Fairlight Live Audio Panel 40

Blackmagic’s Fairlight Live platform is a major rethink of live audio production. Instead of centering the workflow around fixed-function hardware mixers, Fairlight Live is a software-based live audio mixer that can scale from a laptop-based podcast setup to a large broadcast environment with hundreds or even thousands of channels.

That is the real significance of Fairlight Live. It is not just a control surface. It is part of a broader audio system that treats live sound as something dynamic and configurable rather than fixed. Productions can build shows around stereo, surround, 5.1, immersive audio, or ambisonics, then reconfigure routing, bussing, and layout as the needs of the show evolve. In practical terms, a setup that starts as a straightforward host-and-guest podcast can be expanded into a more complex live production with commentary feeds, crowd mics, IFB, talkback, and mix-minus outputs without having to rebuild the entire audio architecture from scratch.

Fairlight Live also leans hard into workflow customization. Productions are saved as complete shows, including routing, mixer layout, cue player settings, snapshots, monitoring configurations, and more. That makes repeat production much easier for recurring live streams, sports events, talk shows, worship productions, and studio-based formats. Instead of manually rebuilding the same mix structure every time, users can launch a template and pick up where they left off.

From a channel-processing standpoint, Fairlight Live is built like a serious pro-audio environment. Each input includes EQ, dynamics, panning, and effect slots, and it supports both native plug-ins and third-party AU and VST plug-ins. The ChainFX workflow dramatically expands what each channel can host, which is a major benefit for sound engineers working with layered processing chains or production teams that want more than just basic live mixing tools.

Monitoring and routing are also far more advanced than a basic live mixer setup. Fairlight Live supports control room and studio monitoring, multiple bussing structures, matrix outputs, mix-minus feeds, auxes, sub-busses, main busses, and VCA groups. In more demanding live environments, that matters. It means the system can deliver different mixes to talent, commentators, producers, broadcast outputs, remote teams, translators, and engineering paths without compromising the main program mix.

Key Highlights

• Software-based live audio mixer built for everything from podcasts to major broadcasts
• Supports hundreds or thousands of audio channels depending on system hardware
• Customizable routing, bussing, show templates, and snapshots
• Integrated cue player, talkback busses, matrix outputs, mix-minus, and virtual soundcheck
• Native EQ, dynamics, plug-ins, third-party AU/VST support, and ChainFX expansion
• Direct integration with ATEM switchers and audio-follows-video workflows
• Available control surface models include 10, 20, and 40 fader panels

URSA Cine 12K LF 100G Camera

Blackmagic URSA Cine is one of the most ambitious camera platforms the company has released because it is designed to serve both digital cinema and live production at a high level instead of forcing users to choose one or the other.

On the cinema side, the URSA Cine 12K LF 100G is built around a new large-format RGBW sensor with larger photo-sites and up to 16 stops of dynamic range. That gives it the kind of image latitude, color depth, and flexibility that high-end productions want for feature work, commercial production, branded content, music videos, and premium episodic workflows. The camera supports 4K, 8K, 12K, and even broader large-format flexibility without forcing a crop at every resolution, which is a major advantage for teams that want to preserve the look of their lenses while changing delivery formats.

On the live production side, the camera can switch into SMPTE-2110 live mode and effectively become a cinematic live studio camera. That is where the 100G model stands out. It is not just a digital cinema camera with a broadcast-friendly output. It is designed to plug into modern IP workflows and deliver cinematic imagery into live production pipelines. For broadcasters, sports productions, houses of worship, concerts, and other live events that want a more filmic image, that opens the door to a much more premium visual look than a traditional broadcast camera typically delivers.

Blackmagic is also pushing a more complete workflow story around this camera. Built-in high-speed storage, Blackmagic Media Module support, 10G networking, Blackmagic Cloud sync, and live proxy upload to DaVinci Resolve workflows make the URSA Cine feel like a camera designed not just for capture, but for how footage actually moves through modern production and post. That means editors can begin working while the camera is still recording, and on-set or off-site collaborators can access media much faster than with traditional handoff-based workflows.

The hardware design also signals that Blackmagic expects this camera to live in serious production environments. It includes a robust magnesium alloy chassis, carbon fiber polycarbonate composite skin, a fold-out 5-inch touchscreen, a second 5-inch assist station, industry-standard LEMO and Fischer connectivity, 12G-SDI, Ethernet, USB-C, XLR audio, and interchangeable PL, LPL, EF, and optional B4 lens support. That mix of cinema and broadcast considerations is exactly why this platform feels broader than a typical single-purpose camera launch.

Key Highlights

• Large-format RGBW sensor with larger photo-sites and up to 16 stops of dynamic range
• Designed for both digital film production and SMPTE-2110 live production
• Interchangeable PL, LPL, EF, and optional B4 lens mounts
• Built-in networking, cloud sync, proxy workflows, and high-speed internal media architecture
• Advanced Blackmagic RAW workflow with strong post-production integration
• Built-in monitoring, assist station, professional I/O, and rugged production-ready design
• High frame rate capability and strong resolution flexibility across multiple shooting formats

ATEM 4 M/E Constellation IP

ATEM Constellation IP is Blackmagic’s push to bring familiar ATEM live production power into a fully SMPTE-2110 native design that is ready for hybrid SDI and IP workflows.

The biggest takeaway here is that Blackmagic is not abandoning the ATEM Constellation feature set that made these switchers so attractive in the first place. Instead, it is rebuilding the platform around native SMPTE-2110 while preserving the live production tools that users already rely on: DVEs, advanced chroma keyers, media players, multi-view outputs, SuperSource, and classic program/preview switching workflows.

That matters because it lowers the friction for teams moving from SDI-based switching into IP. They do not have to learn an entirely new production philosophy just because the underlying transport changes. At the same time, ATEM Constellation IP adds what modern high-end live environments need: fully redundant SMPTE-2022-7 protected connections, standards conversion on every input, re-synchronization, and the ability to mix traditional 12G-SDI and IP video through Blackmagic’s related infrastructure tools such as the SDI Expander 8x12G, StudioBridge 10G PWR, and Ethernet Switch 820.

The standards conversion point is especially important. In theory, IP environments are supposed to be neat and standardized. In reality, live production often is not. Blackmagic is addressing that directly by making sure each input can be normalized and stabilized automatically, which is a major real-world advantage when different sources do not arrive perfectly aligned or in the same standard.

Operationally, these switchers are clearly aimed at serious broadcast environments. The new design includes front-to-back cooling, redundant control and PTP Ethernet ports, front-panel monitoring options, and more robust hardware engineering than smaller switchers aimed at lighter streaming work. At the same time, the platform still preserves ATEM’s broad control ecosystem, including the free software control panel, ATEM Advanced Panels, ATEM Camera Control Panel support, and macro/automation workflows.

Key Highlights

• Fully SMPTE-2110 native switcher family with redundant IP video workflows
• SMPTE-2022-7 protected video connectivity and additional redundancy for control/PTP
• Dedicated standards conversion and re-sync on every input
• Hybrid workflow potential with 12G-SDI expansion and 10G/100G IP infrastructure support
• Built-in DVEs, chroma keyers, media players, SuperSource, and customizable multi-views
• Familiar ATEM program/preview workflow and broad hardware/software control options
• No ongoing license fees or locked premium features

HyperDeck ISO Recorder 100G

The HyperDeck ISO Recorder 100G is built for a very specific and increasingly important role in live production: recording multiple camera feeds directly to shared network storage for live replay, post-event editing, and faster collaborative workflows.

Blackmagic is positioning this as more than a recorder. It is a core part of a replay and post workflow. By recording up to eight camera feeds simultaneously as ProRes files directly to network storage, the HyperDeck ISO Recorder 100G allows multiple systems to access the same media while recording is still happening. That is a meaningful change in workflow because it removes the wait between capture and editorial access. For sports, live events, and multicam productions, that means teams can cut highlights, perform replay, and prepare edits much faster.

Blackmagic is also leaning heavily into the DaVinci Resolve replay angle. The recorder feeds shared storage, while Resolve can display all ISO recordings in a multiview interface, letting operators scrub angles, select shots, and send replay to air. That is a compelling lower-cost replay path for teams that want more flexibility without stepping into legacy replay systems that are often much more expensive and less integrated with finishing workflows.

Technically, the HyperDeck ISO Recorder 100G is designed with redundancy in mind. It uses dual 100G Ethernet for SMPTE-2110 IP video redundancy and dual 100G connections for network storage redundancy. Even the control and PTP paths are backed up. That tells you exactly who this product is for: broadcasters and production teams who cannot afford dropped frames, broken record paths, or fragile infrastructure during a live event.

Blackmagic has also kept the human interface grounded in familiar broadcast deck operation. The front panel includes a machined metal search dial with electronic clutch, traditional transport controls, built-in monitoring tools, front headphone access, and speaker output. That physical control model matters in live environments because operators often need reliable tactile access rather than menu-heavy interaction when production pressure is high.

Key Highlights

• Records up to eight camera feeds at once directly to network storage
• Designed for shared-storage workflows, replay, and fast editorial access
• Integrates tightly with DaVinci Resolve for live replay and highlight building
• Dual 100G Ethernet for SMPTE-2110 video redundancy and network storage redundancy
• Supports ProRes recording for broad post-production compatibility
• Traditional deck-style transport controls with premium search dial and front-panel monitoring
• Powered by Blackmagic OS for fast networking and strong system-level management