Expanding the Blackmagic Ecosystem

In my last post, I started thinking about what a true, end-to-end "Blackmagic Ecosystem" for live events would look like. The idea wouldn't shift from my head, so I went down a bit of a rabbit hole and put together a plan for how Blackmagic could not only improve its current lineup but bridge the gaps into sound and lighting to become the ultimate production powerhouse.

1. Refining the Current Offering

Blackmagic already dominates the middle-ground of production hardware, but a few "quality-of-life" updates would make these tools industry-standard for high-end gigs.

Cameras

• Sensor Matching: It would be a dream to have a "factory-matched" look across the range, removing the need for heavy color correction in post or pre-event setups.
• Built-in Streaming & Wi-Fi: Every camera should have a streaming bridge and robust Wi-Fi connectivity. When cables are impossible or messy, being able to roam with a camera is a game-changer.

ATEM Switchers

• Connectivity: Add Dante! I can't stress this enough. Also, include up/down/cross-converters on everyinput to stop resolution and frame-rate headaches.
• Workflow: Add an official Cue Stack (like lighting consoles have), LUT support per input, and audio delay for all inputs to keep sync tight.
• Advanced Features: Animated DVEs (for smooth transitions), ISO versions of the 4K switchers, and "Scaled Inputs"—the ability to take one 4K source and map virtual shots from it so a single operator can simulate a multi-camera setup.

Infrastructure & Comms

• Comms Node: We need a dedicated Ethernet-based comms node that integrates with the switcher but works even if you aren't tethered to a camera.
• Updates: Bring the Web Presenter up to date with rock-solid stability, and refresh the ATEM Talkback/Fibre converters for the 4K/UHD era.

2. Audio: Finishing the Job

Blackmagic is already halfway there with Fairlight. To take it to the next level:

• Console Compatibility: Allow physical Fairlight consoles to control ATEM audio directly.
• ATEM Stage Box: We need a proper 32-in/32-out stage box to move away from daisy-chaining smaller converters.
• Professional Mixer Features: Fairlight on ATEM should feel like a dedicated digital mixer (like an SQ7), with full FX engines, industry-standard plugin support, and flexible patching.

3. Lighting: The Missing Piece

If Blackmagic moved into lighting, they wouldn't need to make the fixtures—they just need to build the brain.

• Protocol Supremacy: A console that natively speaks ArtNet, sACN, DMX, and etcNET2.
• Professional Programming: Forget two rows of faders; we need a proper encoder-heavy surface, a high-quality built-in visualizer (think WYSIWYG, not a toy), and a full-size programmer.
• The Master Cue Stack: This is the "killer app." Imagine a show where a master cue triggers Lighting, Sound, and Video simultaneously. Perfect for the solo operator running a full production.

Hardware Form Factors

I propose two distinct build philosophies for this ecosystem:

1. Rackmount/Modular: The "Constellation" approach—separate control surfaces and core processing. Ideal for O/B trucks and permanent installs.
2. All-in-One Consoles: The "Television Studio" approach—integrated surface and engine. Perfect for run-and-gun crews, education, and small studios.

Final Thoughts

Blackmagic has already revolutionized how we buy video gear. By bringing audio, lighting, and video into a single, cohesive ecosystem—sharing common protocols and a "Master Cue" philosophy—they could fundamentally change how live events are produced.

I’ve left LED screens and projectors out of this list—we have to leave some room for other companies to stay in business, right?

What do you think? Is a "Blackmagic Lighting Console" a pipe dream, or exactly what the market needs? Have I missed a vital piece of the puzzle? Let me know in the comments below!