how many cameras can have recording initiated remotely like this, but I do have one Panasonic which starts recording when the BM cameras start.
Being able to record and stream natively in 4K simplifies all of that.
@@djp_video I think I understand your position but I don't think it is that simple in practice, at least with current technology. First, I don't need 4K streaming for what I do. 1080p is more than enough by the time the various streaming services finish "optimising". Recording on camera is an insurance copy as well, so we will be doing that regardless, which in turn means that recording 4K at the switcher desk is additional for us. That's our workflow anyway. I know everyone is different, but I wonder just how much actual demand there will be for 4K recording at the desk, and if it is enough to justify commercial decisions. For example, recording nine 1080p mp4 proxies means I can use a cheaper SSD at the desk. I am envisaging a huge investment in disk storage to move to 4K 16 bit colour for 9 videos. I recently did a 2.5 day conference and that was a real struggle storing the on-camera recordings.
Updated panels with improved audio control.
Just curious... is there a particular reason you're doing audio in your switcher instead of a separate mixer?
@@djp_video when I saw the audio controls on the new ATEM Television Studio and then looked at the panels, well the panels did not look as sexy. So far we have relied on the in-house audio guy, but he’s mixing for the room, not really mixing for streaming (the streamed audio sometimes doesn’t end up being satisfactory). We are thinking of doing our own mix in the future but would need to buy audio equipment. We were thinking of giving the built in mixer in our constellation a go. In particular, I wanted to explore the compressor and expander features, even the noise gate might be useful.
In my opinion, there is little need for 4k in livestreaming. To be honest, there's hardly a difference in quality compared to HD. Sometimes, I cannot distinguish a well produced 720p stream from an HD one on youtube. There are so many things to improve in a livestream apart from resolution. Even excelent camera chains like Sony HXC-FB80 are HD only and the CCU scales up to UHD and this is perfectly fine.
Give me a well produced multicamera livestream in HD with studio cameras, fast HD B4 lenses, good angles, good technical direction, good commentary over a 4k livestream produced with cheap 4k camcorders or DSLRs any day of the week!
Something shot in 4K and live streamed in HD always looks better than something shot in HD. The visual difference is quite noticeable. Additionally, shooting in 4K gives you a lot more flexibility in editing later on, where you can crop in on the video without too much loss of fidelity. That isn't true of HD.
@@djp_video Yes but you do not get my point. My point is that there is a lot of things to improve in a livestream than just the resolution of the equipment. I've seen multicamera hockey livestreams produced with SD camera chains and then upscaled to HD that are tremendously better than two HD-camcorder camera livestreams. Much more enjoyable to watch. So my point is: invest in better preproduction, better operators, better workflow than just upgrading all your equipment to 4k. Moreover, 80% is watching our livestreams with their phone. That's the sad reality. In movies, commercials, documentaries, absolutely yes, give me 4k because there's a huge difference. In livestreaming or live television? 1080i is perfectly fine.
1080i is only "fine" for final broadcast. In this day and age we shouldn't be using interlace for anything other than final delivery, and even then only for over the air. You can't speed up or slow down 1080i without major image quality issues.
Most of the time I deliver 1080p for my customers. But all of my gear, other than the Camera Converters, is 4K. And the 4K looks so much better than HD, even using the same cameras. Why wouldn't I shoot 4K? Even the 4K downscaled HD looks better than native HD.
I'm not saying that everyone should be aiming for 4K. If online streaming is the only way that content will ever be delivered, yeah, HD is probably fine for a while. But for those of us that want 4K, it would be nice to have products that support that workflow. 4K sure is nice to have when things get edited in post, or for live-to-tape, especially when the target audience is likely to be watching on their big TVs at home. Live streaming includes a pretty wide audience. Some of which will be on phones, but others will be watching on big high resolution TVs. On my channel, for example, fully half are watching on computers of set-top boxes. Mobile devices only account for 26% of viewers.
@@djp_video You seem to come from an IT background where everything is progressive but in the broadcast world 90% is still interlaced. From cameras, to mixers, to processors, encoders, everything. Yes, interlace will eventually die but it is the present in most of the facilities. All the national tv broadcasters ask us for a 1080i50 deliberables, all the time. I like this analogy: "if we do not master mono, why bother doing surround 5.1" , the same happens to 4k. Blackmagic is known for their agressive marketing, they will stick the 4k label on everything sooner or later. To give you some perspective, some regional televisions here have just upgraded their over the air broadcast to HD this year. Yes, they were SD up until 2023. It does not mean anything, their content is top notch regardless of the resolution.
Oddly enough I'd like to see a sort of downgrade of a system. I have an ATEM Mini Extreme ISO but don't use all the inputs. I'd like to be able to select *which* inputs I want recorded. SSD space is filled up rapidly so not recording blank inputs would save space and bandwidth, and make transferring the files to my editing machine for Resolve a lot quicker.
The up side to the current system is that the unused inputs don't take up much disk space at all. The resulting files are very small.
I would vote for that as well, however the blank files don't take up much space and it is a safer option to record all by default than NOT record an input that should have been recorded. A bigger wish list item for me is that the temp files get cleaned up after the ATEM finishes recording. It's easier to copy entire folders, but there is a doubling of the number of files copied when the temp files are counted. Just to make it neater and avoid confusion.
A instant replay player recorder.
4k 4k 4k output on tbeir cameras instead of recording..
4k output and recording on their latest 8 port 4,000 switch with no 4k, who are these guys buyjng this...
It's only their Pocket Cinema Cameras that don't output 4K. If you want 4K out of the camera, the Studio Cameras and Ursas will do that for you.