InCinematographer - Issue 3 - 41

41

www.incinematographer.com | Issue 3

Blackmagic Design's Quad Link
12G-SDI DeckLink 8K Pro

The DeckLink 8K Pro is the world's first quad link 12G-SDI capture and playback card designed
for high resolution, deep color HDR 8k workflows...

B

lackmagic Design's DeckLink 8K Pro breaks new
ground as it supports all film and video formats
from SD all the way up to 8k DCI, 12-bit RGB 4:4:4,
plus it also handles advanced color spaces such as
Rec. 2020 for deeper color and higher dynamic range.

The DeckLink 8K Pro

DeckLink 8K also handles a massive 64-channels of
audio, stereoscopic 3D, high frame rates and more.
DeckLink 8K Pro is hailed as "the ultimate digital
cinema capture and playback card". Featuring four
quad link multi rate 12G-SDI connections, DeckLink
8K Pro can work in all SD, HD, Ultra HD, 4k, 8k and
8k DCI formats and is compatible with all existing
professional SDI equipment. The 12G-SDI connections
are also bi-directional so they can be used to
either capture or playback quad link 8k, or for the
simultaneous capture and playback of single or dual
link SDI sources.
"DeckLink 8K Pro is our most advanced
PCIe capture and playback card ever,"
said Grant Petty, Blackmagic Design CEO.
"It's exciting because the 8K images have
so much clarity and detail that it's as if
you're looking out a window. Whether
it's for the 2020 Olympics or the
next generation of Hollywood
blockbusters,
DeckLink
8K
Pro has the speed, quality and
compatibility customers need to
do their best work."

DeckLink 8K Pro supports capture and playback of
eight or 10-bit YUV 4:2:2 video and 10 or 12-bit RGB
4:4:4. Video can be captured as uncompressed or to
industry standard broadcast quality ProRes and DNx
files.
DeckLink 8K Pro lets customers work at up to 60
frames per second in 8k and supports stereoscopic
3D for all modes up to 4K DCI at 60 frames per
second in 12-bit RGB. The advanced broadcast
technology in DeckLink 8K Pro is built into an easy to
install eight lane generation 3 PCI Express for Mac,
Windows, and Linux workstations. Customers get
support for all legacy SD and HD formats, along with
Ultra HD, DCI 4K, 8K and DCI 8K, as well as Rec. 601,
709 and 2020 color.
DeckLink 8K Pro is designed to work seamlessly
with the upcoming DaVinci Resolve 14.2 Studio. In
addition, DeckLink 8K Pro also works with other
professional applications such as Final Cut Pro
X, Media Composer, Premiere Pro, After Effects,
ProTools, Nuke and more.
DeckLink 8K Pro will be available in early January
from Blackmagic Design resellers worldwide.
www.blackmagicdesign.com

MPSE set to Honor
John Fasal's Career

The MPSE Career Achievement Award recognizes sound artists
who have distinguished themselves by meritorious works...

T

he Motion Picture Sound Editors (MPSE) is to
present Sound Designer and Sound Recordist
John Paul Fasal with its 2018 MPSE Career
Achievement Award.
A 30-year veteran of the sound industry, Fasal has
contributed to more than 150 motion pictures and
is best known for his groundbreaking work in field
recording. Among his many credits are Top Gun,
Master and Commander: The Far Side of the World,
Interstellar, The Dark Knight, American Sniper and
this year's box office hit Dunkirk.
Fasal will receive his award at the MPSE Golden
Reel Awards ceremony, February 18, 2018 in Los
Angeles.
"John is a master of his craft, an innovator who
has pioneered many new recording techniques, and
a restless, creative spirit who will stop at nothing
to capture the next great sound," said MPSE
President Tom McCarthy. "He is also an
exceptional professional who enjoys the
esteem of his colleagues in the sound
world and filmmakers worldwide. We
take pride in presenting him with this
unique honor."

Fasal joins a distinguished list of sound innovators,
including 2017 Career Achievement Recipient Harry
Cohen, Richard King, John Roesch, Skip Lievsay,
Randy Thom, Larry Singer, Walter Murch and George
Watters II.
"Sound artists typically work behind the scenes, out
of the limelight, and so to be recognized in this way
by my peers is humbling," said Fasal. "It is an honor
to join the past recipients of this award, many of
whom are both colleagues and friends. I am grateful
to the MPSE for this wonderful distinction."
Fasal began his career as a musician and
songwriter, but gravitated toward post-production
sound in the 1980s. Among his first big successes
was Top Gun for which he recorded and designed
many of the memorable jet aircraft sound effects.
He has been a member of the sound teams on
several films that have won Academy Awards
in sound categories, including Inception,
The Dark Knight, Letters from Iwo Jima,
Master and Commander: The Far Side of
the World, The Hunt for Red October and
Pearl Harbor.
Fasal has worked as a sound designer

Sound Designer and Sound Recordist John Fasal

and recordist throughout his career, but in recent
years has increasingly focused on field recording.
He enjoys especially high regard for his ability to
capture the sounds of planes, ships, automobiles,
and military weaponry.
"The equipment has changed dramatically over the
course of my career, but the philosophy behind the
craft remains the same," he says. "It still involves the
layering of sounds to create a sonic picture and help
tell the story."
www.mpse.org


http://www.incinematographer.com https://www.blackmagicdesign.com/products/decklink/techspecs/#W-DLK-34 http://www.blackmagicdesign.com http://www.mpse.org/ http://www.mpse.org

Table of Contents for the Digital Edition of InCinematographer - Issue 3

In This Issue
InCinematographer - Issue 3 - Intro
InCinematographer - Issue 3 - Cover1
InCinematographer - Issue 3 - Cover2
InCinematographer - Issue 3 - In This Issue
InCinematographer - Issue 3 - 4
InCinematographer - Issue 3 - 5
InCinematographer - Issue 3 - 6
InCinematographer - Issue 3 - 7
InCinematographer - Issue 3 - 8
InCinematographer - Issue 3 - 9
InCinematographer - Issue 3 - 10
InCinematographer - Issue 3 - 11
InCinematographer - Issue 3 - 12
InCinematographer - Issue 3 - 13
InCinematographer - Issue 3 - 14
InCinematographer - Issue 3 - 15
InCinematographer - Issue 3 - 16
InCinematographer - Issue 3 - 17
InCinematographer - Issue 3 - 18
InCinematographer - Issue 3 - 19
InCinematographer - Issue 3 - 20
InCinematographer - Issue 3 - 21
InCinematographer - Issue 3 - 22
InCinematographer - Issue 3 - 23
InCinematographer - Issue 3 - 24
InCinematographer - Issue 3 - 25
InCinematographer - Issue 3 - 26
InCinematographer - Issue 3 - 27
InCinematographer - Issue 3 - 28
InCinematographer - Issue 3 - 29
InCinematographer - Issue 3 - 30
InCinematographer - Issue 3 - 31
InCinematographer - Issue 3 - 32
InCinematographer - Issue 3 - 33
InCinematographer - Issue 3 - 34
InCinematographer - Issue 3 - 35
InCinematographer - Issue 3 - 36
InCinematographer - Issue 3 - 37
InCinematographer - Issue 3 - 38
InCinematographer - Issue 3 - 39
InCinematographer - Issue 3 - 40
InCinematographer - Issue 3 - 41
InCinematographer - Issue 3 - 42
InCinematographer - Issue 3 - 43
InCinematographer - Issue 3 - 44
InCinematographer - Issue 3 - 45
InCinematographer - Issue 3 - 46
InCinematographer - Issue 3 - 47
InCinematographer - Issue 3 - 48
InCinematographer - Issue 3 - 49
InCinematographer - Issue 3 - 50
InCinematographer - Issue 3 - Cover4
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http://usa.nxtbook.com/nxteu/lesommet/incinematographer_issue2
http://usa.nxtbook.com/nxteu/lesommet/incinematographer_issue1
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