The Atomos Ninja Ultra debuted last year as the successor to the popular Ninja V and Ninja V+. Features include a 5-inch, 10-bit 1920 x 1080 monitor with 1000 nits of maximum brightness. It records up to 8K at 30p ProRes RAW, along with H.265, ProRes, and DNxHD.

Meanwhile, the Atomos Shogun Ultra also launched in 2023. Both new monitor-recorders feature a 7-inch, 2000-nit IPS display along with Camera-to-Cloud capabilities, up to 8K30p ProRes RAW, AtomOS 11, and more.

AtomOS 11.13.00 – new features

When Atomos released AtomOS 11, they delivered an overhauled operating system that offered a better, more streamlined interface. Major new features included ARRI False Color and El Zone tools to help with exposure, new recording and scheduled playback tools, and more.

They have provided frequent firmware updates following the release of AtomOS 11. These include Touch to Focus camera control for specific cameras and added support for SRT and FUJIFILM F-LOG2. These updates also impacted the Atomos Shinobi II.

AtomOS 11.13.00 adds new features specific to the Canon EOS C80 and R1 and impacts the Atomos Ninja Ultra, Ninja V+, Shogun Connect, and Shogun Ultra. The new features include:

• Support for Canon C80 HDMI RAW 6K modes (6000 x 3164 at 59.94 fps).
• SDI Filenaming for the C80.
• Support for Canon R1 HDMI RAW 6K modes (6000 x 3164 at 23.98, 24, 25, 29.97, 50 and 59.94 fps).

Price and availability

The AtomOS 11.13.00 firmware update is available now as a free update. Learn more about the update plus instructions on Atomos’ support page. The Atomos Ninja Ultra sells for $799/€799, while the Shogun Ultra retails for $1,199/€1,199.

Have you been using the Atomos Ninja Ultra on your projects? What do you think of the AtomOS 11 update with HDMI RAW 6K support for the Canon EOS C80 and C1? Let us know in the comments below!

As usual, Blackmagic Design is adding some useful workflow updates to its ever-evolving post production powerhouse DaVinci Resolve 19.

Editing flexibility is main focus of DaVinci update

The most notable addition is enhanced clip placement functionality. Editors can now paste clips in the timeline either at the playhead or between in and out points, providing more granular control over complex editing workflows. This seemingly small feature can significantly streamline editing processes, especially when working on intricate projects with multiple clip arrangements.

The update also tackles several stability issues on the Edit page, including improved multicam angle switching and resolving crashes related to transition previews. These refinements demonstrate Blackmagic’s commitment to addressing real-world editing challenges.

Fusion and Color Page enhancements

Fusion users will appreciate the improved rendering of fisheye textures in the SphereMap 3D tool and more reliable b-spline polygon creation. For colorists, the update improves spatial photo thumbnail displays and resolves some collaboration-related grading issues.

Audio workflow improvements

Fairlight receives attention with more consistent automation trim controls and more accurate interpretation of AAF imports, particularly regarding clip fade levels. These updates underscore the software’s ongoing development as a comprehensive post-production solution.

Platform and compatibility updates

The update provides notable improvements for users with older hardware and operating systems. Particularly impressive is the enhanced H.265 encoding for older NVIDIA graphics cards and expanded compatibility with Windows 10 media players.

Final Thoughts on this DaVinci update

While DaVinci Resolve 19.1.1 might not be a headline-grabbing release, it represents the kind of incremental improvement that demonstrates a mature, user-focused approach to software development. By addressing specific workflow bottlenecks and enhancing stability, Blackmagic continues to refine what has become an essential tool for filmmakers and content creators.

The update is available now as a free download for users of the free and Studio versions of DaVinci Resolve.

Learning DaVinci Resolve properly

Don’t forget that our education platform MZed has the best courses on DaVinci Resolve in its portfolio. The Beginners Course to DaVinci Resolve by Ollie Kenchington has an average rating of 4.8 stars and is currently still on sale as part of our Black Friday promotion (ending soon!). You can get also get access to the full course as an MZed Pro subscriber for only $199 for a full year of membership (normally $349), alongside 58 other courses (including many others on DaVinci Resolve). Sign up now before it’s too late.

Are you a user of DaVinci Resolve? Let us know in the comments which updates and additions to the software you are still missing and would like to see in the future.

fylm.ai makes color grading easier, a process that generally can feel overwhelming for many filmmakers. In August, the NeuralFilmAI Tool was added with update 2.1, but fylm.ai can do a lot more. To get an idea of what it can do and have a go at it yourself, take a look at my colleague Nino’s article. He will walk you through the details of building your own CineD LUTs in a process powered by fylm.ai.

What exactly is the tetrahedral interpolation tool?

It is as scientific as it sounds – it’s a tool for creating three-dimensional color grades for your images. You can adjust saturation, luminance, hue, density, and more, all while preserving the image’s quality. However, what is unique is that it works in a three-dimensional space; the controls operate independently, taking the spatial relationships between colors into account. Too much science? Have a look at the following video from fylm.ai:

Improved AI Colour Match and AI Auto Correct

According to fylm.ai, AI Colour Match has been completely revamped using new AI matching models, which should lead to significantly better color matching than the previous version. The AI Auto Correct tool, which automatically balances and prepares images for color grading with one click, has also been improved using new AI color correction models to “better understand the context of different color grades.”

flym.ai update 2.2 dedicated skin tone editor

fylm.ai now features a dedicated skin tone editor, letting you precisely adjust hue, saturation, and luminance within a targeted color range. Have a look:

Further updates and improvements in flym.ai update 2.2

A number of other updates have been added, including improvement in RAW file handling, with the company stating that raw files now open 20% faster. Guest Downloads have also been introduced, allowing you to give clients or Guests access to download specific high-resolution, color-graded images.

The Tool Menu has been restyled with the introduction of a Legacy Tools tab. This tab lets you keep the older versions of AI Colour Match, etc., in case you need them in the future or want to continue using them on a project.

AI Colour Extract has been integrated into AI Colour Match, combining the two into a single tool, and, finally, Technical Colour Match has been changed and will now offer you only the best presets that can be used on your footage. If you need to adjust settings, there is now an Advanced Technical Colour Match tool for you to play with.

Price and availability

The fylm.ai 2.2 update is automatic and will install when you reload the app. The company notes that if you have any problems, clear the cache and then reload. For more information, please see their website.

With AI tools becoming more integrated into color grading, what are your thoughts on balancing automation with creative control? How do you currently handle skin tone adjustments, and do you see this new tool improving your process? Let’s hear from you in the comments!

The company develops major plugins, including FilmConvert Nitrate, with looks that emulate film stock, grain structure, and more. Meanwhile, CineMatch can match clips filmed with different cameras to streamline color grading.

FilmConvert Hazy was recently introduced, adding support for mist filters when editing a project. It’s a great way to help reduce the sharpness and contrast of digital footage.

iPhone 16 Pro added as a supported camera in FilmConvert Nitrate and CineMatch

The iPhone 16 Pro and iPhone 16 Pro Max were released in September with a strong emphasis on the camera—the new iPhone 16 Pro films in Dolby Vision up to 4K at 120 fps. And like the iPhone 15 Pro, it also supports filming in Apple Log and ProRes 422 HQ via USB-C. The iPhone 16 Pro camera profile allows that footage to take advantage of FilmConvert Nitrate and CineMatch.

FilmConvert has regularly added camera profiles, including the DJI Ronin 4D and Canon EOS R6 Mark III, EOS R7, and EOS R8. These profiles make it easier to match the color of footage shot with those specific cameras and then add film effects, color grading, and more.

Whether using the iPhone 16 Pro as a primary or B camera, using the FilmConvert Nitrate tools will give it an authentic film look. CineMatch makes it easy to match the look of multiple cameras. If you’re filming on the Canon EOS R6 Mark III and the iPhone 16 Pro, the color can quickly be matched between the cameras.

It’s easy to add the iPhone 16 Pro profile – use the camera pack downloader found in FilmConvert Nitrate and CineMatch. Make sure you have the latest version of both plugins and then restart your editor.

FilmConvert Nitrate is compatible with Premiere Pro, After Effects, DaVinci Resolve, and Final Cut Pro. CineMatch works with Premiere Pro, After Effects, and Final Cut Pro. Both Hazy and Halation are compatible with Premiere Pro, After Effects, DaVinci Resolve, and Final Cut Pro.

FilmConvert Nitrate is an incredible plugin to have when working on projects that need a cinematic look and feel. Film stocks, grain, and halation effects can be used and adjusted to transform digital footage. CineMatch supports over 70 camera models, so the look of the various cameras used on a project can be matched and color-graded.

Price and availability 

The iPhone 16 Pro camera pack is part of FilmConvert Nitrate and CineMatch. Each plugin retails for $149 for each supported NLE or $225 for all supported platforms. For a limited time, the company is running a Black Friday sale, offering up to 40% off each of their plugins. Visit their website to learn more. And don’t forget, after Black Friday ends, CineD readers still get 10% off.

What do you think of FilmConvert Nitrate and CineMatch adding iPhone 16 Pro support? Are you filming with an iPhone or other smartphone, either as an A or B camera? Let us know in the comments below!

The past 20 years have seen some incredible technological achievements, including the rise of digital cinema cameras from Blackmagic Design, RED, ARRI, and others. We also saw the iPhone transform smartphones forever and how they can be used to film and edit a project. Virtual production made a splash with The Mandalorian and grew during COVID-19.

Pixotope Reveal could be the next technological achievement for film and video production. There’s no need for a green screen and chroma key or time-intensive rotoscoping.

Pixotope Reveal – features

Pixotope Reveal is background segmentation software and uses AI to identify and isolate up to 20 subjects in the frame. This allows for the removal of the background and new graphics or elements added in front or behind the talent, all in real-time. A talent tracking tool allows the subject to move in the frame, including around AR objects, such as a small table, without any problem.

There is no need for a green screen, special lighting or cameras, advanced setups, or rotoscoping after the shoot has wrapped. However, a powerful workstation is required to run the Pixotope Reveal software. It can also be used in conjunction with Pixotope Graphics and other software, which is great for broadcasts looking to seamlessly add 2D and 3D graphics and virtual sets in the frame.

Features include:

• AI-powered extraction of up to 20 subjects from any background into a combined matte, in real-time.
• Supports UHD at 60 fps.
• Timecode and genlock synchronization.
• Compatible with SDI, NDI, SRT, and SMPTE 2110.
• Works as a standalone for key + fill or in conjunction with other software like Pixotope Graphics.
• Also integrates into existing workflows with talent tracking systems so subjects can interact with AR objects naturally. Pixotope Camera Tracking, Pixotope Graphics VS/AR Edition, and similar software are supported.
• Faster post-production workflows with recorded mattes for on-screen talent.
• Cloud-ready deployment options.

Common use cases for Pixotope Reveal

The most common application cited by Pixotope is a live or pre-recorded broadcast requiring a virtual set or a mix of real and virtual (news, sports, etc.). The background can be removed, and the talent can be dropped into a virtual news set or location (such as a football stadium), and 2D and 3D graphics can be added. It’s also ideal for sponsorships and advertising. This saves on building sets, installing lights, going on location, and more.

What also comes to mind is using it for a movie with heavy VFX and backgrounds. 300 and Sin City both famously filmed nearly the entire movie in front of blue or green screens, then used extensive post-production to create unique universes. Pixatope Reveal may be able to do just that without the need for complex setups and cameras.

With the explosion of virtual production since The Mandalorian’s first season in 2019, many films, TV shows, and commercials take advantage of filming on an LED volume, nearly eliminating the need for post-production VFX. It’s all done in pre-production and during shooting. Could Reveal compete with virtual production? Possibly.

Price and availability

Following development and beta testing, Pixotope Reveal is now available. Early adopters can get a 30% discount on a license, and there’s also a 30-day trial available. For licensing and pricing information, you’ll need to reach out to Pixotope. Visit their website for more information.

What do you think of Pixotope Reveal? Will you consider using it on your next productions instead of filming with a green screen? Let us know in the comments below!

The Australian company Blackmagic Design is known for frequent price reductions – this time, they are cutting down the price of Blackmagic Cloud’s monthly storage fee. What does this mean?

Blackmagic Design price reductions

We have seen Blackmagic Design reduce the prices of their gear and services quite regularly. Sometimes, the price reduction is time-limited, as in May 2024 with the $1,000 discount on the Blackmagic Cinema Camera 6K or later in June 2024 with the Blackmagic Design URSA Mini Pro 4.6K G2, which got a massive $3,000 discount. Some price drops are permanent – this happened in the past with the Blackmagic Design URSA Mini Pro 12K, for example. While these price drops are good news for potential buyers, they do reduce the resale value of used gear, so keep that in mind.

This time, the Blackmagic Design price reduction seems to be a permanent one, but it is a bit different because it applies to a subscription service – Blackmagic Cloud storage. Let’s take a look at the details.

Blackmagic Cloud storage price reduction

The price reduction of the Blackmagic Cloud storage results in a 50% discount on the monthly fee for storage. From $30 per 1TB of storage previously, the service will now cost $15 per 1TB of storage per month. As Blackmagic Design states, the company hopes this will allow many more people to use the cloud workflows.

According to Blackmagic Design, this price reduction has been made possible by improvements in their data center backend and the Blackmagic Design engineers.

First introduced in 2022, Blackmagic Cloud is a service designed for team collaboration and camera-to-cloud workflows with DaVinci Resolve. Sharing projects with other team members and collaborating in real time is possible. The cameras can also sync files to the cloud as they record, so post-production can start while still shooting.

The files can either be stored locally if you own one of Blackmagic’s hardware solutions, or you can pay for storage on the company’s server – this second option is now discounted.

It is worth noting, however, that the Blackmagic Cloud is not yet available in every country. Hopefully, Blackmagic Design will continue to expand their availability across more regions.

For more information, please visit Blackmagic Design’s website.

Do you use Blackmagic Cloud for your post-production workflow? How satisfied are you with it? Let us know your thoughts in the comments section underneath the article.

If you have never heard of Blackmagic Camera, this free Android and iOS app unlocks your smartphone camera’s full potential while giving you access to many manual settings, codec choices, recording modes, and more. As mentioned, two versions exist, one for Android, the latest version being version 1.4, and the iOS/iPadOS version, which is currently version 2.1. So, what’s new in Blackmagic Camera 2.1 for Apple devices?

Blackmagic Camera 2.1 – what’s new?

Blackmagic Camera 2.1 is compatible with many different Apple devices, but it has clearly been optimized for the latest iPhone 16 and iPhone 16 Pro. Indeed, both of Apple’s latest flagship smartphones feature a new Action Button that can be assigned and used to take pictures. Also, the iPhone 16 Pro features a 48MP Fusion camera with a quad-pixel sensor and can shoot 4K120P footage in Dolby Vision, which is quite impressive.

In the run-through video, Blackmagic Design demonstrates how the new Action Button can be used to adjust your zoom, focus, ISO, and exposure bias settings by simply swiping left or right. Also, the new overlay and revamped user interface look like a nice improvement to quickly see and adjust your camera settings. Here is a full list of all the improvements:

• Camera Control launching and recording support on the iPhone 16.
• Control zoom, exposure bias, focus, and ISO settings via Camera Control in the iPhone 16.
• Launch the app from Control Center, Lock Screen, or the Camera Control button.
• Ability to log into Blackmagic Cloud accounts.
• Display time-lapse frequency and duration timecode on the overlay during recording.
• Audio is now included in off-speed recording.
• Improved overlays indicate when off-speed mode is active.
• The option to limit HDMI monitoring to HD resolution.
• Bit rate options when recording to H.264 and H.265 codecs.

Price and availability

The Camera 2.1 update is available now, and you can download it for free on the Apple Store.

For more information, please visit Blackmagic Design’s website here.

Have you already updated Blackmagic Camera to version 2.1? Have you tried it? What is your favorite mobile filmmaking app? Don’t hesitate to let us know in the comments down below!

FilmConvert, a New Zealand-based company, specializes in color grading and correction tools designed for filmmakers. One of their popular products is FilmConvert Nitrate, which offers custom-designed film stocks, halation effects, and grain structures to recreate the aesthetic of celluloid film. CineMatch, another tool in their lineup, simplifies color grading by matching footage across different cameras with a few clicks. These tools are continually updated to include new camera profiles, like those for a few of the Canon cameras we wrote about here.

With the introduction of Hazy, users can apply a soft glow to reduce the overly sharp and contrasty appearance we often see in digital footage. It also smooths out skin tones and diffuses the highlights in shiny areas of the skin. FilmConvert’s plugins work with Adobe Premiere Pro, Final Cut Pro, DaVinci Resolve, and After Effects.

How does it work?

According to the company, there are a plethora of controls, and the following is just an overview to give you an idea of how precise you can get. First, choose the input gamma that matches your footage or timeline. Then, pick a filter style, i.e., Bloom, Glimmer, etc., and use the controls to adjust the diffusion strength and spread – white balance, saturation, and exposure – as well as quite precise controls for the temperature, tint, saturation, and exposure in the red, green, and blue color channels.

There are custom response controls for the roll-off, and the response graph will change according to the chosen filter style. For example, moving a point on the graph to the right will control the size of the mist, while moving the point up controls the intensity. Next, the Diffusion Map will show you where the effect has been applied, and an intensity slider can be used to see exactly how and where the parts of the image are affected.

Price and availability

The FilmConvert Hazy plugin will be available from November 25th and is priced at $89 during their Black Friday sale and $99 thereafter. For more information, please visit the FilmConvert website.

Do you use any of FilmConvert’s plugins? Are you looking forward to seeing what Hazy can do in your post-processing workflow? Let us know in the comments!

The Blackmagic URSA Cine 12K LF debuted right as NAB 2024 was kicking off. It features a brand new 12K full-frame sensor, Open Gate 3:2, 16 stops of dynamic range, and can film up to 12K Open Gate 3:2 (in 12K and 8K) at 80 fps or  120 fps at 12K and 2.4:1 widescreen aspect ratio (in 12K and 5K). As Blackmagic said at the time, it’s the “dream high-end camera” for filmmakers. Check out the CineD lab test here.

Meanwhile, the recently released Blackmagic PYXIS Monitor is a 5-inch touchscreen monitor with USB-C camera control and 1500 nits of brightness. It features multiple mounting points, the same overlays as the PYXIS 6K camera, and three customizable buttons for fast access to focus assist, zebras, false color, and more.

With the update, the Blackmagic URSA Cine 12K LF can finally take advantage of full touchscreen support and menu controls for the PYXIS Monitor and third-party display port USB-C monitors.

Blackmagic Camera 9.1.2 update – features and improvements 

The Blackmagic Camera 9.1.2 update for the Blackmagic URSA Cine 12K LF sees two big improvements by adding support for the new PYXIS Monitor, along with new and enhanced REST API commands for remote camera control. It also adds additional fixes, overall improvements, and an updated manual with a 12K LF dynamic range chart.

The full list of features found in the latest update:

• Support for Blackmagic PYXIS Monitor and third-party display port USB-C monitors with the Blackmagic URSA Cine 12K LF. Includes full touchscreen support and menu controls.
• Adds new REST API commands for remote camera control. Plus, enhances existing REST API functionality to control the URSA Cine over a network with secure commands that are easy to use.
• Focus markers no longer disappear on the 1st AC page when the camera is power cycled and switching between shooting and playback modes.
• Revised manual with 12K LF dynamic range chart.
• Enhanced playback performance.
• Improvements when using Blackmagic Cloud.
• Button lock behaviors.
• Lens support is improved.
• Updating via Ethernet.
• Brief display glitch on startup is fixed. 

Price and availability 

The Blackmagic Camera 9.1.2 update is available now and is a free update. Visit the Blackmagic Design Support Center to learn more. Additionally, the Blackmagic URSA Cine 12K LF retails for $14,995, while the PYXIS Monitor starts at $295.

What do you think of the new additions and improvements with the Blackmagic Camera 9.1.2 update? Are you shooting with the Blackmagic URSA Cine 12K LF? Let us know in the comments below!

Final Cut Camera 1.1 – features

Final Cut Camera for iPhone and iPad debuted in May 2024 with Final Cut Pro for iPad and joins a growing list of cinematography apps for mobile filmmaking (Blackmagic Camera, Filmic Pro, etc.). While it can be used as a standalone app, it is a companion for FCP for iPad, especially for use with the Live Multicam feature. Check out my colleague Nino Leitner’s video review and tutorial of Live Multicam.

Final Cut Camera features professional manual controls, including ISO, shutter speed, white balance, focus, and precise zoom. It also supports a variety of resolutions, frame rates, codecs, and color space. Of course, some features depend on which iPhone is used, as explained below.

Final Cut Camera 1.1’s new features:

• LUT Preview during Recording
  • Enable the Apple Log LUT to preview HDR and SDR in Log while filming.
  • Set exposure and monitor footage with overexposure indicators via the LUT preview.
• Film in Log and HEVC
  • Filming in Log and HEVC helps to increase dynamic range and improve flexibility. All while keeping file sizes small.
  • Can be used while filming or with the Live Multicam feature using Final Cut Pro for iPad.
• Advanced level helps with framing and composition
  • New level features roll and tilt indicators to improve framing and composition.
  • Crosshairs indicator helps with top-bottom or bottom-up filming.
• Film in 4K up to 120 fps
  • Shoot in 4K up to 120 fps with the iPhone 16 Pro or iPhone 16 Pro Max.
  • Import the footage into Final Cut Pro and transform the clips into slow motion.

List of Final Cut Camera’s other features

• Choose the resolution, frame rate, and codec, including ProRes and Log color encoding (iPhone 15 Pro, iPhone 15 Pro Max, or later).
• Manual controls of ISO, shutter speed, white balance, focus, and zoom.
• Live Multicam (Final Cut Pro for iPad).
• Focus peaking and overexposure indicators.
• Stabilization.
• Lock orientation.
• Support for external drive; move files or record to it (A13 Bionic chip or later).
• Final Cut Browser allows for quick review of footage.

Price and availability

Final Cut Camera 1.1 is a free app and is available now on the iPhone and iPad App Store. The cinematography features and ability to be used with the Live Multicam feature with Final Cut Pro for iPad make this one to consider for mobile filmmaking.

You’ll need an iPhone or iPad running iOS 17.6 or iPadOS or later. Keep in mind that to shoot in 4K up to 120 fps, you’ll need an iPhone 16 Pro or iPhone 16 Pro Max. Learn more in the Final Cut Camera section here.

What are your thoughts on the Final Cut Camera 1.1 update? Are you using it or another cinematography app to film on your smartphone? Let us know in the comments below!