Leading digital content creator builds advanced IP and cloud workflows with Blackmagic Design.
Fremont, CA, USA – Friday, December 12, 2025 – Blackmagic Design today announced that Media Storm, one of China’s leading digital content creators specializing in filmmaking and technology, adopted the Blackmagic URSA Cine 17K 65 and Blackmagic PYXIS 6K digital film cameras. The company has also built a new ST 2110 IP live production system using ATEM Constellation 8K live production switcher, ATEM 2 M/E Advanced Panel 20, Blackmagic 2110 IP Converters, and the DaVinci Resolve Replay solution. On top of that, Media Storm developed a complete end to end production pipeline from acquisition and live streaming to post production using DaVinci Resolve Studio and Blackmagic Cloud for collaborative editing.
From Super 16 to 17K 65mm
Media Storm founder Tim Pan first connected with Blackmagic Design in 2014, when he purchased the original Pocket Cinema Camera. As his very first professional camera, its Super 16 sensor blew him away with its image quality and color science. From there, the Pocket Cinema Camera lineup, URSA Mini series, and now the latest URSA Cine and PYXIS models all found their way into Media Storm’s arsenal one by one.
“In recent years, we’ve used the URSA Mini Pro 12K extensively to film artifacts from the Sanxingdui archaeological site, capture starry skies through telescopes, and record rocket launches at the Wenchang Space Center,” recalled Pan. “The 12K resolution allows us to zoom deeply into the footage to create unique visual perspectives. That creative flexibility is exactly what we’ve always pursued and it’s one of Blackmagic Design’s greatest strengths.”
The team at Media Storm had been eagerly anticipating the arrival of the URSA Cine 17K 65 ever since its release. “The incredible 17K resolution combined with the 65mm sensor delivers an unmatched level of detail and cinematic depth,” said Pan.
“We’re planning to use it for some shows that are a bit, or perhaps a billion bits, different,” he added with a smile. “The 65mm format is perfect for scenes that demand a strong sense of immersion and visual impact, really drawing the audience into the story.”
Pan also noted that the body design of the full frame PYXIS 6K left a strong impression on Media Storm’s cinematographers. “When shooting vertically, the built in screen can serve as a top monitor, and with its numerous mounting points, it’s easy to attach all kinds of accessories. It’s great for both creative, non traditional shooting and live production applications,” he said.
Transition to IP Live Production
Since entering live streaming in 2020, Media Storm had expanded from live commerce to large scale events and outdoor productions. Its live workflow had evolved from HD to UHD at up to 60p, now incorporating multi camera setups, motion graphics, slow motion replay, multichannel audio, and professional sound mixing.
Throughout this evolution, the team integrated various Blackmagic Design live production switchers, including ATEM Mini, ATEM Mini ISO, ATEM Television Studio 4K Pro, and ATEM Constellation 8K, along with ATEM 2 M/E Advanced Panel 20, ATEM Camera Control Panel, HyperDeck Studio 4K Pro broadcast decks, and the Videohub 40×40 12G router. They also used DeckLink 8K Pro, DeckLink Quad 2, and UltraStudio 4K Mini capture and playback devices, and a wide range of converters for video I/O.
In Media Storm’s new live production building, the entire studio layout followed standard broadcast engineering practices, featuring a separate studio, control room, and equipment room, designed to minimize interference between spaces. Combined with access control management, this structure greatly enhanced the security and reliability of live productions. During the initial construction phase, the design team also pre installed multiple audio, video, and network connection points throughout the building, with all cabling centralized in the equipment room. This setup allowed for fast and flexible signal routing regardless of the shooting configuration, eliminating the need to repeatedly lay large amounts of cable.
“Blackmagic ATEM switchers offer powerful camera control through SDI embedded signals, allowing iris, color, and other remote adjustments directly on our cameras,” Pan explained. “The VISCA over IP support added to the ATEM Constellation series lets us control IP PTZ cameras over the network without RS-232/422 cabling.”
Media Storm also utilizes Blackmagic 2110 IP Mini BiDirect 12G SFP converters as ST 2110 IP gateways. “With ST 2110, we can easily transmit low latency, high quality 4K UHD signals over our existing network infrastructure,” Pan said. “The converters’ NMOS support allows us to use third party NMOS management platforms to control and route all 2110 IP devices, achieving seamless interoperability with other ST 2110 audio and video sources.”
“One typical use case is using the 2110 IP converters to deembed 16 channel audio from SDI into ST 2110-30 streams, enabling our sound engineers to mix multichannel audio directly on Dante compatible consoles,” he added. “It’s far more convenient than traditional multichannel audio de embedding solutions.”
Slow Motion Replay and Highlight Production
The live production team also used DaVinci Resolve Studio, DaVinci Resolve Replay Editor, HyperDeck recorders, and Blackmagic Cloud Dock 2 network storage solution to enable slow motion replay and instant highlight editing during live streams.
“Each camera feed is independently recorded to the Cloud Dock 2 via HyperDecks,” Pan explained. “The replay operator can then use the Cut page in DaVinci Resolve to quickly review clips, find the best moments, and insert them into the timeline for playback. The Replay feature supports stinger transitions and simultaneous key/fill output from the video capture and playback device for smooth integration into live broadcasts. The Replay Editor Keyboard further streamlines control, dramatically improving efficiency.”
DaVinci Resolve Collaboration Enhances Post Production Efficiency
Post production for Media Storm’s three major channels, Media Storm, One in a Billion and STORMCREW, was fully handled within DaVinci Resolve Studio.
“DaVinci Resolve’s collaborative workflow offers unmatched efficiency,” said Pan. “Across our three channels, we typically produce more than 15 episodes per month. Editors, colorists, and sound engineers can work on the same project simultaneously. Once the editor finishes the A roll, the colorist can begin grading it, and the mixer can start audio adjustments, even while editing continues. This keeps our turnaround within about two weeks per episode, which would be impossible without Resolve.”
“For our STORMCREW variety show, we often deal with nearly 100 camera angles,” he continued. “Three editors work on different sections simultaneously. Using shared markers, they tag the funniest or most interesting moments, visible to everyone. Each editor cuts their segment on separate timelines, then merges them for final assembly and review. The DaVinci AI Neural Engine enables smooth playback of up to nine 4K tracks, making complex edits seamless.”
Blackmagic Cloud Enables Real Time Cross Border Collaboration
“We often attend overseas product launch events,” Pan said. “Our viewers expect same day coverage, but due to travel schedules and visa constraints, post production can’t always happen on site. With Blackmagic Cloud, we can upload footage shot on iPhones or PYXIS cameras directly from overseas, while our post team in China downloads the proxies and starts editing immediately. The Cloud first uploads proxy files before syncing camera originals, so editors can begin within minutes.”
“For example, during a major tech event last year, the presentation ended at around 3am Beijing time, and by 6am, we had already published our first hands on video. That kind of turnaround was unimaginable before. There’s no more waiting for card transfers or shipping drives. The efficiency gains are enormous,” Pan concluded.
Leading digital content creator builds advanced IP and cloud workflows with Blackmagic Design.
Fremont, CA, USA – Friday, December 12, 2025 – Blackmagic Design today announced that Media Storm, one of China’s leading digital content creators specializing in filmmaking and technology, adopted the Blackmagic URSA Cine 17K 65 and Blackmagic PYXIS 6K digital film cameras. The company has also built a new ST 2110 IP live production system using ATEM Constellation 8K live production switcher, ATEM 2 M/E Advanced Panel 20, Blackmagic 2110 IP Converters, and the DaVinci Resolve Replay solution. On top of that, Media Storm developed a complete end to end production pipeline from acquisition and live streaming to post production using DaVinci Resolve Studio and Blackmagic Cloud for collaborative editing.
From Super 16 to 17K 65mm
Media Storm founder Tim Pan first connected with Blackmagic Design in 2014, when he purchased the original Pocket Cinema Camera. As his very first professional camera, its Super 16 sensor blew him away with its image quality and color science. From there, the Pocket Cinema Camera lineup, URSA Mini series, and now the latest URSA Cine and PYXIS models all found their way into Media Storm’s arsenal one by one.
“In recent years, we’ve used the URSA Mini Pro 12K extensively to film artifacts from the Sanxingdui archaeological site, capture starry skies through telescopes, and record rocket launches at the Wenchang Space Center,” recalled Pan. “The 12K resolution allows us to zoom deeply into the footage to create unique visual perspectives. That creative flexibility is exactly what we’ve always pursued and it’s one of Blackmagic Design’s greatest strengths.”
The team at Media Storm had been eagerly anticipating the arrival of the URSA Cine 17K 65 ever since its release. “The incredible 17K resolution combined with the 65mm sensor delivers an unmatched level of detail and cinematic depth,” said Pan.
“We’re planning to use it for some shows that are a bit, or perhaps a billion bits, different,” he added with a smile. “The 65mm format is perfect for scenes that demand a strong sense of immersion and visual impact, really drawing the audience into the story.”
Pan also noted that the body design of the full frame PYXIS 6K left a strong impression on Media Storm’s cinematographers. “When shooting vertically, the built in screen can serve as a top monitor, and with its numerous mounting points, it’s easy to attach all kinds of accessories. It’s great for both creative, non traditional shooting and live production applications,” he said.
About Blackmagic Design
Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com<<<<.