external lcd screen for dslr camera made in china

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When it comes to Chinese manufacturers of external monitors, many people may think of low-cost Feelworld. this is because there are a considerable number of monitors on the market. However, Portkeys monitors are a bit more expensive than Feelworld’s, but they have a completely different interface and unique features. The interface looks sophisticated, and the manufacturer has the technology to control many manufacturers’ cameras via wired or wireless.

Many people who want to use an external monitor may want to check the image which is being shot on a large screen. The size of a camera’s rear LCD makes it difficult to check the focus, even if you use peaking. In addition to checking the focus, there is a big difference in visibility between the external camera screen and the LCD on the back of the camera when checking for fine dust or reflected objects. I’m sure many of you have had the experience of checking your data on a PC and finding that something you didn’t notice at the time you took the picture or that there was dust in the picture. In such cases, an external monitor can be of great help.

The peaking function, which is known to be useful for focusing, is naturally implemented in this model as well. It may be hard to tell from the picture, but the large monitor is highly visible.

Surprisingly, there are many monitors that have a histogram but no waveform monitor, so this is useful for those who want to check with an RGB waveform monitor. The following figure shows the information displayed on the camera side, so if you want to see the waveform accurately, you can turn off the information display.

Recently, 3DLUT display has been implemented in external camera screens. LUTs can be installed via USB, so it is a good idea to throw in your favorite LUT.

To load a LUT, insert a USB memory stick into the USB port and select “USB Looks” to open the loading screen. Tap the LUT you want to import, and it will be stored in the monitor itself.

Once the LUTs are stored or uploaded, you can apply them even without a USB memory stick. All you have to do is select the LUT as shown in the picture above. You can store multiple LUTs, which is a good feature for those who want to try different looks. The LUTs I tried here are 33 points in .cube format.

In the case of my beloved Lumix, the camera itself can install and display LUTs, but .cube cannot be loaded directly and must be converted to a viewing LUT called .vlt. In the case of Portkeys LH5P, .cube format can be loaded, which I think is very convenient.

In addition, you will see that it supports quite a few cameras, including Canon, Sony, Panasonic, Blackmagic Design, and even ZCAM camera and TILTA follow focus.

Looking at the list above, I’m amazed at how many cameras are supported. This is because most of the camera manufacturers are probably not privy to the protocols used to control their cameras from the outside, so it is basically necessary to reverse engineer and analyze the communication of each camera. (Even if the protocol is fixed for each model within the manufacturer to some extent, I think it is quite difficult.)

In addition, there is a possibility that this information may change with firmware updates, so I bow to the engineers who implement the software for the camera control section of Portkeys. I can’t even imagine what it would be like.

However, as you can see in this video, wired camera control over LANC is exclusive to USB control, so you cannot control the camera while using LANC. This is due to the specifications of the camera.

This is how you can control the camera externally by touching the screen. I think this part is similar to the back LCD of the LUMIX S series and G series.

In my previous review of the BS1H, I used the external camera screen to take pictures, but it took me quite a while to get used to using the few buttons and dials on the body to move the focus and turn the focus on. But I think this is definitely easy to use sensibly.

This function, touch focus, is a feature I would like to use in LUMIX GH series and S series as well, but currently it is only supported for basic operations such as ISO/REC/FOCUS/WB. This seems to be related to the software specification of LUMIX. BGH1/BS1H’s tether shooting software on PC is LUMIX Tether for Multicam. With this software, you can access all the menus on the camera. Or rather, the menu itself is controlled by the PC, and in addition, it can be focused with a mouse click. I think this is because the LH5P uses this feature well.

As far as the connection verification with LUMIX GH5S/S5 is concerned, when both HDMI and USB are connected. The camera is in Tether shooting mode, the LCD monitor of the camera body is forced to turn off. At this time, the camera’s LCD monitor itself is turned off, so the camera’s touch operation is also disabled.

Therefore, it is necessary to turn on the camera’s settings and information display beforehand. (This is because you will not be able to do anything other than setting REC/ISO/FOCUS/ISO/WB.)

I’m sure some of you may be thinking that you can check the camera settings on the camera’s LCD, concentrate on shooting with clean output on the external camera screen, and change the exposure with the touch operation on the external monitor if necessary, but unfortunately this is not possible with LUMIX GH5S/S5. Unfortunately, the LUMIX GH5S/S5 cannot be used in this way. This is due to the specifications of LUMIX, and I think it is the same for GH5. The GH5M2 may have a different specification.

In the case of the LUMIX S1H, the LCD monitor continues to display even when the USB/HDMI is plugged in. This may be a difference from professional models.

However, since it is incompatible with the latest firmware, we have confirmed the control with one previous version. In the above diagram, Video Assist is sandwiched in between, but the camera’s LCD does not turn off when S1H and LH5P are connected via HDMI/USB. This is ideal, isn’t it?

The usability will probably vary greatly depending on the type of camera connected. For those who only control REC/ISO/Focus value/WB during shooting, I think there is no problem even if the LCD of the camera body turns off.

Even if it is not possible, it is definitely possible to control the camera (ISO/SS/F value/WB) and I think it is the most suitable monitor for BGH1/BS1H among the existing monitors.

[ Professional Color Calibration and Touchscreen 】Can easily and intuitively zoom in and Out of your shot with the pinch-to-zoom gesture. The A6 Pro provides a sharp image, with 500nit, native 1920x1080 high resolution, REC-709 color calibration, make you enjoy sharper and richer colors image.

【External Equipment Attach port】A Sony F970 external install and power kit design is added to the back of the monitor. The external kit can be used to install the external equipment, like wireless transmitter, LED light, video converter and others which can be powered by Sony F970 battery, greatly saving the space occupied by the equipment and reducing the weight of photography equipment.

【Widely Flexible Power Compatible for Cameras 】The A6 Pro has 4K HDMI in and loop-out, you can use it to display live signals, and also send them out to other monitors simultaneously. With type-c input, F970 battery plate, the power kit and 8.4V DC output, flexible choice of power supply.

【About the Type C 】The 5V Type-C port is only used for power supply, not for data transmission, and cannot provide loop-out power, Multiple Power Supply Ways. In addition to the power supply through the F970 battery plate and 12V DC power input, it also supports 5V Type-C input, which can be powered by mobile phone charger or power bank. (At least 5V/2A)

HDMI Format: 480i / 576i / 480p / 576p / 720p(60/59.94/50/30/29.97/25/24/23.98) / 1080i(60/59.94/50) / 1080p(60/59.94/50/30/29.97/24/24sF/23.98/23.98sF) / 4K UHD 3840*2160p(30/29.97/25/24/23.98Hz) / 4096*2160p(24HZ）

A6 PRO features standard 1/4" mount points (top, bottom, right, middle back) for attaching it to cameras and rigs. Not only you can install it on a monitor through tilt arm, but also you can mount it on a handheld stabilizer or securely attach it to the top of your camera as the ultimate HD viewfinder! If you install it on the bottom of the device, you can also combine the image flip function to maintain the correct orientation of the screen!

A Sony F970 external install and power kit design is added to the back of the monitor. The external kit can be used to install and install the external equipment, like wireless transmitter, LED light, video converter and others which can be powered by Sony F970 battery. This innovative external power supply design reduces the need for photographers to connect to external wireless transmission, LED light and other equipment, greatly saving the space occupied by the equipment and reducing the weight of photography equipment.

The kit has two cross slots, you can adjust the position of the external device by loosening the screws. When you don"t need the kit, you can directly loosen the

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The police who work inside are looking elsewhere. They spend their days poring over computer screens, watching footage that comes in from 4,300 cameras across the country.

The high-powered cameras send what they see to 16 monitoring centers in Ecuador that employ more than 3,000 people. Armed with joysticks, the police control the cameras and scan the streets for drug deals, muggings and murders. If they spy something, they zoom in.

Ecuador’s system, which was installed beginning in 2011, is a basic version of a program of computerized controls that Beijing has spent billions to build out over a decade of technological progress. According to Ecuador’s government, these cameras feed footage to the police for manual review.

Ecuador shows how technology built for China’s political system is now being applied — and sometimes abused — by other governments. Today, 18 countries — including Zimbabwe, Uzbekistan, Pakistan, Kenya, the United Arab Emirates and Germany — are using Chinese-made intelligent monitoring systems, and 36 have received training in topics like “public opinion guidance,” which is typically a euphemism for censorship, according to an October report from Freedom House, a pro-democracy research group.

Companies worldwide provide the components and code of dystopian digital surveillance and democratic nations like Britain and the United States also have ways of watching their citizens. But China’s growing market dominance has changed things. Loans from Beijing have made surveillance technology available to governments that could not previously afford it, while China’s authoritarian system has diminished the transparency and accountability of its use.

For locals seeking to push back, there is little recourse. Chinese companies operate with less scrutiny and regard for corporate social responsibility than their Western counterparts. Activists in Ecuador say that while they have succeeded in working with civil society groups in Europe and America to oppose sales of surveillance technologies, similar campaigns in China have not been possible.

In Ecuador, the cameras that are part of ECU-911 hang from poles and rooftops, from the Galápagos Islands to the Amazonian jungle. The system lets the authorities track phones and may soon get facial-recognition capabilities. Recordings allow the police to review and reconstruct past incidents.

While ECU-911 was sold to the public as a way to get a grip on dizzying murder rates and drug-related petty crime, it also served Mr. Correa’s authoritarian streak, supporting his feared National Intelligence Secretariat, or Senain, according to a former head of the group. In a rare interview last year at Senain’s headquarters in a bunker outside Quito, its leader at the time, Jorge Costa, confirmed that the domestic intelligence group had access to a mirror of the Chinese-built surveillance system.

The irony is that ECU-911 has not been effective at stopping crime, many Ecuadoreans said, though the system’s installation paralleled a period of falling crime rates. Ecuadoreans cite muggings and attacks that happened in front of the cameras without police response. Still, the police have built public support, partly by releasing clips on Twitter and television of thieves and muggers caught on camera.

Left to choose between privacy and safety, many Ecuadoreans opt for the unblinking gaze of the electronic eyes. With the mass surveillance genie out of the bottle, community leaders have called for cameras to help secure their neighborhoods, even when their own experiences are that the devices do not work well. Concerns about the long-term political implications trail behind the pressing realities of violence and drugs.

Before those Games, a delegation from Ecuador visited Beijing and toured the Chinese capital’s surveillance system. At the time, Beijing was pulling footage from 300,000 cameras to keep tabs on 17 million people. The Ecuadoreans left impressed.

“For the Olympics, China developed emergency response centers which had state-of-the-art technology for its time,” Francisco Robayo, then the general director of ECU-911, said in an interview last year. “Our authorities saw these as ideal to bring to Ecuador.”

By February 2011, with guarantees of state funding from the attachés, Ecuador signed a deal with no public bidding process. The country got a Chinese-designed surveillance system financed by Chinese loans. In exchange, Ecuador provided one of its main exports, oil. The money for the cameras and computing flowed straight to C.E.I.E.C. and Huawei.

It became a pattern. In exchange for credit facilities that totaled more than $19 billion, Ecuador signed away large portions of its oil reserves. A surge of Chinese-built infrastructure projects, including hydroelectric dams and refineries, followed.

Cameras were hung anywhere that provided a good view. Operation centers were set up. Top Ecuadorean officials traveled to China for training, and Chinese engineers visited to teach their Ecuadorean counterparts how to work the system.

The activity attracted attention from Ecuador’s neighbors. Venezuelan officials came to see the system, according to a 2013 account from an Ecuadorean official working on the project. In an effort led by the onetime head of intelligence for Hugo Chávez, Venezuela then sprang for a larger version of the system, with a goal of adding 30,000cameras. Bolivia followed.

Beijing’s ambitions go much further than the abilities those countries bought. Today, the police across China gather material from tens of millions of cameras, and billions of records of travel, internet use and business activities, to keep tabs on citizens. The national watch list of would-be criminals and potential political agitators includes 20 million to 30 million people — more than Ecuador’s population of 16 million.

Chinese start-ups, backed in part by American investment, are competing to build methods for automated policing. They create algorithms that look for suspicious patterns in social media use and computer-vision software to track minorities and petitioners across cities. The spending spree has driven down prices for all types of policing gadgets, as varied as identity-card checkers and high-resolution security cameras.

In 2016, when President Xi visited Ecuador, he stopped by ECU-911 headquarters. Mr. Robayo said Mr. Xi had shown up for about five minutes, enough time for photo opportunities. The snapshots went up on C.E.I.E.C.’s website, a sign of official support from the most powerful Chinese leader in a generation.

Mr. Pazmiño’s efforts earned him his own retinue of secret police. They set up in an apartment across from his house, and followed him when he went out.

A seasoned intelligence officer, Mr. Pazmiño, 59, said even he was surprised when, in 2013, a video camera that was part of ECU-911 was installed directly outside his house. It hung from a pole on a traffic divider in the middle of the street, with a full view through a window into his second-story apartment.

Mr. Pazmiño said that after the camera went in, surveillance teams following him backed off. The camera otherwise made no real sense where it was. Mr. Pazmiño lives in a relatively safe neighborhood, and no other ECU-911 cameras were installed nearby. It was a move out of the police playbook in China, where cameras are positioned outside the doors of high-profile activists.

A visit to Senain’s headquarters confirmed Mr. Pazmiño’s suspicion. On a wall of screens that served as a sort of agency control room, Times reporters recognized footage from the ECU-911 system.

Mr. Costa, who was in charge of the transition between Senain and its successor, acknowledged the transmissions — but said he was not responsible for how they had been used in Mr. Correa’s administration.

As Lidia Rueda, a community organizer, walked the steep, winding streets of this neighborhood, where she has lived for 30 years, she pointed down the hill to where the bodies of several murdered women were found. Drug dealers come and go with impunity, she said. Muggings are common. Thieves break streetlights to get the cover of darkness.

The crime has not subsided even though ECU-911 cameras arrived at the base of the hill several years ago. Ms. Rueda gestured to a pedestrian bridge there, where one man had grabbed her and threatened her with a knife while another had taken her money. The 2014 mugging happened directly beneath a police camera. No help came.

Ms. Rueda’s experience encapsulates the complex relationship many Ecuadoreans have with the cameras. While the authorities said the cameras had reduced crime, anecdotes of its dysfunction abound.

The odds are against Ecuador’s police force. Quito has more than 800 cameras. But during a Times visit, 30 police officers were on duty to check the footage. In their gray building atop the hill, officers spend a few minutes looking at footage from one camera and then switch. Preventing crime is only part of the job. In a control room, dispatchers supported responses to emergency calls.

It was a reminder that the system, and others like it, are more easily used for snooping than crime prevention. Following someone on the streets requires a small team, while large numbers of well-coordinated police are necessary to stop crime.

Mr. Robayo argued that ECU-911 had been responsible for a major drop in murders and an almost 13 percent drop in crime in 2018 from the previous year. The mere existence of a camera can also have a profound effect, he said.

Many Ecuadoreans agree. Despite Ms. Rueda’s mugging, she has called for the installation of more cameras in El Tejar. The best way to fix the neighborhood’s crime problems is to fix the surveillance system, she said.

Melissa Chan is a reporter focused on transnational issues, often involving China’s influence beyond its borders. Based in Los Angeles and Berlin, she is a collaborator with the Global Reporting Centre, and previously worked for Al Jazeera English in China, and Al Jazeera America covering the rural American West. @melissakchan

Introducing the world’s most advanced self contained studio camera! Blackmagic Studio Cameras have the same features as large studio cameras, miniaturized into a single compact and portable design. Plus with digital film camera dynamic range and color science, the cameras can handle extremely difficult lighting conditions while producing cinematic looking images. The sensor features an ISO up to 25,600 so you can create amazing images even in dimly lit venues. It even works under moonlight! Advanced features include talkback, tally, camera control, built in color corrector, Blackmagic RAW recording to USB disks and much more! You can even add a focus and zoom demand for lens control!

Designed as the perfect studio camera for ATEM Mini, this model has a 4K sensor up to 25,600 ISO, MFT lens mount, HDMI out, 7" LCD with sunshade, built-in color correction and recording to USB disks.

Designed for professional SDI or HDMI switchers, you get all the features of the Plus model, as well as 12G-SDI, professional XLR audio, brighter HDR LCD, 5 pin talkback and 10G Ethernet IP.

While Blackmagic Studio Camera is designed for live production, it’s not limited to use with a live switcher! That’s because it records Blackmagic RAW to USB disks, so it can be used in any situation where you use a tripod! The large 7" viewfinder makes it perfect for work such as chat shows, television production, broadcast news, sports, education, conference presentations and even weddings! The large bright display with side handles, touch screen and physical controls makes it easy to track shots while being comfortable to use for long periods of time. Because it’s so lightweight, it’s perfect when you"re constantly changing locations and doing different kinds of work.

Large broadcasters use expensive studio cameras that are extremely large, so they’re not very portable. The distinctive Blackmagic Studio Camera has all the benefits of a large studio camera because it’s a combination of camera and viewfinder all in a single compact design. It features a lightweight carbon fiber reinforced polycarbonate body with innovative technology in a miniaturized design. The camera is designed for live production so it’s easy to track and frame shots with its large 7" viewfinder. The touchscreen has menus for camera settings, and there"s knobs for brightness, contrast and focus peaking. Plus a tripod mount with mounting plate is included for fast setup!

In advanced cameras, ISO is a measurement of the image sensor’s sensitivity to light. This means the higher the ISO the more gain can be added so it’s possible to shoot in natural light, or even at night! The Blackmagic Studio Camera features gain from -12dB (100 ISO) up to +36dB (25,600 ISO) so it"s optimized to reduce grain and noise in images, while maintaining the full dynamic range of the sensor. The primary native ISO is 400, which is ideal for use under studio lighting. Then the secondary high base ISO of 3200 is perfect when shooting in dimly lit environments. The gain can be set from the camera, or remotely from a switcher using the SDI or Ethernet remote camera control.

The amazing 4K sensor combined with Blackmagic generation 5 color science gives you the same imaging technology used in digital film cameras. That means you can now use cinematic images for live production! Plus, when combined with the built in DaVinci Resolve primary color corrector you get much better images than simple broadcast cameras. The color corrector can even be controlled from the switcher. With 13 stops of dynamic range, the camera has darker blacks and brighter whites, perfect for color correction. The sensor features a resolution of 3840 x 2160 which is great for both HD and Ultra HD work. Plus, all models support from 23.98 fps up to 60 fps.

With the popular MFT lens mount, Blackmagic Studio Cameras are compatible with a wide range of affordable photographic lenses. Photographic lenses are incredible quality because they"re designed for use in high resolution photography. Plus, the active lens mount lets you adjust the lens remotely! To eliminate the need to reach around to adjust the lens zoom and focus, the optional focus and zoom demands let you adjust the lens from the tripod handles just like a large studio camera! This means you avoid camera shake when adjusting the lens, so you can track shots and operate the camera without taking your hands off the tripod! It gives you the same feel as an expensive B4 broadcast lens!

The large 7" high resolution screen will totally transform how you work with the camera because it"s big enough to make framing shots much easier. The Pro model features a HDR display with extremely high brightness, perfect outdoors in sunlight! On screen overlays show status and record parameters, histogram, focus peaking indicators, levels, frame guides and more. You can even apply 3D LUTs for monitoring shots with the desired color and look. The touchscreen also has menus and you can load and customize presets for different jobs. The included sun shade can be folded to protect the screen for transport plus it"s compatible with sun shades from the Blackmagic Studio Viewfinder!

Blackmagic Studio Cameras feature physical buttons and knobs as well as controls on the touchscreen. Knobs on the right side of the camera allow adjusting of the brightness, contrast and focus peaking. The focus peaking knob is incredibly useful as it lets you fine tune the detail highlight so you can get perfect focus as you zoom. The 3 function buttons on the left can have functions assigned to them, such as zebra, false color, focus peaking, LUTs and more! Plus you can change the function assigned to each button in the menus. The touchscreen also includes a heads up display with the most important shooting information, as well as menus for all camera settings, LUTs and custom presets.

Blackmagic Studio Cameras feature a very large tally light that illuminates red for on air, green for preview and orange for ISO recording. The tally light also includes clip on transparent camera numbers, so it"s easy for talent to see camera numbers from up to 20 feet away! The Blackmagic Studio cameras support the SDI tally standard used on all ATEM live production switchers and the HDMI tally used on ATEM Mini switchers. This means that a director can cut between cameras and the tally information will be sent back to the cameras via the SDI program return feed, lighting up the tally light on the camera whenever it"s on air. SDI tally eliminates complex wiring so job setup is faster.

Unlike consumer cameras, the Blackmagic Studio Camera 4K Pro model has SDI connections that include talkback so the switcher operator can communicate with cameras during live events. That means the director can talk to the camera operators to guide shot selection, eliminating the problem where all cameras could have the same shot, at the same time! The talkback connector is built into the side of the camera and supports standard 5 pin XLR broadcast headsets. Talkback uses audio channels 15 and 16 in the SDI connection between the camera and the switcher, and in the program return from the switcher to the camera. This means any embedded SDI audio device can work with talkback!

Blackmagic Studio cameras have lots of connections for connecting to both consumer and broadcast equipment. All models feature HDMI with tally, camera control and record trigger, so are perfect for ATEM Mini switchers! You also get headphone and mic connections, and 2 USB‑C expansion ports. The advanced Blackmagic Studio Camera 4K Pro model is designed for broadcast workflows so has 12G‑SDI, 10GBASE‑T Ethernet, talkback and balanced XLR audio inputs. The 10G Ethernet allows all video, tally, talkback and camera power via a single connection, so setup is much faster! That"s just like a SMPTE fiber workflow, but using standard Category 6A copper Ethernet cable so it"s much lower cost.

Blackmagic Studio Cameras can be connected in lots of different ways! All models feature HDMI so are perfect for HDMI switchers such as ATEM Mini. The HDMI supports video, tally, control and record trigger for a broadcast style workflow using a single HDMI cable. The Blackmagic Studio Camera 4K Pro has 12G‑SDI so you can connect it to SDI based switchers such as the ATEM Constellation. There"s a 12G‑SDI connection for camera video, and one for program return. The program return also includes tally, talkback and remote camera control. Or you can use 10G Ethernet to get camera video, program return, tally, talkback, camera control and even power using a regular Cat6A Ethernet cable!

Using the HDMI output, you can connect to switchers such as ATEM Mini! Plus the HDMI connection supports sending tally, color corrector control and record trigger back to the camera from the switcher.

The SDI model uses the SDI output and the SDI program return for 2 way talkback between the camera and any SDI ATEM switcher. Tally and control is also sent to the camera via the SDI program return.

The 10G Ethernet connection allows all signals and camera power using a single Cat 6A copper Ethernet cable! That includes the camera video, program return, tally, talkback, camera control and more!

You can even shoot without a switcher as the large screen makes the camera fantastic for shooting while recording to Blackmagic RAW on a USB flash disk. The big screen makes framing shots very easy!

All Blackmagic Design ATEM switchers can control cameras via a protocol embedded into the camera"s SDI video connections. Setup is easy because all ATEM switchers broadcast control commands from the switcher’s SDI program output to the camera via the SDI program input. The switcher can perform color correction, tally and lens control and these are sent to all cameras. All you need to do is select the correct camera number and it all works. Even ATEM Mini switchers can control Blackmagic Studio Cameras because the HDMI output to the switcher has return data communication that can send control information back to the camera. All this means the camera operator is free to focus on framing shots.

The Blackmagic Studio Camera 4K Pro model supports connecting cameras via a single Ethernet cable. It’s so simple, just plug in and you"re ready! Traditional broadcast studio cameras use SMPTE fiber to communicate and power cameras, however SMPTE fiber is very expensive. Blackmagic Studio Camera 4K Pro model has 10G Ethernet as an alternative to SMPTE fiber so it"s much lower cost. The Ethernet includes all camera video, program return feeds, tally, talkback, camera control and also power. The Blackmagic Studio Converter handles all video conversions at the switcher end plus adds power to the Ethernet cable. That means you don"t need to connect power to the camera!

The Blackmagic Studio Camera features a high speed USB-C expansion port that allows you to record to external disks or connect to a wide range of accessories. Plug in an external USB flash disk and the camera can record high quality 12-bit Blackmagic RAW files for later editing and color correction. That means you can just move the disk to a computer to work, and you don"t need to waste time with file copying. You can even plug in optional focus and zoom demands to allow full lens control. Plus the USB port will power any phone or disk that’s plugged in!

Blackmagic RAW is a revolutionary new format designed to capture and preserve the quality of the sensor data from your camera. Some file formats such as H.264 are highly compressed, so add noise and artifacts, causing sensor detail to be lost forever. Blackmagic RAW eliminates this problem so you get stunning images with incredible detail and rich color throughout the whole post production pipeline. Blackmagic RAW also saves camera settings as metadata so you can change ISO, white balance and exposure later in DaVinci Resolve. Plus the files are small and fast, so editing responsiveness is incredible. Only Blackmagic RAW gives you the highest quality, smallest files and fastest performance!

Blackmagic Studio Cameras include built in microphones so you get sound included in the design making setup much faster. Plus the built in microphones are shock and wind resistant, so you get great sound even in tough conditions! With each microphone placed at the edges of the screen, you get the advantage of the studio camera design for better stereo separation than what is possible on a regular video camera. There’s also a 3.5mm audio input for connecting video camera microphones as well as a 3.5mm headphone jack. On the Blackmagic Studio Camera Pro model you get professional XLR audio inputs and a built in speaker for listening to the program return audio.

Because the most common location to place microphones is near to cameras, the Pro model includes the best audio ever designed into a studio camera! The professional 2 channel balanced XLR inputs support +24 dBu line level and have an ultra low noise microphone preamplifier with P48 phantom power alongside an equivalent input noise (E.I.N.) of ‑131 dBV(A). That"s followed by two 117 dB high dynamic range analog to digital converters, so you get the high end audio demanded by broadcasters and audio engineers. This means any microphone plugged into the XLR inputs will have a higher level of noise than the camera"s audio!

The Blackmagic Studio Camera lets you view program video from the switcher at the press of a button! Simply press the camera’s PGM button and the viewfinder will switch from the camera display to the program return feed from the switcher. Plus the built in speaker lets you monitor the switcher audio. Program return is a fantastic feature as sometimes on large live shows, camera operators can be left waiting a long time for their camera to be used, so program return lets them watch the show while they wait. This means even if the camera operator is a large distance away from the switcher, they can still keep up with what’s happening and remain alert.

With the advanced Blackmagic OS, you get an intuitive and user friendly camera operating system based on the latest technology. Blackmagic OS is a true modern operating system where all camera features run independently for smoother control, plus the camera powers on virtually instantly. It features the same controls and menus as other Blackmagic Design cameras so you can move between cameras on set easily. The interface uses simple tap and swipe gestures to adjust settings, add metadata and view recording status. You also get full control over advanced camera features such as on screen focus and exposure tools, 3D LUTs, HDR, metadata entry, timecode, Blackmagic RAW settings and more!

When Blackmagic RAW files use logarithmic film gamma to preserve the camera dynamic range, 3D LUTs can be used to convert the images on the viewfinder display from looking flat and washed out. 3D LUTs solve this problem because they convert the image just before it"s displayed on the LCD. This allows the film gamma images being recorded to be converted to nicer looking images on the LCD. 3D LUTs are also saved into the Blackmagic RAW files so they can be used in later post production, but they are never burned into the Blackmagic RAW image data, so you always have the option to disable them. This means the 3D LUT is transported in the Blackmagic RAW file, but only used when you enable it.

The Blackmagic Studio Cameras are designed to be used worldwide so they support 11 popular languages! When setting up your camera, you can choose to work in English, German, French, Spanish, Portuguese, Italian, Russian, Turkish, Chinese, Japanese or Korean. It’s easy to switch to another language simply by going into the menu settings. When switching between languages, all the on screen overlays, heads up display, and setup menus will be displayed in the selected language and you can change languages any time you like!

Blackmagic Studio Cameras have lots of different power options! All models have a common 12V DC locking power connector so the cable won"t be accidentally pulled out. Plus, the camera includes a power supply with 5 different AC socket adapters for different countries. However if you"re using a single Ethernet cable to connect to the Blackmagic Studio Camera 4K Pro model, then the whole camera and its accessories can be powered from the Ethernet connection. The Blackmagic Studio Converter has a large power supply that adds PoE power to the Ethernet cable so you don"t need any power connection to the camera. That’s a great solution when there"s no power available where the cameras are placed!

The optional zoom and focus demands can be added to turn affordable photography lenses into amazing broadcast lenses! The focus and zoom demands have USB‑C connections so they work with all Blackmagic Studio Camera 4K models. Each zoom and focus demand has 2 USB‑C ports, so you can daisy chain them then connect to the camera with a single USB connection. The design has an incredibly precise feel and so you get very fine lens control, and you can frame and adjust the lens without taking your hands off the tripod handles. The buttons can be customized so you can assign different camera functions to them! Plus, hardware is included for mounting the focus and zoom demand onto tripod handles.

With 10G Ethernet on the Pro model, you can connect all signals to the camera with the one Ethernet IP link connection. That means the camera feed, return program feed, timecode, reference, tally, talkback and control are all sent down the single cable. That"s the same benefits of SMPTE fiber, but the standard 10G copper Ethernet cable is much lower cost. The Blackmagic Studio Converter allows breakout of all the video, audio and talkback connections at the studio end. It also includes a massive power supply that powers the camera down the Ethernet cable, so you don"t need a power source near the camera. Plus you can fit 2 per rack unit using a Blackmagic Universal Rack Shelf!

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Receive a free Shoulder Bag 200ES with the purchase of select new EOS Cameras - Offer valid February 18, 2023 12:00 a.m. through February 28, 2023 11:59 p.m. ET. Offer valid in U.S.A. only, and void where prohibited, taxed or restricted. Availability of certain items may be limited. Limit of ten of any one item per order, subject to availability. Order will be shipped to a street address in the 50 United States or the District of Columbia only. Dealers, distributors and other resellers are not eligible for this offer. Offer subject to Terms of Sale.

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