{"title":"-PROMOTED-","description":"","products":[{"product_id":"nikon-coolpix-p950-digital-camera","title":"Nikon COOLPIX P950 Digital Camera","description":"\u003cp\u003eCharacterized by its expansive zoom, the \u003cstrong\u003eCOOLPIX P950\u003c\/strong\u003e, from \u003cstrong\u003eNikon\u003c\/strong\u003e, is a versatile compact camera offering a unique mixture of stills and video capabilities along with reach to photograph even the most distant of subjects. The 16MP 1\/2.3\" CMOS sensor features a back-illuminated design that contributes to a high degree of clarity and reduced noise to better suit working at high sensitivities and in difficult lighting conditions. The sensor also permits recording UHD 4K video at up to 30 fps, Full HD video at up to 60 fps, and in-camera time-lapse recording and movie creation.\u003c\/p\u003e \u003cp\u003eComplementing the imaging capabilities, the P950 is, of course, distinguished by its huge 83x optical zoom lens, which covers a 24-2000mm equivalent focal length range. This immense reach is benefitted by Dual Detect Vibration Reduction, which compensates for the effects of camera shake in order to realize sharper results when shooting handheld. Additionally, the P950 also features a bright 2.36m-dot OLED electronic viewfinder, large 3.2\" 921k-dot vari-angle LCD monitor, and has built-in Wi-Fi and Bluetooth for wireless sharing and remote camera control.\u003c\/p\u003e \u003cp\u003e16MP BSI CMOS Sensor and EXPEED Image Processor\u003c\/p\u003e \u003cp\u003eFeaturing a 16MP 1\/2.3\" BSI CMOS sensor, the P950 is capable of realizing high-resolution stills and video along with notable speed and sensitivity. The BSI design of the sensor yields reduced noise levels and greater image clarity when working within the expandable ISO 100-6400 sensitivity range. The sensor and EXPEED processor also enables quick continuous stills shooting up to 7 fps at full resolution to suit working with moving subjects.\u003cbr\u003e \u003cbr\u003e In addition to stills, the P950 is also capable of UHD 4K video recording at up to 30 fps and Full HD recording at 60 fps. Time lapse recording is supported, too, with in-camera processing to produce time lapse movies at 25 or 30 fps playback.\u003c\/p\u003e \u003cp\u003e83x Optical Zoom NIKKOR Lens\u003c\/p\u003e \u003cp\u003eThe P950's key feature is its impressive 83x zoom lens, which provides a huge wide-angle to super telephoto 24-2000mm equivalent focal length range. This range can be effectively doubled to 166x when using Dynamic Fine Zoom for even greater reach to truly isolate those distant subjects. At the wide-angle end, the lens has a bright f\/2.8 design to suit working in available light and Dual Detect VR also helps to minimize the appearance of camera shake to suit handheld shooting. Additionally, the lens's optical design incorporates Super ED glass to suppress a variety of aberrations throughout the zoom range for improved sharpness and clarity.\u003c\/p\u003e \u003cp\u003eBody Design\u003c\/p\u003e \u003cul\u003e \u003cli\u003eBright 2.36m-dot OLED electronic viewfinder is a clear and useful means for eye-level monitoring and benefits working at longer focal lengths by serving as an additional physical point of contact against the camera.\u003c\/li\u003e \u003cli\u003eFor image review and menu navigation, a large 3.2\" 921k-dot LCD is featured, and has a vari-angle design to better enable working from high, low, and front-facing angles.\u003c\/li\u003e \u003cli\u003eBuilt-in Wi-Fi and Bluetooth work in conjunction with Nikon's SnapBridge app for wireless file transferring and remote camera control from a linked mobile device.\u003c\/li\u003e \u003c\/ul\u003e","brand":"Nikon","offers":[{"title":"Default Title","offer_id":49365859107133,"sku":"CAMNICPP950","price":17399.95,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/5870\/8285\/files\/572793d3e466b604c051ec38f6ab250b.png?v=1770364850"},{"product_id":"caldigit-ts4-thunderbolt-4-18-in-1-hub","title":"CalDigit TS4 Thunderbolt 4 18-in-1 Hub","description":"\u003cp\u003eWhether you are a business professional, photographer, or graphic designer, you can turn your desktop in to a full-fledged workstation with the \u003cstrong\u003eCalDigit TS4 Thunderbolt 4 18-in-1 Hub\u003c\/strong\u003e. When combined with a Thunderbolt 4 compatible notebook or PC, the TS4 expands the utility of your device with ample ports and enhanced data transfer speeds for a streamlined desktop setup.\u003c\/p\u003e \u003cp\u003eA single Thunderbolt 4 host connection gives you two additional Thunderbolt 4 ports, offering data transfer speeds up to 40 Gb\/s and daisy-chaining technology so you can connect multiple devices such as storage drive arrays, displays, and more. Support a wide range of peripherals with three USB Type-C and five USB Type-A ports, all sporting a USB 3.2 Gen 2 interface for enhanced data-transfer speeds and quick file migration. Photographers can easily upload files with microSD and SD UHS-II ports built directly into the front of the device, alleviating the need for pesky adapters. You also get additional multimedia functionality with a DisplayPort 1.4 output, 3.5mm front access combo audio jack, and two 3.5mm rear line-in and line-out jacks.\u003c\/p\u003e \u003cp\u003eDisplayPort Output\u003c\/p\u003e \u003cp\u003eThe TB4 can support displays up to 8K resolution when only a single display is connected. Otherwise, the TB4 can support dual 4K 60 Hz displays on select devices such as Intel-based Macs, Windows operating systems, and Chrome OS. Original M1 based Macs do not support dual displays.\u003c\/p\u003e \u003cp\u003ePower Delivery\u003c\/p\u003e \u003cp\u003eCharge your device while it is connected to the hub with 98W Power Delivery, ensuring you are never low on notebook power when you need to pack up and go. Each downstream Thunderbolt 4 and USB 4.0 Type-C port offers 15W, front USB Type-C ports provide 20W, and the rest of the USB Type-C and Type-A ports offer 7.5W, allowing you to charge your phones, tablets, and other mobile devices when in use.\u003c\/p\u003e \u003cp\u003eInternet Connection\u003c\/p\u003e \u003cp\u003eIf you do not have access to your Wi-Fi connection or simply prefer a wired connection, a 2.5 Gigabit Ethernet port is available so you can quickly download documents, watch your favorite media, or even take part in conference calls with ease.\u003c\/p\u003e \u003cp\u003eSystem Requirements\u003c\/p\u003e \u003cp\u003eThunderbolt 4 is compatible with a range of operating systems running macOS 11.4 (Big Sur) or above as well as Windows 10 (20H2) or later. 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The system includes two transmitters with built-in omnidirectional microphones and dual-interface mesh, a dual-channel camera-mount receiver, and a charging case. Magnetic back clips and silicone necklace cases make attaching your transmitters to your talent a breeze. Various adapter cables and an integrated camera shoe mount ensure wide device compatibility.\u003c\/p\u003e \u003cp\u003eStable Audio Transmission\u003c\/p\u003e \u003cp\u003eHigh-gain Laser Direct Structuring (LDS) antennas ensure stable audio transmission free of all sorts of interference from up to 300m away. Environmental noise cancellation minimizes frequency interference for improved vocal clarity. The LARK M2 captures 24-bit 48 kHz audio with a 70 dB signal-to-noise ratio and 115 dB SPL.\u003c\/p\u003e \u003cp\u003eClip-On Transmitter Units\u003c\/p\u003e \u003cp\u003eThe transmitter features a dual-interference design with a metallic mesh that protects against dust and 2.4 GHz, infrared, and RFI interference. Easily attach the transmitter with its omnidirectional microphone to your subject of choice using the included magnetic back clips or the silicone necklace cases. A sheet of stickers allow you to customize the look of your transmitters with quirky faces or black\/white covers, which go over the Hollyland logo. Included furry windscreens improve your audio quality in outdoor applications.\u003c\/p\u003e \u003cp\u003eDual-Channel Camera-Mount Receiver\u003c\/p\u003e \u003cp\u003eThe receiver is dual-channel and features an integrated camera-mount interface. A 3.5mm TRS output port records audio directly to your device of choice. Onboard controls allow you to toggle between stereo and mono modes or adjust the volume of your recording. LED indicators show the mode status of each transmitter unit. Use the included USB-C, USB-C to Lightning, and 3.5mm TRS cables to adapt the existing ports on the receiver to a wide variety of devices.\u003c\/p\u003e \u003cp\u003eLarkSound App\u003c\/p\u003e \u003cp\u003eConnect your LARK M2 system to the LarkSound App to adjust parameters like volume and noise cancellation, update firmware, or check real-time audio status—all from your iOS or Android compatible smartphone. When filming with your mobile device, toggle remote video recording by pressing down on the transmitter's onboard button twice. Your smartphone can also playback your recordings when connected to the receiver without needing to unplug it.\u003c\/p\u003e \u003cp\u003eLong Battery Life, Charging Case\u003c\/p\u003e \u003cul\u003e \u003cli\u003eThe transmitters feature a 90mAh internal battery with a 10-hour battery life. The receiver features a 145mAh internal battery with a 9-hour battery life. 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Its 1950mAh internal battery can recharge the entire system three times for a total battery life of 40 hours.\u003c\/li\u003e \u003c\/ul\u003e","brand":"Hollyland","offers":[{"title":"Default Title","offer_id":51420443050301,"sku":"HOL-LARK-M2-DUO-CAMERA","price":2129.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/5870\/8285\/files\/5ba093a37e36d638121cc2506c549d6a.png?v=1771831306"},{"product_id":"canon-eos-rp-body","title":"Canon EOS RP BODY","description":"\u003cp\u003eCanon EOS RP BODY\u003c\/p\u003e \u003cp\u003eImpressively small despite having a large full-frame sensor, the \u003cstrong\u003eCanon EOS RP\u003c\/strong\u003e offers flexible imaging capabilities along with a portable form factor. Featuring a high-resolution 26.2MP full-frame CMOS sensor along with a DIGIC 8 image processor, both stills and UHD 4K video can be recorded using a broad sensitivity range, from ISO 100-40000, to suit working in a variety of lighting conditions. Continuous shooting is also supported at up to 5 fps for photographing moving subjects. The sensor also facilitates an advanced Dual Pixel CMOS AF system, with 4779 selectable on-sensor phase-detection points for quickly and accurately acquiring focus during stills and video operation.\u003c\/p\u003e \u003cp\u003eComplementing the sensor and processor, the RP also sports a 2.36m-dot OLED electronic viewfinder along with a rear 3.0\" 1.04m-dot vari-angle touchscreen LCD monitor for easier viewing from high and low angles. Additionally, Wi-Fi and Bluetooth allow for wireless remote camera control along with direct image sharing to linked mobile devices.\u003c\/p\u003e \u003cp\u003eCanon RF Lens Mount\u003c\/p\u003e \u003cp\u003eThe EOS RP features the RF lens mount, which support Canon's line of RF-mount lenses. This mount is characterized by its wide 54mm diameter and short 20mm flange-back distance, which promotes the ability to design lenses that are both faster and smaller than their SLR equivalents. The mount also incorporates a 12-pin electronic contact system for more sophisticated autofocus and image stabilization capabilities. 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Its compact design is complemented by five and half stops of image stabilization to enable strong handheld performance. This lens provides a zoom range that excels in situations where you can't get closer to your subject without compromising your shot, such as wildlife, nature, and outdoors sports. Swift and nearly silent autofocusing is achieved through Canon's Nano USM drive system. A focus\/control ring and two lens function buttons that are located on the barrel allow for greater control over settings adjustments. Also incorporated are three ultra-low dispersion elements to reduce chromatic and spherical aberrations as well as a Super Spectra coating to minimize ghosting and flare caused by lens surface reflection.\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_2111895.jpg\"\u003e\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_2111854.jpg\"\u003e\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eExcellent Operability\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe focus\/control ring on the lens barrel can directly adjust shutter speed, aperture, exposure compensation, and other settings. Two lens function buttons are also available on the barrel for immediate access to your preferred camera settings.\u003c\/p\u003e \u003cp\u003eThe signature white paint functions as a heat countermeasure when shooting for extended periods under harsh light and works together with the lens’s weather-resistant design to prevent damage from the elements.\u003c\/p\u003e","brand":"Canon","offers":[{"title":"Default Title","offer_id":51499262771517,"sku":"6263C005AA","price":34779.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/5870\/8285\/files\/60b935276d8724824e62a563ff149c42.png?v=1773555552"},{"product_id":"canon-rc-ip100-ptz-controller","title":"Canon RC-IP100 PTZ Controller","description":"\u003cp\u003eThis touchscreen joystick controller allows for precision control over your Canon CR-N300 and CR-N500 PTZ cameras. Allowing a single operator to control up to 100 cameras from a remote location by using IP or serial control. 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The processor also helps to realize a broad sensitivity range from ISO 100-32000, which is expandable up to ISO 51200 for working in difficult lighting conditions.\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_1760429.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eUHD 4K Video Recording\u003c\/p\u003e \u003cp\u003eBeyond stills, the R10's sensor also offers high-res UHD 4K 8-bit recording, with the ability to record at up to 60p using a cropped portion of the sensor or at 30p when using an oversampled 6K recording area for improved sharpness, reduced moiré, and lower noise. And, for slow-motion playback, 120p recording is supported at up to Full HD resolution.\u003cbr\u003e \u003cbr\u003e HDR-PQ recording is possible, too, for in-camera HDR production in 10-bit and external recording, via the micro-HDMI port, which supports a clean 4K output. Also, unlimited recording times are possible, too, and the R10 features an external microphone port as well as a multi-function shoe for wide accessories compatibility.\u003c\/p\u003e \u003cp\u003eDual Pixel CMOS AF II\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_1760423.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eCarried over from the EOS R3, the advanced Dual Pixel CMOS AF II system features 651 automatic AF points that covers the entire sensor area, for faster, more responsive, and more precise focusing performance. This phase-detection focusing system also has enhanced subject detection and tracking, with the ability to intelligently recognize people, animals, and vehicles and tracking will automatically lock onto these subjects and maintain sharp focus throughout burst captures. Dual Pixel AF II's low-luminance limit focuses down to an impressive -4 EV for accurate focusing even in nighttime conditions.\u003c\/p\u003e \u003cp\u003eBody Design\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_1760427.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eIntuitive Construction\u003c\/p\u003e \u003cul\u003e \u003cli\u003eBright, clear 2.36m-dot OLED electronic viewfinder is featured for high-resolution eye-level viewing. This 0.95x-magnification finder is benefitted by the fast processing for virtually no lag and a quick 120-fps refresh rate can be used for vivid, realistic motion portrayal.\u003c\/li\u003e \u003cli\u003eA 3.0\" vari-angle LCD is also available and benefits working high, low, and front-facing angles. The flexible position is complemented by a touchscreen interface and the clear 1.04m-dot resolution allows for vivid playback and live view monitoring.\u003c\/li\u003e \u003cli\u003eSingle SD memory card slot is rated for UHS-II card speeds to support fluent 4K video recording and high-speed continuous shooting.\u003c\/li\u003e \u003c\/ul\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_1760426.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eFlexible Connectivity\u003c\/p\u003e \u003cp\u003eWired and wireless connectivity options are available, allowing for multiple methods of transferring photos and videos, as well as for remotely controlling the camera. Physically, the camera features a USB Type-C port along and a micro-HDMI port, as well as a 3.5mm microphone port to benefit video recording. In terms of wireless, 2.4GHz Wi-Fi and Bluetooth is available for transferring and remote camera control.\u003c\/p\u003e \u003cp\u003eNext-Generation Multi-Function Shoe\u003c\/p\u003e \u003cp\u003eAn update to a conventional hot shoe, the Multi-Function Shoe adds a row of pins at the front of the design to permit greater accessory functionality as well as provide power to select accessory types that traditionally rely on separate batteries. This updated shoe is compatible with select accessories, including the ST-E10 Speedlite Transmitter, DM-E1D Stereo Microphone, and AD-P1 Smartphone Link Adapter, as well as the AD-E1 Multi-Function Shoe Adapter to provide compatibility with legacy shoe-mounted accessories.\u003c\/p\u003e","brand":"Canon","offers":[{"title":"Default Title","offer_id":51499263000893,"sku":"5331C094AA","price":16519.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/5870\/8285\/files\/16b48770afa1983c70a2bcead1123cd0.png?v=1773555623"},{"product_id":"canon-xa75-4k-camcorder-1","title":"Canon XA75 4K Camcorder","description":"\u003cp\u003eThe \u003cstrong\u003eCanon XA75 Professional UHD 4K Camcorder\u003c\/strong\u003e is a compact, lightweight camera featuring UHD 4K capture, a 1\" CMOS sensor, two XLR audio inputs, and one each mini-HDMI and BNC 3G-SDI output, which fits right into the ENG category for documentary or journalism-style productions. Updated from its XA55 predecessor, this model features a larger 3.5mm LCD capacitive touchscreen display, a higher resolution tiltable 0.36\" OLED EVF, OSD metadata recording, and fast USB Type-C video-only output with UVC support for livestreaming to a computer.\u003c\/p\u003e \u003cp\u003eThe lens optics include an integrated 15x HD optical zoom, a nine-bladed circular iris for more natural highlights, and wide DR gamma support for low-light recording. The camera's pro-style features include Dual-Pixel and Contrast autofocus, fast- and slow-motion recording, full manual control, optical and electronic image stabilization, a 3.5\" touchscreen LCD, user-assignable buttons, infrared mode, and a DIG!C DV 6 image processor with high sensitivity and low noise. The XA75 also has display monitoring features such as zebra, color bars, and test tone, plus a built-in neutral density filter mechanism.\u003c\/p\u003e \u003cp\u003eThe camera records UHD 4K30 and Full HD 1080p60 captured to dual SD card slots in XF-AVC and MP4 formats, and it outputs to mini-HDMI and 3G-SDI ports. The dual SD card slots allow for automatic switching from one card to another, as well as simultaneous recording to both. The camera can output up to 1920 x 1080p 10-bit 4:2:2 video at 59.94 fps via its mini-HDMI and 3G-SDI outputs. On the audio side, the XA75 features up to four channels of LPCM audio with manual\/automatic recording levels, two XLR inputs with phantom power, and a 3.5mm stereo mini input. It features a built-in stereo microphone as well as a headphone jack.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eCompact Professional UHD 4K Camcorder\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe XA75 captures sharp UHD images thanks to a 1\" CMOS 4K sensor and DIGIC DV6 image processor. Oversampled HD delivers Full HD images from the 4K sensor.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eOn-Screen Display (OSD) \"Time Stamp\" Recording\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eOSD recording embeds date, time, timecode, and other data into your original camera files, effectively \"time stamping\" the information into each frame of video, a requirement for legal and law enforcement videographers.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eUVC Livestreaming\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eStream HD video directly from the camera via UVC1 to a Windows or macOS computer. Audio output through USB is not supported.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003e4K 15x Optical Zoom Lens\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eAdjustable focusing speeds and advanced Dual Pixel CMOS AF give fast and precise focusing. Use the ultrabright 3.5\" LCD to set focus by touching the AF point required. Face Detection AF and Face Tracking are available, while Manual Focus is set via the focus\/zoom ring.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eXF-AVC and MP4 for Flexible Recording\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eChoose from XF-AVC or MP4 recording formats. Record XF-AVC UHD 4K 160 Mb\/s at 30P and Full HD 45 Mb\/s at 60p\/60i and 30\/24p. For smaller files, record MP4 in 4K 150 Mb\/s at 30\/24p and Full HD 35 Mb\/s or 17 Mb\/s at 60\/30\/24p.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eProfessional Input and Output\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eOutput options include HDMI, 3G-SDI, simultaneous backup and relay recording via dual SD cards, and Infrared mode. Record 5x slow motion in Full HD or fast motion in 4K\/Full HD up to 1200x. Color match with other Canon cameras using the custom picture menu.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eProfessional Audio Options\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eTwo XLR terminals on a detachable handle plus 4-channel linear PCM bring pro audio options.\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eSpecs\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eImaging\u003c\/p\u003e \u003ctable\u003e \u003ctbody\u003e \u003ctr\u003e \u003ctd\u003eSensor Resolution\u003c\/td\u003e \u003ctd\u003eActual: 13.4 Megapixel (4268 x 3148)\u003cbr\u003e Effective: 8.29 Megapixel (3840 x 2160)\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eImage Sensor\u003c\/td\u003e \u003ctd\u003e1\"-Type CMOS\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eImage Stabilization\u003c\/td\u003e \u003ctd\u003eOptical in Integrated Lens\u003cbr\u003e Digital\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eBuilt-In ND Filter\u003c\/td\u003e \u003ctd\u003eMechanical Filter Wheel with 2-Stop (1\/4), 4-Stop (1\/16), 6-Stop (1\/64) ND Filters\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eCapture Type\u003c\/td\u003e \u003ctd\u003eStills \u0026amp; Video\u003c\/td\u003e \u003c\/tr\u003e \u003c\/tbody\u003e \u003c\/table\u003e \u003cp\u003eExposure Control\u003c\/p\u003e \u003ctable\u003e \u003ctbody\u003e \u003ctr\u003e \u003ctd\u003eShutter Type\u003c\/td\u003e \u003ctd\u003eElectronic Rolling Shutter\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eShutter Speed\u003c\/td\u003e \u003ctd\u003e1\/2000 to 1 Second\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eMinimum Illumination\u003c\/td\u003e \u003ctd\u003e1.7 Lux at 1\/30 Shutter Speed\u003cbr\u003e 0.1 Lux at 1\/2 Shutter Speed\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eWhite Balance\u003c\/td\u003e \u003ctd\u003e2000 to 15,000K\u003c\/td\u003e \u003c\/tr\u003e \u003c\/tbody\u003e \u003c\/table\u003e \u003cp\u003eLens\u003c\/p\u003e \u003ctable\u003e \u003ctbody\u003e \u003ctr\u003e \u003ctd\u003eFocal Length\u003c\/td\u003e \u003ctd\u003e8.3 to 124.5mm (35mm Equivalent: 25.5 to 382.5mm)\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eOptical Zoom Ratio\u003c\/td\u003e \u003ctd\u003e15x\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eMaximum Aperture\u003c\/td\u003e \u003ctd\u003ef\/2.8 to 4.5\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eMinimum Focus Distance\u003c\/td\u003e \u003ctd\u003eWide: 0.4\" \/ 1.0 cm\u003cbr\u003e Entire Zoom Range: 23.6\" \/ 60.0 cm\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eFilter Size\u003c\/td\u003e \u003ctd\u003e58 mm\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eFocus Control\u003c\/td\u003e \u003ctd\u003eAutofocus\u003cbr\u003e Manual Focus\u003c\/td\u003e \u003c\/tr\u003e \u003c\/tbody\u003e \u003c\/table\u003e \u003cp\u003eVideo Capture\u003c\/p\u003e \u003ctable\u003e \u003ctbody\u003e \u003ctr\u003e \u003ctd\u003eInternal Recording Modes\u003c\/td\u003e \u003ctd\u003e\n\u003cstrong\u003eH.264\/MP4 4:2:0 8-Bit\u003c\/strong\u003e\u003cbr\u003e 3840 x 2160 at 23.98\/24.00\/29.97 fps\u003cbr\u003e 1920 x 1080p at 23.98\/24.00\/29.97\/59.94 fps [35 to 45 Mb\/s]\u003cbr\u003e 1280 x 720 at 59.94 fps [8 Mb\/s]\u003cbr\u003e \u003cstrong\u003eXF-AVC 4:2:0 8-Bit\u003c\/strong\u003e\u003cbr\u003e 3840 x 2160 at 23.98\/24.00\/29.97 fps\u003cbr\u003e 1920 x 1080p at 23.98\/24.00\/29.97\/59.94 fps\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eExternal Recording Modes\u003c\/td\u003e \u003ctd\u003e\n\u003cstrong\u003e4:2:2 8-Bit via SDI\/BNC \/ HDMI\u003c\/strong\u003e\u003cbr\u003e 1920 x 1080p at 23.98\/29.97 fps\u003cbr\u003e 1920 x 1080i at 59.94 fps\u003cbr\u003e 1280 x 720 at 59.94 fps\u003cbr\u003e \u003cstrong\u003e4:2:2 10-Bit via SDI\/BNC \/ HDMI\u003c\/strong\u003e\u003cbr\u003e 1920 x 1080p at 23.98\/29.97\/59.94 fps\u003cbr\u003e 1920 x 1080i at 59.94 fps\u003cbr\u003e 1280 x 720 at 59.94 fps\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eBroadcast Output\u003c\/td\u003e \u003ctd\u003eNTSC\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eBuilt-In Microphone Type\u003c\/td\u003e \u003ctd\u003eStereo\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eAudio Recording\u003c\/td\u003e \u003ctd\u003eMP4: 2-Channel 16-Bit AAC Audio\u003cbr\u003e MP4: 4-Channel 16-Bit LPCM Audio\u003cbr\u003e XAVC: 4-Channel 24-Bit LPCM Audio\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eIP Streaming\u003c\/td\u003e \u003ctd\u003e\u003cem\u003eNone\u003c\/em\u003e\u003c\/td\u003e \u003c\/tr\u003e \u003c\/tbody\u003e \u003c\/table\u003e \u003cp\u003eInterface\u003c\/p\u003e \u003ctable\u003e \u003ctbody\u003e \u003ctr\u003e \u003ctd\u003eMedia\/Memory Card Slot\u003c\/td\u003e \u003ctd\u003eDual Slot: SD\/SDHC\/SDXC (UHS-I)\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eVideo I\/O\u003c\/td\u003e \u003ctd\u003e\n\u003cstrong\u003e1 x \u003c\/strong\u003eMini-HDMI 2.0 Output\u003cbr\u003e \u003cstrong\u003e1 x \u003c\/strong\u003eBNC (3G-SDI) Output\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eAudio I\/O\u003c\/td\u003e \u003ctd\u003e\n\u003cstrong\u003e2 x \u003c\/strong\u003eXLR 3-Pin Mic\/Line (+48 V Phantom Power) Input\u003cbr\u003e \u003cstrong\u003e1 x \u003c\/strong\u003e1\/8\" \/ 3.5 mm TRS Stereo Headphone Input\u003cbr\u003e \u003cstrong\u003e1 x \u003c\/strong\u003e1\/8\" \/ 3.5 mm TRS Stereo Microphone Input\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003ePower I\/O\u003c\/td\u003e \u003ctd\u003e\n\u003cstrong\u003e1 x \u003c\/strong\u003eUSB-C Input\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eOther I\/O\u003c\/td\u003e \u003ctd\u003e\n\u003cstrong\u003e1 x \u003c\/strong\u003eUSB-C Output\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eWireless\u003c\/td\u003e \u003ctd\u003e\u003cem\u003eNone\u003c\/em\u003e\u003c\/td\u003e \u003c\/tr\u003e \u003c\/tbody\u003e \u003c\/table\u003e \u003cp\u003eMonitor\u003c\/p\u003e \u003ctable\u003e \u003ctbody\u003e \u003ctr\u003e \u003ctd\u003eSize\u003c\/td\u003e \u003ctd\u003e3.5\"\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eResolution\u003c\/td\u003e \u003ctd\u003e2,760,000 Dot\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eDisplay Type\u003c\/td\u003e \u003ctd\u003eArticulating Touchscreen LCD\u003c\/td\u003e \u003c\/tr\u003e \u003c\/tbody\u003e \u003c\/table\u003e \u003cp\u003eViewfinder\u003c\/p\u003e \u003ctable\u003e \u003ctbody\u003e \u003ctr\u003e \u003ctd\u003eType\u003c\/td\u003e \u003ctd\u003eBuilt-In Electronic (LCD)\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eSize\u003c\/td\u003e \u003ctd\u003e0.36\"\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eResolution\u003c\/td\u003e \u003ctd\u003e1,770,000 Dot\u003c\/td\u003e \u003c\/tr\u003e \u003c\/tbody\u003e \u003c\/table\u003e \u003cp\u003eFocus\u003c\/p\u003e \u003ctable\u003e \u003ctbody\u003e \u003ctr\u003e \u003ctd\u003eFocus Type\u003c\/td\u003e \u003ctd\u003eAuto and Manual Focus\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eFocus Mode\u003c\/td\u003e \u003ctd\u003eAutomatic, Manual Focus\u003c\/td\u003e \u003c\/tr\u003e \u003c\/tbody\u003e \u003c\/table\u003e \u003cp\u003eEnvironmental\u003c\/p\u003e \u003ctable\u003e \u003ctbody\u003e \u003ctr\u003e \u003ctd\u003eOperating Temperature\u003c\/td\u003e \u003ctd\u003e32 to 72°F \/ 0 to 40°C (Recommended)\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eStorage Temperature\u003c\/td\u003e \u003ctd\u003e23 to 113°F \/ -5 to 45°C\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eOperating Humidity\u003c\/td\u003e \u003ctd\u003e85%\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eStorage Humidity\u003c\/td\u003e \u003ctd\u003e60%\u003c\/td\u003e \u003c\/tr\u003e \u003c\/tbody\u003e \u003c\/table\u003e \u003cp\u003eGeneral\u003c\/p\u003e \u003ctable\u003e \u003ctbody\u003e \u003ctr\u003e \u003ctd\u003eBattery Type\u003c\/td\u003e \u003ctd\u003eCanon BP-8 Series\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003ePower Consumption\u003c\/td\u003e \u003ctd\u003e5.3 W\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eTripod Mounting Thread\u003c\/td\u003e \u003ctd\u003e1\/4\"-20 Female\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eAccessory Mounting Thread\u003c\/td\u003e \u003ctd\u003e\u003cem\u003eNone\u003c\/em\u003e\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eDimensions (W x H x D)\u003c\/td\u003e \u003ctd\u003e8.4 x 4.3 x 3.6\" \/ 21.3 x 10.9 x 9.1 cm\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eWeight\u003c\/td\u003e \u003ctd\u003e2.2 lb \/ 998 g (Body Only)\u003cbr\u003e 3.2 lb \/ 1451 g (With Battery, Handle, Recording Media)\u003c\/td\u003e \u003c\/tr\u003e \u003c\/tbody\u003e \u003c\/table\u003e \u003cp\u003ePackaging Info\u003c\/p\u003e \u003ctable\u003e \u003ctbody\u003e \u003ctr\u003e \u003ctd\u003ePackage Weight\u003c\/td\u003e \u003ctd\u003e5.85 lb\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eBox Dimensions (LxWxH)\u003c\/td\u003e \u003ctd\u003e14.2 x 12 x 9\"\u003c\/td\u003e \u003c\/tr\u003e \u003c\/tbody\u003e \u003c\/table\u003e","brand":"Canon","offers":[{"title":"Default Title","offer_id":51499263197501,"sku":"5735C003AA","price":39119.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/5870\/8285\/files\/f96bce9dff4d9b4965d996d76de0c714.png?v=1773555675"},{"product_id":"canon-eos-rp-rf-24-105mm-f4-7-1-is-stm","title":"Canon EOS RP + RF 24-105mm F4-7.1 IS STM","description":"\u003cp\u003eCanon EOS RP + RF 24-105mm F4-7.1 IS STM \u003c\/p\u003e \u003cp\u003eImpressively small despite having a large full-frame sensor, the \u003cstrong\u003eCanon EOS RP\u003c\/strong\u003e offers flexible imaging capabilities along with a portable form factor. Featuring a high-resolution 26.2MP full-frame CMOS sensor along with a DIGIC 8 image processor, both stills and UHD 4K video can be recorded using a broad sensitivity range, from ISO 100-40000, to suit working in a variety of lighting conditions. Continuous shooting is also supported at up to 5 fps for photographing moving subjects. The sensor also facilitates an advanced Dual Pixel CMOS AF system, with 4779 selectable on-sensor phase-detection points for quickly and accurately acquiring focus during stills and video operation.\u003c\/p\u003e \u003cp\u003eComplementing the sensor and processor, the RP also sports a 2.36m-dot OLED electronic viewfinder along with a rear 3.0\" 1.04m-dot vari-angle touchscreen LCD monitor for easier viewing from high and low angles. Additionally, Wi-Fi and Bluetooth allow for wireless remote camera control along with direct image sharing to linked mobile devices.\u003c\/p\u003e \u003cp\u003eCanon RF Lens Mount\u003c\/p\u003e \u003cp\u003eThe EOS RP features the RF lens mount, which support Canon's line of RF-mount lenses. This mount is characterized by its wide 54mm diameter and short 20mm flange-back distance, which promotes the ability to design lenses that are both faster and smaller than their SLR equivalents. The mount also incorporates a 12-pin electronic contact system for more sophisticated autofocus and image stabilization capabilities. This mount design also lends full compatibility to existing EF and EF-S-mount lenses via an optional EF-EOS R Mount Adapter.\u003c\/p\u003e \u003cp\u003e26.2MP Full-Frame CMOS Sensor and DIGIC 8 Image Processor\u003c\/p\u003e \u003cp\u003eA large 26.2MP full-frame CMOS sensor is featured and serves as an ideal balance between high-resolution output, low-light performance, and high-speed capabilities. When paired with the DIGIC 8 image processor, the EOS RP has a wide native sensitivity range from ISO 100-40000 for working in a variety of lighting conditions. Additionally, continuous shooting up to 5 fps is possible for working with moving subjects.\u003c\/p\u003e \u003cp\u003eDual Pixel CMOS AF\u003c\/p\u003e \u003cp\u003eDual Pixel CMOS AF offers smooth and fast focusing performance in a similar manner to how a camcorder acquires focus. This system integrates two separate photodiodes within each pixel to provide a broad and dense network phase-detection gathering elements across a majority of the image sensor to reduce focus hunting for faster, more direct control of focus placement. When working with still imagery, this focusing system works to acquire focus quickly and accurately, making it ideally suited to shooting and tracking moving subjects so that critical focus is attained with each shot. When shooting video, a Movie Servo AF mode offers smooth and natural focusing when changing from different subjects or different distances within the scene, as well as the ability to specify tracking sensitivity, AF speed, and Face or Eye Tracking priority. Benefited by the Touch AF system, rack focus is possible simply by touching elements within the scene on the touchscreen in order to change focus in an intuitive manner. Subject tracking in movies is also heightened due to the Dual Pixel CMOS AF system's ability to recognize subjects and maintain focus when working within changing or cluttered scenery. Additionally, the focus system is sensitive down to EV -5 for working in truly low-light conditions with accurate AF capabilities.\u003c\/p\u003e \u003cp\u003eUHD 4K Video Recording\u003c\/p\u003e \u003cp\u003eDesigned for multimedia image-maker, the EOS RP supports UHD 4K (3840 x 2160) resolution recording at up to 23.98 fps at 120 Mb\/s, along with Full HD 1080p and HD 720p at 60 fps for slow motion playback. When recording in-camera, 4K video has 4:2:0 sampling and 8-bit color depth, and 4:2:2 8-bit output is possible when using an external recorder.\u003cbr\u003e \u003cbr\u003e Audio can be recorded using the on-board stereo microphone or an optional external mic can also be used via the 3.5mm mic jack.\u003cbr\u003e \u003cbr\u003e Also, 5-axis Dual Sensing IS can be used when recording video to electronically reduce the appearance of camera shake for sharper, smoother recording.\u003c\/p\u003e \u003cp\u003eBody Design\u003c\/p\u003e \u003cul\u003e \u003cli\u003eIntegrated 2.36m-dot OLED electronic viewfinder affords a bright and clear means for eye-level viewing.\u003c\/li\u003e \u003cli\u003eRear 3.0\" 1.04m-dot LCD features a vari-angle design for easier use when working from high, low, and front-facing angles. It is also a touchscreen for intuitive control over shooting, playback, and menu navigation controls.\u003c\/li\u003e \u003cli\u003eBuilt-in Wi-Fi and Bluetooth connectivity enable wireless sharing, control, and image transfer with a compatible smart device via the Canon Camera Connect app, which also supports geotagging your files using your mobile device's location data.\u003c\/li\u003e \u003cli\u003eIn-camera charging over USB is supported for easier on-the-go charging.\u003c\/li\u003e \u003c\/ul\u003e \u003cp\u003eEOS Webcam Utility\u003c\/p\u003e \u003cp\u003eExtending the capabilities of the camera, Canon's \u003ca href=\"https:\/\/www.usa.canon.com\/internet\/portal\/us\/home\/support\/self-help-center\/eos-webcam-utility\" target=\"_new\"\u003eEOS Webcam Utility\u003c\/a\u003e software lets you turn your camera into a versatile webcam by just connecting it to a computer via USB. Compatible with a variety of streaming apps, including ZOOM, YouTube Live, Microsoft Teams, and more, this software also maintains the ability to record internally while livestreaming.\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"data:image\/png;base64,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\"\u003e\u003c\/p\u003e \u003cp\u003eUPC: 013803313222\u003c\/p\u003e \u003cp\u003eCanon RF 24-105mm f\/4-7.1 IS STM Lens\u003c\/p\u003e \u003cp\u003eSleek and versatile, the \u003cstrong\u003eCanon RF 24-105mm f\/4-7.1 IS STM\u003c\/strong\u003e is a well-rounded zoom covering wide-angle to short telephoto focal lengths to benefit working in a wide variety of conditions. A variable maximum aperture also helps to maintain an impressively compact profile to suit everyday shooting needs. Complementing the flexible design is a unique Center Macro Focus position, which enables working with close-up subjects at a 1:2 maximum magnification ratio, and an Optical Image Stabilizer also helps to achieve sharp imagery by minimizing the appearance of camera shake. Also, an STM motor affords impressively quiet and smooth autofocus performance and full-time manual focus override. Additionally, a configurable Control Ring lets you adjust exposure settings, including ISO, aperture, and exposure compensation, from the lens itself.\u003c\/p\u003e \u003cp\u003eStandard zoom covers wide-angle to short-telephoto focal lengths to suit working in a variety of situations.\u003c\/p\u003e \u003cp\u003eAn Optical Image Stabilizer helps to minimize the appearance of camera shake by up to five stops to better enable working in low-light conditions and with slower shutter speeds.\u003c\/p\u003e \u003cp\u003eSTM stepping motor offers fast, quiet, smooth, and accurate autofocus performance that is ideal for video recording as well as still shooting.\u003c\/p\u003e \u003cp\u003eSpecialized Center Macro Focus setting enables working with a 1:2 maximum magnification and a 5.2\" minimum focusing distance to suit photographing close-up subjects.\u003c\/p\u003e \u003cp\u003eConfigurable Control Ring can be used to adjust a variety of exposure settings, including aperture, ISO, and exposure compensation.\u003c\/p\u003e \u003cp\u003eRounded seven-blade diaphragm contributes to a pleasing bokeh quality.\u003c\/p\u003e","brand":"Canon","offers":[{"title":"Default Title","offer_id":51499263263037,"sku":"3380C175AA","price":21729.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/5870\/8285\/files\/a15893cd3a4d2ef1fd0ca3061fb3953c.png?v=1773555696"},{"product_id":"canon-eos-r5-mirrorless-camera","title":"Canon EOS R5 Mirrorless Camera","description":"\u003cp\u003eFor the professional image-maker who needs resolution, speed, and video capabilities, the \u003cstrong\u003eCanon EOS R5\u003c\/strong\u003e full-frame mirrorless camera features a newly developed 45MP CMOS sensor, which offers 8K raw video recording, 12 fps continuous shooting with a mechanical shutter, and is the first EOS camera to feature 5-axis sensor-shift image stabilization.\u003c\/p\u003e \u003cp\u003eBeyond just resolution, the sensor also pairs with the refined DIGIC X image processor to usher in a new generation of Dual Pixel CMOS AF for quick, smooth, and intelligent focusing performance using 1053 selectable points that cover the entire field of view. This focusing system has also been updated to make use of Deep Learning technology for improved subject tracking as well as precise eye, face, and head-detection for both people and animals.\u003c\/p\u003e \u003cp\u003eComplementing the imaging assets, the R5, while sporting a new design, also feels familiar to EOS 5-series users. An especially high-resolution 0.5\" 5.76m-dot electronic viewfinder provides a realistic 120 fps refresh rate while the 3.2\" rear touchscreen LCD monitor sports a vari-angle design to accommodate vlogging needs as well as benefit working from high and low angles. A top status LCD makes for an intuitive workflow and the camera also incorporates dual memory card slots—one CFexpress Type B, one SD UHS-II—along with Bluetooth and Wi-Fi wireless connectivity.\u003c\/p\u003e \u003ch4\u003eIBIS High Resolution 400MP Files\u003c\/h4\u003e \u003cp\u003eUsing the EOS R5 with firmware 1.8.1 or later, the IBIS High Resolution shot mode can create 400 megapixel (approx.) files in-camera, without the need for external software. This feature can be used for some specific situations when a high-resolution file with fine detail is required. Examples include art reproduction and building signage.\u003c\/p\u003e \u003ch4\u003e45MP Full-Frame Sensor and DIGIC X Processor\u003c\/h4\u003e \u003cp\u003eBuilt around a newly developed 45MP full-frame CMOS sensor, the EOS R5 offers both high-resolution stills and video output and the fine-tuned DIGIC X image processor complements this with a wealth of speed. Sensitivity from ISO 100-51200, which can be expanded to ISO 102400, suits working in a variety of lighting conditions while quick continuous shooting up to 12 fps with a mechanical shutter, or silent 20 fps with an electronic shutter, is ideal for working with moving subjects.\u003c\/p\u003e \u003ch4\u003e8K30 Raw and 4K120 Video Recording\u003c\/h4\u003e \u003cp\u003eBenefitting more than just stills, the 45MP full-frame sensor also enables impressively high-resolution DCI 8K 30 fps raw video recording internally along with 4K recording up to 120 fps in 4:2:2 10-bit with Canon Log. HDR-PQ recording is possible, too, in-camera HDR production and external recording, via the HDMI port supports a clean 4K output at up to 60 fps. Both All-I and IPB compression options are available, along with the ability to use Dual Pixel CMOS AF when shooting at up to 8K raw.\u003c\/p\u003e \u003ch4\u003eHDMI 8K Raw Output to Atomos Ninja V+\u003c\/h4\u003e \u003cp\u003eFirmware update 1.4.0 adds the ability to output 8K30, 10-bit video for ProRes raw recording to the Atomos Ninja V+ recorder over an optional HDMI cable. (Please note, the recorder may become hot.)\u003c\/p\u003e \u003ch4\u003eDual Pixel CMOS AF II\u003c\/h4\u003e \u003cp\u003eAn updated Dual Pixel CMOS AF II features 1053 selectable focusing points, which cover approximately 100% of the image frame for wide and even coverage. This focusing system offers smooth and fast focusing performance in a similar manner to how a camcorder acquires focus. This system integrates two separate photodiodes within each pixel to provide a broad and dense network of phase-detection gathering elements across a majority of the image sensor to reduce focus hunting for faster, more direct control of focus placement. When working with still imagery, this focusing system works to acquire focus quickly and accurately, making it ideally suited to shooting and tracking moving subjects so that critical focus is attained with each shot. When shooting video, a Movie Servo AF mode offers smooth and natural focusing when changing from different subjects or different distances within the scene, as well as the ability to specify tracking sensitivity, AF speed, and Face Tracking priority. Benefited by the Touch AF system, rack focus is possible simply by touching elements within the scene on the touchscreen in order to change focus in an intuitive manner. Subject tracking in movies is also heightened due to the Dual Pixel CMOS AF system's ability to recognize subjects and maintain focus when working within changing or cluttered scenery.\u003cbr\u003e \u003cbr\u003e Subject tracking has also been benefitted through the use of Deep Learning technology, which helps to gradually refine the focusing system's ability to quickly and accurately recognize both people and animal subjects. This technology also supports the more refined eye, face, and head detection functions, for both people and animals, that are well-suited for portraiture applications.\u003c\/p\u003e \u003ch4\u003eSensor-Shift Image Stabilizer\u003c\/h4\u003e \u003cp\u003eA first for EOS cameras, the R5 incorporates five-axis sensor-shift image stabilization that compensates for up to an impressive eight stops of camera shake for truly effective compensation of camera shake to suit handheld shooting with slower shutter speeds. This stabilization system also works in concert with lens-based optical image stabilization for both native RF lenses and adapted EF lenses.\u003c\/p\u003e \u003cp\u003eBody Design and Wireless Connectivity\u003c\/p\u003e \u003cul\u003e \u003cli\u003eHigh-resolution 5.67m-dot 0.5\" electronic viewfinder provides a bright and detailed means for eye-level viewing and the quick 120 fps refresh rate offers natural motion rendering for a more realistic viewfinder experience.\u003c\/li\u003e \u003cli\u003eRear 3.2\" 2.1m-dot LCD touchscreen features a vari-angle design that benefits front-facing recording, such as for vlogging needs, as well as working from high and low shooting angles.\u003c\/li\u003e \u003cli\u003eTop status LCD can be used to quickly review camera and shooting settings.\u003c\/li\u003e \u003cli\u003eCFexpress Type B and SD UHS-II memory card slots are featured for flexible storage needs; the CFexpress slot is ideal for 8K video and high-speed, high-resolution burst shooting needs while the SD card slot retains a familiar form factor for wide compatibility.\u003c\/li\u003e \u003cli\u003eBoth a 3.5mm headphone and a 3.5mm external microphone port are featured for improved audio monitoring and recording capabilities.\u003c\/li\u003e \u003cli\u003eRefined body design incorporates four distinct control dials across the body for intuitive tactile control and a joystick controller is used on the back of the camera for fast and intuitive focus point selection and menu navigation.\u003c\/li\u003e \u003cli\u003eDurable, weather-sealed body design is built to handle tough working conditions and inclement weather.\u003c\/li\u003e \u003cli\u003eBoth 5 GHz and 2.4 GHz Wi-Fi bands are available for fast file transferring to a mobile device and Bluetooth is also available to provide constant device connection via the Canon Camera Connect app.\u003c\/li\u003e \u003c\/ul\u003e","brand":"Canon","offers":[{"title":"Default Title","offer_id":51499263557949,"sku":"4147C047AA","price":41729.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/5870\/8285\/files\/a2c84f0f470d61a315a4f6cdab513dda.png?v=1773555754"},{"product_id":"canon-xa-70-4k-camcorder-1","title":"Canon XA 70 4K Camcorder","description":"\u003cp\u003eThe \u003cstrong\u003eCanon XA70 Professional UHD 4K Camcorder\u003c\/strong\u003e is a compact, lightweight camera featuring UHD 4K capture, a 1\" CMOS sensor, two XLR audio inputs, and one mini-HDMI output which fits right into the ENG category for documentary or journalism-style productions. Updated from its XA55 predecessor, this model features a larger 3.5mm LCD capacitive touchscreen display, a higher resolution tiltable 0.36\" OLED EVF, OSD metadata recording, and fast USB Type-C video-only output with UVC support for livestreaming to a computer.\u003c\/p\u003e \u003cp\u003eThe lens optics include an integrated 15x HD optical zoom, a nine-bladed circular iris for more natural highlights, and wide DR gamma support for low-light recording. The camera's pro-style features include Dual-Pixel and Contrast autofocus, fast- and slow-motion recording, full manual control, optical and electronic image stabilization, a 3.5\" touchscreen LCD, user-assignable buttons, infrared mode, and a DIG!C DV 6 image processor with high sensitivity and low noise. The XA70 also has display monitoring features such as zebra, color bars, and test tone, plus a built-in neutral density filter mechanism.\u003c\/p\u003e \u003cp\u003eThe camera records UHD 4K30 and Full HD 1080p60 captured to dual SD card slots in XF-AVC and MP4 formats, and it outputs to a mini-HDMI port. The dual SD card slots allow for automatic switching from one card to another, as well as simultaneous recording to both. The camera can output up to 1920 x 1080p 10-bit 4:2:2 video at 59.94 fps via its mini-HDMI output. On the audio side, the XA70 features up to four channels of LPCM audio with manual\/automatic recording levels, two XLR inputs with phantom power, and a 3.5mm stereo mini input. It features a built-in stereo microphone as well as a headphone jack and a 2.5mm LANC input for control.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eCompact Professional UHD 4K Camcorder\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe XA70 captures sharp UHD images thanks to a 1\" CMOS 4K sensor and DIGIC DV6 image processor. Oversampled HD delivers Full HD images from the 4K sensor.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eOn-Screen Display (OSD) \"Time Stamp\" Recording\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eOSD recording embeds date, time, timecode, and other data into your original camera files, effectively \"time stamping\" the information into each frame of video, a requirement for legal and law enforcement videographers.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eUVC Livestreaming\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eStream HD video directly from the camera via UVC1 to a Windows or macOS computer. 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Color match with other Canon cameras using the custom picture menu.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eProfessional Audio Options\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eTwo XLR terminals on a detachable handle plus 4-channel linear PCM bring pro audio options.\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eSpecs\u003c\/strong\u003e\u003cbr\u003e \u003cbr\u003e  \u003c\/p\u003e \u003cp\u003eImaging\u003c\/p\u003e \u003ctable\u003e \u003ctbody\u003e \u003ctr\u003e \u003ctd\u003eSensor Resolution\u003c\/td\u003e \u003ctd\u003eActual: 13.4 Megapixel (4268 x 3148)\u003cbr\u003e Effective: 8.29 Megapixel (3840 x 2160)\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eImage Sensor\u003c\/td\u003e \u003ctd\u003e1\"-Type CMOS\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eImage Stabilization\u003c\/td\u003e \u003ctd\u003eOptical in Integrated Lens\u003cbr\u003e Digital\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eBuilt-In ND Filter\u003c\/td\u003e \u003ctd\u003eMechanical Filter Wheel with 2-Stop (1\/4), 4-Stop (1\/16), 6-Stop (1\/64) ND Filters\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eCapture Type\u003c\/td\u003e \u003ctd\u003eStills \u0026amp; Video\u003c\/td\u003e \u003c\/tr\u003e \u003c\/tbody\u003e \u003c\/table\u003e \u003cp\u003eExposure Control\u003c\/p\u003e \u003ctable\u003e \u003ctbody\u003e \u003ctr\u003e \u003ctd\u003eShutter Type\u003c\/td\u003e \u003ctd\u003eNot Specified by Manufacturer\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eShutter Speed\u003c\/td\u003e \u003ctd\u003e1\/2000 to 1 Second\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eMinimum Illumination\u003c\/td\u003e \u003ctd\u003e1.7 Lux at 1\/30 Shutter Speed\u003cbr\u003e 0.1 Lux at 1\/2 Shutter Speed\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eWhite Balance\u003c\/td\u003e \u003ctd\u003e2000 to 15,000K\u003c\/td\u003e \u003c\/tr\u003e \u003c\/tbody\u003e \u003c\/table\u003e \u003cp\u003eLens\u003c\/p\u003e \u003ctable\u003e \u003ctbody\u003e \u003ctr\u003e \u003ctd\u003eFocal Length\u003c\/td\u003e \u003ctd\u003e8.3 to 124.5mm (35mm Equivalent: 25.5 to 382.5mm)\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eOptical Zoom Ratio\u003c\/td\u003e \u003ctd\u003e15x\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eMax Digital Zoom\u003c\/td\u003e \u003ctd\u003e40x\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eMaximum Aperture\u003c\/td\u003e \u003ctd\u003ef\/2.8 to 4.5\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eMinimum Focus Distance\u003c\/td\u003e \u003ctd\u003eWide: 0.4\" \/ 1.0 cm\u003cbr\u003e Entire Zoom Range: 23.6\" \/ 60.0 cm\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eFilter Size\u003c\/td\u003e \u003ctd\u003e58 mm\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eFocus Control\u003c\/td\u003e \u003ctd\u003eAutofocus\u003cbr\u003e Manual 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requires remotely controlled cameras with minimal crew and a high-resolution output, the satin black \u003cstrong\u003eCR-N300 4K NDI PTZ Camera with 20x Zoom\u003c\/strong\u003e from \u003cstrong\u003eCanon\u003c\/strong\u003e will fit right into your house of worship, corporate conference room, government application, courtroom, broadcast streaming production, event space, or even add an extra camera to your documentary shoot. The CR-N300 sports many features of a Canon camcorder, such as a 1\/2.3\" dual-pixel CMOS sensor, Hybrid AF, the Canon DIG!C DV6 image processor, scene modes, 20x optical zoom, 20x digital zoom, microphone input, and video capture and output up to UHD 4K. The camera also includes NDI|HX support without requiring a separate license, allowing you to drop the camera into your existing NDI network with minimal configuration.\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003cp\u003e\u003cstrong\u003e1\/2.3\" CMOS Dual-Pixel Sensor\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N300 features a Canon 1\/2.3\" UHD 4K CMOS image sensor capable of UHD 4K video capture at 30p and up to 60p in Full HD, making the PTZ camera a strong contender for professional production.\u003c\/p\u003e \u003cp\u003eThe CR-N300 PTZ camera incorporates Canon's DIG!C DV 6 Image Processor, which is essential in providing high image quality, advanced performance, and convenient operability. This advanced core technology component provides the image-processing power and speed that enables features such as 4K UHD video acquisition and precise Hybrid AF.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eOversampling HD Processing\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe full HD capture and output (oversampling HD processing) takes full advantage of the image information acquired by the 4K sensor to generate beautiful, high-definition full HD video. This helps content creators produce stunningly detailed FHD video when utilizing the CR-N300.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eCanon 4K UHD Lens\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N300 features a 20x optical zoom lens and exhibits a wide viewing angle of 65.6° (horizontal) in 4K. At the wide end, the 29.3mm (35mm equivalent) lens is capable of capturing extensive scenes in tight shooting spaces, such as indoor events for cinematic wide shots. The camera utilizes aspheric lens elements to achieve 4K image quality while minimizing various aberrations over the entire zoom range.\u003c\/p\u003e \u003cp\u003eThe CR-N300 is equipped with \"Hybrid AF\", an auto-focus system that combines high-precision contrast AF technology and the high-speed, phase-difference AF technology to confirm auto focus from the camera. This hybrid auto focus system helps achieve auto focus faster and more reliably compared to contrast auto focus alone.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eSmooth \u0026amp; Responsive Pan \/ Tilt Performance\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N300 is equipped with the PT drive mechanism that can change the pan\/tilt speed in incremental steps. This allows the operator to set the speeds to desired preference to allow for smooth PT movement. The CR-N300 exhibits a variable pan speed of 0.2 to 300°\/second and variable tilt speed of 0.2 to 170°\/second.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eFour Scene Modes for Impressive Video\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N300 features Scene Modes that offer four preset shooting modes suitable for the desired application.\u003c\/p\u003e \u003cp\u003eThere are four types of Scene Modes:\u003c\/p\u003e \u003cul\u003e \u003cli\u003ePortrait mode—exhibits a blurred background while subject is in sharp focus\u003c\/li\u003e \u003cli\u003eSports mode—enhances capture of moving objects\u003c\/li\u003e \u003cli\u003eLow-Light mode—enhances capture of bright images, even in dark places\u003c\/li\u003e \u003cli\u003eSpotlight mode—enhances capture of beautiful images of spotlighted objects\u003c\/li\u003e \u003c\/ul\u003e \u003cp\u003eBy selecting a Scene Mode, capture can be performed without having to adjust multiple settings within the Camera menu, which aids a speedy setup and configuration, allowing the operator to start shooting with impressive image expression.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eWebcam via USB Connection\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N300 supports USB in addition to IP, SDI, and HDMI. It is equipped with the specifications of UVC (Video: USB Video Class Ver. 1.1) and UAC (Audio: USB Audio Class Ver. 1.0), which are the connection standard of USB cameras and computers. This allows video and audio output by connecting to a compatible USB device.\u003c\/p\u003e \u003cp\u003eIn addition, driver settings are not required for connection to a computer. It can also be used as a webcam by connecting to a computer with a web conferencing application installed. The CR-N300 delivers up to full HD 1920 x 1080 video for high-quality web conferencing.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eEasy Integration into IP Streaming\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eIn addition to SDI and HDMI connections, the CR-N300 is equipped with an RJ45 interface purposed for IP communication, which supports high-resolution videos for distribution. The CR-N300 supports multiple protocols that can be utilized for video, audio, and control. The genuine RC-IP100 controller utilizes the XC protocol to control the CR-N300. The CR-N300 can also be combined with third-party equipment for control purposes. This IP system can contribute to efficient and labor-saving camera operations for the field of video production, broadcasting, and more.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eIP Multi-Stream Support\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N300 can simultaneously distribute video to multiple protocols via IP. Simultaneous distribution is also known as multi-stream, and the CR-N300 can distribute a total of three video streams simultaneously.\u003c\/p\u003e \u003cp\u003eIf the HDMI\/SDI video output is 30 fps or less, the CR-N300 can distribute two video streams, 4K H.264 and 360p H.264, at the same time. 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This compact 1\" CMOS sensor camera with a DIGIC DV 7 engine features high sensitivity, Canon cinema color matrix choices, Canon Log 3, HDR support, and Eye AF and EOS iTR AF X (head detection) autofocus modes. It offers up to UHD 4K60 4:2:2 10-bit capture in a variety of both All-I and Long-GOP XF-AVC and MP4 H.264\/H.265 formats with the ability to capture different codecs and rates simultaneously to its dual SD card slots. A Direct Touch Control touchscreen menu, four-channel XLR audio, simultaneous outputs, a USB-C video output, and an iPhone app built on established XF series features such as individual focus, iris, and zoom rings, and built-in ND filters.\u003c\/p\u003e \u003ch4\u003e\u003cstrong\u003eHigh-Resolution Performance\u003c\/strong\u003e\u003c\/h4\u003e \u003cp\u003eWhether you shoot ENG, sports events, live entertainment, or broadcast-style footage, the Canon XF605 is poised to deliver high-resolution video using a compact form and mobile workflow options, including an iPhone app, a LAN port, and built-in dual-band, MIMO Wi-Fi.\u003c\/p\u003e \u003ch4\u003e\u003cstrong\u003eUHD 4K CMOS Sensor\u003c\/strong\u003e\u003c\/h4\u003e \u003cul\u003e \u003cli\u003eCapture rates of up to UHD 4K 10-bit 4:2:2 include broadcast-friendly 59.94 frame rates\u003c\/li\u003e \u003cli\u003eHigh-speed capture at 1080p120 for revealing slo-mo shots\u003c\/li\u003e \u003cli\u003eA high sensitivity of up to 2000 lux at f\/12 is perfect for dimly lit locations\u003c\/li\u003e \u003c\/ul\u003e \u003ch4\u003e\u003cstrong\u003eDIGIC DV 7 Engine\u003c\/strong\u003e\u003c\/h4\u003e \u003cp\u003eThe DIGIC DV 7 engine powers the camcorder's processing of the 4K, 10-bit 4:2:2 video and selectable color matrix settings, including Canon EOS and other industry-standard matrix choices, as well as supporting Canon Log 3\/HLG and PQ color spaces. The processor allows you to take advantage of the dual SD card slots for dual recording, relay recording, and multiple simultaneous recording options of your footage in MP4 or XFAVC.\u003c\/p\u003e \u003ch4\u003e\u003cstrong\u003e15x Canon L Zoom\u003c\/strong\u003e\u003c\/h4\u003e \u003cul\u003e \u003cli\u003eA 15x optical\/30x digital zoom (25.5-382.5mm 35mm equivalent) lets you reach shots near and far, whether in the field or the studio, and the 9-blade iris provides a pleasing natural bokeh\u003c\/li\u003e \u003cli\u003eSeparate F\/I\/Z controls: Three rings provide professional, individual control over focus, iris, and zoom settings\u003c\/li\u003e \u003cli\u003eImage stabilization: Three optical IS choices include standard, dynamic, and powered IS for smoother motion shots\u003c\/li\u003e \u003c\/ul\u003e \u003ch4\u003e\u003cstrong\u003eAdvanced Autofocus\u003c\/strong\u003e\u003c\/h4\u003e \u003cp\u003eThe XF605 is the first of the ENG-friendly XF family to offer two autofocus features familiar to Canon EOS series users that help keep your image sharp during dynamic shots:\u003c\/p\u003e \u003cul\u003e \u003cli\u003eEye AF zeroes in on your subject's eye for crisp eye focus\u003c\/li\u003e \u003cli\u003eEOS iTR AF X (head detection) does a neat trick of remaining focused on your subject even after they turn their head to the side or away from the camera\u003c\/li\u003e \u003c\/ul\u003e \u003ch4\u003e\u003cstrong\u003eFrame and Interval Recording\u003c\/strong\u003e\u003c\/h4\u003e \u003cp\u003eCreate captivating time-lapse effects using the XF605's Frame Recording and Interval Recording modes. Frame Recording captures a set number of frames with each press of the trigger. Interval Recording enables you to choose the number of frames recorded and the interval length between them.\u003c\/p\u003e \u003ch4\u003e\u003cstrong\u003eCinema Color\u003c\/strong\u003e\u003c\/h4\u003e \u003cp\u003eMatch the look of your other Canon cameras using the XF605's cinema color matrix selections. Use Canon Log3, HLG, and PQ HDR for beautifully detailed images.\u003c\/p\u003e \u003ch4\u003e\u003cstrong\u003eUSB Video Out\u003c\/strong\u003e\u003c\/h4\u003e \u003cul\u003e \u003cli\u003eThanks to a USB-C video output, you no longer need an HDMI to USB adapter\u003c\/li\u003e \u003cli\u003eUse the USB-C output to take advantage of all the XF605 features while using it as a webcam, boosting the image and audio quality of your streaming output\u003c\/li\u003e \u003c\/ul\u003e \u003ch4\u003e\u003cstrong\u003eNew Touchscreen\u003c\/strong\u003e\u003c\/h4\u003e \u003cp\u003eGain intuitive touchscreen control, including start\/stop with the XF605's Direct Touch Control menu borrowed from the Canon C70 cinema camera.\u003c\/p\u003e \u003ch4\u003e\u003cstrong\u003eCTM iPhone App\u003c\/strong\u003e\u003c\/h4\u003e \u003cp\u003eCanon's new iPhone CTM (content transfer mobile) app enables a truly mobile news workflow. Use the app to exchange proxy footage, audio, and metadata through your phone connection and a newsroom server and integrate content into assignment planning software.\u003c\/p\u003e \u003ch4\u003e\u003cstrong\u003eHDR-Compatible Viewing Options\u003c\/strong\u003e\u003c\/h4\u003e \u003cul\u003e \u003cli\u003eView your images simultaneously via the EVF (viewfinder) and fold-out LCD screen, and output via HDMI and SDI\u003c\/li\u003e \u003cli\u003eHDR compatibility enables you to see finely nuanced images, even in darker and brightly lit areas.\u003c\/li\u003e \u003c\/ul\u003e \u003ch4\u003e\u003cstrong\u003e4-Channel Audio\u003c\/strong\u003e\u003c\/h4\u003e \u003cp\u003eA new multifunction shoe on the XF605 enables you to access up to four inputs on the XLR audio unit, perfect for capturing ambient sound plus one to three speakers.\u003c\/p\u003e \u003ch4\u003e\u003cstrong\u003eLightweight, Compact Form\u003c\/strong\u003e\u003c\/h4\u003e \u003cp\u003eThe compact XF605 is about 25% lighter and 10% smaller than the XF705, a difference you'll appreciate on long shoot days.\u003c\/p\u003e \u003ch4\u003e\u003cstrong\u003eWired Remote Control\u003c\/strong\u003e\u003c\/h4\u003e \u003cp\u003eUse the LANC-based RC-V100 to control your main camera functions and shading options. Use an NU (RS-422) controller like the RC-IP100 to control the XF605 and other cameras in your network.\u003c\/p\u003e \u003ch3\u003e\u003cstrong\u003eFeatures\u003c\/strong\u003e\u003c\/h3\u003e \u003ch4\u003eFeatures\u003c\/h4\u003e \u003cul\u003e \u003cli\u003e1\" CMOS Sensor, 4:2:2 10-Bit\u003c\/li\u003e \u003cli\u003eH.265\/H.264 MP4 Format, XF-AVC\u003c\/li\u003e \u003cli\u003eUHD 4K up to 60 fps, 1080p to 120 fps\u003c\/li\u003e \u003cli\u003eiOS App | 15x Optical\/30x Digital Zoom\u003c\/li\u003e \u003cli\u003eDual-Pixel CMOS Autofocus Feature\u003c\/li\u003e \u003cli\u003eHDR Recording, Canon Log 3, Wide DR\u003c\/li\u003e \u003cli\u003e12G-SDI, HDMI \u0026amp; USB-C Outputs\u003c\/li\u003e \u003cli\u003eOptical \u0026amp; Digital Stabilization\u003c\/li\u003e \u003cli\u003eFour XLR Inputs, 4-Channel LPCM Audio\u003c\/li\u003e \u003cli\u003eDiscrete Focus, Iris, Zoom Lens Rings\u003c\/li\u003e \u003c\/ul\u003e \u003ch3\u003eSpecs\u003c\/h3\u003e \u003ch4\u003eSpecs\u003c\/h4\u003e \u003ch5\u003eImaging\u003c\/h5\u003e \u003ctable\u003e \u003ctbody\u003e \u003ctr\u003e \u003ctd\u003eSensor Resolution\u003c\/td\u003e \u003ctd\u003eActual: 13.4 Megapixel (4268 x 3148)\u003cbr\u003e Effective: 8.29 Megapixel (3840 x 2160)\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eSensor Type\u003c\/td\u003e \u003ctd\u003e1\"-Type CMOS Sensor\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eImage Stabilization\u003c\/td\u003e \u003ctd\u003eOptical in Integrated Lens\u003cbr\u003e Digital\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eBuilt-In ND Filter\u003c\/td\u003e \u003ctd\u003eMechanical Filter Wheel with 2-Stop (1\/4), 4-Stop (1\/16), 6-Stop (1\/64) ND Filters\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eCapture Type\u003c\/td\u003e \u003ctd\u003eStills \u0026amp; Video\u003c\/td\u003e \u003c\/tr\u003e \u003c\/tbody\u003e \u003c\/table\u003e \u003cp\u003e \u003c\/p\u003e \u003ch5\u003eExposure Control\u003c\/h5\u003e \u003ctable\u003e \u003ctbody\u003e \u003ctr\u003e \u003ctd\u003eShutter Type\u003c\/td\u003e \u003ctd\u003eElectronic Rolling Shutter\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eShutter Speed\u003c\/td\u003e \u003ctd\u003e1\/2000 to 1\/4 Second\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eShutter Angle\u003c\/td\u003e \u003ctd\u003e11 to 360°\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eSensitivity\u003c\/td\u003e \u003ctd\u003ef\/12 at 2000 lux\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eMinimum Illumination\u003c\/td\u003e \u003ctd\u003e1.5 Lux at 1\/30 Shutter Speed\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eWhite Balance\u003c\/td\u003e \u003ctd\u003e2000 to 15,000K\u003c\/td\u003e \u003c\/tr\u003e \u003c\/tbody\u003e \u003c\/table\u003e \u003cp\u003e \u003c\/p\u003e \u003ch5\u003eLens\u003c\/h5\u003e \u003ctable\u003e \u003ctbody\u003e \u003ctr\u003e \u003ctd\u003eFocal Length\u003c\/td\u003e \u003ctd\u003e8.3 to 124.5mm (35mm Equivalent Focal Length: 25.5 to 382.5mm)\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eOptical Zoom Ratio\u003c\/td\u003e \u003ctd\u003e15x\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eMax Digital Zoom\u003c\/td\u003e \u003ctd\u003e30x ( in 1080p)\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eMaximum Aperture\u003c\/td\u003e \u003ctd\u003ef\/2.8\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eMinimum Aperture\u003c\/td\u003e \u003ctd\u003ef\/4.5\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eOptical Design\u003c\/td\u003e \u003ctd\u003e18 Elements in 14 Groups\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eMinimum Focus Distance\u003c\/td\u003e \u003ctd\u003eEntire Zoom Range: 2.0' \/ 60.0 cm\u003cbr\u003e Wide: 0.4\" \/ 1.0 cm\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eFilter Size\u003c\/td\u003e \u003ctd\u003e58 mm\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eControl Rings\u003c\/td\u003e \u003ctd\u003eFocus\u003cbr\u003e Zoom\u003cbr\u003e Iris\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eFocus Control\u003c\/td\u003e \u003ctd\u003eAutofocus\u003cbr\u003e Manual Focus\u003c\/td\u003e \u003c\/tr\u003e \u003c\/tbody\u003e \u003c\/table\u003e \u003cp\u003e \u003c\/p\u003e \u003ch5\u003eVideo Capture\u003c\/h5\u003e \u003ctable\u003e \u003ctbody\u003e \u003ctr\u003e \u003ctd\u003eInternal Recording Modes\u003c\/td\u003e \u003ctd\u003e\n\u003cstrong\u003eMXF\/XF-AVC 4:2:2 10-Bit\u003c\/strong\u003e\u003cbr\u003e 3840 x 2160 from 1 to 59.94 fps [160 to 410 Mb\/s]\u003cbr\u003e 1920 x 1080p from 1 to 59.94\/90\/ fps [50 to 310 Mb\/s]\u003cbr\u003e 1920 x 1080i at 50\/59.94 fps [50 to 160 Mb\/s]\u003cbr\u003e 1280 x 720 at 23.98\/25\/29.97\/50\/59.94 fps\u003cbr\u003e \u003cstrong\u003eH.265\/MP4 4:2:2 10-Bit\u003c\/strong\u003e\u003cbr\u003e 3840 x 2160 from 1 to 59.94 fps [135 to 225 Mb\/s]\u003cbr\u003e 1920 x 1080p from 1 to 59.94\/90\/ fps [50 Mb\/s]\u003cbr\u003e 1280 x 720 at 23.98\/25\/29.97\/50\/59.94 fps [12 Mb\/s]\u003cbr\u003e \u003cstrong\u003eH.265\/MP4 4:2:0 10-Bit\u003c\/strong\u003e\u003cbr\u003e 3840 x 2160 from 1 to 59.94 fps [100 to 170 Mb\/s]\u003cbr\u003e 1920 x 1080p from 1 to 59.94\/90\/ fps [35 Mb\/s]\u003cbr\u003e 1280 x 720 at 23.98\/25\/29.97\/50\/59.94 fps [9 Mb\/s]\u003cbr\u003e \u003cstrong\u003eH.264\/MP4 4:2:0 8-Bit\u003c\/strong\u003e\u003cbr\u003e 3840 x 2160 from 1 to 59.94 fps [150 Mb\/s]\u003cbr\u003e 1920 x 1080p from 1 to 59.94\/90\/ fps [35 Mb\/s]\u003cbr\u003e 1280 x 720 at 23.98\/25\/29.97\/50\/59.94 fps\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eExternal Recording Modes\u003c\/td\u003e \u003ctd\u003e\n\u003cstrong\u003eSDI\/BNC\u003c\/strong\u003e\u003cbr\u003e UHD 4K (3840 x 2160) up to 59.94 fps\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eFast-\/Slow-Motion Support\u003c\/td\u003e \u003ctd\u003eYes\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eGamma Curve\u003c\/td\u003e \u003ctd\u003eCanon Log 3, HDR-HLG\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eBuilt-In Microphone Type\u003c\/td\u003e \u003ctd\u003eStereo\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eAudio Recording\u003c\/td\u003e \u003ctd\u003e2-Channel 16-Bit 48 kHz AAC Audio\u003cbr\u003e 4-Channel 24-Bit 48 kHz LPCM Audio\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003eIP Streaming\u003c\/td\u003e \u003ctd\u003e\n\u003cstrong\u003eMPEG2\u003c\/strong\u003e\u003cbr\u003e 1920 x 1080 to 3840 x 2160 at 25p, 29.97p, 50p, 59.94p (4.0 to 16.0 Mb\/s)\u003cbr\u003e 1920 x 1080 at 50i, 59.94i (4.0 to 9.0 Mb\/s)\u003c\/td\u003e \u003c\/tr\u003e \u003c\/tbody\u003e \u003c\/table\u003e \u003cp\u003e \u003c\/p\u003e \u003ch5\u003eInterface\u003c\/h5\u003e 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Its long reach pairs with a modest maximum aperture range to render to a relatively lightweight and portable design and, as a G series lens, optical quality, focus speed, and attention to handling details are also priorities of this well-rounded super-tele zoom.\u003c\/p\u003e \u003cp\u003eLong-Reaching, Stabilized Zoom\u003c\/p\u003e \u003cul\u003e \u003cli\u003eDesigned for full-frame E-mount cameras, this super-telephoto can also be used on APS-C models to achieve an equivalent 300-900mm focal length range.\u003c\/li\u003e \u003cli\u003eMaximum aperture range of f\/5.6-6.3 helps minimize size and weight while providing excellent performance in a variety of applications.\u003c\/li\u003e \u003cli\u003eOptical SteadyShot image stabilization helps to minimize the appearance of camera shake for sharper imagery when shooting handheld with slower shutter speeds.\u003c\/li\u003e \u003cli\u003eOSS has three dedicated modes, including panning and viewfinder stabilization priority settings, and can also be combined with select camera's sensor-shift type image stabilization for more effective control of camera blur.\u003c\/li\u003e \u003cli\u003eInternal zoom design limits the overall length of the lens while zooming for more intuitive and comfortable handling.\u003c\/li\u003e \u003cli\u003eCompatible with optional 1.4x and 2x FE teleconverters for further increasing the lens's reach.\u003c\/li\u003e \u003c\/ul\u003e \u003cp\u003eG Lens Series\u003c\/p\u003e \u003cul\u003e \u003cli\u003eFive extra-low dispersion elements are featured in the lens design and help to control chromatic aberrations and reduce color fringing for increased clarity and color fidelity.\u003c\/li\u003e \u003cli\u003eOne aspherical element is placed at the rear of the optical design and reduces distortion and spherical aberrations in order to produce a high degree of sharpness and accurate rendering.\u003c\/li\u003e \u003cli\u003eA Nano AR Coating has been applied to minimize surface reflections, flare, and ghosting for increased contrast and color rendering in strong lighting conditions.\u003c\/li\u003e \u003cli\u003eA rounded 11-blade diaphragm contributes to a pleasing bokeh quality when employing selective focus techniques.\u003c\/li\u003e \u003c\/ul\u003e \u003cp\u003eFast and Precise Autofocus\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003cul\u003e \u003cli\u003eDirect Drive Super Sonic wave Motor (DDSSM) AF system provides quick, quiet, and precise autofocus performance that suits both stills and video applications.\u003c\/li\u003e \u003cli\u003eLinear Response manual focus control offers more natural handling and an AF\/MF switch is located on the lens barrel for tactile control over this setting.\u003c\/li\u003e \u003cli\u003eThree customizable focus hold buttons are present on the lens barrel for intuitive tactile control and rapid access to select settings.\u003c\/li\u003e \u003cli\u003eMinimum focusing distance of 7.9', along with a maximum magnification of 0.2x, benefits portraiture and head shots.\u003c\/li\u003e \u003cli\u003eFocus range limiter and focus hold controls offer more intuitive handling and faster performance when photographing moving subjects.\u003c\/li\u003e \u003c\/ul\u003e \u003cp\u003eProfessional, Durable Design\u003c\/p\u003e \u003cul\u003e \u003cli\u003eDust and weather-sealed construction benefits using the lens in inclement shooting conditions.\u003c\/li\u003e \u003cli\u003eThe front lens element features a fluorine coating to protect against smudges and dust from adhering to the glass surface.\u003c\/li\u003e \u003cli\u003eRemovable rotating tripod mount permits quick switching from horizontal to vertical shooting orientations.\u003c\/li\u003e \u003c\/ul\u003e","brand":"Sony","offers":[{"title":"Default Title","offer_id":51499268014397,"sku":"LENSOE200600G","price":37391.26,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/5870\/8285\/files\/5945b6fbc2af6426798bf7f276863295.png?v=1773556316"},{"product_id":"canon-cr-n700-4k-ptz-camera-with-15x-zoom-satin-black","title":"Canon CR-N700 4K PTZ Camera with 15x Zoom (Satin Black)","description":"\u003cp\u003eCapture exceptional 4K imaging in a PTZ form using the satin black \u003cstrong\u003eCR-N700 4K PTZ Camera\u003c\/strong\u003e from \u003cstrong\u003eCanon\u003c\/strong\u003e. 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Featuring a 32.5MP CMOS sensor and DIGIC X processing, this sleek powerhouse is capable of high-speed 30 fps shooting for sports and wildlife and features the renowned Dual Pixel CMOS AF II focusing system to keep up with and track fast-moving subjects. And, for the multimedia image-maker, 4K video is supported at up to 60p, or 30p when oversampled from a 7K area, as well as Full HD at up to 120 fps.\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003cp\u003e32.5MP APS-C CMOS Sensor and DIGIC X Processing\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_1760345.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eAPS-C Comes to EOS R\u003c\/p\u003e \u003cp\u003eBalancing resolution, speed, and low-light performance, the 32.5MP APS-C CMOS sensor is a versatile chip perfect for both photo and video applications. 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Also, unlimited recording times are possible, too, and the R7 features both mic and headphone ports, as well as a multi-function shoe for wide accessories compatibility.\u003c\/p\u003e \u003cp\u003eAutofocus and Image Stabilization\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_1760347.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eDual Pixel CMOS AF II\u003c\/p\u003e \u003cp\u003eCarried over from the EOS R3, the advanced Dual Pixel CMOS AF II system features 651 automatic AF points that covers the entire sensor area, for faster, more responsive, and more precise focusing performance. This phase-detection focusing system also has enhanced subject detection and tracking, with the ability to intelligently recognize people, animals, and vehicles and tracking will automatically lock onto these subjects and maintain sharp focus throughout burst captures. Dual Pixel AF II's low-luminance limit focuses down to an impressive -5 EV for accurate focusing even in nighttime conditions.\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_1760348.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eSensor-Shift Image Stabilizer\u003c\/p\u003e \u003cp\u003eAn In-Body Image Stabilizer (IBIS) corrects up to 7 stops of unwanted camera shake when shooting handheld, helping to shoot handheld in low-light conditions and reduce shake when recording videos. 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It connects via Ethernet and provides hands-on tactile control, essential for broadcast studios. An LCD information display surrounded by soft-touch menu buttons and rotary encoders allows for intuitive programming of control functions. Aside from the main display, each programmable button has an LCD scribble strip to illustrate its function. Since buttons can perform different functions, up to 20 inputs can be accessed by shifting the 10 input buttons. The buttons themselves have curved indentations to help avoid incorrect keystrokes. Real-time dynamic controls are available in the form of a single 3-axis joystick and large weighted T-bar fader. Use the joystick to remotely control PTZ cameras or effects, and the T-bar to adjust transitions, wipes, fades, and more.\u003c\/p\u003e \u003cp\u003eAt the rear of the unit are dual Ethernet connections, a USB port for firmware updates, and power inputs. 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Designed for powerful live event UHD 4K switching, the unit features 10 individual 12G-SDI inputs that support 12G\/3G\/HD-SDI signals and deliver them to six 12G-SDI outputs or webcam USB-C output. In addition, the switcher has a multiview output with up to 16 routable windows that can display inputs, keyed video, graphics, and stills from the media pool, as well as the program output. Each input connects to a built-in Fairlight audio mixer supporting up to 28 channels of audio.\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_2232157.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eThe switcher features a reference video input, and each input features a frame synchronizer, frame rate converter, and format converter. This allows you to mix and match cameras, formats, cameras that do not feature genlock, and video input from computer sources. Upstream and downstream keyers and effects are supported. 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To eliminate errors, ATEM Constellation UHD 4K features a preview transition feature so you can set up your transitions before you switch it on air.\u003c\/p\u003e \u003cp\u003eBuilt-In DVE\u003c\/p\u003e \u003cp\u003eThe ATEM Constellation features two independent DVEs that let you reposition graphics and create picture-in-picture compositions. You get amazing quality, and the DVE supports position, resize, and scale, all in real time. The DVE lets you create professional picture-in-picture effects with customizable 3D borders, shadows, and lighting.\u003c\/p\u003e \u003cp\u003eMultiview\u003c\/p\u003e \u003cp\u003eConfigurable to 16, 13, 10, 7, or 4 up view, it includes monitoring of program, preview, inputs, media players, DSK, and clean feed with optional labels and audio meters.\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_2232161.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eProfessional Broadcast Talkback\u003c\/p\u003e \u003cp\u003eTo keep crews working as a single creative team, ATEM Constellation features built-in talkback. Talkback supports a 5-pin XLR headset connector, plus a rear-mounted RJ12 connector for interfacing with industry-standard talkback systems such as ClearCom or RTS. You get full talkback control, including program and engineering loops, sidetone control for hearing the headset mic into the headphones, and program mix. ATEM Constellation UHD 4K also supports SDI talkback that uses SDI channels 15 and 16 for 2-way communication with Blackmagic Design cameras. You can even use channels 13 and 14 for engineering talkback. It's even possible to mix the talkback mic into the program audio for voiceovers.\u003c\/p\u003e \u003cp\u003eInternal Media Pool\u003c\/p\u003e \u003cp\u003eThe built-in media pool stores broadcast-quality RGBA graphics and animations that can be played back instantly by two or four media players. Media players simply appear as additional input sources on the ATEM Constellation UHD 4K, so you don't have to use extra SDI inputs for graphics. The built-in media pool holds graphics for use with the media players. The 1 M\/E model can hold 20 stills and 200 frame animations. 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You can use external image processors or build a fixed camera set by loading pre-rendered still image backgrounds from the media players and media pool. Set up macros to change cameras and load the correct background into the players.\u003c\/li\u003e \u003c\/ul\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_2232159.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eMulti-Rate 12G-SDI\u003c\/p\u003e \u003cp\u003eWith up to 10 multi-rate 12G-SDI connections, the ATEM 1 M\/E Constellation UHD 4K is compatible with various video sources. You can connect equipment in UHD and HD video standards including 720p, 1080i, 1080p, and 2160p formats. Switch between formats to adapt to the needs of your production. The inputs can also accommodate embedded audio to mix audio from the inputs together. Program outputs include talkback, tally, and camera control information to connect the switcher outputs back to the camera for program return, control, and talkback purposes.\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_2232166.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eFairlight Audio Mixer\u003c\/p\u003e \u003cp\u003eAll SDI inputs on the Constellation UHD 4K are connected to a built-in Fairlight audio mixer with 6-band parametric EQ, compressor, limiter, noise gate, and expander. Audio is de-embedded from the SDI sources and passed to the internal mixer for up to 156 input channels. The mixer has additional inputs for integrated analog sources or talkback microphones for voiceover capabilities. Control the audio with the ATEM Software Control or compatible Mackie panel.\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_2232158.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eATEM Software Control Panel\u003c\/p\u003e \u003cp\u003eUse the ATEM Software Control Panel to facilitate control over your Constellation unit using your personal computer. The software has a visual switcher interface and parameter palettes for quick adjustments. Multiple users can connect to the switcher via Ethernet and work on different aspects of your event simultaneously. The software also lets you access camera control, audio mixing, media, macro programming, and control of HyperDeck disk recorders. Save the full state of the switcher as XML files and back up your media from the media pool. The software is compatible with macOS and Windows operating systems.\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_2232162.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eOptional Control Panels\u003c\/p\u003e \u003cp\u003eThe Constellation UHD 4K is compatible with three models of the ATEM Advanced Panels. The panels feature industry-standard M\/E-style layouts with built-in LCD screens. High-quality buttons with customizable illumination color, a DVE joystick, and a T-bar fader make controlling your unit a breeze. You can even set up and trigger macros. All rows of M\/E buttons include integrated LCDs for dynamic input button labeling. The 1 M\/E model features a single M\/E row with 10 input buttons. The 2 M\/E model features 2 M\/E rows with 20 input buttons. 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In addition, the switcher has a multiview output with up to 16 routable windows that can display inputs, keyed video, graphics, and stills from the media pool, as well as the program output. Each input connects to a built-in Fairlight audio mixer supporting up to 28 channels of audio.\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_2232169.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eThe switcher features a reference video input, and each input features a frame synchronizer, frame rate converter, and format converter. This allows you to mix and match cameras, formats, cameras that do not feature genlock, and video input from computer sources. Upstream and downstream keyers and effects are supported. All this is done live and in real time with no rendering required. You can control the switcher using the integrated front panel, optional Blackmagic ATEM panels, or via the downloadable control software.\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_2232177.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eBroadcast-Quality Transitions\u003c\/p\u003e \u003cp\u003eThe ATEM Constellation UHD 4K includes a wide range of broadcast-quality native transitions such as mix, dip, wipe, and more. All transitions can be customized in the system control menus with adjustments for border color, border width, position, direction, and a lot more. The ATEM Constellation switcher includes a powerful digital video effects processor for DVE transitions, which can be used to squeeze the current picture offscreen, revealing a new video under it. The DVE can even be used to create graphic wipe transitions. To eliminate errors, ATEM Constellation UHD 4K features a preview transition feature so you can set up your transitions before you switch it on air.\u003c\/p\u003e \u003cp\u003eBuilt-In DVE\u003c\/p\u003e \u003cp\u003eThe ATEM Constellation features two independent DVEs that let you reposition graphics and create picture-in-picture compositions. You get amazing quality, and the DVE supports position, resize, and scale, all in real time. The DVE lets you create professional picture-in-picture effects with customizable 3D borders, shadows, and lighting. DVEs can also be used to create amazing DVE transitions with squeeze and swoosh effects for adding excitement to your programming. You can even combine DVE transitions with custom graphics to create your own graphic wipe transitions. The 2 M\/E model includes SuperSource processors for six DVEs.\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_2232172.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eSuperSource\u003c\/p\u003e \u003cp\u003eIn addition to the DVEs in the M\/E rows, the 2 M\/E model includes powerful SuperSource multilayer processors with four extra DVE layers plus a background layer, all appearing to ATEM Constellation UHD 4K as an additional input source. Any switcher video input can be used for each SuperSource DVE, then it's all layered together over a media pool custom background. SuperSource is just like having an extra multilayer VFX switcher built in. SuperSource is perfect for doing picture-in-picture displays for interviews because you can set up the effect while keeping the main DVEs free for other tasks.\u003c\/p\u003e \u003cp\u003eMultiview\u003c\/p\u003e \u003cp\u003eConfigurable to 16, 13, 10, 7, or 4 up view. It includes monitoring of program, preview, inputs, media players, DSK, and clean feed with optional labels and audio meters. The 2 M\/E model features two multiview outputs.\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_2232173.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eProfessional Broadcast Talkback\u003c\/p\u003e \u003cp\u003eTo keep crews working as a single creative team, ATEM Constellation features built-in talkback. Talkback supports a 5-pin XLR headset connector, plus a rear-mounted RJ12 connector for interfacing with industry-standard talkback systems such as ClearCom or RTS. You get full talkback control, including program and engineering loops, sidetone control for hearing the headset mic into the headphones, and program mix. ATEM Constellation UHD 4K also supports SDI talkback that uses SDI channels 15 and 16 for 2-way communication with Blackmagic Design cameras. You can even use channels 13 and 14 for engineering talkback. It's even possible to mix the talkback mic into the program audio for voiceovers.\u003c\/p\u003e \u003cp\u003eInternal Media Pool\u003c\/p\u003e \u003cp\u003eThe built-in media pool stores broadcast-quality RGBA graphics and animations that can be played back instantly by two or four media players. Media players simply appear as additional input sources on the ATEM Constellation UHD 4K, so you don't have to use extra SDI inputs for graphics. The built-in media pool holds graphics for use with the media players. The 2 M\/E model can hold 40 stills and 400 frame animations. You can easily manage all your media using the included ATEM Software Control or download directly from Photoshop using the ATEM Photoshop plug-in.\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_2232179.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eChroma Keyers\u003c\/p\u003e \u003cul\u003e \u003cli\u003eThe ATEM chroma keyer features a color picker to sample background colors for automatic generation of the key parameters. Use the precise controls to adjust edge and flare, and there is even a foreground color corrector to match the look to the background layer for seamless compositions. The keyer can be used for pattern and DVE keying applications. You get eight Advanced Keyers with the 2 M\/E model.\u003c\/li\u003e \u003cli\u003eThere are four upstream keyers per M\/E row for virtual set building. You can use a keyer per camera to create cohesive compositions over a custom background in a 4-camera virtual set. You can use external image processors or build a fixed camera set by loading pre-rendered still image backgrounds from the media players and media pool. Set up macros to change cameras and load the correct background into the players.\u003c\/li\u003e \u003c\/ul\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_2232171.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eMulti-Rate 12G-SDI\u003c\/p\u003e \u003cp\u003eWith up to 20 multi-rate 12G-SDI connections, the ATEM 2 M\/E Constellation UHD 4K is compatible with various video sources. You can connect equipment in UHD and HD video standards including 720p, 1080i, 1080p, and 2160p formats. Switch between formats to adapt to the needs of your production. The inputs can also accommodate embedded audio to mix audio from the inputs together. Program outputs include talkback, tally, and camera control information to connect the switcher outputs back to the camera for program return, control, and talkback purposes.\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_2232178.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eFairlight Audio Mixer\u003c\/p\u003e \u003cp\u003eAll SDI inputs on the Constellation UHD 4K are connected to a built-in Fairlight audio mixer with 6-band parametric EQ, compressor, limiter, noise gate, and expander. Audio is de-embedded from the SDI sources and passed to the internal mixer for up to 156 input channels. The mixer has additional inputs for integrated analog sources or talkback microphones for voiceover capabilities. Control the audio with the ATEM Software Control or compatible Mackie panel.\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_2232170.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eATEM Software Control Panel\u003c\/p\u003e \u003cp\u003eUse the ATEM Software Control Panel to facilitate control over your Constellation unit using your personal computer. The software has a visual switcher interface and parameter palettes for quick adjustments. Multiple users can connect to the switcher via Ethernet and work on different aspects of your event simultaneously. The software also lets you access camera control, audio mixing, media, macro programming, and control of HyperDeck disk recorders. Save the full state of the switcher as XML files and back up your media from the media pool. The software is compatible with macOS and Windows operating systems.\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_2232174.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eOptional Control Panels\u003c\/p\u003e \u003cp\u003eThe Constellation UHD 4K is compatible with three models of the ATEM Advanced Panels. The panels feature industry-standard M\/E-style layouts with built-in LCD screens. High-quality buttons with customizable illumination color, a DVE joystick, and a T-bar fader make controlling your unit a breeze. You can even set up and trigger macros. All rows of M\/E buttons include integrated LCDs for dynamic input button labeling. The 1 M\/E model features a single M\/E row with 10 input buttons. The 2 M\/E model features 2 M\/E rows with 20 input buttons. The massive 4 M\/E model features four M\/E rows with 40 input buttons per row and four independent system control LCD screens.\u003c\/p\u003e","brand":"Blackmagic Design","offers":[{"title":"Default Title","offer_id":51499271979325,"sku":"BLA-SWATEMSCN2\/2ME2\/4K","price":66481.98,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/5870\/8285\/files\/5b5e936dc041707cb821a675cc3cddbd.png?v=1773556723"},{"product_id":"blackmagic-atem-2-m-e-constellation-hd-1","title":"Blackmagic ATEM 2 M\/E Constellation HD","description":"\u003cp\u003ePowerful live event HD switching, supporting up to 20 individual 3G\/HD-SDI inputs built into a 1 RU chassis, is at hand with the \u003cb\u003eBlackmagic Design ATEM 2 M\/E Constellation HD Live Production Switcher\u003c\/b\u003e. Supporting 3G-SDI and HD-SDI signals, the switcher connects to a wide range of cameras and sources, delivering program output via 12 3G-SDI BNC outputs or a webcam output via USB-C. In addition, the switcher has two multiview outputs with up to 16 routable windows that can display inputs, keyed video, graphics, and stills from the media pool, as well as the program output. Each input connects to a built-in Fairlight audio mixer supporting up to 48 channels of audio.\u003c\/p\u003e\u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_2038671.jpg\"\u003e\u003c\/p\u003e\u003cp\u003eThe switcher features a reference video input, and each input features a frame synchronizer, frame rate converter, and format converter. This allows you to mix and match cameras, formats, cameras that do not feature genlock, and video input from computer sources. Upstream and downstream keyers and effects are supported. All this is done live and in real time with no rendering required. You can control the switcher using the integrated front panel, optional Blackmagic ATEM panels, or via the downloadable control software.\u003c\/p\u003e\u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_2038663.jpg\"\u003e\u003c\/p\u003e\u003cp\u003eBroadcast-Quality Transitions\u003c\/p\u003e\u003cp\u003eThe ATEM Constellation HD includes a wide range of broadcast-quality native transitions such as mix, dip, wipe, and more. All transitions can be customized in the system control menus with adjustments for border color, border width, position, direction, and a lot more. The ATEM Constellation switcher includes a powerful digital video effects processor for DVE transitions, which can be used to squeeze the current picture offscreen, revealing a new video under it. The DVE can even be used to create graphic wipe transitions. To eliminate errors, ATEM Constellation HD features a preview transition feature so you can set up your transitions before you switch it on air.\u003c\/p\u003e\u003cp\u003eBuilt-In DVE\u003c\/p\u003e\u003cp\u003eThe ATEM Constellation features two independent DVEs that let you reposition graphics and create picture-in-picture compositions. You get amazing quality, and the DVE supports position, resize, and scale, all in real time. The DVE lets you create professional picture-in-picture effects with customizable 3D borders, shadows, and lighting. DVEs can also be used to create amazing DVE transitions with squeeze and swoosh effects for adding excitement to your programming. You can even combine DVE transitions with custom graphics to create your own graphic wipe transitions. The 2 M\/E model includes SuperSource processors for six DVEs.\u003c\/p\u003e\u003cp\u003eSuperSource\u003c\/p\u003e\u003cp\u003eIn addition to the DVEs in the M\/E rows, the 2 M\/E model includes powerful SuperSource multilayer processors with four extra DVE layers plus a background layer, all appearing to ATEM Constellation HD as an additional input source. Any switcher video input can be used for each SuperSource DVE, then it's all layered together over a media pool custom background. SuperSource is just like having an extra multi-layer VFX switcher built in. SuperSource is perfect for doing picture-in-picture displays for interviews because you can set up the effect while keeping the main DVEs free for other tasks.\u003c\/p\u003e\u003cp\u003eMultiview\u003c\/p\u003e\u003cp\u003eConfigurable to 16, 13, 10, 7, or 4 up view. It includes monitoring of program, preview, inputs, media players, DSK, and clean feed with optional labels and audio meters. The 2 M\/E model features two multiview outputs.\u003c\/p\u003e\u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_2038664.jpg\"\u003e\u003c\/p\u003e\u003cp\u003eProfessional Broadcast Talkback\u003c\/p\u003e\u003cp\u003eTo keep crews working as a single creative team, ATEM Constellation features built-in talkback. Talkback supports a 5-pin XLR headset connector, plus a rear-mounted RJ12 connector for interfacing with industry-standard talkback systems such as ClearCom or RTS. You get full talkback control, including program and engineering loops, sidetone control for hearing the headset mic into the headphones, and program mix. ATEM Constellation HD also supports SDI talkback that uses SDI channels 15 and 16 for 2-way communication with Blackmagic Design cameras. You can even use channels 13 and 14 for engineering talkback. It's even possible to mix the talkback mic into the program audio for voiceovers.\u003c\/p\u003e\u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_2038668.jpg\"\u003e\u003c\/p\u003e\u003cp\u003eMedia Pool\u003c\/p\u003e\u003cp\u003eThe built-in media pool stores broadcast-quality RGBA graphics and animations that can be played back instantly by the two or four media players. Media players simply appear as additional input sources on the ATEM Constellation HD, so you don't have to use extra SDI inputs for graphics. The built-in media pool holds graphics for use with the media players. The 2 M\/E model can hold 40 stills and 400 frame animations. You can easily manage all your media using the included ATEM Software Control or download directly from Photoshop using the ATEM Photoshop plug-in.\u003c\/p\u003e\u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_2038670.jpg\"\u003e\u003c\/p\u003e\u003cp\u003eChroma Keyers\u003c\/p\u003e\u003cp\u003eFor news or virtual set work, ATEM Constellation HD is perfect as it features lots of ATEM advanced keyers for high-quality chroma or luminance keying. The chroma keyer is incredibly powerful and features a color picker to sample background colors for automatic generation of the key parameters. You get precise controls for edge and flare, and there is even a foreground color corrector so you can match the \"look\" of the foreground layer to the background layer making seamless compositions possible. The keyer can also be used for pattern and DVE keying. You get eight ATEM Advanced Keyers on the 2 M\/E model.\u003c\/p\u003e\u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_2038672.jpg\"\u003e\u003c\/p\u003e\u003cp\u003eUpstream Chroma Keyers\u003c\/p\u003e\u003cp\u003eWith four upstream chroma keyers per M\/E row, you get the perfect solution for building virtual sets. With so many ATEM Advanced chroma keyers, you can use a keyer per camera to create a seamless composition of the camera over the custom background. The 2 M\/E model has enough keyers to generate a 4-camera virtual set. You can use external image processors for virtual sets, or you can even build a fixed camera virtual set by loading pre-rendered still image backgrounds from the media players and media pool. You can set up macros to change cameras and load the correct background into the media players. With so much flexibility, you can experiment to try out different studio setups.\u003c\/p\u003e\u003cp\u003eMulti-Rate 3G-SDI Input\u003c\/p\u003e\u003cp\u003eWith up to 20 multi-rate 3G-SDI input connections, depending on the model, the ATEM Constellation HD is compatible with all types of HD video sources. You can connect equipment in all HD television standards, including 720p, 1080i, and 1080p formats. Only multi-rate 3G-SDI allows switching between HD formats, so you can instantly adapt to the needs of the job you are doing anywhere in the world. The SDI inputs will also handle embedded audio and mix audio from all video inputs. Plus, the program outputs include talkback, tally, and camera control information. That means you can connect any of the switcher SDI outputs back to the camera for program return, camera control, and talkback.\u003c\/p\u003e\u003cp\u003eAudio\u003c\/p\u003e\u003cp\u003eATEM Constellation HD fully embraces live professional audio production. All SDI inputs are connected to a built-in Fairlight audio mixer that features a 6-band parametric EQ, compressor, limiter, noise gate, and expander on each input.\u003c\/p\u003e\u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_2038669.jpg\"\u003e\u003c\/p\u003e\u003cp\u003eATEM Software Control Panel\u003c\/p\u003e\u003cp\u003eThe ATEM Software Control Panel gives you total control over your switcher and is included for free. The ATEM Software Control Panel features a beautifully designed interface with a visual switcher and parameter palettes for making quick adjustments. Multiple users can connect to the switcher via Ethernet, and all work on different parts of the event at the same time. The ATEM Software Control also lets you access camera control, audio mixing, media, macro programming, and even control of HyperDeck disk recorders. You can save the full state of the switcher as XML files, plus all media is backed up from the media pool. You can run the software on Mac or Windows.\u003c\/p\u003e\u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_2038661.jpg\"\u003e\u003c\/p\u003e\u003cp\u003eSupports Optional Control Panels\u003c\/p\u003e\u003cp\u003eThree models of ATEM Advanced Panels are available. ATEM Advanced Panels feature an industry-standard, familiar M\/E style layout. Each panel has built-in LCDs for menus, high-quality buttons with customizable illumination color, a DVE joystick, and a T-bar fader. You can even set up and trigger macros. All rows of M\/E buttons include integrated LCDs for dynamic input button labeling. The 1 M\/E model features a single M\/E row with 10 input buttons. The 2 M\/E model features 2 M\/E rows with 20 input buttons. The massive 4 M\/E model features four M\/E rows with 40 input buttons per row and four independent system control LCD screens.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e","brand":"Blackmagic Design","offers":[{"title":"Default Title","offer_id":51499272110397,"sku":"BLA-SWATEMSCN2\/1ME2\/HD","price":34036.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/5870\/8285\/files\/18e7c528c4a04ac64f3527d8a4aa66de_e94de5ff-27fe-45e6-8916-95f1da46bac7.png?v=1773556731"},{"product_id":"blackmagic-cloud-backup-9","title":"Blackmagic Cloud Backup 8","description":"\u003cp\u003eThe \u003cb\u003eCloud Backup 8\u003c\/b\u003e from \u003cb\u003eBlackmagic Design\u003c\/b\u003e is made for post-production workflows where users need to archive projects to low-cost storage, which is accomplished using 8 x SATA 3.5\" drive bays. The Cloud Backup 8 also syncs to the Blackmagic Cloud for backing up collaborative projects in DaVinci Resolve. When the drives are full, they may be removed and replaced with new ones for increased storage. The Cloud Backup 8 is equipped with four 10Gb Ethernet ports, a 5 Gb\/s USB-C 3.2 Gen 1 port that also supports Ethernet, and an HDMI output for real time monitoring. Compatible with Windows and Mac, this unit features a rackmount form factor and has no associated subscription costs.\u003c\/p\u003e\u003cp\u003eBack Up and Share Your Media to Hard Disks\u003c\/p\u003e\u003cp\u003eThe Blackmagic Cloud Backup 8 lets you use inexpensive computer hard drives to back up your media files. It even syncs to Blackmagic Cloud for backing up collaborative projects in DaVinci Resolve. Each hard disk slot is totally independent, so you can mount up to 8 backup disks simultaneously. Then, when full, you can unplug the disks and you can replace them with new, blank ones to increase your archive storage capacity. You also get 4 x 10Gb Ethernet ports to keep up with fast, high-capacity hard disks. Hard disks offer the lowest cost per TB of storage and are fast, making them ideal for archiving older projects. Plus, there's an HDMI monitor output that shows storage status.\u003c\/p\u003e\u003cp\u003eDesigned for Film and Television\u003c\/p\u003e\u003cp\u003eBlackmagic Cloud Backup 8 is an ideal solution for post-production workflows where you have completed projects that require fast archiving to low cost storage. It's great for creating replay archives, as media files can become large when recording multiple ISO channels. You can even use it for education to manage numerous student media projects. Plus there's a security bar included so you can lock the disks and prevent their removal. Modern hard disks are so fast they can also be used as primary storage, not just for archiving purposes! Additionally, you can archive projects from Blackmagic Cloud, ensuring a live backup that continuously syncs to your project while you edit!\u003c\/p\u003e\u003cp\u003eRackmount Design\u003c\/p\u003e\u003cp\u003eBlackmagic Cloud Backup 8 features a rackmount design, making it an ideal choice for installation in a studio alongside other network equipment or even for camera backups in a DIT cart on set. This ensures you always have a second backup to keep your camera files safe. You get 8 independent hard disk slots, with all disks available simultaneously over the network. Plus, there's a built-in 4-port 10Gb Ethernet switch for high performance. There's also an HDMI output to watch a live graphic view of storage operations on a TV or monitor. Each slot is elegantly illuminated with a light ring that shows disk activity, allowing you to know when the disk is being read from or written to.\u003c\/p\u003e\u003cp\u003ePorts and Connectivity\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eAn IEC power socket is included to connect AC power. All international AC voltages are supported, enabling you to travel the world for global jobs.\u003c\/li\u003e\n\u003cli\u003e10G Ethernet allows high-speed computers to be connected. It's fast, even when lots of users are connected all at the same time. It's perfect for connecting to the latest 10Gb Ethernet switches.\u003c\/li\u003e\n\u003cli\u003eEthernet via USB-C: Cloud Backup 8 also includes an Ethernet via USB-C port. This allows you to access the disks for file management from a laptop, while reserving the high-speed Ethernet ports for networked users.\u003c\/li\u003e\n\u003cli\u003eThe HDMI monitor output allows you to monitor the status of your Cloud Backup 8 in real time. Simply plug in a monitor and you'll be able to see a storage map, speed graphs, sync, active users, and power status.\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eHigh-Performance 10Gb Ethernet\u003c\/p\u003e\u003cp\u003eThe Blackmagic Cloud Backup 8 has up to four high speed 10Gb Ethernet ports, which is generally only found on expensive computers. With 10Gb Ethernet, you get 10 times the speed of regular Ethernet. Plus, most computers can be upgraded to add 10Gb Ethernet, so you can take advantage of this speed. Even when connected to an Ethernet network with dozens of users accessing files at the same time. The Ethernet also offers very low latency, ensuring fast access times. That offers similar performance to high end business SANs, but in a low cost design that you can install yourself.\u003c\/p\u003e\u003cp\u003eIntelligent Sync to Blackmagic Cloud\u003c\/p\u003e\u003cp\u003eCreative teams can now share a single local cache of media synced to Blackmagic Cloud, enabling a truly global workflow. Blackmagic Cloud handles all sync, duplicating media to multiple sites for robust data safety and zero latency access since everyone works from local copies. Blackmagic Cloud will run continuous backups, eliminating manual archiving. Then once a job completes, it remains available on the Blackmagic Cloud Backup 8 disks, freeing up space on your primary fast flash storage. Blackmagic Cloud also handles the DaVinci Resolve proxy workflow, transferring proxies first, then the camera original files. This means you can always re-open a job in minutes.\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eAdd Cloud Service: Make sure your Blackmagic Cloud Backup 8 is connected to the internet. Enter in your Blackmagic Cloud ID account details, so the Cloud Backup 8 can gain access to allow sync.\u003c\/li\u003e\n\u003cli\u003eSet Sync Folders: Next you need to set the sync folders. That tells the Blackmagic Cloud Backup 8 unit where to sync its files to Blackmagic Cloud. You can have multiple sync folders for different jobs.\u003c\/li\u003e\n\u003cli\u003eSet Sync Direction: Now set the sync direction. One direction is good when you have local files you want to share, but not enough room for everyone's files. Both directions means everyone gets the same set of files.\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eReal Time Monitoring\u003c\/p\u003e\u003cp\u003eThe most exciting feature is the HDMI monitoring output. Simply connect a TV or computer monitor to get a live status of the Blackmagic Cloud Backup 8 disks. The storage map shows a graphic representation of the total hard disk capacity and real time read and write access happening for the connected users. There are also graphs that show you the data transfers on the Ethernet connection. The main space indicator shows you the capacity of all the disks and how much is currently being used. You can also custom name each Blackmagic Cloud Backup 8 unit! The status for each sync is also shown. It's even possible to view the connected users and power supply status.\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eUsage Indicator: On the top left you can see the storage capacity indicator. The number on the left is the space used and the number on the right is the total capacity for all disks loaded in the disk slots.\u003c\/li\u003e\n\u003cli\u003eCustomizable Name: You can custom name the Blackmagic Cloud Backup 8 unit to identify it on the monitor display and utility software. TO change the name, just use the Blackmagic Cloud Backup 8 utility.\u003c\/li\u003e\n\u003cli\u003eStorage Map: The storage map display shows a view of the disks. The memory is divided into segments with reads in cyan and writes in orage. The display will automatically adapter when disks are connected.\u003c\/li\u003e\n\u003cli\u003eCloud Sync Status: The cloud sync status shows each sync folder and its transfers to and from Blackmagic Cloud. When new files appear in any sync folder, you can see the transfer status as they sync.\u003c\/li\u003e\n\u003cli\u003eUser Connections: You can see each of the connected users and the data transfers for each. However, this list will move down if you have more cloud sync folders, as the sync folder status is more important.\u003c\/li\u003e\n\u003cli\u003eCloud Dock Status: You also get hardware status on the lower left side of the display. This includes the cell size for the storage map plus internet connection status and each disk that is currently connected.\u003c\/li\u003e\n\u003cli\u003eSpeed Graphs: The lower part of the display has the data transfer speed graph. It shows recent read and write speeds for the 10Gb Ethernet connections. It's great for diagnosing the Ethernet speed on each port.\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003eNo Subscription Costs\u003c\/p\u003e\u003cp\u003eOne of the main advantages of the Blackmagic Cloud Backup 8 is that it provides private storage that you have complete local control over. There are no subscriptions to sign up for. There are no monthly license fees. There is no tracking of your usage or data. Blackmagic Cloud Backup 8 includes a free software utility to manage storage settings on Mac and Windows, eliminating the requirement for a subscription website with recurring monthly costs. That means you can run a private network, totally disconnected from the internet. This is crucial for many security standards where computer networks can't connect to the external internet.\u003c\/p\u003e\u003cp\u003eFree Software for Mac and Windows\u003c\/p\u003e\u003cp\u003eWhen you need to change settings, you can use the Blackmagic Cloud Backup 8 utility that's available on Mac and Windows. The same utility works with all Blackmagic Storage products, including Blackmagic Cloud Stores and Blackmagic Cloud Dock. By default, the Blackmagic Cloud Backup 8 is set to DHCP, so you can connect it to your network and start transferring files. Just plug it in and go! That means setting it up is incredibly easy so you won't need an IT person before you can start using it! However, if you want to customize your network, the utility software allows you to modify the settings. The utility is also where you set up syncs with Blackmagic Cloud.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e","brand":"Blackmagic Design","offers":[{"title":"Default Title","offer_id":51499272307005,"sku":"BLA-DWCLDB\/DOCLBU08","price":29212.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/5870\/8285\/files\/5cc45112620c6f2b9633d0dd07123f4c_7f0ec8a2-01ca-484f-9f86-deb071d12ef1.png?v=1773556753"},{"product_id":"blackmagic-design-atem-1-m-e-advanced-panel-20","title":"Blackmagic Design ATEM 1 M\/E Advanced Panel 20","description":"\u003cp\u003eControl your BMD ATEM switcher with the \u003cstrong\u003eATEM 1 M\/E Advanced Panel 20\u003c\/strong\u003e from \u003cstrong\u003eBlackmagic Design\u003c\/strong\u003e. The full-featured control panel is an essential companion for any ATEM switcher, providing tactile accessibility and two independent system control LCDs to manage switching tasks during production, regardless of size and scope. Four-port Ethernet connectivity on the rear of the panel ensures that no additional network equipment is required and that the unit will integrate seamlessly into the most challenging live production applications.\u003c\/p\u003e \u003cp\u003eThe unit features a wide array of color backlit buttons, including 20 input buttons, and it has buttons for controlling up to four upstream and four downstream keyers as well as four M\/E rows. A dynamic 3-axis joystick and an ergonomically designed T-bar facilitate precise, real-time DVE control with the T-bar, providing targeted adjustment prowess for wipes, fades, and other broadcast-quality transitions. In addition to allowing you to create adjustable auto transitions, the panel has a dedicated preview transition button and a single-button Fade to Black option that is applicable to the entire output, all at once.\u003c\/p\u003e \u003cp\u003eMains power is provided via an optional power cord connected to the IEC input, which also offers a second input option for redundant power. A built-in USB-C port is included for firmware updates. The compact panel design allows the unit to fit in standard equipment racks, so that it may be easily integrated in fly-away kits or broadcast trucks.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eSwitching Features\u003c\/strong\u003e\u003c\/p\u003e \u003cul\u003e \u003cli\u003e20 direct crosspoints\u003c\/li\u003e \u003cli\u003e40 shifted crosspoints\u003c\/li\u003e \u003cli\u003eTri-color LED crosspoint buttons\u003c\/li\u003e \u003cli\u003e2 LCD menu displays\u003c\/li\u003e \u003cli\u003e1 destination bus\u003c\/li\u003e \u003cli\u003e1 source select bus\u003c\/li\u003e \u003cli\u003eNumeric keypad\u003c\/li\u003e \u003c\/ul\u003e","brand":"Blackmagic Design","offers":[{"title":"Default Title","offer_id":51499272831293,"sku":"BLA-SWPANELADV1ME20","price":72066.63,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/5870\/8285\/files\/bbe6d7ee56528c81800ff90ac2ee09d3.png?v=1773556837"},{"product_id":"blackmagic-design-atem-mini-extreme-1","title":"Blackmagic Design ATEM Mini Extreme","description":"\u003cp\u003eThe \u003cstrong\u003eBlackmagic Design ATEM Mini Extreme\u003c\/strong\u003e is an 8-input live production switcher for live streaming. It features an integrated control panel and has advanced broadcast features. In addition to live streaming using RTMP protocols, you can also output your program as if it was a webcam over USB. This versatile switcher's eight independent HDMI inputs accept all popular HD signals up to 1080p60. Each input has discrete frame rate and format converters, and it supports re-syncing for seamless switching between a variety of pro and consumer cameras, game consoles, and computer feeds.\u003c\/p\u003e \u003cp\u003eSwitch, add effects, color grade, and key in real time using the control surface's buttons, or via the software control panel. CCU functions are available for controlling Blackmagic Studio and URSA Mini\/Broadcast\/Micro Studio cameras from the switcher. The ATEM Mini Extreme supports up to nine layers, with four upstream and two downstream keyers, up to four chroma keyers, up to four linear keyers, two DVE with borders and drop shadow, five pattern generators, and two color generators. Designed for live streaming or webcam production, the Mini Extreme has HDMI outputs to feed monitors and supports up to 16-screen multiview.\u003c\/p\u003e \u003ch4\u003eStream Live\u003c\/h4\u003e \u003cp\u003eLive stream to YouTube, Facebook Live, Skype, Twitch, Zoom, Microsoft Teams, and other platforms that support RTMP protocols.\u003c\/p\u003e \u003ch4\u003eControl Interface\u003c\/h4\u003e \u003cp\u003eThe front panel includes easy-to-use buttons for selecting sources, video effects, and transitions. The source buttons are large, allowing you to operate them by feel. Included on the ATEM Extreme are buttons for audio mixing, recording, and streaming control, as well as output selection buttons that let you change the video output between cameras, program, and multiview. On the rear panel, there are HDMI connections for cameras or computers, extra microphone inputs, USB for webcam out, plus an HDMI \"AUX\" output for program video.\u003c\/p\u003e \u003ch4\u003eOutput\u003c\/h4\u003e \u003cp\u003eYou can output using the Ethernet connection to your network or use the USB Type-C output to have your switched show recognized as a webcam input by virtually any video software such as Zoom, Microsoft Teams, Skype, Open Broadcaster, XSplit Broadcaster, and others.\u003c\/p\u003e \u003ch4\u003e4G and 5G Phone Support\u003c\/h4\u003e \u003cp\u003eIf you're doing live production on location, the ATEM Mini Extreme models support connecting an Apple or Android phone to the USB port to use mobile data. It's also a great backup for the main Ethernet connection, so you don't drop your stream if your hardwired connection gets interrupted. The switcher will automatically switch to using the phone as the primary connection, and the USB port will also power your phone, so the battery won't drain.\u003c\/p\u003e \u003ch4\u003eMultiview Monitoring\u003c\/h4\u003e \u003cp\u003eYou can configure the HDMI output for multiview with 4, 7, 10, 13, up to 16 views including Program, Preview, eight HDMI inputs, SuperSource, clean feed, media player, streaming status, recording status, and audio meters.\u003c\/p\u003e \u003ch4\u003eCamera Control\u003c\/h4\u003e \u003cp\u003eThe ATEM Mini Extreme can control the Blackmagic Pocket Cinema Camera 4K and 6K models when they are updated to the latest software and plugged in via the HDMI inputs. You can control your HDMI camera settings such as iris, gain, focus, detail, and zoom control on compatible lenses. Plus, you can color balance cameras, as well as create unique looks using the DaVinci Resolve primary color corrector built into the Blackmagic Pocket Cinema Camera 4K and 6K.\u003c\/p\u003e \u003ch4\u003eMedia Pool\u003c\/h4\u003e \u003cp\u003eThe switcher can store up to 20 images with fill and key, and it supports PNG, TGA, BMP, GIF, JPEG, and TIFF file formats.\u003c\/p\u003e \u003ch4\u003eCompatibility\u003c\/h4\u003e \u003cp\u003eIt includes the ATEM Software Control Panel, and it is also compatible with the ATEM 1 M\/E, ATEM 2 M\/E, and ATEM 4 M\/E Advanced Panels. The ATEM Mini Extreme can be configured using Blackmagic's Videohub Hardware Panel Setup utility to route sources to destinations using Videohub Smart Control Pro and Videohub Master Control Pro.\u003c\/p\u003e \u003ch4\u003eRecording\u003c\/h4\u003e \u003cp\u003eThe ATEM Mini Extreme models support the direct recording of your streaming data to USB flash disks using the same H.264 video files with AAC audio that you streamed. Recording to multiple disks is also supported via a USB hub or the Blackmagic MultiDock, so when a disk becomes full, recording can continue to a second disk for nonstop recording. Record settings and disk selection are set up in ATEM Software Control, and there's a record status view in the built-in multiview. You can even trigger recording on connected Blackmagic Pocket Cinema Cameras.\u003c\/p\u003e \u003ch4\u003eVideo Effects\u003c\/h4\u003e \u003cp\u003eOne of the benefits of ATEM Mini is the professional production values possible using the range of built-in video effects. The cut button ensures an instant cut when switching between sources. The auto button is a professional term used on large broadcast switchers to enable video effect transitions. There are duration buttons for video effects allowing 0.5-, 1-, 1.5-, and 2-second settings. You can also select the type of effect you want including mix, which does a smooth transition between sources, and dip, which fades via a color during the transition. Or use fun DVE effects that move the image off-screen when transitioning between sources.\u003c\/p\u003e \u003ch4\u003eAudio\u003c\/h4\u003e \u003cp\u003eWith two independent 3.5mm stereo audio inputs, you can connect desktop and lapel microphones, or you can connect a music player to generate introduction music after the live stream commences but before the program starts. With two extra stereo audio inputs, you can ensure a host and guest both have lapel microphones when doing interviews. All audio inputs to the ATEM Mini include buttons on the panel for adjusting audio level and enabling inputs into the audio mixer. All models feature a Fairlight audio mixer with all HDMI inputs, and both microphone inputs are connected to the audio mixer, so you can live mix from all audio sources. The ATEM Mini Extreme also adds a headphone output.\u003c\/p\u003e \u003ch4\u003eBroadcast Features\u003c\/h4\u003e \u003cp\u003eHiding in the ATEM Mini Extreme models are a host of broadcast-caliber features that are accessible when connected to a Mac or Windows computer running the free ATEM Software Control app.\u003c\/p\u003e \u003ch3\u003ekey features\u003c\/h3\u003e \u003ch4\u003eFeatures\u003c\/h4\u003e \u003cul\u003e \u003cli\u003e8-Channel HDMI Live Streaming Switcher\u003c\/li\u003e \u003cli\u003eSupports up to 1080p60\u003c\/li\u003e \u003cli\u003eRTMP Streaming via Ethernet or USB-C\u003c\/li\u003e \u003cli\u003eRecord Program Out\u003c\/li\u003e \u003cli\u003e11-Input, 2-Channel Audio Mixer\u003c\/li\u003e \u003cli\u003eInput Frame Rate and Format Converter\u003c\/li\u003e \u003cli\u003eRe-Sync on All HDMI Inputs\u003c\/li\u003e \u003cli\u003eHD Multiview Output with up to 16 Views\u003c\/li\u003e \u003cli\u003eLocal and Software Switching\u003c\/li\u003e \u003cli\u003e4 x Upstream, 2 x Downstream Keyers\u003c\/li\u003e \u003c\/ul\u003e","brand":"Blackmagic Design","offers":[{"title":"Default Title","offer_id":51499273257277,"sku":"BLA-SWATEMMINICEXT","price":17452.38,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/5870\/8285\/files\/b0e6ac6c567718b7b93fa05c9b1d8a20.png?v=1773556915"},{"product_id":"blackmagic-design-atem-mini-extreme-iso-g2-1","title":"Blackmagic Design ATEM Mini Extreme ISO G2","description":"\u003cp\u003eThe \u003cb\u003eATEM Mini Extreme ISO G2 Switcher\u003c\/b\u003e from \u003cb\u003eBlackmagic Design\u003c\/b\u003e is an updated 8-input live production switcher for live streaming with an integrated control panel and advanced broadcast features. In addition to live streaming using RTMP protocols, you can also output your program as if it were a webcam over USB. New features include a totally redesigned keyboard with multiple knob controls, large NKK red\/green source select buttons, a hardware fader, a CFexpress slot and Thunderbolt port for recording, and a more functional button layout.\u003c\/p\u003e\u003cp\u003eUpdated Control Interface\u003c\/p\u003e\u003cp\u003eIncluded on the ATEM Extreme ISO G2 are large source select buttons for audio mixing, recording, and streaming control, as well as output selection buttons that let you change the video output between cameras, program, and multiview. A new hardware fader allows additional tactile control. On the rear panel, there are HDMI connections for cameras or computers, XLR and MADI audio inputs, USB for webcam out, Thunderbolt for record\/playback, and four HDMI outputs for program\/preview video.\u003c\/p\u003e\u003cp\u003eYou can output using the Ethernet connection to your network or use the USB-C output to have your switched show recognized as a webcam input by virtually any video software such as Zoom, Microsoft Teams, Skype, Open Broadcaster, XSplit Broadcaster, and others.\u003c\/p\u003e\u003cp\u003eM\/E Switcher\u003c\/p\u003e\u003cp\u003eSwitch, add effects, color grade, and key in real time using the control surface's buttons or the software control panel. CCU functions are available for controlling Blackmagic Studio and URSA Mini\/Broadcast\/Micro Studio cameras from the switcher. The ATEM Mini Extreme ISO G2 supports up to nine layers, with four upstream and two downstream keyers, up to four chroma keyers, up to four linear keyers, two DVE with borders and drop shadow, five pattern generators, and two color generators. Designed for live streaming or webcam, the Mini Extreme ISO G2 has four HDMI outputs to feed monitors and supports up to 16-screen multiview.\u003c\/p\u003e\u003cp\u003eISO Output\u003c\/p\u003e\u003cp\u003eThe switcher's ISO label means you can individually record each of the eight input videos as an MP4, as well as the program output via one of the USB-C ports. The switcher automatically generates a DaVinci Resolve project file so you can clean it up and make changes later. This versatile switcher's eight independent HDMI inputs accept all popular HD signals up to 1080p60. Each input has discrete frame rate and format converters, and it supports re-syncing for seamless switching between a variety of pro and consumer cameras, game consoles, and computer feeds.\u003c\/p\u003e\u003cp\u003eThunderbolt for Live Replay\u003c\/p\u003e\u003cp\u003eWith Thunderbolt on the ATEM Mini Extreme ISO G2 model, you get fill and key playback, capture, Ethernet access to the CFexpress card, and trickle power, all with a single computer connection. This means you can use DaVinci Resolve as a full live-action replay system.\u003c\/p\u003e\u003cp\u003eDaVinci Resolve can show a live video input of the switcher, and when you press the Point of Interest (POI) button, DaVinci will switch to playing all 8 ISO files so you can select cameras and run replays. You can then preroll and sequence multiple cameras in the same replay.\u003c\/p\u003e\u003cp\u003eStream Live\u003c\/p\u003e\u003cp\u003eThe switcher is ideal for interviews as you can connect multiple cameras for close-ups of the host or interviewee, as well as wide shots of the space. Plus, ATEM Mini is so small the operator can even switch in small studios.\u003c\/p\u003e\u003cp\u003eThe ATEM Mini ISO G2 has a built-in hardware streaming engine for live streaming via the Ethernet connection without the need for a computer. That means you can live stream to YouTube, Facebook, and Twitch with high quality without dropped frames and with simpler settings. Just select the streaming service and enter the streaming key.\u003c\/p\u003e\u003cp\u003e4G and 5G Phone Support\u003c\/p\u003e\u003cp\u003eIf you're doing live production on location, ATEM Mini Extreme models support connecting an Apple or Android phone to the USB port to use mobile data. It's also a great backup for the main Ethernet connection, so you don't drop your stream if your hardwired connection gets interrupted. The switcher will automatically switch to using the phone as the primary connection, and the USB port will also power your phone so the battery won't drain.\u003c\/p\u003e\u003cp\u003eMedia Pool\u003c\/p\u003e\u003cp\u003eThe Extreme ISO G2 allows you to edit your live event as they can record multiple video streams, including clean feeds of all inputs and program, all at the same time. Media pool images used are also saved with the video files. The video files include metadata tags such as synced timecode and camera numbers. Imagine re-editing your show with new color grades, effects, and graphics. Even the audio sources are all recorded, so you can professionally remix your audio.\u003c\/p\u003e\u003cp\u003eCompatibility\u003c\/p\u003e\u003cp\u003eIt is also compatible with the ATEM 1 M\/E Advanced Panel, as well as the ATEM Streaming Bridge and the ATEM Camera Control Panel. The ATEM Mini Extreme ISO G2 can be configured using Blackmagic's Videohub Hardware Panel Setup utility to route sources to destinations using Videohub Smart Control Pro and Videohub Master Control Pro.\u003c\/p\u003e\u003cp\u003eRecording\u003c\/p\u003e\u003cp\u003eThe switcher also supports direct recording of your streaming data to USB flash disks or CFexpress cards. That means you get very long recording times in the same H.264 video files with AAC audio that you streamed, so you can directly upload to online video sites such as YouTube or Vimeo.\u003c\/p\u003e\u003cp\u003eRecording to multiple disks is also supported via a USB hub or Blackmagic MultiDock, so when a disk fills, recording can continue to a second disk for nonstop recording. Record settings and disk selection are set up in ATEM Software Control, and there's a record status view in the built-in multiview. You can even remotely trigger recording on connected Blackmagic Pocket Cinema Cameras.\u003c\/p\u003e\u003cp\u003eSoftware Integration\u003c\/p\u003e\u003cp\u003eThe Mini Extreme ISO saves a DaVinci Resolve project file, so with a single click, you can open your live production as a video edit. All cuts, dissolves, and media pool graphics will be loaded, allowing you to tweak and edit your live production using the recorded input footage. If you recorded the camera originals as Blackmagic Raw camera files, you can relink those and take advantage of DaVinci Resolve's color correction abilities.\u003c\/p\u003e\u003cp\u003eThe switcher is also compatible with the ATEM Software Control app to access full audio mixing with effects, load still frames, save the switcher state as an XML file, and even do advanced macro programming. If you need clip playback, you can even control HyperDeck disk recorders via Ethernet.\u003c\/p\u003e\u003cp\u003eVideo Effects\u003c\/p\u003e\u003cp\u003eOne of the benefits of ATEM Mini is the professional production value that is possible using the range of built-in video effects. The cut button ensures an instant cut when switching between sources. The auto button is a professional term used on large broadcast switchers to enable video effect transitions. There are duration buttons for video effects allowing 0.5-, 1-, 1.5-, and 2-second settings. You can also select the type of effect you want, including mix, which does a smooth transition between sources, and dip, which fades via a color during the transition. Or use fun DVE effects that move the image off-screen when transitioning between sources.\u003c\/p\u003e\u003cp\u003eAudio Features\u003c\/p\u003e\u003cp\u003eWith two independent XLR audio inputs, you can connect desktop and lapel microphones, or you can connect a music player to generate introduction music after the live stream commences but before the program starts. With two extra stereo audio inputs, you can ensure a host and guest both have lapel microphones when doing interviews. All audio inputs to the ATEM Mini include buttons on the panel to adjust the audio level and enable inputs into the audio mixer.\u003c\/p\u003e\u003cp\u003eIt integrates a Fairlight audio mixer with all HDMI inputs, and both microphone inputs are connected to the audio mixer, so you can mix live from all audio sources. It also adds a headphone output.\u003c\/p\u003e\u003cp\u003eFormat Conversion\u003c\/p\u003e\u003cp\u003eEach of the HDMI inputs features its own dedicated standards converter. That means ATEM Mini will automatically convert 1080p, 1080i, and 720p sources to the switcher video standard. By default, the switcher will set its video format automatically; however, you can also set the switcher to any video standard.\u003c\/p\u003e\u003cp\u003eThe HDMI outputs are a true \"aux\" output, so you can clean-switch each HDMI input to the output. You can even \"direct\" switch input 1 to the HDMI output for low-latency eSport productions. Plus, ATEM Mini Extreme models support two low-latency direct loops. The HDMI output can display a full multiview that lets you see all inputs, program, preview, and streaming status on a single monitor.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e","brand":"Blackmagic Design","offers":[{"title":"Default Title","offer_id":51499273290045,"sku":"BLA-SWATEMMINICEXTISOG2","price":37612.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/5870\/8285\/files\/21aff768ed53caf33b245c9514743d66.png?v=1775647940"},{"product_id":"blackmagic-design-atem-mini-pro-1","title":"Blackmagic Design ATEM Mini Pro","description":"\u003cp\u003eSimilar to its predecessor, the ATEM Mini, the \u003cstrong\u003eATEM Mini Pro\u003c\/strong\u003e from \u003cstrong\u003eBlackmagic Design\u003c\/strong\u003e is a four-input live production switcher with an integrated control panel designed for multicamera live streaming up to HD video to the internet or broadcast applications from gaming consoles, corporate computer streams, or HD cameras. Along with the software control update, the Mini Pro builds on the Mini with features such as live stream data rate and status information, a built-in hardware encoder, simultaneous recording to USB drives, drive hot swapping with the Blackmagic MultiDock, added record and stream buttons, stream caching, a timecode generator, program preview multiview, tally support, and support for Blackmagic Design Pocket Cinema Camera 6K and 4K to utilize as your broadcast sources.\u003c\/p\u003e \u003cp\u003eThe ATEM Mini Pro retains the same rear-panel setup on which four HDMI inputs are available on the rear of the chassis and they input up to 1080p HD video. There is also an HDMI output for a projector or multiview monitoring, a USB Type-C output as for recording HD video to a computer, and an RJ45 10\/100\/1000 Ethernet port for direct live streaming as well as system management, remote control, and upgrades. You can adjust frame rate depending on the quality of your stream, and there is no need for additional streaming software because the Pro includes a built-in hardware encoder.\u003cbr\u003e \u003cbr\u003e The updated ATEM Software Control Panel is used for control and configuration of the ATEM Mini Pro via USB Type-C or Ethernet, and it allows you to monitor the data rate, audio meters, configuration, and status of your live feed. The built-in color control panel has the same configuration of DaVinci Resolve, eliminating any learning curve. Advanced features include the ability for engineers to upload an XML configuration file to make it easier to change all your settings at once.\u003cbr\u003e \u003cbr\u003e The control surface features the same easy-to-view, backlit control buttons to enable selecting camera inputs, controlling transitions, keyers, settings, and the DVE. The ATEM Mini Pro adds several buttons to the right side such as a quick record button, which allows you to instantly record your live stream to the connected USB source, or by holding it down, you can hot-swap drives when using the Blackmagic MultiDock if you need to quickly get down to editing. On Air and Stream buttons have also been added to instantly start and stop your stream once it is set up in software control. The added Video Out buttons on the right side allow you to select a program preview for each source, so you can make sure each source is ready to go for air.\u003c\/p\u003e \u003cp\u003eThe ATEM Mini Pro features the same upstream and downstream keyers, an advanced chroma keyer, two linear\/luma keyers, a DVE transition keyer, a pattern generator, and color generators. 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The switcher's ISO label means you can individually record each of the eight input videos as an MP4, as well as the program output via one of the USB Type-C ports. The switcher automatically generates a DaVinci Resolve project file, so you can clean it up and make changes later. This versatile switcher's eight independent 3G-SDI inputs accept all popular HD signals up to 1080p60. Each input has discrete frame rate and format converters, and it supports re-syncing for seamless switching between a variety of pro and consumer cameras, game consoles, and computer feeds.\u003c\/p\u003e \u003cp\u003eSwitch, add effects, color grade, and key in real time using the control surface's buttons, or via the software control panel. CCU functions are available for controlling Blackmagic Studio and URSA Mini\/Broadcast\/Micro Studio cameras from the switcher. The ATEM Mini Extreme ISO supports up to nine layers, with four upstream and two downstream keyers, up to four chroma keyers, up to four linear keyers, two DVE with borders and drop shadow, five pattern generators, and two color generators. 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This compact, redesigned live TV switcher is a great fit to any streaming production, providing eight 12G-SDI inputs that support up to UHD 4K60 video, built-in live streaming, USB webcam support, a 58-channel audio mixer, chroma keyers, DVE, transitions, media players, internal recording, and talkback support. The switcher is also compatible with the Blackmagic Cloud, so your program recordings can be available immediately from anywhere around the globe.\u003c\/p\u003e \u003ch4\u003eLive Production\u003c\/h4\u003e \u003cp\u003eYou get an incredibly powerful 8-input switcher with both program and two aux outputs, so you have everything you need for mobile production. That means you can connect up to 8 sources. Plus, you get professional camera control, talkback, and audio mixing, all designed into a familiar broadcast panel.\u003c\/p\u003e \u003ch4\u003eDistribution\u003c\/h4\u003e \u003cp\u003eWith a built-in hardware streaming engine, you can live stream your event to a global audience. Recording to H.264 files with AAC audio means you get the correct format to upload to YouTube. Plus, you share live broadcasts with your audience by using the aux outputs and large screens and projectors.\u003c\/p\u003e \u003ch4\u003eProduction Switcher Control\u003c\/h4\u003e \u003cp\u003eYou get an advanced broadcast-grade switcher, with built-in ATEM Advanced Chroma Keyers, Fairlight audio mixer, DVE, still store for graphics, and more. Most of the features can be operated from the front panel, or you can use the free ATEM Software Control on macOS or Windows to access even more features.\u003c\/p\u003e \u003ch4\u003eEasy Setup and Usage\u003c\/h4\u003e \u003ch4\u003eSimply press any of the program row buttons on the front panel to cut between video sources. Or you can pre-select a source on the preview row and then choose between cut or effect transitions by selecting the cut or auto buttons. You can select from exciting transitions, such as dissolve, or more dramatic effects, such as dip to color, DVE squeeze, and DVE push. You can even add a DVE for picture-in-picture effects with customized graphics. There are also media players, which let you store graphics with alpha channels for titles and graphics that you can load as live video inputs. Then, you can live stream the results.\u003c\/h4\u003e \u003ch4\u003eRedesigned Front Panel\u003c\/h4\u003e \u003cp\u003eThe front panel includes buttons for selecting sources, triggering transitions, and setting up video effects. Plus, the buttons are the same high-end type used on expensive broadcast switchers. You also get a built-in T-bar for manual transition control and a three-axis joystick. The front panel even has an innovative audio mixer-control area with live metering on a dedicated LCD. There are also buttons for recording and streaming control, plus live aux switching that lets you change aux outputs between all 8 cameras, program, preview, or the multiview.\u003c\/p\u003e \u003ch4\u003eBroadcast-Style Mix\/Effects Switching\u003c\/h4\u003e \u003cp\u003eATEM Television Studio uses a professional program\/preview style of operation, which is exactly the way large broadcasters use live production switchers. However, ATEM Television Studio can be switched to A\/B style switching, which is easier when it's used by volunteers or community groups. However, if you want to operate the switcher like a broadcast professional, then the program\/preview is perfect. This means a source won't be put on air until you press the cut or auto button. This two-step process means you see what you are selecting before putting it to air, so you get fewer mistakes.\u003c\/p\u003e \u003ch4\u003eAdd Exciting Video Effects\u003c\/h4\u003e \u003cp\u003eOne of the benefits of ATEM Television Studio is the range of professional built-in video effects. The cut button ensures an instant cut when switching between sources. The T-bar fader can be used to transition video effects, or you can do the transition automatically by pressing the auto button. Auto uses the transition duration set in the system control. You can also select the type of effect you want, including mix, which does a smooth transition between sources, or dip which transitions via a third video source, such as a color generator. There is a wide range of SMPTE wipes included, plus DVE effects that slide or squeeze the image off screen when transitioning between video sources.\u003c\/p\u003e \u003ch4\u003eCreative Transitions\u003c\/h4\u003e \u003cp\u003eATEM Television Studio includes the same kind of transitions found on expensive broadcast switchers. This means the effects and transitions can be customized in many different ways, so they are surprisingly powerful. You'll never stop finding new ways of using them. That's because all transitions can be customized by adjusting parameters such as duration, border color, border width, position, and direction. You can even use the DVE with a wipe transition, where the DVE moves a graphic over the wipe edge. That's called a graphic wipe and it's often used in sports broadcasting. The preview transition button can be used to set up effects offline, which is great for eliminating mistakes.\u003c\/p\u003e \u003ch4\u003eBuilt-In DVE\u003c\/h4\u003e \u003cp\u003eATEM Television Studio HD features an independent DVE that lets you reposition graphics and create picture-in-picture compositions. You get amazing quality and the DVE supports position, resize, and scale, all in real time. The DVE lets you create professional picture-in-picture effects with customizable 3D borders, shadows, and lighting. DVEs can also be used to create amazing DVE transitions with squeeze, swoosh, and push effects for adding excitement to your programming. You can even combine DVE transitions with custom graphics to create your own graphic wipe transitions. Plus, there is also a SuperSource multilayer processing engine with 4 extra DVEs.\u003c\/p\u003e \u003ch4\u003eSupports Internal Media\u003c\/h4\u003e \u003cp\u003eThe built-in media pool stores broadcast-quality graphics and animations that can be played back using the built-in media players. Media players appear as independent sources, so you don't need to waste any of the SDI inputs for graphics. For highest quality, all media supports RGB colorspace with alpha channel, allowing transparency and layering. The media pool can hold 20 HD resolution stills. Motion graphics clips for animations and stingers can be up to 720 frames in 720HD, 360 frames in 1080HD, and 90 frames in UHD 4K. The ATEM Software Control allows you to upload and manage media. You can even prepare graphics in Adobe Photoshop and then download to the media pool using the free ATEM Photoshop plug-in.\u003c\/p\u003e \u003ch4\u003eIncludes 4 ATEM Advanced Chroma Keyers\u003c\/h4\u003e \u003cp\u003eATEM Television Studio is perfect for news and on-set presentation work because it features 4 ATEM Advanced Chroma Keyers for green screen keying effects. The chroma keyers are incredibly powerful and include features such as a color picker to sample background colors for automatic generation of the key parameters. You get precise controls for edge and flare, and there is even a foreground color corrector, so you can match the foreground and background layers for seamless compositions. You can even use it for title overlays by creating graphics with a green or blue background. With 4 ATEM Advanced Chroma Keyers, ATEM Television Studio is perfect for creating fixed camera virtual sets.\u003c\/p\u003e \u003ch4\u003eSuperSource Processing\u003c\/h4\u003e \u003cp\u003eIn addition to the DVE in the ATEM Television Studio, there is also a powerful SuperSource multilayer processor. SuperSource gives you 4 extra DVE layers plus a background layer, all layered together as an additional input source. Any video input can be used as sources for each DVE, then it's all layered together over a media pool custom background or live video. SuperSource is perfect for doing multiple picture-in-picture displays with people being interviewed because you can set up the effect, so the viewer can see each person being interviewed, all within a stylish graphic. SuperSource is just like having a completely independent multi-layer VFX switcher built in.\u003c\/p\u003e \u003ch4\u003e8 Standards-Converted 12G-SDI Inputs\u003c\/h4\u003e \u003cp\u003eThe ATEM Television Studio HD features 8 independent 12G-SDI inputs, with each input featuring its own dedicated standards converter. That means it's possible to convert any input source to the HD or UHD video standard of the switcher. You could have each switcher's SDI input running a different television standard and all the inputs would just work.\u003c\/p\u003e \u003cp\u003eSDI input audio channels 1, 2, 3, and 4 can also be manually routed to various embedded audio channels in the program and aux outputs. Plus, you can even router out audio channels 1 and 2 from the SDI inputs to the MADI digital audio output, so you can hand off the switcher input audio to an external audio engineer for mixing.\u003c\/p\u003e \u003ch4\u003e12G-SDI Outputs with 16 Channel Embedded Audio\u003c\/h4\u003e \u003cp\u003eThe ATEM Television Studio includes twelve 12G-SDI program outputs, so you get enough connections to send a separate program return feed to all of your cameras. That's important because the SDI program return is used to send tally, talkback, and control information back to the cameras.\u003c\/p\u003e \u003cp\u003eYou also get two dedicated aux outputs for driving stage monitors and master recorders. These aux outputs can be live-switched using dedicated buttons on the control panel. Aux 1 even includes an onscreen counter for presenter monitoring. Plus, you can manually route audio into all 16 embedded audio channels in the SDI outputs. For camera monitoring, there is a dedicated 12G-SDI and HDMI 2.0 output for the multiview.\u003c\/p\u003e \u003ch4\u003e16-Source Multiview on a Single Monitor\u003c\/h4\u003e \u003ch4\u003eWhen doing larger live productions with multiple cameras, it's vital to see all your video sources at the same time on a single monitor. ATEM Television Studio HD includes a professional multiview that lets you see all video inputs, preview, and program on a single SDI or HDMI monitor. You can even send the multiview to the aux outputs. Each camera view includes tally indicators, so you know when each source is on air, plus each view has custom labels and audio meters. You can fully customize the multiview layout with up to 16 simultaneous views. You can also select one of the additional status views that lets you track recording, streaming, and the audio mixer status, right from the multiview.\u003c\/h4\u003e \u003ch4\u003eAdd Audio Expansion for More Microphones\u003c\/h4\u003e \u003cp\u003eIf you're building a podcasting studio or you need more microphones, then the ATEM Microphone Converter allows audio input expansion. It connects to the ATEM Television Studio using the MADI port, so there's no complex setup and you can daisy-chain units to add more inputs. Each converter has 4 analog inputs that are mic\/line selectable and have phantom power.\u003c\/p\u003e \u003cp\u003eThe design features amazing quality with an extremely low noise floor of -129 dBV, a dynamic range of 131 dB(A), low distortion of 0.002%, and uniform tolerances across all channels. It even uses 8 separate ADCs on each input to collectively extend the dynamic range. Plus, it has a fun HDMI monitoring output with scrolling audio waveforms.\u003c\/p\u003e \u003ch4\u003eRecord Direct to Internal Cloud Storage or USB Disks\u003c\/h4\u003e \u003cp\u003eATEM Television Studio HD supports recording to external USB flash disks. Or if an optional M.2 flash disk is installed, you can record direct to internal cloud storage. The internal storage plus any external USB disks will be available to share over the local Ethernet network, so other people can work on postproduction tasks such as editing, color correction, and graphics preparation.\u003c\/p\u003e \u003cp\u003eAll recordings are in H.264 format with AAC audio for broadcast-quality video and small file sizes. You can also connect multiple USB disks, so recording will continue if a disk becomes full. You even get buttons on the control panel to start recording, and you can see record status in the multiview.\u003c\/p\u003e \u003ch4\u003eOutputs to Any Software that Supports USB Webcams\u003c\/h4\u003e \u003cp\u003eYou can use any video software with ATEM Television Studio HD because the USB connection will emulate a webcam. That means you can plug into a computer and use any video software that works with a webcam. The software is tricked into thinking the ATEM Television Studio HD is a common webcam, but it's really a live production switcher. That guarantees full compatibility with any video software and in full resolution 1080HD quality.\u003c\/p\u003e \u003cp\u003eImagine doing a presentation from a professional broadcast studio to software such as Zoom, Teams, or Skype. For streaming, the webcam output also works with streaming software such as Open Broadcaster, XSplit Broadcaster, and more.\u003c\/p\u003e \u003ch4\u003eIncludes Free ATEM Software Control Panel\u003c\/h4\u003e \u003cp\u003eThe ATEM Software Control app unlocks the hidden power of ATEM Television Studio by allowing access to all the features in the switcher. ATEM Software Control features a visual switcher user interface with parameter palettes for making adjustments. Although you can connect via USB, if you connect using Ethernet, you can run multiple copies of ATEM Software Control on different computers.\u003c\/p\u003e \u003cp\u003eThe software lets you live switch, mix audio, color correct in the cameras, and manage media. You can also build and run complex macros from the software. Plus, you can save the switcher state as an XML file for recalling jobs later. You can even control trigger external HyperDeck recorders.\u003c\/p\u003e \u003ch4\u003eLocalized for 13 Popular Languages\u003c\/h4\u003e \u003cp\u003eATEM Television Studio HD supports multiple languages in the menus and in the ATEM Software Control, so you can customize it to the language you prefer. You get support for English, Chinese, Japanese, Korean, Spanish, German, French, Russian, Italian, Portuguese, Turkish, Polish, and Ukrainian languages.\u003c\/p\u003e \u003cp\u003eSimply go into the setup menu to change the language, or you can always switch to another language at any time in the future. Once a language is selected, the menus on all the LCDs will change to the selected language. Multiple language support means ATEM Television Studio HD is perfect for doing live production work anywhere in the world and with any crew.\u003c\/p\u003e \u003ch4\u003eFlexible and Redundant Power\u003c\/h4\u003e \u003cp\u003eThe all-in-one design of ATEM Television Studio includes a built-in power supply, so you don't have to carry around an external power brick. Simply plug it into any AC mains outlet and start live production. The international power supply automatically works from 100 to 240 VAC, so you can use it anywhere in the world. Plus, ATEM Television Studio includes both AC and DC power connections.\u003c\/p\u003e \u003cp\u003eA broadcast-standard XLR 12 VDC power connection is included, which is perfect for backup power or for running on batteries. That means you can use it in extremely remote locations. Plus, if the internal power supply should malfunction, then you can simply connect an external DC supply to keep running.\u003c\/p\u003e \u003ch4\u003eDesigned to Be Easy to Repair\u003c\/h4\u003e \u003cp\u003eWith so many features built in, it's vital that ATEM Television Studio can be easily repaired. Plus, there is already a lot of built-in redundancy, with 4 Ethernet connections, 12 program SDI outputs, 2 USB ports, and 2 power connections. However, if someone trips on a cable and breaks a connector, then you need to be able to repair the connector at low cost.\u003c\/p\u003e \u003cp\u003eAll the internal electronic PCBs are modular, so any qualified technician can buy a replacement and easily swap the board. This includes the connector PCBs, which can be purchased separately. All the technician needs to do is remove the bottom cover and replace the PCB. A large broadcaster could even buy the boards as a spare parts kit.\u003c\/p\u003e \u003ch4\u003eApplications\u003c\/h4\u003e \u003ch5\u003eCompact Broadcast Vans\u003c\/h5\u003e \u003cp\u003eWith the all-in-one design, you can build a new generation of ultracompact broadcast vans. You don't need racks of equipment, so you can eliminate clutter for a much nicer work environment. For stability, you can even mount the switcher inset into the desk.\u003c\/p\u003e \u003ch5\u003eMusic Venues and Clubs\u003c\/h5\u003e \u003cp\u003eSome of the most exciting venues, such as downstairs music venues or comedy clubs, are too small for racks of video equipment. However, ATEM Television Studio can be carried into any venue. It's also easy to pack up, even if the venue is still crowded.\u003c\/p\u003e \u003ch5\u003eOnline Education\u003c\/h5\u003e \u003cp\u003eATEM Television Studio is perfect for creating educational content. As the ISO model records the video inputs, you can finesse edits, replace shots, and even add color correction. Plus, you can even connect to Zoom to incorporate live chat with students.\u003c\/p\u003e \u003ch5\u003eLive Sports\u003c\/h5\u003e \u003cp\u003eATEM Television Studio is perfect for live sports because it has a simple design that's easy for community volunteers to use. It can be installed into sports clubs or taken on the road with the team. With up to 8 cameras, you'll catch all the exciting angles.\u003c\/p\u003e \u003cul\u003e \u003c\/ul\u003e","brand":"Blackmagic Design","offers":[{"title":"Default Title","offer_id":51499273617725,"sku":"BLA-SWATEMTVSTC\/K4K8","price":108567.27,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/5870\/8285\/files\/5bd728ade05e3bf1ef420bdf916eb2b6.png?v=1773556964"},{"product_id":"blackmagic-design-atem-television-studio-hd8-1","title":"Blackmagic Design ATEM Television Studio HD8","description":"\u003cp\u003eAdd an all-in-one live streaming switcher to your television studio, remote production, or live venue with the \u003cstrong\u003eATEM Television Studio HD8\u003c\/strong\u003e from \u003cstrong\u003eBlackmagic Design\u003c\/strong\u003e. This compact, redesigned live TV switcher is a great fit to any streaming production, providing eight 3G-SDI inputs that support up to 1080p60 video, built-in live streaming, USB webcam support, a 58-channel audio mixer, chroma keyers, DVE, transitions, media players, internal recording, and talkback support. The switcher is also compatible with the Blackmagic Cloud, so your program recordings can be available immediately from anywhere around the globe.\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003cp\u003eThe switcher features an all-new button layout, and it's made from polycarbonate material, so it's much lighter than its predecessor. It provides numerous enhancements to the layout with professional buttons, LCD label displays, and an easy-to-navigate button layout.\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003cp\u003eLive Production\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_1946956.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eYou get an incredibly powerful 8-input switcher with both program and two aux outputs, so you have everything you need for mobile production. That means you can connect up to 8 cameras. Plus, you get professional camera control, talkback, and audio mixing, all designed into a familiar broadcast panel.\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_1946953.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eDistribution\u003c\/p\u003e \u003cp\u003eWith a built-in hardware streaming engine, you can live stream your event to a global audience. Recording to H.264 files with AAC audio means you get the correct format to upload to YouTube. Plus, you share live broadcasts with your audience by using the aux outputs and large screens and projectors.\u003c\/p\u003e \u003cp\u003eProduction Switcher Control\u003c\/p\u003e \u003cp\u003eYou get an advanced broadcast-grade switcher, with built-in ATEM Advanced Chroma Keyers, Fairlight audio mixer, DVE, still store for graphics, and more. Most of the features can be operated from the front panel, or you can use the free ATEM Software Control on macOS or Windows to access even more features.\u003c\/p\u003e \u003cp\u003eEasy Setup and Usage\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_1946959.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eSimply press any of the program row buttons on the front panel to cut between video sources. Or you can pre-select a source on the preview row and then choose between cut or effect transitions by selecting the cut or auto buttons. You can select from exciting transitions, such as dissolve, or more dramatic effects, such as dip to color, DVE squeeze, and DVE push. You can even add a DVE for picture-in-picture effects with customized graphics. There are also media players, which let you store graphics with alpha channels for titles and graphics that you can load as live video inputs. Then, you can live stream the results.\u003c\/p\u003e \u003cp\u003eRedesigned Front Panel\u003c\/p\u003e \u003cp\u003eThe front panel includes buttons for selecting sources, triggering transitions, and setting up video effects. Plus, the buttons are the same high-end type used on expensive broadcast switchers. You also get a built-in T-bar for manual transition control. The front panel even has an innovative audio mixer-control area with live metering on a dedicated LCD. There are also buttons for recording and streaming control, plus live aux switching that lets you change aux outputs between all 8 cameras, program, preview, or the multiview.\u003c\/p\u003e \u003cp\u003eBroadcast-Style Mix\/Effects Switching\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_1946961.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eATEM Television Studio uses a professional program\/preview style of operation, which is exactly the way large broadcasters use live production switchers. However, ATEM Television Studio can be switched to A\/B style switching, which is easier when it's used by volunteers or community groups. However, if you want to operate the switcher like a broadcast professional, then the program\/preview is perfect. This means a source won't be put on air until you press the cut or auto button. This two-step process means you see what you are selecting before putting it to air, so you get fewer mistakes.\u003c\/p\u003e \u003cp\u003eAdd Exciting Video Effects\u003c\/p\u003e \u003cp\u003eOne of the benefits of ATEM Television Studio is the range of professional built-in video effects. The cut button ensures an instant cut when switching between sources. The T-bar fader can be used to transition video effects, or you can do the transition automatically by pressing the auto button. Auto uses the transition duration set in the system control. You can also select the type of effect you want, including mix, which does a smooth transition between sources, or dip which transitions via a third video source, such as a color generator. There is a wide range of SMPTE wipes included, plus DVE effects that slide or squeeze the image off screen when transitioning between video sources.\u003c\/p\u003e \u003cp\u003eCreative Transitions\u003c\/p\u003e \u003cp\u003eATEM Television Studio includes the same kind of transitions found on expensive broadcast switchers. This means the effects and transitions can be customized in many different ways, so they are surprisingly powerful. You'll never stop finding new ways of using them. That's because all transitions can be customized by adjusting parameters such as duration, border color, border width, position, and direction. You can even use the DVE with a wipe transition, where the DVE moves a graphic over the wipe edge. That's called a graphic wipe and it's often used in sports broadcasting. The preview transition button can be used to set up effects offline, which is great for eliminating mistakes.\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_1946958.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eBuilt-In DVE\u003c\/p\u003e \u003cp\u003eATEM Television Studio HD features an independent DVE that lets you reposition graphics and create picture-in-picture compositions. You get amazing quality and the DVE supports position, resize, and scale, all in real time. The DVE lets you create professional picture-in-picture effects with customizable 3D borders, shadows, and lighting. DVEs can also be used to create amazing DVE transitions with squeeze, swoosh, and push effects for adding excitement to your programming. You can even combine DVE transitions with custom graphics to create your own graphic wipe transitions. Plus, there is also a SuperSource multilayer processing engine with 4 extra DVEs.\u003c\/p\u003e \u003cp\u003eSupports Internal Media\u003c\/p\u003e \u003cp\u003eThe built-in media pool stores broadcast-quality graphics and animations that can be played back using the built-in media players. Media players appear as independent sources, so you don't need to waste any of the SDI inputs for graphics. For highest quality, all media supports RGB colorspace with alpha channel, allowing transparency and layering. The media pool can hold 20 HD resolution stills. Motion graphics clips for animations and stingers can be up to 400 frames in 720HD and 200 frames in 1080HD. The ATEM Software Control allows you to upload and manage media. You can even prepare graphics in Adobe Photoshop and then download to the media pool using the free ATEM Photoshop plug-in.\u003c\/p\u003e \u003cp\u003eIncludes 4 ATEM Advanced Chroma Keyers\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_1946960.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eATEM Television Studio is perfect for news and on-set presentation work because it features 4 ATEM Advanced Chroma Keyers for green screen keying effects. The chroma keyers are incredibly powerful and include features such as a color picker to sample background colors for automatic generation of the key parameters. You get precise controls for edge and flare, and there is even a foreground color corrector, so you can match the foreground and background layers for seamless compositions. You can even use it for title overlays by creating graphics with a green or blue background. With 4 ATEM Advanced Chroma Keyers, ATEM Television Studio is perfect for creating fixed camera virtual sets.\u003c\/p\u003e \u003cp\u003eSuperSource Processing\u003c\/p\u003e \u003cp\u003eIn addition to the DVE in the ATEM Television Studio, there is also a powerful SuperSource multi-layer processor. SuperSource gives you 4 extra DVE layers plus a background layer, all layered together as an additional input source. Any video input can be used as sources for each DVE, then it's all layered together over a media pool custom background or live video. SuperSource is perfect for doing multiple picture-in-picture displays with people being interviewed because you can set up the effect, so the viewer can see each person being interviewed, all within a stylish graphic. SuperSource is just like having a completely independent multi-layer VFX switcher built in.\u003c\/p\u003e \u003cp\u003e8 Standards Converted 3G-SDI Inputs\u003c\/p\u003e \u003cp\u003eThe ATEM Television Studio HD features 8 independent 3G-SDI inputs, with each input featuring its own dedicated standards converter. That means it's possible to convert any 1080HD or 720HD input source to the video standard of the switcher. That means you could have each switcher SDI input running a different television standard and all the inputs would just work.\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003cp\u003eSDI input audio channels 1, 2, 3, and 4 can also be manually routed to various embedded audio channels in the program and aux outputs. Plus, you can even router out audio channels 1 and 2 from the SDI inputs to the MADI digital audio output, so you can hand off the switcher input audio to an external audio engineer for mixing.\u003c\/p\u003e \u003cp\u003e3G-SDI Outputs with 16 Channel Embedded Audio\u003c\/p\u003e \u003cp\u003eThe ATEM Television Studio includes nine 3G-SDI program outputs, so you get enough connections to send a separate program return feed to all of your cameras. That's important because the SDI program return is used to send tally, talkback, and control information back to the cameras.\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003cp\u003eYou also get two dedicated aux outputs for driving stage monitors and master recorders. These aux outputs can be live-switched using dedicated buttons on the control panel. Aux 1 even includes an on-screen counter for presenter monitoring. Plus, you can manually route audio into all 16 embedded audio channels in the SDI outputs. For camera monitoring, there is a dedicated 3G-SDI and HDMI output for the multiview.\u003c\/p\u003e \u003cp\u003e16-Source Multiview on a Single Monitor\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_1946954.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eWhen doing larger live productions with multiple cameras, it's vital to see all your video sources at the same time on a single monitor. ATEM Television Studio HD includes a professional multiview that lets you see all video inputs, preview, and program on a single SDI or HDMI monitor. You can even send the multiview to the aux outputs. Each camera view includes tally indicators, so you know when each source is on-air, plus each view has custom labels and audio meters. You can fully customize the multiview layout with up to 16 simultaneous views. You can also select one of the additional status views that lets you track recording, streaming, and the audio mixer status, right from the multiview.\u003c\/p\u003e \u003cp\u003eAdd Audio Expansion for More Microphones\u003c\/p\u003e \u003cp\u003eIf you're building a podcasting studio or you need more microphones, then the ATEM Microphone Converter allows audio input expansion. It connects to the ATEM Television Studio using the MADI port, so there's no complex setup and you can daisy-chain units to add more inputs. Each converter has 4 analog inputs that are mic\/line selectable and have phantom power.\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003cp\u003eThe design features amazing quality with an extremely low noise floor of -129 dBV, a dynamic range of 131 dB(A), low distortion of 0.002%, and uniform tolerances across all channels. It even uses 8 separate ADCs on each input to collectively extend the dynamic range. Plus, it has a fun HDMI monitoring output with scrolling audio waveforms.\u003c\/p\u003e \u003cp\u003eRecord Direct to Internal Cloud Storage or USB Disks\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_1946957.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eATEM Television Studio HD supports recording to external USB flash disks. Or if an optional M.2 flash disk is installed, you can record direct to internal cloud storage. The internal storage plus any external USB disks will be available to share over the local Ethernet network, so other people can work on postproduction tasks such as editing, color correction, and graphics preparation.\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003cp\u003eAll recordings are in H.264 format with AAC audio for broadcast-quality video and small file sizes. You can also connect multiple USB disks, so recording will continue if a disk becomes full. You even get buttons on the control panel to start recording, and you can see record status in the multiview.\u003c\/p\u003e \u003cp\u003eOutputs to Any Software that Supports USB Webcams\u003c\/p\u003e \u003cp\u003eYou can use any video software with ATEM Television Studio HD because the USB connection will emulate a webcam. That means you can plug into a computer and use any video software that works with a webcam. The software is tricked into thinking the ATEM Television Studio HD is a common webcam, but it's really a live production switcher. That guarantees full compatibility with any video software and in full resolution 1080HD quality.\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003cp\u003eImagine doing a presentation from a professional broadcast studio to software such as Zoom, Teams, or Skype. For streaming, the webcam output also works with streaming software such as Open Broadcaster, XSplit Broadcaster, and more.\u003c\/p\u003e \u003cp\u003eIncludes Free ATEM Software Control Panel\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_1946963.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eThe ATEM Software Control app unlocks the hidden power of ATEM Television Studio HD by allowing access to all the features in the switcher. ATEM Software Control features a visual switcher user interface with parameter palettes for making adjustments. Although you can connect via USB, if you connect using Ethernet, you can run multiple copies of ATEM Software Control on different computers.\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003cp\u003eThe software lets you live switch, mix audio, color correct in the cameras, and manage media. You can also build and run complex macros from the software. Plus, you can save the switcher state as an XML file for recalling jobs later. You can even control trigger external HyperDeck recorders.\u003c\/p\u003e \u003cp\u003eLocalized for 13 Popular Languages\u003c\/p\u003e \u003cp\u003eATEM Television Studio HD supports multiple languages in the menus and in the ATEM Software Control, so you can customize it to the language you prefer. You get support for English, Chinese, Japanese, Korean, Spanish, German, French, Russian, Italian, Portuguese, Turkish, Polish, and Ukrainian languages.\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003cp\u003eSimply go into the setup menu to change the language, or you can always switch to another language at any time in the future. Once a language is selected, the menus on all the LCDs will change to the selected language. Multiple language support means ATEM Television Studio HD is perfect for doing live production work anywhere in the world and with any crew.\u003c\/p\u003e \u003cp\u003eFlexible and Redundant Power\u003c\/p\u003e \u003cp\u003eThe all-in-one design of ATEM Television Studio includes a built-in power supply, so you don't have to carry around an external power brick. Simply plug it into any AC mains outlet and start live production. The international power supply automatically works from 100 to 240 VAC, so you can use it anywhere in the world. Plus, ATEM Television Studio includes both AC and DC power connections.\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003cp\u003eA broadcast-standard XLR 12 VDC power connection is included, which is perfect for backup power or for running on batteries. That means you can use it in extremely remote locations. Plus, if the internal power supply should malfunction, then you can simply connect an external DC supply to keep running.\u003c\/p\u003e \u003cp\u003eDesigned to Be Easy to Repair\u003c\/p\u003e \u003cp\u003eWith so many features built in, it's vital that ATEM Television Studio can be easily repaired. Plus, there is already a lot of built-in redundancy, with 4 Ethernet connections, 9 program SDI outputs, 2 USB ports, and 2 power connections. However, if someone trips on a cable and breaks a connector, then you need to be able to repair the connector at low cost.\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003cp\u003eAll the internal electronic PCBs are modular, so any qualified technician can buy a replacement and easily swap the board. This includes the connector PCBs, which can be purchased separately. All the technician needs to do is remove the bottom cover and replace the PCB. A large broadcaster could even buy the boards as a spare parts kit.\u003c\/p\u003e \u003cp\u003eApplications\u003c\/p\u003e \u003cp\u003eCompact Broadcast Vans\u003c\/p\u003e \u003cp\u003eWith the all-in-one design, you can build a new generation of ultracompact broadcast vans. You don't need racks of equipment, so you can eliminate clutter for a much nicer work environment. For stability, you can even mount the switcher inset into the desk.\u003c\/p\u003e \u003cp\u003eMusic Venues and Clubs\u003c\/p\u003e \u003cp\u003eSome of the most exciting venues, such as downstairs music venues or comedy clubs, are too small for racks of video equipment. However, ATEM Television Studio can be carried into any venue. It's also easy to pack up, even if the venue is still crowded.\u003c\/p\u003e \u003cp\u003eOnline Education\u003c\/p\u003e \u003cp\u003eATEM Television Studio is perfect for creating education content. As the ISO model records the video inputs, you can finesse edits, replace shots, and even add color correction. Plus, you can even connect to Zoom to incorporate live chat with students.\u003c\/p\u003e \u003cp\u003eLive Sports\u003c\/p\u003e \u003cp\u003eATEM Television Studio is perfect for live sports because it has a simple design that's easy for community volunteers to use. It can be installed into sports clubs or taken on the road with the team. With up to 8 cameras, you'll catch all the exciting angles.\u003c\/p\u003e","brand":"Blackmagic Design","offers":[{"title":"Default Title","offer_id":51499273716029,"sku":"BLA-SWATEMTVSTA\/HD08","price":58657.89,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/5870\/8285\/files\/98f20aefefecb6d2402f243056e5cc3c.jpg?v=1773556978"},{"product_id":"blackmagic-design-atem-television-studio-hd8-iso-1","title":"Blackmagic Design ATEM Television Studio HD8 ISO","description":"\u003cp\u003eAdd an all-in-one live streaming switcher to your television studio, remote production, or live venue with the ATEM Television Studio HD8 from Blackmagic Design. This compact, redesigned live TV switcher is a great fit any streaming production, providing eight 3G-SDI inputs that support up to 1080p60 video, built-in live streaming, USB webcam support, a 58-channel audio mixer, chroma keyers, DVE, transitions, media players, internal recording, and talkback support. The switcher is also compatible with the Blackmagic Cloud, so your program recordings can be available immediately from anywhere around the globe.\u003c\/p\u003e \u003cp\u003eThe switcher features an all-new button layout, and it's made from polycarbonate material, so it's much lighter than its predecessor. It provides numerous enhancements to the layout with professional buttons, LCD label displays, and an easy-to-navigate button layout. It includes all the features you'd need for studio operation, including talkback compatibility, GPI and tally interfaces, timecode, MADI input that support up to 32 input channels and 64 output channels for use with external switchers; input audio can be mapped to any of the eight SDI outputs as well as analog audio input and output.\u003c\/p\u003e \u003cp\u003eThe HD8 features built-in live streaming, and it can connect to the Blackmagic Cloud to share your program for a smooth remote workflow. It also features redundant Ethernet and power to keep your production going if one connection is lost. Two USB-C connectors are available for use as either a webcam, when connected to a computer, or you can utilize an external disk for recording your program.\u003c\/p\u003e \u003ch5\u003eLive Production\u003c\/h5\u003e \u003cp\u003eYou get an incredibly powerful 8-input switcher with both program and two aux outputs, so you have everything you need for mobile production. That means you can connect up to 8 cameras. Plus you get professional camera control, talkback, and audio mixing, all designed into a familiar broadcast panel.\u003c\/p\u003e \u003ch5\u003ePostproduction\u003c\/h5\u003e \u003cp\u003eThe ISO model records all inputs into separate files, so you can edit using any NLE that supports multicam. That's possible because all files have perfect timecode sync. Plus with built in network storage, you can edit while recording. Multiple users can even share media and collaborate.\u003c\/p\u003e \u003ch5\u003eDistribution\u003c\/h5\u003e \u003cp\u003eWith a built-in hardware streaming engine, you can live stream your event to a global audience. Recording to H.264 files with AAC audio means you get the correct format to upload to YouTube. Plus, you share live broadcasts with your audience by using the aux outputs and large screens and projectors.\u003c\/p\u003e \u003ch5\u003eProduction Switcher Control\u003c\/h5\u003e \u003cp\u003eYou get an advanced broadcast-grade switcher, with built-in ATEM Advanced Chroma Keyers, Fairlight audio mixer, DVE, still store for graphics, and more. Most of the features can be operated from the front panel, or you can use the free ATEM Software Control on macOS or Windows to access even more features\u003c\/p\u003e \u003ch5\u003eEasy Setup and Usage\u003c\/h5\u003e \u003cp\u003eSimply press any of the program row buttons on the front panel to cut between video sources. Or you can pre-select a source on the preview row and then choose between cut or effect transitions by selecting the cut or auto buttons. You can select from exciting transitions, such as dissolve, or more dramatic effects, such as dip to color, DVE squeeze, and DVE push. You can even add a DVE for picture-in-picture effects with customized graphics. There are also media players, which let you store graphics with alpha channels for titles and graphics that you can load as live video inputs. Then you can live stream the results.\u003c\/p\u003e \u003ch5\u003eRedesigned Front Panel\u003c\/h5\u003e \u003cp\u003eThe front panel includes buttons for selecting sources, triggering transitions, and setting up video effects. Plus the buttons are the same high-end type used on expensive broadcast switchers. You also get a built-in T-bar for manual transition control. The front panel even has an innovative audio mixer-control area with live metering on a dedicated LCD. There are also buttons for recording and streaming control, plus live aux switching that lets you change aux outputs between all 8 cameras, program, preview, or the multiview.\u003c\/p\u003e \u003ch5\u003eBroadcast-Style Mix\/Effects Switching\u003c\/h5\u003e \u003cp\u003eATEM Television Studio uses a professional program\/preview style of operation, which is exactly the way large broadcasters use live production switchers. However, ATEM Television Studio can be switched to A\/B style switching, which is easier when it's used by volunteers or community groups. However, if you want to operate the switcher like a broadcast professional, then the program\/preview is perfect. This means a source won't be put on air until you press the cut or auto button. This two-step process means you see what you are selecting before putting it to air, so you get fewer mistakes.\u003c\/p\u003e \u003ch5\u003eAdd Exciting Video Effects\u003c\/h5\u003e \u003cp\u003eOne of the benefits of ATEM Television Studio is the range of professional built in video effects. The cut button ensures an instant cut when switching between sources. The T-bar fader can be used to transition video effects, or you can do the transition automatically by pressing the auto button. Auto uses the transition duration set in the system control. You can also select the type of effect you want including mix, which does a smooth transition between sources, or dip which transitions via a third video source, such as a color generator. There is a wide range of SMPTE wipes included, plus DVE effects that slide or squeeze the image off screen when transitioning between video sources.\u003c\/p\u003e \u003ch5\u003eCreative Transitions\u003c\/h5\u003e \u003cp\u003eTEM Television Studio includes the same kind of transitions found on expensive broadcast switchers. This means the effects and transitions can be customized in many different ways, so they are surprisingly powerful. You'll never stop finding new ways of using them. That's because all transitions can be customized by adjusting parameters such as duration, border color, border width, position and direction. You can even use the DVE with a wipe transition, where the DVE moves a graphic over the wipe edge. That's called a graphic wipe and it's often used in sports broadcasting. The preview transition button can be used to set up effects offline, which is great for eliminating mistakes.\u003c\/p\u003e \u003ch5\u003eBuilt in DVE\u003c\/h5\u003e \u003cp\u003eATEM Television Studio HD features an independent DVE that lets you reposition graphics and create picture in picture compositions. You get amazing quality and the DVE supports position, resize and scale, all in real time. The DVE lets you create professional picture in picture effects with customizable 3D borders, shadows and lighting. DVEs can also be used to create amazing DVE transitions with squeeze, swoosh and push effects for adding excitement to your programming. You can even combine DVE transitions with custom graphics to create your own graphic wipe transitions. Pus there is also a SuperSource multi layer processing engine with 4 extra DVEs.\u003c\/p\u003e \u003ch5\u003eSupports Internal Media\u003c\/h5\u003e \u003cp\u003eThe built in media pool stores broadcast quality graphics and animations that can be played back using the built in media players. Media players appear as independent sources so you don't need to waste any of the SDI inputs for graphics. For highest quality, all media supports RGB colorspace with alpha channel, allowing transparency and layering. The media pool can hold 20 HD resolution stills. Motion graphics clips for animations and stingers can be up to 400 frames in 720HD and 200 frames in 1080HD. The ATEM Software Control allows you to upload and manage media. You can even prepare graphics in Adobe Photoshop and then download to the media pool using the free ATEM Photoshop plug-in.\u003c\/p\u003e \u003ch5\u003eIncludes 4 ATEM Advanced Chroma Keyers\u003c\/h5\u003e \u003cp\u003eATEM Television Studio is perfect for news and on-set presentation work because it features 4 ATEM Advanced Chroma Keyers for green screen keying effects. The chroma keyers are incredibly powerful and include features such as a color picker to sample background colors for automatic generation of the key parameters. You get precise controls for edge and flare, and there is even a foreground color corrector so you can match the foreground and background layers for seamless compositions. You can even use it for title overlays by creating graphics with a green or blue background. With 4 ATEM Advanced Chroma Keyers, ATEM Television Studio is perfect for creating fixed camera virtual sets.\u003c\/p\u003e \u003ch5\u003eSuperSource Processing\u003c\/h5\u003e \u003cp\u003eIn addition to the DVE in the ATEM Television Studio, there is also a powerful SuperSource multi layer processor. SuperSource gives you 4 extra DVE layers plus a background layer, all layered together as an additional input source. Any video input can be used as sources for each DVE, then it's all layered together over a media pool custom background or live video. SuperSource is perfect for doing multiple picture in picture displays with people being interviewed because you can set up the effect so the viewer can see each person being interviewed all within a stylish graphic. SuperSource is just like having a completely independent multi-layer VFX switcher built in.\u003c\/p\u003e \u003ch5\u003e8 Standards Converted 3G-SDI Inputs\u003c\/h5\u003e \u003cp\u003eThe ATEM Television Studio HD features 8 independent 3G-SDI inputs, with each input featuring its own dedicated standards converter. That means it's possible to convert any 1080HD or 720HD input source to the video standard of the switcher. That means you could have each switcher SDI input running a different television standard and all the inputs would just work. SDI input audio channels 1, 2, 3 and 4 can also be manually routed to various embedded audio channels in the program and aux outputs. Plus you can even router out audio channels 1 and 2 from the SDI inputs to the MADI digital audio output, so you can hand off the switcher input audio to an external audio engineer for mixing.\u003c\/p\u003e \u003ch5\u003e3G-SDI Outputs with 16 Channel Embedded Audio\u003c\/h5\u003e \u003cp\u003eThe ATEM Television Studio includes nine 3G-SDI program outputs so you get enough connections to send a separate program return feed to all of your cameras. That's important because the SDI program return is used to send tally, talkback and control information back to the cameras. You also get two dedicated aux outputs for driving stage monitors and master recorders. These aux outputs can be live switched using dedicated buttons on the control panel. Aux 1 even includes an on screen counter for presenter monitoring. Plus you can manually route audio into all 16 embedded audio channels in the SDI outputs. For camera monitoring, there is a dedicated 3G-SDI and HDMI output for the multiview.\u003c\/p\u003e \u003ch5\u003e16-Source Multiview on a Single Monitor\u003c\/h5\u003e \u003cp\u003eWhen doing larger live productions with multiple cameras, it's vital to see all your video sources at the same time on a single monitor. ATEM Television Studio HD includes a professional multiview that lets you see all video inputs, preview and program on a single SDI or HDMI monitor. You can even send the multiview to the aux outputs. Each camera view includes tally indicators so you know when each source is on-air, plus each view has custom labels and audio meters. You can fully customize the multiview layout with up to 16 simultaneous views. You can also select one of the additional status views that lets you track recording, streaming and the audio mixer status, right from the multiview.\u003c\/p\u003e \u003ch5\u003eAdd Audio Expansion for More Microphones\u003c\/h5\u003e \u003cp\u003eIf you're building a podcasting studio or you need more microphones, then the ATEM Microphone Converter allows audio input expansion. It connects to the ATEM Television Studio using the MADI port, so there's no complex setup and you can daisy chain units to add more inputs. Each converter has 4 analog inputs that are mic\/line selectable and have phantom power. The design features amazing quality with an extremely low noise floor of -129dBV, a dynamic range of 131dB(A), low distortion of 0.002% and uniform tolerances across all channels. It even uses 8 separate ADCs on each input to collectively extend the dynamic range. Plus it has a fun HDMI monitoring output with scrolling audio waveforms.\u003c\/p\u003e \u003ch5\u003eRecord Direct to Internal Cloud Storage or USB Disks\u003c\/h5\u003e \u003cp\u003eATEM Television Studio HD supports recording to external USB flash disks. Or if an optional M.2 flash disk is installed, you can record direct to internal cloud storage. The internal storage plus any external USB disks will be available to share over the local Ethernet network so other people can work on post production tasks such as editing, color correction and graphics preparation. All recordings are in H.264 format with AAC audio for broadcast quality video and small file sizes. You can also connect multiple USB disks, so recording will continue if a disk becomes full. You even get buttons on the control panel to start recording and you can see record status in the multiview.\u003c\/p\u003e \u003ch5\u003eOutputs to Any Software that Supports USB Webcams\u003c\/h5\u003e \u003cp\u003eYou can use any video software with ATEM Television Studio HD because the USB connection will emulate a webcam. That means you can plug into a computer and use any video software that works with a webcam. The software is tricked into thinking the ATEM Television Studio HD is a common webcam, but it's really a live production switcher. That guarantees full compatibility with any video software and in full resolution 1080HD quality. Imagine doing a presentation from a professional broadcast studio to software such as Zoom, Teams or Skype. For streaming, the webcam output also works with streaming software such as Open Broadcaster, XSplit Broadcaster and more.\u003c\/p\u003e \u003ch5\u003eIncludes Free ATEM Software Control Panel\u003c\/h5\u003e \u003cp\u003eThe ATEM Software Control app unlocks the hidden power of ATEM Television Studio HD by allowing access to all the features in the switcher. ATEM Software Control features a visual switcher user interface with parameter palettes for making adjustments. Although you can connect via USB, if you connect using Ethernet you can run multiple copies of ATEM Software Control on different computers. The software lets you live switch, mix audio, color correct in the cameras and manage media. You can also build and run complex macros from the software. Plus you can save the switcher state as an XML file for recalling jobs later. You can even control trigger external HyperDeck recorders.\u003c\/p\u003e \u003ch5\u003eLocalized for 13 Popular Languages\u003c\/h5\u003e \u003cp\u003eATEM Television Studio HD supports multiple languages in the menus and in the ATEM Software Control, so you can customize it to the language you prefer. You get support for English, Chinese, Japanese, Korean, Spanish, German, French, Russian, Italian, Portuguese, Turkish, Polish and Ukrainian languages. Simply go into the setup menu to change the language, or you can always switch to another language at any time in the future. Once a language is selected, the menus on all the LCDs will change to the selected language. Multiple language support means ATEM Television Studio HD is perfect for doing live production work anywhere in the world and with any crew.\u003c\/p\u003e \u003ch5\u003eFlexible and Redundant Power\u003c\/h5\u003e \u003cp\u003eThe all in one design of ATEM Television Studio includes a built in power supply so you don't have to carry around an external power brick. Simply plug it into any AC mains outlet and start live production. The international power supply automatically works from 100 to 240V AC, so you can use it anywhere in the world. Plus, ATEM Television Studio includes both AC and DC power connections. A broadcast standard XLR 12 VDC power connection is included which is perfect for backup power or for running on batteries. That means you can use it in extremely remote locations. Plus, if the internal power supply should malfunction, then you can simply connect an external DC supply to keep running.\u003c\/p\u003e \u003ch5\u003eDesigned to Be Easy to Repair\u003c\/h5\u003e \u003cp\u003eWith so many features built in, it's vital that ATEM Television Studio can be easily repaired. Plus, there is already a lot of built in redundancy, with 4 Ethernet connections, 9 program SDI outputs, 2 USB ports and 2 power connections. However if someone trips on a cable and breaks a connector, then you need to be able to repair the connector at low cost. All the internal electronic PCBs are modular, so any qualified technician can buy a replacement and easily swap the board. This includes the connector PCBs, which can be purchased separately. All the technician needs to do is remove the bottom cover and replace the PCB. A large broadcaster could even buy the boards as a spare parts kit.\u003c\/p\u003e \u003ch5\u003eApplications\u003c\/h5\u003e \u003ch6\u003eCompact Broadcast Vans\u003c\/h6\u003e \u003cul\u003e \u003cli\u003eWith the all in one design, you can build a new generation of ultra compact broadcast vans. You don't need racks of equipment, so you can eliminate clutter for a much nicer work environment. For stability, you can even mount the switcher inset into the desk.\u003c\/li\u003e \u003c\/ul\u003e \u003ch6\u003eMusic Venues and Clubs\u003c\/h6\u003e \u003cul\u003e \u003cli\u003eSome of the most exciting venues, such as downstairs music venues or comedy clubs, are too small for racks of video equipment. However ATEM Television Studio can be carried into any venue. It's also easy to pack up, even if the venue is still crowded.\u003c\/li\u003e \u003c\/ul\u003e \u003ch6\u003eOnline Education\u003c\/h6\u003e \u003cul\u003e \u003cli\u003eATEM Television Studio is perfect for creating education content. As the ISO model records the video inputs, you can finesse edits, replace shots and even add color correction. Plus you can even connect to Zoom to incorporate live chat with students.\u003c\/li\u003e \u003c\/ul\u003e \u003ch6\u003eLive Sports\u003c\/h6\u003e \u003cul\u003e \u003cli\u003eATEM Television Studio is perfect for live sports because it has a simple design that's easy for community volunteers to use. It can be installed into sports clubs or taken on the road with the team. 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It can sit on your desktop or in a rack or can be bolted to a surface. As with the Micro panel, it features three high-resolution, weighted trackballs and 12 control knobs for accessing essential primary color-correction tools in the Resolve software. Eighteen dedicated keys on the right side also give you access to the most commonly used grading features and playback controls.\u003cbr\u003e \u003cbr\u003e However, the Mini Panel also features two LCD screens that allow you to display menus or the parameters of the tools you are working with. Eight customizable soft knobs provide precise control and a quick reset by pushing the knob. Dedicated feature buttons allow you to change tools without needing to use the mouse. The Mini panel incorporates both USB-C and Ethernet interfaces. It is compatible with Mac, Windows, and select Linux systems. You can power the panel via an AC power source, a 4-pin XLR connector, or PoE. 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The Ethernet connection enables you to set up a SMPTE-style workflow using a more affordable single-cable setup with PoE (power over ethernet) and the 12G-SDI output and program return provides camera control, talkback, and tally functions. This latest 4K Pro model retains features like a 7\" touchscreen monitor, HDMI output, Blackmagic Raw recording, HDR support, XLR audio, and Micro Four Thirds lens mount from its predecessor.\u003c\/p\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003e\u003cstrong\u003eCompact and Lightweight Design\u003c\/strong\u003e\u003c\/div\u003e \u003c\/div\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003eThe Blackmagic Studio Camera 4K Pro G2 tucks the benefits of a large studio camera into a single compact design. Its lightweight carbon fiber reinforced polycarbonate body provides innovative technology in a miniaturized design. The camera is designed for live production, so it's easy to track and frame shots with its large 7\" viewfinder. Control is provided via your switcher or software or by using the touchscreen menus for camera settings and knobs for brightness, contrast, and focus peaking. The included tripod mount with 15mm LWS rod ports and mounting plate speeds your setup.\u003c\/div\u003e \u003cdiv\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003e\u003cstrong\u003ePowerful Broadcast Connections\u003c\/strong\u003e\u003c\/div\u003e \u003c\/div\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003eWith 12G-SDI, 10GbE Ethernet, talkback, and balanced XLR audio inputs, the Blackmagic Studio Camera 4K Pro G2 model is designed for use with robust SDI switchers workflows. Interfaces designed for both broadcast and consumer components include HDMI with tally, camera control, a record trigger, and headphone and mic connections including dual XLR ports, and two USB Type-C expansion ports. The 10G Ethernet allows all video, tally, talkback, and camera power via a single connection, so your setup is fast and more affordable.\u003c\/div\u003e \u003cdiv\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003e\u003cstrong\u003eGlobal Live Streaming\u003c\/strong\u003e\u003c\/div\u003e \u003c\/div\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003eBuilt-in live streaming means you can use the Blackmagic Studio Camera 4K Pro G2 as a remote camera anywhere in the world and generate an H.264 live stream sent via the internet back to your studio. You can even back up your Ethernet link by connecting your 4G or 5G smartphone to one of the USB-C ports. The live stream is converted back to video in the studio by an ATEM Streaming Bridge, which also supports tally, talkback, and camera control.\u003c\/div\u003e \u003cdiv\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003e\u003cstrong\u003eExceptional Low-Light Performance\u003c\/strong\u003e\u003c\/div\u003e \u003c\/div\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003eThe Blackmagic Studio Camera 4K Pro G2 features gain from -12 dB (100 ISO) up to +36 dB (25,600 ISO), so it's optimized to reduce grain and noise in images while maintaining the full dynamic range of the sensor. The primary native ISO is 400, which is ideal for use under studio lighting. The secondary high-base ISO of 3200 is perfect when shooting in dimly lit environments. The gain can be set from the camera or remotely from a switcher using the SDI or Ethernet remote camera control.\u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003e \u003c\/div\u003e \u003cdiv\u003e\u003cstrong\u003eCinematic Images in Live Production\u003c\/strong\u003e\u003c\/div\u003e \u003c\/div\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003eThe amazing 4K sensor combined with Blackmagic generation 5 color science gives you the same imaging technology used in digital film cameras, producing cinematic images for live production. Plus, when combined with the built-in DaVinci Resolve primary color corrector, you get much better images than simple broadcast cameras. The color corrector can even be controlled from the switcher. With 13 stops of dynamic range, the Studio 4K Pro G2 camera has darker blacks and brighter whites, perfect for color correction. The sensor features a resolution of 4096 x 2160, which is great for both HD and Ultra HD work. Plus, all models support from 23.98 up to 60 fps.\u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003e \u003c\/div\u003e \u003cdiv\u003e\u003cstrong\u003eAffordable Photographic Lenses\u003c\/strong\u003e\u003c\/div\u003e \u003c\/div\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003eWith the popular MFT lens mount, Studio Camera 4K Pro G2 is compatible with a wide range of affordable photographic lenses. Photographic lenses have incredible quality because they're designed for use in high-resolution photography. Plus, the active lens mount lets you adjust the lens remotely. To eliminate the need to reach around to adjust the lens zoom and focus, the optional focus and zoom demands let you adjust a compatible lens from the tripod handles, just like a large studio camera. This means you avoid camera shake when adjusting the lens, so you can track shots and operate the camera without taking your hands off the tripod. It gives you the same feel as an expensive B4 broadcast lens.\u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003e \u003c\/div\u003e \u003cdiv\u003e\u003cstrong\u003eFrame Shots with Large 7\" Viewfinder\u003c\/strong\u003e\u003c\/div\u003e \u003c\/div\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003eThe large 7\" high-resolution screen will totally transform how you work with the camera because it's big enough to make framing shots much easier. The Pro model features an HDR display with extremely high brightness, perfect outdoors in sunlight. On-screen overlays show status and record parameters, histogram, focus peaking indicators, levels, frame guides, and more. You can even apply 3D LUTs for monitoring shots with the desired color and look. The touchscreen also has menus, and you can load and customize presets for different jobs. The included sunshade can be folded to protect the screen for transport, plus it's compatible with sunshades from the Blackmagic Studio Viewfinder.\u003c\/div\u003e \u003cdiv\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003e\u003cstrong\u003ePhysical and Touchscreen Controls\u003c\/strong\u003e\u003c\/div\u003e \u003c\/div\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003eBlackmagic Studio Cameras feature physical buttons and knobs as well as touchscreen controls. Knobs on the right side of the camera allow adjusting of the brightness, contrast, and focus peaking. The focus peaking knob is incredibly useful as it lets you fine-tune the detail highlight, so you can get perfect focus as you zoom. Buttons on the left can have functions like zebra, false color, focus peaking, LUTs, and more assigned to them. You can change the function assigned to each button using the menus. The touchscreen also includes a heads-up display with the most important shooting information as well as menus for all camera settings, LUTs, and custom presets.\u003c\/div\u003e \u003cdiv\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003e\u003cstrong\u003eCommunicate with the Director via Talkback\u003c\/strong\u003e\u003c\/div\u003e \u003c\/div\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003eUnlike consumer cameras, the Blackmagic Studio Camera 4K Pro model has SDI connections that include talkback, so the switcher operator can communicate with cameras during live events. That means the director can talk to the camera operators to guide shot selection, eliminating the problem where all cameras could have the same shot at the same time. The talkback connector is built into the side of the camera and supports standard 5-pin XLR broadcast headsets. Talkback uses audio channels 15 and 16 in the SDI connection between the camera and the switcher, and in the program return from the switcher to the camera. This means any embedded SDI audio device can work with talkback.\u003c\/div\u003e \u003cdiv\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003e\u003cstrong\u003eFour Ways to Connect\u003c\/strong\u003e\u003c\/div\u003e \u003c\/div\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003eBlackmagic Studio Cameras can be connected in lots of different ways. All models feature HDMI, so they are perfect for HDMI switchers such as the ATEM Mini. The HDMI supports video, tally, control, and record trigger for a broadcast-style workflow using a single HDMI cable. The Blackmagic Studio Camera 4K Pro G2 has 12G-SDI, so you can connect it to SDI-based switchers such as the ATEM Constellation. There's a 12G-SDI connection for camera output video, and one for program return. The program return also includes tally, talkback, and remote camera control. Or you can use 10G Ethernet to get camera video, program return, tally, talkback, camera control, and even power using a regular Cat 6a Ethernet cable.\u003c\/div\u003e \u003cdiv\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003e\u003cstrong\u003eBuilt-In Tally for On-Air Status\u003c\/strong\u003e\u003c\/div\u003e \u003c\/div\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003eBlackmagic Studio Cameras feature a very large tally light that illuminates red for on-air, green for preview, and orange for ISO recording. The tally light also includes clip-on transparent camera numbers, so it's easy for talent to see camera numbers from up to 20' away. The Blackmagic Studio cameras support the SDI tally standard used on all ATEM live production switchers and the HDMI tally used on ATEM Mini switchers. This means a director can cut between cameras and the tally information will be sent back to the cameras via the SDI program return feed, lighting up the tally light on the camera whenever it's on air. SDI tally eliminates complex wiring, so job setup is faster.\u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003e \u003c\/div\u003e \u003cdiv\u003e\u003cstrong\u003eLow-Cost SMPTE Fiber Style Workflow\u003c\/strong\u003e\u003c\/div\u003e \u003c\/div\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003eThe Blackmagic Studio Camera 4K Pro G2 model supports connecting cameras via a single Ethernet cable. It's so simple; just plug it in and you're ready. Traditional broadcast studio cameras use SMPTE fiber to communicate and power cameras; however, SMPTE fiber is very expensive. Blackmagic Studio Camera 4K Pro G2 model has 10G Ethernet as an alternative to SMPTE fiber, so it's much lower cost. The Ethernet includes all camera video, program return feeds, tally, talkback, camera control, and power. The Blackmagic Studio Converter handles all video conversions at the switcher end plus adds power to the Ethernet cable. That means you don't need to connect power to the camera.\u003c\/div\u003e \u003cdiv\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003e\u003cstrong\u003eUSB Expansion Port for Accessories\u003c\/strong\u003e\u003c\/div\u003e \u003c\/div\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003eThis camera features a high-speed USB Type-C expansion port that allows you to record to external disks or connect to a wide range of accessories. Plug in an external USB flash disk and the camera can record high-quality 12-bit Blackmagic RAW files for later editing and color correction. That means you can just move the disk to a computer to work, and you don't need to waste time with file copying. You can even plug in optional focus and zoom demands to allow full lens control of compatible lenses. Plus, the USB port will power any phone or disk that's plugged in.\u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003e \u003c\/div\u003e \u003cdiv\u003e\u003cstrong\u003eBlackmagic RAW Quality\u003c\/strong\u003e\u003c\/div\u003e \u003c\/div\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003eBlackmagic RAW is a revolutionary new format designed to capture and preserve the quality of the sensor data from your camera. Unlike highly compressed formats such as H.264, Blackmagic RAW eliminates compression problems, so you get stunning images with incredible detail and rich color throughout the whole postproduction pipeline. Blackmagic Raw also saves camera settings as metadata, so you can change ISO, white balance, and exposure later in DaVinci Resolve. Plus, the files are small and fast, so editing responsiveness is incredible.\u003c\/div\u003e \u003cdiv\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003e\u003cstrong\u003eIncludes Built-In Microphones\u003c\/strong\u003e\u003c\/div\u003e \u003c\/div\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003eThe Blackmagic Studio Camera 4K Pro G2 incorporates built-in microphones, so you get sound included in the design, making setup much faster. The built-in microphones are shock and wind resistant, so you get great sound, even in tough conditions. With each microphone placed at the edges of the screen, you get the advantage of the studio camera design for better stereo separation than what is possible on a regular video camera. There's also a 3.5mm audio input for connecting video camera microphones as well as a 3.5mm headphone jack. On the Blackmagic Studio Camera 4K Pro G2 model, you get professional XLR audio inputs and a built-in speaker for listening to the program return audio.\u003c\/div\u003e \u003cdiv\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003e\u003cstrong\u003eMonitor Program Video\u003c\/strong\u003e\u003c\/div\u003e \u003c\/div\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003eThe Blackmagic Studio Camera 4K Pro G2 lets you view program video from the switcher at the press of a button. Simply press the camera's PGM button, and the viewfinder will switch from the camera display to the program return feed from the switcher and monitor the switcher audio. Program return is a fantastic feature as sometimes on large live shows, camera operators can be left waiting a long time for their camera to be used, so program return lets them watch the show while they wait. This means that even if the camera operator is a large distance away from the switcher, they can still keep up with what's happening and remain alert.\u003c\/div\u003e \u003cdiv\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003e\u003cstrong\u003eSupports 3D LUTs for Film Looks\u003c\/strong\u003e\u003c\/div\u003e \u003c\/div\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003eWhen Blackmagic Raw files use logarithmic film gamma to preserve the camera dynamic range, 3D LUTs can be used to convert the images on the viewfinder display from looking flat and washed out. The 3D LUTs solve this problem because they convert the image just before it's displayed on the LCD. This allows the film gamma images being recorded to be converted to nicer-looking images on the LCD. The 3D LUTs are also saved into the Blackmagic Raw files, so they can be used in later postproduction, but they are never burned into the Blackmagic RAW image data, so you always have the option to disable them. This means the 3D LUT is transported in the Blackmagic RAW file, but only used when you enable it.\u003c\/div\u003e \u003cdiv\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003e\u003cstrong\u003eLocalised in 13 Popular Languages\u003c\/strong\u003e\u003c\/div\u003e \u003c\/div\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003eThe Blackmagic Studio Cameras are designed to be used worldwide, so they support 13 popular languages. When setting up your camera, you can choose to work in English, German, French, Spanish, Polish, Portuguese, Italian, Russian, Turkish, Chinese, Japanese, Korean, and Ukrainian. It's easy to switch to another language simply by going into the menu settings. When switching between languages, the on-screen overlays, heads-up display, and setup menus will be displayed in the selected language, and you can change languages any time you like.\u003c\/div\u003e \u003cdiv\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003e\u003cstrong\u003ePowers from DC or 10G Ethernet\u003c\/strong\u003e\u003c\/div\u003e \u003c\/div\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003eBlackmagic Studio Camera 4K Pro G2 has several power options, including a 12 VDC locking power connector that prevents the cable from being accidentally pulled out. The camera includes a power supply with five different AC socket adapters for different countries. 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That's a great solution when there's no power available where the cameras are placed.\u003c\/div\u003e \u003cdiv\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003e\u003cstrong\u003eOptional Accessories\u003c\/strong\u003e\u003c\/div\u003e \u003c\/div\u003e \u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003eYou can utilise the Focus and Zoom demands to remotely control your compatible lens and the Blackmagic Studio Converter for a single Ethernet connection to the camera.\u003c\/div\u003e \u003cdiv\u003e \u003c\/div\u003e \u003cdiv\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"Blackmagic Design","offers":[{"title":"Default Title","offer_id":51499278139709,"sku":"BLA-CINSTUDMFT\/G24PDFG2","price":40023.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/5870\/8285\/files\/e770ee180c19f22e6d4c280fd79f0743.png?v=1773557905"},{"product_id":"blackmagic-design-ursa-broadcast-g2-incl-b4-ef-lens-mount-vlock-battery-plate-top-handle-shoulder-pad","title":"Blackmagic URSA Broadcast G2 w\/ B4 \u0026 EF Mount, V-Lock, Top-Handle \u0026 Shoulder Pad","description":"\u003cp\u003eUpdate your broadcast studio or internet broadcast camera with a versatile 3-in-1 powerhouse using the Blackmagic Design URSA G2 Broadcast Camera. This updated G2 model features generation 5 color science and not only supports up to UHD 4K as its predecessor for production and studio work but can now be used as a 6K digital film camera that records in Blackmagic RAW format. The lens mount is compatible with 2\/3\" B4 lenses, but it also includes an active EF mount adapter, allowing you to access a long line of professional cinema lenses. It allows you to apply 3D LUTs for cinema-like looks, has built-in optical ND filters, features 12G-SDI input and output, captures audio via two XLR inputs, and can record using Prores 422 and Blackmagic RAW onto CFast 2.0 or SD UHS-II cards.\u003c\/p\u003e \u003cp\u003eThe camera body is constructed with durable and lightweight magnesium, so it will hold steady in any environment. To power the camera, you can use the included 12 VDC power adapter or the preinstalled V-mount plate to utilize professional, high-capacity V-mount batteries. Also included with the camera are the URSA Mini shoulder pad, the URSA Mini top handle, a viewfinder mounting plate, and all the installation hardware and lens caps. A downloadable copy of DaVinci Resolve Studio is included, along with access to future camera software updates.\u003c\/p\u003e \u003ch4\u003eThree Cameras in One\u003c\/h4\u003e \u003ch4\u003eBroadcast Production Camera\u003c\/h4\u003e \u003cp\u003eThe perfect solution for broadcasters, URSA Broadcast G2 includes ENG camera controls positioned around the camera, so you can locate them by feel. It also features a low-light sensor, so you get amazing images using natural light. That's the perfect combination for broadcast news and programming.\u003c\/p\u003e \u003ch4\u003eLive Studio Camera\u003c\/h4\u003e \u003cp\u003eURSA Broadcast includes an advanced YRGB color corrector built-in and full remote camera control. You can use B4 ENG or large studio box lenses, or even change the lens mount and use any lens. Plus, the optional Blackmagic focus and zoom demands let you control the lens from the tripod handles.\u003c\/p\u003e \u003ch4\u003eDigital Cinema Camera\u003c\/h4\u003e \u003cp\u003eURSA Broadcast G2 includes an advanced 6K digital film sensor, and you can change the lens mount. Use a PL mount for digital film lenses or EF for photo lenses. Plus, the high dynamic range, great low-light performance, and Blackmagic RAW means you get a true \"Hollywood\" quality digital film camera.\u003c\/p\u003e \u003ch4\u003eKey Features\u003c\/h4\u003e \u003ch4\u003eDigital Film Quality for Broadcast\u003c\/h4\u003e \u003cp\u003eThe large 6K sensor, combined with Blackmagic generation 5 color science, gives you the same imaging technology used in digital film cameras. This means broadcasters can now use digital cinema quality in broadcasts. The 6K sensor features a resolution of 6144 x 3456, so it's flexible enough for broadcast and digital film work. When using B4 lenses, you get a 4K window of the sensor for Ultra HD broadcast use. Then, if you change to a PL or EF lens mount, you can use the full 6K resolution of the sensor for digital film. With 13 stops of dynamic range, you get darker blacks and brighter whites, so it's perfect for color correction. Using digital film in broadcast is a revolution in image quality.\u003c\/p\u003e \u003ch4\u003eLow-Light Performance\u003c\/h4\u003e \u003cp\u003eThe new URSA Broadcast features incredible low-light performance, so you can shoot using ambient light or even under moonlight. In advanced cameras, ISO is a measurement of the image sensor's sensitivity to light. The Blackmagic URSA Broadcast G2 features gain from -12dB (100 ISO) up to +36dB (25,600 ISO), so it's optimized to reduce grain and noise in images while maintaining the full dynamic range of the sensor. The primary native ISO is 400, which is ideal for use under studio lighting. Then the secondary high base ISO of 3200 is perfect when shooting in dimly lit environments. The gain can be set via a camera switch, the LCD menu, or remotely using the SDI remote camera control protocol.\u003c\/p\u003e \u003ch4\u003eCompatible with B4 Broadcast Lenses\u003c\/h4\u003e \u003cp\u003eThe URSA Broadcast G2 features a B4 broadcast lens mount that includes optics specifically designed to match the camera's sensor. The B4 lens mount lets you use modern UHD lenses or lower-cost HD lenses. Older HD lenses often feature resolutions well beyond HD, so you get great quality at a low cost. B4 lenses are fantastic because they are par-focal, so the image stays in focus as you zoom in and out, so you don't need to constantly chase focus as you shoot. That lets you work much faster. You also get full electronic lens control to adjust focus, iris, and zoom using the camera's controls or remotely. Plus, if you want to use alternative lenses, you can change the mount to PL, EF, and more.\u003c\/p\u003e \u003ch4\u003eBuilt-In Optical ND Filters\u003c\/h4\u003e \u003cp\u003eURSA Broadcast G2 features high-quality neutral density (ND) filters that let you quickly reduce the amount of light entering the camera. The 1\/4, 1\/16th and 1\/64th stop filters have been specifically designed to match the image sensor and color science of URSA Broadcast G2, providing you with additional latitude and better colorimetry. This lets you use different combinations of aperture and shutter angles in a wider range of situations. The IR filters have been designed to evenly filter both optical and IR wavelengths, eliminating IR contamination. Plus, the filter status on the LCD can be displayed as a fraction, number, or stop reduction.\u003c\/p\u003e \u003ch4\u003eCommon Media and File Formats\u003c\/h4\u003e \u003cp\u003eURSA Broadcast is designed to work with standard file formats used by all broadcast systems and editing software. You can record in ProRes 422 HQ and ProRes 422 into QuickTime files. The new Blackmagic URSA Broadcast G2 model can even record into H.265 for incredibly small files at 60:1 to 285:1 compression ratios, in 10-bit broadcast quality. Plus. you can record to Blackmagic RAW files, a revolutionary new format designed to capture and preserve the quality of the sensor data from the camera. That means you get the perfect range of file formats designed for all types of workflows.\u003c\/p\u003e \u003ch4\u003eDual Media Slots for Nonstop Recording\u003c\/h4\u003e \u003cp\u003eWith dual CFast 2.0 recorders and dual SD\/UHS-II card recorders, you can choose the media that's best for you. Both types of media are standard, inexpensive, and readily available at computer and camera stores. Plus, with dual media slots, URSA Broadcast gives you nonstop recording. When a card is full, recording automatically continues onto the next card, so you can swap a full card while recording continues. You get enough speed to record high-quality ProRes and H.265 video file formats, even when working in Ultra HD at high frame rates. That means URSA Broadcast G2 is easy to integrate into your existing broadcast systems. You can even record 12-bit Blackmagic RAW cinema files.\u003c\/p\u003e \u003ch4\u003eUSB Type-C for Recording Direct to External Media Disks\u003c\/h4\u003e \u003cp\u003eThe Blackmagic URSA Broadcast G2 features a high-speed USB Type-C expansion port on the rear of the camera that allows you to record to external disks or connect to a wide range of accessories. If you plug in a large and low-cost external USB flash disk, you can record ProRes, H.265, or even high-quality 12-bit Blackmagic RAW files for later editing and color correction. That means you can just move the disk to a computer to work, and you don't need to waste time with file copying. Plus, the USB port will power the disk that's plugged in. You can even plug in optional focus and zoom demands to allow full lens control.\u003c\/p\u003e \u003ch4\u003eStrong and Lightweight Magnesium Design\u003c\/h4\u003e \u003cp\u003eURSA Broadcast G2 features a super-strong, lightweight magnesium alloy body that's perfectly balanced and designed to be comfortable to use all day. It features familiar, externally mounted switches and controls that give you direct access to the most important camera settings. The controls are laid out logically, making them easy to locate by feel, so you can adjust settings without having to look at the buttons. You also get a foldout touchscreen for monitoring, viewing camera status, and changing settings using on-screen menus. URSA Broadcast G2 also includes standard 12G-SDI connections, XLR audio inputs, USB Type-C, and an industry-standard 4-pin XLR broadcast 12 VDC connection.\u003c\/p\u003e \u003ch4\u003eBuilt-In LCD with Touch Controls\u003c\/h4\u003e \u003cp\u003eWith a built-in LCD that folds out, you can both monitor and control the camera. While URSA Broadcast G2 features lots of physical buttons and knobs, using the LCD, you also get on-screen status and touchscreen controls. The built-in touchscreen also includes a heads-up display with the most important shooting information, as well as menus for all camera settings, LUTs, and custom presets. Behind the LCD, there are extra buttons, as well as knobs for audio levels. There are even programmable function buttons that can have functions assigned to them, such as zebra, false color, focus peaking, LUTs, and more. Plus, you can change the function assigned to each button in the on-screen menus.\u003c\/p\u003e \u003ch4\u003eExternal Status Display\u003c\/h4\u003e \u003cp\u003eThe status display is a high-visibility LCD screen designed to be easily seen, even in bright light. The status display shows record, locked, and reference timecodes, along with the current shooting frame rate, shutter angle, aperture, white balance, gain, and iris. It also features a battery indicator, card recording status, and audio meters for monitoring levels. The screen's backlight can be turned on when you are shooting in dimly lit locations and off when you are shooting outdoors and in bright light to increase contrast, making it easy to read under any condition.\u003c\/p\u003e \u003ch4\u003eProgram Video Monitoring\u003c\/h4\u003e \u003cp\u003eIf you're doing live production, sometimes you need to monitor program video back from the switcher. Simply press the camera's PGM button and the viewfinder will switch from the camera display to the program return feed from the switcher. A built-in speaker also lets you monitor the switcher audio as well. Program return is a fantastic feature, as sometimes on large live shows, camera operators can be left waiting a long time for their camera to be used, so program return lets them watch the show while they wait. This means that even if the camera operator is a large distance away from the switcher, they can still keep up with what is happening and remain alert.\u003c\/p\u003e \u003ch4\u003eLoad Custom 3D LUTs to Recreate Film Looks\u003c\/h4\u003e \u003cp\u003eDigital film cameras shoot logarithmic color space to preserve the dynamic range, which is great for later post-production. However, when these files are viewed on a monitor, they can look flat and washed out. 3D LUTs solve this problem as they allow you to apply a \"look\" to the monitor so you get an idea of how the finished images will look when editing. LUTs can be applied temporarily for monitoring only, or they can be recorded into the Blackmagic RAW files for use in post-production. The URSA Broadcast G2 works with industry-standard 17- and 33-point 3D LUT files or you can work with the built-in LUTs such as Extended Video, Film to Video, Film to Rec.2020, and more.\u003c\/p\u003e \u003ch4\u003eStandard Television Industry Connections\u003c\/h4\u003e \u003cp\u003eBlackmagic URSA Broadcast G2 features the latest technology and connections, such as 12G-SDI. This includes 12G-SDI connections for both video output and return program feed input. The 12G-SDI connections are multirate and switch between all HD and UHD formats up to 2160p60. Other connections include a headphone connection, USB Type-C, balanced XLR audio with phantom power, and timecode\/reference input. There's also a front-mounted 12-pin Hirose connector for broadcast lens control, which can also power the lens. Plus, for connecting a viewfinder or on-set monitor, there's even an HD-SDI monitoring output and a broadcast style 4-pin XLR 12 VDC power output.\u003c\/p\u003e \u003ch4\u003eSupports All Broadcast Frame Rates\u003c\/h4\u003e \u003cp\u003eWhether you're shooting a sporting event or a breaking news story, Blackmagic URSA Broadcast G2 can shoot super-smooth, crystal clear slow-motion video. To shoot slow-motion video, URSA Broadcast supports the higher broadcast frame rates of 60 frames per second, but it can also record this high frame rate into a lower frame rate file for smooth slow-motion shooting. You can set up your preferred high-speed frame rate using the camera's on-screen menus, then switch between standard sync speed and off-speed frame rates using the HFR button on the side of the camera. That means you can have a higher frame rate setup and ready to go, so it's instantly available when the action gets exciting.\u003c\/p\u003e \u003ch4\u003eProfessional Audio Connections and Built-In Microphones\u003c\/h4\u003e \u003cp\u003eURSA Broadcast G2 has a high-quality microphone and professional audio recorder built in so you don't have to carry any extra sound equipment. That means you can use the built-in stereo microphone or you can connect external microphones. The XLR connections have 48V phantom power so you can plug in everything from shotgun to wireless clip-on mics. You can also select to link audio inputs on the camera so you can plug in lapel microphones that often only have a single mono connection if you want to record the mic onto both channels of the recorded file. URSA Broadcast G2 also features knobs for adjusting levels and onscreen meters so you can trim audio levels even when shoulder mounted.\u003c\/p\u003e \u003ch4\u003eStudio Camera Control via SDI\u003c\/h4\u003e \u003cp\u003eAll Blackmagic Design ATEM switchers can control cameras via a protocol embedded into the URSA Broadcast G2's SDI video connections. Setup is easy because all ATEM switchers broadcast control commands from the switcher's SDI program output to the camera via the SDI program input. The switcher can perform color correction, tally, and lens control, and these are sent to all cameras. All you need to do is select the correct camera number, and it all works. This means someone can manage the image color and gain, so the camera operator is not distracted trying to adjust their camera, and they are then free to focus on framing the shots.\u003c\/p\u003e \u003ch4\u003eWork in Both HD or Ultra HD\u003c\/h4\u003e \u003cp\u003eThe Blackmagic URSA Broadcast G2 is not just a great UHD 4K camera, but it's also an amazing HD camera. The high-resolution sensor and generation 5 color science create amazing images with a high dynamic range and wide color fidelity. But when you need to do HD work, the camera will scale the image sensor down to 1080 HD video standards. This helps you get stories on air fast, in HD or Ultra HD video standards, anywhere in the world. Plus, when working in HD, the high-resolution sensor allows sub-pixel image processing for superior anti-aliasing and sharp images. Blackmagic URSA Broadcast G2 is a future-proof camera that's perfect for both HD and UHD production.\u003c\/p\u003e \u003ch4\u003eChange to PL, EF, and F Lens Mounts\u003c\/h4\u003e \u003cp\u003eURSA Broadcast G2 features an interchangeable lens mount, so you can easily swap the included B4 lens mount for an EF, a PL, or even an F mount. URSA Broadcast G2 comes with a B4 mount already installed, plus a spare EF mount is included. That means if you're starting out, you can change the mount and use low-cost photographic lenses. Photographic lenses offer incredible quality because they're designed for high-resolution photography. You can also purchase optional PL and F mounts separately. If you're shooting for digital film, the PL mount is best. as it's the most common lens mount for cinema lenses. With URSA Broadcast G2, you get a single camera that works with virtually all modern lenses.\u003c\/p\u003e \u003ch4\u003eLatest Generation 5 Color Science\u003c\/h4\u003e \u003cp\u003eFeaturing the same generation 5 color science as the high-end URSA Mini Pro 12K, the new URSA Broadcast G2 delivers an even greater advancement in image quality with stunning, accurate skin tones, and faithful color in every shot. You get a new dynamic 12-bit gamma curve designed to capture more color data in the highlights and shadows for better-looking images. The color science also handles some of the complex Blackmagic RAW image processing, so color and dynamic range data from the sensor is preserved via metadata, which you can then use in post-production. That means you get images that have a natural, filmlike response to color adjustments in post with DaVinci Resolve Studio.\u003c\/p\u003e \u003ch4\u003eBlackmagic RAW Quality\u003c\/h4\u003e \u003cp\u003eBlackmagic RAW is a revolutionary new format designed to capture and preserve the quality of the sensor data from your camera. Common video files have a lot of video processing, so you can lose some of the original sensor detail. Blackmagic RAW eliminates this problem, so you get stunning images with incredible detail and rich color throughout the whole post-production pipeline. Blackmagic RAW also saves camera settings as metadata, so you can change ISO, white balance, and exposure later in DaVinci Resolve. Plus, the files are small and fast, so editing responsiveness is incredible. Only Blackmagic RAW gives you the highest quality, smallest files, and fastest performance.\u003c\/p\u003e \u003ch4\u003ePowered by Blackmagic OS\u003c\/h4\u003e \u003cp\u003eWith the advanced Blackmagic OS, you get an intuitive and user-friendly camera operating system based on the latest technology. Blackmagic OS is a truly modern operating system, where all camera features run independently for smoother control, plus URSA Broadcast G2 powers on virtually instantly. It features the same controls and menus as other Blackmagic Design cameras, so you can move between cameras on set easily. The interface uses simple tap and swipe gestures to adjust settings, add metadata, and view recording status. You also get full control over advanced camera features such as on-screen focus and exposure tools, 3D LUTs, HDR, metadata entry, timecode, Blackmagic RAW settings, and more.\u003c\/p\u003e \u003ch4\u003eBuilt-In Timecode Generator\u003c\/h4\u003e \u003cp\u003eAll models of Blackmagic URSA Broadcast G2 have a built-in time-of-day timecode generator, so you can sync all the cameras and then do multicamera editing later because all the recordings will have the same timecode. Simply plug in an external timecode generator to the BNC timecode input, and the camera will automatically detect timecode and lock the internal generator. Now each camera can start and stop recording, and the shots from all cameras will have matched timecode. Imagine shooting a music festival with multiple cameras. Then the DaVinci Resolve sync bin can be used to automatically sync the recordings and display them in a multiview for easy editing.\u003c\/p\u003e \u003ch4\u003eFocus and Zoom Demands\u003c\/h4\u003e \u003cp\u003eThe optional zoom and focus demands allow you to use photography lenses for live production. The focus and zoom demands have USB Type-C connections, so they control the lens via the camera's electronic lens control. Each zoom and focus demand has two USB Type-C ports, so you can daisy-chain them then connect to the camera with a single USB connection. The design has an incredibly precise feel, so you get very fine lens control, and you can frame and adjust the lens without taking your hands off the tripod handles. The buttons can be customized, so you can assign different camera functions to them. Plus, hardware is included for mounting the focus and zoom demands onto tripod handles.\u003c\/p\u003e \u003ch4\u003eOptional Viewfinders, SMPTE Fiber, and Lens Mounts\u003c\/h4\u003e \u003cp\u003eThere's a wide range of accessories specifically designed to work perfectly with URSA Broadcast G2. However, a shoulder mount kit, V-mount battery plate, and top handle are included, so you don't need to purchase anything extra. Plus, you get a spare EF lens mount if you don't own a B4 lens and would like to start out using a photography lens. You can add the optional Blackmagic URSA Viewfinder, or for live production, you can add a Blackmagic URSA Studio Viewfinder. There's also an optional fiber converter that can power the camera from 1.2 miles away via the single SMPTE fiber. For long-duration recording, URSA Mini Recorder gives you the option to record to external SSDs.\u003c\/p\u003e \u003ch4\u003eRecord to SSDs and U.2 Media\u003c\/h4\u003e \u003cp\u003eThe optional Blackmagic URSA Mini Recorder lets you record files onto large 2.5\" SSDs, as well as the latest U.2 NVMe Enterprise SSDs. SSDs such as the latest 7mm U.2 NVMe disks are super fast, delivering data transfer speeds of up to 900 MB\/s. This blazing-fast performance allows you longer recording times for full-resolution 4K and 6K 12-bit Blackmagic RAW files in the highest-quality Q0 encoding. The unique design of the Blackmagic URSA Mini Recorder means it attaches directly to the back of your URSA Broadcast G2 between the camera and the battery. It's controlled via the USB-C, so you don't have to worry about manually starting or stopping the SSD recorder.\u003c\/p\u003e \u003ch4\u003eLocalized in 13 Languages\u003c\/h4\u003e \u003cp\u003eAll Blackmagic Design cameras are designed to be used worldwide, so they support 13 popular languages. When setting up your camera, you can choose to work in English, German, French, Spanish, Portuguese, Italian, Russian, Polish, Ukrainian, Turkish, Chinese, Japanese, or Korean. It's easy to switch to another language simply by going into the menu settings. When switching between languages, all the on-screen overlays, the heads-up display, and setup menus will be displayed in the selected language, and you can change languages any time you like.\u003c\/p\u003e \u003ch4\u003eWireless Bluetooth Camera Remote Control\u003c\/h4\u003e \u003cp\u003eIf you're positioning the camera on the end of a boom or in another hard-to-reach location, you can get full control via Bluetooth from up to 30' away. You can download the Blackmagic Camera Control app for your iPad or use third-party apps such as Bluetooth+ or tRigger on your iOS and Android devices. There's even a free developer SDK with sample code available from the Blackmagic Design developer website, so you can create your own remote camera control and digital slate solutions. Imagine building an app that can jam sync timecode and trigger all cameras to record at the same time. The possibilities are endless.\u003c\/p\u003e \u003ch4\u003eCompatible with Industry-Standard Batteries\u003c\/h4\u003e \u003cp\u003eAll URSA cameras support a wide range of battery plates from manufacturers such as IDX, Blueshape, Anton Bauer, and more. A V-mount battery plate is installed on the camera, or you can change to an optional Blackmagic URSA Gold Battery Plate. All Blackmagic battery plates are designed to mount directly onto the camera. URSA Broadcast G2 includes a 4-pin XLR power connector that supports 12 to 18V for connecting external power supplies and battery packs. The standard power connector also means you can use the camera with your existing power supplies and batteries. For live production, the optional fiber converter can power the camera from up to 1.2 miles away via a single SMPTE fiber cable.\u003c\/p\u003e \u003ch4\u003eIncludes DaVinci Resolve Studio\u003c\/h4\u003e \u003cp\u003eURSA Broadcast G2 includes a full version of DaVinci Resolve Studio, which is the same software used in Hollywood for creating high-end feature films, episodic television shows, commercials, and more. DaVinci Resolve features the new cut page with intelligent editing tools and innovative new features designed to help you quickly find the footage you want, edit it together, and output it fast. In addition to the new cut page, you also get DaVinci's legendary professional editing, advanced color correction, audio post, and visual effects tools, all in a single software application. Now you can use the same high-end software that professional editors and colorists use.\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e","brand":"Blackmagic Design","offers":[{"title":"Default Title","offer_id":51499278860605,"sku":"BLA-CINEURSAMWC6KG2","price":92349.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/5870\/8285\/files\/bc98f5837d6e38ff35c5b311c27669ae_47ab885c-3260-4e18-9f1e-5dcb7890a120.png?v=1776330770"},{"product_id":"blackmagic-design-ursa-power-supply-2","title":"Blackmagic Design URSA Power Supply","description":"\u003cp\u003eThe \u003cstrong\u003eURSA Power Supply\u003c\/strong\u003e from \u003cstrong\u003eBlackmagic Design\u003c\/strong\u003e is a power supply brick with an attached XLR cable. 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The camera also includes NDI|HX and SRT support without requiring a separate license, allowing you to drop the camera into your existing NDI network with minimal configuration.\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_2079852.jpg\"\u003e\u003c\/p\u003e \u003cp\u003e1\/2.3\" CMOS Sensor\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_2079859.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N100 features a Canon 1\/2.3\" UHD 4K CMOS image sensor capable of UHD 4K video capture at 30p and up to 60p in Full HD, making the PTZ camera a strong contender for professional production.\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003cp\u003eCanon's DIGIC DV 6 Image Processor is essential in providing high image quality, advanced performance and convenient operability to the CR-N100. This advanced core technology component provides the image-processing power and speed that enables features such as 4K UHD video acquisition and precise Hybrid AF.\u003c\/p\u003e \u003cp\u003eOversampling HD Processing\u003c\/p\u003e \u003cp\u003eThe full HD recording (oversampling HD processing) takes full advantage of the image information acquired by the 4K sensor to generate beautiful high-definition full HD video. This helps content creators produce stunningly detailed FHD video when utilizing the CR-N100.\u003c\/p\u003e \u003cp\u003eCanon 4K UHD Lens\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_2079861.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N100 features a 20x optical zoom lens and exhibits a wide horizontal viewing angle of 65.6°. At the wide end, the 29.3mm lens is capable of capturing extensive scenes in tight shooting spaces such as indoor events for impressive wide shots. The camera utilizes aspheric lens elements to achieve 4K image quality while minimizing various aberrations over the entire zoom range.\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003cp\u003eThe lens structure of the CR-N100 enables real-time responsiveness in a three-dimensional space, supporting optical image stabilization, which helps keep the image capture stable by minimizing vibration.\u003c\/p\u003e \u003cp\u003eHybrid AF\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_2079846.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N100 is equipped with \"Hybrid AF\", an auto focus system that combines high-precision contrast AF technology and the high-speed phase-difference AF technology to confirm auto focus from the camera. This hybrid auto focus system helps achieve auto focus faster and more reliably compared to contrast auto focus alone.\u003c\/p\u003e \u003cp\u003eSmooth \u0026amp; Responsive Pan \/ Tilt Performance\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_2079854.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N100 features a PT (Pan, Tilt) drive mechanism that enables multi-step speed changes from high to low speeds, providing smooth PT in tandem with the zoom. This can be linked with optional remote controllers and applications to support many kinds of video production with a single operator. The CR-N100 has a variable Pan speed of .2 to 300°\/second and variable Tilt speed of .2 to 180°\/second.\u003c\/p\u003e \u003cp\u003eTally Lamp\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_2079869.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N100 is equipped with a tally lamp located on the front of the lens section that can illuminate red when the camera is shooting. This provides clear visual indications for staff and performers to know which camera is shooting live.\u003c\/p\u003e \u003cp\u003eFour Scene Modes for Impressive Video\u003c\/p\u003e \u003cp\u003eThe CR-N100 features Scene Modes that offer four preset shooting modes suitable for the desired application.\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003cp\u003eThere are four types of Scene Modes:\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003cul\u003e \u003cli\u003ePortrait mode: exhibits a blurred background while subject is in sharp focus\u003c\/li\u003e \u003cli\u003eSports mode: enhances capture of moving objects\u003c\/li\u003e \u003cli\u003eLow-Light mode: enhances capture of bright images, even in dark places\u003c\/li\u003e \u003cli\u003eSpotlight mode: enhances capture of beautiful images of spotlighted objects\u003c\/li\u003e \u003c\/ul\u003e \u003cp\u003e \u003c\/p\u003e \u003cp\u003eBy selecting a Scene Mode, capture can be performed without having to adjust multiple settings within the Camera menu, which aids a speedy setup and configuration, allowing the operator to start shooting with impressive image expression.\u003c\/p\u003e \u003cp\u003eBuilt-in NDI|HX and SRT Support\u003c\/p\u003e \u003cp\u003eThe CR-N100 supports multiple professional protocols for ease of integration. NDI|HX is built-in to the camera and provides high image quality, low latency, and ease of implementation. SRT is also built-in to the camera that helps provide high-quality video over unpredictable public networks.\u003c\/p\u003e \u003cp\u003eWebcam via USB Connection\u003c\/p\u003e \u003cp\u003eTurn the CR-N100 into a super webcam with Canon's Webcam Driver. The Webcam Driver is a virtual USB driver that allows the CR-N100 to be used as a powerful webcam over a network. The software has many advantages such as, automatic camera detection, up to 4K 30P video output, embedded audio (AAC-LC), supports up to five cameras and is free of charge.\u003c\/p\u003e \u003cp\u003eOne Person Operation \u0026amp; Canon XC Protocol\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_2079871.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eThe XC Protocol is an IP protocol that controls Canon video production equipment. With XC Protocol, the CR-N100 can be remotely controlled to support a wide range of applications, which includes sports, music, live events, lecture recording, corporate meeting rooms, video production, and more.\u003c\/p\u003e \u003cp\u003eStandard Protocol\u003c\/p\u003e \u003cp\u003eThe CR-N100 supports the Standard Protocol to remotely control the camera via IP. When connecting a Standard Protocol compatible remote controller to the camera over IP or serial (RS-422) the camera can be operated remotely and shooting settings can be adjusted by utilizing an optional remote controller.\u003c\/p\u003e \u003cp\u003eVarious Interfaces Supported\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_2079863.jpg\"\u003e\u003c\/p\u003e \u003cul\u003e \u003cli\u003eThe IP output and HDMI output are suitable when capturing UHD 4K at 30pThe CR-N100 comes with an infrared remote control which can be used to control a variety of camera functions including PTZ, presets, speed, focus, standby mode, etc.\u003c\/li\u003e \u003cli\u003eThe CR-N100 offers a method to record high-quality audio through an internal stereo mini-jack mic terminal.\u003c\/li\u003e \u003cli\u003eThe serial terminal RS-422 can be utilized to connect third party supported controllers that support the standard protocol communication. or full HD resolutions at 59.94p. The USB output is capable of full HD resolution for high quality web conferencing.\u003c\/li\u003e \u003c\/ul\u003e \u003cp\u003eHigh-Quality Audio Input\/Output\u003c\/p\u003e \u003cp\u003eThe CR-N100 offers a method to capture and output high-quality audio through a 3.5mm stereo mini-jack mic terminal.\u003c\/p\u003e \u003cp\u003eRemote Camera Control Application\u003c\/p\u003e \u003cp\u003eThe Remote Camera Control Application can be utilized to control the CR-N100. The Remote Camera Control Application is a Windows \/ Macintosh application for centralized control of multiple cameras. It is possible to operate up to nine cameras and display videos at the same time - achieving a \"multi-camera operation\".\u003c\/p\u003e \u003cp\u003eWebcam Driver\u003c\/p\u003e \u003cp\u003eTurn the CR-N100 into a super webcam with Canon's Webcam Driver. The Webcam Driver is a virtual USB driver that allows the CR-N100 to be used as a powerful webcam over a network. The software has many advantages such as, automatic camera detection, up to 4K30 video output, embedded audio (AAC-LC), supports up to five cameras and is free of charge.\u003c\/p\u003e \u003cp\u003eMulti-Camera Management Application\u003c\/p\u003e \u003cp\u003eIdeal for use in large-scale camera systems, the Multi-Camera Management Application (MCMA) supports up to 200 individual compatible PTZ, professional video, and cinema cameras. The MCMA streamlines the registration of usernames, passwords and IP addresses to a camera, and registration of cameras to the optional RC-IP1000 by executing these procedures all at once, instead of individually to each camera. This allows for a rapid initial configuration of large-scale systems with minimal workload.\u003c\/p\u003e \u003cp\u003eAdd-On Application Support\u003c\/p\u003e \u003cp\u003eThe Add-On Application System will enable the installation of paid applications directly onto the camera. These applications can then be run without the need for a computer, simplifying operations and set-up.\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003cp\u003eThe Auto Tracking Application enables the camera to automatically track the speaker or other specified persons during commercial presentations, lectures and other events. Because visual analysis is performed in-camera, the system achieves excellent tracking capability. In addition to framing a person in the shot, the camera, aided by its high-performance pan\/tilt mechanism and the automatic tracking application, can smoothly capture movements of people with satisfying quality for video production.\u003c\/p\u003e","brand":"Canon","offers":[{"title":"Default Title","offer_id":51499281023293,"sku":"6527C003AA","price":43999.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/5870\/8285\/files\/1a4500af6aa4a925400c176f435f2a37_f50f2c13-e5b7-457a-8eb9-d5000c9487e4.png?v=1773558534"},{"product_id":"canon-cr-n300-4k-ndi-ptz-camera-with-20x-zoom-titanium-white","title":"Canon CR-N300 4K NDI PTZ Camera with 20x Zoom (Titanium White)","description":"\u003cp\u003eIf you have a professional production that requires remotely controlled cameras with minimal crew and a high-resolution output, the titanium white \u003cstrong\u003eCR-N300 4K NDI PTZ Camera with 20x Zoom\u003c\/strong\u003e from \u003cstrong\u003eCanon\u003c\/strong\u003e will fit right into your house of worship, corporate conference room, government application, courtroom, broadcast streaming production, event space, or even add an extra camera to your documentary shoot. The CR-N300 sports many features of a Canon camcorder, such as a 1\/2.3\" dual-pixel CMOS sensor, Hybrid AF, the Canon DIG!C DV6 image processor, scene modes, 20x optical zoom, 20x digital zoom, microphone input, and video capture and output up to UHD 4K. The camera also includes NDI|HX support without requiring a separate license, allowing you to drop the camera into your existing NDI network with minimal configuration.\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003cp\u003e\u003cstrong\u003e1\/2.3\" CMOS Dual-Pixel Sensor\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N300 features a Canon 1\/2.3\" UHD 4K CMOS image sensor capable of UHD 4K video capture at 30p and up to 60p in Full HD, making the PTZ camera a strong contender for professional production.\u003c\/p\u003e \u003cp\u003eThe CR-N300 PTZ camera incorporates Canon's DIG!C DV 6 Image Processor, which is essential in providing high image quality, advanced performance, and convenient operability. This advanced core technology component provides the image-processing power and speed that enables features such as 4K UHD video acquisition and precise Hybrid AF.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eOversampling HD Processing\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe full HD capture and output (oversampling HD processing) takes full advantage of the image information acquired by the 4K sensor to generate beautiful, high-definition full HD video. This helps content creators produce stunningly detailed FHD video when utilizing the CR-N300.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eCanon 4K UHD Lens\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N300 features a 20x optical zoom lens and exhibits a wide viewing angle of 65.6° (horizontal) in 4K. At the wide end, the 29.3mm (35mm equivalent) lens is capable of capturing extensive scenes in tight shooting spaces, such as indoor events for cinematic wide shots. The camera utilizes aspheric lens elements to achieve 4K image quality while minimizing various aberrations over the entire zoom range.\u003c\/p\u003e \u003cp\u003eThe CR-N300 is equipped with \"Hybrid AF\", an auto-focus system that combines high-precision contrast AF technology and the high-speed, phase-difference AF technology to confirm auto focus from the camera. This hybrid auto focus system helps achieve auto focus faster and more reliably compared to contrast auto focus alone.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eSmooth \u0026amp; Responsive Pan \/ Tilt Performance\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N300 is equipped with the PT drive mechanism that can change the pan\/tilt speed in incremental steps. This allows the operator to set the speeds to desired preference to allow for smooth PT movement. The CR-N300 exhibits a variable pan speed of 0.2 to 300°\/second and variable tilt speed of 0.2 to 170°\/second.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eFour Scene Modes for Impressive Video\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N300 features Scene Modes that offer four preset shooting modes suitable for the desired application.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eThere are four types of Scene Modes:\u003c\/strong\u003e\u003c\/p\u003e \u003cul\u003e \u003cli\u003ePortrait mode—exhibits a blurred background while subject is in sharp focus\u003c\/li\u003e \u003cli\u003eSports mode—enhances capture of moving objects\u003c\/li\u003e \u003cli\u003eLow-Light mode—enhances capture of bright images, even in dark places\u003c\/li\u003e \u003cli\u003eSpotlight mode—enhances capture of beautiful images of spotlighted objects\u003c\/li\u003e \u003c\/ul\u003e \u003cp\u003eBy selecting a Scene Mode, capture can be performed without having to adjust multiple settings within the Camera menu, which aids a speedy setup and configuration, allowing the operator to start shooting with impressive image expression.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eWebcam via USB Connection\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N300 supports USB in addition to IP, SDI, and HDMI. It is equipped with the specifications of UVC (Video: USB Video Class Ver. 1.1) and UAC (Audio: USB Audio Class Ver. 1.0), which are the connection standard of USB cameras and computers. This allows video and audio output by connecting to a compatible USB device.\u003c\/p\u003e \u003cp\u003eIn addition, driver settings are not required for connection to a computer. It can also be used as a webcam by connecting to a computer with a web conferencing application installed. The CR-N300 delivers up to full HD 1920 x 1080 video for high-quality web conferencing.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eEasy Integration into IP Streaming\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eIn addition to SDI and HDMI connections, the CR-N300 is equipped with an RJ45 interface purposed for IP communication, which supports high-resolution videos for distribution. The CR-N300 supports multiple protocols that can be utilized for video, audio, and control. The genuine RC-IP100 controller utilizes the XC protocol to control the CR-N300. The CR-N300 can also be combined with third-party equipment for control purposes. This IP system can contribute to efficient and labor-saving camera operations for the field of video production, broadcasting, and more.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eIP Multi-Stream Support\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N300 can simultaneously distribute video to multiple protocols via IP. Simultaneous distribution is also known as multi-stream, and the CR-N300 can distribute a total of three video streams simultaneously.\u003c\/p\u003e \u003cp\u003eIf the HDMI\/SDI video output is 30 fps or less, the CR-N300 can distribute two video streams, 4K H.264 and 360p H.264, at the same time. Such IP multi-streams contribute to parallel workflows where the same video is used simultaneously in remote environments.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eRTMP Streaming Protocol Supported\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N300 is capable of streaming video and audio using RTMP (Real-Time Messaging Protocol). Even high-quality\/large-capacity video\/audio files, such as broadcast programs, are played at the same time as distribution without waiting for the completion of download. For example, by using a live streaming service, the viewer's direct access to the distribution URL set on the camera will stream the \"current video\" captured by the camera. With the RTMP streaming distribution, multiple viewers can watch the program at the same time, even in a remote environment.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eNDI|HX Live Video Production Support Protocol\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N300 supports the NDI (Network Device Interface) protocol that is well-established in the field of video production and broadcasting as the supporting RTP (Real-Time Transport Protocol). The NDI protocol has been developed and led by NewTek as a protocol that supports the workflow of live video production over an IP network.\u003c\/p\u003e \u003cp\u003eBy constructing a system that uses NDI protocol-compatible devices and tools, it is possible to use video and audio resources on the network, including live video from cameras. As a result, a \"live video production\" workflow is created.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eStandard VISCA Protocol\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N300 supports the standard VISCA protocol to remotely control the camera via IP. When connecting a VISCA protocol-compatible remote controller to the camera over IP or serial RS-422, the camera can be operated remotely and shooting settings can be adjusted by utilizing the remote controller.\u003c\/p\u003e \u003cp\u003eThe standard VISCA protocol is widely used in video production, broadcasting, and many other markets. The CR-N300 supports the standard VISCA protocol that is regarded as an industry standard and is suitable for operation within existing workflows.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eOne Person Operation \u0026amp; Canon XC Protocol\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe XC Protocol is a newly developed IP that controls Canon video production equipment. By supporting the XC Protocol, the CR-N300 can be remotely controlled, supporting a wide range of applications, which includes sports, music, live events, lecture capture, corporate video production, and more.\u003c\/p\u003e \u003cp\u003eThe CR-N300 can be controlled by IP, infrared, USB, and Wi-Fi. Canon's hardware controller, the RC-IP100 is capable of controlling up to 100 cameras and 100 presets, allowing the operator to control multiple cameras in a larger production.\u003c\/p\u003e \u003cp\u003eThe CR-N300 is a perfect fit for many applications in broadcast, education, house of worship, events, staging, and more.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eVarious Interfaces Supported for Multiple Environments\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N300 is equipped with four output interfaces. The IP and HDMI outputs are suitable when capturing UHD 4K at 30p or full HD resolutions at 59.94p. The SDI output is capable of full HD resolution and is suitable for usage when requiring high image-quality video at 59.94p. The USB output is capable of full HD resolution for high-quality web conferencing.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eHigh-Quality Audio Input\/Output\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N300 offers a method to capture and output high-quality audio through a 3.5mm stereo mini-jack mic terminal.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eAll New Design\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N300 impresses with its distinctive style. A solid exterior color and shape that looks like it was cut out from a cone, and the size that gives a sense of strength, yet stable and compact. This PTZ camera maintains design harmony with other Canon professional imaging products, such as the established Canon 4K camera systems and lenses. The CR-N300 is available in two different colors, Satin Black and Titanium White.\u003c\/p\u003e \u003cp\u003eThe CR-N300 is equipped with tally lamps that indicate the status of the camera. The tally lamps are located on the front of the lens section and illuminate red when the camera is shooting, providing clear visual indications for staff and performers to know which camera is shooting live.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eWireless Remote Controls Supported\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eIn addition to the IP interface, the CR-N300 can also connect by Wi-Fi. This allows the operator to access the camera's Settings Page from a wireless tablet device that is equipped with a supported HTTP browser. When using multiple cameras at the same time, the user can set and operate the other cameras in the same way by inserting the assigned IP address of the camera in the web browser of the tablet or other device. In addition, the CR-N300 includes an infrared remote controller, which is used to control the camera wirelessly.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eEasy-to-Use Settings Page and Discovery Tool\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N300 supports the camera discovery tool, which is a Windows application. The Camera Search Tool is utilized to set the IP addresses of multiple cameras, which helps installers and integrators setup the CR-N300 within an existing network infrastructure. Furthermore, the CR-N300 supports the web application \"Settings Page\". The Settings Page allows the user to configure the settings of camera operation, which is accessible by web browser. Video-quality adjustments, such as exposure and white balance, that are usually performed by the camera operator on site, can now be adjusted and set while watching the video from their desk through the Settings Page. Both Camera Search Tool and Settings Page enhance the ease of use by remote control.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eRemote Camera Control Application\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe Remote Camera Control Application can be utilized to control the CR-N300. The Remote Camera Control Application is a Windows application for centralized control of multiple cameras. It is possible to operate up to nine cameras and display videos at the same time, achieving a \"multi-camera operation\".\u003c\/p\u003e \u003cp\u003eAt a video production or broadcasting site, an operator can select a camera from the videos displayed on the \"Connected Camera List\", within the application and operate it from the \"Camera Control Area\" in the control panel of the software. The software is included and can be installed immediately without having to prepare a hardware controller in advance, making it easy to use for the operator while creating an effective one-person operation.\u003c\/p\u003e","brand":"Canon","offers":[{"title":"Default Title","offer_id":51499281056061,"sku":"5157C004AA","price":51961.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/5870\/8285\/files\/03b08d36f784bc78c8f384aaa8aba1ec.png?v=1773558549"},{"product_id":"canon-cr-n500-professional-4k-ndi-ptz-camera-with-15x-zoom-satin-black","title":"Canon CR-N500 Professional 4K NDI PTZ Camera with 15x Zoom (Satin Black)","description":"\u003cp\u003eIf you're working on a field or studio production with high-end cameras that can benefit from remotely controlled cameras with minimal operating crew, and you need more accurate camera-matching than a traditional PTZ camera, the satin black \u003cstrong\u003eCR-N500 Professional 4K NDI PTZ Camera with 15x Zoom\u003c\/strong\u003e from \u003cstrong\u003eCanon\u003c\/strong\u003e will fit right into your documentary shoot, event, streaming broadcast, reality show, or digital film production. The CR-N500 is designed to fit right into an existing multi-camera shoot, matching the color depth and visual look with its professional sensor and features so that postproduction camera matching and color correction is made easy.\u003c\/p\u003e \u003cp\u003eThe CR-N500 sports many resources of a high-resolution Canon camera or camcorder with features such as a 1\" dual-pixel CMOS sensor, the Canon DIG!C DV6 image processor, scene modes, face-tracking, 15x zoom, 20x digital zoom, dual XLR \/ 3.5mm microphone input, and video recording up to UHD 4K. The camera also includes NDI|HX support without requiring a separate license, allowing you to drop the camera into your existing NDI network with minimal configuration. Other professional camera attributes of the N500 include genlock support, Canon Log 3 support, and built-in ND filters with clear, 1\/4, 1\/16, and 1\/64 options.\u003c\/p\u003e \u003cp\u003eWhere the PTZ camera diverges from the Canon camcorders is in its remote options such as control via IP, RS-422 serial, IR, or Wi-Fi as well as HDMI or 3G-SDI video output. It can perform smooth, precision pan, tilt, and zoom movements with a speed range of 0.2 to 300° per second. Mic-level audio can be input via dual XLR inputs or via a 3.5mm mini-jack, and then embedded in the HDMI and 3G-SDI outputs, in your NDI|HX stream, or in RTP\/RTMP\/RTSP streaming output.\u003c\/p\u003e \u003cp\u003eThe camera can also be powered using PoE+ (Power-over-Ethernet) using its LAN port, so it can fit right into your existing PoE+ network without requiring the use of local power to save cabling. The camera supports  wide dynamic range, minimum brightness of 1.5 lux, and its lens features a 35mm equivalent focal length of 25.5 to 382.5mm. The camera can utilize an external controller via RS-422 or Canon's proprietary XC IP protocol on a private, secure LAN, using the optional RC-IP100 PTZ controller. Or if you'd prefer to use Canon's camera control software, the free-to-download application can work on Windows OS, so you can control all the camera functions from a laptop or tablet. The software provides a 9x9 live view, control of up to 100 cameras, settings loading and configuration, and tally functions.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eKey Features\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003e1\" CMOS Sensor\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N500 features a Canon 1\" 4K CMOS image sensor capable of UHD 4K video capture at 30p and up to 60p in Full HD, making the CR-N500 PTZ camera great for the remote and unobtrusive capture of professional productions.\u003cbr\u003e \u003cbr\u003e The 1\" sensor allows for larger photosites compared to smaller-sized sensors found in other PTZ cameras, resulting in stunning images with less noise in low-light situations. The large sensor also exhibits a shallow depth of field at large apertures, producing blurred backgrounds in images, while Canon's DPAF tracks and keeps subjects in sharp focus. The CR-N500's DIG!C DV 6 imaging processor drives the high sensitivity (1.5 lux) and low-noise performance of the camera yielding amazing imagery in a variety of shooting conditions.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eCanon DIG!C DV6 Processor\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N500 PTZ camera incorporates Canon's DIG!C DV 6 Image Processor, which is essential in providing high image quality, advanced performance, and convenient operability. This advanced core technology component provides the image-processing power and speed that enables features such as 4K UHD video acquisition and precise Hybrid AF.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eDual-Pixel CMOS AF\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eDual-Pixel CMOS AF is Canon's breakthrough AF technology that uses a CMOS sensor with a structure that combines imaging and phase-difference AF functions. The Dual-Pixel CMOS AF determines the focusing position by the phase difference, which drives the focusing lens smoothly and enables quick focusing. The AF tracking capability is effective even during zooming, panning, or tilting. On the other hand, with conventional contrast AF method, used by other cameras, the focusing position is determined by the contrast (difference of brightness). Therefore, the focusing lens may move slightly back and forth around the focusing position, which could cause delay when focusing.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eDual-Pixel Focus Guide\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eUtilizing information from Dual-Pixel CMOS AF, Dual-Pixel Focus Guide helps achieve precise focus by displaying focus assist information on the screen. It employs a truly and innovative user interface that helps enable the user to see if they are focused in front of or behind the subject through visual observation, and allows quick and accurate manual focus to be achieved. This helps simplify the focusing process when shooting in 4K UHD, which requires strict focus accuracy.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eFace Detection and Tracking\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N500 has multiple focus modes that aid the operator when confirming focus. When set to on, the Face Detection and Tracking can track the face of a subject when they are within a frame. Furthermore, there are two Face Detection options (Face Priority and Face Only). Face Priority will track a face within the scene; when a face is no longer within the scene, the camera will continue to focus within the predefined focus area. In the same way, the Face Only function will track the detected face within the scene; if the face is no longer within the scene, the camera will maintain its focus position without tracking for new objects. If more than one face is detected within a scene, the operator can toggle between detected faces. Both modes are useful when following a subject, allowing the operator to focus on composition while the camera handles focus.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eCanon UHD 4K Lens\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N500 features a 15x optical zoom lens and exhibits a wide viewing angle of 73° (horizontal). At the wide end, the 25.5mm (35mm equivalent) lens is capable of capturing extensive scenes in tight shooting spaces such as indoor events for cinematic wide shots. The camera utilizes aspheric lens elements to achieve 4K image quality while minimizing various aberrations over the entire zoom range.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eBuilt-In ND Filters\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eEasily change the look of the image capture by utilizing a neutral-density filter. The CR-N500 is equipped with a built-in ND filter mechanism that allows the user to select from three densities: 1\/4, 1\/16, and 1\/64. With the built-in ND filter, users can achieve rich video expression by controlling aperture values.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eOptical-Shift Stabilization\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe lens structure of the CR-N500 enables real-time responsiveness in a three-dimensional space, supporting optical image stabilization, which helps keep the image capture stable by minimizing vibration.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eOversampling HD Processing\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe full HD recording (oversampling HD processing) takes full advantage of the image information acquired by the 4K sensor to generate beautiful high-definition, full HD video. This helps content creators produce stunningly detailed FHD video when utilizing the CR-N500.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eSmooth and Responsive Pan and Tilt Performance\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N500 is equipped with the PT drive mechanism that can change the pan\/tilt speed in incremental steps. This allows the operator to set the speed to desired preference to allow for smooth PT movement. The CR-N500 exhibits a variable pan and tilt speed of 0.1 to 100°\/second.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eCanon Log 3 Support\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eCanon Log 3 is a gamma regarded for its latitude and flexibility with post-processing. It realizes a dynamic range (800% \/ 13-STOP equivalent) while retaining the characteristics of the dark area and the proximity of 18% grey.\u003cbr\u003e \u003cbr\u003e Log shooting is particularly effective for constantly shifting shooting sites such as unscripted productions and documentaries or sites with rapidly changing lighting conditions. Canon Log 3 is a gamma considering a simple grading by tightening the dark area to arrange the gradation, which retains the ease of use of Canon Log making the noise less visible.\u003cbr\u003e \u003cbr\u003e Shooting in log allows the CR-N500 to more easily match the color and look of other cameras, especially those also shooting in log. This helps provide a more consistent look across the entire production.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eWide DR Gamma Supported\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N500 supports Wide DR Gamma for natural and realistic-looking images that faithfully represent the scene at hand. Wide DR Gamma achieves a dynamic range of 800% to produce almost seamless tone gradations, resulting in smooth detail and virtually no blown-out highlights.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eEquipped with Six Image-Quality Modes\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N500 is equipped with the acclaimed image quality modes for high-end video production. There are six preset image modes to choose from, each preset contains specific gamma, color space, and color matrix parameters. Apart from the preset image-quality mode, adjusting and combining the gamma, color space, and color matrix make it possible to adjust to the intended image look.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eEquipped with a Variety of Image-Quality Adjustment Functions\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N500 features the Image-Quality Adjustment function (Custom Picture) which is acclaimed for high-end video production. The Image-Quality Adjustment function of the CR-N500 is similar to Canon's XF705 and Cinema EOS System, which allows users to adjust the picture settings to adapt to the shooting conditions or add effects, according to the intention of direction. This function makes it possible for content creators to match the image capture of other cameras in a production, resulting in a match of image output.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eEasy Integration into IP Streaming\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eIn addition to SDI and HDMI connections, the CR-N500 is equipped with an RJ45 interface purposed for IP communication, which supports high-resolution videos for distribution. The CR-N500 supports multiple protocols that can be utilized for video, audio, and control. The genuine RC-IP100 controller utilizes the XC protocol to control the CR-N500. The CR-N500 can also be combined with third-party equipment for control purposes. This IP system can help contribute to an efficient and labor-saving camera operations for the field of video production, broadcasting, and more.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eIP Multi-Stream Support\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N500 can simultaneously distribute video to multiple protocols via IP. Simultaneous distribution is also known as multi-stream, and the CR-N500 can distribute a total of three video streams simultaneously. Furthermore, if the HDMI\/SDI video output is 30 fps or less, the CR-N500 can distribute two video streams, 4K H.264 and 360p H.264, at the same time. Such IP multi-streams contribute to parallel workflows where the same video is used simultaneously in remote environments.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eRTMP Streaming Protocol Supported\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N500 is capable of streaming video and audio using RTMP (Real-Time Messaging Protocol). Even high-quality\/large-capacity video\/audio files, such as broadcast programs, are played at the same time as distribution without waiting for the completion of download. For example, by using a live streaming service, the viewer's direct access to the distribution URL set on the camera will stream the \"current video\" captured by the camera. With the RTMP streaming distribution, multiple viewers can watch the program at the same time, even in a remote environment.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eNDI|HX Live Video Production Support Protocol\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N500 supports the NDI (Network Device Interface) protocol that is well-established in the field of video production and broadcasting as the supporting RTP (Real-Time Transport Protocol). The NDI protocol has been developed and led by NewTek as a protocol that supports the workflow of live video production over an IP network. By constructing a system that uses NDI protocol-compatible devices and tools, it is possible to use video and audio resources on the network, including live video from cameras. As a result, a \"live video production\" workflow is created.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eStandard VISCA Protocol\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N500 supports the Standard VISCA Protocol to remotely control the camera via IP. When connecting a standard VISCA protocol-compatible remote controller to the camera over IP or serial RS-422, the camera can be operated remotely and shooting settings can be adjusted by utilizing the remote controller.\u003cbr\u003e \u003cbr\u003e The standard VISCA protocol is widely used in video production, broadcasting, and many other markets. The CR-N500 supports the standard VISCA protocol that is regarded as an industry standard and is suitable for operation within existing workflows.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eSupport for Canon XC protocol\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe XC Protocol is a newly developed IP that controls Canon's video production equipment. By supporting the XC Protocol, the CR-N500 can be remotely controlled, supporting a wide range of applications, which includes sports, music, live events, lecture recording, corporate video production, and more.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eVarious Interfaces Supported for Multiple Environments\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N500 is equipped with three output interfaces. The IP and HDMI outputs are suitable when capturing UHD 4K at 30p or full HD resolutions at 59.94p. The SDI output is capable of full HD resolution and is suitable for usage when requiring high image quality video at 59.94p.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eGenlock\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N500 is equipped with Genlock to allow for sync with other systems in multi-camera environments.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003e2-Channel XLR Audio\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N500 offers a variety of ways to record high-quality audio through two XLR terminals, and internal stereo mini-jack mic terminal.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eStandard Serial RS-422\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N500 is equipped with a serial terminal RS-422 which can be utilized to connect third-party supported controllers that support the standard VISCA protocol communication.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eOne-Person Operation\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N500 can be controlled by IP, infrared, and Wi-Fi. Canon's hardware controller, the RC-IP100, is capable of controlling up to 100 cameras and 100 presets, allowing the operator to control multiple cameras in a larger production. The CR-N500 is a perfect fit for many applications in broadcast, education, house of worship, events, staging, and more.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eAll-New Design\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N500 impresses with its distinctive style. A solid exterior color and shape that looks like it was cut out from a cone and the size that gives a sense of strength, yet stable and compact. This PTZ camera maintains design harmony with other Canon professional imaging products, such as the established Canon 4K camera systems and lenses. The CR-N500 is available in two different colors, Satin Black and Titanium White.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eEquipped with Tally Lamps\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N500 is equipped with tally lamps that indicate the status of the camera. The tally lamps are located on the front of the lens section, and illuminate red when the camera is shooting, providing clear visual indications for staff and performers to know which camera is shooting live.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eWireless Remote Controls Supported\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eIn addition to the IP interface, the CR-N500 can also connect by Wi-Fi. This allows the operator to access the camera's Settings Page from a wireless tablet device that is equipped with a supported HTTP browser. When using multiple cameras at the same time the user can set and operate the other cameras in the same way by inserting the assigned IP address of the camera in the web browser of the tablet or other device. In addition, the CR-N500 includes an infrared remote controller, which is used to control the camera wirelessly.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eEasy-to-Use Settings Page and Discovery Tool\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N500 supports the camera discovery tool, which is a Windows application. The Camera Search Tool is utilized to set the IP addresses of multiple cameras, which helps installers and integrators setup the CR-N500 within an existing network infrastructure. Furthermore, the CR-N500 supports the web application \"Settings Page\". The Settings Page allows the user to configure the settings of camera operation, which is accessible by web browser. Video-quality adjustments, such as exposure and white balance, that are usually performed by the camera operator on site can now be adjusted and set while watching the video from their desk through the Settings Page. Both Camera Search Tool and Settings Page enhance the ease of use by remote control.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eRemote Camera Control Application\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe Remote Camera Control Application can be utilized to control the CR-N500. The Remote Camera Control Application is a Windows application for centralized control of multiple cameras. It is possible to operate up to nine cameras and display videos at the same time, achieving a multi-camera operation.\u003cbr\u003e \u003cbr\u003e At a video production or broadcasting site, an operator can select a camera from the videos displayed on the \"Connected Camera List\", within the application and operate it from the \"Camera Control Area\" in the control panel of the software. The software is included and can be installed immediately without having to prepare a hardware controller in advance making it easy to use for the operator while creating an effective one-person operation.\u003c\/p\u003e","brand":"Canon","offers":[{"title":"Default Title","offer_id":51499281088829,"sku":"4839C003AA","price":82599.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/5870\/8285\/files\/a619e07f785ab613b1b8d88e5edd724e.png?v=1773558568"},{"product_id":"canon-cr-n500-professional-4k-ndi-ptz-camera-with-15x-zoom-titanium-white","title":"Canon CR-N500 Professional 4K NDI PTZ Camera with 15x Zoom (Titanium White)","description":"\u003cp\u003eIf you're working on a field or studio production with high-end cameras that can benefit from remotely controlled cameras with minimal operating crew, and you need more accurate camera-matching than a traditional PTZ camera, the titanium white \u003cstrong\u003eCR-N500 Professional 4K NDI PTZ Camera with 15x Zoom\u003c\/strong\u003e from \u003cstrong\u003eCanon\u003c\/strong\u003e will fit right into your documentary shoot, event, streaming broadcast, reality show, or digital film production. The CR-N500 is designed to fit right into an existing multi-camera shoot, matching the color depth and visual look with its professional sensor and features so that postproduction camera matching and color correction is made easy.\u003c\/p\u003e \u003cp\u003eThe CR-N500 sports many resources of a high-resolution Canon camera or camcorder with features such as a 1\" dual-pixel CMOS sensor, the Canon DIG!C DV6 image processor, scene modes, face-tracking, 15x zoom, 20x digital zoom, dual XLR \/ 3.5mm microphone input, and video recording up to UHD 4K. The camera also includes NDI|HX support without requiring a separate license, allowing you to drop the camera into your existing NDI network with minimal configuration. Other professional camera attributes of the N500 include genlock support, Canon Log 3 support, and built-in ND filters with clear, 1\/4, 1\/16, and 1\/64 options.\u003c\/p\u003e \u003cp\u003eWhere the PTZ camera diverges from the Canon camcorders is in its remote options such as control via IP, RS-422 serial, IR, or Wi-Fi as well as HDMI or 3G-SDI video output. It can perform smooth, precision pan, tilt, and zoom movements with a speed range of 0.2 to 300° per second. Mic-level audio can be input via dual XLR inputs or via a 3.5mm mini-jack, and then embedded in the HDMI and 3G-SDI outputs, in your NDI|HX stream, or in RTP\/RTMP\/RTSP streaming output.\u003c\/p\u003e \u003cp\u003eThe camera can also be powered using PoE+ (Power-over-Ethernet) using its LAN port, so it can fit right into your existing PoE+ network without requiring the use of local power to save cabling. The camera supports  wide dynamic range, minimum brightness of 1.5 lux, and its lens features a 35mm equivalent focal length of 25.5 to 382.5mm. The camera can utilize an external controller via RS-422 or Canon's proprietary XC IP protocol on a private, secure LAN, using the optional RC-IP100 PTZ controller. Or if you'd prefer to use Canon's camera control software, the free-to-download application can work on Windows OS, so you can control all the camera functions from a laptop or tablet. The software provides a 9x9 live view, control of up to 100 cameras, settings loading and configuration, and tally functions.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eKey Features\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003e1\" CMOS Sensor\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N500 features a Canon 1\" 4K CMOS image sensor capable of UHD 4K video capture at 30p and up to 60p in Full HD, making the CR-N500 PTZ camera great for the remote and unobtrusive capture of professional productions.\u003cbr\u003e \u003cbr\u003e The 1\" sensor allows for larger photosites compared to smaller-sized sensors found in other PTZ cameras, resulting in stunning images with less noise in low-light situations. The large sensor also exhibits a shallow depth of field at large apertures, producing blurred backgrounds in images, while Canon's DPAF tracks and keeps subjects in sharp focus. The CR-N500's DIG!C DV 6 imaging processor drives the high sensitivity (1.5 lux) and low-noise performance of the camera yielding amazing imagery in a variety of shooting conditions.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eCanon DIG!C DV6 Processor\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N500 PTZ camera incorporates Canon's DIG!C DV 6 Image Processor, which is essential in providing high image quality, advanced performance, and convenient operability. This advanced core technology component provides the image-processing power and speed that enables features such as 4K UHD video acquisition and precise Hybrid AF.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eDual-Pixel CMOS AF\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eDual-Pixel CMOS AF is Canon's breakthrough AF technology that uses a CMOS sensor with a structure that combines imaging and phase-difference AF functions. The Dual-Pixel CMOS AF determines the focusing position by the phase difference, which drives the focusing lens smoothly and enables quick focusing. The AF tracking capability is effective even during zooming, panning, or tilting. On the other hand, with conventional contrast AF method, used by other cameras, the focusing position is determined by the contrast (difference of brightness). Therefore, the focusing lens may move slightly back and forth around the focusing position, which could cause delay when focusing.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eDual-Pixel Focus Guide\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eUtilizing information from Dual-Pixel CMOS AF, Dual-Pixel Focus Guide helps achieve precise focus by displaying focus assist information on the screen. It employs a truly and innovative user interface that helps enable the user to see if they are focused in front of or behind the subject through visual observation, and allows quick and accurate manual focus to be achieved. This helps simplify the focusing process when shooting in 4K UHD, which requires strict focus accuracy.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eFace Detection and Tracking\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N500 has multiple focus modes that aid the operator when confirming focus. When set to on, the Face Detection and Tracking can track the face of a subject when they are within a frame. Furthermore, there are two Face Detection options (Face Priority and Face Only). Face Priority will track a face within the scene; when a face is no longer within the scene, the camera will continue to focus within the predefined focus area. In the same way, the Face Only function will track the detected face within the scene; if the face is no longer within the scene, the camera will maintain its focus position without tracking for new objects. If more than one face is detected within a scene, the operator can toggle between detected faces. Both modes are useful when following a subject, allowing the operator to focus on composition while the camera handles focus.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eCanon UHD 4K Lens\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N500 features a 15x optical zoom lens and exhibits a wide viewing angle of 73° (horizontal). At the wide end, the 25.5mm (35mm equivalent) lens is capable of capturing extensive scenes in tight shooting spaces such as indoor events for cinematic wide shots. The camera utilizes aspheric lens elements to achieve 4K image quality while minimizing various aberrations over the entire zoom range.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eBuilt-In ND Filters\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eEasily change the look of the image capture by utilizing a neutral-density filter. The CR-N500 is equipped with a built-in ND filter mechanism that allows the user to select from three densities: 1\/4, 1\/16, and 1\/64. With the built-in ND filter, users can achieve rich video expression by controlling aperture values.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eOptical-Shift Stabilization\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe lens structure of the CR-N500 enables real-time responsiveness in a three-dimensional space, supporting optical image stabilization, which helps keep the image capture stable by minimizing vibration.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eOversampling HD Processing\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe full HD recording (oversampling HD processing) takes full advantage of the image information acquired by the 4K sensor to generate beautiful high-definition, full HD video. This helps content creators produce stunningly detailed FHD video when utilizing the CR-N500.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eSmooth and Responsive Pan and Tilt Performance\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N500 is equipped with the PT drive mechanism that can change the pan\/tilt speed in incremental steps. This allows the operator to set the speed to desired preference to allow for smooth PT movement. The CR-N500 exhibits a variable pan and tilt speed of 0.1 to 100°\/second.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eCanon Log 3 Support\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eCanon Log 3 is a gamma regarded for its latitude and flexibility with post-processing. It realizes a dynamic range (800% \/ 13-STOP equivalent) while retaining the characteristics of the dark area and the proximity of 18% grey.\u003cbr\u003e \u003cbr\u003e Log shooting is particularly effective for constantly shifting shooting sites such as unscripted productions and documentaries or sites with rapidly changing lighting conditions. Canon Log 3 is a gamma considering a simple grading by tightening the dark area to arrange the gradation, which retains the ease of use of Canon Log making the noise less visible.\u003cbr\u003e \u003cbr\u003e Shooting in log allows the CR-N500 to more easily match the color and look of other cameras, especially those also shooting in log. This helps provide a more consistent look across the entire production.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eWide DR Gamma Supported\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N500 supports Wide DR Gamma for natural and realistic-looking images that faithfully represent the scene at hand. Wide DR Gamma achieves a dynamic range of 800% to produce almost seamless tone gradations, resulting in smooth detail and virtually no blown-out highlights.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eEquipped with Six Image-Quality Modes\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N500 is equipped with the acclaimed image quality modes for high-end video production. There are six preset image modes to choose from, each preset contains specific gamma, color space, and color matrix parameters. Apart from the preset image-quality mode, adjusting and combining the gamma, color space, and color matrix make it possible to adjust to the intended image look.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eEquipped with a Variety of Image-Quality Adjustment Functions\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N500 features the Image-Quality Adjustment function (Custom Picture) which is acclaimed for high-end video production. The Image-Quality Adjustment function of the CR-N500 is similar to Canon's XF705 and Cinema EOS System, which allows users to adjust the picture settings to adapt to the shooting conditions or add effects, according to the intention of direction. This function makes it possible for content creators to match the image capture of other cameras in a production, resulting in a match of image output.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eEasy Integration into IP Streaming\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eIn addition to SDI and HDMI connections, the CR-N500 is equipped with an RJ45 interface purposed for IP communication, which supports high-resolution videos for distribution. The CR-N500 supports multiple protocols that can be utilized for video, audio, and control. The genuine RC-IP100 controller utilizes the XC protocol to control the CR-N500. The CR-N500 can also be combined with third-party equipment for control purposes. This IP system can help contribute to an efficient and labor-saving camera operations for the field of video production, broadcasting, and more.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eIP Multi-Stream Support\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N500 can simultaneously distribute video to multiple protocols via IP. Simultaneous distribution is also known as multi-stream, and the CR-N500 can distribute a total of three video streams simultaneously. Furthermore, if the HDMI\/SDI video output is 30 fps or less, the CR-N500 can distribute two video streams, 4K H.264 and 360p H.264, at the same time. Such IP multi-streams contribute to parallel workflows where the same video is used simultaneously in remote environments.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eRTMP Streaming Protocol Supported\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N500 is capable of streaming video and audio using RTMP (Real-Time Messaging Protocol). Even high-quality\/large-capacity video\/audio files, such as broadcast programs, are played at the same time as distribution without waiting for the completion of download. For example, by using a live streaming service, the viewer's direct access to the distribution URL set on the camera will stream the \"current video\" captured by the camera. With the RTMP streaming distribution, multiple viewers can watch the program at the same time, even in a remote environment.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eNDI|HX Live Video Production Support Protocol\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N500 supports the NDI (Network Device Interface) protocol that is well-established in the field of video production and broadcasting as the supporting RTP (Real-Time Transport Protocol). The NDI protocol has been developed and led by NewTek as a protocol that supports the workflow of live video production over an IP network. By constructing a system that uses NDI protocol-compatible devices and tools, it is possible to use video and audio resources on the network, including live video from cameras. As a result, a \"live video production\" workflow is created.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eStandard VISCA Protocol\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N500 supports the Standard VISCA Protocol to remotely control the camera via IP. When connecting a standard VISCA protocol-compatible remote controller to the camera over IP or serial RS-422, the camera can be operated remotely and shooting settings can be adjusted by utilizing the remote controller.\u003cbr\u003e \u003cbr\u003e The standard VISCA protocol is widely used in video production, broadcasting, and many other markets. The CR-N500 supports the standard VISCA protocol that is regarded as an industry standard and is suitable for operation within existing workflows.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eSupport for Canon XC protocol\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe XC Protocol is a newly developed IP that controls Canon's video production equipment. By supporting the XC Protocol, the CR-N500 can be remotely controlled, supporting a wide range of applications, which includes sports, music, live events, lecture recording, corporate video production, and more.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eVarious Interfaces Supported for Multiple Environments\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N500 is equipped with three output interfaces. The IP and HDMI outputs are suitable when capturing UHD 4K at 30p or full HD resolutions at 59.94p. The SDI output is capable of full HD resolution and is suitable for usage when requiring high image quality video at 59.94p.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eGenlock\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N500 is equipped with Genlock to allow for sync with other systems in multi-camera environments.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003e2-Channel XLR Audio\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N500 offers a variety of ways to record high-quality audio through two XLR terminals, and internal stereo mini-jack mic terminal.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eStandard Serial RS-422\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N500 is equipped with a serial terminal RS-422 which can be utilized to connect third-party supported controllers that support the standard VISCA protocol communication.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eOne-Person Operation\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N500 can be controlled by IP, infrared, and Wi-Fi. Canon's hardware controller, the RC-IP100, is capable of controlling up to 100 cameras and 100 presets, allowing the operator to control multiple cameras in a larger production. The CR-N500 is a perfect fit for many applications in broadcast, education, house of worship, events, staging, and more.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eAll-New Design\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N500 impresses with its distinctive style. A solid exterior color and shape that looks like it was cut out from a cone and the size that gives a sense of strength, yet stable and compact. This PTZ camera maintains design harmony with other Canon professional imaging products, such as the established Canon 4K camera systems and lenses. The CR-N500 is available in two different colors, Satin Black and Titanium White.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eEquipped with Tally Lamps\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N500 is equipped with tally lamps that indicate the status of the camera. The tally lamps are located on the front of the lens section, and illuminate red when the camera is shooting, providing clear visual indications for staff and performers to know which camera is shooting live.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eWireless Remote Controls Supported\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eIn addition to the IP interface, the CR-N500 can also connect by Wi-Fi. This allows the operator to access the camera's Settings Page from a wireless tablet device that is equipped with a supported HTTP browser. When using multiple cameras at the same time the user can set and operate the other cameras in the same way by inserting the assigned IP address of the camera in the web browser of the tablet or other device. In addition, the CR-N500 includes an infrared remote controller, which is used to control the camera wirelessly.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eEasy-to-Use Settings Page and Discovery Tool\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe CR-N500 supports the camera discovery tool, which is a Windows application. The Camera Search Tool is utilized to set the IP addresses of multiple cameras, which helps installers and integrators setup the CR-N500 within an existing network infrastructure. Furthermore, the CR-N500 supports the web application \"Settings Page\". The Settings Page allows the user to configure the settings of camera operation, which is accessible by web browser. Video-quality adjustments, such as exposure and white balance, that are usually performed by the camera operator on site can now be adjusted and set while watching the video from their desk through the Settings Page. Both Camera Search Tool and Settings Page enhance the ease of use by remote control.\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003eRemote Camera Control Application\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003eThe Remote Camera Control Application can be utilized to control the CR-N500. The Remote Camera Control Application is a Windows application for centralized control of multiple cameras. It is possible to operate up to nine cameras and display videos at the same time, achieving a multi-camera operation.\u003cbr\u003e \u003cbr\u003e At a video production or broadcasting site, an operator can select a camera from the videos displayed on the \"Connected Camera List\", within the application and operate it from the \"Camera Control Area\" in the control panel of the software. The software is included and can be installed immediately without having to prepare a hardware controller in advance making it easy to use for the operator while creating an effective one-person operation.\u003c\/p\u003e","brand":"Canon","offers":[{"title":"Default Title","offer_id":51499281121597,"sku":"4839C004AA","price":82599.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/5870\/8285\/files\/443746b158b26a75f7589e88d71b1b00.png?v=1773558584"},{"product_id":"canon-cr-n700wh-ptz-camera","title":"Canon CR-N700(WH) PTZ Camera","description":"\u003cp\u003eCapture exceptional 4K imaging in a PTZ form using the titanium white \u003cstrong\u003eCR-N700 4K PTZ Camera\u003c\/strong\u003e from \u003cstrong\u003eCanon\u003c\/strong\u003e. Ideal for high-end broadcast, TV studio, and live event use, the compact CR-N700 supports up to UHD 4K60p 4:2:2 10-bit HDR video. The CR-N700 shares several features with high-resolution, cine-style Canon cameras like a 1\" type CMOS sensor, a Canon DIG!C DV7 image processor, Dual Pixel CMOS AF with EOS iTR AF X (autofocus), and a 15x optical\/20x digital zoom with a 30x Advanced Zoom in HD.\u003c\/p\u003e \u003cp\u003eThe CR-N700 PTZ camera's additional features include \"deep learning\" auto focus, 12G-SDI connectivity, flexible connectivity, and compatibility with multiple streaming and control protocols. Region of interest (ROI) crop capabilities enable you to highlight areas within your 4K image.\u003c\/p\u003e \u003cp\u003e1\" CMOS Sensor\u003c\/p\u003e \u003cp\u003eThe CR-N700 features a Canon 1\" 4K CMOS image sensor that supports up to 4K60p 4:2:2 10-bit HDR image quality.\u003c\/p\u003e \u003cp\u003eCanon DIG!C DV7 Processor\u003c\/p\u003e \u003cp\u003eIncorporates Canon's DIG!C DV7 Image Processor for high image quality, advanced performance, and convenient operability. 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Featuring a 32.5MP CMOS sensor and DIGIC X processing, this sleek powerhouse is capable of high-speed 30 fps shooting for sports and wildlife and features the renowned Dual Pixel CMOS AF II focusing system to keep up with and track fast-moving subjects. And, for the multimedia image-maker, 4K video is supported at up to 60p, or 30p when oversampled from a 7K area, as well as Full HD at up to 120 fps.\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003cp\u003e32.5MP APS-C CMOS Sensor and DIGIC X Processing\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_1760345.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eAPS-C Comes to EOS R\u003c\/p\u003e \u003cp\u003eBalancing resolution, speed, and low-light performance, the 32.5MP APS-C CMOS sensor is a versatile chip perfect for both photo and video applications. As one of the first APS-C sensors in the EOS R system, the R7's high-resolution design benefits photographers as well as 4K video by providing a 7K area for oversampling footage, which yields improved sharpness and quality.\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_1760346.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eDIGIC X Processor\u003c\/p\u003e \u003cp\u003eBorrowed from the R3, the R7 sports a DIGIC X image processor to perform a variety of high-speed tasks, ranging from quick continuous shooting to high-resolution video recording. In terms of high-speed shooting, the R7 supports up to 30 fps continuous shooting with a silent electronic shutter or 15 fps with a mechanical shutter, with AF and AE readings before each frame. The processor also helps to realize a broad sensitivity range from ISO 100-32000, which is expandable up to ISO 51200 for working in difficult lighting conditions.\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_1760349.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eUHD 4K Video Recording\u003c\/p\u003e \u003cp\u003eBeyond stills, the R7's sensor also offers high-res UHD 4K 60p internal video using the full width of the sensor and the ability to work with 10-bit sampling with Canon Log 3. A 7K recording area can also be used for oversampled 4K shooting at 30p for improved sharpness, reduced moiré, and lower noise. And, for slow-motion playback, 120p recording is supported at up to Full HD resolution.\u003cbr\u003e \u003cbr\u003e HDR-PQ recording is possible, too, for in-camera HDR production and external recording, via the micro-HDMI port, which supports a clean 4K output at up to 60 fps. Also, unlimited recording times are possible, too, and the R7 features both mic and headphone ports, as well as a multi-function shoe for wide accessories compatibility.\u003c\/p\u003e \u003cp\u003eAutofocus and Image Stabilization\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_1760347.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eDual Pixel CMOS AF II\u003c\/p\u003e \u003cp\u003eCarried over from the EOS R3, the advanced Dual Pixel CMOS AF II system features 651 automatic AF points that covers the entire sensor area, for faster, more responsive, and more precise focusing performance. This phase-detection focusing system also has enhanced subject detection and tracking, with the ability to intelligently recognize people, animals, and vehicles and tracking will automatically lock onto these subjects and maintain sharp focus throughout burst captures. Dual Pixel AF II's low-luminance limit focuses down to an impressive -5 EV for accurate focusing even in nighttime conditions.\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_1760348.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eSensor-Shift Image Stabilizer\u003c\/p\u003e \u003cp\u003eAn In-Body Image Stabilizer (IBIS) corrects up to 7 stops of unwanted camera shake when shooting handheld, helping to shoot handheld in low-light conditions and reduce shake when recording videos. This 5-axis system can be also used in conjunction with lenses featuring optical image stabilization to compensate for up to 8 stops of camera shake depending on the specific lens in use.\u003c\/p\u003e \u003cp\u003eBody Design\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_1760350.jpg\"\u003e\u003c\/p\u003e \u003cp\u003e2.36m-Dot EVF and Vari-Angle Touchscreen LCD\u003c\/p\u003e \u003cp\u003eA bright, clear 2.36m-dot OLED electronic viewfinder is featured for high-resolution eye-level viewing. This 1.15x-magnification finder is benefitted by the fast processing for virtually no lag and a quick 120-fps refresh rate can be used for vivid, realistic motion portrayal.\u003cbr\u003e \u003cbr\u003e In addition to the EVF, a 3.0\" vari-angle LCD is also available and benefits working high, low, and front-facing angles. The flexible position is complemented by a touchscreen interface and the clear 1.62m-dot resolution allows for vivid playback and live view monitoring.\u003c\/p\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_1760352.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eReliable and Intuitive Construction\u003c\/p\u003e \u003cul\u003e \u003cli\u003eReferencing the professional-grade EOS R3, the R7 is modeled after its robust physical design and sports a dust- and moisture-sealed body construction that's suitable for working in inclement conditions.\u003c\/li\u003e \u003cli\u003eRedesigned rear controls include a combined AF point selector and rear control wheel, which puts two of the most oft-used controls in a single intuitive-to-reach spot.\u003c\/li\u003e \u003cli\u003eDual SD memory card slots offer file-saving flexibility and both are rated for UHS-II card speeds to support fluent 4K video recording and high-speed continuous shooting.\u003c\/li\u003e \u003c\/ul\u003e \u003cp\u003e\u003cimg src=\"https:\/\/static.bhphoto.com\/images\/rich_content\/desktop\/IMG_1760351.jpg\"\u003e\u003c\/p\u003e \u003cp\u003eFlexible Connectivity\u003c\/p\u003e \u003cp\u003eWired and wireless connectivity options are available, allowing for multiple methods of transferring photos and videos, as well as for remotely controlling the camera. Physically, the camera features a USB Type-C 3.2 Gen 2 port along and a micro-HDMI port, along with 3.5mm headphone and microphone ports to benefit video recording. In terms of wireless, 2.4GHz Wi-Fi and Bluetooth is available for transferring and remote camera control.\u003c\/p\u003e \u003cp\u003eNext-Generation Multi-Function Shoe\u003c\/p\u003e \u003cp\u003eAn update to a conventional hot shoe, the Multi-Function Shoe adds a row of pins at the front of the design to permit greater accessory functionality as well as provide power to select accessory types that traditionally rely on separate batteries. This updated shoe is compatible with select accessories, including the ST-E10 Speedlite Transmitter, DM-E1D Stereo Microphone, and AD-P1 Smartphone Link Adapter, as well as the AD-E1 Multi-Function Shoe Adapter to provide compatibility with legacy shoe-mounted accessories.\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003cp\u003eCanon RF-S 18-150mm f\/3.5-6.3 IS STM Lens\u003c\/p\u003e \u003cp\u003eCover all your needs with one lightweight optic with the \u003cstrong\u003eCanon RF-S 18-150mm f\/4.5-6.3 IS STM Lens\u003c\/strong\u003e. Designed to be an all-around lens for Canon's APS-C R Series mirrorless cameras, it will offer an equivalent zoom range of 29-240mm which covers wide-angle to telephoto perspectives. The 18-150mm uses an UD elements along with two aspherical elements to create aberration-free imagery. A Super Spectra Coating further helps by minimizing ghosting and flaring.\u003c\/p\u003e \u003cp\u003eUsers will be able to make use of a customizable Control Ring for either manual focus or a programmable setting. Autofocus is smooth and quiet, great for stills and video, thanks to a lead screw-type STM stepping AF motor. Additionally, the lens has an Optical Image Stabilizer that will compensate for up to 4.5 stops of camera shake, or up to 6.5 stops with Coordinated IS when paired with a compatible camera.\u003c\/p\u003e","brand":"Canon","offers":[{"title":"Default Title","offer_id":51499281318205,"sku":"5137C063AA","price":35649.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0688\/5870\/8285\/files\/2c8847abe0a90284ed1e256a67540951.png?v=1773558641"}],"url":"https:\/\/www.icilylive.co.za\/collections\/promoted.oembed?page=4","provider":"Icily Live","version":"1.0","type":"link"}