Warranty information available from Blackmagic Design's website
Blackmagic Video Assist 5" 12G HDR adds professional monitoring and recording to any SDI or HDMI camera in all HD, Ultra HD, 2K and 4K DCI formats. The super bright 2500nit 5 inch HDR monitor supports 3D LUTs and features professional scopes along with powerful focus assist and exposure tools that help you accurately set focus, exposure and frame shots. The built in SD card recorder save files in broadcast quality 10-bit 4:2:2 ProRes or DNx formats. The files are all standard, so you can start editing immediately without having to convert them.
The new Blackmagic Video Assist 12G HDR adds professional monitoring and recording to any SDI or HDMI camera in all HD, Ultra HD, 2K and 4K DCI formats. The whole new design includes innovations such as brighter screens for HDR work, tally indicator, 4 built in scopes, enhanced focus assist features, 3D LUTs and native Blackmagic RAW recording from supported cameras. With 12G-SDI and HDMI 2.0 on both 5" and 7" models, you get support for recording from virtually any device in all formats up to 2160p60. The brighter touch screen ensures a perfect view of your recording for HDR digital film and when shooting outdoors in sunlight. The new design also features upgraded batteries and supports two standard Sony L‑Series batteries. This means Blackmagic Video Assist 12G is incredibly versatile and is the perfect solution for the next generation of digital cinema shoots, live production mastering and, broadcast testing and measurement.
With its amazing versatility, Blackmagic Video Assist 12G is also great for recording from cameras, or even as a clip player. As the files are compatible with the HyperDeck disk recorders, you can even use Video Assist as a broadcast field recorder, or an ultra portable broadcast scope. Video Assist is a fantastic broadcast solution because you get both HDMI and 12G-SDI inputs plus it has built in scopes and 3D LUTs. The scopes also help you QA masters to ensure compliance with broadcast standards before streaming and broadcast.
There are two models of Blackmagic Video Assist 12G, with each model including an innovative touch screen user interface with deck controls as well as a large screen to view your recording. The Blackmagic Video Assist 7" 12G model also includes 2 media slots, while both the 5" and 7" models include 12G‑SDI for high frame rate Ultra HD, analogue inputs for audio, USB‑C external disk recording, plus a front panel speaker and side mounted headphone jack. You also get 2 rear battery slots for mounting Sony L‑Series batteries, so you have enough power for the brighter HDR screens and higher speed Ultra HD electronics. Plus with 2 battery slots, you can change batteries without interrupting recording. A 12v universal power supply is included for studio or on location use.
Blackmagic Video Assist 12G HDR is an ideal upgrade for cameras, as it's super bright 2500nit display is bigger than the tiny displays found on consumer cameras, plus you're also adding professional focus assist features and better quality file formats. Video Assist is also a great solution for professional cameras because you can use it to upgrade older broadcast cameras to modern file formats used on the latest editing software. No matter what editing software you use, Video Assist lets you support them all, as you can record in Apple ProRes, Avid DNx and Blackmagic RAW. With both HDMI and 12G-SDI inputs you can connect it to any consumer camera, broadcast camera or even DSLR cameras. Then, on supported cameras, you can even upgrade to RAW style workflows with Blackmagic RAW.
The innovative touchscreen LCD user interface provides incredible control. On screen, there are dedicated buttons for play, stop and record, plus a mini timeline for scrolling through your recordings. You can even image swipe to jog. The LCD includes a heads up display of timecode, video standard, media status as well as audio meters. Scopes can be enabled via the touch screen as well as focus and exposure assist. There's also an extensive range of settings all controlled from the large LCD. Plus you can load and save 3D LUTs.
Video Assist uses commonly available SD card media, so you can record to flash memory cards that are easy to obtain. The files are small enough to allow long recordings on standard SD cards or the faster UHS-II cards. The larger Video Assist 12G 7" model even includes 2 SD card slots so you can swap out any full cards even during recording, allowing infinite length recording. Standard SD cards or the faster UHS-II cards are perfect for broadcast because they are small, high speed and affordable.
If recording to other media types is required, then the USB‑C Expansion port lets you plug in an external flash disk for recording. USB‑C flash disks have massive capacity as they don't suffer from any size constraint. Plus, it's possible to record to the same disk you are using or editing, so you don't need to waste time copying files before starting post production. Flash disks are so fast they can record high data rate formats that are too big for some lower cost media cards, such as high frame rate Ultra HD. Imagine adding a Blackmagic MultiDock 10G for easy SSD compatibility with other recorders such as Blackmagic HyperDeck models. You even get on screen menus for managing external disks using the touch screen.
Video Assist features a wide range of video and audio connections such as multi‑rate 12G‑SDI for SD, HD, and Ultra HD SDI devices. HDMI is included for HDMI cameras and monitoring to consumer televisions and video projectors. The 7 inch model features Mini XLR inputs which are provided for audio input from microphones and external audio mixers. The USB‑C connection lets you plug in flash disks or disk arrays for recording, allowing extremely long record durations and because you're recording to a media disk, you can edit direct from this disk after the shoot, eliminating extra file copying work. Video Assist even includes a 12V DC power connection with locking power connector.
You'll be ready for the latest HDR workflows with support for the latest HDR standards and an extremely bright screen with a wide color gamut. Plus the high brightness screen makes outdoor shooting in bright sunlight possible. The built in scopes even change to HDR scopes when working in HDR formats. Files are tagged with the correct HDR information then SDI and HDMI inputs will also automatically detect HDR video standards. Static metadata PQ and HLG formats are handled according to the ST2084 standard. The bright LCD has a wider color gamut so it can handle both Rec. 2020 and Rec. 709 colorspaces. The built in Video Assist LCD color gamut can even handle 100% of the DCI‑P3 format.
Video Assist features full internal waveform monitoring so you can ensure compliance to broadcast standards and it also works great as a portable waveform monitoring solution. The waveform display provides a traditional luminance (brightness) levels view of your input or playback signal. The vectorscope display allows you to see the intensity of color at 100% SDI reference levels. You also get an RGB parade display which is ideal for color correction and checking for illegal levels. Histogram shows the distribution of white to black detail in your images and highlights or shadows clipping. The built in scopes can even be overlaid on live video, or as a small picture in picture view at the top right of the scope.
You get full support for the most popular video standards. The SDI and HDMI connections are multi‑rate, so handle SD, HD, and Ultra HD. SD formats include NTSC and PAL. 720p HD standards include 720p50 and 59.94p. 1080i HD interlaced formats include 1080i50 and 59.94. 1080p HD formats include 1080p23.98, 24, 25, 29.97, 30, 50, 59.94 and 60p. You can even do 1080 PsF formats. Ultra HD is supported up to 2160p59.94. You can even record 2K and 4K DCI rates up to 25p for digital film work.
Some cameras can output logarithmic colorspace to preserve the dynamic range, which is great for later post production, however when these files are viewed on a monitor they can look flat and washed out. 3D LUTs solve this problem because they allow you to apply a "look" to the monitor so you get an idea of how the finished images will look like when editing. LUTs can be applied temporarily for monitoring only, or they can be burned into files for use in editing when capturing Blackmagic RAW. Video Assist works with industry standard 17 and 33 point 3D LUT files, or you can work with the built in LUTs such as Extended Video, Film to Video, Film to Rec.2020 and more.
Video Assist records using standard open file formats so you don’t have to waste time transcoding media. Files are compatible with all post production software so you can work with the software of your choice, including DaVinci Resolve Studio. Recording works in industry standard 10‑bit Apple ProRes files in all formats and from all HDMI or SDI camera, or 12‑bit Blackmagic RAW when connected to supported cameras. Blackmagic RAW is the fastest growing RAW format and developers can download and use the free Blackmagic RAW SDK to add support to their applications. Best of all, media files work on all operating systems.
Blackmagic RAW is a revolutionary new format designed to capture and preserve the quality of the sensor data from cameras. Video Assist supports Blackmagic RAW recording from popular cameras such as Panasonic EVA1* and Canon C300 MK II*. This eliminates the problems with popular camera formats such as H.264, which are highly compressed resulting in noise and processing artifacts. Blackmagic RAW eliminates this problem and gives you stunning images with incredible detail and color throughout the production pipeline from camera to edit, color and mastering. It also saves camera settings as metadata so you can set ISO, white balance and exposure, then override them later while editing, all without any loss of quality. Only Blackmagic RAW gives you the highest quality, smallest files and fastest performance.
* Available on Firmware Update - Video Assist 3.1
Blackmagic Video Assist 12G includes professional audio for modern cameras or other outboard audio equipment. When working in SDI formats, you can record 2, 4, 8 or 16 channels of audio in real time. For connecting microphones the Video Assist 7" model has two XLR analogue audio inputs with phantom power that support the high definition audio sample rate of 192 kHz at uncompressed 16 and 24 bit per sample. You can monitor using on screen audio meters with user selectable VU or PPM ballistics. Blackmagic Video Assist 12G features the latest in technology, including audio, with the analogue audio connections designed to low noise and low distortion digital cinema and broadcast specifications.
Multiple languages are fully supported so you don't need to learn another language to use it. Support is included for English, Chinese, Japanese, Korean, Spanish, German, French, Russian, Italian, Portuguese and Turkish. At first start, Video Assist will display a menu for selecting a language, plus you can still use the menus to change languages any time you need. When a language is selected, the on screen text overlays will change to the selected language, as well as overlays on the video outputs when enabled. All this means Video Assist is perfect for doing international location work with different crews.
The files from Blackmagic Video Assist 12G are common and are compatible with all operating systems or in most video software. Media can be formatted using ExFAT or HFS+ so you can easily access the media on computers and access the files like regular disks. DaVinci Resolve is perfect for use with Video Assist because it features editing, color correction, audio post production and visual effects all in one software application. Plus you can download DaVinci Resolve free of charge for Mac, Windows and Linux. You can also use recorded files in other popular software such as Premiere Pro and Final Cut Pro X. With Video Assist, your media is common so your files will remain readable in the future.
Blackmagic RAW is a revolutionary new and very modern codec that’s easier to use and much better quality than popular video formats, but with all the benefits of RAW recording. Featuring multiple new technologies, such as a new advanced de-mosaic algorithm, Blackmagic RAW gives you visually lossless images that are ideal for high resolution, high frame rate and high dynamic range workflows. Incredible image quality, extensive metadata support and highly optimized GPU and CPU accelerated processing make Blackmagic RAW the world’s first codec that can be used for acquisition, post production and finishing. Blackmagic RAW is a totally new design, plus it’s cross platform, freely available and includes a developer SDK so anyone can add support for Blackmagic RAW to their own software.
Working with traditional RAW formats is difficult because the files are huge, they’re proprietary and extremely processor intensive, which makes them slow and inefficient. While working with traditional video codecs is faster, quality is damaged because of the limitation to 10 bit and the 4:2:2 video filter that’s used which dramatically reduces colour detail. Blackmagic Design engineers have spent years solving these problems and have created a new RAW codec that moves part of the de-mosaic processing from the computer’s CPU into the camera itself, resulting in incredibly efficient encoding for an entirely new high performance RAW experience. With Blackmagic RAW, you get the same quality, bit depth, dynamic range and controls as RAW, with better performance and even smaller file sizes than traditional video codecs.
The incredible quality and speed of Blackmagic RAW makes it ideal for virtually any type of production. The pristine camera native quality of Blackmagic RAW Q0 or 3:1 is perfect for effects heavy feature film and commercial work, where you need the highest possible quality. Blackmagic RAW Q5 and 5:1 are extremely high quality making them great for episodic television and independent films. Blackmagic RAW quality is so high, you can even use 8:1 and 12:1 settings for incredibly small files that are suitable for all kinds of uses such as broadcast news, live sport events, digital signage, A/V, corporate video, weddings and more.
The new advanced de-mosaic algorithm is a central component of Blackmagic RAW. Part of the RAW processing is moved out of software and into the camera, where it can be accelerated. Noise management, sensor profiling and new edge reconstruction algorithms are used to produce high quality cinematic images with incredible depth, crisp details and beautiful image separation. The partially de‑mosaiced images, along with the unique characteristics of the image sensor, are encoded and saved into the Blackmagic RAW file so you get total control over features such as ISO, white balance, exposure, contrast, saturation and more. The partial in camera accelerated de‑mosaic allows for extremely efficient compression. This results in significantly reduced processing on your computer, making it faster to decode and use the files while retaining the sensor data needed for full RAW control.
Blackmagic RAW uses Blackmagic Design Generation 4 Colour Science for reproducing extremely accurate skin tones and gorgeous, lifelike colours that rival those of cameras costing tens of thousands of dollars more. Images are encoded using a custom non‑linear 12‑bit space designed to provide the maximum amount of colour data and dynamic range. Unlike traditional RAW workflows that rely on LUTs which alter the pixel data in a harsh way, Blackmagic RAW is non destructive. It harnesses the power of metadata to ensure that the creative vision of the cinematographer is carried through to post production. Most importantly, the free SDK lets third party software applications use the embedded sensor profile metadata if required, as well as Blackmagic Design colour science for predictable and accurate image rendering that yields consistent colour throughout the entire pipeline.
Blackmagic RAW features both constant quality and constant bitrate encoding options, giving you the flexibility to prioritize image quality or file size so you can better tailor your production costs.
High quality images and predictable file sizes
The constant bitrate encoding option is very similar to most codecs that are set to never exceed a specific data rate. The four constant bitrate variations are Blackmagic RAW 3:1, 5:1, 8:1 and 12:1. These ratios are based on the unprocessed file size of a single frame from the camera’s sensor, making it easy to understand the relative amount of compression being used. The constant bitrate variations are designed to give you the best possible images with predictable and consistent file sizes.
Variable bitrate encoding for guaranteed quality
The new constant quality options preserve image quality by completely removing the upper data limit. That means complex frames will be encoded at higher data rates to preserve detail and maintain quality. Only constant quality ensures quality levels never suffer. Blackmagic RAW Q0 has minimum quantization and yields the highest possible quality, while Blackmagic RAW Q5 uses moderate quantization for more efficient encoding and a smaller file size.
Unlike traditional RAW formats, which are slow and processor intensive, Blackmagic RAW is designed to accelerate your post production workflow. It’s highly optimized for AVX, AVX2 and SSE4.1 enabled processors, it’s multi‑threaded and it works across multiple CPU cores. In addition, Blackmagic RAW is also GPU accelerated and works with Apple Metal, CUDA and OpenCL. Frame decoding and image processing is extremely fast, making Blackmagic RAW super smooth for editing, colour correction and visual effects in DaVinci Resolve. Best of all, clips are stored as single files, not image sequences. That makes media management easier and file transfers faster than other RAW formats. Blackmagic RAW performance scales as processors and GPUs get faster, making it the only codec that’s ready for tomorrow’s higher resolution and higher frame rate formats.
Blackmagic RAW and the .braw SDK feature highly descriptive and flexible metadata options that are designed to support today’s modern workflows. The SDK takes care of all the work for developers, so supporting Blackmagic RAW is easy and fast. Using the Blackmagic RAW SDK means you get flawless handling of all camera metadata such as lens information, iris, ISO, colour space, slate information and much, much more. Metadata is embedded directly into the .braw file. In addition, .sidecar files that contain fully editable and human readable JSON formatted metadata can also be used. The metadata in .sidecar files is ancillary, which means that it can override the file’s embedded metadata without overwriting it. Blackmagic RAW also supports frame based metadata so you can access values, such as focus distance, that often change on a frame by frame basis.
Traditional RAW formats often display content inconsistently when viewed through different media players. Because the SDK manages all colour, colour transformations and also contains information about the characteristics of the camera’s sensor, the Blackmagic RAW Player can reliably display all of the dynamic range and deep colour of .braw clips. In fact, any software that utilizes the Blackmagic RAW SDK can ensure accurate and reliable interpretation of colour and tonal values rendered to the viewer. Most importantly, playback will be silky smooth, even on slower systems that typically struggle with other high bitrate RAW formats.
DaVinci Resolve includes support for Blackmagic RAW, so you can start shooting and finishing your work immediately. DaVinci Resolve is used on more feature films and television commercials than any other solution and is the standard in high end post production. This means you can work with the world’s largest facilities to finish your work, or simply download DaVinci Resolve now and edit, colour correct, perform visual effects and audio post production yourself. DaVinci Resolve includes full support for Blackmagic RAW, giving you a non-destructive workflow. Picture adjustments and settings that you make in the camera will come into DaVinci Resolve via metadata and are completely editable. You can even make changes to the RAW settings in DaVinci Resolve, open the files in other applications that support Blackmagic RAW and automatically see the settings, so you have a consistent look and controls between software apps and different platforms.
Blackmagic RAW is the world’s only truly modern, high performance, professional RAW codec that is open, cross platform and free. The codec is supported via the free SDK on Mac OS, Windows and Linux systems. Best of all, there are no hidden licenses or ongoing fees. Blackmagic RAW has been designed to provide the industry with an open, elegant and standardized high quality image format that can be used across products and in customer workflows absolutely free.
The .braw SDK is fully documented and publicly available for all developers on Mac OS, Windows and Linux. Using the SDK gives you access to GPU accelerated and CPU optimized algorithms for decoding Blackmagic RAW files. In addition to the encoded image data, the SDK also provides access to unique information about the camera’s imaging sensor so you know how to accurately decode and present the image based on the characteristics of the sensor. The SDK supports 32‑bit float, 16‑bit integer and 8‑bit integer pixel formats, manages the decoding of colour science, allows for user customizable colour space transformation, and provides access to all embedded and sidecar metadata. You even get advanced features such as I/O clip trimming, preview scaling for fast playback and much more. Best of all, Blackmagic RAW and the .braw SDK are available free and even included on Blackmagic Design’s camera software installers.
Blackmagic RAW gives you several options for working non‑destructively with LUTs. 3D LUTs can be directly embedded as metadata within the .BRAW file, making it easy to display the images with the "look" you want. LUTs can also be stored in the .sidecar files that accompany .BRAW files. LUTs stored in the sidecar file will automatically override embedded LUTs, and if the sidecar file is removed, the embedded LUT will revert to be used again. When working with software such as Davinci Resolve Studio it’s easy to access these 3D LUTs for editing and colour correction, as they always travel with the BRAW file. Davinci Resolve can even save colour grades as 3D LUTs, so you can build your own LUT cube files for completely custom "looks" and endless creative options.
Adapting the Sony A7S MK III for video and film making use requires thought and professional accessories. Here are our picks… Power Runtime is always a consideration with large sensor cameras, and the native Sony NP-FZ100 battery’s 17Wh capacity is limiting. An extremely popular device, CoreSWX’s 49Wh Powerbase Edge battery attaches to the bottom of the camera and provides around 8 hours of continuous shooting.
The reason behind the launch of the Video Assist 3G range was to provide customers with a monitor-recorder at a much lower cost. At first glance the 12G and 3G models look the same and they have more in common features than you would expect. It’s important to know what’s different under the hood and why there’s such a price difference. So, the question is: which is right for your needs: Video Assist 12G or 3G? Looking at our comparison matrix, the two most striking differences are 4K recording and display brightness.
PTZ cameras are not like traditional camcorders. A few can record video internally to a Micro SD card, but these are the exceptions rather than the rule. Lumens, Datavideo and the high-end Panasonic PTZ Cameras (like the AW-HE130 and AW-UE150) do not have internal recording so we must look at other options. The Panasonic AW-HE38, AW-HE40, AW-HE42, and AW-UE70 can all record HD, (the UE70 can even record in UHD). This internal recording can be very useful, but it is heavily compressed so the quality is not as good as the cameras are capable of.
At ISE, Blackmagic will be showing a great swathe of product, but there’s one in particular that will be an especially big hit with AV technicians. The new Blackmagic Video Assist 12G HDR provides instant professional monitoring and recording for any SDI or HDMI source in all HD, Ultra HD, 2K and 4K DCI formats. There are two models of the Video Assist 12G, the 5" and 7" versions. Both include 12G‑SDI for high frame rate Ultra HD, analogue inputs for audio, internal SD recording, USB‑C external disk recording, plus a front panel speaker and side mounted headphone jack.
Here's an overview of our vendors exhibiting at ISE 2020. Please call us on +44 (0)1457 851000 if you would like to book a stand tour with one of our manufacturers. BLACKMAGIC DESIGN HALL 3, STAND C140 The Video Assist 12G 5” and 7” monitor recorders are now shipping. The original HD versions were incredibly popular with AV technicians who wanted to verify SDI and HDMI feeds and check waveform levels. For production teams, their 4K HDR capture makes them a superb on-camera SD card recorder. The ATEM Mini is a very small, cost-effective 4 channel HDMI video switcher with streaming output. Great as a portable mixer or a signal switcher, it’s being adopted by everyone from conference producers to AV technicians looking for simple HDMI switching.
Not just some new products and technical updates from Blackmagic Design. No, these are major new products and massive technical updates.
New features for Video Assist 5” 12G HDR and Video Assist 7” 12G HDR
This update adds support for recording Blackmagic RAW on Video Assist 12G HDR models when shooting with Panasonic EVA1 and Canon C300 Mark II cameras.
Video Assist 3.1 update also adds digital slate features that embed camera metadata into files as they are recorded and also improves HDMI connectivity with some cameras.
Blackmagic RAW support also requires the installation of the Blackmagic RAW 1.7 update to access the files on computer.
Some applications may use third party code under license. For details please refer to the included "Third Party Licenses.rtf" document.
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