Blackmagic Design makes ATEM switchers and DaVinci Resolve for edit, colour, audio, and finishing. The tour pairs live switching with post so you can stop treating podcasts like a radio show with accidental cameras.

A tour built around practical workflow demos

Blackmagic Design is running its European Workflow Tour over two days, pitching a complete live and postproduction workflow based on Blackmagic Design products. The promise is faster output and better quality, but the programme does not define formats, targets, or benchmarks. It is a workshop, to try and experiment and look over each others shoulders.

The useful angle is simple: this is a low-risk moment to poke the hardware before you buy it, ask the awkward questions out loud, and compare notes with other crews about what actually breaks at 2 a.m. The programme text does not explicitly describe hands-on access or open networking time, so treat that as an opportunity rather than a guarantee. Dates and cities in the published schedule are Amsterdam on 19 and 20 March, and Berlin on 24 and 25 March.

Day one: podcasts, but with coverage you can fix in post

Day one targets podcast production, specifically turning audio-only podcasts into multi-camera shows. The workflow pitch centres on using ATEM live production switchers for the live cut while capturing ISO recordings of each camera angle, plus the final programme.

That combination is the practical hook: the live switch gives you speed, the ISOs give you options, and DaVinci Resolve is positioned as the finishing and delivery stage. The programme explicitly names delivery to YouTube and X.

The podcast sessions run 11:00–12:00 on “Design a Complete Podcast Production Workflow”, 12:30–13:30 on “Create Video Podcasts Faster with ATEM ISO”, 14:00–15:00 on “Finish and Deliver Podcasts in DaVinci Resolve”, and 15:30–16:30 on “Global Podcast Production with Cloud Collaboration”.

Day two: Resolve for high-volume content and consistency

Day two is framed as “DaVinci Resolve for Content Creation”, with a focus on working in one application from start to finish, handling large volumes of media, maintaining creative control and consistency, and working collaboratively with cloud collaboration.

Sessions run 10:30–12:00 on “Simplify Content Creation with DaVinci Resolve”, 12:30–13:30 on “Edit Large Media Libraries Quickly”, 14:00–15:00 on “Maintain Creative Control and Brand Consistency”, and 15:30–16:30 on “Work Faster with Cloud Collaboration”.

New tools and innovations should be tested before use in production, ideally with your own media, your own deliverables, and a plan for when the first thing goes sideways. So, give it a try at the Workshops!

https://www.blackmagicdesign.com/event/european-workflow-tour-2026

The post BMD European Tour 2026 lets you touch the gear first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Blackmagic Design has unveiled the URSA Cine 12K LF Body, a streamlined version of the URSA Cine 12K that retains its high-end imaging capabilities while omitting accessories like shoulder mounts, handles, lens mounts, battery plates, power supply, lenses, and the 8TB media module. Designed for cinematographers and rental houses that already have a full rig of accessories, this new body-only model provides flexibility and cost savings. The URSA Cine 12K LF Body is available now for $6,995 (excluding local duties and taxes).

Same Performance, More Flexibility

The new URSA Cine 12K LF Body delivers the same uncompromising image quality as the standard URSA Cine 12K. With a massive 12K sensor, full-frame capture, and advanced color science, the camera is built for high-end film and commercial work. The exclusion of accessories allows professionals to configure the camera to their specific needs without paying for extras they may already own.

Built for Customization

Customers can purchase accessories separately, tailoring their rig with the exact components they prefer. This includes interchangeable lens mounts for PL, LPL, and EF, as well as optional power solutions and high-capacity media modules. The modular approach gives professionals complete control over their workflow while keeping initial costs lower.

Advanced 12K Sensor for Cinematic Flexibility

The URSA Cine 12K features a cutting-edge full-frame 12K sensor with a multi-scale design and symmetrical color filters that enable in-sensor scaling. This allows cinematographers to shoot in 12K, 8K, or 4K while maintaining the full sensor size. The flexibility means VFX plates can be captured in 12K, while documentaries can be shot in 8K or 4K for lower data rates. The sensor’s performance is optimized for shooting up to 80 fps in 12K 3:2 open gate, 144 fps in 8K 3:2, and 224 fps in 8K 2.4:1.

With Blackmagic’s latest color science, the 12K sensor delivers superior color fidelity, making it ideal for color grading in DaVinci Resolve. Its resolution is particularly useful for VFX-heavy workflows, IMAX-style cinematography, and creative lens effects. Cinematographers can take advantage of 9K Super 35 modes for compatibility with classic cinema lenses, and support for various anamorphic aspect ratios ensures maximum creative control.

For more details, visit Blackmagic Design.

The post Blackmagic URSA Cine 12K LF Body: Full Power, No Extras first appeared on DIGITAL PRODUCTION and was written by Bela Beier.