Blackmagic Design has released version 3.2 of its Blackmagic Camera app for iOS. The update introduces native live streaming directly to YouTube, Vimeo, and Twitch, without requiring additional encoders or third-party apps. The app continues to frame the iPhone as a production-ready camera interface with full manual control. Version 3.2 extends this idea to live workflows, letting operators start a professional broadcast straight from the app by entering a stream key for their chosen platform.

SRT for Professional Streams

Beyond platform streaming, the update adds SRT (Secure Reliable Transport) support. This protocol provides encrypted, low-latency transmission suitable for news, remote production, or event coverage over unstable networks. The app can now send SRT video directly to Blackmagic Streaming Decoders or any SRT-compatible receiver, positioning the iPhone as a viable field camera for broadcast environments. Support for custom RTMP and SRT servers allows integration with professional CDNs or in-house streaming systems. Or, you know, Vmix, Streamlabs, Facebook, and all the others.

Smarter Storage Feedback

External recording to SSDs remains supported via USB-C, but version 3.2 refines how the app reports media status. The update adds clear on-screen notifications if an external drive disconnects during recording, standby, or data upload. For mobile ProRes workflows, this is a practical safeguard against lost footage and unclear drive states.

Expanded Remote Control

Multi-view remote monitoring on iPad and Mac has been expanded. Users can now select the number of monitored angles, enabling more flexible layouts for multicamera setups. This builds on the app’s growing role as a companion tool for Blackmagic Cloud and DaVinci Resolve Camera projects.

Under-the-Hood Fixes

Blackmagic Design lists two key bug fixes: a corrected recording issue linked to auto white balance and intermittent audio monitoring dropouts. General stability improvements are included, though no details on performance changes were provided.

Availability

Blackmagic Camera for iOS 3.2 is available now as a free download on the App Store, with no subscription or in-app purchases. As with any newly introduced feature, live streaming and SRT workflows should be tested before critical productions to confirm stability and compatibility.

The post Blackmagic Camera 3.2: iPhone Streams Live, No Extra Steps first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Blackmagic Design has released version 3.1.2 of its Blackmagic Camera app for iOS. The update focuses on reliability and workflow refinements while adding one notable new recording format: 1920×1440 Open-Gate with Apple Log. Version 3.1.2 also corrects several issues introduced in the previous 3.1 update, improving stability and usability in production environments.

The official changelog lists several targeted fixes. Image stabilisation can now be properly disabled when required, addressing reports that the toggle was ignored in earlier builds. A bug that prevented Look-Up Tables (LUTs) from becoming immediately usable after import has been resolved. The update also corrects orientation problems seen in ProRes RAW clips when orientation lock was active, and eliminates certain recording failures encountered on iOS 26. In addition to these fixes, general performance and stability have been improved.

1920×1440 Open-Gate with Apple Log

The new 1920×1440 Open-Gate format captures in a roughly 4:3 aspect ratio, using more of the iPhone sensor’s vertical area. This allows greater flexibility for reframing between landscape and portrait outputs and enables higher-quality cropping in post. Combined with Apple Log recording, it gives cinematographers a more friendly base image.

However, early community testing indicates that this mode is not universally available across all colour-space configurations. Some users report that Open-Gate is disabled when using certain colour spaces such as Apple Log or Rec.2020. Others note that activating Open-Gate may automatically disable stabilisation. These behaviours suggest that the new mode depends on specific sensor and processing settings, and may vary by device or capture configuration.

Context and background

Version 3.1 of the app, released earlier, introduced major features including Apple Log 2, ProRes RAW recording, Open-Gate capture, and multi-device sync capabilities. It also brought a refreshed user interface and expanded monitoring tools. The newly released 3.1.2 serves as a corrective maintenance release for those features, focusing on stabilising their implementation and addressing initial usability issues such as LUT management and orientation behaviour.

In practical terms, this means the app should now be more dependable in day-to-day shooting conditions. Professionals relying on iPhone footage for pre-viz, dailies, or hybrid shoots with Blackmagic cameras should find the update a safer choice for critical use.

Outlook

While 3.1.2 is not a feature-heavy release, it solidifies the iOS camera app’s role in a growing professional ecosystem. The addition of a 1920×1440 Open-Gate recording mode bridges the gap between mobile and full-sensor capture, giving users a more flexible image to work with in post. It also confirms Blackmagic’s continued commitment to aligning mobile recording tools with professional grading pipelines.

As always, new features should be tested in controlled conditions before use in production workflows, particularly where sensor modes, LUT management, or ProRes RAW integration are involved.

The post Blackmagic Camera app 3.1.2 adds 1920×1440 Open-Gate first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Blackmagic Design has released Blackmagic Camera 3.0 for iOS and Android. The update introduces a feature users have been requesting since launch: the ability to sync and copy clips from remote phones back to a controller device. For productions that rely on multiple phones (for live events, social content, or indie filmmaking) this reduces both errors and time spent on data wrangling in post.

Until now, the app could act as a controller for other devices: previewing live feeds, changing settings remotely, and starting or stopping recordings. What was missing was media consolidation. Version 3.0 closes that gap by allowing the controller to pull down finished clips automatically, ensuring all material ends up on one device without additional transfers.

Remote Syncing: How It Works

The system runs over Wi-Fi, with one device acting as a controller and others set as clients. After recording, clients upload clips back to the controller. Each synced clip carries its metadata and timecode, allowing immediate conform in DaVinci Resolve or via Blackmagic Cloud. Blackmagic positions it as the core of the 3.0 release, making smartphones more viable for professional, multi-cam acquisition.

Live Streaming Direct from the App

The Android release notes also confirm native live streaming to YouTube, Vimeo and Twitch. For content creators, this is less about cinematic capture and more about direct delivery pipelines. Still, the ability to push high-quality video out in real time has obvious use cases for production teams working on fast-turnaround projects.

Faster Navigation: Swipes and Function Buttons

Version 3.0 revamps navigation with two simple gestures, which we had to seriously tone our Tinder-jokes down for (You are reading version 4 of this news, and no, we are not adults. At all.)

• Swipe left for immediate access to picture presets, slate controls and core camera settings.
• Swipe right for three user-programmable function buttons.

Expanded Control Set

The update also extends existing controls across both platforms:

• LUT handling has been refined, improving both monitoring and baked-in recording workflows.
• Lens and zoom control has been reworked.
• Frame rate settings now cover off-speed shooting and time-lapse capture.
• A new camera light control allows direct adjustment of device lighting hardware.
• Vertical multi-view support improves monitoring when working in portrait orientation, aligning with social-first shooting.

iOS-Specific Additions

The iOS release goes further with an extensive set of refinements:

• Toolbar reorganisation for faster access.
• Single-lens dolly zoom control.
• Expanded FPS options beyond standard ranges.
• HUD enhancements including histogram expansion and live LUT switching (Apple Log, Rec.709, Rec.2020, P3 D65).
• Recording in open-gate mode, with support for 2.0 anamorphic de-squeeze.
• Auto exposure when using automatic mode.

Blackmagic Camera in Context

The update sits within the broader architecture of Blackmagic Camera. At its core, the app is designed to give smartphones a digital film camera interface, complete with heads-up display (HUD) and touch-driven controls for ISO, shutter, white balance, resolution and frame rate.

Recording can be done locally on the device, to external storage via supported accessories, or directly to Blackmagic Cloud. The app includes media management, metadata entry, chat, and integration with DaVinci Resolve project libraries, making it more than just a capture tool. With version 3.0, the gap between acquisition and edit has narrowed further: remote clip syncing reduces ingest time, while Blackmagic Cloud upload pushes material directly into a Resolve timeline for collaborative editing.

Pro Workflows: LUTs, Metadata and Timecode

Professionals will note that the update builds on existing LUT management. LUTs can be loaded for monitoring or burned into the recording. With iOS 3.0, histogram displays can now expand to fill the preview, giving a more accurate look at exposure.

Metadata entry via the slate remains central to the workflow: users can define project, scene, take and notes on-set, with data carrying into Resolve bins. Timecode support with external Bluetooth sync devices continues to make multi-camera shoots viable, now with the addition of automatic media transfer.

Accessories and Expansion

While version 3.0 is primarily a software update, it interacts directly with supported hardware like the Blackmagic Camera ProDock. For productions needing HDMI output, genlock, timecode, or professional audio I/O, the ProDock provides the physical expansion missing from phones. At US$ 325, it’s positioned as the bridge between casual smartphone capture and professional rigs.

Testing Before Deployment

While the features are clear in official documentation, teams should test the update in-house before using it on critical productions. Remote syncing and live streaming are particularly sensitive to network stability and device limitations, which vary across iOS and Android hardware.

The post Blackmagic Camera 3.0: Remote Clip Syncing and Multi-Cam Control Arrive on Smartphones first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Professional productions rarely consider smartphones. They lack ergonomics, reliability, and lens flexibility, and often process images in ways that destroy useful data before it ever reaches postproduction.We usually avoid “smartphone” news unless the device breaks into workflows in a meaningful way. But the legends at epic tutorials found something!

The Pixel 10 Pro may qualify. Unlike marketing claims around “computational photography,” this development deals with sensor-level access to true 12-bit video, a technical unlock that places this handset in a different category. The magic word here is Dual Conversion Gain (DCG), a hardware feature that has existed in many image sensors but has rarely been available for video capture outside cinema-grade gear.

What is Dual Conversion Gain?

Dual Conversion Gain (DCG), sometimes branded as Smart-ISO Pro by Samsung, allows a sensor to simultaneously capture high-gain and low-gain readouts of the same pixel exposure. The two signals are then merged before digitisation, producing a RAW output that preserves highlight headroom while also retaining clean shadow detail.

In practice, DCG produces one single file with:

• Higher dynamic range than standard single-gain readout.
• Finer tonal separation in shadow and midtone regions.
• Lower visible noise in dark exposures.
• Reduced artefacts compared to frame-stacked HDR video.

Conventional HDR modes, particularly in smartphones, often stack multiple exposures across frames. That introduces motion ghosting and temporal artefacts. DCG, by contrast, works at the pixel level and requires no stacking.

Interesting Detail: Google Pixel 10 Pro's Main Camera has 12-bit mode enabled by default!
byu/RaguSaucy96 inGooglePixel

Why is this important in the Pixel 10 Pro?

Previous Pixel devices, as well as Samsung Galaxy phones using similar sensors, already shipped with DCG capability. But manufacturers locked this functionality away. It was inaccessible to standard camera apps, and even advanced third-party software could not invoke it without root-level hacks.

The Pixel 10 Pro is the first mainstream consumer smartphone to expose DCG for RAW video capture directly to third-party apps. That means filmmakers, VFX artists, and technical directors can now record true 12-bit RAW video from a phone without voiding warranties or tampering with the operating system. Orjust ghavcing to deal with the shit-ton of work that is rooting a device these days. This change is not a marketing flourish, it is a concrete technical unlocking of a sensor feature that has been sitting dormant.

Testing and confirmation

Testing performed by developers using MotionCam Pro demonstrates visible improvements. Comparisons of waveform plots and histograms show increased usable dynamic range and visibly cleaner shadows when DCG is enabled. Noise levels in underexposed shots are drastically reduced. Blacks hold structure instead of collapsing into blocky artefacts. Gradients appear smoother, avoiding the typical banding that plagues 10-bit smartphone video.

Independent reports confirm that only the Pixel 10 Pro and Pixel 10 Pro XL models support this feature in video capture. The non-Pro Pixel 10 lacks the sensor bandwidth required.

Professional use cases

Let’s be clear: this is not a replacement for cinema cameras. But there are credible, professional-adjacent use cases.

BCAM/CCAM utility: For secondary angles, reference slates, or onset inserts where a lightweight, inexpensive camera suffices. The ability to record 12-bit RAW ensures that even imperfectly lit material has enough data for correction. But you have to consider how COlors and Contrasts land in, for example, Resolve – there is very little documentation, and you would need to test your footage to have a confident pipeline.

Photogrammetry capture: Tools like Meshroom rely on full-fidelity image data for reliable geometry reconstruction. Having decent video from a compact device could make mobile scans easier without elaborate lighting setups. Now, a LIDAR Scanner would be prefreable, but, in a pinch, with enough pictures, this should do as well.

Reference footage: VFX supervisors, colourists, or continuity staff may need to grab quick visual notes. Normally such reference clips suffer from baked-in compression and tone-mapping. A 12-bit file avoids this somewhat. And we are not talking about ProRes!

This makes the Pixel 10 Pro more of a pipeline tool than a narrative camera. Its footage can fit into established dailies or VFX workflows without breaking colour pipelines.

Cost vs. capability

By professional standards, the Pixel 10 Pro is inexpensive. A dedicated RAW-capable BCAM costs multiples more. That affordability opens opportunities: every team member could carry a RAW-capable capture device without straining budgets.

That said, ergonomics remain a limitation. Phones lack ND filtration, proper I/O, monitoring options, and reliable thermal management for long takes. Professionals should see this feature as an additional tool in the box, not a cost-saving substitution for proper gear.

Industry implications

The larger story here may be about smartphone manufacturers finally unlocking pro-grade sensor features. For years, hardware has been capable of higher-fidelity capture, but consumer apps and OS restrictions kept that potential hidden.

By making DCG and 12-bit RAW accessible, Google signals a shift. The Pixel 10 Pro may not replace cinema cameras, but it demonstrates that latent features can be delivered to professionals if vendors choose to. If this sets a precedent, future handsets may become more reliable companions in production environments.

The bottom line

The Pixel 10 Pro’s 12-bit RAW DCG capture is an interesting tidbit for professionals. Not a final-frame tool, not a marketing gimmick, but a useful side camera with real production/photogrammetrry/documentation utility. Treat it accordingly: a supplement for reference, technical, and capture workflows—not a substitute for your Alexa, Venice or URSA. And we ignored the questions of thermal stability, variable Framerate, standardized colour profiles, and so many more things that make a professional camera and a smartphone two different beats entirely.

A reminder

Innovations like this should always be tested thoroughly before use in production. Smartphone footage may now hold up in a certain few workflows, but reliability and stability remain critical factors.

The post Pixel 10 Pro unlocks true 12-bit RAW with DCG first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Blackmagic Design has introduced version 1.4 of its Blackmagic Camera app for Android, marking a notable step in mobile production flexibility. The update includes full support for Sony Xperia 1 V and Xperia PRO-I devices, making them viable options for VFX and filmmaking pros who rely on high-end mobile hardware.

The Blackmagic Camera app, originally developed for use with Blackmagic’s digital cinema cameras, allows Artists to control camera settings remotely via their Android devices. With the new Xperia integration, Blackmagic responds to the increasing trend of professional-grade mobile shooting, particularly in fast-paced environments like VFX-heavy productions.

Xperia and Mobile Production

Sony’s Xperia 1 V and Xperia PRO-I are smartphones known for their exceptional imaging capabilities, boasting features like 4K HDR OLED displays and advanced camera systems. This update lets users control these devices with the Blackmagic Camera app, creating new opportunities for mobile production setups. The benefit? For professionals working in post-production and visual effects, the combination of a mobile-friendly platform and Blackmagic’s control interface could streamline location shooting, offering rapid feedback on footage without the need for heavy equipment.

Version 1.4 brings more than just Xperia compatibility. The update includes performance improvements across the board, refining the app’s interaction with Android hardware to improve stability. Other notable enhancements include:

• Expanded device compatibility for Sony Phones, as well as some Oppo Models.
• Optimized performance for smoother control of Blackmagic’s URSA Mini and Pocket Cinema Camera 6K Pro
• Better connection stability when using Wi-Fi

For a full list of updates, you can check the official documentation here.

Pricing and Availability

The Blackmagic Camera app is available for free in the Google Play Store. There are no additional costs tied to this update, which is great news for filmmakers and post-production professionals looking to add it to their Android workflow without budget concerns.

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While this update offers exciting possibilities, remember: before adopting any new tool in critical projects, thorough testing is key. Make sure it integrates well with your post-production pipeline and doesn’t introduce unexpected challenges.

For more information or to download the latest version of the app, visit the official Blackmagic Design site here.

The post Blackmagic Camera 1.4 Update for Android: Xperia Support and More first appeared on DIGITAL PRODUCTION and was written by Bela Beier.