The Top Ten Products of NAB 2010

Submitted by Nick Dager on Fri, 04/30/2010 – 15:29.

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This year’s National Association of Broadcasters convention was held last month in Las Vegas and there were literally thousands of new products on display. We’ll have a complete overview of the show in the next Report. Meanwhile here are the products we believe were the Top Ten Products of NAB 2010.

1. ARRI Alexa Camera

One of the undisputed hits of this National Association of Broadcasters exhibition was ARRI’s introduction of the Alexa. The camera is compact, ergonomic and lightweight and uses a new Super 35 format sensor that delivers a base sensitivity of EI 800, low noise and a dynamic range of 13.5 stops. ARRI Imaging Technology captures organic, film-like images unlike any digital camera, with natural color rendition and pleasing skin tones.

The Dual Gain Architecture design of Alexa’s CMOS sensor ensures the same wide exposure latitude across a range of sensitivity from EI 200 to EI 1600. This creates opportunities in post-production, where it is easier and faster to get the most out of the rich, captured images. Good detail in both highlight and shadow areas as well as a very low noise level help the colorist to reduce time, effort and thus, cost in grading.

Completely new to ARRI cameras is the ability to record QuickTime files containing Apple ProRes encoded images onto on-board SxS memory cards. Alexa’s internal recorder encodes ProRes 422 (HQ) or ProRes 444 images, along with audio, metadata and Final Cut Pro XML files. These files load directly into FCP for editing, coloring and finishing work. Furthermore, the extremely high quality of Apple’s ProRes 422 (HQ) and ProRes 4444 codecs means that the edited result can be immediately distributed.

To protect the investment in Alexa and to expand the filmmaker’s options when shooting, three major components of the camera are specifically designed to allow an easy upgrade path. First, taking into account the rapid rate of change in storage technologies, the module that holds the memory cards is removable. Should another recording technology prove more desirable in the future, this module can be easily replaced with other storage modules. Second, the camera electronics, which comprise the whole right side of the camera, can also be removed and replaced by upgraded electronics with advanced features. Last, but not least, the Exchangeable Lens Mount system allows the use of PL as well as Panavision, Canon or Nikon lenses.

The Alexa camera will be available in June with a starting price of 45,000 Euros.

2. Panasonic AG-3DA1 3D Camera

The world is clearly embracing stereoscopic 3D production and with that in mind Panasonic showcased its new AG-3DA1, which the company claims is the world’s first professional quality, fully integrated full HD 3D camcorder offering SD media card recording.

At less than 6.6 pounds, the AG-3DA1 is equipped with dual lenses and two 1/4.1-inch full 1920 x 1080 2.07-megapixel 3-MOS imagers to record 1080/60i, 50i, 30p, 25p and 24p (native) and 720/60p and 50p in AVCHD. It can record for up to 180 minutes on dual 32GB SD cards in Panasonic’s professional AVCHD PH mode, and offers professional interfaces including dual HD-SDI out, HDMI (version 1.4), two XLR connectors, built-in stereo microphone and twin-lens camera remotes. It is also equipped with remote terminal for focus iris, zoom, REC start/stop and convergence point. Its 3.2-inch LCD screen provides the option to switch from Left, Right or overlay image display.

The twin-lens system adopted in the camcorder’s optical section allows the convergence point to be adjusted. Functions for automatically correcting horizontal and vertical displacement are also provided.  Conventional 3D camera systems require these adjustments to be made by means of a PC or an external video processor. This new camcorder, however, will automatically recalibrate without any need for external equipment, allowing immediate 3D image capture.

Customers can reserve their AG-3DA1 camcorder (list price: $21,000) by placing a non-refundable $1,000 deposit with Panasonic.

3. Sony SRW-9000PL Camcorder

Sony unveiled the newest addition to its CineAlta line: the SRW-9000PL camcorder. The new model expands the capabilities of Sony’s previously announced SRW-9000, adding a 35mm imager and PL mount to increase its flexibility and offer shooters more image creation options.

“Demand for digital shooting with a 35mm size sensor is rising for both motion picture and prime-time TV drama productions, two areas where our F35 has had great success,” says Chris Marchitelli, senior manager of CineAlta and production systems at Sony Electronics. “This new model’s S35mm one-chip CCD sensor and PL lens mount are similar to the F35, so it combines the SR portability of the 9000 with the high-end optics of the F35, giving DPs an incredibly powerful and versatile tool for creating any ‘look’ they need.”

Both the SRW-9000 and the SRW-9000PL will be available with an upgrade path to Sony’s high-speed memory recording system. In addition, Sony will also offer a
35mm upgrade kit (HKSR-90PL) for the SRW-9000 2/3 inch imaging system.

The SRW-9000PL camcorder and the HKSR-90PL are planned to be available in the fall, with a suggested list price of approximately $125,000 and $60,000 respectively.

4. FGV Scmidle’s FGV 7D-PL from Band Pro

Canon 7D SLR camera has become one of the hottest tools in HD cinematography and, as evidence of that a number of manufacturers at NAB unveiled accessories for the camera. One standout was FGV Scmidle’s new FGV 7D-PL modification, which is available exclusively from Band Pro.

This versatile cinematography tool is a standard Canon 7D permanently retrofitted with a one-piece lens/sensor/base-mounting element made of rock-solid steel.

The camera’s mirror and optical viewfinder are removed and the original sensor block is rigidly reinstated in connection with the one-piece 3/8-inch threaded steel mounting bracket and PL lens mount, which ensures that all critical elements of the camera move as one. A 3-pin Lemo connection is added to allow start/stop control when using a handgrip system or remote camera controls. This makes the modified 7D ideal for remote rigs, car rigs and cranes/jibs.

The FGV 7D utilizes an APS-C sensor, closely matching the size and depth-of-field characteristics of other single-sensor digital cameras. The new FGV 7D-PL is a professional moviemaking tool that can accept most popular PL lenses.

5. Fujinon 3D Synchronous Control System

Fujinon introduced six new lenses in conjunction with its 3D Synchronous Control System for 3D production. The new lenses feature very high optical and mechanical specifications, along with precise zoom and focus servos.

Lenses that are to be used in tandem for 3D productions must share the same focal length – and during shooting, they must also match zoom and focus position. The Fujinon 3D Synchronous Control System includes the ERD-10A-D01 Zoom controller and HJ-303A-06A Synchronizer/Focus controller, plus two SA-206H cables that provide the interface between the 3D controllers and lenses.

The system synchronizes the left and right lenses so zoom and focus accurately move in unison. 
 
Four new B4 mount lenses are designed for 3D HD productions. Fujinon is also offering two extended definition 3D lenses. The A4X7.5BMD-DNL features a 4X zoom with a focal length of 7.5-30mm, while the A8X12BMD-DNL features a 8X zoom with a focal length of 12-96mm.

Both lenses include a B4 mount. 
 
For optimal usability, these lenses may be used with Fujinon’s 3D Synchronous Control System or third-party controllers for simultaneous zoom and focus control. All 3D products are available for delivery.

6. Dolby PRM-4200 Reference Monitor

Leveraging the imaging work that its digital cinema division has done in the exhibition market, the new Dolby PRM-4200 Professional Reference Monitor delivers the accuracy of previous cathode ray tube monitors with the versatility of flat-panel displays.

The new 42-inch monitor is the world’s first LCD-based video reference display that accurately reveals true and deep black levels with higher contrast across the entire color spectrum, and provides an unprecedented luminance range and level. It uses a backlight comprised of red, green, and blue LEDs that are modulated individually on a frame-by-frame basis. The LCD panel is also modulated in real time as part of the dual-modulation process.

Other key features of the Dolby PRM-4200 Professional Reference Monitor include:
Extended dynamic range—

Dolby says it is the first reference monitor that is capable of displaying the dynamic range that the latest digital cinema cameras can capture and provides the ability to perform cinema color grading without the use of a digital projector.

The new Dolby Professional Reference Monitor is scheduled to be available later this year.

7. JVC IF-2D3D1 Stereoscopic Image Processor

JVC unveiled the IF-2D3D1 Stereoscopic Image Processor, which works as a 2D-to-3D converter and as a 3D L/R mixer for video content producers. Housed in a rugged, 1RU metal cabinet and compatible with a wide range of HD formats, the IF-2D3D1 is designed to help 3D content producers improve their workflow, whether they are converting archived 2D material or shooting original content in 3D.

Using unique JVC algorithms, the IF-2D3D1 converts 2D content to 3D in real time, offering no fewer than four 3D mixed formats (which combine left-eye and right-eye images) for stereo video output on a compatible device: line-by-line, side-by-side-half, above-below, and checkerboard.

JVC is making this 2D-to-3D conversion technology widely available under license. The IF-2D3D1 can also output discrete left and right signals via HD-SDI or HDMI for dual projection or editing. Output can be adjusted for parallax (image displacement) and 3D intensity – both with natural, anaglyph, and sequential viewing modes.

Content creation workflow can also be improved through a variety of additional features. The Scope feature provides a waveform monitor and vector scope for comparing both video streams on a display to ensure the settings for both cameras – such as exposure and white balance – are matched. The Split feature combines the two video streams on one screen with a moveable boundary, allowing instant L/R comparison. And when one of the two cameras has to be positioned upside down (to ensure correct spacing), Rotation makes sure both streams can be viewed the right way up and in sync.

The IF-2D3D1 is available immediately with a suggested list price of $30,000.

8. The Foundry Mari

Leading visual effects software company, The Foundry, in collaboration with Weta Digital has brought to market their internally developed and highly regarded 3D texture painting technology, Mari, which was used by Weta Digital to create many of the scenes in Avatar.

Driven by the texture department at Weta Digital to handle the massively complex, highly detailed look development work demanded of other projects such as Lord of The Rings and King Kong, Mari was designed as a full 3D paint tool with a responsiveness and feature-set that puts even the best dedicated 2D paint systems to shame.

Mari is extremely scalable, coping easily with an obsessive level of detail – literally tens of thousands of textures – quickly and elegantly.

9. Nvidia Quadro Digital Video Pipeline for 3D

Nvidia unveiled its new Quadro Digital Video Pipeline, a turnkey system that dramatically simplifies and accelerates the production of live 3D broadcasts.

With support for both DirectX and OpenGL, software developers and solution integrators are building sophisticated solutions on this flexible platform.

The Nvidia Quadro Digital Video Pipeline fully enables 3D workflows by processing simultaneous right eye and left eye video streams in real-time. Additionally, by pairing this pipeline with Nvidia 3D Vision active shutter glasses, broadcast operators and directors can preview stereo 3D content at full resolution during production.

For post-production of 3D content, video professionals can edit with Adobe Premiere Pro CS5, which is accelerated by Nvidia Quadro GPUs.  A variety of plug-ins for 3D capture, compositing, and encoding enable an integrated workflow. The Quadro Digital Video Pipeline is available now from Nvidia Quadro value added resellers.

10. T-VIPS TVG480 Digital Cinema Gateway

T-VIPS previewed its TVG480 Digital Cinema Gateway for the broadcast and cinema industries. The Digital Cinema Gateway enables the delivery of 2K HD-SDI or 3D left and right eye signals over Gigabit Ethernet links.

Applications of the TVG480 include: digital cinema intermediates production; studio-to-studio media exchange; in-house signal distribution and routing; live event 3D-TV contribution and live 2K digital cinema distribution.
 
T-VIPS was the first to design, launch and deploy JPEG2000-based solutions. The new TVG480 will deliver a wealth of benefits for the digital cinema industry.

“The NAB preview of the T-VIPS TVG480 demonstrates the highest video quality support yet available for IP transport, ensuring that the video industry’s most demanding FX designers, color graders, producers and directors can sign-off digital rushes without having to wait for the delivery of tape,” says Johnny Dolvik, CEO, T-VIPS. “With the advent of the TVG480, T-VIPS has an IP-based video transport solution to meet every requirement of the professional broadcast, cinema and video industries, speeding up workflows and reducing the cost of content contribution and distribution throughout the transport chain.”