The ATEM Camera Control Panel provides independent controls for up to 4 URSA Mini, URSA Broadcast, Blackmagic Studio and Micro Studio cameras from a single control panel. You get iris control, shutter speed, white balance, master gain, pedestal, RGB controls for white and black, and more.
The ATEM Camera Control Panel is a compact remote camera control unit designed to control up to four different URSA Broadcast, URSA Mini, Blackmagic Studio or Blackmagic Micro Studio cameras. The control panel features traditional broadcast style controls and adjustments so a single person can monitor and adjust a wide range of technical parameters such as black levels, gain, colour balance, shutter speed and more. This leaves your camera operators free to focus on the more creative aspects of live production such as framing and composition. Unlike traditional CCU controllers, which have to be installed into a desk, the ATEM Camera Control Panel has been designed to be portable so it can simply be placed on any desktop or bolted down so it can be mounted in a slide out rack shelf. The controls are arranged in a familiar and logical layout, making it perfect for both experienced and new operators. Plus, it works with all ATEM switcher models
The ATEM Mini Pro ISO retains the same size, button layout, and rear panel interface connections as the ATEM Mini Pro, with new electronics that allow for the ISO recording and generation of the DaVinci project file. The ATEM Mini Pro ISO supports all the same features as the ATEM Mini Pro including upstream and downstream keyers, an advanced chroma keyer, two linear/luma keyers, a DVE transition keyer, a pattern generator, and color generators. There is also media player support for fill and key images, which supports up to 20 stills in PNG, TGA, BMP, JPEG, and TIFF formats. The ATEM Software Control Panel is used for control and configuration, and it allows you to monitor the data rate, audio meters, configuration, and status of your live feed. And you can use the panel to set up streaming to an optional Blackmagic Design Streaming Bridge anywhere in the world, as long as it is connected to the internet.
BlackMagic Digital ForAir-16 ver : 16.4 is exclusively designed for both Professionals and Amateurs to run their complete Automated TV channel with a Personal Computer. Very first time in India !!! You can do everything OnLine while the Show is running.Yes, with the same PC, on which you are running the Show. Live Show, Programing, Scheduling, Titling, Report Printing, etc., OnLine. Dump all your Video/Audio stuff into Hard diskMake Video/Audio ProgramsCreate 3D Titles, Set Animations (Flash/Gif) filesSchedule the Video/Audio ProgramConnect the video out from nVidia TV out to the Transmitter/ModulatorAnd Run the show...Seamless Playback Technology (No black between video file change over)Just less than 5% CPU usage for playout with Titling, SMS overlay, FlashNews and etc.,OF COURSE WITH SUPER SMOOTH RTF SCROLLING WITH IMAGES AND TEXT !!!Please let us know if you could see this amazing feature in other software !!!Since it is very Low cost and User Friendly, you can invest Less and Earn More out of it.
vMix is live streaming and production software that allows you to create professional quality productions on your own computer. vMix gives you the power to add multiple cameras, videos, NDI sources, remote guests using vMix Call, images, audio, web streams, Powerpoint, titles, virtual sets, chroma key, and much more to your production. You are then able to display, record and live stream your production all at the same time!
Before electronic chroma keying, compositing was done on (chemical) film. The camera colour negative was printed onto high-contrast black and white negative, using either a filter or the high contrast film's colour sensitivity to expose only blue (and higher) frequencies. Blue light only shines through the colour negative where there is not blue in the scene, so this left the film clear where the blue screen was, and opaque elsewhere, except it also produced clear for any white objects (since they also contained blue). Removing these spots could be done by a suitable double-exposure with the colour positive (thus turning any area containing red or green opaque), and many other techniques. The result was film that was clear where the blue screen was, and opaque everywhere else. This is called a female matte, similar to an alpha matte in digital keying. Copying this film onto another high-contrast negative produced the opposite male matte. The background negative was then packed with the female matte and exposed onto a final strip of film, then the camera negative was packed with the male matte and was double-printed onto this same film. These two images combined creates the final effect.
Please refer to the latest DaVinci Resolve Configuration Guide for your platform detailing support, including certified driver versions for third-party hardware. It is available from www.blackmagicdesign.com/support.
You will also need to download and install the latest Blackmagic Design Desktop Video software for monitoring with your Blackmagic Design video hardware. Desktop Video is available from www.blackmagicdesign.com/support.
This software update fixes issues with automatic recognition of HDR displays on Apple Macs and adds a consistent approach to frame based clip imports. In addition, this update improves fade trimming behavior on the edit timeline, provides better retention of smart filter settings and fixes issues with playback performance and unicode character display for Text+. Technical support for the free version of DaVinci Resolve 17 is only available via the Blackmagic Design community forums.
This software update adds support for Blackmagic RAW 2.1, improved Bluetooth connectivity for DaVinci Resolve Speed Editor, and better YouTube credential recognition. This update also adds improvements to color mapping and source viewer playback as well as general performance and stability improvements. This version requires a DaVinci Resolve Studio license dongle or software activation code.
This update adds support for Blackmagic RAW 1.8.1, Final Cut Pro X XML v1.9, as well as general performance and stability improvements. This version requires a DaVinci Resolve Studio license dongle or software activation code.
This software update features improved debayering support for RAW clips from EOS-1D X Mark III and EOS R5 cameras, more accurate playhead syncing on the cut page, better tone mapping in HDR projects, and faster Kakadu JPEG 2000 decode performance on Linux and Windows. DaVinci Resolve 16.2.4 also addresses an issue that affected project saving after editing audio keyframes, improves custom Fusion tool performance, adds support for Blackmagic RAW 1.8 and more. This version requires a DaVinci Resolve Studio license dongle or software activation code.
This DaVinci Resolve Studio 16.2.2 Update adds support for hardware-accelerated H.265 Main10 renders on Mac, Blackmagic RAW LUT name viewing in clip metadata, and custom output frame rates for YouTube, Vimeo, and frame.io. DaVinci Resolve 16.2.2 update also supports frame.io task status markers, Rec. 709-A gamma for QuickTime player, level shifts with H.264 playback on Mac, and better handling of audio transitions when trimming clips in the timeline. This version requires a DaVinci Resolve Studio license dongle or software activation code.
Please refer to the latest DaVinci Resolve Configuration Guide for your platform detailing support, including certified driver versions for third party hardware. It is available from www.blackmagicdesign.com/support.
Note the two checkboxes at the bottom of the dialog box. If your image is large, click on the "thumbnail" checkbox to upload a small version image that the wiki software creates for you and automatically links to the larger version. The other checkbox puts a thin black border around the edge of the image. Click "Insert" to upload the image to the page.
Getting three colours out of a three-colour eInk panel is not hard, as I figured out rather quickly. Getting working greyscale turned out to be very very hard. The problem is that using low voltage does not move black particles very much as they are larger. Using high voltage moves yellows as well, so all greys end up poisoned by yellow. This gives photos a rather strong sepia effect. The first photo on the right shows what that looked like. Cute, but not what I wanted. It took a few weeks of experimentation to figure out how to get better greys. The solution was all about timing the pulses. In the simple black-and-white screens, two short pulses had almost the same effect as one longer pulse. In the Black/White/Yellow screen, this is no longer the case. We can also take advantage of inertia. If we start the yellow particles moving AWAY from the screen, we can give a short pulse to move blacks up to the top, and hope that the inertia of the yellows moving down keeps them from moving up too much. Repeat a few times, and you can get relatively good yellow-free greys. It all sounds nice and easy as I explain it, but it took a long time for me to figure this all out. The second photo on the right shows what it looks like now - perfect achromatic greys. A full screen update with these waveforms takes about 52 seconds, which is pretty good for the picture quality obtained! Partial update for just black and white mode takes half a second. This i used for the download progress bar that shows up on top of the screen at download time. 2b1af7f3a8