Sone very nice still images from the Blackmagic Pocket Cinema Camera have appeared on the Blackmagic Forum. Our in-house Cinematographer, Phil Rhodes, casts an experienced eye over them

A recent global firmware update for all Blackmagic cameras boosts the top Prores recording option on the URSA and introduces other fixes and improvements for the rest of the lineup.

Rigging the Blackmagic Cinema Camera

Published in Production

Whenever a popular new camera (or class of cameras in the case of DSLRs) bursts onto the scene, you can guarantee that a small industry will grow up around it supplying accessories and paraphernalia that wraps around the camera, giving a standardised and flexible system to mount external gear on

Here's another chance to read Peter Haas's epic article on when you should use raw. (It's over a year old, so you may find some of the references outdated, but it's still an important read).

Blackmagic Hyperdeck Shuttle 2 now supports Apple ProRes HQ

Published in Production

Blackmagic Design yesterday released an update for its $345 Hyperdeck Shuttle 2 recording device enabling recording of Apple ProRes HQ files.

Blackmagic Davinci Resolve 10: The full rundown

Published in Post & VFX

Here's a full-length, in-depth look at Resolve 10 and the background to its development. RedShark reporter John Burkhart has been talking to Blackmagic about this seminal post production application.

He's the CEO of the most talked-about company in the industry. His NAB booth is the size of an airport terminal. He doesn't give many interviews. How does the mind behind Blackmagic Design work? Dave Shapton finds out

Using the Blackmagic Cinema Camera with Anamorphic Lenses

Published in Production

Apart from colour saturation, contrast, and a a shallow depth of field, one of the most cinematic things you can do to your images is to film them in a cinematic aspect ratio. And since most sensors come in 16:9, which is widescreen but nowhere near as wide as 2.35 to 1, for example, then the only way to shoot in this format is to use an anamorphic lens, which squashes the image horizontally to fit it onto a narrower sensor

Building a Resolve 12 system for $500

Published in Post & VFX

Thanksgiving Weekend Replay: Eric Escobar breaks down how you can turn a first generation Mac Pro and a collection of parts into a fully-fledged grading and finishing workstation for a mere $500.

Can Blackmagic resurrect film?

Published in Business


You know what you never hear in the edit bay? “This looks too much like film, can we make this look less filmic?” John Burkhart reports

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