Feature Request: 1080p/30 or 1080p/60 support

Hey BMD team (and awesome new forum). I figured I would add this as a feature request here and see where it goes.

There is this nifty new camera called the Blackmagic Cinema Camera that looks awesome for capturing. Not quite suited for live events... yet... But one thing really holding it back from live is the fact that the ATEM switchers can't do 1080p and that is the lowest resolution the Cinema camera will output. Sure I could request that the camera output 1080i/60 but where is the fun in that?

Instead I think it would be uber awesome if the ATEM switchers supported 1080p/30 to start with. The nice thing about that is that I don't think it will be that much harder than 1080i/60 as it should be the same amount of data. Then a computer could be linked to the system via a Blackmagic HDMI to SDI adapter and it would be a nice 1080p image rather than interlaced. Ideally in this mode the switcher would be able to input 1080i content and work with it as well, but I know I'm asking a lot there.

Taking this a step further, 1080p/60 would be freakishly awesome! Best of all worlds as it were. Nice high frame rate and great quality at the same time. Woah! Not sure the hardware can deal with this, but if it can that would be awesome.

Once the ATEM can input a 1080p image, the next step would be to allow painting the image of the Cinema camera so we can color match multi-cameras in a live production. Would also want remote focus/zoom for the operators. And if I may dream for a moment... a completely new camera based on the Cinema camera but driven around live. It can still record, but it features fiber on-board that links to an ATEM Studio converter. The camera would have tally on-board as well as comms and the screen could show return video (or PiP of active and return video for the operator). Complete remote control over painting the image would also be supported. How cool would that be?

What doth the forum think?

Am not sure hardware-wise if their HD-SDI inputs can handle 1080p60, though should be able to handle 1080p30 since that's basically the same as 1080i (as you said).

I'd rather have it the other way around, have the BMCC output 1080i, as most other cameras and devices handle that.

Or, the best of both worlds, the ability for the ATEM switchers to handle multiple resolutions (1080/720) and frame rates at the same time, but I believe that's a hardware limitation.

I'm with you on the 1080p30/60 (especially as it would allow me to plug in an Xbox for my computer gaming events and not have the gamer whine I am asking him to play in 720P60....)

I wouldn't say no to a PTZ made from the BMDCC, it wouldn't need all the recording and direct monitoring "fluff" (sorry, but its all about live, baby ). As for Fibre and Tally, for me personally its largely unimportant. Fibre is a little too delicate for my ape like MAN CRUSH PUNY VIDEO hands and the primary reason for a robotic camera is because its inconvenient to put a person behind it to drive it. Usually this is because its up in the Gods, where a tiny red light would be either invisible or a distraction.

I would like to see a 3rd resolution mode for the ATEM of 1080 24p (23.976 psf)
Since I work on set with Arri Alexas and Reds and Sony F35s all of which are outputting 1080 24p for low latency monitoring I would love to feed multiple camera outputs to the ATEM switcher for video assist or for split screen/DSK special effects precision alignment on set. Since they sometimes record off camera they don't like to set the camera to 60i output because of the latency. Also the HDSDI out from the BMCC should work as well when shooting 24p.

Im using the ATEM 1 M/E and it does 1080 30p just fine. I havent ever tried 1080 60p yet though.

Im using the ATEM 1 M/E and it does 1080 30p just fine. I havent ever tried 1080 60p yet though.

I have never gotten a true 1080p/30 source to work... Are you sure your camera isn't set to record 1080p/30 but output 1080i/60 like a Canon Vixia does?

Thanks,

B

That very well could be but I'm not sure it does. I use Panasonic HPX 130's. I would have to look into that.

Wow, fully amazing and "possible new field of revenue that BMD must look over"

First, the BMD must find a common signal between Atem and CC. The previous post cover mostly that point.

Second, find a suitable lense with a variable focal and with remote focus and zoom (at best suited on tripod handle, many manufacturer have solution for this). The CC already have a display that can work well as viewfinder, this kind of "package" could derive in a very cost effective "?"Studio Camera"?".

Third, communication and control between Camera and control room: the CC typically output image as RAW (it's suitable for cinema market as coloration is done after shooting in system like Resolve). In a live situation I see a kind of CCU based on a rack unit including an embedded computer running Linux and a derived version of Resolve suited for live work. In this manner the CCU operator can adapt camera output (coloration, ....) as needed for live situation.

More precise:
- This kind of CCU must remotelly control IRIS and GAIN (Via fiber ???, would require a new version of camera and studio converter).
- The CCU software control derived from Resolve, only need to be a subset of all features required for cinema. It can have graphical user interface via ethernet to control the process of the software, but most of the usual functions should be acesible by normal knob and pot on the face place of the rackmount CCU.

Manny other and lest important point must be addressed but the camera and studio converted cover most of the communication, tally and signal run.

For sure a well designed "BMD Studio Camera" based on the Cinema Camera is welcome.

Alain.

I love your idea, Alain, and have also made similar suggestions before. Let's hope it happens!!

Second, find a suitable lense with a variable focal and with remote focus and zoom (at best suited on tripod handle, many manufacturer have solution for this). The CC already have a display that can work well as viewfinder, this kind of "package" could derive in a very cost effective "?"Studio Camera"?".

There is nothing in this proposal that is doable at any price anyone would be willing to pay in a way that would justify the R&D costs of said camera.

What would you be willing to pay?

A studio camera REQUIRES a parfocal zoom lens. Part of the definition of BEING a studio camera. I know... My career has been BUILT around studio and OB production.

Price a parfocal powered zoom lens for large format imagers. There aren't many...

Mid 5 figures, last time I looked. (~$50k)

EVERYONE is trying to get into multicamera live switched but VERY few have any experience doing it.

There is more to it than just begging a manufacturer to build a camera.

EVERYONE is trying to get into multicamera live switched but VERY few have any experience doing it.

LOL, Shaun you seen a little bit frustrated ?

Not all today live situation require "Hi End Broadcast Quality" zoom lens, like Canon or Fujinon does.

I've SEEN and WORKED in many sports and others live events with 2/3 CCD studio package equiped with video lenses that cost far less than the High End lenses.

I've SEEN and WORKED in many sports and others live events with 2/3 CCD studio package equiped with video lenses that cost far less than the High End lenses.

Yes. 2/3". NOT APS-C, Super35mm or M4/3.

A parfocal variable focal length powered zoom lens that would mount onto a BMCC starts somewhere around $50k.

2/3" inch lenses:

http://www.bhphotovideo.com/c/search?Ns ... rtclk=sort

START at $2000. HD lenses start at $5000.

Super35 PL zoom lenses start at $20k

http://www.bhphotovideo.com/c/buy/Lense ... 4237293405

Powered 35mm zoom starts at $38k

http://www.bhphotovideo.com/c/product/8 ... io_pl.html

Parfocal non-powered zoom for FF35:

http://www.bhphotovideo.com/c/product/8 ... _zoom.html

$20k.

I do agree with Shaun about the lenses. Best to stick with 2/3" or 3/4" for multi-cam live sports.

1080i-PsF will get you the same results, while staying within the official spec of HD-SDI. Not sure if the camera you are using supports PsF.