In a move that will increase efficiency on set, ARRI has integrated a high-quality and low-latency HD video transmitter and WiFi into the new ALEXA SXT W model ("W" for Wireless). Based on the popular ALEXA SXT Plus, the SXT W will replace the SXT Plus and Studio models. As always, there are attractive upgrade options for existing owners of ALEXA SXT EV and ALEXA SXT Plus cameras.

The new hardware will be accompanied by software upgrade SXT SUP 2.0, which adds improved HDR monitoring, support for current SxS PRO+ and CFast 2.0 cards, quicker frame grabs, various WCU-4 and lens motor features, and other refinements.

Having a video transmitter built into the ALEXA SXT W makes the camera smaller and lighter than it would be with an external transmitter. It also means fewer cables around the camera and fewer associated problems, since cable failure is by far the most common technical hitch on set. Camera setup and power-up will be quicker, and productions will be able to move faster. Interference between different radio frequencies can be a time-consuming issue for camera crews. The ARRI Wireless Video System eliminates this issue because it works harmoniously with ALEXA SXT W’s other radio-based offerings: the WiFi and the ECS, ARRI’s proprietary camera and lens control system.

In addition, the integrated WiFi radio opens up a whole range of options, starting with wireless look control on set and continuing with wireless camera remote control using the ALEXA Web Remote. Other exciting WiFi options are currently under development. The introduction of a built-in wireless video transmitter is a significant upgrade for the ALEXA SXT and reflects ARRI’s commitment to continually improve the SXT platform with additional functionality.

A fully wireless camera

Integrated wireless videoIntegrated WiFiIntegrated ARRI ECS wireless camera/lens controlInterference-free operation between video, WiFi and ECS radios

Replaces SXT Plus and SXT Studio

SXT W is based on popular ALEXA SXT Plus"W" stands for Wireless

Integrated wireless video

Smaller & lighter than with external transmitterNo cable problemsFaster setup

Integrated WiFi

Wireless look controlWireless camera controlMore features in development

ARRI is committed to the SXT platform

The bantam fixture has a white light range of 2000 to 10,000K to blend in seamlessly in any ambient light situation, match other fixtures, or exercise creative expression. The light's high CRI/TLCI rating of 95/96 is a testament to its advanced accuracy in color reproduction. Another color control feature is its RGB mode with hue, saturation, and intensity adjustment that gives image makers access to millions of colors. And the light is dimmable from 0 to 100%.

MORE PRACTICAL

The Accent B7c is a battery-operated 7W RGBWW color-mixing LED light bulb, and the first product in Aputure’s Accent family of “practical” LED lights built for filmmakers, with a unique combination of features no other light has. Buy Aputure B7c from UBMS Dubai . We have stock for B7c.

YOUR FAVORITE LAMP

The B7c features a standard E26/27 lamp socket screw connector making it compatible with a wide variety of lamps anywhere in the world. Its light bulb form factor allows users to more naturally integrate programmable, color-mixing, practical lighting into any scene. Buy Aputure Bulb from UBMS Dubai Showrrom or order online .

MATCH ANY LIGHT

The Accent B7c matches the color temperature range of the Nova P300c, Aputure’s most advanced color mixing light, producing a wide color temperature range of 2,000K-10,000K. And when combined with Sidus Link’s SourceMatch feature, it can match nearly any white light source.

PRISTINE QUALITY YOU CAN TRUST

Unlike typical household LED bulbs, the Accent B7c uses cinema-grade LEDs to reproduce immaculate skin tones -- with impeccable CRI and TLCI values of 95+, and a tungsten SSI score of 85, outpacing industry-standard lights.

COLOR TUNABILITY

Utilizing Aputure’s unique RGBWW LED configuration, the B7c bulb is able to produce over 90% of the saturated colors in the Rec.2020 color space, putting it on par with industry-standard lighting instruments.

FLICKER-FREE FILMMAKING

The Accent B7c like all Aputure products is made with filmmakers in mind. Unlike consumer LED smart bulbs, the B7c features 20KHz stepless dimming that remains completely flicker-free up to at least 1,000fps with no color shift.

BUILT-IN BATTERY

The B7c is also the first bulb designed for filmmakers to have a built-in battery, powering the B7c for over 70 minutes at full power, and over 20 hours as it approaches minimum brightness.

AC/DC MODE

The B7c’s unique internal battery allows the B7c to have multiple power supply modes: AC & Battery (DC). In AC power mode the B7c retains its last settings and turns on and off like a traditional light bulb, allowing for natural interactions with actors.

PREMIUM CONSTRUCTION

Using an aluminum metal structure and a unique toroidal diffusion design, the B7c spreads lights evenly while also maintaining absolute stealth on-camera.

ON-BOARD CONTROLS

The Accent B7c is the only LED smart bulb to feature on-board buttons for both brightness and CCT control, allowing users to adjust intensity and CCT presets in a few simple clicks, without even connecting it to the Sidus Link app.

SIDUS LINK

Using built-in Sidus Mesh technology, the B7c can also be controlled wirelessly via a smartphone or iPad using the Sidus Link app, allowing filmmakers to fine-tune CCT, brightness, color, and FX, as well as use SourceMatch and ColorPicker modes to match nearly any color.

SIDUSPRO FX

Through Sidus Link, the Accent B7c has access to built-in lighting FX, as well as SidusProTM FX such as PickerFX, Manual FX, and Magic Program, producing an ecosystem that allows creatives to design a myriad of unique programmable FX.

CHARGING CASE

The Accent B7c is also [soon to be] available in an 8-Light Charging Kit, made for indie-filmmakers, owner-operators, and rental houses, featuring a durable hard shell case with the capacity to store, protect, and simultaneously charge up to eight B7c bulbs.

Benefits

• 7W RGBWW LED smart bulb


• Standard E26/E27 light bulb socket


• Built-in lithium polymer battery (70+ minutes at max)


• Fully tunable CCT from 2000 to 10,000K


• Average CRI 95+; TLCI 96+


• SSI (Tungsten): 85; SSI (D55): 74


• RGB color tunability with hue, saturation, and intensity adjustability


• Covers >90% of the colors within Rec.2020 color space


• Stepless dimming from 0 to 100% with no color shift


• Nine built-in lighting effects: Paparazzi, Fireworks, Faulty Bulb, Lightning, TV, Party, Pulsing, Cop Car, and Fire


• Smart bulb with onboard button controls


• Sidus Link app compatible; firmware upgradeable


• Wireless Bluetooth control up to 164'


• Two power supply modes: Standard/AC and Battery/DC


• Passively cooled aluminum alloy heatsink

The 40mm Master Prime is one in a set of 16 from ARRI/Zeiss featuring excellent resolution, advanced contrast, almost no breathing, and a fast T1.3 aperture for achieving shallow depth of field. Ranging from 12mm to 150mm, the Master Primes offer the skin tones and color rendition for which Zeiss is noted, and are color-matched for consistency across the set. These lenses incorporate an iris with at least nine blades for cinematic-looking bokeh with distinct focus fall-off. Dual floating elements provide optimal close-focus performance while minimizing breathing when focusing. The advanced T*XP coating reduces reflections and glare while improving contrast.

Designed with aspherical elements for minimal chromatic aberration, the ARRI/Zeiss Master Primes provide optimal image quality and clean chroma-keying. High resolution is maintained in image corners even when the lens is used wide open and at close focus. Each lens features a PL mount and a built-in LDS system for transferring lens data to compatible cameras. The expanded focus scale has generous room for marks, and it sports fluorescent engravings for easier viewing in low-light settings. The focus ring has markings in both feet and metric; the ring may be reversed from one to the other by a qualified shop technician.

This 40mm Master Prime Lens features a 16" minimum focus distance, focus marks set in meters, a relatively light weight of 5.1 pounds, and a compact length of 8". This family of lenses feature consistent placement of focus, iris, and zoom rings for easier use with follow focus, zoom control, and F/I/Z wireless systems. Most of the lenses in the Master Prime family, including the 40mm, have a uniform 114mm front diameter, enabling the use of the same size matte box adapter, filter, etc.

Features

Superior resolution and contrast with virtually no breathingCovers Super-35 sensorsFast, maximum T1.3 aperture enables shooting in low light and produces shallow depth of fieldColor-matched across the setAspherical elements for reduced chromatic aberrationPL mount with integrated LDS system for transferring lens data to compatible camerasRelatively lightweight, compact form factor with 114mm front diameter

Built around a large-format 4K version of the original ALEXA sensor, the ARRI ALEXA LF (LPL) camera in this Basic Camera Set offers native 4K recording in three sensor modes, with ARRIRAW or ProRes recording in LF Open Gate, LF 16:9, or LF 2.39:1 modes. The ALEXA LF combines large-format resolution with an optimal pixel size for excellent image quality, producing vivid, nuanced images with natural skin tones and smooth bokeh. The ALEXA LF is designed with ARRI's LPL lens mount that has been optimized for large-format capture, and is compatible with all PL-mount lenses with the use of a PL-to-LPL adapter. A wider diameter, and shorter flange focal depth than the original ARRI PL mount, enable LPL-mount lenses to be smaller and lighter than earlier large-format optics.

The ALEXA SXT LF offers an array of recording format choices in ARRIRAW and ProRes, recording to 1 or 2TB SXR capture drives, or SxS PRO+ 256GB cards. With a base sensitivity of EI 800, 16-bit processing, and a dynamic range of 14-plus stops, your footage is effectively future-proofed for compatibility with HDR displays. Frame rates up to 150 fps produce smooth slow motion and enable capture for higher-clarity HFR (High Frame Rate) projects.

The wireless connectivity of the ALEXA SXT W is built into the ALEXA LF, providing Wi-Fi and compatibility with ARRI ECS lens/camera control systems. One WVR-1 receiver is included in this basic kit, offering wireless video transmission in a range up to 2000'. An internal filter holder can be used to insert one of eight Large Format Full Spectrum Neutral Density (LF FSND) filters (available separately). Additional ALEXA LF features include compatibility with existing ARRI Look files and workflow, clip playback in both ARRIRAW or ProRes, and 2-channel, 5-pin XLR audio input. This basic ALEXA LF set also includes SXR and SxS media adapters, the EVF-1 electronic viewfinder with a VMB-3 mounting bracket and cable, the CCH-1 center carrying handle, and an SD card for storing/loading LUTs, SUPs, etc.

Large Full-Frame Sensor with Three Operating Modes

Like the entire ALEXA line, the ALEXA LF combines high-resolution with an optimal pixel size for excellent image quality. The ALEXA LF offers a choice of recording in 4448 x 3096 Open Gate, 3840 x 2160 16:9, and 4448 x 1856 2.39:1 anamorphic.

Native 4K Recording with ALEXA Image Quality

The ALEXA LF records vivid, nuanced images with natural-looking skin tones in native 4K. Its colorimetry is compatible with HDR (High Dynamic Range) and WCG (Wide Color Gamut) workflows, providing a subtle, immersive look.

Array of Recording Choices

Recording rates (using SXR capture drives) range from 90 fps ARRIRAW to 40 fps ProRes 4444 XQ in LF Open Gate, 90 fps ARRIRAW to 60 fps ProRes 4444 XQ in LF 16:9, and 150 fps ARRIRAW to 60 fps ProRes 4444 XQ in LF 2.39:1 anamorphic. ARRIRAW and ProRes 444 XQ/4444/422 HQ/422 options are available in all three sensor modes.

Wide Exposure Latitude

A base sensitivity of ASA 800, reduced noise, and a dynamic range of 14+ dovetails with HDR workflows.

New LPL Lens Mount

The new LPL lens mount, designed specifically for large-format sensors, is integrated into the ALEXA LF. With its wider diameter and shorter flange focal depth than the original ARRI PL mount, LPL-mount lenses can be designed smaller and lighter than earlier large-format optics.

ARRI Signature Primes

ARRI now offers a range of 16 large-format, LPL-mount Signature Prime lenses, ranging from 12 to 280mm. These separately available lenses display natural skin tones, smooth bokeh, and an organically pleasing look. The Signature Primes feature ARRI's quick and comprehensive LDS-2 lens metadata system, and are constructed with machined magnesium for durability and lighter weights.

Compatible with PL Lenses, ALEXA Accessories & Workflow Tools

The ALEXA LF camera works with existing ALEXA-compatible lenses, accessories, and workflows. Use your favorite existing ARRI Look files and software tools with the ALEXA LF. A separately available PL-to-LPL mount adapter attaches to any PL-mount lens, both Super 35 or full-frame. The ALEXA LF transmits data from LDS-2, LDS-1, or /i (Cooke) lens data systems.

Same Wireless Connectivity as the ALEXA SXT W

The ALEXA LF features the same integrated Wi-Fi and wireless video transmitter as the ALEXA SXT W, providing quick compatibility with the included WVR-1 wireless video receiver, as well as ARRI's various ECS (electronic lens/camera control system) components. This built-in wireless system saves build time on set, reduces cable spaghetti, and saves weight on your camera rig.

Image Processing

Internal: 16-bit linear processing in full ALEXA Wide Gamut/Log C color spaceTarget Output: Log C, Rec 709, or Rec 2 color spacesSupports ARRI Look File (ALF-2) with CDL values and a 3D LUT3D LUTs available for SDR, HDR PQ, and HDR HLG

Internal ND Filter

One of eight available Large-Format Full-Spectrum Neutral Density (LF FSND) filters can be manually inserted in front of the ALEXA LF sensor (ND 0.3 to ND 2.4).

Playback

Play back your ARRIRAW or ProRes clips from the ALEXA LF.

Compact, lightweight and self-contained, the ARRI ALEXA Mini is a versatile additional tool in the ALEXA camera range. Crews will find that the ALEXA Mini perfectly complements their ALEXA shooting kit, eliminating the complications of working with third-party cameras for specialized shots and keeping everything within a single system that is trusted all over the world.

Key Features:

Versatile additional tool in the ALEXA camera rangeExciting variety of application areasSuper-lightweight carbon bodyExchangeable lens mountsALEXA sensor and image quality with internal 4:3 & ARRIRAW recordingIntegrated lens motor control and ND filtersPerfect for gimbals and multicoptersFuture-proof technology with 4K UHD, HDR & HFR recording

Complementing the ALEXA range

Compact, lightweight and self-contained, the ARRI ALEXA Mini is a versatile additional tool in the ALEXA camera range. Crews will find that the ALEXA Mini perfectly complements their ALEXA shooting kit, eliminating the complications of working with third-party cameras for specialized shots and keeping everything within a single system that is trusted all over the world.

Strength and agility through state-of-the-art materials

To maintain ARRI’s famously rugged build quality in a small and lightweight camera, a number of unique design solutions have been incorporated. These include highly integrated and sealed electronics, a lightweight carbon housing and a solid titanium PL mount that connects directly with the new internal sensor mount – also made of titanium – to ensure a super-stable flange focal distance, even when using large lenses. Nimble in use and hardy on set, the ALEXA Mini is a go-anywhere tool, easy to transport in backpacks or as carry-on luggage.

Versatile mounting and shooting options

The ALEXA Mini can be operated in a number of ways: by wireless remote control, as a normal camera with the ARRI MVF-1 multi viewfinder attached, or with an on-board monitor and controlled via the user button interface on the camera body. Light enough to be comfortably held at arm’s length in a hand rig, its compact size and extremely quiet operation also make it ideal for tight shooting conditions.

Uncompromised image quality for specialized shots

The overwhelming advantage of the ALEXA Mini is that it marries such a compact and lightweight form factor with the same unparalleled image quality that has made the ARRI ALEXA system a gold standard for the industry. Combine the Mini with any other ALEXA camera and you will have perfectly matched images, even on anamorphic productions – thanks to the 4:3 sensor and automatic de‑squeeze function. Workflows will also be identical, with options to record ProRes or uncompressed ARRIRAW either in-camera to CFast 2.0 cards or to a specially-designed external Codex recorder.

Cost-saving camera and lens metadata

Integrated ARRI Lens Data System (LDS) technology brings the added value of frame‑accurate metadata about focus, iris and zoom settings. With these lens settings and exact depth‑of‑field displayed live on wireless hand units, precise adjustments can be made during a shot. The data also allows lens mapping to pre‑marked focus rings and reduces the time and expense involved in achieving complex visual effects in post.

ARRI and FUJINON have joined their extensive expertise to create a completely new family of modern cine zooms. Using the latest in optical design technology and innovative manufacturing techniques, the ARRI Alura Zooms combine the highest optical performance with an amazingly small size, weight and price. They are available as Studio zooms for use on a tripod or crane with a wider focal range, or as lightweight zooms which are significantly smaller and lighter in exchange for a reduced focal range.

All Alura Zooms' color characteristics, as well as their handling, are matched to existing prime lenses in ARRI's outstanding repertoire

Main Features

Matched Zooms

Matched wide and long PL mount zooms for an efficient shooting paceSmall size and low weight for quick and easy handling on the set

Fast and Steady

T2.6Consistent aperture over entire zoom range

Outstanding Optical Performance

High resolution, high contrastEven field illuminationMinimized ghost, flares and veiling glare due to FUJINON multi-layer EBC coatingGreatly reduced chromatic aberration through the use of extraordinary dispersion glassMinimized breathing, especially at the wide end where it counts9 iris leaves for round, out-of-focus highlights and a pleasing, organic bokehOptimized for ALEXA 2K 16:9 image format, covers up to DIN Super 35 4:3

Consistent Optical Performance

Consistent contrast, resolution and field illumination across the whole focus and zoom range

Film Style Ergonomics

Compatible with film and digital ARRI cameras and accessoriesRobust constructionLarge, easy-to-read precision focus scales on both sidesMatched to existing prime lenses

Easy Servicing

Feet/meter focus scales can be exchangedFront and rear elements can be exchangedZoom centering mechanism

ARRI proudly introduces AMIRA – (most economical), a versatile documentary-style camera that combines exceptional image quality and affordable CFast 2.0 workflows with an ergonomic design optimized for single-operator use and extended shoulder-mounted operation. Ready to pick up and shoot straight out of the camera bag, AMIRA is hardy enough to take anywhere and features in-camera grading with preloaded 3D LUTs, as well as 100 fps slow motion. It is suitable for a great variety of production types, from reportage and corporate films to TV drama and low-budget movies, so wherever you are headed and whatever you need to shoot, let AMIRA be your companion.

EXCEPTIONAL IMAGE QUALITY

Same 35 mm sensor as ALEXA4K UHD 3840x2160 (with license), HD 1920x1080;Rec 709ProRes recording up to 422 on CFast 2.0 cardsDynamic range of 14+ stopsNatural colors and skin tonesUp to 100 fps – full sensor area

AMIRA features the same sensor and exceptional image quality as the ARRI ALEXA, recording superior HD 1080 pictures that are suitable for any distribution format. With a dynamic range of more than 14 stops, low noise levels, subtle highlight handling, natural color rendering, breathtaking skin tones and speeds of up to 100 fps, AMIRA will deliver beautiful, life-like images in any situation.

SINGLE-USER ERGONOMICS

Quick start-up – ready to shootOptimized for the single operatorSliding dovetails – perfect shoulder balanceInternal ND filters (0.6/1.2/2.1)OLED eyepiece and fold-away LCD monitorMulti-channel audio – easy-access controls

AMIRA boots up quickly and can be used straight out of the bag by a single user, with no setting up, no rigging and no delays. Sliding dovetails allow the camera to be perfectly shoulder-balanced for comfortable handheld shooting, while the innovative multi-viewfinder combines a high resolution OLED eyepiece with a fold-away LCD monitor that provides both a live view and full access to camera functions.

COST-EFFICIENT IN-CAMERA GRADING

Preloaded looksAdjustable looks – total color control on setHigh creativity, low postproduction costsUniquely, AMIRA comes with a number of 3D LUT-based looks that can be applied while filming.

The pre-loaded LUT feature essentially amounts to in-camera grading; it allows cinematographers to craft a consistent, identifiable visual approach, even on small- scale productions that cannot afford to pay them to attend the grade. Documentaries, dramas and commercials often involve a number of contrasting looks for different narrative or thematic elements. With AMIRA these looks can be either ‘burned in’ to the recorded footage or used purely for monitor imaging. Either way, they give cinematographers and directors a greater degree of creative control on fast-moving productions, while keeping costs down for producers.

SAFE, FUTURE-PROOF INVESTMENT

Rugged and reliable ARRI build qualityUpgradeable hardware and softwareSolid lens mounts (PL/B4 2/3”/EF)Sealed electronics and efficient cooling

With a solid internal skeleton that guarantees camera and lens stability, AMIRA is a highly durable product constructed of the strongest possible materials. Sealed and capsulated electronics provide top level protection against humidity and dust, while an integrated thermal core results in an exceptionally efficient cooling system. All of this means that productions can take AMIRA anywhere, from jungles and deserts to snow-capped mountain tops, in the sure knowledge that it will not let them down. Whether on a Hollywood sound stage or a r emote documentary location, technical delays cost money – money that could be saved by working with AMIRA.

ARRI L5 / LoCaster LED Kit I

The Arri L5 / LoCaster LED Kit I features three lights and accessories for a multiple-light shoot. This includes two LoCaster 2 Plus LED panels each with a two-leaf barndoor, filter frame, stirrup, 10' extension cable, power supply, and baby pin with 3/8" threaded stud as well as an L5-C Color Controllable 5" LED Fresnel with a four-leaf barndoor and filter frame. Other accessories include three AS-01 light stands, a ceiling scissor clamp, and a heavy duty case.

The Arri L5 / LoCaster LED Kit I features three lights and accessories for a multiple-light shoot. This includes a LoCaster A2 LED panels with a two-leaf barndoor, filter frame, stirrup, 10' extension cable, power supply, and baby pin with 3/8" threaded stud as well as two L5-C Color Controllable 5" LED Fresnels each with a four-leaf barndoor and filter frame. Other accessories include three AS-01 light stands, a ceiling scissor clamp, and a heavy duty case.

Key Features

• LoCaster A2 LED Panel


• Two-Leaf Barndoor & Filter Frame


• Stirrup & 10' Extension Cable


• Power Supply


• Baby Pin with 3/8" Threaded Stud


• Two L5-C 5" LED Fresnels


• Two Four-Leaf Barndoors & Filter Frames


• Three AS-01 Stands


• Ceiling Scissor Clamp


• Heavy Duty Case

LoCaster LED Panel (35W/11-36V)The ARRI CASTER Series offers an LED array with a unique optical design which yields high output combined with outstanding control options at an affordable price.

This Arri LoCaster LED Panel is designed for location use in video, film or TV production scenarios. Dimming function (0-100%) and color temperature control from 2800-6500K can be controlled independently with simple knobs on the body of the LED panel itself.

A 3/8" (9.5 mm) female thread permits mounting the luminaire to grip equipment such as the Arri Caster Stirrup which provides swiveling movement and a 5/8" (16mm) receiver in a yoke-like construction. Safety features include Auto Power Off to protect LEDs from heat due to overvoltage. Accessories include a 2-leaf barndoor, gel frame and a light intensifier that doubles the luminous output of the panel.

The LoCaster Power Supply (sold separately) accepts input voltages from 100-240VAC, 50/60Hz and outputs 24VDC. Extremely small and lightweight, it powers a single LoCaster panel. An optional NiMH Battery Pack is also available, providing 2 hours of DC power for a single LoCaster panel.

• Tunable white light from tungsten to daylight from 2800K-6500K.


• CRI (Color Rendering Index) of 90 renders colors more vivid on film or digital media.


• Absolute color temperature and intensity stability due to Arri True Match LED Technology.


• 0-100% dimming as well as color temperature is controllable on the panel via simple knobs.


• Small size (8.7 x 3.75 x 2.75") and light weight (2.11 lbs) make for easy portability and handling.

Stirrup for LED BroadCaster/LoCaster/BatteryThe Arri Stirrup provides a convenient mount for both BroadCaster and LoCaster LED Panels as well as the LoCaster Battery Pack.

The panels, which mount to the stirrup via their 3/8" (9.5 mm) female thread, gain the advantage of swiveling movement and a 5/8" (16mm) receiver in a yoke-like construction for stand mounting.

T-pins are built into the stirrup which snap into channels in the NiMH Battery Pack for quick mounting. The battery is released by pulling the knob on top of it.

2 Leaf Barndoor for LoCaster/BroadCasterThis is the Arri 2 Leaf Barndoor for the LoCaster/BroadCaster lights.These lights are part of the LED Caster Series offers continuous dimming, choice of color temperature and superior digital rendition.. LoCaster the location model while the BroadCaster is designed for more control is in-studio.

Gel Frame for LoCaster and BroadCasterThe ARRI Gel Frame for LoCaster and BroadCaster allows use of cut-to-size filters with these LED fixtures. The frame is not inserted into the flute in the fixture's housing. It can only be used in combination with either the 2-leaf barndoor or the intensifier. It snaps into place in the space between the LED panel and either of these accessories.

Power Supply for LoCaster (100-240V)The Arri LoCaster Power Supply accepts input voltages from 100-240VAC, 50/60Hz and outputs 24VDC, with a maximum of 2.5A. Extremely small and lightweight, it powers a single LoCaster panel via a 4-pin connection.

• AC power supply accepts 100-240VAC input and powers a single LoCaster head.


• Weighs only 0.6 lbs (0.3 kg) and is only 4.7" (12 cm) long.

PowerDMX Extension Cable XLR 4-Pin for BroadCaster (10')This ARRI PowerDMX Extension Cable XLR 4-Pin for BroadCaster (10') allows remote control of the ARRI BroadCaster 50W dimmable LED light panel, including independent control of intensity, color temperature and +/- green attributes. This cable is 10' (3 m) long.

• Designed for the ARRI BroadCaster LED Light Panel

Baby Pin (5/8") with 3/8" Thread for LoCasterThis Baby Pin (5/8") with 3/8" Thread for LoCaster is a 5/8" (16 mm) male stud adapter with 3/8" thread for using the LoCaster LED light with telescoping hangers.

L5-C 5" LED Fresnel (Silver/Blue, Stand Mount)ARRI continues to expand its L-Series with the introduction of the L5-C 5" LED Fresnel The key characteristic of any Fresnel is flood to spot capability and the L5-C offers an impressive beam angle adjustment of 14-50°.The 100-0% dimmable L5-C is a "fully tunable" white light source, allowing you to match existing fixtures with color temperatures from 2,800K to 10,000K. The on-board controller allows full minus green to plus green adjustment as well as RGB+W color gamut color mixing with hue and saturation control, enabling matching of specific shades and skin tones. All functions can be controlled via DMX, an ideal feature for broadcast studios, while RDM permits monitoring of the light's status.The L5-C produces the equivalent of a 450W tungsten light while drawing only 115W for a savings of up to 75% over traditional fixtures. And low draw and heat means lower HVAC costs in the studio and a quick return on investment. You can run about fifteen L5-Cs from a 20A, 120V outlet as opposed to three or four 500W tungsten fixtures. Power options include the L5-C's 90 - 250 VAC on-board power supply or 22-36 VDC battery options. This version of the L5-C has a silver/blue finish.

       Variable Beam Angle: 14 to 50 DegreeA key element of the versatility of traditional Fresnels is the ability to spot and flood the beam as needed. Whether it's a flood field for a pullback shot or a tight spot for a bright highlight, the continuous focus-ability of the L-Series performs lives up to your expectations. And, unlike traditional Fresnels, which have significant light waste in spot focus, the efficient L-Series optical system maintains the same field lumens in all focus positions.

      True Fresnel Lens Light CharacteristicsWhether shaping the beam to isolate talent and set elements or cutting the field to eliminate spill light, controllability is crucial to lighting. L-Series Fresnels provide the same ability to cut and shape with barndoors and flags that we have come to expect from conventional Fresnels.

      Even Light FieldClear, defined shadows traditionally have been solely a trait of single source tungsten and daylight fixtures. ARRI L-Series Fresnels provide the same single shadow properties lighting designers expect, delivering natural results.

      Vibrant, Full-spectrum LightingWith the L5-C, fully tunable white light can be adjusted for different skin tones, camera sensors and mixed-light environments, while specific color shades can be matched through full gamut color mixing. Unlike other LED fixtures, this level of color control does not involve compromising the quality of the light field. The L-Series is unique in combining uniform light and single shadow rendition with full control of color attributes.

      Focus KnobsTrue Blue-style focus knobs provide the precise adjustment and rapid flood-to-spot that users enjoy from manual, mechanical control. Knobs on both sides of the fixture ensure easy access from all positions, eliminating the need for awkward reaching around the fixture. Full flood-to-spot can be achieved in only three turns.

      Sliding StirrupsThe ARRI sliding stirrup design enables precise adjustment of the fixture's center of gravity, to compensate for front-end accessories. It also gives the option of pulling the fixture back and reducing its hanging height.

       Tilt-LockThe strong tilt-lock provides extremely secure locking, eliminating movement and slippage and ensuring that the fixtures will stay where you put them.

       DMX ControlFor broadcast studios, remote fixture control is of paramount importance, and all functions of the L5-C are controllable through DMX. The L5-C is also RDM compatible, providing bi-directional feedback and reporting of system status, hours on the light engine, calibration data from the internal color sensor and current DMX address with the ability to remotely assign and address all fixtures in a DMX network.

       On-board ControlThe on-board controller has manual intensity adjustment and additional controls for color temperature as well as plus/minus green to adjust hue and saturation at the touch of a button.

        Energy SavingsL-Series fixtures reduce electricity usage by 75% and their LED light engines last 200 times longer than normal bulbs, when compared to conventional tungsten Fresnels. These and other cost-saving attributes will combine to affect a rapid return on your investment.

        Location ApplicationsLighting teams working on location will love the versatility they can achieve in small to medium-size packages. Several ARRI L5 Fresnels can be run off a single 20A, 120V outlet, as opposed to only two or three 500W tungsten Fresnels.       Upgradeable TechnologyThe L5-C is an expandable platform designed to adapt with the latest enhancements in LED chip performance. The firmware is upgradeable through the USB port on the rear of each unit, accommodating future control protocols such as ACN and incorporating other system enhancements that may become available in due course. 4 Leaf Barndoor Set for 650W Fresnel, 200W HMI, 400W Pocket PARThis is an Arri Four Leaf Barndoor Set for the 650W Fresnel, 200W HMI, 400W Pocket PAR & Pocket Lite. Barndoors attach to the front of a light and are used to restrict light from areas of a set. They have either four or eight leaves that can be adjusted. Arri barndoors are heat resistant and rotatable.

Filter Frame for 650W Fresnel, 200W HMI FresnelArri Filter Frames are circular and heat resistant. Filters can be cut and sandwiched into them, and they slide into lamphead accessory holders. Sizes are a little bit larger than the fresnels.

AS-01 Lightweight Light Stand 8.5'The 8.5' ARRI Lightweight Light Stand is designed to hold small light fixtures like the ARRI Fresnel 150. It packs easily for location work.Three riser sections.

Ceiling Scissor Clamp with 5/8" StudThis scissor clamp is for mounting small light fixtures from a drop ceiling frame. It features a standard 5/8" (baby) mounting stud.

Heavy Duty Case for ArrisoftThis is a hard shell, aluminum reinforced case designed to hold the Arrisoft 1000 Head, or any other light head with dimensions of 5.5 x 13 x 12.5 inches or less. A section is provided for storage of cables.

The L5-TT Pole Operated (Blue/Silver) tungsten tuneable allows for fine-tuning of the tungsten color temperature from 2,600 K to 3,600 K with increased brightness over the L7-C, and is particularly suited to applications requiring precise matching to conventional tungsten lampheads. Available in both Hybrid and Active Cooling.

The ARRI L-Series is an LED Fresnel fixture which is so close to its conventional counterpart in function and performance that it creates a previously unattainable opportunity, like-for-like replacement of traditional Fresnels with LED-based units. The L5 serries compact size and low weight allow the L5 to be rigged in tight places and hung from low ceilings. The L5 is also ideal for cramped location shoots and interview setups. Low heat allows safer and more comfortable shooting conditions.

The L5 is approximately 45% brighter than a 300 watt tungsten Fresnel, but only consumes 115 watts. When compared to the L7, the L5 is half the weight and size.

POLE-OPERATED

versions include the following base configuration: Pole Operation for Pan, Tilt and Focus, 16 mm / 28 mm Combo Pin (Baby 5/8 inch / Junior 1-1/8 inch Combo Pin), 1.5 m (5 ft) Cable with Bare Ends, Integrated 5-Pin DMX In and Thru.

Key Features:

· Fully Tuneable from 2,600 K - 3,600 K

· Plus/Minusgreen correction

· More than 25% brighter than L5-C at 3,200 K

· Perfect for color matching to conventional tungsten lamps

· High Color Rendering

· Low Power Consumption (115 W Nominal)

· Fully Dimmable

· Lightweight and Compact

· True Fresnel Lens Light Characteristics

· On-Board Battery Connection (22 - 36V DC)

· Onboard DMX In and Out

· RDM Implementation

· USB Mini Connection for Firmware Updates

· Available in Blue/Silver and Black

· Fan Mode Selection

· powerCON TRUE1 Power Connector

Note: Barndoors are not included with L5 and have to be ordered separately.

The M18 is an 1,800 W open face lamphead, combining the Academy Scientific and Engineering Award-winning lens-less optical technology of the ARRIMAX with the innovative True Blue design. The result is an extremely powerful lamphead, as small as a 1,200W PAR but with a 70 % higher light output. The M-Series M18 fixture is adjustable from 20° to 60° without requiring spreader lenses.

Features:

• Lens-less MAX Technology: Easy to use


• New 1800 W lamp


• Virtually the same size as a 1200 W lamphead but more than 70 % brighter


• Runs from most domestic sockets world-wide


• Uses existing 575/1200/1800 W cables


• Can also be used with 1200 W lamps and ballasts


• Cross Cooling allows safe operation at any tilt angle


• Protection class IP 23


• TRUE BLUE tilt lock holds even heavy Chimeras


• Easy maintenance

A member of the ARRI M-Series, the M40 is a lens-less system that unifies the advantages of Fresnel and PAR fixtures. The unit is open face and thus very bright: around 30 % brighter than an AS40 in spot. Due to its unique, patented MAX Technology reflector, it is also focussable over a range of 18 to 52° Half Peak Angle. The M40 gives a remarkably even beam spread that casts crisp shadows over the whole focus range. The reflector characteristics is optimised for 4,000 W lamps, but can also be used with 2,500 W lamps.

The lamphead is equipped with a CCL module (Compensation of Cable Losses). When operated with the ARRI EB 2.5/4 kW High Speed AutoScan with CCL, full power is maintained all the way to the lamp even when very long cables are used. This means uniformly high light output indepent from cable length.

Key Features:

• Lens-less MAX Technology: Easy to use


• Around 30 % brighter than AS 40


• Compensation for Cable Losses (CCL)


• Tubular steel yoke


• Two disk brakes with steel handles


• Cross-Cooling allows safe operation at extreme tilt angles


• Suitable for high frame rate images


• IP Rating IP23

ARRI continues to literally broaden their LED line with the introduction of the wide-format SkyPanel S120-C LED Softlight. Supported by an aluminum yoke, the panel surface area measures 50.8 x 11.8" and employs interchangeable thermoplastic diffusers that range from Lite to Heavy to soften the light and wrap its output around your subject. A Standard medium diffuser is included with the light. The SkyPanel outputs the approximate equivalent of a 2000W tungsten soft light while drawing a maximum of only 430W.

Using technology originally designed for the L7-C Fresnel, the SkyPanel S120-C is fully color tuneable, allowing output of a warm 2800K to icy blue 10,000K light and also uses the full RGB+W color gamut with hue and saturation control for fine adjustments. Full minusgreen to full plusgreen is also possible, so if you're lighting for blue or greenscreen, you can simply dial your chosen color in. This wide degree of control is responsible for a very high CRI of 95 and a rating of 90 with the newer TLCI standard. All of these functions as well as 0-100% dimming can be adjusted locally with the SkyPanel's onboard controller or remotely via DMX or an LAN. Besides inputs and outputs appropriate to these functions, the light also has a USB-A port for downloading firmware upgrades from a thumb drive, PC or Mac.

The SkyPanel S120-C can be used worldwide, thanks to its included 100-240 VAC power supply, but it can also use optional 23-36 VDC batteries when mains power is unavailable. Besides the power supply, the light comes with a Junior (1-1/8") pin and a standard diffuser. This version of the light has a Center Mount Yoke and comes with an Edison power cord.

ARRI blue/silver SkyPanel S30-C LED Softlight  supported by a manual aluminum yoke, the panel's surface area measures 14 x 11.8", making it an ideal portable, on-the-go light source for mobile applications. Output is controlled via interchangeable thermoplastic diffusers that range from Standard to Lite to Heavy to soften the light and wrap its output around your subject and the SkyPanel S30-C outputs the equivalent of a 1,000W tungsten soft light while drawing a maximum of only 240W.

S30-C, Manual, Blue/Silver, 3m DC Cable, Schuko powerCON.

Key Features:

• Fully Tuneable from 2,800 K - 10,000 K


• Plus/Minusgreen correction


• Vibrant Color Selection (RGB+W Color Gamut)


• Hue and Saturation Control


• High Color Rendering


• Low Power Consumption (200 W Nominal)


• Tremendous Output - Brighter than 1kW Tungsten Soft Light


• Fully Dimmable from 0 - 100%


• Lightweight and Compact


• Beautiful Soft Beam of Light


• Interchangeable Diffusion Panels


• Wide Range of Accessories Available


• Thin Profile


• On-Board Battery Connection (23 - 36V DC)


• Onboard Simple Control Panel


• Onboard DMX In and Out


• RDM Implementation


• USB-A Connection for Firmware Updates


• EtherCon port for network connectivity


• Available in Blue/Silver and Black


• Fan Mode Selection


• External Lightweight PSU


• powerCON TRUE1 Power Connector

ARRI continues to enlarge their LED line with the introduction of the massive SkyPanel S360-C LED Softlight. Supported by a weight-reducing carbon fiber yoke, the panel surface area measures 34.4 x 50.4". It employs interchangeable thermoplastic diffusers that range from Lite to Heavy to soften the light and wrap its output around your subject. There's also an Intensifier that boosts the output for long-throw use. A Standard medium diffuser is included with the light. The SkyPanel outputs the approximate equivalent of an 8000W tungsten soft light while drawing a maximum of only 1500W.

Key Features:

• Light Aperture: 50.4 x 34.4"


• 4kW Tungsten Softlight Equivalent


• Full Gamut RGB+W Color Control


• Color Temperature: 2800-10000K


• Hue and Saturation Control


• Beam Angle: 105°


• Built-In LumenRadio CRMX Wireless DMX


• Wired & Wireless DMX with RDM Support


• Advanced Dynamic Effects and Programming


• Universal 90-250 VAC Power Supply Unit

ARRI continues to broaden their LED line and reaffirm their commitment to accurate color rendering with the introduction of the SkyPanel S60-C LED Softlight. Supported by a steel yoke, the panel surface area measures 25.4 x 11.8" and employs interchangeable thermoplastic diffusers that range from Lite to Heavy to soften the light and wrap its output around your subject. The SkyPort outputs the equivalent of a 2,000W tungsten soft light while drawing a maximum of only 450W.

Using technology originally designed for the L7-C Fresnel, the SkyPanel S60-C is fully color "tuneable" allowing output of a warm 2,800K to icy blue 10,000K light and also uses the full RGB+W color gamut with hue and saturation control for fine adjustments. Full Minusgreen to Full Plusgreen is also possible, so if you're lighting for blue or greenscreen, you can simply dial your color chosen in. This wide degree of control is responsible for a very high CRI of 95 and a rating of 90 with the newer TLCI standard. All of these functions as well as 0-100% dimming can be adjusted locally with the SkyPanel's onboard controller or remotely via DMX or a LAN. Besides inputs and outputs appropriate to these functions, the light also has a USB-A port for downloading firmware upgrades from a thumb drive, PC or Mac.

The SkyPanel S60-C can be used worldwide, thanks to its included 90-250 VAC power supply but it can also use optional 23-36 VDC batteries when mains power is unavailable. Besides the power supply, the light comes with a Junior (1-1/8") pin and a standard diffuser. This version of the light has a manual yoke and comes with an Edison power cord.

Fully Tuneable, Precise Color Rendering

Incorporating features of ARRI's successful L-Series LED Fresnels, the SkyPanel is one of the most versatile soft lights on the market, as well as one of the brightest. Like the L-Series, SkyPanel "C" (Color) versions are fully tuneable, meaning that correlated color temperature is adjustable between 2,800K and 10,000K, with accurate color rendition over the entire range. Full plus and minus green correction can be achieved with the simple turn of a knob, and in addition to CCT control, vivid color selection and saturation adjustment is also possible. Applications for this controllability range from quickly adjusting the CCT to set the mood of a scene, to selecting the chroma green output for green screen color keying. Each LED light engine is computer calibrated in order to ensure unit-to-unit and batch-to-batch consistency, as well as accurate color temperatures

True Soft Light Beam Quality

Soft lights are known for their smooth quality of light and even, uniform beam field. SkyPanel's combination of a precise selection of diffusion panels, LED mixing chamber and large surface area allow for the light output to wrap around objects, eliminating sharp shadows and making for an ideal beauty light. The beam field is homogeneous in both color and intensity

Natural Shadow Rendition

Mixing some 2,000 calibrated red, green, blue and white LEDs into one homogeneous beam of soft light, the SkyPanel produces not just impressive light quality, but excellent shadow rendering as well. The soft shadows cut cleanly without exhibiting multiple edges or color fringing

Versatility Built-In

While the SkyPanel was designed to be used primarily as a soft light to illuminate people, various built-in features make it extremely adaptable to other uses. The diffuser panels on the front of the lamp head are interchangeable, so going from the Heavy to the Lite diffusion panel can be done in a matter of seconds. With the onboard battery input, SkyPanel can be run off industry-standard batteries. The S60 can be operated at up to 50% of its total power on battery power The SkyPanel also makes an effective space light outputting a large downward-directed pool of color controllable soft light through an optional silk cylinder

Built to Last

Made in Germany to ARRI standards, the SkyPanel is constructed from resilient materials and assembled by hand. The combination of an aluminum core with fiberglass-reinforced thermoplastics results in a solid fixture that can withstand heavy daily use on busy film sets. The easily-serviced electronics have been designed to last beyond a minimum of 25,000, up to a maximum of 50,000 hours while the LED light engine even allows for recalibration

Highly Controllable

The SkyPanel user interface is designed for ease of use with a wide range of controls available to the user. Three simple knobs adjust the color temperature, green/magenta balance, light intensity and hue and saturation instantly. In addition to the on-board controls, all functions can be remotely adjusted via DMX or LAN network connections

Ultra Prime Lenses have the widest focal range of any prime lens set available to cover every cinematic need: from the unique Ultra Prime 8R extreme wide angle lens to the best telephoto lens designed specifically for motion pictures, the Ultra Prime 180 mm, giving you the flexibility to get the coverage you want.

Ultra Prime Lenses retain their excellent image quality even at close focus across the whole Super 35 frame. The Ultra Prime Lenses are lightweight standard speed lenses that are a perfect optical match to the high speed Master Prime Lenses.

Main Features

• 15 modern high performance prime lenses (T.1.9)


• Widest focal length range: 8 - 180 mm


• Ultra Prime 8R – extreme wide angle lens


• Ultra Prime 180 the best cinema telephoto prime


• Superior close focus ability

The advantage of ATEM Streaming Bridge is broadcasters can use it to connect high-quality video links directly from any ATEM Mini Pro studio. This allows broadcasters to access a wide range of talent, worldwide. ATEM Mini Pro's video stream is much higher quality than simple conferencing software, so customers get broadcast quality, clean of any streaming software vendor logo burn-in. Buy ATEM Streaming Bridge from UBMS Dubai. We can provide the best price and fast delivery for Blackmagic Design ATEM Streaming Bridge.

The ATEM Streaming Bridge is a video converter that lets customers receive an H.264 stream from any ATEM Mini Pro and convert it back to SDI and HDMI video. This means customers can send video to remote locations around their local Ethernet network, or via the internet globally. That's possible because it uses advanced H.264 codecs for higher quality at very low data rates. Imagine broadcasters and bloggers collaborating on shows and creating global networks of ATEM Mini Pro remote broadcast studios. Setup is easy as the ATEM software utility can create setup files that customers can email to remote ATEM Mini Pro studios. ATEM Streaming Bridge is the perfect way to use ATEM Mini Pro as a remote broadcast studio. Atem Streaming Bridge will be available in the UBMS Dubai showroom soon.

ATEM Mini switchers make it easy to create professional multi-camera productions for live streaming to YouTube and innovative business presentations using Skype or Zoom. Simply connect ATEM Mini and customers can switch live between 4 high-quality video camera inputs for dramatically better quality images. Or connect a computer for PowerPoint slides or gaming consoles. The built-in DVE allows exciting picture in picture effects, perfect for commentary. There are loads of video effects too. All ATEM Mini Pro models have live streaming which can be used to connect directly to the ATEM Streaming Bridge. There's also HDMI out for projectors. Microphone inputs allow high-quality desktop and lapel mics for interviews and presentations.

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This model adds recording of 5 streams including all input as clean feeds for editing, plus a DaVinci project file for fast edit turnaround and Blackmagic RAW file relinking for finishing in Ultra HD. Able to reverse the USB-C and HDMI out functions.

• Features miniaturized control panel based design.


• Built in support for recording each input as a separate ISO file.


• Saves DaVinci Resolve project file for 1 click editing of live production.


• Supports connecting up to 4 cameras or computers.


• Live streaming via Ethernet supported on ATEM Mini Pro.


• USB output operates as a webcam and supports all video software.


• Automatically standards converts and re-syncs all HDMI inputs.


• Includes free ATEM Software Control for Mac and Windows.


• Internal media for 20 RGBA graphics for titles, opening plates and logos.


• Includes ATEM Advanced Chroma Key for green/blue screen work.


• Multiview allows monitoring of all cameras on ATEM Mini Pro.


• Audio mixer supports limiter, compressor, 6 band EQ and more!

The new model of ATEM Mini ( ATEM Mini Pro ISO ) is a true innovation in workflow. For the first time, live production has been fully integrated into a post production editing workflow. Not only that, but with Blackmagic RAW integration, we can use the ISO files recorded in the switcher, or the files recorded in the camera." said Grant Petty, Blackmagic Design CEO. "That's a RAW film workflow, a post production workflow and a live production workflow all fully integrated for the first time! Imagine doing an Ultra HD fully color graded master all from a tiny low cost HD switcher. It's really exciting and it's going to generate a whole new workflow for the television industry!

The ATEM Mini Pro ISO HDMI Live Stream Switcher from Blackmagic Design is a four-input live production switcher with an integrated control panel designed for multicamera live streaming up to HD video to the internet via Ethernet output. It features a USB output that allows you to record the program output as well as record the individual HDMI inputs to an external USB drive (not included). In addition to recording the program stream and individual inputs, the ATEM Mini Pro ISO also records the embedded audio and analog audio inputs, generating a DaVinci Resolve project file of your live stream. This allows you to take your live production into DaVinci Resolve to make tweaks or adjustments using the source material that is already on your USB drive.

The ATEM Mini Pro ISO retains the same size, button layout, and rear panel interface connections as the ATEM Mini Pro, with new electronics that allow for the ISO recording and generation of the DaVinci project file. The ATEM Mini Pro ISO supports all the same features as the ATEM Mini Pro including upstream and downstream keyers, an advanced chroma keyer, two linear/luma keyers, a DVE transition keyer, a pattern generator, and color generators. There is also media player support for fill and key images, which supports up to 20 stills in PNG, TGA, BMP, JPEG, and TIFF formats. The ATEM Software Control Panel is used for control and configuration, and it allows you to monitor the data rate, audio meters, configuration, and status of your live feed. And you can use the panel to set up streaming to an optional Blackmagic Design Streaming Bridge anywhere in the world, as long as it is connected to the internet.

• Connecting a USB drive to the ATEM Mini Pro ISO's USB port enables capturing the switched program stream, as well as up to four isolated (ISO) recordings of input video, as well as embedded audio, analog input audio, graphics, and a DaVinci Resolve project file of your switched program


• The device has the same footprint, layout, and connections of the ATEM Mini Pro


• Stream video up to 1080p HD


• Quick stream, on-air, and record buttons


• Hardware encoder so there's no need for additional streaming software


• Control and configure timecode, stream status


• Full support and control features for BMPCC 6K/4K cameras


• Simultaneous USB recording


• Integration with MultiDock for live hard drive switching


• Customize advanced settings with XML files


• Software multiview with program previews, graphics, record status, on-air status, and audio meters


• Program preview input and output buttons


• Tally light control for BMPCC 6K/4K cameras


• Automatic timecode sync for all cameras

Available transitions include:

• Cut: When you press the cut button, ATEM instantly changes from your current program source to the preview source. Cuts can be performed by directly selecting sources or by pressing the cut button to switch to the next source.


• Mix: The mix, or dissolve, gradually transitions from one source to the next by creating a smooth blend. You can set custom timings to manually blend the transition.


• Dip: Just like mix transitions, a dip transition is a gradual blend that includes either a solid color, graphic, or another clip between the two video sources. Dips to black or white between sources are the most popular, or you can use logos or sponsor graphics.


• Wipe: Built-in wipe patterns include circles, diamonds, squares, and more. Shapes and patterns can be inverted or softened and can even have customized colored borders.


• DVE: With the powerful built-in digital video effects processor, or DVE, you can push, spin, squeeze, or swoosh your live video from one camera to the next with incredible built-in transitions. DVE transitions can be flip-flopped and reversed, giving you even more transition options.

Layer live video over other video sources or graphics with the upstream keyer. You can use the luma key, linear key, pattern key, or shoot against a green screen and use chroma key to instantly composite the video over virtual sets.

• Luma key: Luma keys work best with high-contrast images, like white elements on a black background, so you can use the contrast to cut the black background and replace it with live video or graphics.


• Linear key: Get clean, high-quality results with linear keying by using two separate sources for the fill and the key to create one video image. The fill signal contains the video to be stacked over the background, while the key signal contains a gray scale mask to cut out, or mask, the area to be filled.


• Chroma key: Used every day for TV weather forecasts, chroma keys are a powerful way of combining live images in real time. The presenter typically stands in front of a green or blue background and the chroma keyer will remove only that color and combine it with another image, such as a video or graphic.


• Pattern key: Combine live images with any of the built-in wipe patterns to combine live images or graphics with geometric shapes. You get full control over softness, symmetry, size, and position to create unique picture-in-picture effects that can be transitioned to as easily as any live source.

The ATEM Mini switcher includes one downstream keyer, so you can add high-quality graphics like logos, bugs, and titles from the built-in media player over the live stream program output. Downstream keyers are the last layers of keying, so they overlay all video switched to the main program output.

The built-in audio mixer lets you control both camera and external audio with precision level and balance adjustments on all six available audio inputs and two channels. The mixer features selectable on/off and audio-follow-video per channel, plus it has separate gain control per channel, level and peak metering, and new Fairlight audio enhancements such as compressor, gate, limiter, six bands of parametric EQ, and master gain control.

The HDMI monitor output allows you to see your sources, graphics, preview, and program output on a single screen.

Eliminate external character generators by storing up to 20 broadcast-quality RGBA graphic files in the media pool. The one media player appears as input sources to your switcher. You can transition to graphics as full-frame video, or feed them to the keyers for overlaying video. Popular image formats such as PNG, TGA, BMP, GIF, JPEG, and TIFF are supported.

Atem Mini Extreme model is an advanced switcher for true professionals! You get all the ATEM Mini Pro features plus 8 HDMI inputs, 2 separate HDMI outputs, 2 USB ports and a headphone connection. There are also 4 chroma keyers, 6 picture in picture DVEs, 2 media players, and a multiview with up to 16 views! Buy Atem Mini Extreme from UBMS Dubai.

There are loads of video effects too. All ATEM Mini models have USB that works like a webcam so customers can use any streaming software while the ATEM Mini Pro and ATEM Mini Extreme models add live streaming and recording to USB disks. There's also HDMI out for projectors. Microphone inputs allow high quality desktop and lapel mics for interviewsresentations.

ATEM Mini Extreme and ATEM Mini Extreme ISO Features

• Features miniaturized control panel based design.


• Supports connecting up to 8 cameras or computers.


• Supports streaming via Ethernet or tethered phones via USB.


• Tethers to 5G or 4G phones for mobile remote streaming.


• Records to USB flash disks in H.264.


• Two stereo audio inputs for connecting desktop or lapel microphones.


• Automatically standards converts and re-syncs all HDMI inputs.


• Includes free ATEM Software Control for Mac and Windows.


• Internal media for 20 RGBA graphics for titles, opening plates and logos.


• 4 upstream ATEM Advanced Chroma keyers for green/blue screen work.


• 2 independent DVEs plus SuperSource with 4 extra DVEs.


• 16 way multiview for monitoring all cameras, recording and streaming status.

ATEM Mini Extreme ISO includes all the features of ATEM Mini Extreme, plus also records 9 separate H.264 video streams in real time, allowing capture of all 8 clean feed inputs as well as the program video. A DaVinci Resolve project file is also saved allowing the project to be recreated and edited later! Buy ATEM Mini Extreme ISO from UBMS Dubai.

ATEM Mini Extreme and ATEM Mini Extreme ISO Features

• Features miniaturized control panel based design.


• Supports connecting up to 8 cameras or computers.


• Supports streaming via Ethernet or tethered phones via USB.


• Tethers to 5G or 4G phones for mobile remote streaming.


• Records to USB flash disks in H.264.


• Two stereo audio inputs for connecting desktop or lapel microphones.


• Automatically standards converts and re-syncs all HDMI inputs.


• Includes free ATEM Software Control for Mac and Windows.


• Internal media for 20 RGBA graphics for titles, opening plates and logos.


• 4 upstream ATEM Advanced Chroma keyers for green/blue screen work.


• 2 independent DVEs plus SuperSource with 4 extra DVEs.


• 16 way multiview for monitoring all cameras, recording and streaming status.

Buy ATEM Mini Extreme ISO from UBMS Dubai.

The Blackmagic Design HyperDeck Studio 4K Pro is an updated 1 RU file-based deck that features the same functionality and control of professional tape decks in a digital design. This model updates the previous HyperDeck Studio models with several features including 12G-SDI support, two added SD card slots, USB Type-C recording output, timecode input and output, Ref input and output, a redesigned jog/shuttle wheel, 10G Ethernet, and a speaker on the front.

The Studio 4K Pro records uncompressed video with 10-bit 4:2:2 color using either ProRes or DNxHD codecs, as well as the H.264 and H.265 compression formats. With two SSD slots and two SD card slots, you can record almost endlessly as one SSD becomes full, recording automatically continues on to the other, and the SD card slots are also hot-swappable. The Studio 4K Pro features one 12G-SDI input, two 12G-SDI outputs, a loop-through 12G-SDI output, a dedicated SDI monitor output, and there's also one HDMI input and one HDMI output that can all output up to DCI 4K. The 4K Pro can even play ProRes 4444 files in true UHD for fill and key outputs. The ports autodetect the signal and will adjust to the SD, HD, 6G-SDI, or 12G-SDI format input. The 3-pin XLR timecode input and output allow you to sync timecode with other devices, and it also allows you to daisy-chain with other devices to create a timecode sync chain.

The Studio 4K Pro is a 1 RU rack-mountable unit, with built-in rack mount ears. It features illuminated front panel button control and a heavy jog/shuttle wheel for analog scrubbing. RS-422 control is supported for external control using the Ref input and output ports. The USB Type-C port allows you to record to external disks, and you can also use it to plug into a computer to use as a source for a web stream. An integrated LCD on the front panel allows you to monitor the video and display timecode and transport information.

Professional Broadcast Deck

The new HyperDeck Studio recorders have been totally redesigned with dozens of new features. The advanced models have new broadcast-style front panel controls and more connections on the rear panel. The LCD screen supports both light and dark modes, plus the transport control buttons are stronger with a firm professional feel. The Pro models feature a machined metal search dial with increased mass and a soft rubber surface that feels nice to the touch. Plus the search dial features an active clutch, just like a traditional broadcast dec. With dual media slots, you can change cards without interrupting recording. The advanced models even include a front headphone connection and speaker.

Mastering Recorder

All models record to H.264, ProRes, and DNx files, so are perfect for recording broadcast masters, plus the 4K model adds H.265 when recording to UHD files. You can even use PCM or AAC audio. You get everything you need to send shows to broadcasters and for uploading to YouTube.

ISO Recording

All models feature timecode and reference generators, with outputs to loop to other HyperDecks. This means you can build a rack of HyperDeck Studios for ISO camera recording, allowing multi-cam editing after live events. You can even sync cameras to the SDI output and the SDI input has frame sync.

Digital Signage

HyperDeck Studio is perfect for digital signage as all models have HDMI output for connecting to large screen TVs and projectors. The built-in sync generator lets you combine multiple HyperDecks for large multiscreen video walls. There's even FTP for file upload and a protocol for remote control.

Broadcast Archive

HyperDeck Studio supports all SD and HD standards so it's ideal for archiving old television shows from broadcast decks such as Digital Betacam, Betacam SP, 1", U-matic, and VHS. You can even record directly to H.264 to maximize storage. For analog decks, just add a Mini Converter Analog to SDI.

Bright Color LCD Status Display

HyperDeck Studio features traditional deck-style transport controls, including a search dial for jog, shuttle, and scroll. The compact LCD shows timecode and transport information, plus a full-color thumbnail preview of the current clip in record or playback. It also displays information about each card's recording status, along with video format, frame rate information, and audio levels, all on the same display. The LCD includes monitoring for video, plus audio level meters, selectable between technically accurate VU or PPM ballistics. The combination of familiar VTR style controls with the built-in LCD screen makes HyperDeck Studio incredibly fast to use and very easy to learn.

Traditional Broadcast Deck Controls

HyperDeck Studio includes a traditional broadcast-style control panel that's very fast to use. Simply press the record button and you instantly start recording the video input to a file. You can also change the record file format from the menu. There are transport control buttons for playback, rewind, fast forward, previous clip, next clip, and more. The Pro models have a machined metal search dial that supports shuttle, jog, and scroll so you can find clips fast. Any button pressed on the front panel is sent to the rear RS-422 remote output for looping control to multiple HyperDecks. The Plus and Pro models also include a front panel speaker and headphone socket for live audio monitoring.

Supports SD Cards, UHS-II Cards or SSDs

All HyperDeck Studio models support recording to common SD cards and UHS-II cards so you don't need expensive custom media. However, the Pro models also add two SSD slots so you can use two different types of media. SD cards and SSDs are the perfect choices for broadcast media because they are small and very affordable. When using H.264, the files are so incredibly small you get very long recordings even on smaller low-cost cards. Plus, you can even record to external USB disks. With H.265, you can record up to 58 hours in 2160p60 Ultra HD or up to 157 hours of H.264 recording in 1080p59.94 on a 1TB card. That's over 6 days of recording in HD using a single 1TB card.

Dual Media Slots for Non-Stop Recording

All HyperDeck Studio models feature dual media slots for nonstop recording. When the recording card becomes full, recording automatically continues onto the next card. That's perfect when recording long live events because you can "hot swap" a full card for an empty card while recording continues in the other slot. Each slot has a status indicator to show which card is being used, either red for record or green for playback. Plus all models now feature very long file recordings to a single file for easy file distribution. HyperDeck Studio is easily repairable with each card slot using an individual PCB assembly that can be replaced if it ever becomes worn out from heavy use.

Record to External USB Type-C Media Disks

If recording to other types of media is required, the USB Type-C expansion port lets you plug in an external flash disk for recording. USB Type-C flash disks have unlimited capacity because they can be physically larger than an SD card or SSD. Plus, it's even possible to record to a disk array you'll use for editing, so you don't need to waste time copying files before starting post-production. Just move the disk over to a computer and instantly start editing. You can even add a Blackmagic MultiDock 10G that has 4 separate SSD media slots, so you can add compatibility with SSD media to the HyperDeck Studio Mini and Plus models. There are also menus for managing external disks on the built-in LCD.

Popular ProRes, DNx, H.264, and H.265 Files

HyperDeck supports the most popular codecs in use today. All models include DNx and ProRes file formats. However, all models also include H.264 in quality levels up to full 10 bit 4:2:2 when recording in NTSC, PAL, 720p, 1080p, and true 1080i interlaced formats. While the 4K model adds H.265 when recording in Ultra HD. That means you get tight 60:1 to 285:1 compression ratios for very small files at full broadcast quality. Plus you can choose uncompressed PCM audio, or even AAC audio when uploading files to YouTube. All models support both ExFAT and HFS+ disk formats and long-duration single file recordings. The Plus and Pro models even support ProRes 4444 allowing fill and key playback.

Advanced Broadcast Connections

Depending on the model HyperDeck Studio features a wide range of video and audio connections such as 3G-SDI, 6G-SDI, or 12G-SDI. All models include HDMI for connecting to televisions and projectors. There's even a dedicated SDI monitoring output on the Pro and Plus models with on-screen status. The Pro and Plus models include two SDI outputs so you can play ProRes 4444 files, allowing simultaneous fill and key output for keying in live production switchers. The internal timecode and reference generator connections can be looped to sync multiple units for ISO recording. The 4K model has 10G Ethernet for extremely fast network file copying. All models even include AC and locking DC power.

Choose 3G-SDI, 6G-SDI, or 12G-SDI Models

With multi-rate SDI, you get support for the most popular video standards. The SDI and HDMI connections will automatically switch video standards, so handle SD, HD, and Ultra HD formats depending on the model. SD formats include NTSC and PAL. 720p HD standards include 720p50 and 720p59.94p. 1080i HD interlaced formats include 1080i50 and 1080i59.94. 1080p HD formats include 1080p23.98, 24, 25, 29.97, 30, 50, 59.94, and 60p. HyperDeck can even support 1080 PsF formats. On the 4K model, Ultra HD formats up to 2160p60 are supported. Plus the 4K model supports 2K and 4K DCI rates up to 30p. HyperDeck Studio also supports level A and level B when running HD video at 3G-SDI rates.

Fill and Key Outputs for Broadcast Animations

The HyperDeck Studio Plus and Pro models can play ProRes 4444 HD files to the two separate SDI fill and key outputs. That means you can use HyperDeck Studio as a graphics clip player for broadcast animation because the ProRes 4444 file's alpha channel will be automatically converted to the key SDI output for real-time keying in a live production switcher. Plus the HyperDeck Studio 4K Pro model adds fill and key playback in UHD. Imagine running animated lower third titles and stingers with key channel outputs for incredibly clean multilayered titles. Plus, switchers such as Blackmagic Design ATEM models connect to HyperDeck Studio via Ethernet to trigger playback synced to transitions.

USB Webcam Output for Video Software

For compatibility with a wide range of computer software, HyperDeck Studio features webcam support using the USB connection. If you're not recording to an external USB disk, you can plug the HyperDeck USB connection directly into a computer to get live video into any video software. The computer is tricked into thinking the HyperDeck is a common webcam, but it's really a broadcast-quality video source. That guarantees full compatibility with any video software and in full resolution 1080 HD quality. HyperDeck Studio's USB webcam feature works with any video software including Zoom, Microsoft Teams, and Skype, or get live streaming with Open Broadcaster, XSplit Broadcaster, and more.

Advanced HDR Support and Monitoring 3D LUTs

You'll be ready for the latest feature film workflows with support for advanced HDR standards. All HDR status information is embedded into the SDI connections so downstream equipment can detect when HDR files are played. When recording, the SDI and HDMI inputs will also automatically detect HDR video standards and then tag the files with the correct HDR information. Static metadata PQ and HLG formats are handled according to the ST2084 standard. Plus the front panel LCD has a wider color gamut for both Rec. 2020 and Rec. 709 color spaces. HyperDeck Studio Plus and Pro models even allow you to load a 3D LUT into the monitoring output to add looks or to convert film to video gamma.

Includes Professional Multi-Channel SDI Audio

HyperDeck Studio includes professional multi-channel SDI audio for recording up to 16 channels. When recording from the SDI input, you can select in the menu to record 2, 4, 8, or 16 channels of audio in real time. There's extra space on the SDI monitoring status overlay, which allows the audio meter display to show the number of channels you have enabled all at the same time, and the audio meters will show 2, 4, 8, or 16 channels simultaneously. The audio meters are designed to use the correct ballistics, and you can change between different VU and PPM meter displays in the LCD menu. HyperDeck Studio is more than just a video recorder, as it also has quality sound.

Incredibly Fast Network File Transfers

All HyperDeck models allow media files to be uploaded remotely, using simple FTP client software. With 10G Ethernet built into the HyperDeck Studio 4K Pro model, file transfers are so fast, they are faster than the SD card or SSD media disks. For remote deck control, all models use an easy-to-learn text-based protocol, so you can use a simple terminal app like Telnet to test control commands. Simply log into the HyperDeck and then type "play" or "record" and it will execute the command. If you combine the control protocol and file transfers with a HyperDeck connected to a large USB Type-C disk array, you get a fantastic broadcast server for ingest, media management, and play out.

Traditional RS-422 Broadcast Deck Control

The most popular control connection used on broadcast decks since the early 1980s is the RS-422 protocol. Originally developed by Sony, RS-422 is used on almost all broadcast gear. HyperDeck Studio features wide protocol support so you can connect it directly to broadcast systems. It also supports extra commands for the Advanced Media Protocol for managing disk recorders. When designing RS-422 control solutions, you'll know you're connected to a HyperDeck Studio when you see the ID 0xF0E0 in 30/60p, 0xF1E0 in 25/50p or 0xF2E0 in 24p. The full set of support remote commands are included in the instruction manual and you can download this from the support page of our website.

Built-In Timecode and Sync Generators

With a timecode and sync generator built into all models, you can stack multiple units for digital signage or multi-channel recording. Each HyperDeck has dedicated outputs for reference and timecode, direct from the internal sync and timecode generators. The generators "free run" unless reference or timecode is connected to the inputs, and then generators will automatically lock. This means you can loop from HyperDeck to HyperDeck to create perfectly timed array or recorders.

Blackmagic OS

The innovative Blackmagic OS has been designed for high-performance film and broadcast products and it manages all functions on HyperDeck Studio. Only Blackmagic OS provides instant power on while including powerful features such as LCD with video, timecode and audio metering, monitoring with overlays, menus, fast networking, multi-disk media management, 3D LUTs plus localization. The on-screen LCD menus include settings to customize your HyperDeck Studio, plus the menus now support both light and dark mode. Blackmagic OS provides world-leading network performance and HyperDeck Studio 4K Pro can sustain data transfers at a massive 1.2 gigabytes per second on its 10G Ethernet connection.

Localized for 13 Popular Languages

HyperDeck Studio supports multiple languages so you don't need to learn a new language just to use it. You get support for English, Chinese, Japanese, Korean, Spanish, German, French, Russian, Italian, Portuguese, Turkish, Polish, and Ukrainian languages. When initially powered on for the first time, HyperDeck Studio will display a menu for selecting a language, plus you can always use the LCD menu to change the language at any time in the future. Once a language is selected, the LCD menus will change, plus the overlays on the SDI monitoring output will also change to the selected language. All this means HyperDeck Studio is perfect for doing work anywhere in the world.

Use All Video Software and Streaming Sites

HyperDeck Studio records files that are compatible with virtually all post-production software. Plus if you record in H.264, you can upload files from HyperDeck Studio direct to streaming services such as YouTube, Facebook, Vimeo, Twitter, and more. You can use popular editing software such as DaVinci Resolve, Apple Final Cut Pro, Adobe Premiere Pro, or Avid Media Composer because HyperDeck uses the same file formats used in post-production. Even VFX software such as Fusion and Adobe After Effects work with the files. Because HyperDeck records to disks formatted on computers, you can simply mount the disk on any computer and start editing without needing to transcode or convert the files.

Built-In Redundancy Keeps You on Air

Serious broadcasters need redundancy because it increases reliability. HyperDeck Studio includes redundant features to help ensure you stay on air. With dual media slots on all models, and the Pro models having 4 media slots, you can stay on air, even if one of the slots becomes damaged. Plus with the HyperDeck Studio HD Mini model you get 3 totally independent recorders in a single rack unit, while the HyperDeck Studio HD Plus model allows 2 independent recorders in a single rack unit. All HyperDeck models include both AC and a locking DC power connection, so you use the DC connection with an external battery pack for redundant power.

Designed for Both Portable or Rack Mount Use

When you need a portable broadcast solution, the HyperDeck Studio HD Mini model includes most features miniaturized into an elegant 5" wide compact design that's only one-third of a rack unit wide. That means you can fit three recorders in a single rack unit. Just use the optional Teranex Mini Rack Shelf and you can mount the three units side by side, then bolt it into a standard equipment rack. Or you can combine HyperDeck Studio Mini with other modules, such as a Teranex Mini Analog to 12G-SDI to convert the input from analog to SDI, all in the same rack which is perfect for archive work. HyperDeck Studio HD Mini looks great when it's not rack-mounted and simply used by itself on a desktop.

Compatible with Switchers, Disk Docks, and Cameras

There's a wide range of Blackmagic Design products you can use with HyperDeck including switchers, cameras, and streaming solutions. As the Mini and Plus models don't include SSD slots, you can add a Blackmagic MultiDock 10G to use regular SSDs, allowing compatibility with media from other HyperDeck models. HyperDeck Studio will manage all the disks for you and automatically record to disks in the MultiDock. You can even use the MultiDock with the HyperDeck Studio Pro models just to add extra SSDs for longer recording times. HyperDeck Studio is also a perfect mastering recorder when used with ATEM switchers, a clip player with fill and key, or looped on switcher inputs for ISO recording.

Buy Blackmagic Design HyperDeck Studio 4K Pro from UBMS Dubai.

Take a compact broadcast-quality record/playback deck with you on location, in the studio, or built into a rack with the Blackmagic Design HyperDeck Studio HD Mini. The 1 RU tall recorder is 1/3 of a rack wide and powers from 100 to 240 VAC, or via an optional 12 VDC power supply for portability. Featuring one 3G-SDI input, one each HDMI and 3G-SDI output, and a USB Type-C webcam output, the recorder is flexible, enabling you to input, record, and output/stream simultaneously. Supporting both reference and timecode in/out, this unit fits perfectly into a broadcast environment, and you can use one recorder to create an ISO recording of each camera with perfect sync for live and post-production work.

Two SD card slots allow you to capture with virtually unlimited recording time, and the unit also supports recording to USB disks via the USB Type-C output port. The HyperDeck Studio HD Mini features a front-panel button control and a jog/shuttle wheel for an analog scrubbing feel. RS-422 control is supported for external control, and you can also control the unit using either the USB port or over Ethernet at 1G speeds for faster deck control and file transfers via the RJ45 connector. An integrated LCD on the front panel allows you to monitor the video.

UHD 4K Recording and Playback

The HyperDeck Studio HD Mini records UHD and DCI 4K video at up to 30 fps.

Video Inputs

It supports SD, HD, and 3G signals over SDI

Supported Codecs

• ProRes: Apple ProRes 422 HQ QuickTime, ProRes 422 QuickTime, ProRes 422 LT QuickTime, ProRes 422 Proxy QuickTime.


• DNxHD: DNxHD 220x, DNxHD 220x MXF, DNxHD 145, DNxHD 145 MXF, DNxHD 45, DNxHD 45 MXF for 720p and 1080p HD formats up to 60 fps


• H.264: H.264 SDI 4:2:2 10-bit, H.264 High 420 8-bit, H.264 Medium 4:2:0 8-bit, H.264 Low 4:2:0 8-bit for all progressive formats up to 1080p60

VTR-Style Controls

Features VTR-style front-panel controls for record and playback; a built-in jog/shuttle wheel provides analog-style control over your playback.

Remote

The unit is controllable via RS-422 control and over the Ethernet or USB port

Built-In LCD Monitor

The unit's front panel also features a built-in LCD screen that allows you to monitor input or play back video

Included Software

The HyperDeck Studio HD Mini includes Blackmagic OS and Blackmagic HyperDeck Setup.

Buy Blackmagic Design HyperDeck Studio HD Mini from UBMS Dubai.

Take a compact broadcast-quality record/playback deck with you on location, in the studio, or built into a rack with the Blackmagic Design HyperDeck Studio HD Mini. The 1 RU tall recorder is 1/2 of a rack wide and powers from 100 to 240 VAC, or via an optional 12 VDC power supply for portability. Featuring one 6G-SDI input, one HDMI 2.0 input, two 6G-SDI outputs, and one HDMI 2.0 output, this unit is a compact recording/playout powerhouse. A loop-through output and 3G-SDI monitor output, as well as reference and timecode in/out, allow this device to fit into a broadcast environment.

Two SD card slots allow you to capture with virtually unlimited record time, and the unit also supports recording to USB disks via the USB Type-C output port. The HyperDeck Studio HD Mini features a front-panel button control and a jog/shuttle wheel for an analog scrubbing feel. RS-422 control is supported for external control, and you can also control the unit using either the USB port or over Ethernet at 1G speeds for faster deck control and file transfers via the RJ45 connector. An integrated LCD on the front panel allows you to monitor the video.

UHD 4K Recording and Playback

The HyperDeck Studio HD Plus records UHD and DCI 4K video at up to 30 fps. The 6G-SDI outputs allow fill and key playback up to 1080p60.

Video Inputs

6G-SDI, and HDMI 2.0 inputs.

Video Outputs

Two SDI outputs support 1080p60 and 2160p30, and a loop-through output sends the input signal downstream to monitors, switchers, or other devices.

HDR

The HyperDeck Studio HD Plus supports HDR video and 33-point LUTS on the 3G-SDI output.

Supported Codecs

ProRes: Apple ProRes 422 HQ QuickTime, ProRes 422 QuickTime, ProRes 422 LT QuickTime, ProRes 422 Proxy QuickTime.

DNxHD: DNxHD 220x, DNxHD 220x MXF, DNxHD 145, DNxHD 145 MXF, DNxHD 45, DNxHD 45 MXF for 720p and 1080p HD formats up to 60 fps

H.264: H.264 SDI 4:2:2 10-bit, H.264 High 420 8-bit, H.264 Medium 4:2:0 8-bit, H.264 Low 4:2:0 8-bit for all progressive formats up to 1080p60

VTR-Style Controls

Features VTR-style front-panel controls for record and playback; a built-in jog/shuttle wheel provides analog-style control over your playback. Broadcast-style deck control front-panel buttons connect to a dedicated RS-422 output.

Remote

The unit is controllable via RS-422 control and over the Ethernet or USB port.

Built-In LCD Monitor

The unit's front panel also features a built-in LCD screen that allows you to monitor input or play back video.

Audio Output

The unit features a built-in speaker as well as a 1/4" headphone jack.

Included Software

The HyperDeck Studio HD Mini includes Blackmagic OS and Blackmagic HyperDeck Setup.

Buy Blackmagic Design HyperDeck Studio HD Plus from UBMS Dubai.

The Blackmagic Design HyperDeck Studio HD Pro is an updated 1 RU file-based deck that features the same functionality and control of professional tape decks in a digital design. This model updates the previous HyperDeck Studio models with several features including 6G-SDI support, two added SD card slots, USB Type-C recording output, timecode input and output, Ref input and output, a redesigned jog/shuttle wheel, Gigabit Ethernet, and a speaker on the front.

The Studio HD Pro records uncompressed video with 10-bit 4:2:2 color using either ProRes or DNxHD codecs, as well as the H.264 compression format. With two SSD slots and two SD card slots, you can record almost endlessly as one SSD becomes full, recording automatically continues on to the other, and the SD card slots are also hot-swappable. The Studio HD features one 6G-SDI input, two 6G-SDI outputs, a loop-through SDI output, a dedicated SDI monitor output, and there's also one HDMI input and one HDMI output that can all output up to DCI 4K. The ports autodetect the signal and will adjust to the SD, HD, or 6G-SDI format input. The 3-pin XLR timecode input and output allow you to sync timecode with other devices, and it also allows you to daisy-chain with other devices to create a timecode sync chain.

The Studio HD Pro is a 1 RU rack-mountable unit, with built-in rack mount ears. It features illuminated front panel button control and a heavy jog/shuttle wheel for analog scrubbing. RS-422 control is supported for external control using the Ref input and output ports. The USB Type-C port allows you to record to external disks, and you can also use it to plug into a computer to use as a source for a web stream. An integrated LCD on the front panel allows you to monitor the video and display timecode and transport information.

Professional Broadcast Deck

The new HyperDeck Studio recorders have been totally redesigned with dozens of new features. The advanced models have new broadcast-style front panel controls and more connections on the rear panel. The LCD screen supports both light and dark modes, plus the transport control buttons are stronger with a firm professional feel. The Pro models feature a machined metal search dial with increased mass and a soft rubber surface that feels nice to the touch. Plus the search dial features an active clutch, just like a traditional broadcast dec. With dual media slots, you can change cards without interrupting recording. The advanced models even include a front headphone connection and speaker.

Mastering Recorder

All models record to H.264, ProRes, and DNx files, so are perfect for recording broadcast masters. You can even use PCM or AAC audio. You get everything you need to send shows to broadcasters and for uploading to YouTube.

ISO Recording

All models feature timecode and reference generators, with outputs to loop to other HyperDecks. This means you can build a rack of HyperDeck Studios for ISO camera recording, allowing multi-cam editing after live events. You can even sync cameras to the SDI output and the SDI input has frame sync.

Digital Signage

HyperDeck Studio is perfect for digital signage as all models have HDMI output for connecting to large screen TVs and projectors. The built-in sync generator lets you combine multiple HyperDecks for large multiscreen video walls. There's even FTP for file upload and a protocol for remote control.

Broadcast Archive

HyperDeck Studio supports all SD and HD standards so it's ideal for archiving old television shows from broadcast decks such as Digital Betacam, Betacam SP, 1", U-matic, and VHS. You can even record directly to H.264 to maximize storage. For analog decks, just add a Mini Converter Analog to SDI.

Bright Color LCD Status Display

HyperDeck Studio features traditional deck-style transport controls, including a search dial for jog, shuttle, and scroll. The compact LCD shows timecode and transport information, plus a full-color thumbnail preview of the current clip in record or playback. It also displays information about each card's recording status, along with video format, frame rate information, and audio levels, all on the same display. The LCD includes monitoring for video, plus audio level meters, selectable between technically accurate VU or PPM ballistics. The combination of familiar VTR style controls with the built-in LCD screen makes HyperDeck Studio incredibly fast to use and very easy to learn.

Traditional Broadcast Deck Controls

HyperDeck Studio includes a traditional broadcast-style control panel that's very fast to use. Simply press the record button and you instantly start recording the video input to a file. You can also change the record file format from the menu. There are transport control buttons for playback, rewind, fast forward, previous clip, next clip, and more. The Pro models have a machined metal search dial that supports shuttle, jog, and scroll so you can find clips fast. Any button pressed on the front panel is sent to the rear RS-422 remote output for looping control to multiple HyperDecks. The Plus and Pro models also include a front panel speaker and headphone socket for live audio monitoring.

Supports SD Cards, UHS-II Cards, or SSDs

All HyperDeck Studio models support recording to common SD cards and UHS-II cards so you don't need expensive custom media. However, the Pro models also add two SSD slots so you can use two different types of media. SD cards and SSDs are the perfect choices for broadcast media because they are small and very affordable. When using H.264, the files are so incredibly small you get very long recordings even on smaller low-cost cards. Plus, you can even record to external USB disks. With H.265, you can record up to 58 hours in 2160p60 Ultra HD or up to 157 hours of H.264 recording in 1080p59.94 on a 1TB card. That's over 6 days of recording in HD using a single 1TB card.

Dual Media Slots for Nonstop Recording

All HyperDeck Studio models feature dual media slots for nonstop recording. When the recording card becomes full, recording automatically continues onto the next card. That's perfect when recording long live events because you can "hot swap" a full card for an empty card while recording continues in the other slot. Each slot has a status indicator to show which card is being used, either red for record or green for playback. Plus all models now feature very long file recordings to a single file for easy file distribution. HyperDeck Studio is easily repairable with each card slot using an individual PCB assembly that can be replaced if it ever becomes worn out from heavy use.

Record to External USB Type-C Media Disks

If recording to other types of media is required, the USB Type-C expansion port lets you plug in an external flash disk for recording. USB Type-C flash disks have unlimited capacity because they can be physically larger than an SD card or SSD. Plus, it's even possible to record to a disk array you'll use for editing, so you don't need to waste time copying files before starting post-production. Just move the disk over to a computer and instantly start editing. You can even add a Blackmagic MultiDock 10G that has 4 separate SSD media slots, so you can add compatibility with SSD media to the HyperDeck Studio Mini and Plus models. There are also menus for managing external disks on the built-in LCD.

Popular ProRes, DNx, and H.264 Files

HyperDeck supports the most popular codecs in use today. All models include DNx and ProRes file formats. However, all models also include H.264 in quality levels up to full 10 bit 4:2:2 when recording in NTSC, PAL, 720p, 1080p and true 1080i interlaced formats. That means you get tight 60:1 to 285:1 compression ratios for very small files at full broadcast quality. Plus you can choose uncompressed PCM audio, or even AAC audio when uploading files to YouTube. All models support both ExFAT and HFS+ disk formats and long-duration single file recordings. The Plus and Pro models even support ProRes 4444 allowing fill and key playback.

Advanced Broadcast Connections

Depending on the model HyperDeck Studio features a wide range of video and audio connections such as 3G-SDI, 6G-SDI, or 12G-SDI. All models include HDMI for connecting to televisions and projectors. There's even a dedicated SDI monitoring output on the Pro and Plus models with on-screen status. The Pro and Plus models include two SDI outputs so you can play ProRes 4444 files, allowing simultaneous fill and key output for keying in live production switchers. The internal timecode and reference generator connections can be looped to sync multiple units for ISO recording. All models even include AC and locking DC power. Choose 3G-SDI, 6G-SDI, or 12G-SDI Models

With multi-rate SDI, you get support for the most popular video standards. The SDI and HDMI connections will automatically switch video standards, so handle SD, HD, and Ultra HD formats depending on the model. SD formats include NTSC and PAL. 720p HD standards include 720p50 and 720p59.94p. 1080i HD interlaced formats include 1080i50 and 1080i59.94. 1080p HD formats include 1080p23.98, 24, 25, 29.97, 30, 50, 59.94 and 60p. HyperDeck can even support 1080PsF formats. HyperDeck Studio also supports level A and level B when running HD video at 3G-SDI rates.

Fill and Key Outputs for Broadcast Animations

The HyperDeck Studio Plus and Pro models can play ProRes 4444 HD files to the two separate SDI fill and key outputs. That means you can use HyperDeck Studio as a graphics clip player for broadcast animation because the ProRes 4444 file's alpha channel will be automatically converted to the key SDI output for real-time keying in a live production switcher. Imagine running animated lower-third titles and stingers with key channel outputs for incredibly clean multilayered titles. Plus, switchers such as Blackmagic Design ATEM models connect to HyperDeck Studio via Ethernet to trigger playback synced to transitions.

USB Webcam Output for Video Software For compatibility with a wide range of computer software, HyperDeck Studio features webcam support using the USB connection. If you're not recording to an external USB disk, you can plug the HyperDeck USB connection directly into a computer to get live video into any video software. The computer is tricked into thinking the HyperDeck is a common webcam, but it's really a broadcast-quality video source. That guarantees full compatibility with any video software and in full resolution 1080 HD quality. HyperDeck Studio's USB webcam feature works with any video software including Zoom, Microsoft Teams, and Skype, or get live streaming with Open Broadcaster, XSplit Broadcaster, and more. Advanced HDR Support and Monitoring 3D LUTs

You'll be ready for the latest feature film workflows with support for advanced HDR standards. All HDR status information is embedded into the SDI connections so downstream equipment can detect when HDR files are played. When recording, the SDI and HDMI inputs will also automatically detect HDR video standards and then tag the files with the correct HDR information. Static metadata PQ and HLG formats are handled according to the ST2084 standard. Plus the front panel LCD has a wider color gamut for both Rec. 2020 and Rec. 709 color spaces. HyperDeck Studio Plus and Pro models even allow you to load a 3D LUT into the monitoring output to add looks or to convert film to video gamma.

Includes Professional Multi-Channel SDI Audio

HyperDeck Studio includes professional multi-channel SDI audio for recording up to 16 channels. When recording from the SDI input, you can select in the menu to record 2, 4, 8, or 16 channels of audio in real time. There's extra space on the SDI monitoring status overlay, which allows the audio meter display to show the number of channels you have enabled all at the same time, and the audio meters will show 2, 4, 8, or 16 channels simultaneously. The audio meters are designed to use the correct ballistics, and you can change between different VU and PPM meter displays in the LCD menu. HyperDeck Studio is more than just a video recorder, as it also has quality sound.

Incredibly Fast Network File Transfers

All HyperDeck models allow media files to be uploaded remotely, using simple FTP client software. For remote deck control, all models use an easy to learn text-based protocol, so you can use a simple terminal app like Telnet to test control commands. Simply log into the HyperDeck and then type "play" or "record" and it will execute the command. If you combine the control protocol and file transfers with a HyperDeck connected to a large USB Type-C disk array, you get a fantastic broadcast server for ingest, media management, and play out.

Traditional RS-422 Broadcast Deck Control

The most popular control connection used on broadcast decks since the early 1980s is the RS-422 protocol. Originally developed by Sony, RS-422 is used on almost all broadcast gear. HyperDeck Studio features wide protocol support so you can connect it directly to broadcast systems. It also supports extra commands for the Advanced Media Protocol for managing disk recorders. When designing RS-422 control solutions, you'll know you're connected to a HyperDeck Studio when you see the ID 0xF0E0 in 30/60p, 0xF1E0 in 25/50p, or 0xF2E0 in 24p. The full set of support remote commands are included in the instruction manual and you can download this from the support page of our website.

Built-In Timecode and Sync Generators

With a timecode and sync generator built into all models, you can stack multiple units for digital signage or multi-channel recording. Each HyperDeck has dedicated outputs for reference and timecode, direct from the internal sync and timecode generators. The generators "free run" unless reference or timecode is connected to the inputs, and then generators will automatically lock. This means you can loop from HyperDeck to HyperDeck to create perfectly timed array or recorders.

Blackmagic OS

The innovative Blackmagic OS has been designed for high-performance film and broadcast products and it manages all functions on HyperDeck Studio. Only Blackmagic OS provides instant power on while including powerful features such as LCD with video, timecode, and audio metering, monitoring with overlays, menus, fast networking, multi-disk media management, 3D LUTs plus localization. The onscreen LCD menus include settings to customize your HyperDeck Studio, plus the menus now support both light and dark mode.

Localized for 13 Popular Languages

HyperDeck Studio supports multiple languages so you don't need to learn a new language just to use it. You get support for English, Chinese, Japanese, Korean, Spanish, German, French, Russian, Italian, Portuguese, Turkish, Polish, and Ukrainian languages. When initially powered on for the first time, HyperDeck Studio will display a menu for selecting a language, plus you can always use the LCD menu to change the language at any time in the future. Once a language is selected, the LCD menus will change, plus the overlays on the SDI monitoring output will also change to the selected language. All this means HyperDeck Studio is perfect for doing work anywhere in the world.

Use All Video Software and Streaming Sites

HyperDeck Studio records files that are compatible with virtually all post-production software. Plus, if you record in H.264, you can upload files from HyperDeck Studio direct to streaming services such as YouTube, Facebook, Vimeo, Twitter, and more. You can use popular editing software such as DaVinci Resolve, Apple Final Cut Pro, Adobe Premiere Pro, or Avid Media Composer because HyperDeck uses the same file formats used in post-production. Even VFX software such as Fusion and Adobe After Effects work with the files. Because HyperDeck records to disks formatted on computers, you can simply mount the disk on any computer and start editing without needing to transcode or convert the files.

Built-In Redundancy Keeps You on Air

Serious broadcasters need redundancy because it increases reliability. HyperDeck Studio includes redundant features to help ensure you stay on air. With dual media slots on all models, and the Pro models having 4 media slots, you can stay on air, even if one of the slots becomes damaged. Plus with the HyperDeck Studio HD Mini model you get 3 totally independent recorders in a single rack unit, while the HyperDeck Studio HD Plus model allows 2 independent recorders in a single rack unit. All HyperDeck models include both AC and a locking DC power connection, so you use the DC connection with an external battery pack for redundant power.

Designed for Both Portable or Rackmount Use

When you need a portable broadcast solution, the HyperDeck Studio HD Mini model includes most features miniaturized into an elegant 5" wide compact design that's only one-third of a rack unit wide. That means you can fit three recorders in a single rack unit. Just use the optional Teranex Mini Rack Shelf and you can mount the three units side by side, then bolt it into a standard equipment rack. Or you can combine HyperDeck Studio Mini with other modules, such as a Teranex Mini Analog to 12G-SDI to convert the input from analog to SDI, all in the same rack which is perfect for archive work. HyperDeck Studio HD Mini looks great when it's not rack-mounted and simply used by itself on a desktop.

Compatible with Switchers, Disk Docks, and Cameras

There's a wide range of Blackmagic Design products you can use with HyperDeck including switchers, cameras, and streaming solutions. As the Mini and Plus models don't include SSD slots, you can add a Blackmagic MultiDock 10G to use regular SSDs, allowing compatibility with media from other HyperDeck models. HyperDeck Studio will manage all the disks for you and automatically record to disks in the MultiDock. You can even use the MultiDock with the HyperDeck Studio Pro models just to add extra SSDs for longer recording times. HyperDeck Studio is also a perfect mastering recorder when used with ATEM switchers, a clip player with fill and key, or looped on switcher inputs for ISO recording. Buy Blackmagic Design HyperDeck Studio HD Pro from UBMS DUBAI.

Add a powerful studio camera to your 4K broadcast when using an ATEM Mini with the Blackmagic Design Studio Camera 4K Plus. This updated compact and lightweight broadcast camera is designed for live production and provides a variety of options to record and broadcast your video, and it's designed to be used with the ATEM Mini switcher. This camera is similar to the Studio Camera 4K Pro model but it has pared down inputs, so you can control all the camera outputs using a separately available ATEM Mini video switcher. The main features added to the Studio 4K Plus model include a lighter carbon fiber body, up to 25,600 ISO, 13 stops of dynamic range, a bigger tally light, HDMI output, two USB Type-C ports for recording and control, built-in dual microphones, a 7" HDR LCD, and a redesigned sun hood.

The camera offers UHD resolutions at frame rates up to 3840 x 2160p60. It is light for frequent travel, setup, and breakdown, yet durable for use in the field. It has a bright 7" capacitive touchscreen display that allows you to control all the settings right from the screen, and it features a 1920 x 1200 resolution, and it has a detachable sun hood that was redesigned to fold down over the display for storage and protection. There are brightness, contrast, iris, and focus peaking control knobs on the sides of the display, and you can also program the F1-3 buttons on the side. The camera also features DaVinci Resolve built-in, so you can control the camera's color and brightness settings right from a computer when it's paired with a compatible ATEM switcher.

Its Micro Four Thirds lens mount allows you to utilize a wide range of professional lenses, and you can also control the lens remotely with the optional Zoom Demand and Focus Demand lens controllers. To power the camera, it has a standard locking DC power input for external power sources.

Compact and Lightweight Design

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 are knobs for brightness, contrast, and focus peaking. Plus, a tripod mount with 15mm LWS rod ports and mounting plate is included for fast setup.

Exceptional Low-Light Performance

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 -12 dB (100 ISO) up to +36 dB (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. The secondary high-base ISO of 3200 is perfect when shooting in dimly lit environments. The gain can be set from the camera.

Cinematic Images in Live Production

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 4096 x 2160, which is great for both HD and UHD work. Plus, all models support from 23.98 up to 60 fps.

Affordable Photographic Lenses

With the popular MFT lens mount, Blackmagic Studio Cameras are compatible with a wide range of affordable photographic lenses. Photographic lenses have 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.

Frame Shots with Large 7" Viewfinder

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. 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 sunshade can be folded to protect the screen for transport, plus it's compatible with sunshades from the Blackmagic Studio Viewfinder.

Physical and Touchscreen Controls

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 three 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.

Built-In Tally for On-Air Status

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' away. The Blackmagic Studio cameras support the SDI tally standard (on SDI cameras) used on all ATEM live production switchers and the HDMI tally used on ATEM Mini switchers.

Powerful Broadcast Connections

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 two USB Type-C expansion ports.

Get Low-Cost Camera Control via HDMI

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.

USB Expansion Port for Accessories

The Blackmagic Studio Camera features a high-speed USB Type-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 Quality

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 and 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.

Includes Built-In Microphones

Blackmagic Studio Cameras include built-in microphones, so you get sound included in the design, making the 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.

Monitor Program Video

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 that 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.

Powered by Blackmagic OS

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.

Supports 3D LUTs for Film Looks

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. The 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. The 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.

Localized in 11 Popular Languages

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, 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.

Optional Accessories

You can utilize the Focus and Zoom demands to remotely control your lens and the Blackmagic Studio Converter for a single Ethernet connection to the camera.

Buy Blackmagic Design Studio Camera 4K Plus from UBMS Dubai.

Add a powerful studio camera to your 4K broadcast with the Blackmagic Design Studio Camera 4K Pro. This updated compact and lightweight broadcast camera is designed for live production and provides a variety of options to record and broadcast your video. New features added to the Studio model include a lighter carbon fiber body, up to 25,600 ISO, 13 stops of dynamic range, a bigger tally light, HDMI output with camera control, 12G-SDI input and output, talkback within SDI, two USB Type-C ports for recording and control, a standard 5-pin broadcast headset jack, a speaker, built-in dual microphones, a 7" HDR LCD, a redesigned sun hood, and 10G Ethernet.

The camera offers UHD resolutions at frame rates up to 3840 x 2160p60. It is light for frequent travel, setup, and breakdown, yet durable for use in the field. It has a bright 7" capacitive touchscreen display that allows you to control all the settings right from the screen, and it features a 1920 x 1200 resolution, high-brightness HDR support for use in sunlight, and it has a detachable sun hood that was redesigned to fold down over the display for storage and protection. There are brightness, contrast, iris, and focus peaking control knobs on the sides of the display, and you can also program the F1-3 buttons on the side. The camera also features DaVinci Resolve built-in, so you can control the camera's color and brightness settings right from a computer when it's paired with a compatible ATEM switcher.

The Studio 4K Pro also provides features you'd expect to find in larger studio cameras, such as a large tally indicator with customizable number decals, talkback, a 5-pin broadcast headset plug, dual XLR audio input with phantom power, and 12G-SDI inputs/outputs. This camera also features HDMI output, and its new 10G Ethernet is an enormous pipe to use when broadcasting 4K video. You can even unplug all the HDMI and SDI cabling and utilize the 10G Ethernet to send all the video and data to a companion converter or switcher, which can even provide PoE to the camera, so you only need one cable. Its Micro Four Thirds lens mount allows you to utilize a wide range of professional photography lenses, and you can also control the lens remotely, broadcast style, with the optional Zoom Demand and Focus Demand lens controllers.

To power the camera, you can use PoE with a compatible switcher or the separately available Blackmagic Studio Converter, or you can use the included DC power adapter with a locking plug. It also has a standard 4-pin XLR power input for external sources to provide redundant power.

Compact and Lightweight Design

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 are knobs for brightness, contrast, and focus peaking. Plus, a tripod mount with 15mm LWS rod ports and mounting plate is included for fast setup.

Exceptional Low-Light Performance

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 -12 dB (100 ISO) up to +36 dB (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. 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.

Cinematic Images in Live Production

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 4096 x 2160, which is great for both HD and Ultra HD work. Plus, all models support from 23.98 up to 60 fps.

Affordable Photographic Lenses

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.

Frame Shots with Large 7" Viewfinder

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 an 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 sunshade can be folded to protect the screen for transport, plus it's compatible with sunshades from the Blackmagic Studio Viewfinder.

Physical and Touchscreen Controls

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 three 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.

Built-In Tally for On-Air Status

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' 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 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.

Communicate with the Director via Talkback

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.

Powerful Broadcast Connections

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 two USB Type-C expansion ports. The advanced Blackmagic Studio Camera 4K Pro model is designed for broadcast workflows, so it has 12G-SDI, 10G-Base-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.

Four Ways to Connect

Blackmagic Studio Cameras can be connected in lots of different ways. All models feature HDMI so are perfect for HDMI switchers such as the 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 Cat 6a Ethernet cable.

Get Low-Cost Camera Control via SDI

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 is that the camera operator is free to focus on framing shots.

Low-Cost SMPTE Fiber Style Workflow

The Blackmagic Studio Camera 4K Pro model supports connecting cameras via a single Ethernet cable. It's so simple; just plug it 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 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.

USB Expansion Port for Accessories

The Blackmagic Studio Camera features a high-speed USB Type-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 Quality

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 and 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.

Includes Built-in Microphones

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.

Monitor Program Video

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 that 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.

Powered by Blackmagic OS

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.

Supports 3D LUTs for Film Looks

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. The 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. The 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.

Localized in 11 Popular Languages

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, 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.

Powers from DC or 10G Ethernet

Blackmagic Studio Cameras have lots of different power options. All models have a common 12 VDC locking power connector, so the cable won't be accidentally pulled out. Plus, the camera includes a power supply with five 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.

Optional Accessories

You can utilize the Focus and Zoom demands to remotely control your lens and the Blackmagic Studio Converter for a single Ethernet connection to the camera.

Buy Blackmagic Design Studio Camera 4K Pro from UBMS Dubai.

The new Blackmagic URSA Broadcast G2 is an incredibly powerful camera designed for both traditional and online broadcasters. The 3 cameras in 1 design allows it to work as a 4K production camera, a 4K studio camera or a 6K digital film camera! It's a perfect solution for broadcasters because it uses the lenses and batteries you already own! You can record to common SD cards, UHS-II cards, CFast 2.0 cards or external USB disks, using common file formats such as H.265, ProRes and Blackmagic RAW. This means it's compatible with all video software and broadcast media management systems. You can even change the lens mount! No other broadcast camera is so flexible! Buy Blackmagic Design URSA Broadcast G2 Camera from UBMS Dubai.

Blackmagic URSA Broadcast G2 (CINEURSAMWC6KG2), a next generation professional broadcast camera with 6K digital film sensor that brings digital film quality to both traditional and online broadcasters. The advanced 6144 x 3456 digital film sensor provides exceptional low light performance with dual gain ISO of up to +36dB as well as 13 stops of dynamic range. Blackmagic URSA Broadcast G2 also includes H.265 and Blackmagic RAW file formats, Blackmagic generation 5 color science, as well as a USB-C expansion port for external disk recording, and more! Looking for price of URSA Broadcast G2, UBMS can provide best price and fast delivery for Blackmagic URSA Broadcast G2.

Broadcast Production Camera

The perfect solution for broadcasters, URSA Broadcast G2 includes ENG camera controls positioned around the camera so you can locate them by feel. It also features a low light sensor so you get amazing images using natural light. That's the perfect combination for broadcast news and programming.

Live Studio Camera

URSA Broadcast includes an advanced YRGB color corrector built in and full remote camera control. You can use B4 ENG lenses, large studio box lenses, or even change the lens mount and use any lens! Plus the optional Blackmagic focus and zoom demands let you control the lens from the tripod handles.

Digital Cinema Camera

URSA Broadcast G2 includes an advanced 6K digital film sensor, and you can change the lens mount! Use a PL mount for digital film lenses or EF for photo lenses. Plus the high dynamic range, great low light performance and Blackmagic RAW means you get a true "Hollywood" quality digital film camera. Buy CINEURSAMWC6KG from UBMS Dubai.

Digital Film Quality for Broadcast

The large 6K sensor combined with Blackmagic generation 5 color science gives you the same imaging technology used in digital film cameras. This means broadcasters can now use digital cinema quality in broadcast! The 6K sensor features a resolution of 6144 x 3456 so it's flexible enough for broadcast and digital film work. When using B4 lenses, you get a 4K window of the sensor for Ultra HD broadcast use. Then if you change to a PL or EF lens mount, you can use the full 6K resolution of the sensor for digital film! With 13 stops of dynamic range, you get darker blacks and brighter whites, so it's perfect for color correction. Using digital film in broadcast is a revolution in image quality!

Low-Light Performance

The new URSA Broadcast features incredible low-light performance, so you can shoot using ambient light or even under moonlight. In advanced cameras, ISO is a measurement of the image sensor's sensitivity to light. The Blackmagic URSA Broadcast G2 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 via a camera switch, the LCD menu, or remotely using the SDI remote camera control protocol.

Compatible with B4 Broadcast Lenses

The URSA Broadcast G2 features a B4 broadcast lens mount that includes optics specifically designed to match the camera's sensor. The B4 lens mount lets you use modern UHD lenses or lower-cost HD lenses. Older HD lenses often feature resolutions well beyond HD, so you get great quality at a low cost. B4 lenses are fantastic because they are par-focal, so the image stays in focus as you zoom in and out, so you don't need to constantly chase focus as you shoot. That lets you work much faster. You also get full electronic lens control to adjust focus, iris, and zoom using the camera's controls or remotely. Plus, if you want to use alternative lenses, you can change the mount to PL, EF, and more.

Built-In Optical ND Filters

URSA Broadcast G2 features high-quality neutral density (ND) filters that let you quickly reduce the amount of light entering the camera. The 1/4, 1/16th and 1/64th stop filters have been specifically designed to match the image sensor and color science of URSA Broadcast G2, providing you with additional latitude and better colorimetry. This lets you use different combinations of aperture and shutter angles in a wider range of situations. The IR filters have been designed to evenly filter both optical and IR wavelengths, eliminating IR contamination. Plus, the filter status on the LCD can be displayed as a fraction, number, or stop reduction.

Common Media and File Formats

URSA Broadcast is designed to work with standard file formats used by all broadcast systems and editing software. You can record in ProRes 422 HQ and ProRes 422 into QuickTime files. The new Blackmagic URSA Broadcast G2 model can even record into H.265 for incredibly small files at 60:1 to 285:1 compression ratios, in 10-bit broadcast quality. Plus. you can record to Blackmagic RAW files, a revolutionary new format designed to capture and preserve the quality of the sensor data from the camera. That means you get the perfect range of file formats designed for all types of workflows.

Dual Media Slots for Nonstop Recording

With dual CFast 2.0 recorders and dual SD/UHS-II card recorders, you can choose the media that's best for you. Both types of media are standard, inexpensive, and readily available at computer and camera stores. Plus, with dual media slots, URSA Broadcast gives you nonstop recording. When a card is full, recording automatically continues onto the next card, so you can swap a full card while recording continues. You get enough speed to record high-quality ProRes and H.265 video file formats, even when working in Ultra HD at high frame rates. That means URSA Broadcast G2 is easy to integrate into your existing broadcast systems. You can even record 12-bit Blackmagic RAW cinema files.

USB Type-C for Recording Direct to External Media Disks

The Blackmagic URSA Broadcast G2 features a high-speed USB Type-C expansion port on the rear of the camera that allows you to record to external disks or connect to a wide range of accessories. If you plug in a large and low-cost external USB flash disk, you can record ProRes, H.265, or even 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. Plus, the USB port will power the disk that's p