New at NABA selection of tools introduced at the 2005
It's that time again! NAB2005 was held from April 16 - 21 in Las Vegas and is the world's largest electronic media show covering the development, delivery and management of professional video and audio content across all mediums. With more than 100,000 media professionals and 1,400 exhibiting companies from 130 countries gathering to network, collaborate and learn, NAB2005 demonstrates the cutting edge of production and postproduction tools. To no surprise, HD was the talk of the town as countless exhibitors introduced their products geared for the HD workflow. With an emphasis on HD and new format HDV, the following is a sampling of innovative products geared for cinematographers at this year's show. Panasonic AG-HVX200Representing a quantum leap in camcorder technology, Panasonic Broadcast introduces the AG-HVX200, the world's first 1080i/ 720p/ 480i multi-format camcorder. Offering flexibility and versatility to video professionals, the AG-HVX200 DVCPRO HD® P2 handheld camcorder provides 1080i and 720p recording with the production-proven image quality of 100 Mbps DVCPRO HD. The AG-HVX200 shoots on a P2 card in 1080/60i, 30p and 24p; in 720/60p, 30p and 24p; and in DVCPRO50, DVCPRO® or DV. By eliminating all moving parts from the camera recording path when shooting on a P2 card, Panasonic has ensured that the AG-HVX200 is extremely reliable and resistant to environmental hazards, such as the shock, vibration, and humidity that threaten camcorders based on mechanical recording transports. The AG-HVX200 inherits many of the functions of the popular, shoulder-mount AJ-HDC27 VariCam® camera, including the exceptional DVCPRO HD quality images, variable frame rates to capture fast-speed and slow-speed action, and a CineGamma™ curve and cine-like color matrix to emulate the look of film. In addition, the AG-HVX200 has a Mini-DV tape recording capability that allows customers to shoot 16:9 images on DV tape and edit with existing workflow. Tailor made for production and postproduction, the DVCPRO HD format offers users cost-effective, proven intra-frame compression, where each frame stands on it own for editing, and its full 4:2:2 color sampling allows the image to hold up under color correction. Additionally, the DVCPRO HD format includes robust uncompressed audio, which is perfect for audio sweetening in postproduction. In addition, established third-party nonlinear editing systems such as Apple, Avid and Canopus are available to work with the AG-HVX200 and DVCPRO HD via the IEEE 1394 interface. For unprecedented mobility and ease of use, the AG-HVX200 uniquely combines a native progressive 16:9 3-CCD high definition imaging system and a HD-quality Leica Dicomar wide-angle zoom lens with a super-smooth, cam-driven manual zoom, focus ring, and aperture dial in a rugged package. On the newly-announced 8GB P2 card, the AG-HVX200 records for 32 minutes in DVCPRO or DV, 20 minutes in 720p/24, 16 minutes in DVCPRO50, and eight minutes in 1080i/60 and 720p/60. The camcorder includes two P2 card slots to permit continuous recording, and the cards are hot swappable to assure non-stop recording. Like VariCam, the AG-HVX200 can capture fast or slow action in 720p at various frame rates. Audio performance is superb with 4-channel non-compressed 48KHz/16-bit digital audio in DVCPRO HD and DVCPRO50 and two channels in DVCPRO and DV. The HVX200 is loaded with system interfaces (including IEEE 1394 and USB 2.0), and professional interfaces including two XLR audio (with +48 volt phantom power) inputs, a component (D4) output, composite in/out, S-video in/out, audio (RCA) in/out, and headphone output. The AG-HVX200 will be available in Fall 2005 at a suggested list price of $5,995. www.Panasonic.com JVC GY-HD100UJVC announces the world's first truly professional, affordable high definition camera recorder with true 24p capture and recording in JVC's ProHD product line-up. ProHD is JVC's approach to its affordable HD solution, which utilizes the HDV™ format adopted by JVC, Sharp, Sony and Canon. JVC's ProHD product line-up features timecode and audio capabilities for professional use. The GY-HD100U is a full resolution HD progressive camera recorder. A result of extensive market interviews since Affordable HD was first announced by JVC, its outstanding performance is exceptional in its price range. Features and ergonomics are optimized for Digital Cinematographic use. The camcorder produces film-like quality high definition recordings, bringing digital cinematography capabilities within practical reach of a wide market segment. Its true 24 frame per second capability enables recordings to be transferred to 16mm or 35mm film with full HD fidelity, without frame rate conversion. The GY-HD100U delivers spectacular quality SD recordings for professionals shooting in either SD or HD. The GY-HD100U utilizes three newly developed 1/3-inch CCD image sensors, each one featuring an array of 1280x720 pixels (approximately 1 mega pixel), with micro lenses. Eliminating the need for image scaling, its native resolution matches that of most HDTV displays. In addition, the GY-HD100U provides real time playback in all major DTV formats, allowing easy conversion of recorded data to other formats while preserving top quality. The camera includes a standard detachable 16x Servo Fujinon HD lens. Other available lens options include a 13x (3.5mm) wide zoom HD lens, a wide-angle converter for the standard 16x lens, and an adapter allowing standard 1/2-inch lenses to be used on the camera. A patented 'focus assist' function highlights detail in the viewfinder to facilitate High Definition focusing. The GY-HD100U has 2 XLR audio inputs and records CD quality digital audio; with independent controls for each channel. The camcorder also features a variety of customizable settings that can be stored on a standard SD memory card, and loaded onto another GY-HD100U, if necessary. In addition to providing HD true progressive 24 P superior quality recordings, the GY-HD100U outputs uncompressed 720/P60 HD, making it ideal for live broadcasting, remote news and POV applications. An optional module converts the uncompressed signal to HD-SDI for use in a variety of user environments. The GY-HD100U's unique compact shoulder design locates camera and viewfinder controls on the left side of the unit. A specially designed Fujinon HD lens provides automatic or manual iris control, with smooth servo zoom and backfocus adjustment. A convenient IEEE1394 interface permits simple, quick connection to an external dual media recording option, a PC or NLE for easy downloading, and editing or archiving. The suggested list price for the GY-HD100U with 16:1 Fujinon Lens is $6,295. Delivery is expected to begin in July 2005. http://pro.jvc.com Kodak Vision2 HD SystemKodak has unveiled a Super 16mm film system designed for cost-effective production of content in either standard- or high-definition television format. The KODAK VISION2 HD System packages a new type of film with advanced hybrid motion imaging processing technology utilizing proprietary Kodak color science. The new system combines KODAK VISION2 HD Color Scan Film 7299 used in conjunction with a KODAK VISION2 HD Digital Processor. The latter is a new postproduction tool used to adjust digital files of scanned film to emulate the imaging characteristics of any current Kodak negative, including grain, contrast and colors. Cinematographers can choose to rate the scan-only film for an exposure index (E.I.) of either 500 or 320. The new film offers an extended dynamic range and broader exposure latitude coupled with the sharpness and fine grain imaging characteristics similar to the 500-speed KODAK VISION2 5218/7218 Color Negative Film. In addition to mimicking the imaging characteristics of different emulsions, the system compensates for under- and over-exposure, as well as for variations in color temperatures. A version of the KODAK Look Manager System can be used as an optional component with this system. The system allows cinematographers to previsualize looks in video space during preproduction, including emulating different filters, lenses, films and postproduction processes. They, in effect, create a recipe that can be shared with other members of the creative team, including the director, camera crew, film lab, dailies timer and the colorist, who will time the program. The recipe for the desired look can be sent to post where it can be quickly and consistently re-created. www.Kodak.com
Apple Final Cut StudioApple® unveils Final Cut® Studio, an HD video production suite that features Final Cut Pro® 5, a major upgrade to the Emmy award-winning editing software for DV, SD, HD and film. Final Cut Studio also includes state-of-the-art tools that complement Final Cut Pro 5 such as Soundtrack® Pro, a revolutionary new audio editing and sound design application that makes video projects sound as good as they look; Motion 2, the world's first real-time motion graphics application with GPU accelerated 32-bit float rendering; and DVD Studio Pro® 4, the first commercially available DVD authoring software that burns high definition DVDs to the latest HD DVD specification. At the heart of Final Cut Studio is Final Cut Pro 5, the top choice of professional editors whether they are working in DV, SD, film, or all major HD formats including HDV, DVCPRO HD and fully uncompressed HD. Native HDV (long GOP MPEG-2) support in Final Cut Pro 5 enables users to edit camera native HDV without generation loss. Powerful new multicam tools let editors cut from up to 128 sources, with simultaneous real-time playback of up to 16 angles at a time, making Final Cut Pro 5 ideal for episodic television, sporting events and concerts. New audio capabilities in Final Cut Pro 5 enable users to capture up to 24 simultaneous audio channels at high-quality 24-bit 96kHz and use audio control surfaces. Soundtrack Pro, a revolutionary new audio editing and sound design application included in Final Cut Studio, features an innovative waveform editor with flexible Action Layers that allow users to instantly re-order, bypass or change any edit, effect or process. Intelligent Find-and-Fix features quickly identify and repair common audio problems. An integrated multitrack mixer allows editors to apply common effects to multiple tracks and group common tracks using busses. Motion 2, the latest version of Apple's groundbreaking, real-time motion graphics software, enables Final Cut Pro editors to add incredible motion graphics to their projects, whether they are working in DV, SD, HD or film. Motion 2 is the world's first motion graphics software with GPU accelerated 32-bit float rendering for true film quality output. Replicator, a unique new automated design tool lets editors easily animate any number of duplicated movies or graphics along user defined grids and patterns. DVD Studio Pro 4, Final Cut Studio's professional DVD authoring program, is the first commercially available DVD authoring software that lets users burn their HD projects to high definition DVDs based on the latest HD DVD specification. DVD Studio Pro 4 will be demonstrated at NAB with a prototype consumer HD DVD player from Toshiba set to debut later this year. www.apple.com/finalcutstudio ARRI Professional Accessories for Video CamerasARRI introduces professional accessories for video cameras. Since video cameras often lack in their professional design of accessories, ARRI decided to develop a line of video accessories, which adopt proven technology and concepts, which evolved over many years of experience and fine-tuning: Studio Matte Box MB-20The MB-20 is a flexible, compact wide-angle matte box designed for film and video cameras. Its design is based around the 5.65 x 5.65 filter, which works well for HD wide-angles. It accepts HD zooms, primes and wide-angle cine lenses up to 14 mm. It is the first "totally-modular" concept matte box allowing for both full studio-swingaway and clip-on use. Mounting options: 15mm or 19mm support rods, lightweight rods or clip-on. Studio Follow Focus FF-5HDThe FF-5HD follow focus system has a longer arm and lower gear ratio for video or cine lenses with small diameter barrel and/or compressed focus scales. It fits on lightweight rods or with an adapter on 15mm or 19mm support rods. FF5-HD can be used with all ARRI focus gears-also with Canon and Fujinon video zooms. It is the only video follow focus with a snap-on lightweight support bridge. The FF5-HD is not compatible with the FF-4 and FF-3 studio bridges, but its new-dedicated bridges can be used without tools and removing parts. Wireless Remote System - Video CameraThis wireless remote control for lens and camera is based on the proven concept of the ARRI Wireless Remote System. It incorporates camcorder start/stop and control of video lens zoom, focus and iris through UMC-3 or ZMU-3. www.ARRI.com Fujinon Precision Focus AssistContinuing its leadership in high-quality image acquisition, Fujinon introduces an expanded lineup of its patented, groundbreaking focus system designed to improve the quality of HDTV image capture in field and studio applications. The latest Fujinon Precision Focus Assist system will be available on the company's XA101x8.9BESM HD zoom, HA22X7.3BRD HD EFP lens, the HA26x6.7ESM HD studio lens, and the HA13x4.5BRD-S28K HD wide-angle lens. Precision Focus Assist is a built-in feature that addresses precise focus issues in HDTV production stemming from the format's shallow depth of focus and the lack of size and resolution in camera viewfinders. This is not an auto focus system, but a focus assist that precisely adjusts the lens for optimum focus. Using this system, a selectable area of the video image is sampled as the focus point. The camera operator can adjust the user selectable point with a roller-ball type of controller, similar to a computer mouse, to position the focus point. The camera operator can then select manual or automatic focus assist. In the manual mode, there are three, colored LED's that assist in achieving optimum focus. When the automatic mode is selected, the Precision Focus Assist system takes control and optimizes the focus, ensuring the captured image will be of the highest possible quality. Additionally, when panning and tilting, the operator can follow the focus point and position it above the object of focus as the camera is moved with the controller. An added benefit of the Precision Focus Assist is that it does not require tight zooming to focus. It performs even on a wide shot. Because the smaller viewfinders on HD cameras lack high-quality resolution, operators often believe they've achieved focus when they haven't. And home viewers with 50" HD screens can easily see slight defocusing of the HDTV image that would not be discernable in standard definition. Remote controls were recently developed to allow video operators within view of a full-screen monitor to tweak the focus by referencing the large-screen monitor, but these systems have not been widely deployed. Fujinon brings the Precision Focus Assist system to the market to address HD focus issues that weren't answered with remote focus systems. www.Fujinon.com Canon Broadcast HDTV Compact Studio Lens DIGI SUPER 22 XSThe DIGI SUPER 22 xs is a totally new innovation in HDTV studio lens design-one that introduces an important new choice of studio system configuration. This XJ22x7.3BIE-D lens embodies a novel new design that anticipates the rapidly growing popularity of portable cameras being deployed for mainstream studio application. It is intended for broadcasters and producers having as their foremost priority a high-performance but cost-effective and compact HDTV studio lens-camera package that can be supported on a modest size pedestal or sturdy tripod system. This low-weight combination is also ideal for robotic system applications. The XJ22x7.3BIE-D is a high-end optical system squarely based upon classic studio lens design principles but carefully constrained to a physical size and weight commensurate with that of contemporary portable production cameras (that typically weigh in at about 15lbs). The more severe physical constraints of portable EFP/ENG design did not apply to this lens. Instead, a wide 105mm input optical port and novel new optical design has produced a high sensitivity, high contrast, and optimized uniformity of brightness across the image plane that is truly impressive for such a compact lens. Weighing in at 13.4 lbs (about twice that of an HD portable lens) the lens is still only a quarter the weight of a typical HD studio box lens. www.CanonBroadcast.com Chrosziel Mattebox for Sony HDVNow 16x9 Inc. and Alfred Chrosziel bring shading solutions and filtering effects to HDV. The new HDV Mattebox is created especially for use with Sony's HVR-Z1U and HDR-FX1 camcorders. This professional mattebox system is loaded with the benefits cinematographers have come to expect from Alfred Chrosziel. The true 16:9 housing design covers both 16:9 and 4:3. Features include a filterstage for 2 filterholders (one 4x4 rotating and one 4x4/4x5.650 fixed), full-size French flag, 16:9 insert mask, and 110-72mm screw-in adapter ring. For a secure mount, the mattebox comes equipped with center bracket and 1ightweight support rods. Chrosziel's efficient design includes many new operating advantages. The HDV Mattebox is compatible with both wide and tele attachments. Dual pivot mechanisms are integrated into the housing for more cost efficient use of side wings. The system's articulating French flag can be teamed with optional side wings for precise manipulation of light. Protection against flair and loss of contrast is provided by the 16:9 insert mask. A one-sided quick-lock mechanism anchors both sides of the system with a simple twist of a knob. Truncated filterholders offer clearance for the camcorder's microphone. To get authentic cine-style feel and function, a new HDV focus gear ring lets operators add Chrosziel's DV Studio rig follow focus. www.16x9inc.com Sony HDCAM & HDCAM SR Switchable VTRSony is expanding its CineAlta™ family of high-end content creation products with the introduction of the SRW-5500 videotape recorder. Switchable between Sony's HDCAM® and HDCAM SR® record formats, the new VTR provides an ideal solution for broadcast and production professionals needing multi-format recording flexibility in one unit, and can be used for play-to-air or server ingest operations. With its ability to simultaneously provide HD and SD output, as well as Digital Betacam® playout, the SRW-5500 further supports Sony's commitment to customers who still have investments in SD technology but also want an effective migration path to HD. The SRW-5500 can record and playback HDCAM and HDCAM SR tapes at 24PsF, 25PsF and 30PsF, as well as 1080/60i, 1080/50i and 720/60P (the HDCAM SR format can record/playback at 720/60P while the HDCAM format can record at 1080i and provide format conversion to playback at 720/60P). The SRW-5500 offers all of the same design characteristics of its successful predecessor. The unit captures content to tape at 440 Mbps at 10-bit depth, (log or linear) using the advanced MPEG 4 Studio Profile compression scheme, which enables virtually loss-less recording. The VTR also records 12 channels of 24-bit uncompressed audio, and features metadata handling, dynamic tracking playback, pre-read, and confidence playback and recording. These standard features along with the additional capabilities offered by the HKSR option set successfully deliver state-of-the-art digital record technology to broadcasting, feature film post production, mastering and archiving, and high end composite effects, with a degree of quality and flexibility never before realized in a single machine. www.sony.com/professional Autodesk Discreet Lustre 2.6Autodesk, Inc. introduces two new products that enable users to more rapidly realize their ideas. Autodesk is introducing Discreet® Lustre® 2.6-the latest version of its industry leading digital color correction system, and the Autodesk® IncineratorTM 1.0 system that is planned to enhance the real-time performance of future Lustre-based products. New to the market, the Incinerator system is an inline cluster of configurable processing units that connect to one or more Lustre stations, boosting system performance and interactivity during digital color grading sessions. The Lustre 2.6 system delivers a host of new features, including additional conform and editorial capabilities. The Incinerator system is ideal for production and post-production environments requiring unparalleled, real-time digital color grading and color correction, such as in the creation of high-end advertising and feature film projects. This technology enables colorists to use multiple complex secondary color correction layers and effects like defocus, in real-time at resolutions as high as 2K. Other computationally intensive effects, such as a bleach bypass, are significantly accelerated. The Incinerator system has a highly flexible, scalable, non-proprietary architecture. Incinerator clusters can be shared between multiple Lustre systems, switched from one online Lustre system to another, used for background rendering, and configured on a node-by-node basis to divert extra processing resources to selected systems. The Lustre system's extensive toolset is employed in digital intermediate, commercials and film restoration workflows. The Lustre system has been used on numerous blockbuster films, including The Polar Express, The Phantom of the Opera and National Treasure. Cineric (New York) used the Lustre system to restore the 1956 classic musical Carousel. The system remedied severe dye fading in the original film and inconsistencies in overall color. On Ford Mustang's "The Legend Lives, Cornfield" television spot, R!OT (Santa Monica) used the Lustre system for final grading and color matching of footage featuring the late actor Steve McQueen. Pixel Farm (Minneapolis) has also used the Lustre system on in-store spots for Best Buy, and Rapala's "X Rap" television spot. Thomson Grass Valley Spirit 2KThomson announces the latest member of its award-winning Spirit film scanning product, the Grass Valley™ Spirit 2K. The Spirit 2K offers realtime film scanning to 10-bit 2K (2048 x 1556) data, and in addition telecine functionality in standard definition (SD) and high definition (HD). Incorporating the latest technology for uncompromised quality, the Spirit 2K provides all tools for working at 2K digital intermediate, including look-up tables, image rotation and the ability to scan VistaVision stock. It also offers options such as the internal six-vector color corrector. It uses true RGB image detection as the Spirit 4K to which it can be easily upgraded on site. The Grass Valley Spirit 2K continues Thomson's legacy of world-class film scanners, including the Spirit DataCine® System which revolutionized top-quality postproduction when it launched in 1996. More important, it also made the digital intermediate process practical, starting with groundbreaking movies like O Brother Where Art Thou and Amélie. Today it is at the heart of the industry, with the three top Oscar contenders in 2005-The Aviator, Collateral, and Vera Drake-all using Spirit scanning. With more than 280 units installed worldwide, the Grass Valley Spirit line (Spirit DataCine + Spirit 4K) is already the industry standard for high-resolution film transfers. The Spirit 2K enhances Thomson's ability to provide turnkey workflows for filmmakers and commercial production professionals. With one of the broadest lines of digital cinematography and post-production technologies available, Grass Valley provides turnkey workflows for filmmakers and commercial production professionals. Our fully integrated, resolution-independent, end-to-end digital approach lets users choose just the right production path to help realize their creative vision. www.ThomsonGrassValley.com |
