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Blackmagic Video Assist is a portable monitor, a professional recorder, a portable scope and a fantastic camera viewfinder solution! You can also add better quality record codecs and a larger monitor to any SDI or HDMI camera! The new design has innovations such as 4 built in scopes, enhanced focus assist features, a tally indicator and built in 3D LUTs. The 3G models support formats up to 1080p60 and the 12G HDR models up to 2160p60. The 12G HDR models have a brighter touchscreen for shooting HDR digital film and for outdoor shooting in sunlight. Plus the 12G HDR models support Blackmagic RAW recording from supported cameras! The new design also has L‑Series batteries for longer life. Blackmagic Video Assist really is 4 products in one!

Blackmagic Video Assist is so versatile it can be used for hundreds of tasks! Add it onto your camera rig to get a large screen viewfinder with modern record codecs, focus assist features and 3D LUTS! Video Assist is also an ultra portable scope that lets you test equipment in broadcast and live production to ensure your video levels are correct and all your gear is working correctly. If you"re doing live production then Video Assist is just like a large screen HyperDeck so it can be used as a mastering recorder, or as a clip player for inserting ads or promos into live programs. You can even use it as an ISO recorder with each camera having a dedicated monitor and recorder!

This model supports video formats up to 1080p60 and has a large 5" LCD with focus peaking, zebra and false color. Connections include 3G‑SDI and HDMI. This model includes a single SD Card recorder for ProRes recording. Other features include WFM, vector, histogram and RGB parade scopes plus 3D LUTs!

The larger 7" model includes all the features of the 5" model, but has a much larger screen. This model has 2 SD Card slots so recording can continue when a card becomes full. There are also 2 mini XLR audio inputs with phantom power so you can connect and record direct from microphones.

This model includes all of the 3G model features, but has faster 12G‑SDI and Ultra HD HDMI connections for all formats up to 2160p60. This model includes a bright wide gamut LCD for HDR as well as HDR scopes. Plus a locking power connector. This model also records to an SD card or USB‑C flash disks!

The 7" model has the same great features as the 5" 12G HDR, however supports a larger 7" HDR LCD screen. You also get 2 SD card recorders and recording to external USB‑C flash disks. Both Blackmagic Video Assist 12G models also record Blackmagic RAW from supported cameras.

All Video Assist models are dominated by a large touchscreen with all controls for recording, playback of clips, viewing scopes and setting focus assist features. Both 7" models are large enough to include analog inputs for audio and two SD card slots so you get continuous recording, with automatic recording to the second card. Both of the 12G models include 12G-SDI and Ultra HD HDMI connections and USB-C for recording direct to external flash media disks. All models include a rear tally light, a front panel speaker for clip playback and a headphone jack! Video Assist uses Sony L-Series batteries, and with 2 battery slots, you can change batteries without interrupting recording!

Traditional cameras are designed for shoulder mounted operation, so are a compromise. Hours spent leaning into a viewfinder for long tripod mounted shoots can be tough! Video Assist will transform your shooting style with an on-board rigged screen. It"s much more comfortable using a screen rigged to a position best suited for a shooting setup. Plus you get better situational awareness for the operator, assistant or director. With both 5" and 7" models, you choose the size of a rigged monitor that suits you best. Plus you"re also adding fantastic features such as focus zoom, focus peaking, zebras, histogram, false color, scopes, frame markers, frame guides, touchscreen and more!

With large and bright 5" and 7" touchscreens, Video Assist makes it incredibly easy to frame shots and accurately focus. The touchscreen displays critical information while you’re shooting including the timecode, transport control, audio meters and a histogram for exposure. You can also customize the LCD to add or remove overlays such as current filename, focus peaking, zebra, false color, frame guides, 3D LUTs and more. 3D LUTs support allows monitoring shots with the desired color and look, plus you can even "bake in" the LUT if you want to record it into the file. If you"re using Blackmagic RAW, the 3D LUT is only added into the metadata so it can be disabled in post production.

Blackmagic Video Assist is an ideal upgrade for cameras, as its bright 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. You get support for all editing software as you can record in Apple ProRes and Avid DNx. You can even use Blackmagic RAW on supported cameras. With both HDMI and SDI inputs you can connect it to any consumer camera, broadcast camera or even DSLR cameras.

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 touchscreen 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 features a wide range of video and audio connections such as multi-rate SDI for SD, HD on all models and Ultra HD on the 12G-SDI models. HDMI is included for HDMI cameras and monitoring to consumer televisions and video projectors. The 7" 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 external flash disks or SSDs for recording, which means you can get extremely long record durations because flash disks are often much larger than the physically smaller SD Cards. Video Assist even includes a 12V DC power connection and the 12G models include a locking power connector.

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 ProRes or DNx files in all formats and from all HDMI or SDI cameras, as well as 12-bit Blackmagic RAW on the 12G-SDI HDR models 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!

The Blackmagic Video Assist 12G models even include a USB-C expansion port so you can 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 such as high frame rate Ultra HD. Imagine adding a Blackmagic MultiDock 10G for easy SSD compatibility so you can record across multiple disks as each disk fills. You even get on screen menus for managing external disks using the touch screen!

Now you can live stream using both Blackmagic Video Assist 3G and 12G HDR models with new webcam support added to the USB connection! That means you can plug into a computer and get live video into any video software. The software is tricked into thinking video assist is a common webcam! Plus you get full HD resolution 1080p quality! Choose any software you like, such as Open Broadcaster for live broadcast streaming, or you can Skype call your client with live video of your shoot! Blackmagic Video Assist works with all major software and platforms such as Open Broadcaster, XSplit Broadcaster, YouTube Live, Facebook Live, Skype, Zoom, Twitch, Periscope, Livestream, Wirecast and more!

Video Assist features scopes for accurate exposure on cameras and compliance to broadcast standards. That means it’s also a great portable waveform monitoring solution! The waveform display provides a traditional luminance (brightness) level view of the video inputs or the playback signal. The vectorscope allows you to see the intensity of color at 100% SDI reference levels. You also get a RGB parade display which is ideal for color correction. 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!

On the Video Assist 12G models you"ll be ready for the latest HDR workflows as they support the latest HDR standards and include an extremely bright screen with a wide color gamut. Plus the high brightness screen makes shooting outdoors in sunlight easy! The built in scopes even support HDR when required. Files are tagged with the correct HDR information which means 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 Video Assist LCD color gamut can even handle 100% of the DCI‑P3 format.

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 and more.

The advanced digital slate and metadata features make it extremely fast to add metadata to any shot! Simply swipe left or right from the edge of the screen to bring up the digital slate. You can even select for take numbers to be automatically incremented when you start and stop recording, so you don’t have to enter them manually for each shot! You can also set reel numbers to increment each time you format a card. All metadata is saved with the files and available in post production with software such as DaVinci Resolve!

You get full support for the most popular video standards. The SDI and HDMI connections are multi-rate, so all models handle SD and HD television standards plus the 12G models add extra support for Ultra HD standards. Standard definition 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. Plus you can even work in 1080 PsF formats. On the Blackmagic Video Assist 12G models you also get support for Ultra HD formats up to 2160p59.94. On these 12G models you can even record 2K and 4K DCI rates up to 25p for digital film work!

Blackmagic Video Assist includes a built in professional audio recorder that’s much better quality than the audio found in most cameras, eliminating the need to carry around extra audio equipment. When working in SDI formats, you can record 2, 4, 8 or 16 channels of audio. For connecting microphones the 7" models have 2 XLR analog audio inputs with phantom power and high definition audio sample rates of 192 kHz at 16 and 24 bit per sample. The audio meters can even be changed between VU or PPM ballistics. Blackmagic Video Assist 12G features the latest audio technology to ensure low noise floor and very low distortion so you can use it for digital cinema and broadcast work.

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 switch languages in the menus. 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 because you can just go into the menu and change the language any time you need!

The files from Blackmagic Video Assist 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 using with Video Assist as 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.

A digital video recorder (DVR) is an electronic device that records video in a digital format to a disk drive, USB flash drive, SD memory card, SSD or other local or networked mass storage device. The term includes set-top boxes with direct to disk recording, portable media players and TV gateways with recording capability, and digital camcorders.Personal computers are often connected to video capture devices and used as DVRs; in such cases the application software used to record video is an integral part of the DVR. Many DVRs are classified as consumer electronic devices; such devices may alternatively be referred to as personal video recorders (PVRs), particularly in Canada. Similar small devices with built-in (~5 inch diagonal) displays and SSD support may be used for professional film or video production, as these recorders often do not have the limitations that built-in recorders in cameras have, offering wider codec support, the removal of recording time limitations and higher bitrates.

The first working DVR prototypeHector Garcia-Molina and Jennifer Widom. Two design papers were published 2017 VLDB conference,Pat Hanrahan"s CS488 class: Experiments in Digital Television,

Many DVRs use the MPEG format for compressing the digital video.set-top box, as TV viewers have wanted to take control of their viewing experiences. As consumers have been able to converge increasing amounts of video content on their set-tops, delivered by traditional "broadcast" cable, satellite and terrestrial as well as IP networks, the ability to capture programming and view it whenever they want has become a must-have function for many consumers.

In the UK, digital video recorders are often referred to as "plus boxes" (such as BSKYB"s Sky+ and Virgin Media"s V+ which integrates an HD capability, and the subscription free Freesat+ and Freeview+). Freeview+ have been around in the UK since the late 2000s, although the platform"s first DVR, the Pace Twin, dates to 2002.Sky Q box. TiVo launched a UK model in 2000, and is no longer supported, except for third party services, and the continuation of TiVo through Virgin Media in 2010. South African based Africa Satellite TV beamer Multichoice recently launched their DVR which is available on their DStv platform. In addition to ReplayTV and TiVo, there are a number of other suppliers of digital terrestrial (DTT) DVRs, including Technicolor SA, Topfield, Fusion, Commscope, Humax, VBox Communications, AC Ryan Playon and Advanced Digital Broadcast (ADB).

Many satellite, cable and IPTV companies are incorporating digital video recording functions into their set-top box, such as with DirecTiVo, DISHPlayer/DishDVR, Scientific Atlanta Explorer 8xxx from Time Warner, Total Home DVR from AT&T U-verse, Motorola DCT6412 from Comcast and others, Moxi Media Center by Digeo (available through Charter, Adelphia, Sunflower, Bend Broadband, and soon Comcast and other cable companies), or Sky+. Astro introduced their DVR system, called Astro MAX, which was the first PVR in Malaysia but was phased out two years after its introduction.

In the case of digital television, there is no encoding necessary in the DVR since the signal is already a digitally encoded MPEG stream. The digital video recorder simply stores the digital stream directly to disk. Having the broadcaster involved with, and sometimes subsidizing, the design of the DVR can lead to features such as the ability to use interactive TV on recorded shows, pre-loading of programs, or directly recording encrypted digital streams. It can, however, also force the manufacturer to implement non-skippable advertisements and automatically expiring recordings.

In Europe Free-To-AirPay TVTV gateways with multiple tuners have whole house recording capabilities allowing recording of TV programs to Network Attached Storage or attached USB storage, recorded programs are then shared across the home network to tablet, smartphone, PC, Mac, Smart TV.

In 2003 many Satellite and Cable providers introduced dual-tuner digital video recorders. In the UK, BSkyB introduced their first PVR Sky+ with dual tuner support in 2001.Kogan.com introduced a dual-tuner PVR in the Australian market allowing free-to-air television to be recorded on a removable hard drive. Some dual-tuner DVRs also have the ability to output to two separate television sets at the same time. The PVR manufactured by UEC (Durban, South Africa) and used by Multichoice and Scientific Atlanta 8300DVB PVR have the ability to view two programs while recording a third using a triple tuner.

In the United States, DVRs were used by 32 percent of all TV households in 2009, and 38 percent by 2010, with viewership among 18- to 40-year-olds 40 percent higher in homes that have them.

DVRs are integrated into some television sets (TVs). These systems simplify wiring and operation because they employ a single power cable, have no interconnected ports (e.g., HDMI), and share a common remote control.

VESA-compatible DVRs are designed to attach to the VESA mounting holes (100×100 mm) on the back of an LCD television set (TV), allowing users to combine the TV and DVR into an integrated unit.

Over-the-air DVRs are standalone set-top-boxes that record broadcast television programs. Several companies have launched over-the-air DVR products for the consumer market over the past few years.

Software and hardware are available which can turn personal computers running Microsoft Windows, Linux, and Mac OS X into DVRs, and is a popular option for home-theater PC (HTPC) enthusiasts.

There are many free and open source software DVR applications available for Linux. For example, TV gateway interfaces to DVB tuners and provides network tuner and TV server functions, which allows live viewing and recording over IP networks. Other examples include MythTV, Video Disk Recorder (VDR), LinuxMCE, TiVo, VBox Home TV Gateway, and Kodi (formerly XBMC).

Geniatech makes a series of digital video recording devices called EyeTV. The software supplied with each device is also called EyeTV, and is available separately for use on compatible third-party tuners from manufacturers such as Pinnacle, TerraTec, and Hauppauge.

Apple provides applications in the FireWire software developer kit which allow any Mac with a FireWire port to record the MPEG2 transport stream from a FireWire-equipped cable box (for example: Motorola DCT62xx, including HD streams). Applications can also change channels on the cable box via the firewire interface. Only broadcast channels can be recorded as the rest of the channels are encrypted. FireRecord (formerly iRecord) is a free scheduled-recording program derived from this SDK.

There are also several commercial applications available including CyberLink, SageTV (which is no longer available after Google acquired it in June 2011), Beyond TV (which is considered discontinued despite an official announcement from SnapStream since the last update was October 2010 and they are concentrating on their enterprise search products), DVBViewer, Showshifter, InterVideo WinDVR, the R5000-HD and Meedio (now a dead product – Yahoo! bought most of the company"s technology and discontinued the Meedio line, and rebranded the software Yahoo! Go – TV, which is now a free product but only works in the U.S.TV tuner cards come bundled with software which allows the PC to record television to hard disk. See TV tuner card. For example, Leadtek"s WinFast DTV1000 digital TV card comes bundled with the WinFast PVR2 software, which can also record analog video from the card"s composite video input socket.

Windows Media Center is a DVR software by Microsoft which was bundled with the Media Center edition of Windows XP, the Home Premium / Ultimate editions of Windows Vista, as well as most editions of Windows 7. When Windows 8 was released in 2012, Windows Media Center was not included with Windows 8 OEM or Retail installations, and was only available as a $15 add-on pack (including DVD Playback codecs) to Windows 8 Pro users.

An embeddable DVR is a standalone device that is designed to be easily integrated into more complex systems. It is typically supplied as a compact, bare circuit board that facilitates mounting it as a subsystem component within larger equipment. The control keypad is usually connected with a detachable cable, to allow it to be located on the system"s exterior while the DVR circuitry resides inside the equipment.

Television and video are terms that are sometimes used interchangeably, but differ in their technical meaning. Video is the visual portion of television, whereas television is the combination of video and audio modulated onto a carrier frequency (i.e., a television channel) for delivery. Most DVRs can record both video and audio.

To record an analog signal a few steps are required. In the case of a television signal, a television tuner must first demodulate the radio frequency signal to produce baseband video. The video is then converted to digital form by a frame grabber, which converts each video image into a collection of numeric values that represent the pixels within the image. At the same time, the audio is also converted to digital form by an analog-to-digital converter running at a constant sampling rate. In many devices, the resulting digital video and audio are compressed before recording to reduce the amount of data that will be recorded, although some DVRs record uncompressed data. When compression is used, video is typically compressed using formats such as H.264 or MPEG-2, and audio is compressed using AAC or MP3.

Many consumer DVRs implement a copy-protection system called Copy Generation Management System—Analog (CGMS-A), which specifies one of four possible copy permissions by means of two bits encoded in the vertical blanking interval:

CGMS-A information may be present in analog broadcast TV signals, and is preserved when the signal is recorded and played back by analog VCRs. VCRs do not understand the meanings of the bits but preserve them in case there is a subsequent attempt to copy the tape to a DVR.

DVD-based PVRs available on the market as of 2006 are not capable of capturing the full range of the visual signal available with high-definition television (HDTV). This is largely because HDTV standards were finalized at a later time than the standards for DVDs. However, DVD-based PVRs can still be used (albeit at reduced visual quality) with HDTV since currently available HDTV sets also have standard A/V connections.

ATSC television broadcasting is primarily used in North America. The ATSC data stream can be directly recorded by a digital video recorder, though many DVRs record only a subset of this information (that can later be transferred to DVD). An ATSC DVR will also act as a set-top box, allowing older televisions or monitors to receive digital television.

The U.S. FCC attempted to limit the abilities of DVRs with its "broadcast flag" regulation. Digital video recorders that had not won prior approval from the FCC for implementing "effective" digital rights management would have been banned from interstate commerce from July 2005, but the regulation was struck down on May 6, 2005.

DVB digital television contains audio/visual signals that are broadcast over the air in a digital rather than analog format. The DVB data stream can be directly recorded by the DVR. Devices that can use external storage devices (such as hard disks, SSDs, or other flash storage) to store and recover data without the aid of another device are sometimes called telememory devices.

A satellite or cable set-top box both decrypts the signal if encrypted, and decodes the MPEG stream into an analog signal for viewing on the television. In order to record cable or satellite digital signals the signal must be captured after it has been decrypted but before it is decoded; this is how DVRs built into set-top boxes work.

Cable and satellite providers often offer their own digital video recorders along with a service plan. These DVRs have access to the encrypted video stream, and generally enforce the provider"s restrictions on copying of material even after recording.

Many DVD-based DVRs have the capability to copy content from a source DVD (ripping). In the United States, this is prohibited under the Digital Millennium Copyright Act if the disc is encrypted. Most such DVRs will therefore not allow recording of video streams from encrypted movie discs.

Some DVD-based DVRs incorporate connectors that can be used to capture digital video from a camcorder. Some editing of the resulting DVD is usually possible, such as adding chapter points.

DVRs can usually record and play H.264, MPEG-4 Part 2, MPEG-2 .mpg, MPEG-2 .TS, VOB and ISO images video, with MP3 and AC3 audio tracks. They can also display images (JPEG and PNG) and play music files (MP3 and Ogg).

Some devices can be updated to play and record in new formats. DVRs usually record in proprietary file systems for copy protection, although some can use FAT file systems. Recordings from standard-definition television usually have 480p/i/576p/i while HDTV is usually in 720p/1080i.

Digital video recorders configured for physical security applications record video signals from closed-circuit television cameras for detection and documentation purposes. Many are designed to record audio as well. DVRs have evolved into devices that are feature rich and provide services that exceed the simple recording of video images that was previously done through VCRs. A DVR CCTV system provides a multitude of advanced functions over VCR technology including video searches by event, time, date and camera. There is also much more control over quality and frame rate allowing disk space usage to be optimized and the DVR can also be set to overwrite the oldest security footage should the disk become full. In some DVR security systems remote access to security footage using a PC can also be achieved by connecting the DVR to a LAN network or the Internet.

Security DVRs may be categorized as being either PC-based or embedded. A PC-based DVR"s architecture is a classical personal computer with video capture cards designed to capture video images. An embedded type DVR is specifically designed as a digital video recorder with its operating system and application software contained in firmware or read-only memory.

Single or multiple video inputs with connector types consistent with the analogue or digital video provided such as coaxial cable, twisted pair or optical fiber cable. The most common number of inputs are 1, 2, 4, 8, 16 and 32. Systems may be configured with a very large number of inputs by networking or bussing individual DVRs together.

Digital video recorders are also changing the way television programs advertise products. Watching pre-recorded programs allows users to fast-forward through commercials, and some technology allows users to remove commercials entirely. Half of viewers in the United States, for example, use DVRs to skip commercials entirely.

In 1985, an employee of Honeywell"s Physical Sciences Center, David Rafner, first described a drive-based DVR designed for home TV recording, time shifting, and commercial skipping.

The first DVR which had a built-in commercial skipping feature introduced in 1999 by ReplayTV at the Consumer Electronics Show in Las Vegas. In 2002, five owners of the ReplayTV DVR sued the main television networks and movie studios, asking the federal judge to uphold consumers" rights to record TV shows and skip commercials, claiming that features such as commercial skipping help parents protect their kids from excessive consumerism. ReplayTV was purchased by SONICblue in 2001 and in March 2003, SONICblue filed for Chapter 11 bankruptcy after fighting a copyright infringement suit over the ReplayTV"s ability to skip commercials. In 2007, DirecTV purchased the remaining assets of ReplayTV.

Another type of advertisement shown more and more, mostly for advertising television shows on the same channel, is where the ad overlays the bottom of the television screen, blocking out some of the picture. "Banners", or "logo bugs", as they are called, are referred to by media companies as Secondary Events (2E).

With ad skipping and the time-sensitive nature of certain ads, advertisers are wary of buying commercial time on shows that are heavily digitally video-recorded.DirecTV in March 2011 signed an arrangement with NDS Group to enable the delivery of such addressable advertisement.

In January 2012, Dish Network announced Hopper service, costing $10 extra per month, which recorded prime-time programming from the four major broadcast networks. With the Auto Hop feature, viewers can watch the programs they choose without commercials, without making the effort to fast-forward. On May 24, 2012, Dish and the networks filed suit in federal court.

In court, the media companies argued that network digital video recorders were tantamount to video-on-demand, and that they should receive license fees for the recording. Cablevision and the appeals court disagreed. The company noted that each user would record programs on his or her own individual server space, making it a DVR that has a "very long cord."

In 2004, TiVo sued EchoStar Corp, a manufacturer of DVR units, for patent infringement. The parties reached a settlement in 2011 wherein EchoStar pays a one-time fee (in three structured payments) that grants Echostar full rights for life to the disputed TiVo patents upon first payment(as opposed to indefinite and escalating license fees to be constantly renegotiated), and Echostar granted TiVo full rights for life to certain Echostar patents and dropped their counter-suit against TiVo.

In January 2012, AT&T settled a similar suit brought by TiVo claiming patent infringement (just as with Echostar) in exchange for cash payments to TiVo totaling $215 million through June 2018 plus "incremental recurring per subscriber monthly license fees" to TiVo through July 2018, but grants no full lifetime rights as per the Echostar settlement.

In May 2012, Fox Broadcasting sued Dish Network, arguing that Dish"s set-top box with DVR function, which allowed the users to automatically record prime-time programs and skip commercials, was copyright infringement and breach of contract. In July 2013, the 9th circuit rejected Fox"s claims.

Wilbur, Kenneth C. (2008). "How the Digital Video Recorder (DVR) Changes Traditional Television Advertising". Journal of Advertising. 37 (1): 144. doi:10.2753/JOA0091-3367370111. S2CID 145337108.

I have a basic dash cam for sale. BRAND NEW IN THE BOX!!! It"s a pretty basic one, straight outta china but it does the job well!!! One of my friends has the same one, he loves it! Records sound, takes pics, HD video, uses SD card. Comes with window mount, car charger and usb cord. Just looking to get my money back on this, asking $80 obo. Reason for selling, I was given another one for free.

You might think you don"t want to add weight to your setup or make it any bigger but an on-camera monitor is worth it. The extra big display means when you"re shooting you can see a more accurate, live representation of your footage. Should there be a speck of dust on your lens or sensor, you"ll be able to tell much easier on a 7-inch screen rather than a 3-inch screen.

Some of the more high-end on-camera monitors not only increase the size of your display but can improve your camera"s video functionality. For example, when shooting with a Panasonic Lumix S5(opens in new tab) and an Atomos Ninja V external recorder, you can shoot 12-bit RAW instead of 10-bit 4:2:2 with its internal recording option. On-camera monitors are also great additions if your camera lacks features such as a fully articulating screen such as the Blackmagic Pocket Cinema Camera 6K(opens in new tab).

Even if you have features turned on such as focus peaking, zebra lines, and false colors, an on-camera monitor lets you apply frame monitors which can reveal flickers that smaller monitors might not. They also enable you to proof content and show other people on set without having to cram around a small screen.

Since the release of the Atomos Ninja V back in 2018, it has become pretty much the industry standard in monitor recorders. It"s a popular choice among both budding and professional videographers and filmmakers thanks to its beautifully calibrated 5-inch HDR display and its ability to support 4K 60p ProRes HQ, H.265, 4:2:2 ad DNxHR. The Ninja V will also support 6K Apple ProRes RAW and it"s the only monitor of this size to do so thanks to a deal between Apple and Atomos. Other features include pro-level monitor tools such as waveforms, false colors, HDR monitoring and LUT support.

If your camera doesn"t support 4K, the Ninja V might be a bit overkill as you won"t make the most out of the features you"re paying for. If you"re just after a monitor so that you can view your video easier, the Atomos Shinobi would be a better option and it will save you money. Alternatively, if you"re shooting some serious projects and need something even bigger, the Atomos Shogun(opens in new tab) which appears later in this list sports a massive 7-inch screen, perfect for using with the best cinema cameras.

With the built-in camera control for various Canon, Sony, Panasonic, Blackmagic, and even Z Cam cinema cameras, this is a great option for anyone wanting a monitor that will help a filmmaker get the shot and be a very helpful visual aid in the composition process.

For a reasonable price, you get a great package that is built to withstand the vigorous day-to-day life of a filmmaker while on set, in the studio, or for on-the-go shooting. Paired with a tough travel case for ease of transport between shoots, great monitor features, and the ability for onboard audio monitoring, the PortKeys LH5P II is a great 5.5” monitor for anyone looking to up their game in the cinematography world.

If you"re just looking for an external monitor and don"t need recording capabilities, the Atomos Shinobi delivers the display quality of the Atomos Ninja V but at a fraction of the price. It"s the perfect choice for vloggers who shoot with a camera with limited screen articulation such as the Sony A7 III(opens in new tab) or the Blackmagic Pocket Cinema Camera 4K(opens in new tab) which has a fixed display.

Announced at IBC 2019(opens in new tab), it excited video enthusiasts given its potential to tap into the RAW potential of compatible Canon and Panasonic cameras - Blackmagic is in talks with both manufacturers to ensure Video Assist works well with their products.

This is the big brother of the original Shinobi, offering a much larger 7inch display - and billed as the movie directors and focus directors, but also as a great presentation screen for vloggers wanting to see clearly what they are recording. Its bright 2200-nit screen is the key attraction here - but it also does much more than just monitoring your image. With HDR capability - it offers built-in Log conversion, so you can see what your raw footage is likely to look like when edited, and you can even load up your own LUTs via the built-in SD card slot.

As with everything else, however, it"s not just a matter of picking the cheapest one you can afford. The best ones offer excellent footage you can actually use as video evidence and reliable features that work when they"re supposed to.

We think the best dash cam overall is currently the Nextbase 622GW. A premium option with advanced connectivity features, it records steady 4K footage whenever you’re on the road. For a straightforward, compact dash cam that’s easy to set up and use, on the other hand, we highly recommend the Garmin Dash Cam Mini 2.

If you’re not sure which kind of in-car camera to buy, check out our useful buying tips at the bottom of this page. And, if you need some help with installation, you’ll find a useful guide on how to fit a dash cam here.

The Nextbase 622GW is a new flagship dash cam, and it"s proven itself as the best dash cam you can buy right now. In our tests, it delivered much-improved video quality and better stabilization, along with the inclusion of what3words geolocation services for pinpointing stricken vehicles within a three-meter radius.

When we chose to shoot in 4K/30p, the resulting footage looked almost cinematic in its presentation, with extremely crisp definition and great detail, even in poor lighting. This makes it much easier to pinpoint registration numbers or pick out hard-to-see elements of an accident.

A built-in polarizing filter on the front of the camera can be rotated to reduce glare from windscreens, while digital image stabilization is another first for the dash cam market and helps smooth out those bumps and shakes caused by potholes and poor road surfaces.

Like its 522GW sibling, this model can be controlled via your voice with Alexa Skills, but it requires the accompanying smartphone app to work, which we didn"t rate as the best we"ve tried. Despite new dual 2.4GHz + 5GHz Wi-Fi, we found that it still had trouble connecting with phones to transfer images and video clips.

The Garmin Mini 2 is a tiny dash cam that all but disappears behind your car’s rear view mirror, yet boasts Full HD video with HDR, voice control that actually works reliably, a decent smartphone app and a dead-simple magnetic mounting system.

Installing the Mini 2 is the same as other members of the Garmin Dash Cam family. We found the setup process took just a few minutes with the use of Garmin’s Drive smartphone app (iOS and Android). The simple but effective mounting system comprises a ball-and-socket joint for positioning the camera at the perfect angle, while a coin-sized magnet that sticks to your windscreen and holds the dash cam securely in place.

We found video quality to be good for the size of the camera. It records in Full HD, 30fps with HDR and produces footage that is sharp enough to pick out key details like registration plates, whatever the ambient light and weather conditions. At 140 degrees, the lens" field-of-view isn’t the widest on the market, but still provides a good view of the road ahead.

Aimed at those who spend extended periods behind the wheel, the Nexar Pro is a dual-cam solution that can record video both inside and outside a vehicle. Comprised of two separate camera units connected by a cable, we found the setup to be pretty neat, even if it took up a fair bit of screen real estate.

The Nexar app is central to the twin camera experience: it’s where you can fine-tune settings, generate incident reports and back recorded clips up to the cloud (Nexar bundles cloud storage in for free). Other useful tools include break-in alerts if someone tries to tamper with your car, as well as GPS data logging.

Neatly designed and relatively compact, the Vantrue E1 is an attractive dash cam that’s capable of recording 2.5K video at 30fps. It can also capture Full HD footage at a smoother 60fps, for additional detail while you drive. Results are sharp night and day, with accurate colors and acceptable noise in low light. Our testing revealed that the optional polarising filter reduces dashboard reflections.

The E1’s magnetic mount works well, but the lack of sideways adjustments limits its use if you can’t fit it centrally. If you can, you’ll find its 160-degree angle captures a wide view of what’s ahead. A tiny 1.54-inch screen offers a handy preview when installing, but the smartphone app is more useful to tweak settings.

Capable yet accessible, Thinkware’s X1000 comes bundled with everything you need to record front and rear. Our tests found a lot to like about the X1000. Its best attribute is its ease of use: with a large 3.5-inch touchscreen and icon-based interface, it’s simple to configure. It can also work standalone, without a partner app.

Both cameras offer a 2560x1440 resolution and a wide 156-degree field of view. We found that footage was dependably impressive, with plenty of detail and decent dynamic range, even in dim and dark conditions.

We found the three-inch touchscreen on the back to be responsive, and there"s also the option of using the built-in Alexa functionality. Currently, you can ask Alexa to play music, place calls and listen to audiobooks through connected devices, though the Dash Cam Skill (which lets you command it to ‘start recording’, ‘stop recording’, ‘protect a recording’ and ‘send to my phone’) needs a bit more polish.

The 67W supersedes Garmin’s already very good 66W with a few additional connected features that only add to a very enticing package. At about the size of a matchbox, the 67W is one of the smallest dash cams we’ve had the honor of testing – in fact, it"s only usurped by Garmin’s own Mini, which is so small it looks like it came out of a Christmas Cracker.

Crammed inside this tiny package is a top-quality sensor that"s capable of capturing crisp 1440p footage and enhancing it in those tricky weather conditions thanks to a HDR (High Dynamic Range) function. In our tests, it looked great and the additional pixels made it possible to punch into footage on the computer to read number plates or spot minor things that could act as important evidence.

With a bulbous design that packs in plenty of tech, the Mio MiVue 818 offers a comprehensive feature set at a competitive price. We found its form factor quite agreeable in situ, and its plug-and-go setup was simple enough, with the 2.7-inch display offering a solid preview.

The Mio’s footage is generally excellent. It captures 2K video across a 140-degree angle, delivering plenty of detail. Drop to Full HD and frame rates leap to a crisper 60fps. The bracket’s sticky pad is hard to shift once installed, but the benefit is rock-steady video. Night vision enhancement means the MiVue 818 also deals well with challenging conditions.

The Thinkware X800 is a simple dash cam which gets the basics right. It has a nicer build than many rivals, while its 2.7-inch touchscreen display makes it easy control. That’s handy, because the X800 is a standalone unit, with no Wi-Fi, Bluetooth or smartphone app. We found this simplicity was welcome on test, with no clunky connectivity to worry about.

Its Sony sensor captures 1440p footage that’s perfectly acceptable in daylight. Details are sharp, and exposure is handled well in changing conditions. We would have liked smoother 60fps frame rates, but the X800 does well enough with 30fps. Finer details tend to be lost after dark, but night-time results are still pretty good. Its 150-degree field of view is also among the more generous out there.

Rather than a traditional rechargeable battery set up, it runs super capacitors, meaning its power source is built to last and can withstand an extreme temperature range without blunting performance. On top of this, you get the option of what we found to be impressive 4K (3840 x 2160p) video recording, with the resulting footage offering a great amount of detail. There"s also a Wide Dynamic Range mode for rich colors in all weather conditions.

Unfortunately, 4K recording is only possible at 30fps, which isn’t the greatest if you want to slow footage down. However, dual recording (front and rear cameras) is only available at full HD (1080p) anyway and this is pumped out at 60fps for much smoother results.

Two lengths of USB cable are provided (the longer one enables you to run the cable around the car cabin neatly), as is a cigarette lighter USB socket with two ports for charging your phone at the same time. However, if you want to use the dash cam for incident recording – such as if your car gets bumped in the car park while you are shopping – you will need to get it professionally installed so it’s constantly recording.

Key for control of the camera is the Garmin Drive app (Android and iOS) where you can review video and audio footage from your drives without having to take the microSD card out of the camera. We found picture quality to be generally excellent, especially from the front camera. And while the rear camera struggled a bit in very low light, you can still make out passengers reasonably clearly in black and white. There’s also a picture-in-picture option so you can view both rear- and front-facing camera footage simultaneously.

Rather usefully, footage is displayed with a time stamp, the speed of the vehicle and its location. Voice control is also provided, which enables hands-free control with instructions such as ‘OK Garmin, take a picture’ or ‘OK Garmin, save video’. Safety cam alert updates will also be added to the app soon.

Relatively compact for a dual-lens dash cam, the Vantrue N2 Pro records a detailed view of the road ahead and your vehicle’s interior. Designed with taxi drivers in mind, it forgoes many of the extras which your car is already likely to have, including speed camera alerts and collision warnings.

That simplicity extends to its connectivity, a factor we liked in testing. With no Wi-Fi, Bluetooth or smartphone app, it’s a self-contained dash cam that gets on with the job of capturing events. The only feature we did miss was GPS tracking, although Vantrue sells an optional GPS windscreen mount.

There aren’t many folk outside of the professional driving world that legitimately need a three-camera setup such as this, where individual units capture footage out of the windscreen, out of the rear and inside the cabin. But if you’re one of those people, Viofo’s package is enticing, since it offers a lot of technology for the money.

The entire setup is compact and simple enough to install without impeding too much on windscreen real estate. Just be prepared to deal with lots of trailing wires and get used to hiding them in the car’s headliner or under the carpet.

The interior and rear cameras capture 170-degrees of action, thanks to a wide field of view, while that interior camera also uses six LEDs to assist with its infrared capabilities. Even in the darkest driving conditions, we found it easy to make out what was going on inside the car.

Combining a dash cam and a sat nav, the Garmin DriveCam 76 is a feature-packed tool for cars without an infotainment system. Its 7-inch display is intuitive to use and makes Garmin’s rich mapping visuals easy to follow. Navigation is clear and well-timed, complemented by live traffic updates when paired with your smartphone’s data connection.

Both the display angle and camera lens are adjustable, so you can find the right position between road and driver. Full HD footage is shot in HDR at 30fps, delivering balanced exposure and enough detail to make number plates legible. The huge screen is useful for reviewing footage, but video itself suffers from noticeable stabilization wobble.

Smartphone notifications, speed camera alerts and forward collision warnings enhance the offering, but if you won’t use all of its skills, there are better value dash cams. The unit itself is also much larger than many rivals, which can make it tricky to place without obstructing the driver’s view.How to choose the best dash cam for youThe best dash cams broadly have similar technology to one another, and, for the most part, mount somewhere along a car"s front windscreen or windshield. Of course, wherever you place your dash cam must not block your view of the road.

These extra features can include multiple lenses for front- and rear-facing coverage, together with a more refined sensor for better video quality. Some cameras only record 720p HD footage, for example, while many others now offer Full HD (1080p) and 4K capture. Night vision and built-in Wi-Fi or Bluetooth for easy file transfer may also be included.

If the worst were to happen, and you need to prove your innocence, the dash cam’s footage could do exactly that. This footage can also be set to include your speed, along with the time and date to help reinforce the validity of your evidence if blame is disputed by the other party. As well as monitoring the road ahead, dash cams can be used to record out of the rear windscreen too, recording footage if you are unfortunate enough to be rear-ended by another motorist.

Furthermore, many dash cams come with additional driver assistance features. These include alerts to let you know about nearby speed cameras and red light cameras, plus a prompt to tell you the vehicle in front has set off – just in case you weren’t paying attention while sat in traffic.

Almost all dash cams can be fitted to a car without making any permanent modification. They can be attached to a windscreen using a suction cup or removable adhesive pad, and powered from either a USB port or the 12V socket found in almost all cars. To test dash cams, we install them in our car, attach them to the windscreen and pair them to our smartphone as if we had bought them ourselves.

Naturally, we cannot crash a vehicle to see how well the dash cam detects collisions. Instead, firmly tapping the dash cam can simulate a collision, allowing us to see what happens when footage is saved. It is also possible to trigger a recording by powering the camera with a portable battery and tapping it against our desk. It may seem rudimentary, but it works and keeps our insurance company happy.