CreativeGrading vs CyanCamera App

With Grass Valley's new Creative Grading, the Focus and LDX camera series just unleashed their full potential. Creative Grading is a new camera shading control panel and tablet application that redefines the human interface and puts the user in full control of the creative power that lives inside Grass Valley cameras. Using either or both a tablet and an intensively-tested new control panel, Creative Grading transforms camera shading from what was numeric on/off thinking to a holistic view of organic curves and color shaping. For ease in visualization, the larger UI of the tablet application provides a graphical representation of the impact of parameter changes. Artistic decision-making is much simpler and faster as shaders can see how a single change affects related sets of parameters in a system-wide view of how the on-screen image will be modified. This keeps shaders in full control, regardless of the situation and provides the camera operator with the most optimal working conditions for the task.

Your phone becomes a numbered camera on your CyanView gateway, shaded live from the same RCP your team already uses on every other camera in the show. CyanCamera is a broadcast camera, not a companion app. Once it appears on the gateway, your shader operates it from the panel exactly as they operate any of the 210+ camera models CyanView already controls. Same panel, same workflow, same look. REMOTE CONTROL FROM THE RCP ISO, shutter, iris, exposure compensation, white balance, focus and zoom all respond to the RCP over the REMI protocol. Custom buttons switch lenses, toggle the look, start recording, switch the stream between RTP and SRT and nudge the bit rate. Red, green and call tally light a border around the picture. REMI Cloud connects the phone to an RCP over the internet, so a contributor on location is shaded from the control room. Auto exposure can be fenced inside an ISO and shutter window, like a limited AGC on a broadcast camera. CAPTURE Record in HEVC 8-bit or 10-bit, or ProRes 422 on ProRes-capable iPhones, in Rec.709, P3 D65, Rec.2020 HLG, Apple Log or Apple Log 2 on supported devices. Presets run from 23.98 to 60 fps in 1080p and 4K, plus 120 and 240 fps where the device offers them, with the sensor clock pinned to the exact fractional cadence. Record to the photo library, an external SSD or any folder in Files. GENLOCK AND TIMECODE With the Blackmagic Camera ProDock, genlock and LTC timecode arrive on BNC and lock the phone to house sync, so the feed cuts frame-accurately against every other source in the show. Recordings carry a timecode track. Without genlock, a PoE Ethernet-to-USB-C dongle powers the phone and gives it a wired network in one cable. LIVE COLOR SHADING A GPU color engine runs entirely on the device, a faithful port of the CyanView multimatrix. Lift, gamma and gain, master saturation and hue, a 16-vector multimatrix and gate/select respond in real time as the shader moves the panel. Everything bakes into a 3D LUT, applied to the monitor, recording or stream independently, so what you see is what the feed carries. STUDIO LUT IMPORT Build a look in CyanView Studio or any grading suite, export it as a .cube, and load it as your base, whether a log conversion or a finished show look. It chains underneath the live grade. Apple Log to Rec.709 conversions ship in the app, and Studio can push a LUT live over the network. SCOPES RGB parade, RGB histogram and vectorscope, built in and running on the GPU, plus an audio meter. No external hardware required. STREAMING RTP for ultra low latency monitoring and contribution on the local network, or SRT for reliable delivery across the internet in caller or listener mode, with passphrase encryption and AAC audio. H.264 or H.265 from 4 to 35 Mbps or any value you type. Bit rate changes live without restarting the stream. Stream 1080p240 over RTP to FXVP for live slow motion replay. HDMI OUTPUT Route the feed to a monitor, capture device or switcher through a USB-C adapter, in Rec.709, HLG or Apple Log 2 at up to 10 bits, with the look baked in or, on iOS 27, straight from the sensor at the exact preset cadence with SMPTE ancillary metadata for the lowest latency. WHERE IT FITS Extra angles a full-size camera cannot reach. Remote contributors on location. Second-unit and behind-the-scenes coverage that cuts cleanly against the main cameras. Multiple phones streaming RTP into an FXVP Quad come out as four genlocked SDI feeds. REQUIREMENTS Remote control and live shading require a CyanView RCP. Capture, grading, scopes, streaming and HDMI output run standalone. Genlock and timecode require a Blackmagic Camera ProDock. Apple Log 2 requires iOS 26. Broadcast HDMI and iris control require iOS 27 and compatible hardware.