ATEM Television Studio Pro 4K
Announcing the all new ATEM Television Studio Pro 4K, a professional all in one Ultra HD live production switcher with integrated hardware control panel. ATEM Television Studio Pro 4K features 8 independent 12G-SDI inputs, built in Fairlight audio mixer, ATEM Advanced Chroma Keyer, multiview, auxiliary and program outputs, analog audio inputs, built in talkback, two flash based media players, professional creative transitions, a DVE for effects and more.
ATEM Television Studio Pro 4K combines a professional broadcast hardware control panel with a powerful 8 input 12G-SDI switcher for working with all HD and Ultra HD formats up to 2160p59.94. All of the 12G-SDI inputs feature full re-sync and independent format and frame rate conversions. That means customers can connect a total of up to 8 different sources with various different frame sizes and frame rates, and cleanly switch between them. The switcher automatically converts everything to the program’s output format and frame rate.
Professional Fairlight audio mixing is built in to the ATEM Television Studio Pro 4K. Fairlight has been used for extremely high end feature film and television audio post production for years and now, for the first time ever, Blackmagic Design has integrated these incredible Fairlight audio tools into a live production switcher. ATEM Television Studio Pro 4K gives customers independent 6 band parametric equalizers on every single input. In addition, it also includes expander/gate, compressor and limiter dynamics on each input.
ATEM Television Studio Pro 4K features the all new next generation ATEM Advanced Chroma Keyer. This new keyer gives customers adjustable on screen controls for selecting and sampling a region of color, adjustment controls for foreground, background and edges, and chroma correction tools for spill and flare suppression. That means ATEM Television Studio Pro 4K can pull extremely clean keys to replace a blue or green screen for professional broadcast quality composites.
In addition to 12G-SDI, ATEM Television Studio Pro 4K also includes two channels of analog audio in, RS-422, Ethernet and a built in IEC power supply, along with program and auxiliary outputs. Customers also get both SDI and HDMI multiview outputs so they can monitor all sources, preview and program outputs, along with labels, audio meters and more, all on a single big screen television or broadcast monitor.
Featuring a portable design, ATEM Television Studio Pro 4K is packed with high end broadcast features that make it possible to create an entire live switched program, complete with effects and transitions. The hardware panel features large illuminated buttons for switching between sources, along with corresponding audio buttons, one touch transition buttons, downstream keyers, fade to black, media player, cut buttons and more. There’s also a built in LCD screen for previewing source and program video, a spin knob and additional buttons for menus and to adjust settings. Customers simply press the button for the source that they want to see next in the program, then hit the cut or auto button to switch sources, add effects, or even key in graphics.
ATEM Television Studio Pro 4K gives customers true broadcast quality transitions, effects and graphics. Transitions such as mixes, wipes and dips are done by simply pressing a button on the control panel. There are 37 included transitions, giving customers massive creative options because they can customize things such as border, border color and width, position, direction and more. In addition, there’s a built in 2D DVE for adding digital video effects that can position, resize and scale live video, all in real time. That means customers can create professional picture-in-picture effects, use DVE powered transitions like squeeze and slide between sources, or create graphic wipe transitions with their own graphics.
When used with Blackmagic Studio, URSA Mini, URSA Broadcast and Micro Studio cameras, customers get a complete remote control solution that includes talkback, tally, color correction, camera control and more, without having to add any additional cables or proprietary control boxes. These cameras feature a built in color corrector that can be remote controlled, making it possible to balance camera color and create unique looks, all from the control panel. In addition, customers can adjust focus and iris on compatible lenses, change camera settings, and even remote control PTZ heads.
ATEM Television Studio Pro 4K has a built in media pool that can store 90 frames of Ultra HD, 360 frames of 1080HD or 1440 frames of 720HD video that can be used with the two built in media players. The media pool uses flash memory, so images are saved even after the power is turned off. That means customers can create completely custom graphics to use in their own programs. In addition, there is an upstream keyer with full chroma keying for green screen shots so customers can add weather maps, graphics, or even virtual sets. The upstream keyer works with chroma, patterns, shapes and linear keys.
ATEM Television Studio Pro 4K also features 2 downstream keyers for adding graphics, logos and bugs to video. Customers can use a HyperDeck Studio Mini with ATEM Television Studio Pro 4K as a source for ProRes 4:4:4:4 motion graphics files with alpha channels. That means customers can get fill and key graphics composited over live video, or they can use motion graphics with alpha as transitions between sources, all in real time.
ATEM Television Studio Pro 4K also includes a built in talkback converter for SDI cameras. The talkback information is sent back to the camera via the SDI program return feed on the rarely used SDI audio channels 15 and 16. When working live with a reporter in the field, there can be a slight delay that causes them to hear themselves as an echo in their headset. ATEM Television Studio Pro 4K includes mix minus which sends back all of the program audio to the camera but removes the reporter’s own voice, so they don’t hear a distracting echo of themselves while reporting.
For maximum speed and flexibility in live productions, ATEM Television Studio Pro 4K includes a free software control panel for Mac and Windows that allows multiple users to be connected at the same time. That means customers can have one person switching the program while another mixes the audio and another uploads or changes graphics, while another person remotely color balances and controls the cameras.
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Used Blackmagic Design
Leading the Creative Video Revolution
Blackmagic has grown rapidly to become one of the world's leading innovators and manufacturers of creative video technology. And that's because our philosophy is refreshing and simple - to help true creativity blossom.Blackmagic Design's founders have had a long history in post-production editing and engineering. With extensive experiences in high-end telecine, film and post, harnessed with a real passion for perfection, Blackmagic set out to change the industry forever.
Dedicated to Quality and Stability
A company dedicated to quality and stability and focusing on where it's needed most; Blackmagic has created some of the most talked about products in the industry. World famous for their unbeatable codecs, Blackmagic envisioned truly affordable high-end quality editing workstations built upon Blackmagic software and hardware.What ever it takes to give creative editors and designers the very best quality tools
In November 2002, Blackmagic launched the DeckLink capture card and in doing so single handedly made working in true 10 bit uncompressed video on a Macintosh OS X™ system an affordable reality. The DeckLink card has become a market-leading product due to Blackmagic Design's philosophy of delivering "what ever it takes to give creative editors and designers the very best quality tools"
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Aspect Ratio: The ratio of image width to image height. Common motionpicture ratios are 1.85:1 and 2.35:1. Television screens are usually 1.33:1 (also known as 4:3), which is similar to the Academy standard for films in the `50s. HDTV is 1.78:1, or 16:9. When widescreen movies (films with aspect ratios wider than 1.33:1) are displayed on 1.33:1 televisions, the image must be letterboxed, anamorphically squeezed, or panned-andscanned to fit the screen.
ATSC: Advanced Television Systems Committee. Government-directed committee that developed our digital television transmission system.
Attenuate: To turn down, reduce, decrease the level of the opposite of boost.
Black Level: Light level of the darker portions of a video image. A black level control sets the light level of the darkest portion of the video signal to match that of the display`s black level capability. Black is, of course, the absence of light. Many displays, however, have as much difficulty shutting off the light in the black portions of an image as they do creating light in the brighter portions. CRT-based displays usually have better black levels than DLP, plasma, and LCD, which rank, generally, in that order.
Brightness: For video, the overall light level of the entire image. A brightness control makes an image brighter however, when it is combined with a contrast, or white level control, the brightness control is best used to define the black level of the image (see Black Level). For audio, something referred to as bright has too much treble or high frequency sound.
B-roll: Supplementary video of scenes and interviews used to complement the primary video.
Cathode Ray Tube: (CRT) Analog display device that generates an image on a layer of phosphors that are driven by an electron gun.
Chrominance: (C) The color portion of a video signal.
Coaxial: 1) A speaker typically with one driver in the middle of, and on the same axis as, another driver. 2) An audio or video cable with a single center pin that acts as the hot lead and an outer shield that acts as a ground.
Codec: Mathematical algorithms used to compress large data signals into small spaces with minimal perceived loss of information.
Component Video: A signal that`s recorded or transmitted in its separate components. Typically refers to Y/Pb/Pr, which consists of three 75-ohm channels: one for luminance information, and two for color. Compared with an S-video signal, a Y/Pb/Pr signal carries more color detail. HDTV, DVD, and DBS are component video sources, though most DBS material is transcoded to component from composite signals.
Composite Video: A signal that contains both chrominance and luminance on the same 75-ohm cable. Used in nearly all consumer video devices. Chrominance is carried in a 3.58-mHz sideband and filtered out by the TV`s notch or comb filter. Poor filtering can result in dot crawl, hanging dots, or other image artifacts.
Contrast: Relative difference between the brightest and darkest parts of an image. A contrast control adjusts the peak white level of a display device.
DBS: Direct Broadcast Satellite. Term that replaced DSS to describe smalldish, digital satellite systems such as DirecTV and Network.
Digital Theater Systems: See DTS.
D-ILA: Direct Drive Image Light Amplifier. This Hughes/JVC technology uses a reflective LCD to create an image. A light source is then reflected off the reflective LCD and is directed through a lens to a screen.
Direct-View Television: Display whose image is created on the surface from which it is viewed.
DLP: Digital Light Processing. A Texas Instruments process of projecting video images using a light source reflecting off of an array of tens of thousands of microscopic mirrors. Each mirror represents a pixel and reflects light toward the lens for white and away from it for black, modulating in between for various shades of gray. Three-chip versions use separate arrays for the red, green, and blue colors. Single-chip arrays use a color-filter wheel that alternates each filter color in front of the mirror array at appropriate intervals.
DMD: Digital Micromirror Device. Texas Instruments engine that powers DLP projectors. Uses an array with tens of thousands of microscopic mirrors that reflect a light source toward or away from the lens, creating an image. Each mirror represents a pixel.
Dot Crawl: An artifact of composite video signals that appears as a moving, zipper-like, vertical border between colors.
DTV: Digital Television. Umbrella term used for the ATSC system that will eventually replace our NTSC system in 2006. HDTV is a subset of the DTV system. While the FCC does not recognize specific scan rates in the adopted DTV system, typically accepted rates include 480i, 480p, 720p, and 1080i.
D-VHS: Digital VHS. Digital signals recorded onto magnetic tape. Greater capacity than typical VHS can record compressed HDTV signals. See D- Theater.
DVD: Officially known as the Digital Video Disc, though marketers unofficially refer to it as the Digital Versatile Disc. DVD uses a 5-inch disc with anywhere from 4.5 Gb (single layer, single-sided) to 17 Gb storage capacity (double-layer, double sided). It uses MPEG2 compression to encode 720:480p resolution, full-motion video and Dolby Digital to encode 5.1 channels of discrete audio. The disc can also contain PCM, DTS, and MPEG audio soundtracks and numerous other features. An audio-only version, DVD-A uses MLP to encode six channels of 24-bit/96-kHz audio.
DVD-A: Digital Versatile Disc-Audio. Enhanced audio format with up to six channels of high-resolution, 24-bit/96-kHz audio encoded onto a DVD, usually using MLP lossless encoding. Requires a DVD-A player and a controller with 6-channel inputs (or a proprietary digital link) for full compatibility.
DVD-R: A recordable DVD format similar to CD-R in that it is a write-once medium. Backed by Pioneer, Panasonic, Toshiba, and others.
DVD-RW: A recordable DVD format similar to CD-RW in that it is rerecordable medium. Backed by Pioneer, Panasonic, Toshiba, and others.
DVD+R: A recordable DVD format similar to CD-R in that it is a write-once medium. Backed by Sony, Philips, Yamaha, HP, and others.
DVD+RW: A recordable DVD format similar to CD-RW in that it is rerecordable medium. Backed by Sony, Philips, Yamaha, HP, and others.
DVD-RAM: A recordable DVD format similar to DVD-RW in that it is a rewriteable format. Unlike DVD-RW it is capable of being written to and erased over 100,000 times. Backed by Hitachi, Panasonic, Toshiba, and others
DVI: Digital Visual Interface. Connection standard developed by Intel for connecting computers to digital monitors such as flat panels and DLP projectors. A consumer electronics version, not necessarily compatible with the PC version, is used as a connection standard for HDTV tuners and displays. Transmits an uncompressed digital signal to the display. The latter version uses HDCP copy protection to prevent unauthorized copying. See also HDMI.
Dynamic Range: The difference between the lowest and the highest levels in audio, it`s often expressed in decibels. In video, it`s listed as the contrast ratio.
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Professional used audio equipment.| Professional second hand audio equipment.| Professional pre owned audio equipment.
Second hand audio gear. | Second hand lighting.
Pro audio equipment, second hand amplifiers, DJ, second hand sound systems, second hand Microphones, second hand Media Players.
Outdoor & Indoor LED screens for sale, LED mobile truck.
Light trussing, Gebrauchte Veranstaltungstechnik, used stage equipment Stage & Theatre lighting products.