Work with wide dynamic range RAW images for unlimited creative grading options.
Recording RAW images gives you more detail in the highlights and shadows than traditional video cameras because you have access to all of the data captured by the cameras’ imaging sensor. And with DaVinci Resolve’s amazing non-destructive RAW controls, you can access all of that data to recover highlights, adjust white balance, exposure and more! Working in RAW also gives you the advantage of being able to read your RAW files at higher quality when new updates of software with improved de-bayer algorithms are released in the future! Working in RAW is similar to how older film stock can be scanned on newer scanners for improved image quality!
Metadata entry allows post production media management.
Entering metadata on set means you can spend more time cutting and less time logging footage when editing! You can enter slate information, like scene, shot and take numbers, using the built in 5” LCD touchscreen. The slate numbers increment automatically so you can keep shooting. Camera metadata is compatible with leading editing software and is fully searchable so you can spend more time editing, and less time sorting through footage
Connections for monitoring, audio, Thunderbolt and more.
With all connections conveniently located on one side under a protective rubber hood, you get resistance to dirt, sand and grime getting into the connections. You get a standard BNC connection for location monitoring and you can select to include overlays so your crew can monitor camera settings. Also included are ¼” audio inputs for mic/line level recording, a 3.5mm headphone jack, LANC control port and a Thunderbolt port for technical monitoring using a local computer and the included UltraScope software for Mac and Windows. You can also use Thunderbolt for live camera feeds into DaVinci Resolve for live grading.
The built in LCD monitor is more than a viewfinder.
The heart of the design is the built in 5 inch touchscreen that’s as easy to use as typing on your smartphone! You can frame shots, view histogram and audio meters on the heads up display as well as change camera settings and enter metadata all on the built in screen. You can also control other camera features via the touchscreen such as double tapping the screen to zoom into the image for easy focus, and swiping up and down controls for the “heads up display” that shows histogram, time remaining and audio level meters so you can get perfect exposure and audio levels! The status strip displays transport status, shutter, aperture, ISO, battery and more.
The world’s smallest super wide dynamic range PL mount 4K digital film camera features cinematic Super 35 sized sensor with global shutter. Includes 12 stops of dynamic range, built in 4K RAW and ProRes SSD recorder, touch screen with metadata entry, strong machined aluminum chassis and more. Includes DaVinci Resolve Studio software for a complete solution for shooting, editing, color correcting and finishing 4K digital film.
22mm x 11.88mm (Super 35)
12-bit RAW files recorded at 4000 x 2160
4K RAW at 4000 x 2160. ProRes at 3840 x 2160 and 1920 x 1080
4K RAW at 4000 x 2160p 23.98, 24, 25, 29.97, 30
Ultra HD 2160p23.98, 24, 25, 29.97, 30
HD 1080p23.98, 24, 25, 29.97, 30
Focus button turns on peaking
Compatible with manually operated PL mount lens
PL mount for manually operated lens with manual iris control
5” and 800 x 480 resolution
Integrated LCD capacitive touchscreen
Automatic camera data and user data such as shot number, filenames, and keywords
Onscreen touch menus and physical buttons for recording and transport control
Integrated mono microphone
Integrated mono speaker
3 x 1/4”-20 UNC thread mounting points on top of camera. 1 x 1/4”-20 UNC thread tripod mount with locator pin
SDI Video Output:
1 x 6G-SDI 10-bit 4:2:2 with choice of Film or Video dynamic range
Analog Audio Input:
2 x 1/4” jacks for professional balanced analog audio, switchable between mic and line levels
Analog Audio Output:
1 x 3.5mm stereo headphone output
SDI Audio Output:
2 channels 48 kHz and 24-bit
1 x 2.5mm LANC for Record Start and Stop
Thunderbolt port for waveform monitoring of 1080 HD video, and capture of Ultra HD and 1080 HD video
USB 2.0 Mini-B port for software updates and configuration
Removable 2.5” SSD
Mac OS Extended or exFAT format. SSDs can be formatted in camera, or on any Mac or Windows computer. Formatting in camera recommended
4000 x 2160
CinemaDNG RAW - 265 MB/s
3840 x 2160
Apple ProRes 422 HQ - 110 MB/s
Apple ProRes 422 - 73.6 MB/s
Apple ProRes 422 LT - 51 MB/s
Apple ProRes Proxy - 22.4 MB/s
1920 x 1080
Apple ProRes 422 HQ - 27.5 MB/s
Apple ProRes 422 - 18.4 MB/s
Apple ProRes 422 LT - 12.75 MB/s
Apple ProRes Proxy - 5.6 MB/s
Storage rates based on 30 frames per second.
Lossless CinemaDNG RAW with film dynamic range at 4000 x 2160. Apple ProRes 422 HQ, ProRes 422, ProRes 422 LT and ProRes 422 Proxy at 3840 x 2160 and 1920 x 1080 10-bit YUV with either film or video dynamic range
SMPTE 292M, SMPTE 424M Level B , Draft SMPTE 2081-1
SDI Audio Sampling:
48 kHz and 24-bit
DaVinci Resolve Studio grading software including Resolve USB dongle for Mac OS X and Windows
Blackmagic Camera Setup for Mac OS X and Windows
Blackmagic Media Express software
Disk Speed Test.
DaVinci Resolve, Fusion, Final Cut Pro X, Premiere Pro CC, After Effects CC, Photoshop CC, Pro Tools, UltraScope, Media Express, Disk Speed Test