» Posts Tagged ‘nab2011’

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To turn the clock back a bit, I planned on doing video coverage of NAB 2011 in Las Vegas this year before scrapping the idea. The tradeshow was covered top-to-bottom by plenty of other sites, but no video was as humorous as this one from the guys at Inspiration Studios (who I’ve covered before): More »

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At this year’s NAB, a number of conferences and seminars were running just outside the show floors. One of the seminars I circled on my list was the Sony Super 35mm Seminar, put on by Vortex Media’s Doug Jensen, and I stopped by briefly only to get pulled away to another event. Sony has now posted the full video of the seminar; if you’re already familiar with both cameras, this likely won’t impart a ton of new information, but if you’d like to sit back and get an overview of both the Sony F3 and Sony FS100, here you go. More »

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When Divergent Media’s Scopebox was released a few years ago, it was a $700 piece of software that was fairly unique at the time: a way to turn any Mac laptop into, well… a box of scopes. Waveforms, vectorscopes, and RGB parades were handy on-set aides, and though similar to Adobe OnLocation (now bundled as part of Premiere Pro), the fact that the forthcoming version 3.0 of the software will drop the price from $700 to $99 makes it a new ball game. More »

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One of the highlights of NAB’s “content theater” screenings was the Single-Chip Camera Evaluation, the result of an exhaustive camera shootout conducted in February by Robert Primes, ASC and a full crew (totaling what was estimated at over 5,000 man- and woman-hours). After seeing the terrific half-hour presentation at Zacuto’s booth, I went back for a second look at the full presentation. While the images — which should be released online in the future — are far more important than the charts, here are some key results from the screening, which featured cameras ranging from the cheapest Canon DSLR to cameras costing hundreds of thousands. More »

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Around the back of RED’s military-themed NAB booth, a 4K screening room was showcasing a film produced specifically for the tradeshow. The RED folks had decided a scant ten days before NAB that they wanted to create a dramatic short to show off their new 5K EPIC camera, and so they wrote, directed, shot, and edited this 9-minute film, entitled “Tattoo,” on an accelerated schedule. Today they posted the short in full; here it is. More »

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I’ve been keen on Redrock Micro’s microRemote powered follow focus system since it was first announced at least year’s NAB. Redrock makes all manner of DSLR accessories, but their suite of follow focus products could be a breakthrough both feature- and price-wise when they make it to the market later this summer. When I visited the Redrock booth the futuristic iPhone controller was on its way down, but it wasn’t the fancy remote I was interested in: it was the $95 wired finger control that I wanted to get my hands on. Here’s a look at the complete device in action from HDSLR Shooter: More »

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As large-sensor cameras at all price points become more prevalent, one of the most limiting factors to the image quality is the native video codec used for compression. Many of us are used to DSLR codecs that may hold up initially, only to fall apart during color correction (some codecs don’t even hold up very well initially, except for viewing on the web). One way to overcome this limitation is to buy a much more expensive camera with superior recording options, like a RED or ARRI ALEXA. Another way to overcome the same codec issue is to pair an external recorder with a cheaper camera. Here’s a roundup of the field recorders I saw on display at NAB. More »

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ikan had one of the more visible booths at NAB thanks to the extremely bright yellow shirts worn by all of their reps, in conjunction with the plethora of LED lights lining the booth. I knew about their DSLR support systems, but I didn’t know that they’ve been expanding into all areas of production equipment, as they were showing off on-camera lights, table-top dollies, bags, and monitors — both of the on-camera variety (their $1k 1024×600 VX7e monitor won a Videomaker best in show award) and the studio kind, with their acquisition of the ultra high-end Cinemáge monitor line. More »

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While I was catching some Zs at NAB, the guys from Next Level Pictures and a number of shooters who have appeared on this site in the past (Vincent Laforet, Jared Abrams, Timur Civan, Tyler Ginter) were off testing the Sony F3′s S-Log firmware upgrade. This is the first time the uncompressed outputs from the F3 were enabled outside the walls of Sony (in this case, they were recording to a Cinedeck), and the footage should demonstrate greater latitude than the default F3 settings. Here’s the test: More »

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I was a bit overwhelmed by all the gear on display at Cinevate’s well-trafficked NAB booth, especially given I don’t have the faintest clue about camera sliders. Better, then, to let the guys at FreshDV walk you through the Simplis DSLR rig, Atlas DSLR slider, new LED lights, and the Cyclops Viewfinder that will, packaged with a Sony monitor, soon join the other EVFs I saw at the show. If you don’t feel a need to keep one eye free, the Cyclops has a unique (and very clear) viewport that immerses you more along the lines of that dude from Star Trek than a traditional one-eye viewfinder. Here’s what they were showing at their booth: More »

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Some have pointed out that many of Final Cut Pro X’s much-lauded new features are not really that “new.” This backlash seems to happen with every Apple product, perhaps out of response to the rapturous reception with which Apple fanboys greet the superlative-laced presentations. In the case of FCP X, the criticism is that FCP X’s list of new features (seen on video) have been around for a while in other editing applications (notably Premiere and Vegas). But a list of features does not an editing program make. It’s not what features you include in a piece of software, it’s how you design them. Read on for some thoughts on intuitive design and a few full resolution screenshots of the new Final Cut Pro X. More »

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I’m not going to go into much detail on Sony’s new F65, which I covered at launch, or the new offerings in the ARRI ALEXA lineup, because cameras that run six figures aren’t exactly the purview of DIY filmmakers (though they’re nice to think about, at least as a rental). Briefly, here’s what I saw at NAB about the latter: the ALEXA has gotten a number of new features, upgrading it to Plus status — 3.5K ARRIRAW codec, 120FPS shooting mode in 2K (which was working fully on the camera I toyed with briefly), and iPad wireless camera control. There are also two new models — the ALEXA M, which separates the camera head from the recording body, and the ALEXA Studio, which has a mechanical shutter, optical viewfinder, and 4:3 sensor with anamorphic de-squeezing. And of course, Sony has their new F3. More »

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It’s hard to describe the sheer enormity of NAB — there are several halls of exhibitors (grouped loosely into categories like Acquisition, Post-Production, Delivery, etc.), and each hall is the size of an entire “normal” tradeshow. While I’ll have some wrap-up thoughts later in the week, now that it’s the final day of NAB I’ve finally figured out that, rather than talking about an individual manufacturer’s entire product lineup, I should group similar products from different companies together in one post and wrap them together with any analysis or firsthand experience I can provide. Up first: electronic viewfinders (EVFs), from Zacuto, Cineroid, SmallHD, LCDVF, and others. More »

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Apple hasn’t posted any official acknowledgement of last night’s demonstrations of Final Cut Pro X on their website, and so everyone on the internet is speculating based on lists of features rather than seeing the presentation. Until Apple gets official with any such announcement, then, the next best thing to an official video is an unofficial (kind of shaky) video of the presentation. In my liveblog of the event I noted, “editors are crazy,” and you’ll see that to be the case based on the overenthusiastic reactions here: More »

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This is a perfect example of why I decided to scrap my own video coverage; NAB is being covered by dozens of camera crews and the minute one interview is over, another one starts. Rather than ask the same questions as the FreshDV crew — who do a great job at NAB every year and has a crew of editors cutting around the clock — let ‘s just take a look at their coverage of the Zacuto booth: More »

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FreshDV checks out the O’Connor booth, where ECC Tools is showing off a Terminator-like 5D rig that includes HD-SDI-output conversion, battery solutions, and is constructed mostly of cheese plates: More »

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I previously mentioned the Lensbaby Composer Pro; here, the dudes from Wide Open Camera take a look at the lens in action. The main difference is the lens can be reangled smoothly, unlike the earlier non-Pro version (which is what I have… ). More »

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The guys from NextWaveDV stop by the Jag35 booth and check out their new Wireless Follow Focus, which starts at $500. They also stop by the D | Focus booth: More »

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SmallHD has announced a new 4.3″ DP4 monitor for $549 (or $749 with their new viewfinder attachment). SmallHD doesn’t have a booth at NAB proper, instead throwing a party nearby; here’s FreshDV with their great annual NAB coverage of the monitor’s launch: More »

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NAB film video dslr HDSLR coverageThe interesting thing about covering an event like NAB in person — especially one that stretches across several halls — is, when you’re on one floor, you don’t really know what’s going on elsewhere. It’s a maze. After missing Band-Pro’s announcement that they will sell Leica lenses bundled with RED EPICs because I couldn’t find the Band-Pro booth in time (it was right after James Cameron’s keynote across the street), I asked one of the RED reps, “hey, what did you guys just announce with Band-Pro?” Since he was stationed at the RED booth and the announcement had just happened at Band-Pro’s, he didn’t know himself. To be fair, it’s not like I was asking Jim Jannard — just the first rep I ran into — but the point is, sometimes the best way to monitor breaking news is to be in the press room connected to the internet, or at least on Twitter — not traipsing the show floor with video gear in tow. It’s no coincidence that I had no updates to share yesterday, as I was too busy lining up video interviews. Thus I’m scratching the video stand-ups and will try to do a better job with show updates throughout the day. Also, if I’m not glad-handing on camera, I think I can be more objective about the products on display. More »