DaVinci Resolve 21.1 

DaVinci Resolve 21.1 is a major new update that introduces AI assistant integration allowing customers to efficiently manage tasks such as organizing media or batch rendering, as well as expanded support for camera formats on the Photo page. The Fusion 3D and shape tool kit is further expanded with over 25 new Krokodove tools, plus there are over 100 new tools and controls for faster editing and color grading workflows. 

DaVinci Resolve 21.1 now supports integration with AI assistants such as Claude, Claude Code and ChatGPT Codex, allowing customers to analyze projects, organize media, adjust settings and batch render using everyday conversational language. Customers can ask their AI assistant to create highlight edits from long-form video, remove unwanted clips and render deliverables, so they can spend more time being creative rather than getting bogged down in repetitive tasks.

The Photo page now supports a wider range of camera formats, including Fujifilm’s GFX and X series, Leica SL and Sony A7R V1, so photographers working with these cameras can import their files natively without needing to convert files. Image settings on the Photo page can now be adjusted in the inspector using DaVinci Resolve color panels, including the DaVinci Resolve Micro Color Panel, giving customers hands-on control for faster, more precise adjustments. ResolveFX support has been expanded with enhanced sky replacement capabilities for still images on the Color page.

Fairlight Live

Fairlight Live is the world’s most powerful live audio mixer. Unlike traditional hardware-based audio mixers, Fairlight Live is a software-based mixer, so it can support incredibly powerful features such as spatial audio mixing and SMPTE-2110 broadcast workflows. It even supports full redundancy. Fairlight Live easily handles hundreds or even thousands of audio channels, depending on the computer. Plus, it works with standard computer audio or USB audio from ATEM live production switchers. This means customers get a fully customizable live audio mixer with built-in effects and professional features such as a cue player, talkback busses, third-party plug-in support, snapshots and so much more.

Whether a podcaster is using a professional audio mixer for the first time or a sound engineer is used to working with hundreds of channels, Fairlight Live has everything they need. It’s easy to get started as Fairlight Live can run on their laptop. As their production grows, Fairlight Live makes it easy to manage multiple cameras, microphones, headphones and mix-minus feeds. Customers can even add a professional Fairlight Live Audio Panel for greater speed and control. Fairlight Live handles the largest broadcasts, with support for hundreds of channels plus commentary, crowd mics, IFB and talkback.

Blackmagic URSA Cine 12K LF 100G

Blackmagic URSA Cine 12K LF 100G is a new model in the URSA Cine family with 100G Ethernet for high frame rate SMPTE-2110 live production output up to 440fps. Building on the revolutionary digital film features of the URSA Cine 12K LF, including the large format RGBW 36x24mm sensor, the new model adds much faster networking for cinematic live production workflows, so broadcasters can finally achieve the same stunning cinematic quality once exclusive to the film industry.

With the dynamic range, frame rates and color science of Blackmagic URSA Cine, URSA Cine 12K LF 100G handles both film and live production, so you can use it for virtually any project. When the camera is set to SMPTE-2110 Live in the menu, it instantly transforms into a live studio camera. You get real-time SMPTE-2110 IP video from the Ethernet connector, supporting up to 2160p60 with cinematic quality and 16 stops of dynamic range, well beyond traditional broadcast cameras. Plus, the 100G model outputs live video up to 440 fps for amazing slow-motion sports replays.

The optional B4 lens mount lets you use broadcast lenses with URSA Cine 12K LF 100G, and the optional URSA Studio Viewfinder with included sunshade lets you control all menus via touchscreen, such as brightness, contrast and focus peaking. Also, when using URSA Cine 12K LF 100G as a live production camera, you get a built-in color corrector based on DaVinci Resolve’s primary color corrector for color grading video live.

Blackmagic URSA Cine Immersive 100G

Blackmagic URSA Cine Immersive 100G is the world’s first camera for live immersive production, featuring faster 100G Ethernet for SMPTE-2110 live video output. This versatile camera handles shooting, post production and live production equally well. It includes dual 8Kx8K RGBW sensors running at 90fps with an incredible 16 stops of dynamic range, delivering stunning immersive content with the quality that both live broadcast and high end digital film workflows demand. 

Blackmagic URSA Cine Immersive 100G features revolutionary new sensors designed for incredible quality images at 8K x 8K per eye. Using the same revolutionary RGBW sensor design as URSA Cine, the new dual sensor layout features larger photo-sites, delivering an astounding 16 stops of dynamic range. The unique RGBW architecture provides equal amounts of red, green and blue pixels for incredible color super sampling. This means it is optimized to deliver incredibly rich colors and provide the ultimate in image quality and flexibility, even at the high frame rates live immersive video requires.

The Blackmagic URSA Live Encoder enables the Blackmagic URSA Cine Immersive 100G to be used for live immersive production. It encodes live video into ProRes for output as SMPTE-2110 IP video via the high-speed 100G Ethernet port, creating an entirely new live immersive viewing experience. Plus, the camera data rate is under 50 Gb/s, so customers can combine two cameras into a single 100G Ethernet connection.

ATEM 4 M/E Constellation IP

ATEM Constellation IP are  two new models of live production switchers that are fully SMPTE-2110 native. These new models retain the powerful features of the existing ATEM Constellation SDI-based switchers, allowing a seamless transition between SMPTE-2110 and SDI-based switchers when customers have both in their facility. Designed for high-end broadcast and live production, the new design features front-to-back cooling, extensive redundancy, support for SMPTE-2022-7 on all 100G video ports, redundant PTP clock connections, 2 x 10G Ethernet for control ports and redundant AC power supplies. 

The standard 4 M/E model has 32 standards converted SMPTE-2022-7 inputs using four sets of dual redundant 100G Ethernet connections. Customers also get 32 SMPTE-2110 outputs, 16 ATEM Advanced Keys, four multi-views and two SuperSource for a total of 12 DVEs.

The massive 4 M/E Plus model has 64 standards converted SMPTE-2022-7 inputs using eight sets of dual redundant 100G Ethernet connections. Customers also get 64 SMPTE-2110 outputs, 16 ATEM Advanced Keys, four multi-views and two SuperSource for a total of 12 DVEs.