Blackmagic Camera App - Feature Requests

@Kurt
I can't reproduce the issue anymore. Time-lapse is working fine in CP3.

Yes.

1. Do you use iOS 17.2.1 and Cinema P3 Pro 1.3.55?

2. Did you select the preset before recording? If yes, then…

3. Have you used another Camera App between the Time Lapse attempts? If not, then…

Usually you do not even have to start Time Lapse in other Apps, just “activate” the setting/possibility. If in doubt, try the same step-by-step approach, that I described.

IF you didn’t call for trouble, chances are, you won’t get any

Regards and a happy new year.

@Kurt
I can't reproduce the issue anymore. Time-lapse is working fine in CP3.

Yes.

1. Do you use iOS 17.2.1 and Cinema P3 Pro 1.3.55?

2. Did you select the preset before recording? If yes, then…

3. Have you used another Camera App between the Time Lapse attempts? If not, then…

Usually you do not even have to start Time Lapse in other Apps, just “activate” the setting/possibility. If in doubt, try the same step-by-step approach, that I described.

IF you didn’t call for trouble, chances are, you won’t get any

Regards and a happy new year.

Same versions, yes.
I started the BM app and then went back.

I'll try again next year

Same versions, yes.
I started the BM app and then went back.

I'll try again next year

What mode for BM (also try Apple Time Lapse).

Regards

P.S. Why not move to the thread containing the “history”?

Happy New Year, everybody!

@ Kurt and Peter
Yeah, sorry, wrong thread. I think it rather belongs here:
viewtopic.php?f=2&t=193419&p=1010248#p1010248

Apparently a 48mm "native" oversampled 2x zoom is possible with the iPhone 15 Pro/Pro Max.

We really need that implemented into Blackmagic cam, would still love some higher bitrate options for H265 as well as the option to turn off the Lut preview whenever I start recording to minimize lag.

Two out of three ain't bad: CinemaP3. It's even transitioning smoothly between 1x and 2x.
Plus higher data rates for HEVC.

Two out of three ain't bad: CinemaP3. It's even transitioning smoothly between 1x and 2x.
Plus higher data rates for HEVC.

Will check it out, does it have a native 48mm oversampled mode? Basically turning off pixel binning to get the full resolution still.

Photos in 4032 by 3024 in RAW will not suffice?

I'd prefer a waveform monitor over a histogram for exposure evaluation. Overall, it's easier to see, and for me at least, it's easier to see brightness content.

Cinema P3 has a waveform, even full-screen if you need it, and quite a few other scopes.

Cinema P3 has a waveform, even full-screen if you need it, and quite a few other scopes.

I know. Thanks. That's how I came to prefer it.

Blackmagic really needs to have higher bitrate options for H265. 35mbps isn't enough.

Seconded.

In the meantime, if you’re editing in post, I’d shoot ProRes 422 HQ.

Or use an app with higher data rates for HEVC.

Zebra levels are not saved when you make a preset - this should be implemented as zebra levels change with ISO.

Hi, I would love to reccord high quality log footage in my iPhone to latter compose with a virtual set made in Unreal, Blender or Fusion.

I believe one simple approach would be adding to Camera App the funcionality of taking iOS ARCamera position and euler rotation data every frame (+ lens apperture, focus distance and zoom info) and writing it to disk (in sinc with the time stamp of the frame). The data could be saved in a generic 3d format like FBX, GLB and/or USD along side with each take.

One would use the 3d data to controll a vitual camera and render a virtual set to compose in Resolve Fusion with the footage...

There are some iOS apps capble of some similar approach, but none with the image quality that BM Camera App allows.

Uploaded today...

Blackmagic Camera App’s MISSING FEATURES!

Uploaded today...

Blackmagic Camera App’s MISSING FEATURES!

Missing native 48mm (non binned) 2x lens and low H265 bitrates are my biggest gripes so far with this app.

Uploaded today...

Blackmagic Camera App’s MISSING FEATURES!

Missing native 48mm (non binned) 2x lens and low H265 bitrates are my biggest gripes so far with this app.

Agreed on the huge lens gap. 24 to 120 is a big jump. The very commonly used, do-all "nifty fifty" should be made available, even if it's a close-enough 48mm.

User-selectable h.265 data rate gets another head nod from me. If other apps can do it, why not BMD?

A giant, easily-read waveform monitor. I find it much easier to evaluate exposure with that industry standard tool. I'm not suggesting we get rid of the histogram, just give us the same evaluation tools that we're used to seeing in Resolve.

One-button, effortless "lock everything" control. An easily-invoked one-button switch from full auto to full manual. Lock shutter, white balance, ISO and focus at the current values for the duration of the current take. Maybe even make it a user selectable choice to auto invoke this function when recording.

Zooming, a sometimes-reviled film maker's conventional tool, is also sometimes extremely valuable. Again, other apps can do it. Make it available under auto software control. Not like attempting to pull focus with the screen control, which is virtually impossible to do currently. C3P does this elegantly.

At the risk of repeating myself, user-selectable audio roll/cut notification. Remove the unnecessary responsibility to carefully inspect the viewfinder to ensure protection against inadvertent double presses or misses.

I said before, maybe it's time for a "Studio" version. I'd cheerfully pay for more functionality.

Uploaded today...

Blackmagic Camera App’s MISSING FEATURES!

Missing native 48mm (non binned) 2x lens and low H265 bitrates are my biggest gripes so far with this app.

Agreed on the huge lens gap. 24 to 120 is a big jump. The very commonly used, do-all "nifty fifty" should be made available, even if it's a close-enough 48mm.

User-selectable h.265 data rate gets another head nod from me. If other apps can do it, why not BMD?

A giant, easily-read waveform monitor. I find it much easier to evaluate exposure with that industry standard tool. I'm not suggesting we get rid of the histogram, just give us the same evaluation tools that we're used to seeing in Resolve.

One-button, effortless "lock everything" control. An easily-invoked one-button switch from full auto to full manual. Lock shutter, white balance, ISO and focus at the current values for the duration of the current take. Maybe even make it a user selectable choice to auto invoke this function when recording.

Zooming, a sometimes-reviled film maker's conventional tool, is also sometimes extremely valuable. Again, other apps can do it. Make it available under auto software control. Not like attempting to pull focus with the screen control, which is virtually impossible to do currently. C3P does this elegantly.

At the risk of repeating myself, user-selectable audio roll/cut notification. Remove the unnecessary responsibility to carefully inspect the viewfinder to ensure protection against inadvertent double presses or misses.

I said before, maybe it's time for a "Studio" version. I'd cheerfully pay for more functionality.

I'm not against any. - OPTIONALLY - selectable capabilities.

As long as the presets get a thorough overhaul to ease daily use. It's clearly a "stop-gap stick-on" implementation in need of some "upgrade" - not just a "quick fix".

I'm currently only using Blackmagic Camera for ProRES 422 or 422HQ 25/25 or 50/50, when I have to include 32-bit float into the actual recording. The limitations of some of the settings make anything else cumbersome in my eyes (YMMV).

For ALL other use cases (especially, when audio is used only for scratch for later use), I use Cinema P3 Pro (also various ProRES settings),

Since I use FCPX (currently 10.7.1) in most cases anyway for high bitrate h265 10-bit 422 2020 HLG renders (often multi codec and speed setups in "one go") rendering through Apple Compressor settings (accessable directly from FCPX). YMMV.

Audio sync in DaVinci Resolve Studio 18.6.4 Build 6 has become far too complicated (I often have to do manual adjustments of audio tracks to get somewhere near ideal sync, before Davinci Resolve Studio deigns to "micro adjust automatically" to required precision. If I let FCPX loose on exactly the same material, audio sync problems seldom arise.

When internal audio in 422(HQ) is only used for scratch, the sync capabilities become vital, involving anything from combinations of multitrack mono, multiple versions of M-S Stereo and 32-bit float in 1, 2 or up to 6 channel forms).

I love the clear and advanced audio options in Davinci Resolve, but love doesn't render easily

Regards

[Peter Chamberlain]

Be sure to try syncing the dual system audio to track 1 on your video clip. If your video clip has the sync audio track on another channel, move it to track 1 in clip attributes to sync.

Is it possible to shoot LOG, but then export the clip with a LUT burned in? Or maybe even an option for the Proxy to have the LUT on it already.

I'd like to send a clip to someone right away for approval, but then still grade while editing.

Baked in is baked in.
But I'd second a feature request for an option to apply the LUT to proxies.

Be sure to try syncing the dual system audio to track 1 on your video clip. If your video clip has the sync audio track on another channel, move it to track 1 in clip attributes to sync.

Doesn't work reliably in my latest use cases.

Material description:


Video: ProRES 422 (or HQ) 50fps, 32-bit float, dual channel "RAW" Mid-Side audio.

Audio Left: 32-bit float mono channel (for binaural use). Started manually around 20-25 sec before "video" (lasting around 15 seconds longer).

Audio Right: 32-bit float mono channel (for binaural use). Started manually around 10-15 sec before "video" (lasting around 30 second longer).

Use case:

M-S microphone recorded straight into my iPhone 15 Pro (main track required). Typical duration around 120 seconds.

The two mono mics are mounted roughly 18 cm apart, with the M-S in the center on a three cold-shoe mount. They need reliable syncing to main material.

Left and right mono-channel recorders are started (Zoom F2) successively, then the video recording (on a tripod in this test case).

After starting anything up, there are three, quick hand claps just above the center M-S microphone.

Approach to be used for between 10 and 20 "snippets" (varying lengths around the stated duration above).

Result

One test "snippet" only. Initially as described above.

Direct sync impossible. Request just ignored by my "Resolve Studio" (in this case 18.6.4 Build 6). Not even a hint, that something went wrong, and a reason why.

Retried various approaches, but the only approach that worked, was manually adjusting the three tracks (one video plus audio and two mono tracks) to very NEAR usable by hand, and then request automatic sync based on audio content. Otherwise no dice!!!

Repeated test with 24-bit material (simple conversion in outside audio editor, but otherwise not altered). Same result.

Now imagine 10-20 "snippets" requiring this manual approach EACH and EVERY time, just because Davinci Resolve Studio steadfastly rejects, what FCPX does routinely.

In this case, FCPX (10.7.1) given same original material, just selected and sync'd immediately, without large ado in form of doing 95% of the repositioning to help Davinci recognizing the three VERY clear (and LOUD) quick claps figuring prominent (without clipping) in all materials.

Earlier versions of both have similar behaviour.

Davinci Resolve Studio already has some shortcomings in other situations; just imagine 10-bit UHD ProRES 422 from iPhone replace with 12-bit 5.9k ProRES RAW from Lumix S5) and sometimes a requirement of delivery in ProRES (typically 4444 (HQ) with Alpha) - both requiring extra steps.

On top of partial manual sync of any "audio" in numerous "snippets".

In this test case, I did not need ProRES RAW video and no export to ProRES. For test purposes, even low h265 10-bit 4:2:2 UHD bitrates (100-150 megabit/sec) would have sufficed.

After a loooot of "fiddling around" (moving tracks up and down too), converting from 32-bit float to 24 bit PCM and even activating the M-S to stereo plugin (various settings for "stereo width" to see, if that had any effect). No dice.

Suffice to say, that I scrapped that project, cranked FCPX into action, and shortly after, everything was sync'd, cut and adjusted, ready for my standard compressor "simple TV test use case" export (h264 4:2:0 50, 75 megabit/sec, h265 4:2:0 50, 75, 100, 150 megabit/sec) taking care of most format read limitations of various standard "4k" TV's released to the unsuspecting public since 2020 (older models have even more "exciting" limitations in petto for the unsuspecting cutter).

Regards

Baked in is baked in.
But I'd second a feature request for an option to apply the LUT to proxies.

True, but it could be an export / share option. For example 'Share > Save video with LUT'

Since that would be a separate step anyway, I'd suggest using an app like VideoLUT or an editor like LumaFusion. At least until BM may add it for us.

Doesn't work reliably in my latest use cases…

I am correct that you’re not using Tentacle Sync to synchronize your video with your audio recorder? If not, why not adopt use of Tentacle Sync. I think I’m missing something so apologies for my oversight.

In the past, I’ve occasionally had difficulties at times where Resolve mysteriously has failed to sync audio by waveform with video when I could simply do it myself manually matching waveforms to scratch audio. But since using Tentacle syncs on each camera and the MixPre-6 II audio recorder, no issue.

Doesn't work reliably in my latest use cases…

I am correct that you’re not using Tentacle Sync to synchronize your video with your audio recorder? If not, why not adopt use of Tentacle Sync. I think I’m missing something so apologies for my oversight.

In the past, I’ve occasionally had difficulties at times where Resolve mysteriously has failed to sync audio by waveform with video when I could simply do it myself manually matching waveforms to scratch audio. But since using Tentacle syncs on each camera and the MixPre-6 II audio recorder, no issue.

I don't use timecode, when using several "lavalier" recorders (like Zoom F2-BT), recording on iPhone 15 Pro, and using a few self-contained 32-bit float units (Zoom M3 M-S setup or F3 with fixed ORTF setup or blimp based Sennheiser shotgun feeds), maybe assisted by a directly digitally (USB-C) Shure M-S microphone) in my usual run-and-gun/travel situations.

It's no problem, when using FCPX, and handling extra timecode connections in all variations of this, that and the other setup combination is - frankly - too messy for my use. Only Davinci Resolve (Studio version) trows prima donna tantrums, when syncing multiple audio channels. It's a fairly recent behaviour; I do not recall the same problems or even similar severity in 17 and earlier major versions.

In stationary use, there's no problem in timecode syncing even multiple Zoom F6 32-bit float recorders, but still requiring sync in post, when several Zoom F2-BT units are put to good, flexible use placed on "moving talent" (each lavalier being recorded individually on 48kHz 32-bit float on person), no "WiFi" transmissions involved at all.

In a one-man band, even having trouble avoiding tripping on the current, minimized selection of individual and shortest possible cables (down to 4-5 inches/12-15cm) timecode sync is not really practical (neither is Bluetooth, when distances reach more than a few meters). I have enough gear on my hand

You could view a recording situation "scrum" - bathing in the masses celebrating Dia de los Muertos comparsa in i.e. barrio Jalatlaco in Oaxaca city in Mexico - as a not too uncommon situation (or carnival, Semana Santa, Chingay and all other forms of processions - sombre or really lively). I wouldn't even have time to check, if timecode was working, so my whole "standard setup" is based on no timecode use for practical use and maximum flexibility in gear choice at any one moment.

Aim is to catch life, as it is lived "out there" in real life, anywhere.

Regards

bathing in the masses celebrating Dia de los Muertos comparsa in i.e. barrio Jalatlaco in Oaxaca city in Mexico

Well, been there, enjoyed it (living in Puebla de Los Angeles for half a year), but I can understand why it won't sync. I'm afraid only an improvised clapper will help.
If FCP-X really syncs that, kudos to Apple's developers! Sync there and move it over.
This might be helpful (sorry, in German):
https://www.dropbox.com/scl/fi/26popkz9 ... m0rtp&dl=0

bathing in the masses celebrating Dia de los Muertos comparsa in i.e. barrio Jalatlaco in Oaxaca city in Mexico

Well, been there, enjoyed it (living in Puebla de Los Angeles for half a year), but I can understand why it won't sync. I'm afraid only an improvised clapper will help.
If FCP-X really syncs that, kudos to Apple's developers! Sync there and move it over.
This might be helpful (sorry, in German):
https://www.dropbox.com/scl/fi/26popkz9 ... m0rtp&dl=0

I’m the “improvised clapper”!

When dermed necessary, I do a “loud triple clap”, that cannot be mistaken for anything else in (nearly) all situations. Not much worse, than a free-running recording after initial timecode jam. Far more flexible, if all channels are required for needed audio!

My “triple clap” is also far more “handy”, than connecting devices, for a repeated jam sync

It’s the need to manually adjust tracks to near perfection (within some frames) in order for Davinci Resolve Studio to accept the audio sync request, that irks me no end!

Regards

I don't use timecode, when using several "lavalier" recorders (like Zoom F2-BT), recording on iPhone 15 Pro, and using a few self-contained 32-bit float units (Zoom M3 M-S setup or F3 with fixed ORTF setup or blimp based Sennheiser shotgun feeds), maybe assisted by a directly digitally (USB-C) Shure M-S microphone) in my usual run-and-gun
… several Zoom F2-BT units are put to good, flexible use placed on "moving talent" (each lavalier being recorded individually on 48kHz 32-bit float on person), no "WiFi" transmissions involved at all.

In a one-man band… timecode sync is not really practical (neither is Bluetooth, when distances reach more than a few meters). I have enough gear on my hand…

I wouldn't even have time to check, if timecode was working, so my whole "standard setup" is based on no timecode use for practical use and maximum flexibility in gear choice at any one moment…

Thanks for the detailed explanation. I agree that there’s impracticality in applying timecode to individual recorders on each person who is wearing a Bluetooth mic. Good FCP handles all this flawlessly.

In the theatre, we have concurrently used up to 16 WiFi mics worn by the actors on stage together. Tried 17, but that failed as it can be too difficult to get 17 free channels in the real world. I don’t know how many of your BT devices are involved concurrently, but BT is not appropriate unless the corresponding recording devices are worn by the actors. In my judgment, it’s not an ideal design. WiFi is much easier to wrangle but you need an audio person on a mixer.

I’ve captured those 16 channels using Adante and other audio software on a Mac laptop as isolated tracks for DaVinci Resolve to sync to my video after further processing in Reaper. It was nail-biting and somewhat miraculous that it worked in conjunction with my own traditional mics supplementing the sound where inevitably WiFi would have a glitch due to other WiFi interference likely!

I don't use timecode, when using several "lavalier" recorders (like Zoom F2-BT), recording on iPhone 15 Pro, and using a few self-contained 32-bit float units (Zoom M3 M-S setup or F3 with fixed ORTF setup or blimp based Sennheiser shotgun feeds), maybe assisted by a directly digitally (USB-C) Shure M-S microphone) in my usual run-and-gun
… several Zoom F2-BT units are put to good, flexible use placed on "moving talent" (each lavalier being recorded individually on 48kHz 32-bit float on person), no "WiFi" transmissions involved at all.

In a one-man band… timecode sync is not really practical (neither is Bluetooth, when distances reach more than a few meters). I have enough gear on my hand…

I wouldn't even have time to check, if timecode was working, so my whole "standard setup" is based on no timecode use for practical use and maximum flexibility in gear choice at any one moment…

Thanks for the detailed explanation. I agree that there’s impracticality in applying timecode to individual recorders on each person who is wearing a Bluetooth mic. Good FCP handles all this flawlessly.

In the theatre, we have concurrently used up to 16 WiFi mics worn by the actors on stage together. Tried 17, but that failed as it can be too difficult to get 17 free channels in the real world. I don’t know how many of your BT devices are involved concurrently, but BT is not appropriate unless the corresponding recording devices are worn by the actors. In my judgment, it’s not an ideal design. WiFi is much easier to wrangle but you need an audio person on a mixer.

I’ve captured those 16 channels using Adante and other audio software on a Mac laptop as isolated tracks for DaVinci Resolve to sync to my video after further processing in Reaper. It was nail-biting and somewhat miraculous that it worked in conjunction with my own traditional mics supplementing the sound where inevitably WiFi would have a glitch due to other WiFi interference likely!

I know. I'm not rejecting timecode use in controlled environments - on the contrary - but the setup is seldom as straight forward in real life, as "advertised", unless you're working with a "house controlled" internal system, and gear has been chosen according to these requirements.

In theory F2-BT could be locked to Ultrasync Blue, but the behaviour is NOT reliable (internal timer or running time code) and also removes remote control option (nice to stop recording, if talent has to take a leak, need to do private talks etc

Regards

As I use a gimbal (Homem Steady M6) with 15 pro max, I would love to be able to control focus and zoom from the gimbal . The only thing I can control is the shutter button , but only if I activate in Blackmagic Camera app settings the function "Use Volume Button To Trigger Record" . If I try to use hdmi out from phone this function is deactivated. I am sure other users with other gimbal models (like Oslo 6 from DJI) would appreciate this. Thanks.

That’s the beauty of the MixPre-II. I can jam Timecode once at the shoot and then remove the Tentacle Sync to jam the cameras. The MixPre is amazingly reliable at holding the Timecode compared to my cameras. Certainly 4 hours with Timecode set in a few seconds for all the isolated channels.

When I perform my cuts and pastes and moves in Resolve, having the Timecode displayed for all video and audio tracks on Resolve’s Edit monitor makes checking your sync so quick. One of those things that you can’t live without once you get used to using it.

Hi

To the developers of the Black Magic Camera app, eg for iOS/iPadOS, could you please:

Add an option to record video directly to the Photos app.

Currently, we can choose to save to the Photos app AND the BMC app at the same time, but 200GB of recordings will of course take up 400GB in this case. Otherwise, we have to manually delete duplicate recordings to free up space. This is my understanding anyway.

Regards, and thanks for an amazing app. That's free!

Leroi

First of all, thank you for such a great app! ❤️

I have a few suggestions for improvement:

1) it turned out that this cool app has the ability to record video and switch between different modules at the same time, but as it turned out, when switching between the front and main modules, one of the pictures is turned upside down.
At first, I thought maybe something needed to be activated in the settings, but I didn't find anything like that, so it would be great if you could fix it!
I tested it on the iPhone 15 Pro and 12 Pro, I thought maybe it depends on the model, but the result is the same.

2) when the shutter speed is locked, there is no way to set the ISO to auto mode only manual, but it would be cool if there was such an opportunity

3) and it would be cool to be able to pause the video

Sorry if someone has already written about this, but I think that these 3 points would greatly improve this application, although at the moment it is still really cool!

Please move your post to this thread as BMD is trying to keep these feature requests in one thread:

Blackmagic Camera App - Feature Requests
https://r.tapatalk.com/shareLink/topic? ... source=app

Thanks.

That’s the beauty of the MixPre-II. I can jam Timecode once at the shoot and then remove the Tentacle Sync to jam the cameras. The MixPre is amazingly reliable at holding the Timecode compared to my cameras. Certainly 4 hours with Timecode set in a few seconds for all the isolated channels.

When I perform my cuts and pastes and moves in Resolve, having the Timecode displayed for all video and audio tracks on Resolve’s Edit monitor makes checking your sync so quick. One of those things that you can’t live without once you get used to using it.

Now... now... a MixPre-anynumber is hardly something you hide in the back under the blouse of a lady (I'm not brave enough to even suggest such a thing

Regards

I agree one isn’t going to conceal a MixPre. I wasn’t suggesting that. I’d want actors to wear WiFi transmitters.

Which are quite prone to interruptions in any urban environment. Tiny recorders with a stable TC might be the better solution. Or a combined device, which is transmitting, but also recording a backup.

Yes WiFi conflicts are an Achilles Heel. Perhaps the most recent WiFi technologies such as WiFi 6 or 6e will fare better.

Hi,

A feature that has been mentioned once by another user is the Record-Pause Button.

This feature is an absolute must for any video taken with family and friends. Without this option, it is required to edit the video files all the time to merge them together after we record a “moment”. Cause which kind of video can look pleasant to look at if we move all around with the camera? And which kind of video will be interesting to look at if we record a “moment” only from one angle?

I always use this app for professional purposes cause I will anyway edit everything in Davinci Resolve, but without the pause button, it’s unfortunately a no-go for all my other personnal video records.

One more request for (even if very limited) Apple Watch functionality.
Display camera's output.
Roll/Cut from watch.

Yes WiFi conflicts are an Achilles Heel. Perhaps the most recent WiFi technologies such as WiFi 6 or 6e will fare better.

I doubt it.

Next generation high end smartphones will fill the “air waves” everywhere, and - maybe - end 2025, the problems have only “moved up” to a higher level of congestion (I do not expect bandwith demands to decrease, when (mostly) centralised AI support (especially for the “universal translator” will become prevalent).

Just as bureaucracies, WiFi expands to use available resources, irrespectively of numbers involved.

Regards

Hi, I just used the app on a commercial production yesterday and ran into a snag that could be easily fixed. I ran my iPhone 15 Pro on a DJI RS2 with a USB-C adapter to allow for HDMI wireless monitor transmission, USB-C recording, audio recording from a Rode Wireless Pro, and constant charging.

Switching to the Wireless Pro in the settings, I would occasionally find that it had disconnected and defaulted back to the iPhone microphone between takes. Luckily I was recording to the microphone itself as well. I know you can see what audio source is currently being using inside Settings, or by tapping the meter on the camera screen to bring up the Gain adjustment. It would be nice however, to include the name of the audio source directly above the meter on the main camera screen so I can quickly glance to make sure the device is still connected before each take.

Other than that, it was a pretty pleasant experience overall and I do love this app. Thank you Blackmagic team!

It would be nice however, to include the name of the audio source directly above the meter on the main camera screen so I can quickly glance to make sure the device is still connected before each take.

That sounds like a good idea.

Given that we’re now 6 months from the app’s release, hopefully we’ll see a significant update at NAB. I think that Blackmagic needs to send a message that it’s serious about making Blackmagic Camera the dominant app. There should also be announcements of new hardware in addition to Tilta’s planned announcement of the Khronos iPhone “ecosystem”.