r/blackmagicdesign

Hi,

I'm wondering if I can use the Blackmagic Video Assist 12G HDR monitor on the Pyxis, and record externally on an SSD in prores from the monitor.

Is this something that works?

This is an update to my previous post, in case anyone is interested. (Previous post: https://www.reddit.com/r/blackmagicdesign/s/7P2EPQpLoG)

I need to record a live event from multiple angles simultaneously. I have several BMPCC 6K cameras plus an ursa 12K, and I want to record 6K/12K 2.4:1 60 fps BRAW concurrently on all of them. I would also like some kind of simple monitoring setup. And ideally some method of starting/stopping the recording on all cameras from one location. In the original post, using an ATEM was recommended, so I picked one of those up along with some long fiber HDMI cables. Everything seemed to work when I connected things for testing.

Apparently while the long fiber HDMI cables are perfectly fine for video, they are completely unreliable for camera control. I just got back from recording a live show with a four camera setup using an ATEM mini pro. The whole shebang worked great when doing a test setup in the rehearsal space, but after carrying the tripods across the hall into the theater and unrolling the cables, NONE of the camera control or timecode sync worked. Nada. Literally the only difference was the location of the equipment and the fact that the cables were unrolled, nothing else was changed. I had a couple of different 50-100 ft optical HDMI cables, video worked fine, but camera control did not work at all on any of them, both to the 6k cameras and to the ursa via the SDI converter. I suspect the sideband signals like CEC are still sent using wires, and that distance is simply too long - the signal integrity is degraded and it's also much more susceptible to picking up noise.

Long term, I am trying to decide what to do. On the one hand, I already have all the hardware, monitoring works fine, and synchronizing the clips actually wasn't bad at all since without recording control there were only a couple of clips per camera. To get camera control, I think there are only two options: switch to SDI, or find some kind of HDMI extension solution that can pass the required sideband signals reliably. Both of those I think could significantly increase the cost of the setup - SDI ATEM units seem to be more rare/expensive used, I would need more SDI converters, long SDI cables seem to be relatively expensive and I need twice as many, plus an SDI DA. And for the HDMI route, I don't even know if there are converters that would work, and 4 sets of those plus fiber would likely not be cheap.

I'm considering picking up the extreme G2 but I'm not sure what to do for storage. USB C would be the cheapest option, CFexpress would be less likely to be accidentally disconnected but I don't think I can justify the price.

What capacity would people recommend for a full day of recording for jobs like conferences? Probably 4 inputs + program.

Has anyone tried using the XBOX series X SSDs? They're based on CFexpress type B and I can get them for £120-150 for 1TB.

I am traveling and want to keep my on the go setup as simple as possible. I bought my Ursa Mini on eBay about 8 years ago and it came with the Resolve Studio dongle. I want to be able to either turn this dongle into an actual digital activation code or perhaps "stream" the dongle to my laptop while it's connected to my main workstation at home. Any ideas?

When I try to import an SVG through fusion, it turns black, and I cant find a fix anywhere. For some reason they are really thin, and I dont want to manually do it for the logo to be incorrect. Logo made in adobe illustrator 26, Davinci 20 studio, 3060 laptop.

https://preview.redd.it/fs6ywtatpq1h1.png?width=423&format=png&auto=webp&s=152c8d399c0e4189ba9f7007992ec1c95b405781

I have a first generation BMPCC 4K that still shoots RAW.

• I usually shoot RAW 4:1 when filming 60fps slowmo.

• But all that RAW 4:1 60fps footage is crashing the newer version of DaVinci Resolve.

Should I just go ahead and update firmware and convert to BlackMagic RAW? I'm nervous about updaing firmware that is so out of date.

Any advice?

Hi all, hoping someone with more experience can weigh in here. Our situation is a bit more involved than the usual "it's just log footage, open it in Resolve/Premiere" conversation.

We shot a promo and short doc for our biggest client using a three camera Canon setup running Magic Lantern, which is a free open source firmware add-on for Canon DSLRs that unlocks raw video recording. The workflow goes: MLV raw to Cinema DNG export, then color matching across three cameras with slightly different sensors using a vectorscope and an on set color reference chart, all inside DaVinci Resolve Studio. It's not a glamorous pipeline, but we made it work and the client was genuinely happy with the final delivery.

Before anyone says "just shoot on a Sony," I'd like to get ahead of that. We didn't choose the Magic Lantern workflow because we thought it was the industry standard. We chose it because we were starting a documentary business from scratch with very limited capital and didn't want to go into debt on gear before we'd proven the model worked. We repurposed existing Canon bodies that were already Magic Lantern compatible, purchased one new camera body and a lens to complete our three camera setup, added more lenses, picked up the necessary accessories and lighting, and handled editing on a gaming PC we already owned with a DaVinci Resolve Studio license. All in, we were operational for roughly $3,200 to $3,400. We never imagined the raw file pipeline would ever become anyone else's problem. It was purely an internal workflow concern, and we never anticipated having to explain or defend it to a client.

Now they have a new marketing director who wants the raw files because they apparently hired an in house editor. When I asked what editing software they were using, he called it a trade secret and refused to elaborate. Separately, through an acquaintance who happens to work there now, we found out they essentially hired a small UGC creator who is editing on an iPad. We don't know exactly which app, but it's most likely CapCut or Adobe Rush. The marketing director has been extremely uncooperative throughout this entire conversation. When I tried to explain that our raw files require specialized software and a non trivial color science workflow just to make them viewable, let alone usable, his response was essentially "it's 2026, everything is easy to pick up."

I offered a middle ground: we'd deliver color matched, camera synced, export ready files rather than the raw MLVs. He declined and asked for the raws specifically, and for free. We then received a soft threat that they may stop working with us entirely.

There is also a secondary concern that is keeping me up at night. Even if we handed over the files in the most accessible raw format available, which in our case would be a Cinema DNG exported in DaVinci wide gamut, that is essentially the rawest viewable form our workflow produces. Those files would still be completely unmatched across three cameras. Anyone without the technical literacy to understand that would look at that footage and immediately assume we deliberately gave them broken, unusable files to hold them hostage or sabotage the project. That accusation alone, whether it has any merit or not, could spread through their network just as fast as any legitimate complaint would. So even the act of complying carries its own risk.

Writing all of this out has actually forced me to confront the real question here. The only middle ground I can think of is going back into every clip from the documentary, stripping out the grade while preserving the color space transforms and camera matching work, and exporting the whole thing in a format they could theoretically use. That is not technically difficult but it is an enormous and completely unpaid amount of work, and we are talking about terabytes of footage. So the choice we are actually facing is: do we absorb all of that labor for free, with no guarantee it satisfies them or saves the relationship, or do we walk away and risk losing everything anyway? I don't want to be cynical about this but I'm struggling to see a third option, and I'd genuinely appreciate it if someone has found one.

Our contract granted them a perpetual license to use and cut from the finished deliverable. It says nothing about raw file ownership or delivery, and under our jurisdiction we retain the rights to the footage itself unless explicitly transferred.

Technically the contract is on our side, but in practice it doesn't matter much. All of our current referrals flow through this one client, and the companies we work with through them rely far more on their relationship with that client than on anything a social media presence could offer. So even if we pursued legal action and won, they could simply mention it to their network and we'd lose every downstream relationship overnight. We're also under no illusion that we're irreplaceable to them. If they decide this isn't worth the friction, they'll find another videography studio and move on without a second thought. We fully understand this is a weak position to be in, and we're not looking for a lecture on client relationship management. We just want honest advice from people who've been in a similar spot, because the contract protecting us on paper means very little when the other side holds all the practical leverage.

So the core questions I'm wrestling with:

1. Has anyone navigated a situation like this where the client genuinely can't understand why the raw files aren't just "the files"?

2. Is there a way to frame the technical reality that lands with a non technical person who isn't arguing in good faith?

3. For those who've dealt with raw file clauses, is this something you now bake into every contract from day one?

Any advice appreciated, especially from people who've been in the "one big anchor client" position early on.

Sorry it this is not the right communitty, resolve is a massive part of our workflow here, but I can see why it cam come off as non-related.

Purchased BMPCC4K. Came with 2 licenses for Davinci Resolve Studio.

I used one (Goodbye adobe sub lol)

I have another that I guess I could sell? Never sold something like that before aka a license code so wondering best way to do it?

Thanks

Hey!

So I currently use an ATEM Television Studio HD8 ISO. With any of the Blackmagic studio cameras (such as the Blackmagic Broadcast Camera g2), talkback is integrated and works great! My problem arises when I use Non-Blackmagic cameras in the system and also want to use talkback. I know I could just buy a third party wireless talkback system, but I first want to try to get it working with what I have already.

I noticed that the ATEM HD8 has a talkback RJ45 port on the back, so I was curious if I could get that working. I'd like to run a line to each camera and use either 3.5mm or 5 pin xlr as the camera end headset.

I looked it up in the manual and there's basically no documentation on how it work besides a pin out diagram. (I attached some screenshots in this post). I'm quite confused as to how I can get this working, especially if I want to use it with multiple cameras. Can anyone provide insight? Thank you

https://preview.redd.it/ik59s3e0vc1h1.png?width=652&format=png&auto=webp&s=a5bf32734104b011fa7d235d40cea38734e0d75b

https://preview.redd.it/847iy6t0vc1h1.png?width=648&format=png&auto=webp&s=ad1dbefd372997186eda47ce22ff6719b27ba619

Hi, Iam experiencing strange problem and cannot find the solution anywhere.

If i tried to send video out from this decklink over ST 2110, converters in which i want to receive the signal are showing that they can see 1080p50 as i set it.

But the problem is, that they show this only when i start blackmagic media express and only if there is just black picture.

If i start Vmix or OBS and start output from these softwares, converters show no signal.

Also in media express if i add there any video, converters immediatelly show no signal.

Video input thru decklink over ST 2110 is working fine.

Any idea what could be wrong?

Thank you

Does someone know a free program that can recover .braw files from Blackmagic Design?

So here is 1 simple recovery program (it cant recover damaged files), only carve them if they got formatted or deleted.

It's in "Beta"!

https://github.com/artgey/BIN-HEX-file-converter

or

https://sourceforge.net/projects/bin-hex-file-converter/

feedback would help to improve!

Having recently assumed a technical coordinator role at a live venue (municipality theatre), I’ve “inherited” some gear that is a bit foreign to me (don’t judge the audio engineer 😅) and that I now need to learn and upkeep. We’re a small team that as the absolute bonkers number of 0 video people (I’m a photographer outside of work though).

Namely a HyperDeck Studio Pro 2 and an ATEM Studio Pro 4k. I have a grasp of the ATEM, but I do need help with the HyperDeck.

I can only find the manuals for the current models, and I don’t know how to download any software compatible with this older version, or if it is still available at all. I tried the version 9.0.2 of the HyperDeck control software but couldn’t get it to recognize the unit, so I don’t know if it’s incompatible with the older HyperDeck 2. Can anyone help? Thank you!