Blackmagic Design Announces the World’s First Commercial Camera System and Editing Software for Apple Immersive Video on Apple Vision Pro

"We are thrilled to announce the first-ever commercial camera system and post-production software that supports Apple Immersive Video, giving professional filmmakers the tools to create remarkable stories with this powerful new format pioneered by Apple,"

- Grant Perry, BLackmagic Design CEO

Tim here with some exciting news! Blackmagic Design is releasing a new URSA camera called the URSA Cine Immersive that will be beyond 3D-Capable as it is designed specifcially for the Apple Vision Pro. This new camera isn't the only major announced release as they also announced developing a full end-to-end workflow with DaVinci Resolve to produce cinematic Apple Immersive Video on Vision Pro. This is very exciting new product and post workflow for creating content for the Apple Vision Pro, which is a great device for viewing Stereoscopic 3D content. Read all about it below in the official press release put out by Blackmagic Design:

Blackmagic Design today announced an end to end workflow for producing cinematic Apple Immersive Video for Apple Vision Pro. Blackmagic URSA Cine Immersive is the world’s first commercial camera system designed to capture Apple Immersive Video. Apple Immersive Video is a brand-new storytelling format that leverages 8K, 3D video with a 180-degree field of view, and Spatial Audio to transport viewers to the center of the action. Blackmagic Design also announced updates to DaVinci Resolve, the industry-leading post-production software, that will give professional filmmakers the ability to edit Apple Immersive Video for the first time. Blackmagic URSA Cine Immersive and a new version of DaVinci Resolve that supports Apple Immersive Video for Apple Vision Pro will be released later this year.

“We are thrilled to announce the first-ever commercial camera system and post-production software that supports Apple Immersive Video, giving professional filmmakers the tools to create remarkable stories with this powerful new format pioneered by Apple,” said Grant Petty, Blackmagic Design CEO. “Built on the new URSA Cine platform, URSA Cine Immersive features a fixed, custom, stereoscopic 3D lens system with dual 8K image sensors that can capture 16 stops of dynamic range. With this innovative system, filmmakers can record remarkable moments like action-packed scenes, unique perspectives, stunning landscapes, intimate performances, and more, all with incredible fidelity, offering viewers an unparalleled sense of realism and immersion.”

The World’s First Commercial Camera System for Apple Immersive Video

Blackmagic URSA Cine Immersive features a fixed, custom lens system pre-installed on the body, which is designed specifically for Apple Immersive Video. The sensor delivers 8160 x 7200 resolution per eye with pixel level synchronization and an incredible 16 stops of dynamic range, so cinematographers can shoot 90fps stereoscopic 3D immersive cinema content to a single file. The custom lens system is designed specifically for URSA Cine’s large format image sensor with extremely accurate positional data that’s read and stored at time of manufacturing. This immersive lens data — which is mapped, calibrated and stored per eye — then travels through post production in the Blackmagic RAW file itself.

The World’s First Editing Software for Apple Immersive Video

An updated version of DaVinci Resolve will introduce powerful new features to create a comprehensive workflow for immersive video on Apple Vision Pro. Blackmagic customers will be able to edit Apple Immersive Video shot on the URSA Cine Immersive camera. A new immersive video viewer will let editors pan, tilt and roll clips for viewing on 2D monitors or on Apple Vision Pro for an even more immersive editing experience. Transitions rendered by Apple Vision Pro will also be able to be bypassed using FCP XML metadata, giving editors clean master files. Export presets will enable quick output into a package which can be viewed directly on Apple Vision Pro.

URSA Cine Immersive is Designed to Meet the Demands of Any High End Production

The evenly weighted camera body is built with a robust magnesium alloy chassis and lightweight carbon fiber polycarbonate composite skin to help filmmakers move quickly on set. Customers also get 12G‑SDI out, 10G Ethernet, USB-C, XLR audio, and more. The fold out monitor has a large 5″ HDR touchscreen on one side and an external color status LCD on the other. The right side of the camera features a dedicated assist station with a second 5″ HDR touchscreen that allows crew to work around the camera without needing external monitors.

An 8-pin Lemo power connector at the back of the camera works with 24V and 12V power supplies, making it easy to use the camera with existing power supplies, batteries, and accessories. Blackmagic URSA Cine Immersive comes with a massive 250W power supply and B mount battery plate, so customers can use a wide range of high voltage batteries from manufacturers such as IDX, Blueshape, Core SWX, BEBOB, and more. Customers will also receive a top handle, antennas for high speed Wi-Fi, baseplate, 24V power supply and high voltage B mount battery plate for quick set up.

Blackmagic URSA Cine Immersive comes with 8TB of high performance network storage built in, which records directly to the included Blackmagic Media Module, and can be synced to Blackmagic Cloud and DaVinci Resolve media bins in real time. This means customers can capture over 2 hours of Blackmagic RAW in 8K stereoscopic 3D immersive, and editors can work on shots from remote locations worldwide as the shoot is happening.

The new Blackmagic RAW Immersive file format is designed to make it simple and easy to work with immersive video within the whole post production workflow, and includes support for Blackmagic global media sync. Blackmagic RAW files store camera metadata, lens data, white balance, digital slate information and custom LUTs to ensure consistency of image on set and through post production.

Blackmagic URSA Cine Immersive is the first commercial, digital film camera with ultra fast high capability Cloud Store technology built in. The high speed storage lets customers record at the highest resolutions and frame rates for hours and access their files directly over high speed 10G Ethernet. The camera also supports creating a small H.264 proxy file, in addition to the camera original media when recording. This means the small proxy file can be uploaded to Blackmagic Cloud in seconds, so media is available back at the studio in real time.

Blackmagic Media Dock accelerates post production workflow by making it faster and simpler to start editing and performing color correction. Customers can mount up to three Blackmagic Media Modules for high speed access to media from multiple URSA Cine Immersive cameras all at the same time. The four high speed 10G Ethernet ports allow up to four separate edit workstations to connect directly and is extremely fast, even when a lot of users are connected at the same time.

Blackmagic URSA Cine Immersive Features

• Dual custom lens system for shooting Apple Immersive Video for Apple Vision Pro.
• 8K stereoscopic 3D immersive image capture.
• 8160 x 7200 resolution per eye with pixel level synchronization.
• Massive 16 stops of dynamic range.
• Lightweight, robust camera body with industry standard connections.
• Generation 5 Color Science with new film curve.
• Dual 90 fps capture to a single Blackmagic RAW file.
• Includes high performance Blackmagic Media Module 8TB for recording.
• High speed Wi-Fi, 10G Ethernet or mobile data for network connections.
• Optional Blackmagic URSA Cine EVF.
• Includes DaVinci Resolve Studio for post production.

DaVinci Resolve Immersive Features

• Support for monitoring on Apple Vision Pro from the DaVinci Resolve timeline.
• Ability to edit Blackmagic RAW Immersive video shot on Blackmagic URSA Cine Immersive.
• Immersive video viewer for pan, tilt and roll.
• Automatic recognition of Apple Immersive Video (left and right eye) for dual file stereo immersive content.
• Option to bypass transitions rendered by Apple Vision Pro.
• Export and deliver native files for viewing on Apple Vision Pro.

Availability and Price

Blackmagic URSA Cine Immersive and the update to DaVinci Resolve will be available later this year from selected Blackmagic Design resellers worldwide.

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com.

SEE: New Crabsuit Vehicle from James Cameron's AVATAR Sequels!

James Cameron's AVATAR sequels are well underway again thanks to New Zealand's control of the coronavirus outbreak. Further evidence of the production moving along is the recent release of these concept art images from producer Jon Landau revealing the new Crabsuit vehicles for underwater duties.

The Crabsuits are "human driven multifunction submersibles" and are one of the assortment of new vehicles from RDA (Resources Development Administration). RDA is the "largest single non-governmental organization in human space. Its power is such that it outmatches most of Earth governments in wealth, political influence, and military capability."

If there was any doubt that the AVATAR sequels will have a large underwater component, consider it now quashed.

Note the large lettering on the arm of the Crabsuit, "CET-OPS", likely Cetaceous Operations, though cetaceous refers to Earthbound mammals of the order Cetacea (ex. whales).

Of course, you can expect a multitude of these Crabsuits being deployed undersea on Pandora (and/or other worlds), most likely from the "Sea Dragon" (also pictured), a "massive mothership that carries an array of other sea-going craft in the sequels."

In what state theatrical release be living in on December 16, 2022, no one knows. Hopefully, we will be well on our way to full recovery, post Covid-19. We can all use something to look forward to and the AVATAR sequels definitely fill the bill!

Here are the upcoming release dates as they are currently slated:

AVATAR 2 (Dec. 16, 2022)

AVATAR 3 (Dec. 20, 2024)

AVATAR 4 (Dec. 18, 2026)

AVATAR 5 (Dec. 22, 2028)

Sources: Jon Landau | Avatar Wiki

Set Photo: AVATAR Sequel Production Starts Up

My friend Jon Landau (producer) just sent out an iPhone photo of the AVATAR sequel production from New Zealand. I'm so glad that they are able to restart shooting!

Apparently, it was quite a process of quarantines and screening protocols to land back in New Zealand and launch it, but launched they have!

You can click the image for an enlarged view.

There appears to be a very interesting structure that the actors are performing on. Thoughts on what it may be? A structure (tree perhaps), ship or rock formation?

Fascinating seeing the blue and green screening being used at the same time.

I see face shields and masks being used and social distancing in effect - great job guys!  I'll post more when I get 'em!

Hollywood Changes in Production: Coronavirus

Hey guys, I wanted to jumpstart our conversations on the future of Hollywood, specifically in production, and even more specifically how it is affected by the coronavirus. We'll be talking about distribution in the coming days too because obviously streaming is emerging as the clear frontrunner now.

We all know that things are changing in Hollywood production and the coronavirus is adding complexity and speeding that up. Technology changes are coming yes, but productions now have to think about crew and talent bubbles, location safety, transportation, etc - it's a lot to consider, let alone implement.

Here are some of the things that need to be considered regarding production in these times:
- Smaller movies. Smaller locations, sets, crews, talent, etc. Think about all the roles that need to be careful - Makeup for example. Very close contact with actors.
- Virtual productions, especially for larger budgets. Think THE MANDALORIAN, AVATAR, TINTIN, THE LION KING, etc. Anything that can be done behind a computer could and should become the gold standard. More on that in upcoming posts.
- Tightly controlled bubbles. Everyone involved in the production needs to be in their own bubble. Just like what the NBA is thinking of doing on July 31.
- Daily testing with swabs and/or non-invasive temperature checks.
- Ensuring locations/sets have exceptional air circulation and filtration.
- Specialized medical teams. Productions are going to need them.
- Specialized cleaning teams. Productions are going to need them.
- Using Zoom for the bulk of required meetings.
- Insurance. The coverage is going to look a lot different. Less extravagant locations and more green screens and perfcap volume sets. More on this in the coming days.

I see some immediate changes. Since theater releases are not going to happen on a large scale anytime soon, productions are going to have to align with digital streaming pipeline workflows and release schedules. That's the new time slots. Anything to ease this transition and integration with Netflix, Hulu, Disney+, Apple TV+, HBO, Amazon Prime, etc is going to boom.

Other fast changes include production bubbles - studios will need to house, feed, transport, and safely enable sets for all crew members - perhaps even family members for longer productions. This is no small feat. Tight budget controls will need to be in place, especially because distribution is in flux and not as certain as theatrical.

Marketing is going to undergo huge changes. No more festivals or industry events. No more mammoth budgets for red carpets, travel, and awards. Think more about social media, influencers, and short clipped "trailers" on Tiktok for example.

Even as more and more of society opens up, theaters will remain one of the worst places for infection. A second wave is a very real possibility. I shudder to think about it.

Here's the bottom line: Expect many more first-run movies on streaming services. Take the recently released BECKY, starring Kevin James and Lulu Wilson, written by a friend of mine, Nick Morris. It was slated to premiere at Tribeca this spring and be released in theaters, but now it released on several digital platforms like Apple TV+ and Vudu. No theatrical. That will continue to happen in the industry. Hopefully, we can get to a place where there is a simultaneous release on digital and also any theatrical territories that have opened up in the future.

The coronavirus has definitely done one thing: Sped up adoption of streaming services around the world, and the acceptance of that distribution by studios. I don't believe theaters are dead. They're going to change, but they will be back.

The Future of Cinema: Re-imagining Theaters

 Ok, let's assume that the coronavirus is going to be around a while and that a vaccine is some time away from being ready. Let's say another 12 to 18 months. That would probably require the re-imagining of theaters by theater owners, right?

Thankfully, many theaters and their employees have been saved somewhat by federal stimulus (USA) so far, is it enough?

Theater patrons need to feel that they are safe when they return to the cinema, so social distancing and mask-wearing must be in place and monitored (probably not too far off from monitoring recording devices in the audience). It can be done.

Christopher Nolan's TENET (July 17) is tentatively planned for release in July as well as Disney's live-action MULAN (July 24). Does this mean there is a good chance it will happen? Well, let's go to the top to find out:

When John Fithian, CEO of the National Association of Theater Owners (NATO) spoke to Variety on this very subject, he said:

"Some states will be able to reopen relatively quickly. Others may take a while. The question is how long will that take? We’re not just a national industry. We’re a global industry. Major studios won’t release big, wide-release films if only a couple of states and a handful of countries in Europe are open. They need a wider footprint. We don’t need 100% of markets to be in business, but we need a majority of them."

Aha. So a majority would mean literally 50%+ of all worldwide markets must be open for business, not just some states and provinces where Covid-19 has had its restrictions reduced. That's about 100 countries, give or take out of the 195 that exist today. Clearly, some countries have more impact than others (USA, China).

Will this happen for July 2020? Good question. I won't get into coronavirus numbers here, but some countries are not doing well, or are experiencing new outbreaks and hotspots. To release tentpoles like TENET and MULAN, studios are going to need some sort of confidence of box office return. 

Now, this is focused on NATO and theatrical release, what about a combination of theatrical and streaming? That might be able to whet the appetite of studios. What do you think?

And what about social distancing within theaters? Have you seen mockups of what a theater might look like when they reopen? It's not pretty, but functional. Revenue will be clearly down from pre-coronavirus. More screenings may alleviate demand.

Wearing masks must be mandatory obviously and while not being comfortable at all, it's a sacrifice that has to be made for the privilege of going to the cinema.

Improved air filters for air conditioning / heating would probably be prudent.

As I mentioned yesterday, drive-ins will need to address washrooms and concessions; so will theaters. There must be protocols to be strictly followed. Ordering your popcorn and soda through an app (reserving a washroom stall?) and having it delivered to your seat might help with lineups.

So, if the stars align and half the world box office markets open around the world; studios decide to release their big-budget tentpoles; theaters adopt revised seating plans / restrict washroom use to one or two / clean everything all the time / deliver concessions to your seat, and you don't mind wearing masks, maybe paying more and risking infection, WOULD YOU GO?

Surely I've missed some things here - let me know in the comments!

Sources: Variety
Images: The Guardian | IMDb

The Future of Cinema: Drive Ins?

At least in the short term what are our options? With Covid-19 still a threat and movie theaters being a contagion even before the coronavirus was a big deal (I can't tell you how many times I've caught a bug from someone sneezing close to me), what's left?

Could this be the return of the drive-in theater?

Several aspects of drive-ins have to be looked at as dodgy (I've been watching a lot of Ozzy Man reviews lately), namely the washrooms and the concessions.

The latter could be addressed by having car window service by masked servers (with or without rollerskates) but the biggest issue in my mind is the washrooms. With double and triple features being the norm, that's a lot of time to go without facilities, so something has to be done. The perfect solution (albeit expensive) is perhaps the public washrooms that are abundant in France:



Or perhaps a washroom that uses UV rays?



To be sure though, something needs to be improvised. I'm not sure having an attendant outside of every washroom to go in a clean after each user is the answer. Anybody have a suggestion?

On to projection! I'm wondering if it is possible to remove projectors from the cinemas and place them in improvised shelters to project onto screens (or large walls)? Is that even possible with the need for much larger screens and longer distances involved? What about brightness? If we need a short term solution only for drive-ins, perhaps using this strategy and using vacant stadiums (or their parking lots) for the cars?

I'd like to see something that is pop-up, easily removed, yet highly functional for seeing what we all love - the movies.

And until such time as new releases are made available, we'll have to rely upon past films and curated evenings for entertainment. Clearly, drive-ins alone won't amount to the box office revenue that the industry has enjoyed in the past, but as a stop-gap perhaps it will be enough.

What are your thoughts on drive-ins as a short term (or longer) solution to get Hollywood up and running again?

Alright - Who's up for more MarketSaw?

Hey guys! I think I'm in a place now where I can spend some amount of time a day on the site and I'm anxious to get back to things that I love to do - like this.

I'm thinking that a new direction might be a good idea - something like "The future of cinema" or "What to look for in the coming years in Hollywood", or similar.

3D is still around obviously, but in a much different way after much evolution over the years.

Coronavirus has changed the world and that includes cinema. What things will be changing permanently? Let's discuss.

What about new technology? Have you seen the new Unreal Engine 5 that is around the corner? Check the review below:



What do you think? I think it looks bloody amazing. More TOMORROW!