NAB 2009: The Report

3D Topic #1

The main topics of any trade show are often the people and things that aren’t there or are just around the corner. This was certainly the case at the 2009 edition of the National Association of Broadcasters convention, which was held last month in Las Vegas. There were fewer people there than in recent years, 84,000, a drop of some twenty percent but most people saw that as a positive because waiting lines everywhere were noticeably shorter and the people who attended were serious about doing business. Red, which didn’t exhibit for economic reasons, still was a main topic and was a presence in numerous booths. As it has for the past two years stereoscopic 3D once again dominated most conversations and many exhibits at the show. The fact that progress has clearly been made in the ongoing development of 4K technology was discussed. And there was also the hologram.

No technology event is successful without a glimpse of the future and NAB 2009 did not disappoint.

Japan’s National Institute of Information and Communications Technology has developed a wireless communication system prototype for the dynamic spectrum sharing. In other words, a hologram. Their stated goal is this: “With your finger, you can move images appearing in the air, that seem real, although nothing is there.”

Their prototype “Floating Touch Display,” which was in a nondescript booth in the middle of the audio hall had the following components, as described in their promotional literature: “an optical device developed at NICT, which is laid down horizontally; an infrared touch panel (without its glass face) placed above the optical device; and a flat LCD screen placed below the optical device. The floating image of the LCD screen appears in the plane of the touch panel, where the user can 'touch' it. By sensing the position and movement of the fingers, the floating image can be operated as if the user really touched it. Although there is no sensation of actual touch, the resulting experience is compelling.”

The demonstration was very rough; the technology to create the small, dark image filled a room. But it was nevertheless exhilarating to see an object slightly larger than a golf ball converted into a realistic image floating in space. The NICT sees many possible uses for their display technology and they have a stated goal of creating a floating image size equivalent to a human body in three years.

Business

Down economies often lead companies to partner and merge with other companies as a way of maximizing their efforts.

Silicon Imaging, the developer of the award winning SI-2K Digital Cinema camera and Stereo 3D recording systems, has named Burbank-based Band Pro Film and Digital to be its exclusive distributor in the United States and Latin America.

“We’re very excited about our newest strategic partnership to expand our sales and service for the SI-2K Cinema Cameras,” says Ari Presler, CEO of Silicon Imaging. “The recent success of the Oscar-winning Slumdog Millionaire has opened up new doors and increased demand for our digital acquisition technology. Band Pro will brings their wealth of experience outfitting digital cinema production equipment and will provide best-in-class technical support, education and service to our growing base of TV and film production clients. Their Burbank and New York facilities are centrally located for access to studios and post production facilities leading the digital acquisition and file-based workflow transition.”

The SI-2K camera system offers unprecedented image quality, modularity and instant editing. It offers up to 11 f-stop dynamic range, a Mini remote head for handheld or stereo-3D shooting and Iridas Speedgrade embedded for 3D-LUT and live green screen keying visualization. It records direct-to-disk in 12-bit uncompressed or encoded to CineformRAW AVI or Quicktime files. These files can be immediately placed on the Apple Final Cut timeline and edited with real-time playback without the need for format conversions or proxies.  

According to Michael Bravin, chief technologist at Band Pro, "The DigiPrimes and DigiZooms provide the SI-2K imager with a clean, high contrast, low flare image, resulting in a spectacular picture and unequaled performance, especially in low light levels and backlit scenes."

“Band Pro has been a leader in bringing high end digital acquisition technology to the market and it was only natural for us to form a relationship with Silicon Imaging,” says Band Pro owner Amnon Band. “The new form of capture and workflow is the next big step in cine technology and Band Pro will, as always, put our usual high standards of technological and educational resources behind every SI-2K camera package.”

Codex Digital announced that it has signed a reseller agreement with Media Distributors to sell Codex Digital’s range of HD 2K 3D 4K field recording products to production and post-production customers from its offices across the U.S., and will also integrate Codex systems into recently-launched archive and asset management systems.

Under the terms of the agreement, Media Distributors will also bundle Codex Digital high-resolution field recorders with its own remote post-production systems, which are marketed under Media Distributor’s Rental Station banner. 


“We have a tremendous level of interest in high-resolution image workflow from a growing number of clients, and Codex Digital products have set a new benchmark for high-end media management,” says Richard Myerson, president of Media Distributors. “Codex Digital complements our product and service strategy, and is a key element in satisfying the most demanding high-resolution workflow needs for today’s film and video professionals.”
  


“Media Distributors is a well-known, well-respected service business, with a vigorous attitude towards sales and the expertise to deliver genuine workflow benefits to customers in production and post,” says Codex Digital co-founder Paul Bamborough. “Like Codex, they know that production won’t be forever on tape or film, but more importantly they also know how to take digital production to new levels of ease, speed and efficiency by removing the workflow roadblocks.”

Avid unveiled a number of new integrations with third parties, designed to give customers more infrastructure and format flexibility within their broadcast and post production workflows. Omneon, Panasonic, Sony and Red were among the companies that demonstrated new workflow integrations with Avid at the show.  The company says this collaborative development is part of the Avid’s ongoing commitment to provide open solutions that work with a majority of third-party formats, plug-ins and technologies, ultimately placing greater flexibility and choice in customers’ hands.

Arri announced that it has entered into a Letter of Intent to develop and sell a new Texture Control software tool for digital intermediate and mastering facilities. Powered by Pixel Strings, a GPU-based motion estimation engine developed by Cinnafilm, this toolset adds interactive control of grain and noise levels to the creative palette. The software is designed to run on a dedicated workstation with Fibre Channel or Gbit Ethernet connections to a DI facility’s Storage Area Network (SAN), dramatically extending the capabilities of the DI suite.

This software brings interactive manipulation of image texture to the DI process, with motion-compensated grain and noise reduction technology. With the tool, the cinematographer can now control image texture, mixing and matching the grain of film and digital media in an integrated and fully visualized DI environment.

“Arri is excited about the opportunity to bring these powerful, interactive tools to the DI suite,” says Glenn Kennel, chief technology officer for Arri. “This adds a new dimension to the colorist’s toolset.”

“As an entrepreneur, I am excited to introduce this product after nearly six years of very hard work. As an engineer and independent filmmaker, I couldn’t dream of a better, more established partner than Arri to bring this technology into the postproduction market,” says Lance Maurer, CEO and founder of Cinnafilm.

Cinnafilm and Digital Film Central, a digital intermediate facility in Vancouver, California, originally developed this technology. As a film mastering facility, DFC had developed a host of image processing applications over the years. This led to the development of ways to remove grain from film images, while retaining detail. Their initial success with the service led to the opportunity to create a product, and Cinnafilm provided the software development on the GPU-enabled Pixel Strings platform.

“We needed a major industry player to help us take this to market. Since it’s about image quality, Arri was the perfect partner,” says Curtis Staples, CEO of Digital Film Central.

Quantel and Spatial View announced that the companies have entered into a strategic partnership agreement the goal of which is to make it easier and more cost-effective for content creators of any size to accelerate 3D development projects. The first partnership project will be a plug-in that enables Stereo3D material produced on Quantel systems to be displayed on a wide variety of Spatial View devices, including 3D displays, computer screens, and the iPhone 3G, without the need for 3D glasses.

Quantel's Stereo3D technology, as used in movie productions such as Disney's Hannah Montana concert movie, has enabled the industry to handle the post-production of live action, high resolution Stereo3D media in manageable timescales. Spatial View is a developer of autostereoscopic 3D image processing and display technologies that enable glasses-free presentation of 3D-rich content for key markets, including retail/POS, digital signage, professional design, gaming, entertainment and animation. Spatial View's latest product, the Wazabee 3DeeShell, enables 3D content to be viewed on the iPhone 3G, glasses-free.

"We are pleased to partner with Quantel to enhance their leading content creation system with our advanced 3D display technology," says Brad Casemore, vice president of business development at Spatial View. "With at least 14 3D films scheduled for release this year, 40 expected to be released over the next three years and industry anticipation that 70 percent of film admissions will be in 3D by 2010, this timely partnership is set to benefit production studios as they ramp up these 3D productions. Additionally, content creators will now have a 3D solution that can be viewed across multiple distribution platforms, from display screens to the iPhone 3G."

"How Stereo3D gets delivered is a real issue for many of the people we are talking to," says Steve Owen, Quantel director of marketing. "Spatial View provides an innovative range of solutions that both bypass and complement the traditional broadcast delivery chain. It's all about getting great stereo in front of as many people as possible as quickly as possible. Our partnership with Spatial View will help to achieve this and drive this exciting new business area."

Technology – Production

In the last Report we named what we thought were the Top Products of NAB 2009. To recap, they included the Silicon Imaging SI-3D camera, the Avid Media Composer and Symphony v3.5 editing package, the JVC GD-463D10 3D monitor, the Gefen AV Cinema Scaler Pro I and II, and the Petrol Inflatable Airline Bag.

Here are other technology highlights from the show.

JVC unveiled the GY-HM100 camcorder, the industry's first professional hand-held model to record files directly to solid state media in the native format of Apple's Final Cut Pro editing system, allowing recorded material to be edited directly from solid state memory cards, dramatically reducing the amount of time required to edit programs together.

The GY-HM100 weighs 3.1 pounds and shooters will find the small size convenient for work in environments where larger cameras would be impractical, while producing HD material.

“The GY-HM100 will appeal to a broad segment of the market,” said Craig Yanagi, manager, marketing and brand strategy at JVC. “Because of its high picture quality – especially at 35Mbps – and under $4,000 price tag, budget conscious producers will choose it as their primary camera. However, JVC also sees a significant number of production companies and broadcasters who will use it as a secondary camera to complement their higher end gear.”

The GY-HM100 records at 1080p, 720p and 1080i on affordable and widely available SDHC Class 6 memory cards. It has three progressive scan CCDs, a newly designed 1080p digital signal processor, and JVC’s proprietary 35Mbps MPEG2 encoder. Additionally, the GY-HM100 can record 720p (19/35Mbps) and 1080i (25Mbps) in SP mode.

JVC worked very closely with Fujinon to develop a 10:1 Zoom HD Lens for the GY-HM100, which features three aspheric elements that produce less distortion, ghosting, and flare. A new electronic beam coating minimizes the stray light reflecting off the lens surfaces and further improves light transmission. A flip-in cover is integrated into the lens hood, eliminating the need for an external cap. JVC wanted the GY-HM100 to be very easy to use, so they added their patented Focus Assist, yet retained the manual capabilities desired by professional shooters, including the ability to set iris, and shoot close-ups in the macro mode.

The GY-HM100 boasts tapeless recording to dual SDHC Class 6 memory cards, allowing up to 64GB of on board storage – enough for up to six hours of continuous HD recording.

Workflow through post is streamlined by the GY-HM100, which incorporates JVC’s Native File Recording technology that stores video in the ready-to-edit format used by Apple’s Final Cut Pro. The “.mov” files created in-camera can be dragged onto the NLE timeline without conversion or rewrapping. The camera also stores files in the .MP4 format used by Sony's XDCAM EX, compatible with all major non-linear editing systems.

The GY-HM100 is immediately available with a suggested list price of $3,995.

Another highlight for JVC was the GY-HM700 camera, which records directly to inexpensive SDHC memory cards in the QuickTime (.MOV) format for Final Cut Pro, and optionally to SxS media compatible with Sony's XDCam EX format. Recording in the editing system's native format eliminates the time-consuming transfer step and dramatically speeds up the post-production workflow, a major breakthrough for JVC and the industry. Additionally, the GY-HM700 includes a number of key technology innovations that result in significantly improved resolution in the camera's core components: CCD/optical block, lens, and viewfinder.

“Our new generation of ProHD products brings together the most highly regarded and proven technologies in the industry, and the GY-HM700 will have broad appeal,” says Yanagi. “It's an ideal camera for electronic news gathering, documentary production, or mainstream television production. Because of its extremely low media cost, it will have special appeal on projects with high shooting ratios. A documentary producer will now be able to shoot hundreds of hours of footage on a single project without off-loading the material to a hard disk or other storage medium.”

The GY-HM700 natively records the QuickTime file format used by Apple for Final Cut Pro. There is no need to convert or rewrap files prior to editing. Post-production can begin immediately after shooting. It is even possible to edit directly from the memory card. Since no transfer or re-encoding takes place, first generation quality is always maintained.

Additionally, the GY-HM700 is the industry's first shoulder supported ENG camcorder to store files on inexpensive SDHC memory cards. The camera provides two memory card slots, for a total of up to 64GB of on-board storage—enough for more than six hours of continuous HD recording. The camera automatically begins recording on the second card when the first card fills up. When the second card fills up, the camera reverts to recording to the first card slot, allowing for virtually unlimited recording time.

JVC is offering the GY-HM700 in two basic configurations, the GY-HM700U, which records only on SDHC cards, and the GY-HM700UXT, which records to both SxS memory and SDHC cards simultaneously. The base model can be upgraded by adding the SxS adapter later. With the SxS adapter installed, the camera can record in the XDCAM EX .MP4 format onto either or both SxS memory and SDHC memory.  It is also possible to split formats and record .MP4 to the SxS card while recording .MOV to the SDHC memory card. Having two copies instantaneously available provides more versatility in the field with the assurance of always having a back up.

One of the big improvements featured with the GY-HM700 is the new LCOS viewfinder. With 1.22 megapixels, it offers the highest resolution JVC has ever provided in a viewfinder.  This new all-digital viewfinder displays images with more than five times the resolution of typical color viewfinders. Its sturdy reinforced die-cast aluminum chassis and LED light source ensure years of trouble-free operation.

JVC has also increased the size of the flip-out LCD monitor to 4.3 inches. This jumbo size monitor functions for recording, playback, clip management, and menu operation. Menu operation is intuitive with a single disk, outlined by an LED lamp.

The GY-HM700 base model is immediately available with a Fujinon 17:1 lens and will be available with the Canon 14:1 in June 2009 at a manufacturer’s suggested price of $7,995. The GY-HM700UXT, which includes the KA-MR100G SxS Media Recorder is available at a manufacturer’s suggested price of $8,995.

JVC also demonstrated the prototype of its KY-F4000 real-time 4K camera. Live 60p images from the KY-F4000 were displayed on JVC’s new 56-inch LCD panel with 4K resolution. The camera features a single 1.25-inch CMOS image sensor of 3840 x 2160 pixels, capable of producing live images with four times the resolution of full HD. Other 4K cameras on the market, such as Red and Arri, are primarily used for cinema applications, which makes the KY-F4000 a better choice for applications that require live signal output.

The KY-F4000 will be available in April 2010, priced under $200,000.

OConnor announced an upgrade to its workhorse Ultimate 2575 Fluid Head, the new D model. Improvements include ergonomic changes to controls and more pan-bar mounting points. The 2575D retains the counterbalance specifications and other characteristics that contributed to the popularity of its predecessor, the C.

Camera operators will find that the relocation of all controls on the platform to the operator's side (left) provide easier adjustment. The 2575D’s one-touch platform release lever allows for one finger or hand action to undo the safety catch and open the lever, which speeds deployment and location changes in the field.

All current 2575C accessories are interchangeable with the 2575D.

Sony unveiled what it called the next generation of digital 24P technology, the SRW-9000 HDCam SR camcorder. Designed for television, commercial and motion picture production, the new model combines the format’s image quality with the versatility of a one-piece camcorder.

The full HD (1920 x 1080) resolution camcorder uses 2/3-inch CCDs with a 14-bit A/D converter and digital signal processing to capture up to 1080/60P images with a high level of detail. In standard configuration, the camcorder is capable of 4:2:2 10-bit recording at 1080/23.98P, 24P, 25P, 29.97P, and 1080/50i/59.94i. It can also record 4:2:2 1080/50P/59.94P.

“The HDCam SR format is proven in the most demanding digital cinematography applications,” says Rob Willox, director of marketing, Sony Electronics’ content creation group. “Applying that legacy into a compact one-piece body design adds more flexibility to location work and is more ‘Steadicam-friendly’ as a B-camera complement to the F23. This mobile and cost-effective acquisition tool can further expand the use of HDCam SR technology to a much broader audience.”

A range of option cards is available for additional performance and features. The HKSR-9001 option board adds dual-link HD-SDI outputs and an extra AUX input port for connectivity to an external audio multiplexing device.

A picture cache board (HKSR-9002) will allow the camcorder to capture and record images with variable speed (SR Motion capability) from 1 to 60 fps.  It also allows the camcorder to continuously record up to three seconds of video while the camcorder is in stand-by mode. When the record button is pushed, the stored images are recorded to HDCam SR tape and the camcorder can continue recording in real time.

With the optional HKSR-9003 RGB 4:4:4 processing board, the camcorder offers full-bandwidth digital 4:4:4 high-definition RGB recording and output capability. The option also offers S-LOG Gamma, which is essentially a “digital negative,” allowing users to flexibly tailor their images during post-production in the same way they would in a film-based workflow.

The SRW-9000 HDCam SR camcorder is planned to be available in December, with suggested list pricing to be announced.

Sony also featured new additions to the XDCam HD422 Series of optical disc products. Designed for motion picture and TV episodic production, and for ENG/EFP applications, the new PDW-F800 CineAlta camcorder and PDW-F1600 deck expand the capabilities of the MPEG HD422 codec, with both offering a frame rate of 23.98P natively in 1080 mode and multi-format recording flexibility as standard – including standard-definition recording to support legacy formats (MPEG IMX, DVCam and 4:2:0 HD content). They also provide multi-format (1080i/720P) recording, as well as HD/SD conversion and cross-conversion during playback between 1080i and 720P.

“The HD422 version of XDCam technology responded to customers’ requests for features like 50Mbps recording and 2/3-inch CCDs,” says Wayne Zuchowski, group-marketing manager for XDCam products at Sony Electronics. “These newest products offer cinematographers, broadcasters and video professionals an expanded toolkit of digital production options.”

The PDW-F800 adds variable frame rate recording for slow and quick motion capabilities, also commonly known as over-cranking and under-cranking. This is a critical feature for cinematographers and directors of photography who need the flexibility of changing frame rates to create unique looks for their productions or to create special effects.  The ability to shoot at slower or faster frame rates than playback delivers high-quality motion effects. These effects can be played back and viewed in the camera so any creative adjustments can be made immediately on site.

The camcorder uses three of Sony’s new 2/3-inch Power HAD FX progressive CCDs that can produce a resolution of 1920 by 1080 effective pixels.

The camcorder also delivers four-channel 24-bit audio recording. An image inverter feature enables the camera to be used with cinema lens adaptors, and a variety of gamma settings include HyperGamma and user-selectable gamma curves. A focus assist bar-graph display is visible on the camera’s viewfinder, and users can record proxy data to USB removable media to make transferring data easier and faster, especially in the field or on location between the camera and a PC or editing system, for example.

The PDW-F1600 XDCam HD422 recording deck builds upon the features of the PDW-HD1500 model and can be used for file-based recording in studio and field operations. A Gigabit Ethernet data drive can write any flash memory file format from any codec onto the optical disc media, and files can then be previewed using a web browser, transferred over IT networks and easily archived and accessed by multiple people simultaneously.

The new deck adds an insert/assemble editing capability that allows it to operate as a recorder in a linear editing system – just like a conventional VTR.

It delivers eight-channel, 24-bit audio recording, and has a dual optical pick-up for higher-speed file transfer. A 4.3-inch (viewable area measured diagonally) color LCD display and built-in speakers are incorporated, and the unit can be battery-operated or used with AC and DC power sources.

The PDW-F800 camcorder and PDW-F1600 deck are both expected to be available in June at suggested list prices of $41,990 for the PDW-F800 and $27,990 for the PDW-F1600.

Panasonic announced it is developing a professional 3D full HD production system and exhibited concept models of the new system, which included a twin-lens P2 professional camera recorder and a 3D-compatible high definition plasma display.

Panasonic also announced that it has expanded its professional AVCCam line with the introduction of a more compact, lighter handheld camcorder – the AG-HMC40. Weighing less than 2.2 pounds, the new AVCCam camcorder offers full HD 3MOS imagers, high-resolution 10.6-megapixal still photo capture, 12X optical zoom and high-quality, solid-state AVCHD recording on widely-available SD cards.

The HMC40 is an AVCHD format based camcorder that uses MPEG-4 AVC/H.264 high profile encoding, which provides a near doubling of bandwidth efficiency and improved video performance over the older MPEG-2 compression formats (e.g. HDV, DVD etc.).

The HMC40 produces 1920x1080 HD images and captures still images with 10.6-megapixel resolution directly onto the SD card as a JPEG image. The handheld offers a 12X optical zoom (includes 2X, 5X, 10X) and professional image functions like Dynamic Range Stretch that helps compensate for wide variations in lighting, and a Cine-Like Gamma mode, which gives recordings a more film-like aesthetic.

The HD camcorder records in all four professional AVCCAM recording modes, including the high-quality PH mode (average 21 Mbps/Max 24Mbps), the HA mode (approx.17 Mbps), the HG mode (approx.13 Mbps) and the extended recording HE mode (approx. 6 Mbps). It supports 1080/59.94i (in all modes) and 1080/29.97p, 1080/23.98p native, 720/59.94p, 720/29.97p, and 720/23.98p native (in PH mode only).

Using just one 32GB SDHC memory card, a user can record three hours of full resolution 1920x1080 video and audio in PH mode, four hours at HA mode and 5.3 hours at HG mode. In the HE mode, the camera can record up to 12 hours of 1440x1080 HD content – all on a single 32GB SDHC card.

The HMC40 will be available in August at a suggested list price of $3,195.

In what was one of the more jaw-dropping exhibits at NAB, introduced what it calls the evolutionary next step in HDTV imaging: the HJ14ex4.3B wide-angle portable HDTV lens. With almost no perceptible wide-angle distortions the lens actually captures a wider vista than the normal eye can.

The lens features a minimum focal length of 4.3mm and an angular field of view of 96.3 degrees at the wide end of the 16:9 HDTV aspect ratio. This optical performance is combined with a 14x zoom range reaching to 60mm (120mm with extender), which greatly expands creative options for the acquisition of crystal-clear, and virtually distortion-free HDTV video images.

“We believe the HJ14 to be the world’s widest-angle lens in the professional realm of 2/3-inch lenses,” says Larry Thorpe, national marketing executive, broadcast and communications division, Canon U.S.A., “The HJ14 responds to many creative suggestions received over the years from HJ11 users worldwide. Canon applied its R&D efforts on the HJ14 in three ways. One was to make this new lens even wider, while simultaneously making further reductions in chromatic aberrations and geometric distortion. The second was to increase its focal range. The third was to expand the contrast range and minimize optical artifacts caused by strong light sources. These are extremely challenging goals from a design point of view, but Canon succeeded magnificently in all respects, and preliminary user reports are tremendously encouraging. Demand for portable HDTV lenses for cameras with 2/3-inch imagers continues to increase, year by year. Using its highly successful HJ11 as its starting point, Canon has made a great lens even better with its new HJ14ex4.3B wide-angle portable HDTV lens.”

“Based on our initial feedback from early users, anticipation is quite high in the industry for this new-generation wide-angle portable HDTV lens,” Thorpe says. “I firmly believe that Canon’s new HJ14ex4.3B will set a new industry standard of optical excellence for wide, long-zoom portable HD lens performance combined with unprecedented image clarity, sharpness, and operational advantages that will further enhance the HD video reproduction of the many superb new 2/3-inch cameras and camcorders that have recently entered into the marketplace.”

Gamma & Density announced that its 3cP on-set color correction system for cinematographers has been upgraded with new capabilities and will be now be available in a number of different flavors, each with a different set of features. 3cP has entered the field of Red One production and post-production workflow, which makes the promise of .r3d camera raw file handling, on-set color correction, and on-set dailies generation a reality. Gamma & Density and Da Vinci Systems have established a way to exhchange color information via the ASC CDL and Red camera raw files. The company says that 3cP has been used on about 25 motion pictures and TV series.

Petrol introduced the Petrol Red Bag (PRB-15), a camera carrier specifically designed to transport and protect the Red One digital camera.

The Red Bag’s dual directional upside down zippers open smoothly for quick and easy access to the smartly designed interior. Inside, a removable upper tray with detachable dividers provides the perfect place to stash the Red One’s essential accessories. Rugged nylon handgrips on either side of the tray allow for easy removal and carrying. Underneath, the Red One fits comfortably in the bag’s lower padded compartment. When a panel is removed from the upper accessory tray, the camera can be stored without disturbing the viewfinder. An adjustable nylon strap holds the camera firmly and safely in place. Four detachable padded dividers help secure the compartment’s contents and form pockets for additional storage.

The PRB-15 comes equipped with a separate fabric sleeve to hold the Red One’s steel support rods. With the rods inside, the sleeve stores neatly against the lower chamber’s middle divider. An external envelope-style pocket keeps important documents close at hand. Additional features include an internal envelope-style pocket of clear plastic mesh, Petrol’s built-in, smooth-gliding wheel and tote assembly, Griplock interlocking top carrying handle, and a padded shoulder strap.

Petrol’s exclusive thermoformed panels of cold-molded laminate and injection-molded polypropylene legs safeguard the bottom of the bag from dirt or water. The exterior is constructed of black ballistic nylon and Cordura.

The Petrol Red Bag (PRB-15) is available for $499.

Petrol also introduced the Petrol PRC-RED-1 Raincover especially designed to provide environmental protection for a fully equipped Red One camera.

Comprised extensively of clear polyurethane for maximum visibility, the new transparent Raincover offers quick and easy access to all camera features. What’s more, it is roomy enough to enable working with the camera’s high-resolution Red LCD monitor on board. Petrol’s smart one-piece design makes the PRC-Red-1 easy to install while shooting.

The Petrol PRC-RED-1 Transparent Raincover is available now for $199.

Sachtler debuted the artemis EFP HD SE camera stabilizing system, designed to work with the Red One camera. The EFP HD SE was designed and engineered in Germany, following the same philosophy as the entire artemis stabilizing line.

Two key features of the system are the 15 Amp high capacity camera power supply and new Hot Swap technology. Because of these innovations, the artemis EFP HD SE is well-suited for pairing with the Red One and other state-of-the-art HD cameras. In addition to the standard 3-pin camera power out, 3-pin Aux power and 4-pin focus power out sockets, there is an extra new camera power-out, using the same Lemo 2B 6-pin socket and wiring scheme as the Red One. The new HiCap high capacity power supply allows the artemis EFP HD SE to handle 14V, 15 Amps, at 210 Watts, without any problem.

When the artemis EFP HD SE system is used with 14 Volts and up to 11 Amp / 154 Watts, the voltage drop is less than four percent, far superior to other brands of stabilizers. When shooting with the Red One camera using the Red Brick 140WH battery pack, the operator is guaranteed maximum run time and optimum battery capacity. The voltage drop of this combination is less than four percent. Plus, battery capacity data is displayed in the eyepiece of the Red One when a Red Brick or other battery supporting capacity data is used.

The artemis EFP HD SE provides camera power Hot Swap technology made by Anton/Bauer. Users are free to change the batteries of the rig without rebooting the camera. The special circuit made by Anton/Bauer ensures easy and problem free hot swap procedures, and is friendly to the batteries. Regardless of the camera used, this Hot Swap capability can save valuable production time.

The artemis EFP HD SE supports HD SDI video processing up to 4.5 GHz. Fully modular, artemis is the only stabilizing system on the market offering such versatility. The HQ HD SDI video line allows the use of the Transvideo CineMonitor HD six-inch SBL. With a built-in waveform monitor, a digital bubble, and free adjustable frame-lines, the operator has maximum control.

The modular artemis EFP HD SE system includes the ACT 2 vest and ACT 2 spring arm. The ACT 2 vest features seven segments, which can be freely positioned to provide the ideal fit for the operator's shoulder, chest and hip areas.

"Decades of experience and a close working relationships with operators have helped us optimize carrying comfort at the body's most sensitive load-bearing points," says Curt O. Schaller, artemis developer and a long-time operator.

Sachtler also introduced the Cine 7+7 HD fluid head. This 100mm system offers a host of cine-style features including a front pan bar. With a payload range of 4.4 to 48.5 pounds (2-22 kilograms) the new head aptly supports a variety of packages from HDV camcorders to full-sized cameras loaded with accessories. Yet, at just 7.3 pounds (3.3 kilograms), the location-ready Cine 7+7 HD is one of the lightest weight heads in its class.

The new Cine 7+7 HD fluid head is equipped with a convenient side load clamp for the camera plate. The 6-inch (150mm) wide displacement area of the camera plate offers the advantage of easy, lateral loading of the head via the pre-mounted camera set-up. Busy operators will appreciate that the Cine 7+7 HD brake lever and swivel arm are uniquely engineered employing a dual compound molding procedure to promote a sure grip, significantly minimizing the risk of slipping.

The Cine 7+7 HD fluid head is suited for a variety of HDV, HD and film productions. Thanks to a 16-step counterbalance and Sachtler multiple contact switching, camera balancing is quick and safe. According to Robert Zierer, product manager for Sachtler “The lightweight Cine 7+7 HD offers Sachtler-quality in the 100mm size. Thus, it is an attractive alternative to 150mm heads when using smaller film and HD cameras.”

The Cine 7+7 HD is available in five complete systems when matched with different types of tripods.

Technology – Post-Production

Doremi announced the introduction of its latest contribution in 3D technology with the new GXH-3D product.  This compact, 3D encoder/decoder enables 2D equipment to work with 3D content.  The company says the GHX-3D is a simple, economic way for post houses to expand their 3D capabilities with existing playback hardware.

The GHX-3D encodes two separate left and right eye streams into a single 2D stream that can be recorded on a standard 2D tape machine or video server.  Then, the single encoded stream is fed into the GHX-3D, which will generate a 3D stream to feed a variety of 3D display devices.  The 3D stream is generated in several ways including two separate SDI links (left eye and right eye), one SDI, HDMI or DVI stream using Side by Side, Checkerboard and other standard 3D formats.
Additionally, in conjunction with Doremi’s Asset Manager software, 3D content can be generated from image sequences to convert Doremi’s Nugget and V1-UHD hardware into 3D playback devices.  This creates options for live events, theme parks, museums and other presentation venues.

Avid has qualified Apple Final Cut Pro editing systems to run on Avid Unity MediaNetwork and ISIS shared storage systems.  Post facilities, broadcasters and other media content creation organizations using Final Cut Pro can now take advantage of the shared storage and collaborative workflow capabilities of Avid Unity and ISIS, and benefit from simultaneously running Avid and Final Cut Pro editing solutions on the same shared storage system. These newly supported and tested workflows will enable customers to centralize storage on a single solution, streamline operations and cost-effectively manage production workflows.

Mark Overington, vice president of video product management at Avid, says, “We’ve really stepped up our game to give customers more choice when it comes to building out best-of-breed, fluid workflows that meet their specific business needs.  Today’s announcement is just one example of how Avid continues to make significant strides by extending the openness and interoperability of our applications and systems.”

Optimus, a commercial production and post-production facility with offices in Chicago and Santa Monica, is currently migrating 12 Symphony Nitris systems and 15 Media Composer Nitris DX systems that are configured to run Final Cut Pro via dual boot, and connected on a 96TB Avid Unity ISIS system.  Previously, Optimus’ Final Cut Pro systems used only local storage.

“Having a centralized system where teams can share media, regardless of which editing platforms they are using, not only creates a smoother workflow for our editors, but also frees our clients from having to choose technology over creative talent.  With ISIS, producers don’t have issues trying to schedule a suite at a certain time to get access to an editor who prefers to work on a particular editing system because the media is accessible from anywhere within the facility,” says Knox McCormac, director of operations at Optimus.  “ISIS is also very robust and easy to maintain, so we do not have to worry about diminishing our clients experience as a result of technology limitations. Adding a new editing system, re-allocating storage capacity or even repairing drives is transparent to editors and clients. ISIS allows our staff to keep the focus where it should be – on the project.”

Edius 5.1, the latest version of the Grass Valley Edius multi-format/multi-resolution nonlinear editing software package, now includes tighter integration with the Grass Valley Aurora digital production workflow, as well as a variety of new features designed to help users improve productivity and get the most from their investment, whether working in standard-definition or high-definition.

Professional editors using the Aurora platform can now take advantage of the editing toolset found in Edius as well, thanks to a new optional upgrade. This new functionality gives Aurora users the ability to utilize a MediaFrame database workflow, import Aurora Edit EDLs into an Edius workstation, edit or read MPEG Long-GOP VMF content, export completed programs into multiple servers for playout, view NRCS scripts, and create an Aurora “Smart Bin” directly from the Edius user interface.

“The Grass Valley Edius editing package has been very popular with customers due to its cost-effective toolset that provides users with the ability to create long-form projects with ease,” says Jeff Rosica, senior vice president of Grass Valley. “These new features extend this ease of use into broader environments that make use of an expanded list of file types. We’re also making the new features of Edius 5.1 available to fast-paced news editing environments through our Aurora Edit system.”

Edius 5.1 is available for the list price of $799, and is a free update for existing Edius 5 users.

Grass Valley also introduced a new conform/render server that allows editors to be more productive when working in a K2 shared storage area network environment and using Grass Valley Aurora 7.0 and Edius 5.1 high-definition editing workstations. The new PC server is ideal for fast-paced, multi-client production environments developing a wide variety of content from multiple SD and HD sources.

The new Grass Valley Edius XRE (eXternal Rendering Engine) server comes as a turnkey system and lets editors request that a project created with Edius systems in an Aurora or K2 Production Storage environment be rendered automatically on a separate dedicated workstation while they go on to the next job. There’s no delay or tying up a valuable edit station while having to wait for that project to be rendered. Serving as a unique and powerful conform server, the Edius XRE accepts the various full-resolution project elements and, by selecting “XRE export” on the Edius timeline, immediately and automatically creates finished files in the background while the editors go on to the next project.

“The new Grass Valley Edius XRE server reduces the time-consuming step of having to wait for edits and effects to be rendered from a multi-format timeline into a single format,” says Rosica. “Our goal with all of our editing products is to make creative teams as productive as they can be. The Edius XRE server streamlines the multi-format editing process and allows professionals to gain more value from their Grass Valley editing systems.”

The new Grass Valley Edius XRE server will be available in June 2009 and is priced at $15,000

Da Vinci Systems announced that Burbank, California-based Modern VideoFilm has upgraded to the Resolve R-3D stereoscopic digital enhancement suite. With two Da Vinci R-3D systems, Modern VideoFilm now has the capability to color grade nonlinear 3D files in real time, a significant advantage for entering the rapidly expanding 3D entertainment market.

"Our upgrade to the Resolve R-3D system has allowed us to take a significant leap forward in the level of service we can provide," says Mark Smirnoff, president of Modern VideoFilm. "We've benefited greatly from the speed and ease of use that R-3D offers us. Some of the new features in particular — such as the C.O.R.E. processing, the 3D look-up tables, and the ability to playout video live for video deliverables — have proven to be big time savers for our staff. The ability to color grade in real time in 3D with simultaneous left eye/right eye has been a significant benefit to both our colorists and customers."

Modern VideoFilm has used the R-3D systems to complete work on three major feature films. The company plans to complete other projects on the R-3D this year, as well.

Da Vinci also announced that post-production house Rushes has integrated a da Vinci Splice 2K nonlinear color grading system into its Los Angeles-based facility. Splice 2K's direct integration with da Vinci's 2K Plus system enables Rushes to provide its customers with a nonlinear, file-based workflow without compromising on the premium color grading for which the company is known.

"Splice's nonlinear workflow and the wide range of supported file formats give us a head start in anticipating and addressing the ongoing media evolution," says Ron Kirk, president of Rushes. "The way that people want to access their entertainment — whether via gaming consoles, the Internet, or even mobile devices — is changing continually. Yet their expectations of quality are not. With Splice, we're able to take a leap to the next level of color grading with a nonlinear, data-based workflow that is adapted to the evolving media formats. We're confident that Splice will help us to provide a higher level of service to our existing clients while also providing us with a pathway to new customers and markets. It was a forward-thinking addition to our arsenal of tools."

"Rushes is a long-time leader in film-to-tape color correction. It's a natural evolution for the company to step into the next generation of nonlinear color grading," says Dean Lyon, Da Vinci's vice president of marketing. "As their bridge to the future, Splice extends the life and capabilities of Rushes' 2K Plus investment while also providing a clear upgrade path to our Resolve R-series."

Digital Film Technology uneileved the Scanity film scanner, which is designed to serve a variety of scanning applications, including dailies, feature film mastering, archive and restoration, short-form, commercials, as well as digital intermediate scanning.

The Scanity 4K uses time delay integration line sensor technology. The system also features a precision roller gate that the company says is unique to the Scanity, which is designed to offer unparalleled smooth and safe film handling, even with fragile, shrunken and legacy film stocks.  On 35mm 4-perf film, Scanity offers 4K scanning at up to 15 fps


Integrated and dedicated spatial image processing manages the scaling and formatting before the material is stored on local or centralized storage.  A local touch-screen and a dedicated workstation allow users to control the scanner, perform image quality checks, adjust a variety of technical settings, and manage data within the attached local or SAN storage system.  

“Our new Scanity offers a multitude of unique and first-to-market features that provide users with cutting edge technology that address the challenges that many facilities are facing,” says Stefan Kramper, Digital Film Technology managing director.  “With its speed, versatility, stability and safe film handling, users can improve their ROI, enhance productivity, and serve their markets with a solution that reproduces the pristine quality of film and image quality they require.”

At the show DFT announced that Sony Pictures Technologies has committed to the Scanity for various data workflows.  

“Our goal has been to identify a high quality, efficient, flexible, and cost-effective solution that will offer us the ability to scan content once and support many workflows.  Scanity will help us facilitate the creative process and maximize the value of our content in a timely fashion,” says Chris Cookson, president of Sony Pictures Technologies at Sony Pictures Entertainment.

“We are delighted that Sony Pictures Technologies has shown its commitment to our new Scanity film scanner, and we are confident that our scanning technology will provide a comprehensive range of options for streamlining their workflows,“ says Kramper.

Digital Video Systems showed several new features for its flagship product Clipster, allowing for an extended range of applications in post-production, film and broadcast markets. Among these is support for real-time workflows of Red material using special DVS hardware acceleration.

DVS’s new real-time Red workflow is designed to dramatically accelerate post-production finishing. RAW data generated by the Red camera can be directly displayed, edited in the timeline and played out in parallel in 4K.

Bernhard Reitz, head of product management at DVS says, "We have worked closely with Red to provide this revolutionary workflow with Clipster. By processing full quality 4K 12 bit Red material in real time with our hardware acceleration, our customers can dramatically increase their productivity and flexibly organize their workflows and content."

EditShare announced a technology partnership with Assimilate to combine EditShare’s shared storage solutions with Assimilate’s Scratch digital process system to enable real-time DPX and Red 4K workflows across DI and non-DI post-production equipment.

"For many years EditShare has been at the forefront of Network Attached Storage solutions for popular post-production tools from Adobe, Apple, Avid and more. With the introduction of digital cameras such as the Red One Digital 4K Camera providing stunning performance, there is now a significant move toward DI workflows. The EditShare XStream is a key component in enabling DI production pipelines to be fully integrated and tapeless from acquisition to finishing," says Andy Liebman, CEO and founder, EditShare. "EditShare will guarantee the real-time performance and image quality while facilitating cross workflow media sharing with non-DI applications and systems, freeing facilities from bringing work into digital and putting it back to tape."

"Scratch includes a rich tool set of cost-effective real-time post tools – conform, construct, color grading, and finishing – which have made it a key enabler in the migration to digital intermediate pipelines by post-production houses for many years now. While Scratch is resolution independent, it's ideal for tapeless workflows at digital 2K and 4K," says Jeff Edson, CEO, Assimilate. "Combined with EditShare Xstream DI storage, users will experience a seamless, extremely efficient workflow that can greatly increase productivity."

Technology – Distribution & Display


JVC unveiled a large full HD 3D LCD monitor for professional use. The GD-463D10, slated for release in July 2009, is 46-inch large and 1-1/2 inches (39mm) thin and uses JVC’s 3D visual engine to deliver a natural, flicker-free visual experience.  JVC plans to produce 2,000 units of the GD-463D10 a year for the global market. 

The GD-463D10 provides flicker-free 3D images by adopting the Xpol polarizing filter method and battery-free passive-type circular polarizing filter glasses. Video input is compatible with industry standard line-by-line and side-by-side 3D formats. JVC’s unique 3D decoder circuit translates images into the optimal Xpol display format and demonstrates the ability to accommodate subtle gradations and shades of color.



NAB was the first public appearance for Civolution since its spin-off from Philips last October. At the show Civolution featured its range of products designed for the forensic tracking of media assets in pre-release, digital cinema, PayTV and online, together with its combined broadcast and internet media intelligence services and monetization solutions.
 

“We are proud to be debuting as Civolution at NAB at a time when the media and entertainment industry is undergoing a profound transformation. Media assets are being distributed electronically and freely to all parts of the world and to date, attempts to control them have proven difficult, expensive and resulted in alienating consumers, limiting access and destabilizing revenues,” says Alex Terpstra, CEO of Civolution. “The industry now needs content identification technology and services, which have evolved from the ‘tool of protection’ to become the ‘enabler of monetization’. Civolution’s portfolio enables innovative new business models that allow all players in the content value chain to collaborate and maximize the value of their media assets.”



Civolution is already working with motion picture studios, music labels, news organizations, network and syndicated TV programmers, sports rights holders, advertisers and corporate communicators to better manage and generate new revenues from their assets. Its technology, product and service portfolio offers a new and comprehensive approach for content owners, producers and distributors, helping them to identify, manage and monetize media assets.
  
At the heart of Civolution’s portfolio of products and services are the technologies of watermarking and fingerprinting.

Typically, watermarking and fingerprinting play complementary roles to suit a broad range of applications: forensic tracking, anti-piracy, copyright communication, broadcast monitoring, internet monitoring, asset management, content filtering, internet site re-directing, metadata linking, targeted advertisement, content monetization, interactive triggering and much more. 


Christie introduced what it says is the world’s first LED-based SXGA+ and WUXGA resolution projection display system, purpose built for control room and videowall applications.  The new Christie Entero LED is a pioneering, LED-illuminated, 1-chip DLP product line. The LEDs are rated at more than 50,000 hours– over five years of dependable operation.  With no consumable components such as lamps, filters or color wheels to replace, the Christie Entero LED delivers the ultimate in uninterrupted, 24/7 performance for exceptional reliability and low cost of ownership. 
  

“The new Christie Entero line of LED-based rear projection modules has no equal in the industry for long life and dependability.  They are as close to ‘worry free’ as you can get in a videowall display solution,” says Jim Gavloski, director of product management at Christie.  “It marks a major new development in reliable, high-performance videowall solutions that are easier to maintain and more economical to operate.” 
 


With 600 ANSI lumens of brightness, the Christie Entero LED projection engine is capable of illuminating Christie’s 50-inch, 67-inch and 72-inch display cube platforms.  In addition, these cube platforms feature superior cross prism optical screen technology for higher brightness and wider angles of view. Sealed optics eliminate the need for dust filters, while innovative heat pipe cooling technology minimizes audible noise.
 

Arri www.arri.com
Avid www.avid.com
Band Pro Film & Digital www.bandpro.com
Canon www.usa.canon.com
Christie www.christiedigital.com
Cinnafilm www.cinnafilm.com
Civolution www.civolution.com
Codex Digital www.codexdigital.com
Digital Film Central www.digitalfilmcentral.com
Digital Film Technology www.dft-film.com
Doremi www.doremilabs.com
EditShare www.editshare.com
Gamma & Density www.gammadensity.com
Grass Valley www.grassvalley.com
JVC www.jvc.com
NICT www.nict.go.jp
Panasonic www.panasonic.com/broadcast
Quantel www.quantel.com
Rushes www.rushes.tv
Sachtler www.sachtler.us.
Sony Pictures Technologies www.sonypictures.com
Spatial View www.spatialview.com
Vitec Group www.vitecgroup.com