Blackmagic Design introduced its URSA Mini Pro camera to 12K in 2020 and just about three years later the URSA Mini Pro 12K OLPF was announced this spring. Utilizing a 12K (12,228 x 6480) Super 35mm sensor with 14 stops of dynamic range, you can punch in and still have more than enough resolution.

As I usually do when asked to review a camera, I like to put it through a range of tests. One of my colleagues, Stephen Furry, was instrumental is testing the USRA Mini Pro 12K OLPF with our new Virtual Production Studio’s 3-meter by 8-meter AOTO RM2.33, 4.5 million pixels LED wall. More on that later.

Features
Our review URSA Mini Pro 12K OLPF arrived ready to accept our EF Mount lenses. Coming standard with a PL mount and we not having any PL Mount glass, the EF Mount was an easier option. What makes this camera unique? 

We all know that capturing information on 4K and possibly 6K has become the norm. Some have even flirted with 8K. But shooting in 12K, in Raw, records up to 80MP per frame. While in 12K, you can capture in frame rates of up to 60fps in 12,288 x 6480 and 75fps in 12,288 x 5112; up to 160fps in 8K (8192 x 4320); and up to 240fps in 4K.

A built-in ND Filter wheel is in front of an electronic rolling shutter that saves your footage to either a dual slot CFast 2.0, a dual slot SDXC, or an approved SSD drive using either Constant Quality (Q0, Q1, Q3, or Q5) or Constant Bitrate (5:1, 8:1. 12:1, or 18:1) encoding. You have 8 shooting options in full sensor 12K (12,288 x 6480) at 24p, an additional 8 options in 8K (8192 x 4320) at 24p, and the same number of options in 6K Super 16 (6144 x 3240) and Full Sensor 4K (4096 x 2160).

The left side of the URSA Mini Pro 12K camera feature an on/off switch at the top; controls for the dial menu; ISO, shutter, and white balance; info/data display; media playback and audio level adjustments, as well as two customizable function buttons and a HFR (high frame rate) button that can also be configured as a third function button. 

Opening the four-inch monitor reveals more features – most appearing when the monitor is closed. The rear of the camera features the “MAIN” SDI output (12G) and the right-side features the second SDI outpit (3G) usually reserved for the URSA EVF. 

The URSA Mini Pro 12K OLPF includes all the same features as the URSA Mini Pro 12K with the added high performance optical low pass filter built in for cinematic virtual production needs. It combats moiré, which can occur with interference patterns that you would find with certain fabrics, computer displays or any highly detailed repeating patterns. 

In Use
With the addition of our new 3 meter by 8-meter AOTO RM2.33, 4.5 million pixels LED wall housed in our Virtual Production Studio, we wanted to use the Blackmagic URSA Mini Pro 12K OLPF as the camera that captures the actors in front of our LED wall monitors to see if the resolution would stand up. 

Hollywood uses this technology for “The Mandalorian” and “Picard.” The tripod mounted camera was positioned in front of our AOTO 2.33mm pixel pitch LED wall and compared to the footage of a 4K HDR handheld camera. 

To make sure we were comparing apples with apples, it should be noted that both cameras have a Super 35 sensor, with the handheld capable of filming up to 4K.  Using the Cinema Series Canon CN-E 35mm T1.5 LF lens on both cameras, Stephen Furry, our technician, ran a series of tests to see how both cameras performed. Both cameras worked well when filming at 4K with the LED wall out of focus with a shallow depth of field.  

When focusing on the LED wall, the moiré was apparent, making the footage unusable on the handheld.  Focusing on the LED wall with the Blackmagic URSA Mini Pro 12K, ULPF, the highlights and shadows were unaffected, but unfortunately some subtle waves were found in the midtones.  This was visible with a static video image on the wall, and unnoticeable with a moving image.  

Raising the resolution to 12K and focusing on the wall still produced a subtle moiré.  With the handheld, shooting is best at a T2.8 or wider to keep the wall completely out of focus and keeping the camera farther from the LED wall.  The Blackmagic camera, however, handles a larger depth of field without moiré, keeping the background just slightly out of focus.  

For our use (and the student’s) this is a superior feature. If you’re locked into a very narrow depth of field, that limits your options—something we’ve lived with using the other cameras. The Blackmagic URSA Mini Pro 12K OLPF will allow a larger variety of shots with fewer limitations.

Being the only camera capable of 12K, the popular selling point is the ability to “punch-in” and keep a high resolution.  In the LED volume filming in 12K and “punching-in” by 3x, the image stayed clean losing just a little bit of sharpness, but the LED wall showed no signs of pixelation.  “Punching-in” with any lower resolution, and one can see the pixels behind the subject even when out of focus.  

Overall, the Blackmagic outperforms handheld, giving one the ability to keep all the action in front of the wall in focus, and the flexibility to move the camera towards the wall. This makes it an ideal camera when filming in a small LED volume.

We did notice some other small issues. If using the 6K resolution on the URSA Mini Pro 12K, the sensor is cropped to Super 16 – losing some sensor space. Secondly, the skin tones appeared greenish when the camera and our Virtual Production Studio’s Aputure fixtures were white balanced to the same color temp.  Stephen added magenta into the camera’s white balance to create a pleasing skin tone.

Obviously, we could be shooting everything in RAW. However, when shooting against an LED wall in a learning environment like a university, white balancing the camera with the lights and LCDs is more immediate because of the image on the display monitor.

Application
Anywhere a high-resolution camera is needed. You don’t always need to shoot in 12K unless that specific feature is needed. Knowing it’s there along with 4K and 8K makes the camera far more versatile.

Key Features

• Super 35mm sensor
• Built-in ND filters
• Electronic rolling shutter
• Multiple recording modes including 12-bit RAW
• SDI and HDMI outputs
• Variable frame rates
• Internal and external recording media options, and
• Generation 5 Color Science

Price – Available through Blackmagic Design authorized resellers
Blackmagic URSA Mini Pro 12K & Blackmagic URSA Mini Pro 12K OLPF body
$6,385 street price

I’ve been using our university’s collection of Blackmagic Design’s Pocket Cinema Camera 6Ks for a few years and wanted to see how the lower-priced Pocket Cinema Camera 6K G2 held up to its older sibling. Blackmagic Design dropped the price of the Pocket Cinema Camera 6K in 2020, and then made Pocket Cinema Camera 6K G2 for the same price, but with more features.

Features
The Pocket Cinema Camera 6K G2 is a very solidly built camera—much like a DSLR on steroids. My review unit featured the five-inch tilting LCD touchscreen, three F570 batteries, the Blackmagic Pocket Camera Battery Pro Grip, and the optional electronic viewfinder 

The Super 35 23.1 x 12.99mm HDR Gen 5 CMOS sensor sits behind a Canon EF mount that will accept a multitude of lenses. With recording options in Blackmagic RAW at 6144 x 3456 and 6144 x 2560 at 23.98 through 50fps; 5744 x 3024 from 23.98 to 60fps; 4096 x 2160, 3728 x 3104, and 2868 x 1512 at 23.98 through 29.97fps—you have many options. Within this, you must select your compression level in either Constant Bitrate’s 3:1, 5:1; 8:1; or 12:1; or Constant Quality’s Q0, Q1, Q3, or Q5. ProRes allows 4096 x 2160 and 3840 x 2160 up to 59.94fps and up to 119.88fps if using 1920 x 1080 at HQ, 422, LT or PXY compression. 

The unit can record onto SD media (UHS-11), a CFast card, or and external SSD if the brand is on Blackmagic’s recommended media list. The storage media of choice will appear on the bottom right of the LCD screen.

The top of the camera has a slide on/off power switch, three customizable function keys, and buttons for ISO, Shutter, White Balance, Still Photo Capture and a Record button at the end of the hand grip. While holding the camera to shoot, the left-hand side has covered Microphone and Headphone mini jack inputs; HDMI; USB 3.1 input; 3-pin mini XLR Audio inputs 1 and 2; and the 12-volt DC input. The rear features the Iris and Focus buttons, High Frame Rate (HFR), Zoom, Menu, and Playback. You may also access many of these features on the five-inch tilting 1920 x 1080 LCD Touchscreen. The bottom has two tripod-mounting holes and the battery compartment.

When powered on, the on-screen menu offers tabs for Record, Monitor, Audio, Set-up, Presets, and LUTS—each with several options. Anyone who has used Blackmagic Design cameras in the past will be very familiar with these settings.

The optional accessories I received were the Blackmagic Pocket Cinema Camera Pro EVF which installs easily on the top of the camera and comes with several rubber eyepieces to suit the shooter’s needs, and the Blackmagic Pocket Camera Battery Pro Grip which houses two F570 batteries and mounts into the internal battery compartment with a few other minor adjustments. Both optional accessories are very handy, and I will discuss them in detail later.

Using the latest software update, the built-in gyro sensor allows moving images to be stabilized when shooting in Blackmagic RAW. The software utilizes this data and AI to greatly smooth out your shots. The gyro senses the data and stabilizes the footage in post.

In Use
Having the perfect film project lined up for the Pocket Cinema Camera 6K G2, I wanted to make sure I had indoor, outdoor, and shots that needed to be stabilized. As a big advocate of 6K RAW shooting, I set the camera to 6144 x 2560, 5:1, at 24 fps. 

Using two different Canon EF mount lenses (16mm – 35mm f/2.8 and 24mm – 70mm f/2.8), I set out to shoot “Goodbye, Mr. Bonde” a six-minute short about an aging secret agent not quite ready to throw in the towel. The first exterior shoot would be the longest in the scorching and humid Pennsylvania August weather. I installed the Blackmagic Pocket Cinema Camera Pro EVF with the largest rubber eyepiece because seeing the LCD touchscreen would be difficult outdoors. When using the eyepiece, a sensor automatically shuts off the LCD screen saving battery drain. The optional viewfinder is worth every penny—especially when shooting outdoors. As mentioned earlier, if you have several different shooters the multiple eyepiece rubber cups will make everyone happy.

The Blackmagic Pocket Camera Battery Pro Grip held two batteries which greatly extended the shooting time – roughly an extra hour per battery. However, the grip does add a bit of weight if you intend to handhold the shot. On a tripod, you are just happy having a longer shoot with an extra battery. If you intend to switch back and forth with the grip and no grip, make sure you leave enough time to make the conversion. The LCD touch screen is the largest power draw, so having two batteries in the grip is helpful.

Removing the grip and switching back to the internal battery, I wanted to really test the Pocket Cinema Camera 6K G2’s stabilization capabilities. Instead of using the tripod for most shots, I had the actor walk into or out of the handheld shots. Greg, who is my human stabilizer, had his shots further refined by the camera’s gyro stabilized shots which we would see in post. 

With several shots, he would handhold the camera and move slowly left or right knowing that the camera gyro feature in DaVinci Resolve would smooth everything out. I got about an hour of shooting time with one battery. One small nitpick—the batteries are charged by a USB cable connection rather than using AC. This might be more convenient for some, but it appears to add a lot to the charging time. 

The rest of the shoot went well with Greg doing every moving shot asked of him. I personally prefer minor improvements to cameras rather than major overhauls. With the Pocket Cinema Camera 6K G2 it was as if I was wearing a favorite comfortable shoe. I know where everything was, what the camera could do, and the added peace of mind knowing that it would do it all well.

I had to install the latest version DaVinci Resolve 18 to edit the Blackmagic RAW files. Even though I shot in 6K, I used a 1920 x 1080 timeline set to center crop to edit the footage. The HD timeline speeds editing, and I still have the full 6K frame if I need to push into any shot. Anxious to stabilize the handheld footage, pulling down the camera gyro feature in Stabilization, I selected Analyze and it a few moments the shot was free of unnatural movement. That’s the fastest I have ever stabilized any shot!

There’s really a lot to rave about and very few complaints. When a product get better and the price drops—you can’t lose!

Application and Key Features
Multitude of Blackmagic RAW shooting formats, articulated LCD touch screen, user friendly interface, built in gyro stabilization—all from a company you can trust with a versatile camera package that does more for less.

Price – Available through Blackmagic Design authorized resellers
Blackmagic Pocket Cinema Camera G2 - $1995
Blackmagic F570 Battery (2) - $55 each
Blackmagic Pocket Camera Battery Pro Grip - $149
Blackmagic Pocket Camera Pro EVF - $495
DaVinci Resolve Studio – Included free with Pocket Cinema Camera6K Pro G2

Total Package - $2,639

Contact
Blackmagic Design USA
408.954.0500
Website: www.blackmagicdesign.com
E-mail: info-usa@blackmagicdesign.com 

Camera stabilizing systems are found in almost all shooting situations. The DP’s camera must be attached and balanced for most gimbals to properly function. DJI has developed the perfect complete cinematic system, the Ronin 4D for this purpose. Not only is the four-axis stabilization system nearly flawless, but it includes a camera with a 6K sensor. One of the key features is reduced set-up time.

Features
Everything a shooter needs is built into this “integrated cinematography solution” including four distinct areas or systems which I will discuss separately: the Cinematic Imaging System (camera); Four Axis Stabilization System (gimbal); LiDAR Focusing System (lens); and Wireless Transmission and Control System (remote monitor).

Offered in a combo kit, the Ronin 4D Cinema 6K camera (called that because of the included vertical Z-axis stabilization as part of the four-axis gimbal system) contains: 

• Zenmuse X9 - 6K gimbal camera
• High-Bright 5.5-inch touchscreen 1920x1080 Main Monitor
• Handgrips
• TB50 battery, mount and charger
• AC power
• DL mount lens
• LiDAR range finder, and
• Carrying case

My review kit included essential extra features: a High-Bright seven-inch touchscreen Remote Monitor; 1 TB SSD media drive; 35mm Leica M lens; Wireless video transmitter; X9 focus motor; and a three-channel FIZ lens control unit. 

The Cinematic Imaging System
The most important element of any digital camera is the sensor and the Ronin’s 24.1-megapixel 6008x3168, 17:9 full-frame CMOS sensor can shoot in H.264 and Apple ProRes 422 HQ in 6K up to 60fps, and 4K up to 120fps in 12-bit with the Zenmuse X9 sensor. Featuring dual-native ISOs of 800 and 4000 with more than 14 stops of dynamic range and exposure indices of 200 to 12,800, you’re ready for almost any lighting situation. The 16 neutral density filters are selectable for one stop through nine stop diffusion accessed through the menu.

My review Ronin had a DL Mount on the camera (and offered an M Lens Mount), which is a companion to the X9 Focus Motor. DJI provided one of their 35mm F2.8 prime lenses.

The on-camera LED High-Bright Main Monitor is a 5.5 inch, 1000-nit 1920x1080 touchscreen. The adjustable monitor has a rotating knob centered on the left with a “Home” button above and a “Display” button below. The top and the bottom each have four buttons to access items displayed on the screen.

Pressing the Home button displays Recording, Display, User Setting, and Storage across the top with the highlighted feature appearing in yellow. The bottom of the monitor has System, Lens, Stabilizer, and Transmission.

Activating the Recording button brings up a screen with Video, Audio, and Settings submenus. Left and right arrows allow movement through the various screens. “Display” has four submenus with Exposure Assistant, Focus Assistant, Monitor, and Look. “User Setting” does what the name implies, and “Storage” shows the remaining time on your DJI Pro 1-TB SSD hard drive and/or the internal CFexpress Type-B card.

Activating “System” with the bottom button gives you control over the Fan Mode, Clock, About, and Factory Reset. “Lens” offers “Focus” with the auto focus mode, the sensitivity, and measurement units and the submenu “Calibration” which controls both the auto and manual calibration modes. “Stabilizer” gives three options: Gimbal Settings, Joystick, and Gimbal Calibration, each with numerous offerings to adjust the desired parameters. “Transmission” will link the High-Bright Remote Monitor with the camera system.

The “Display” button will play back the footage shot while giving the aspect ratio, exposure index, iris, shutter speed, frames per second, neutral density filter, and white balance values across the top of the screen.

Four Axis Stabilization System
The Ronin 4D is separated from other stabilization systems by the addition of a fourth Z-axis (vertical) that eliminates camera shake. This functions in conjunction with the integrated gimbal. Sensors built into the body sense where the ground is in each situation and make adjustments accordingly. 

The Ronin D4 features “ActiveTrack Pro” which tracks people or objects with continuous autofocusing while the gimbal makes the camera movements more fluid. All of this is possible because of the stabilization algorithm and a built-in barometer and inertial measurement unit.

LiDAR Focusing System
LiDAR is DJI’s light detection and ranging system that sends invisible bursts of light, measures the reflectance off the person or object and maps a real-time 3D point cloud map. As the subject moves, the LiDAR system is constantly updating the distance to the camera. 

If you prefer manual focus, this tool will assist with displaying ranging data on both your monitors. “Hybrid Focus” (automated manual focus) combines both auto and manual focus so adjustments may be made while on the move. The “LiDAR Waveform” can display real-time focus position and even if in autofocus, the operator can focus manually. 

This system also helps in low-light situations where focusing is more difficult. If using a calibrated manual lens, the LiDAR focusing system and the X9 focus motor can determine the depth of field.

Wireless Transmission and Control System
Taking some of the burden from the camera operator, a Remote seven-inch 1920x1080 High Bright Monitor (1500-nit) may be used to select camera settings, monitoring, and playback because of the Ronin 4D’s DJI 03 Pro video transmission technology. 

Promising anti-interference technology and ultra-low latency, this compact video receiver accepts transmissions from up to 20,000 feet. Hopping between 2.4GHz and 5.8GHz, multiple receivers may receive the same transmission or switch between multiple 4D cameras.

Using “Mirror Control Mode,” you can view the same menu system as the 4D camera High-Bright Monitor.

Hand Grips and Remote Monitor
The left and right-hand grips may be attached to the 4D or the remote monitor. The monitor is powered by pressing the power button recessed on the left side and you immediately see almost everything the Ronin 4D sees. Rotating the joystick on the left handle rotates the camera in the desired direction, and a lock feature prevents the remote unit from accessing the camera. 

The “EXP” button activates or deactivates the exposure display. To the left is the “Active Track” button—holding the button turns the ActiveTrack on or off. The front of the left handgrip features a “Trigger”—to activate, press the trigger twice to center the subject. If you’re in “Smart Mode,” pressing and holding the trigger will activate ActiveTrack. If you’re not in Smart mode, the trigger switches between the “Lock” and “Follow” mode. On the right side of the left-hand grip is the “M" button, which gets you into or out of the “Sport” mode which essentially deactivates the gimbal and gives you a handheld look.

The right-side handgrip had a large dial on top which controls your focus adjustment (displayed on the right side of the screen). Directly below the dial is the “Record” button which starts and stops the record process. To the left of the Record button is the “Focus Peak” button—this turns the focus display on or off. The “Mode” button is extremely helpful in that pressing it changes the function of the Dial to: ND, EI, or Aperture. The front of the right handgrip also has a “Trigger” which enables the Z-axis by pressing it twice. On the inside of the handgrip is the “Focus” button which switches between manual and auto focus. Pressing and holding the button sends the Dial back to Focus mode. 

On the top handle of the Ronin is the “M” button (mirrored on the left handgrip) which activates or deactivates the Sport mode.

High Bright Monitor Screen
Touching the three small dots on the bottom left of the screen opens the Systems Settings Menu with: Connection Settings (Control or Broadcast Mode); General Settings (Screen Settings and Factory Reset); About (Firmware Version and Serial Number); and Help (offering a QR code to scan).

There are a multitude of touchscreen icons displayed, but I believe the Gimbal Mode/Speed Icon (third icon down from the top on the left side of the screen) is worth mentioning. This displays the gimbal mode: Lock; Pan Follow; Pan and Tilt Follow; Pan, Tilt, and Roll Follow; and Sport Mode—each activated mode is displayed by an icon. Gimbal Speed offers: Slow, Medium, Fast, and Custom and Z-Axis Mode: Follow Mode, Lock Mode, Car Mount Mode, and Sport Mode. 

In Use
The first thing you notice right out of the Ronin D4’s carrying case is the unit’s weight—around 14 pounds. If it weren’t aluminum/magnesium alloy and carbon fiber, it would be heading into the “anchor” category (Fig. 1). 

Wanting to test the DJI Ronin 4D in all its modes, I wrote a simple chase script where a young woman goes through elaborate measures to elude her pursuer. Active Track; Z-Axis; Pan, Tilt, and Roll Follow; and Hybrid Focus were all used in separate situations. 

Before shooting, I updated the software from the DJI website. Because of the complicated movements, Greg (my shooter) held the Ronin 4D by its handle (Fig. 2) and Ellie (one of my students) used the remote monitor with the handgrips attached (Fig. 3). 

Framing is identical in both monitors, but when we selected the ActiveTrack Mode, only the Ronin’s 4D monitor displayed the focusing box. I believe it is more important for the camera operator to have access to this info, but it would be nice if both monitors displayed this info.

Keeping Hybrid Focus on throughout the shoot gave Ellie the opportunity to use the handgrip’s wheel to override the autofocus for rack focusing. When we had Greg track with the actress running down a steep hill, having the remote monitor was a blessing. Starting off at 800 feet apart, activating the record button on the remote monitor borders both screens in red, alerting Greg to begin shooting.

The next shot involved walking in front of our actress, Fiona, and then following her as she walked into a building (Fig. 4). With the ability to remotely control the ND filters and exposure, we made a seamless transition from outside to in. 

Still in the same shot, Greg followed Fiona down the steps, got in front of her on the landing, moved the camera so it was essentially shooting over his shoulder and led her throughout the maze of corridors in the basement (Fig. 5).

Staying on the first floor, we monitored their progress through the basement. Only when they were over 1,500 feet away, on a lower floor, did the image start to break up on our monitor. We were shooting through concrete, steel, glass, plaster, and drywall. The red recording border on our remote monitor disappeared, but the footage continued to record. Only when the 4D system got within 500 feet of us, did the red border reappear (Fig. 6).

We would never have attempted a shoot like this without the Ronin 4D. Having the 4D Axis on in nearly every shot added to the image’s stabilization. Watching the action on our remote monitor brought “ooh” and “aahs” from the crew—all of us not believing how steady the footage was (Fig. 7).

With shoot one finished, I turned to Adobe Premiere to begin the post process. Shooting the footage in 6K RAW in D-Log, I needed to upgrade my Premiere software to access the D-Log footage. From there it’s just a few steps to see the footage in D-Log and follow your normal post work-flow. In order to color grade the D-Log footage in DaVinci Resolve, I had to export the footage in a ProRes file as DaVinci cannot open the Ronin’s video files. The edited version of “Hunt” may be viewed at https://youtu.be/6iXM5sI3fGU.

Shoot number two was more visually appealing because it helped satisfy my addiction—classic cars. On a closed track, we had access to a 1986 Ferrari 328 GT and a 1962 BMI 700—both racing to prove which was faster. The Ferrari had a 270 horsepower 3.2-liter V8, and the BMW had a two cylinder, single carbureted, 35 horsepower engine. Even if you’re bad in math, you know which vehicle is faster.  

Doing a 360-degree move around both the Ferrari and BMW with the Z-axis enabled, created the perfect fluid shots (Fig. 8). The problem with using any monitor in the brilliant sunshine is being able to see the image. The cloudless sky created a F22 deep depth of field, but shading the monitor was the only way to see anything (Fig. 9).

The key scene to shoot involved our student director, Zac, explaining to both drivers how he wanted their respective cars positioned during the race. Because the Ferrari had the horsepower advantage, we gave the BMW a half a lap advantage (Fig. 10).

To get the best perspective of the race, Greg needed to be in front of both vehicles with the Ronin in the camera van. Hanging out of the back over the third-row seat, we learned on the first take that having the Z-Axis activated was too much stabilization. We could have selected “Car Mount” mode if we had the Ronin mounted to the vehicle, but since Greg was handholding it, the Z-Axis overcompensated the stabilization. That’s why rehearsals are key (Fig. 11).

For some side shots of the vehicles moving, Greg opened the sliding side door and positioned the Ronin a few feet outside of the vehicle. With a 25mph wind and a van speed of 35mph, the combination of the two would not let the Ronin stabilize. Backing the Ronin into the van smoothed the shot but narrowed our field of view.

Having completed the “racing” shots, Greg took the Ronin into the passenger seat of each vehicle to get shots of the driver, shifting gears, etc. Because of the cramped interiors, the 35mm lens wasn’t quite wide enough to get the entire cockpit. Again, the Z-Axis stabilization was not needed as the Ferrari took each turn at high speed (Fig. 12).

Shooting everything in 6K RAW, we could easily punch in during post to get closer to the vehicles. I would highly recommend having two batteries for the Ronin as well as the external monitor. Having only one battery for each, we had to charge both during our shoot because the gimbal calibration and cool weather depleted both batteries. 

The charging is extremely fast, but we did power down everything between takes (Fig. 13). The Ronin 4D is quite a system. It does stabilize better than most other systems I’ve used. My best advice would be to practice the shot to determine the best mode—you’ll then have videos that everyone will be talking about.

Application
Spending several hours shooting with the DJI Ronin 4D was both exciting and exhausting. This system is perfect for a smaller crew where the camera operator may do everything him or herself, or have an assistant operate the High-Bright Remote Monitor. When using Auto Manual Focus (Hybrid Focus), it is essential to have a good set of eyes on the monitor and dexterity to roll the focus with the wheel. In direct sunlight, it’s difficult to see anything on the monitors.

This worked out quite well in our university setting where the student crew were all in peak physical condition. With Greg and I being in the senior citizen category, we tired much more quickly than they did, and they would attempt follow shots that would have me gasping for breath. 

There is very little this gimbal cannot do very well. On the car shoot, Zac even took his turn in the tiny trunk area of the Toyota Sienna van. Once in the trunk, Greg and I would never be able to get out. Almost like getting in and out of the Ferrari, being in shape helps.

Key Features
All in one unit with reduced set-up time. Four axis gimbal, multiple lens mounts, remote monitoring, dual internal solid-state storage, variable frame rates, no learning curve, and immediate satisfaction.

Price (Available through DJI authorized resellers and store.dji.com)
DJI Ronin D4 6K - $6,799 USD (Street Price)
DJI PROSSD 1 Terabyte Drive: $799 USD
DJI PROSSD Mount: $229 USD
DJI 35mm lens: $1,299 USD
High-Bright Remote Monitor: $1,699 USD
DJI Zenmuse X9 Focus Motor: $269 USD
Total: $11,094 USD

Contact
DJI Creative Studio
210 S. Victory Blvd
Burbank, CA 91502
818-975-2000
www.dji.com/ronin-4d
Email: pr.us@dji.com

In the ongoing effort to shoot higher resolution video while decreasing the weight of the camera, Canon is offering its new EOS R5 mirrorless camera capable of shooting in 8K RAW. We now have a high-end digital full-frame mirrorless camera that can compete with larger cinema cameras offering similar capabilities.

FEATURES

Boasting a dual pixel CMOS sensor that’s full frame and 45MP, this is Canon’s first mirrorless camera that shoots in 8K RAW up to 30fps and 120fps in 10-bit 4K. Capable of tracking the head, face and eyes of the subject, the camera is much lighter because of the absence of a mirror. The rear touchscreen LCD is slightly over 3 inches and is positional in variable angles. The half-inch 5.76 million dot viewfinder is electronic, and the recorded images and video are stored on a CFexpress Type B card.

As a still camera, you have all of the features expected with a Canon including shooting up to 20fps with its electronic shutter.

The video side, in my opinion, is where the EOS R5 really stands out. Shooting internally in 4:2:0 8-Bit H.264, you have:

• 8192x4320 DCI 8K in 23.976p, 24p and 29.97p;
• 7680x4320 UHD 8K in 23.976p, 24p and 29.97p; 
• 4096x2160 DCI 4K in 23.976p, 24p, 29.97p, 59.94p, 100p and 119.88p; 
• 3840x2160 UHD 4K in 23.976p, 24p, 29.97p, 59.94p, 100p and 119.88p; and 
• Full High Definition 1920x1080 in 23.976p, 29.97p, 59.94p and 119.88p  

Similar frame rates are offered in 4:2:2 10-bit H.265, and DCI 8192 x 4320 12-bit RAW in 23.97p, 24p and 29.97p at 2600 Mbps onto the CFexpress Type B card. The latest v1.3.1 firmware offers 8K DCI RAW (light), IPB (Light) for 8K UHD and 4K, as well as Canon LOG3.

Powered by an internal LP-E6NH lithium-ion battery, it offers up to 30 minutes of constant sensor use.

The Delkin Devices CFexpress POWER 512G Type B Memory card is capable of 1540 Mbps write and 1730 Mbps read speeds and is necessary if recording in 8K.

IN USE

My loaner EOS R5 arrived with a Canon 24-105mm F4 RF mount lens, a Canon RF to EF mount lens adapter and two batteries. The kind folks at Delkin Devices loaned me a 512Gb CFexpress POWER memory card. 

Shooting a seven-minute film 8K RAW, I wanted to ensure the CMOS sensor was capable of operation without overheating. Mounted on a DJI Ronin S, the EOS R5 shot through an EF Mount 16-35mm Canon F2.8 lens (using RF to EF converter), the sensor functioned perfectly.

Switching to the RF mount 24-70mm F4 lens while on a tripod, I believed the extra weight of the mirrorless (and slightly more telephoto) lens was better suited on a more stable platform. We began the shoot in 66-degree temperature and four hours later the temperature had plunged to 40.

The articulating touch LCD screen was placed so it faced Greg (the camera operator), and he kept the facial tracking activated throughout the shoot. Playbacks were easily accomplished by touching the play icon on the screen.

Shooting the entire film outdoors, the 8K RAW experience is the optimal route to take. Just like shooting in HD, 4K or any K, the camera did what it was intended to do. Again, as mentioned, we filled the 512GB Delkin card and had no overheating problems. Not having a CFexpress reader, we attached the provided USB-C to USB-C cable from the camera to my MacBook Pro. Downloading the free Digital Photo Professional 4 software from Canon’s website allowed the RAW files to reside on my laptop. I was concerned that I wouldn’t be able to open the files in Adobe Premiere Pro, but had no issues. Playback is understandably slowed by the huge file size but changing the quality of playback to 1/4 proved helpful. Color grading in Blackmagic Design’s Resolve 16 Studio was also a breeze, and the files were easily graded.

Is 8K RAW really necessary? No, it isn’t, but if you want the flexibility of punching into something within the shot, easily controlling the exposure, dynamic range and color parameters and just having a higher quality source allows output to almost anything. When I first started teaching, I told my students if you shoot in 35mm film, even your VHS copies will look great. The same thing applies to 8K RAW—your web videos never looked so good.

SUMMARY

I really enjoyed using the EOS R5. It performed as I expected a Canon DSLR to perform, and I had the added feature of shooting in 8K RAW. The size of the camera helped with its versatility on the Ronin as well as on a tripod and we easily moved from setup to setup. Shooting in a public park attracted little attention because of the camera’s tiny footprint. The size of our crew was more of a “movie shooting” red flag. You can view the final film in 1080p on Vimeo. 

Chuck Gloman is an Associate Professor of the TV/Film Department at DeSales University. He may be reached chuck.gloman@desales.edu. 

Camera makers at NAB marched forward with more 4K camera developments, a couple of 8K cameras, and some new HD cameras at breakthrough prices.

AJA introduced RovoControl 3.0 to its RovoCam Camera System, now with USB controller support for mapping RovoControl controls to a USB interface for game-style controllers or USB joysticks, an updated exposure control interface for simpler camera control, and improved presets interface for camera and PTZ control.

ANTELOPE CAMERA SYSTEMS showcased its Pico miniature slow motion camera, based on a 2/3-inch 2K chip that provides high detail and light sensitivity. It records at up to 350fps in native HD, and provides instant replay. Deflickering technology eliminates lighting related flicker in real time. The system can work at a distance of nearly 300 feet via a three-channel BNC cable. The 4K Antelope Ultra was also shown.

ARRI ALEXA SXT Wireless Video System

ARRI announced a software update for its ALEXA Mini that includes enhanced integration with the ARRI WCU-4 3-axis wireless control unit. Another new feature is the wireless transfer of lens files, allowing users to select a lens file stored on the SD card in their WCU-4 and wirelessly transmit the file to the ALEXA Mini. ARRI also debuted its ARRI Look Library, designed to allow filmmakers to make creative look choices on set.

Bexel Clarity POV camera

BEXEL introduced Clarity 800, a miniature, high-frame-rate, POV camera for live production. It’s designed to easily integrate into a live event ecosystem, operating the same as a larger broadcast camera system and features real-time processing via fiber optics and integration with industry-standard video servers. It can image at 480fps at 1080p HD. (An upcoming Clarity 800-4K will capture 4K (UHD) images at up to 120fps).

CANON rolled out its new flagship camera, the EOS C700, available in three models, with PL and EF lens mount versions. The up to 4.5K full frame sensor camera provides up to 15 stops of dynamic range. It was shown in the booth in a studio/OB configuration, a first for Canon, which has not previously competed in that market.

Grass Valley LDX 82

GRASS VALLEY debuted the LDX 82 Series, four upgradable camera models that provide varying levels of operational flexibility for every production need. All deliver high sensitivity in HD, wide color gamut and XDR, and optionally feature 15 f-stops via eLicense. Also new was 4K LDX 86N Series, designed for high-quality HD and native 4K capture in camera positions that are difficult to reach or impractical for camera operators.

HITACHI KOKUSAI premiered its Z-HD5500 studio and field production camera, designed to handle the challenges of shooting in studios and venues with low-cost or varying-frequency LED lighting and large-screen LED displays. It also meets high-performance 1080p acquisition specifications, bringing HDR of 14 stops to high-definition productions. It incorporates newly designed 2/3-inch 2.3 megapixel imagers.

IKEGAMI, with the 2020 Olympics clearly in mind, demonstrated a pair of 8K cameras: the SHK 810, utilizing a single 35mm imager, and a yet unnamed 8K camera incorporating three 2/3-inch 8K sensors. Also shown was the HDK-73, 2/3-inch CMOS Unicam HD camera system for high-quality HD in switchable 1080i or 720p.

JVC’s GY-HM660SC ProHD sports coaching camera

JVCKENWOOD introduced its GY-HM660SC ProHD sports coaching camera, which integrates seamlessly with the XOS Thunder HD coaching video system. The company also debuted new firmware for its GY-LS300CH camera that adds 4K 4:2:2 recording and 60P output.

LUMENS INTEGRATION unveiled its VC-A50P HD Pan/ Tilt/Zoom (PTZ) IP camera, which provides full HD 1080p output at 60 fps. As an IP camera, it can be powered via PoE (Power over Ethernet), simplifying wiring. It sports a 20x optical zoom lens, and has a variety of interfaces including Ethernet, HDMI and 3G-SDI.

Panasonic AW-HR140 PTZ camera

PANASONIC introduced the AWHR140 outdoor integrated PTZ Full HD remote camera, enclosed in an IP65-protected case. The SDI-output camera is designed for outdoor live event and sports arena/stadium capture, as well as for broadcast coverage of weather, traffic and scenics. It features 1/2.86-type full HD 3MOS sensors and a motorized 20x zoom lens. Panasonic also added 2K RAW output at up to 240fps to the VariCam LT 4K Cinema Camcorder.

Sony’s UMC-S3C 4K camera

SONY featured their new UMCS3C 4K, a tiny 4K camera featuring an ultra-high sensitivity of ISO 409600 along with internal recording. It offers a wide range of remote shooting applications in almost total darkness. Sony also highlighted its HDC-P43 compact POV camera and FS7 II camcorder.

Vision Research Phantom Flex4K-GS

VISION RESEARCH unveiled a new version of its Phantom Flex4K-GS, incorporating a global shutter that exposes each pixel on the sensor at the same moment. This eliminates motion artifacts experienced by prior models using rolling shutters. The camera’s 12-bit CMOS sensor images at up to 1,000fps at 4K resolution, 1975fps at 1920x1080, and 2,930fps at 1280x720.

VR CAMERAS
360-degree immersive virtual reality (VR) cameras and finishing software suites saw great interest at NAB, with steady traffic through the Virtual and Augmented Reality Pavilion.

SyncBac PRO VR camera from 360RIZE and Timecode Systems

360RIZE and TIMECODE SYSTEMS have partnered to create SyncBac PRO, a unique VR acquisition solution that delivers the efficiency benefits of professional standard timecode synchronization to VR and 360 filming.

360 DESIGNS introduced its Live EYE, which shrinks its Mini EYE 3 camera module down to a single, all-in-one design. It improves parallax by 200 percent, is rainproof, and features a hydrophobic lens coating. It provides full remote ATEM control of white balance, shutter, gain and live color grading with DaVinci. Control of the camera can be remoted up to 300 feet away.

AZilPix’s Studio.One camera system

AZILPIX highlighted its Studio.One camera system, designed for multi-angle and live 360 video production. It employs cost-effective, high-resolution cameras with wide angle and/or fish eye lenses to capture every aspect of a live event from multiple angles.

JAUNTVR premiered its Jaunt ONE stereoscopic spherical camera system, capable of a maximum stitched output resolution of 8K x 4K per eye. It combines images from a total of 24 2K imager modules to yield an effective stereoscopic coverage area of 360x110 degrees, with full 360-degree monoscopic coverage.

PANASONIC showed a 360-degree Live Camera System, the AW-360C10 camera head and AW-360B10 base unit for 360-degree video in uncompressed 4K/30p. It generates industry-standard 2:1 equirectangular format 360-degree video.

YI TECHNOLOGY presented its YI HALO 8K x 8K stereoscopic 360 VR camera system, which employs 17 camera modules and weighs 7.5 pounds with battery. It has modes for video, still imaging and time lapse videography and built-in 5 GHz Wi-Fi allows the system to be controlled from an Android smartphone.

Z CAM/IMAGINEVISION, makers of the Z CAM VR camera system, announced that they have joined forces with ASSIMILATE, creator of SCRATCH, to simplify VR content creation. The resulting Z CAM S1/SCRATCH VR Z Bundle, which provides an end-to-end 360 VR solution.

Camera support equipment at the NAB Show was dominated by drone companies of all sizes. Where last year there was one large, netted enclosure the unmanned aircraft vendors had to share for their demos, this year most drone exhibitors had their own, smallish enclosures to demo their wares. One multi-rotor craft was witnessed tangling with its enclosure, beating itself to death before falling and smashing itself to pieces. The buzz is that this wasn’t a singular happening.

3DR SoloDRONES
3DR showed three flight modes for Solo. In one, the pilot completely controls the drone. In a second mode, the pilot preplans the flight parameters and then lets the drone fly it by itself. In the third mode, the drone flies a preplanned path, but the camera operator controls pan, tilt, zoom and framing. The operator can override the aircraft in the second or third mode at any time. The company also debuted augmented reality in which a software app overlays visuals in real time on a user’s mobile screen.

Autel showed off its X-Star Premium, a quad-copter designed for aerial imagery. The 4K camera and removable 3-axis gimbal allows users to shoot UHD or 12MP photos with HD Live View from up to 1.2 miles away. It boasts an intelligent flight control system, dual GPS and GLONASS satellite navigation aided by the Starpoint Positioning System.

DJI Matrice 600DJI premiered its Matrice 600 drone, a new flying platform designed for professional aerial photography and industrial applications. It is built to closely integrate with DJI technologies, including the A3 flight controller, Lightbridge 2 transmission system, Intelligent Batteries and Battery Management system.

Freefly Systems debuted ALTA 8, derived from the company’s ALTA 6 drone. It is designed for the most demanding customers who want to carry the largest cinema payloads. It easily unpacks and can be ready to shoot in under five minutes. Payloads weighing up to 20 pounds can be carried.

GDU showcased its Byrd drone, designed for portability. The arms, propellers and landing gear all collapse into an iPad-sized package. Its universal platform allows endless combinations, providing a way to quickly swap out the gimbal and camera. Safety features keep the aircraft close by.

Yuneec flew its Typhoon H aerial photography and videography platform, with flight durations of up to 25 minutes. It utilizes a CGC3+ 4K UHD camera, and has an Android-powered ST16 Ground Station that features a 7-inch touchscreen that displays live footage of the flight in 720p.

TRIPODS & FLUID HEADS
Cartoni introduced four new fluid heads, the FOCUS 8, FOCUS 12, FOCUS 18 and FOCUS 22, designed to accommodate camera packages from zero to 48.50 pounds. They incorporate Cartoni’s counterbalance system for superb performance.

Davis & Sanford added to its Provista video family of tripods with the ProvistaGRi, a tripod and head designed for quick setup and breakdown. The three-section single aluminum tripod features quick release leg locks that are easy to use even in cold weather.

Libec introduced a pair of new fluid heads in its ALLEX line, the RH25D Dual Head (13 pound payload), and the RH45D Dual Head (26.5 pound payload). Both heads come equipped with a 75mm and flat base adapter. A major feature on the RH25D and RH45D is a continuous counter balance.

Sachtler Video 18 S2 Fluid HeadMiller introduced a new counterbalancing system in its arrowxSeries fluid heads. The 16 CB PLUS sequential counterbalance provides eight large counterbalance steps, then a finer half-step adjustment, allowing the operator to quickly make a rough setting of counterbalance, then finely tune it for optimum setup.

Sachtler has beefed up its Video 18 tripod system, adding over 8 pounds to the payload of the new Video 18 S2. It can handle a fullsize ENG camera up to 44.1 pounds and provides a smooth drag adjustment via a stepped mechanism that is repeatable and fast.

Matthews Dutti DollyDOLLIES & SLIDERS
Camera Goat demonstrated its affordable dolly track system, designed to handle a range of cameras from GoPros to REDs and Alexas. It can be quickly set up by a single shooter, and is solidly built from aluminum. The track is easily adjustable over even the most uneven ground.

Matthews unveiled its Dutti Dolly, a lowprofile dolly that rides a 3/16-angle aluminum rail as well as round track. Machined out of a single piece of metal, it features a built-in Mitchell mount and several other accessory threads.

Red Rock Micro demonstrated its One Man Crew Director motorized parabolic slider, designed to transform static shots with cinematic motion without a dedicated operator. One Man Crew Director is useful for animating B-roll, inserts and reveals to replace static shots.

CAMERA RIGS AND STABILIZERS
Chrosziel demonstrated its LWS 401-FS7 Light Weight Support for Shoulder Mounting Sony FS7 Cameras, which provides optimum balance for the camera when shoulder mounted. The new baseplate features a slim design with a sturdy and ergonomic shoulder pad.

Cool-Lux demonstrated its range of four camera rigs. Each rig includes the Cool-Lux SHIFT Baseplate, which features a flip-out tripod mount that acts as a chest pad in shoulder rig mode. The baseplate is fully adjustable to work with any camera.

Freefly Systems’ news on its MoVI line of stabilizers was a new Akira 5.0 firmware update. Features include HiPer, which improves stabilization up to 50-percent, opening up opportunities to use longer focal lengths without sacrificing stability. Also notable was the all-new Timelapse Mode, that allows for completely programmable camera moves.

Glidecam XR-Pro StabilizerGlidecam debuted its XR-Pro stabilizer, designed to handle camera payloads of up to 10 pounds. To provide important mass to help stabilize lightweight cameras, it incorporates four steel weight plates. The XR-Pro is engineered for fast setup and deployment.

Steadicam rolled out its A Series of stabilizers, a replacement for their Pilot stabilization system. There are models to handle three different capacities. Also in the booth was the Steadicam M-1, with a modular design to allow user-configuration without tools.

ROBOTIC CAMERA SYSTEMS
RUSHWORKS introduced its PTX Universal PanTilt head, designed to work with the Blackmagic Design Micro Studio Camera 4K and other standalone cameras and camcorders from Sony, Canon, Panasonic and JVC that support LANC control.

Shotoku Free-d2 for VR/ARShotoku unveiled the Free-d2 VR/AR a new-generation tracking system that does not require physical encoder devices attached to the camera support’s moving axes. The system uses advanced video processing algorithms and simple ceiling markers to precisely determine the exact position and orientation.

Telemetrics realized its workhorse remote pan and tilt head was “getting long in the tooth,” and engineered its replacement, the IP-controlled PT-LP-55, featuring remote diagnostics and the ability to interface with digital lens controls.

Vinten demonstrated its new Hexagon track system which features a unique hexagon rail shape and robust dolly design for demanding environments. Track can be laid for a distance of over 150 feet, and the system has an integral cable management system.

TELEPROMPTERS
Autoscript introduced a range of prompting solutions for the Apple iPad Pro, including options for the 9.7- and 12.9-inch versions. It includes Mac and PC QStart software, allowing the iPad Pro to be used in a traditional teleprompter workflow.

CueScript premiered the CSF10, a lightweight yet fully featured prompting system designed for use with jibs and cranes. It can be used with a collapsible hood and prompter glass or as a straight reading system and features a 2000-nit screen that is easy to read in sunlight. The company also debuted CueiT prompting software which includes Ribbon menu style, Quick commands and features that can be accessed from multiple locations, markers to enable operators to create their own sub-run order and pinpoint positions to instantly navigate within the script, either on their edit screen and/or the prompt output and no separate configuration menu.

Mirror Image showcased its LC-120, a 12-inch LCD prompter that accepts HDMI, SDI, VGA and Composite inputs. It provides 1000 nits of brightness for daylight use, something they point out an iPad cannot do.

ProPrompter demonstrated its PRO3 studio kit, featuring a universal tray for iPad Pro and other tablets. It fits DSLR, consumer and ENG cameras, and employs an extra-wide 6-/40 studio quality beam splitter glass. Its foldable design provides for portability and easy storage.

Telescript exhibited its Robotic Prompting Systems, designed specifically for mounting on robotic cameras. The two-piece system makes it easier to achieve balance by moving the electronics module behind the camera. The Robotic Prompter and all Telescript monitors accept SDI, HDMI, VGA, component, and NTSC and PAL composite input.

Products for 4K video were all over the halls of the NAB Show, but perhaps the most challenging category for 4K is cable and fiber. Uncompressed 60 fps 4K demands 12 Gbps of data, which is difficult to pack onto a copper cable for more than a few feet. Despite the technical demands, solutions for 4K transport are rapidly appearing.

FIBER
Artel Video Systems featured its Fiberlink 3514 series fiber modems that support four channels of simultaneous 3G-SDI on a single fiber, and transmit them over one fiber. When using all four inputs, Fiberlink 3514 supports 4K/UHD resolutions at 60 fps and the unit is capable of transmitting two 4K/UHD signals at 30 fps simultaneously. The company also relaunched its website that integrates its DigiLink and FiberLink sites, debuted a new logo and introduced Artel Care, a multi-tiered services program including technical support, hardware and software coverage, and other service and support options.

Bluebell Opticom introduced the BCX- 760 Series 10 Gigabit Ethernet point-to-point fiber link, a camera-back interface that allows signal transport between a camera and an OB truck or a base station. The company says the system is the first camera-back system to use 10 GigE for uncompressed 3G-SDI, RS232/422/485, Ethernet and genlock in both directions. Bluebell also debuted the TDM-750 HD-SDI module with Ethernet fibre interface, a rack-mounted module for single-direction transport of HD-SDI and 100BaseT Ethernet signals.

DAWNco showed its SATfiber solution that allows the location of a satellite dish at considerable distance from where the signals are needed. With the company’s Box-Mount TX and Rack-Mount RX products, the fiber transmit module is mounted at the dish and the receive end can be up to 50 miles away.

Joseph Electronics DFT-TOTE V32Grass Valley featured its line of remote camera connection systems, including the CopperHead 3404 fiber transceiver. The CopperHead 3404 takes video from a dual/quad-link 4K camera and delivers it to a studio or production truck, providing all the signals needed for multicamera 4K production using a single tactical or SMPTE hybrid/fiber cable.

Joseph Electronics introduced the JFS Waveshifter-4, which can transport up to four HD camera systems on just one single-mode fiber. Also new is the DFT-TOTE V32, which provides convenient and compact transport of up to 32 3G/HD/SD-SDI signals on as few as two fibers. The DFT-TOTE E12 is a GigE version of the DFT-TOTE.

Lemo introduced the HD Z-Link fiber system, which provides multichannel video and audio connections and control for studio cameras and camcorders over a single hybrid cable using Lemo’s 3K.93C connectors.

LynxTechnik showed its Yellowbrik 4K fiber transmission system, which supports four independent 3G-SDI links over a single fiber that can be combined into an uncompressed 12G 4K signal. These small transmit and receive modules can be used to send video/audio up to 12 miles.

Multidyne BullDog field fiber transport systemMultidyne debuted its BullDog field fiber transport system, a rugged and portable system that provides multiple video audio links over fiber. The expandable chassis makes it easy to scale up or down for specific applications. Also new was the SilverBULLET 3G Compact Signal Transmitter/Receiver for sending SD, HD and 3G-SDI video signals, as well as embedded audio signals, over one single mode fiber cable. Multidyne also demonstrated a fiber-based camera module that connects directly to the back of JVC’s GY-HM890 camcorder and supports 3G-SDI 1080p/60 camera feeds and returns, and takes advantage of the camera’s built-in streaming engine for video-over-IP functionality.

IP
Apantac debuted the KVM-1-RH-LAN IP-based KVM extender/receiver set, targeted at applications where multiple local computers need to be accessed from several remote locations. This new KVM solution can extend HDMI video up to 1,920 x 1,200/1,080p, and also includes connections for USB 2.0/1.1, RS-232, bidirectional audio, and bidirectional IR on a single cable, over a Gigabit Ethernet IP network.

Studio Technologies spotlighted the model 5205 mic/line-to-Dante interface that allows two microphone- or line-level signals to interface with systems that use Dante networking technology.

Barnfind introduced the BarnMini-5, which provides a compact way to combine an RS422/485 4 x GPI and 4 x GPO, controllable via an Ethernet port. Also new is the optical changeover switch BarnMini-06, and the BarnMini-11 and BarnMini-12, both with support up to 12G. The company also launched the HiLo SFP system for 26-channel CWDM.

CONNECTORS
AVP featured its Maxxum bulkhead panels, which can be fitted up with a range of connectors in a variety of shades for easy color coding. Maxxum panels are available in 1-, 1.5-, 2- and 3RU sizes, and there are options for strain relief behind the panels.

Bittree rolled out a limited edition of its 969A series front programmable TT (bantam) audio patchbay. Celebrating the 15-year anniversary of its patent on this product, Bittree made 150 of the panels with a special paint and numbering scheme.

Canare showed the new 4K-DIN coax connector that contains four high-bandwidth fittings in one small housing. This allows you to connect or disconnect four 3G-SDI signals in one easy step, making it easy to deal with uncompressed 4K video feeds.

Julie Carlson shows the business end of a Lemo 3K.93C SMPTE cable connector.Fischer Connectors launched a single fiber connector within its FiberOptic series, aimed at the need for higher data transmission rates over long distances, while maintaining small, rugged connectors. The FO1 connector is available either in pre-configured reels or integrated into custom assemblies for a variety of applications.

Lemo showed its 3K.93C connector used to terminate SMPTE 311M hybrid cables. The rugged connector is rated for severe use, yet connects and disconnects easily.

Nemal introduced a system for adapting Neutrik OpticalCon Duo, Quad and SMPTE connectors to ST, SC, LC and Lemo fiber optic and hybrid connectors. The adapters are available in a range of configurations that include fiber and electrical (SMPTE), or fiber only.

QPC QSeal

Mini-BNC connectors at the Sam Woo Electronics boothNeutrik unveiled its rearTwist UHD-BNC connector, specifically for high frequencies for 4K and 8K. The company has several versions of the connector fitting a wide range of available cables, including those from Clark Wire, Belden, CommScope and Gepco.

QPC debuted QSeal, an IP67-sealed, push-pull style fiber-optic connector that can accommodate either two or four channels. QPC’s product features all-metal construction and optional protective rubber grips for added protection.

SamWoo Electronics showed a range of connectors, including the SMA mini-BNC that is good to frequencies as high as 18 GHz. Conforming to applicable mil-spec requirements, the SMA mini-BNC is available in different metals and can be gold plated.

CABLE
Belden showed its new 10GXS Cat-6a data cable, with a significantly smaller diameter and an absorptive layer to counter crosstalk from both inside and outside the cable. With its smaller diameter as compared to typical Cat-5e cable, 10GXS has a smaller bend radius but maintains the ability to deliver 100 Watts of power for power-over-IP applications.

Clark Wire & Cable featured its RCC2V2A1C6HDE “snake” cable that contains two RG-6 coax, audio pairs and a Cat-6 data cable in the same jacket. Clark also highlighted its HFC series of SMPTE 311M hybrid-fiber camera cables, with versions for portable, permanent and direct-burial applications.

Sommer Cable debuted its HQ-HDMI cables (with connectors), rated to 18 Gbps for uncompressed UHD signals, including 4,096 x 2,160 pixels. The cables also support bidirectional audio and 100 Mbps Ethernet.

WIRELESS BTX
Technologies debuted the Neutrik Xirium Pro digital wireless audio solution that delivers high-quality audio with no compression and low latency via Neutrik’s proprietary DiWA (Digital Wireless Audio) technology. It uses 24-bit/48 kHz sampling on the 5 GHz spectrum, and repeaters are available to extend the distance beyond the basic system’s 1,000 meters.

Getting content in and turning it around quickly for playout has always been the goal of recording, playout and archiving gear, and at this year’s NAB Show, that technology furthered its reach and scope. Attendees saw new cloud-based broadcast platforms, bi-directional recording and playout servers, scalable shared storage solutions, and new joint technology solutions from industry stalwarts Sony and Panasonic.

Avid NEXISSTORAGE SYSTEMS
Avid launched Avid NEXIS, describing it as the “world’s first software-defined storage platform.” Working in conjunction with Avid MediaCentral, NEXIS offers storage virtualization by mixing and matching engines to form “virtualizable” pools of storage. Teams can access shared pools of configurable storage and can scale capacity and bandwidth as needed, particularly with large productions. The system is based on the NEXIS | FS scalable file system.

EMC-Isilon demonstrated how its EMC Isilon X410 scale-out NAS storage infrastructure, when combined with Pixspan bit-exact software, enables cost-effective 4K full resolution workflows that can be supported on typical 2K infrastructures.

EVS has expanded the EVS XT3 and XS3 servers’ entrance into IP production with the introduction of the EVS XiP media gateway. The company also showcased the new ChannelMAX mode within the XT3 server, which provides the ability to expand channel capacity. The XT3 features expandable storage for up to 350 hours in HD at 100 Mbps.

Harmonic MediaGrid ContentServer 4000Harmonic launched the MediaGrid ContentServer 4000 and MediaGrid ContentStore 4240 nodes outfitted with 24 hot-swappable 2 TB, 4 TB or 6 TB SAS drives.

PLAYERS & RECORDERS
Atomos debuted the Shogun Inferno, which includes monitoring and recording technologies along with playback and editing functionality. Recording options include 4K 60p and HD 240p ProRes and DNxHR recording, from either a video or raw signal, which can be used for sports broadcasting and slowmotion recordings.

Blackmagic Video Assist 4K

Evertz DC-458D Double Density 4K DreamCatcher replay systemBlackmagic Design showcased the Video Assist 4K, an all-in-one professional monitor and video recorder that can be used to add professional recording and monitoring to any SDI or HDMI camera. In addition to a high-res 7-inch monitor, the Video Assist 4K has two high-speed recorders and two XLR microphone inputs.

Evertz showcased the DC-458D Double Density 4K DreamCatcher replay system, a scalable IP-based replay system.

Sonnet Technologies showcased the Fusion Thunderbolt 3 PCIe flash drive, a rugged, pocket-sized solid-state drive storage device capable of transferring data at speeds of more than 2,000 MBps.

Sound Devices previewed a new recording capability for the PIX-E Series of 4Kcompatible recording monitors, which now feature the addition of the H.264 codec and the capability of simultaneously recording Apple ProRes files and smaller H.264 MP4 files.

ARCHIVING
1 Beyond unveiled its EzPetaSAN multipetabyte shared storage. It offers a “building block” approach where users can start with as few as 24 disks (hard disk drives or SSDs) and increase as needs grow.

Archion Technologies launched the EditStor Omni Hybrid, a collaborative storage solution designed to support facilities with both high video streaming and graphic rendering demands.

BBright unveiled a new Ultra HD baseband playout server with HDR support called the UHD-Play video file player. The device is designed to be used as a dedicated playout server for Ultra HD channel head-ends.

Broadcast Solutions premiered two new slo-motion 4K 50/60p servers: BlackJack 4K and Red Arrow. The Red Arrow offers four of channels recording, four channels of search and two channels of playback with six 4K physical video ports.

EditShareXStream EFS SSDCalDigital introduce the CalDigit T8, a Thunderbolt 3 RAID storage solution, and the CalDigit AV Pro 2, a single-drive solution.

EditShare showcased its XStream EFS SSD, a scalable shared storage solution that extends the EFS platform by combining solidstate drives with a new scalable architecture. Available in 8 TB, 16 TB and 24 TB chassis configurations, XStream EFS SSD can scale from single servers to multinode clusters.

Facilis unveiled new features to the TerraBlock shared storage system for content creation and post production. The system includes 32Gbps Fibre Channel connectivity and 12 Gbps SAS solid state drive hardware. The company also showcased the new Fast-Tracker, an integrated application for cataloging, searching and viewing media within a TerraBlock shared storage system.

For-A LTS-70 LTO Server with LTS-MAMFor-A introduced the LTS-70 server which stores up to 6 TB of video, audio and data when using uncompressed files and allows LTO tape files to be read and written, with backwards compatibility on the network via FTP. Also new is the LTR-200HS7 standalone video recorder, which features video input, encoding, backup/archiving to LTO tape, and video output in a single archive recorder unit. The multiformat device comes with an LTO-7 drive boasting a Terabyte LTFS-based recording capability, allowing it to be used in archiving or exchange of recorded material or programs.

JMR debuted the BlueStor SHARE networked storage server, a 3RU 16-bay server available in 32, 48, 64, 96 TB configurations that can scale to 672 TB with a single head unit. The company also showed the new JMR Lightning product family, which features four full-bandwidth PCIe slots using two independent Thunderbolt 2 20Gb/s bridge circuits.

Masstech debuted Masstech Portal for Avid, a solution for streamlining the interchange between Masstech media archives and Avid Media Composer.

Panasonic introduced the freeze-ray optical disc-based system, an archive and storage platform that can ingest data whether in file- or object-based format.

Quantum showcased expanded capabilities of its StorNext workflow storage platform as well as offered demos of its Quantum hybrid flash and disk storage solutions. The company also showed a series of embedded applications developed for the Quantum Xcellis shared workflow storage system. The company also announced a new partnership with Avid whereby the Avid Interplay MAM system and Quantum StorNext Storage Manager will integrate with one another.

Rohde & Schwarz debuted the newest version of its SpycerBox Cell, a 36 TB system that can be scaled and cascaded to store large data volumes of high-resolution material.

Ross Video showcased the newest version of its XPression Clips production server as well as XPression Tick-it, a multichannel workflow server for tickers and informational channels.

slomo.tv debuted its 2RU RED ARROW 4K replay and slow-motion server, offering four channels of recording, four channels of search and 2 channels of playback with six 4K physical video ports, all in 4K 50p.

Small Tree unveiled a new mobile shared-storage system called the TitaniumZ5+, a video editing shared storage appliance; and ZenStor, a new line of shared storage system that can handle 4K workflows.

Sony introduced the second generation of its optical disc drive, which includes new higher-capacity optical media that was developed jointly by Sony and Panasonic. This newest media is rated with a 100- year shelf life and doubles the capacity of a single cartridge to 3.3 TB. The company also showcased storage within a camera via the HDC-4800, a new 4K ultra high frame rate camera that is complemented by the BPU-4800 combination baseband processor unit/replay server.

Torque Video Systems launched two new storage systems in its DVStor product line—the DVStor XS in either a 1 TB or 4 TB version. Both come pre-installed with the latest DVStor Version 8 application software.

CLOUD & PLAYOUT
Amagi showcased its CLOUDPORT 3.0 next-gen channel playout platform, demonstrating how this virtualized playout platform is now IP-accessible thanks to a partnership with the IP delivery company Zixi.

Aspera debuted v3.6 of its FASP server platform, which includes a new transfer system that allows tenants to privately manage storage for Aspera transfers, and includes new direct-to-cloud transfer features, including Autoscale Transfer Cluster Manager software that automatically scales server nodes based on demand.

Broadpeak introduced CDN Diversity, an enhancement to the company’s umbrellaCDN system, which leverages real-time information and analytics to allow users to make automated decisions depending on the context of various networks, subscribers, and their devices.

BroadStream Solutions launched BEACON, a software-based playout solution, available in two versions: BEACON-SOLO and BEACON 1+1. Each are capable of SDI or IP multichannel playout of up to four channels.

Dejero showed off the LIVE+ platform, which is designed to simplify the adoption of IP and cloud technology for video transport between remote or mobile locations. Dejero also showed its LIVE+ Multipoint solution, an option for cloud-based sharing and exchange of live content.

Deluxe showcased solutions that included Deluxe MediaCloud, a multiscreen and OTT media management platform. The company also announced that it would extend 4K/ UHD services to facilitate HDR content management and delivery via Deluxe On- Demand.

Ericsson showed its take on the cloud with its Cloud DVR video storage and processing technology that is designed to cache, optimize, store, process and edge-optimize video delivery for both fixed and mobile IP networks.

EVS showcased the Xeebra referee live replay system, which includes a touchscreen that enables multiple screen views of continually synchronized content from up to 16 HD cameras for instant action recalls.

Harmonic has taken its VOS media processing platform to the cloud. VOS Cloud enables content and service providers to manage the video production and delivery workflow for broadcast and OTT applications via standard IT hardware, over public or private cloud infrastructure. VOS 360 is a professional cloud media processing service that provides operators with a software-as-a-service solution hosted in the public cloud and maintained and monitored by Harmonic.

Hybrik launched its new cloud-based service for managing large-scale media workflows. The new service provides cloud-based transcoding, quality control, accelerated file transfer, large-scale storage, and streaming to deliver high-quality video optimized for every screen.

Imagine Communications demonstrated how its Versio integrated playout solution can be set up as a hybrid IP/SDI deployment or as a virtualized cloud solution. The company also offered a look at the company’s CloudXtream, a series of cloud-based solutions that allow service providers to introduce personalized services that redefine the video consumption experience.

Nverzion showcased enhancements to its CloudNine video server, a solution that allows stations to simultaneously record and play out content and update metadata. New for this year is support for streaming over IP.

Pebble Beach Systems showed off the Orca channel-in-a-box system that offers virtualized software integrated playout system running in the cloud.

Prime Focus Technologies launched the newest version of its CLEAR Media ERP suite and announced a new agreement with Global Eagle Entertainment, which will use the CLEAR Media ERP as a hub for a variety of content into a central cloud for delivery. The company also announced the launch of Amazon Optimizer to its Operations Cloud module within CLEAR Media ERP, and showcased the DAX Production Cloud, which allows clients to use one software solution for dailies and post servicing workflows.

Rohde & Schwarz SpycerBox CellRohde & Schwarz showed the 4K version of the R&S VENICE ingest and playout platform, which allows for ingest, playout and processing of 4K/UHD-1 material.

Signiant demonstrated an integrated portfolio of solutions for on-premises, cloud and hybrid deployments, including the Media Shuttle solution, which can be deployed with either on-premises or cloud object storage to configure individual portals for either storage type. The company also announced the availability of a pre-built workflow that provides integration with the Microsoft Azure Media Services cloud platform. This automated workflow uses Signiant technology to transport content files from on-premises storage into Microsoft Azure.

Square Box Systems introduced CatDV Archive to S3 Cloud, which enables archiving of CatDV-managed media assets and associated metadata in Amazon Simple Storage Service.

Streambox showed Streambox Cloud, which allows for multilocation HD and 4K video distribution, playout and streaming of videos to connected mobile devices.

Volicon unveiled its C5 service, which gives subscribers access to Share functionality in the cloud. The Share system allows for clipping and extraction of timely content for broadcast, video-on-demand, and digital and social media outlets.

With the 2016 NAB Show behind us, questions about the show’s trends have died down. However, looking at the announced and delivered products for the test & measurement category, it’s clear where the industry is going: 4K, HEVC, ATSC 3.0 and increasing amounts of IPTV.

IPTV AND TRANSPORT STREAM
Axon featured its line of transport stream analyzers that includes the top-of-the-line Smart DVB 90-series. The Smart 90-series provides monitoring, analysis and display of transport stream integrity, and covers a range of features such as assessing the stream’s signaling parameters and EPG content.

Bridge Technologies highlighted its Timeline Data Analysis that stores all data collected through the monitoring system (and other sources if connected) for up to two years of operation, and allows engineers to play back through the historical data at any time in a multitrack timeline display similar to an NLE system.

DekTec has updated its StreamXpert 2.0 HEVC decoder and transport stream analysis system, which also supports analysis of MPEG-2 and AVC video. Available in a “Lite” version that can be easily upgraded to the full version, StreamXpert 2.0 provides real-time analysis, monitoring and recording of transport streams.

Interra showed its Orion-OTT content monitor that checks both VOD and live content for compliance inconsistencies, download errors, content quality and ABR package integrity. The system also monitors audio for CALM, ITU and EBU compliance.

MediaProxy updated its LogServer suite of logging and transport stream analysis products to include new advanced data monitoring panels in the Monwall IP multiviewer to facilitate real-time analysis and monitoring; advanced OTT monitoring at scale for HLS, SmoothStreaming and DASH sources/profiles; support for 4K/HEVC sources; and a new native mobile app for real-time broadcast stream monitoring supported on iOS/Windows Mobile and Android devices.

Nevion CP4400 transport stream processorNevion launched its CP4400 transport stream processor, which can check both transmitter feeds and regional DTT multiplexed signals. The CP4400 also supports deterministic re-multiplexing technology that can feed transmitters in single frequency networks using a pre-existing direct-to-home satellite system as a feed.

Qligent demonstrated its Vision cloud monitoring platform that provides detailed visibility into channel-sharing configurations, as well as bandwidth-challenged VHF and UHF channel scenarios. Vision lets broadcasters monitor, analyze and troubleshoot signal health and program quality throughout each step of the air chain.

Sencore showed its AG 9000 UHD HEVC monitoring decoder, which provides HEVC 4K decoding for monitoring real-time linear distribution video feeds. The AG 9000 card can be used in any Ross openGear frame, with up to 20 channels deployed in 2RU.

Tektronix SentryABRTektronix unveiled end-to-end adaptive bit-rate monitoring decryption and decode functionality for its Sentry ABR video quality monitoring platform. Sentry ABR can now view this encrypted digital rights management content to evaluate the actual viewing experience. The company also debuted its Prism hybrid SDI/IP media analysis platform, which diagnoses and correlates SDI and IP signal types and quickly identifies the root cause of the error, whether it is in the IP layer or in the content layer. In addition, Tektronix demo-ed its SPG8000A master sync and PTP grandmaster clock generator, with optional, field upgradeable PTP (IEEE 1588) support for both traditional SDI-based and IP-based media infrastructures. Lastly, Tek highlighted the latest extension to its MTS4000 and MTS4SAV3 test platforms to include comprehensive HEVC analysis tools and an enhanced closed caption analyzer for ensuring FCC compliance.

Torque Video showed its DVMon ASI MPEG transport stream monitor that has four ASI inputs in a 1RU chassis. The unit continually compares transport stream parameters and service attributes with what is actually being transmitted, flagging errors as they occur.

Triveni Digital showed off its new GuideBuilder XM ATSC 3.0 signaling and announcement generator, which creates the required on-air guide for ATSC broadcasting. The ATSC 3.0 version includes many new features, including allowing short video clips linked from the on-screen guide that can be used for previews and teasers.

Vidcheck debuted Vidchecker v7.0, which provides testing of video, audio and container parameters on four files simultaneously. Videchecker 7.0 can automatically correct typical errors, and provides confidence monitoring at the playout stage.

Volicon demonstrated how its Observer OTT ingests content from each point in the OTT pipeline to provide a look at how consumers experience streamed content and to speed isolation and resolution of quality issues for content viewed on various devices. Observer OTT-Cloud and OTT-Device are products for logging and monitoring streaming content to computers and mobile devices.

Nora Bradford (L) listens to Tony Dobrousky of DSC explain the company’s Screen Align display calibration tool.VIDEO
Cobalt Digital debuted the +T-Slate “trouble slate” feature as a standard part of its openGear 9960-TG2-REF1 dual-channel 3GSDI test generator and corresponding Blue Box Group BBG-1060 units. +T-Slate allows users to upload multiple custom full-screen graphics to use as full-raster output signals.

DSC Labs showed its interesting Screen Align display calibration tool that lets you precisely match your monitor to calibrated colors. Important for accurate color grading, Screen Align has a simple optical/ mechanical system to facilitate the match.

Robert Levato (L) of Leader explains a point on the company’s LV 5490 4K/HDR waveform monitor to Aaron Spense of Panedia in Australia.Leader Instruments rolled out the CineLite II test suite for a variety of the company’s test instruments, one of which was the new LV 5480. Using CineLite II, a 4K video image can be analyzed down to individual pixels for precise level and lighting adjustments. CineLite comes standard on Leader’s new LV 5480 SD/HD/3G SDI 4K-upgradeable multi-format waveform monitor it introduced at the show. Based on the LV 5490, the LV 5480 feature set includes waveform, vector and picture monitoring, an ancillary data viewer, data dump and four-channel timing display.

Omnitek rolled out the Ultra XR Advanced 4K/UHD waveform analyzer that targets colorists, post-production editors and other content creators preparing 4K/UHD material. The unit has a full-resolution monitor output, 4K waveform display, vectorscope, CIE color chart, pixel data display, audio PPMs, ANC packet analysis tools and interlink video timing analysis.

Phabrix introduced the Qx UHDTV1/4K and UHDTV2/8K generator/analyzers for monitoring and compliance of 4K and 8K video. Qx is available in two versions: one with RTE technology for physical layer analysis, and one without.

Video Clarity RTM 4KVideo Clarity released its RTM 4K, a 4Kcapable version of the company’s RTM real-time audio and video monitoring product. RTM 4K can input 4K video sources and compare them with encoded/decoded 4K video to test for video quality, audio quality, lip sync and loudness, and correlate results to accepted scales of human perception.

Imagine Communications featured the Videotek CMN-91-3GB multiformat signal analyzer with integral LCD, which tests signal quality across all DTV formats up to 3 Gbps and provides waveform, vector, gamut, timing and full-screen picture display.

RF
Narda showed its range of RF test instruments, including the SRM-3006 selective radiation meter that performs narrowband analysis of electromagnetic fields. The SRM-3006 can be used to verify compliance with the FCC’s “five-percent rule” that determines interference between two RF signals.

Rohde & Schwarz showcased a test setup for ATSC 3.0, with the BTC broadcast test center and the FSV signal and spectrum analyzer. The ATSC 3.0 signal generated by the BTC was demodulated by the spectrum analyzer and displayed live. As a reference signal generator, the BTC offers analysis functions and automated tests for audio, video and multimedia applications.

Promax spotlighted the HD Ranger 2 signal analyzer with its new seven-inch touchscreen for more intuitive operation. The HD Ranger 2 features a spectrum analyzer, constellation display, QAM monitoring, satellite signal analysis and transport stream monitoring.

With the rollout of full 4K 2/3-inch three sensor cameras, new, long focal length 4K and beyond lenses made their appearance at NAB Show. Along with that, anamorphic zoom lenses from a number of lens makers were unveiled.

Ellie Brito (center, in white shirt) listens to Thales-Angenieux’s Jean Le Poulain (R) explain the Angenieux Optimo 44-440 zoom lens, as Benoit Percheon of Thales-Angenieux listens.

Freelance Cinematographer Forest Johnson examines the Canon Compact Servo 18-80 lens.Angenieux introduced its Optimo 44-440 A25 anamorphic zoom lens, which provides an aperture of T4.5 throughout the zoom range without loss of quality. It features built-in encoders that provide metadata for focus, zoom and T-stop. The lens can be converted to a 25-250mm T3.5 spherical lens by exchanging the rear optical element and the Focus, Zoom and T-stop markings.

ARRI has added a pair of lenses on each end of the Master Anamorphic series, expanding the range to nine. The 28mm is T1.9, and the 180mm is T2.8. All lenses in the series feature low distortion for uncompromised anamorphic capture, cinematic bokeh with high contrast and nice focus fall-off, anamorphic characteristic oval out-of-focus highlights, and a large image field for full freedom in composition.

Canon introduced the CN-E 18-80mm T4.4L IS KAS S compact cine zoom lens, designed to deliver high quality at an affordable price-point. It features three image stabilization modes to enhance handheld work and comes only with an EF mount. Also shown was the 4K UHD DIGISUPER 90 (UJ90x9B) for 2/3-inch sensors and providing extreme telephoto of 810mm. With its 2x extender engaged, it provides a top end of 1620mm.

Cooke Optics showed its new anamorphic PL mount zoom lens, the 35-140mm Anamorphic/i wide angle zoom, and announced they are working on a “big brother,” the 45-405mm T4.5-22, front Anamorphic/i zoom lens. Preliminary specifications are for a 9x zoom front anamorphic, 5-foot 10-inch MOD from image plane and 3 foot 11-inch close focus from the front of the lens. The company has also finished the 300mm, the final member of its 10 Anamorphic/i lens prime lenses lineup.

Jorge Rafael Hernandez takes a test drive on Fujinon’s 107x8.4 4K lens.Fujifilm/Fujinon introduced its 4K 2/3-inch UA80x9, which utilizes large diameter aspherical elements designed by the latest optical simulation system. The lens features a wide field of view when fully zoomed out, and has a 1.2x as well as a 2x extender (they cannot be deployed together). Also featured is the UA Fijinon UA107x8.4, touted as a 4K-compatible broadcast zoom lens that provides the world’s highest zoom ratio. And on the cine side of the business, Fujifilm showcased its XK6x20 single sensor zoom lens, which delivers T3.5 brightness for the entire zoom range from 20mm to 120mm.

Schneider Optics introduced new prime lenses at each end of its Schneider- Kreuznach 4K Xenon FF-Prime high-resolution digital cinematography lenses, an 18mm and 135mm, for a total of seven lenses in the series. The identical-sized primes cover a full-frame sensor and offer 300-degree barrel rotation, uniform size and weight for quick lens changes, and a 14-blade iris that delivers outstanding bokeh.

FILTERS
Lee Camera Filters showcased its Zircon range of filters, designed for use with LED- based lighting fixtures. Because they are twice the thickness of standard lighting filters and made of a180-micronsubstrate, they are durable and less likely to suffer damage from bright LED light sources. Lee also showcased its range of filters matched for Cool White LED illumination. The filters are designed to give a visual color match to the existing colors on Tungsten CT.

Schneider Optics debuted a lineup of new front-of-the-lens filters starting with the first 1-Stop Circular Polarizer designed for professional cinematography. The filter features single-stop exposure loss, a solution for today’s popular low-light shooting. Glare and reflections are minimized while full-color saturation remains, minus any of the inconsistencies of linear polarizers. It is available in popular sizes including 4 x 4, 4 x 5.65, 6.6 x 6.6 and custom.

Tiffen showcased its 138mm Multi Rotor Tray, a lightweight geared rotating variable ND tray, designed for use with matte boxes without a rotating filter stage, or for those instances where a secondary rotating filter stage is required in a non-rotating stage. The company also debuted a pair of diffusion filters, the Antique Pearlescent and Warm Pearlescent.

Developers of technology for content management and control (formerly automation and asset management) continued to adapt their product workflows to IP and cloud-based functionality. Several automation providers demonstrated the ability to create “virtual” content channels, while “programmatic” ad selling was top-of-mind among vendors of business and rights management software.

MASTER CONTROL & PLAYOUT AUTOMATION
Aveco featured its Astra master control/production automation range, available “in-the-rack” or cloud-based, as well as its Redwood, a channel-in-a-box with branding solution.

Bitcentral marked the NAB debut of its Central Control, an IP-based all-in-one ingest, archive and play-to-air solution for individual station or multichannel operators.

Broadstream Solutions launched BEACON, a software-based playout system using elements of the company’s OASYS platform and designed for call letter Diginets or educational, CATV and corporate TV channels.

Cinegy unveiled v11 of Air PRO, its playout server and multichannel automation software with high frame-rate UHD support, integrated HEVC stream encoding, loudness limiting, and next-gen channel branding. The company also showcased Cinegy-as-a-Service, which ports the company’s technology to the cloud.

Crispin showcased LoadingDock, a network content acquisition, preparation and distribution application for reducing duplication of effort across Group stations. The Supervisory View feature monitors multiple channels with access ranging from view-only to full content stream control.

DNF Controls debuted IP Control Buddy, a small-footprint device manager and messaging utility. The GTP-32 Control Processor adds SCTE-104 Messaging/Transmission support for digital content insertion or to block/replace rights-managed material. The new Ethernet, RS232/422 and GPI/O-capable Universal Switch Panel (USP3) streamlines monitoring/control interfaces; enhanced Anywhere Interface Box (AIB) models gained multiple control paths—Ethernet, two-way audio, DTMF, modem dial—with programmer-free Web configurability.

ENCO GM Ken Frommert with the company’s new MOM (Media Operations Manager)ENCO Systems introduced its MOM (Media Operations Manager) system, permitting solo operators to automate video playout, manage video, audio, and graphic cut libraries, and create content playlists from a single workstation. A fourth-generation OnAir interface helps users handle traffic log changes and perform manual playback or live inserts.

Evertz demonstrated completely virtualized MAM, automation and playout in the public cloud. The company also demonstrated a virtualized cloud version of Overture LIVE VM playout via Amazon Web Services.

Florical partnered with Vizrt to host a graphics engine on Acuitas, their channel-in-a-box solution. Also new, text-to-speech for FCC compliance and BXF “live-log” for its Myers ProTrack users. The company also showcased AssetCollector and Asset- Dispatcher to streamline media workflows, and schedule import to boost centralized content management in FlashForward.

Grass Valley unveiled iTX On-Demand, an automated VOD and OTT solution. It adds or removes commercials, promos or programming and inserts dedicated branding, watermarks and captions to create complete broadcast masters in faster than real-time, then transcodes VOD versions in parallel with specific metadata for different platforms.

Imagine Communications showed the latest incarnation of Versio, their cloud-enabled, software-based integrated playout solution. Featuring “any-to-any” transport and compressed or uncompressed IP, it’s deployable as traditional hardware or fully virtualized for OTT.

NVerzion highlighted the Windows 10 edition of their Component Level Automation System Solutions (CLASS) platform with a configurable GUI able to emulate end-of-life third party systems. New NPoint Direct lets broadcasters segment, preview and create text, events or effects (e.g., bugs, crawls) instantly and without tying-up a server port.

IPebble Beach Systems premiered Orca, a virtual implementation of its Dolphin platform. Configurable channels run in a virtual machine on a private cloud using IP inputs and outputs to deliver functionality in a purely software environment that would otherwise require discrete hardware.

Pixel Power unveiled StreamMaster, a software-centric integrated playout solution, geared to seamlessly transition from on-premise to cloud architecture. Scalable from basic pop-up to full premium channel, it can deliver content with live graphics from dedicated hardware, as a virtual machine in a data center, or virtualized in the cloud.

PlayBox Technology unveiled CloudAir, a SaaS designed to quickly deploy new channels. Running on any enterprise-class host server, it cuts costly infrastructure and integrates with preferred traffic, storage, MAM and file transfer systems.

Rascular launched a new version of Mediant, its branding management tool supporting both manual and automated asset monitoring. A drag & drop GUI and built-in file conversion ensures the correct media is available in the right format when and where it’s needed.

RUSHWORKS demonstrated dissolve transitions between playlist elements of its ALIST automation as well as BXF file parsing and interoperability for broadcasters using Myers ProTrack, Broadview, and similarly enabled traffic solutions.

SAM added ICE-SDC (software-defined channel) to its channel-in-a-box series, joining the company’s Morpheus automation and Momentum asset management platforms, all optimized for virtualization in an IP or cloud environment. Also new, Alchemist Kronos addressed a growing demand for solutions to adjust content duration.

FOR THE NEWSROOM
Aveco featured Astra News and unveiled Take 2 production automation for news magazine and similar content creation. A director’s interface intuitively controls switchers, video and graphics, camera robotics, audio, etc. Auto “best-clips” compilation speeds post-production.

Avid demonstrated next-gen iNEWS functionality, including a journalist story assignment pane with notifications and resource allocation to streamline story-centric workflows. Also, integrated Maestro graphics workflow; more focused engagement via Social Media Hub; rundown-centric scheduling, review and approval processes; new Ooyala and thePlatform connectors; plus, enhanced Facebook and Twitter integration.

Bitcentral rolled-out Continuum, which automatically or manually programs a live linear channel directly from the news rundown, then distributes to sub-channels and IP for mobile, digital, and OTT. It interfaces with master control and traffic/billing systems, and enables content producers to manage their own advertising rather than depend on internet-based ad servers.

Dalet GalaxyDalet showed an updated version of its Galaxy MAM, the core of its newsroom system, now optimized for content production/distribution. Embedded tools help plan, gather, create and instantly distribute text, audio and video across multiple platforms, freeing up resources to cover and produce more stories.

Grass Valley announced support for K2 Central TX in its latest Newsroom Bundle Elite, offering up to 20TB of usable storage, 20 GV STRATUS clients and 15 simultaneous editors. GV also previewed a new user interface for its Ignite automated production system and has enabled STRATUS to make downstream content substitutions for OTT.

Masstech highlighted MassStore for News, permitting journalists to retrieve, archive and exchange content from within their familiar NRCS interface. It minimizes technical and workflow disruptions, allowing users to focus on content-rich story creation.

Ross Video upscaled its browser-based NRCS and social media management tools to support any size operation with new Inception Enterprise. Also announced, Inception collaborations with Grass Valley STRATUS content management, and with NewsMaker Systems to bridge with NewTek’s TriCaster.

SAM’s News Solution, optimized to rapidly create and distribute multiplatform content, showed adaptive streaming, a full-featured Adobe Premier plug-in, and compatibility with popular NRCS packages. A new interface unifies the experience for mobile, desktop and post-production users; finished content can be posted to social media, Web and TV, then accessed and repurposed by others.

Vizrt debuted an OTT integration of Viz Opus—a one-box production control solution with real-time graphics, switching and playout—and Viz One MAM. It automates multiplatform content generation. letting staff focus on live production.

TRAFFIC, BUSINESS & RIGHTS MANAGEMENT
Arvato Systems featured its web-based AdStore to help media companies monetize content across distribution platforms with unified campaign management and invoicing; also, new integration with Salesforce. Its S4AdOpt lets legacy linear ad sales systems optimize placement and revenue.

BroadView Software advanced On-Demand, its flagship OTT product, with Web-based analytic dashboards. They also unveiled Promotion Campaign Manager (PCM) with an asset-centric workflow that cuts creation time and maintains campaigns while providing a “setup and forget” approach to daily execution.

Imagine Communications’ xG ScheduleImagine Communications launched xG Schedule, a cloud-based, next-generation business process solution for linear, on-demand and digital platforms. It unifies ad management and leverages digital media assets by enabling programming teams to plan across multiple linear, nonlinear, web and mobile platforms with validation against content and usage rights, as well as organizational business rules.

Myers previewed advanced capabilities— beyond scheduling and traffic—of its flagship ProTrack broadcast management system, including a first look at the HTML5-based release with new commercial sales functionality. Myers is also extending its Hub and Spoke platform that lets stations retain autonomy while enjoying the efficiency of shared content and master control resources.

Proconsultant Informatique added automatic speech-to-text subtitling to its LOUISE Business Management Solution as well as integration with Vimsoft’s VimBiz Broadcast Resource Management Solution that incorporates human and technical resource planning.

SintecMedia debuted OnBoard, a cloud-based Programmatic Seller Side Platform (SSP) for TV/digital advertising sales, and announced an integration with TubeMogul PTV, advanced targeting and optimization software to plan and buy television advertising.

WideOrbit announced an OTT initiative to sell and deliver digital video advertising within broadcasters’ streamed inventory. Its Q4 rollout will be integrated with WO Traffic and address video stream monetization in IP-based environments, e.g., web pages, mobile sites and smart TVs.

ARCHIVE & MEDIA ASSET MANAGEMENT SYSTEMS
Apace Systems displayed Global, a frame-accurate, Web-based proxy editing solution optimized for cloud access. It compliments their postMAM series, a scalable, browser-based, multi-site environment for collaboratively managing media file ingest, transcode, search, playback and archiving.

Arvato Systems featured Video Production Management System (VPMS), an enterprise- class MAM for organizations with complex requirements and high demands for scalability, performance, and hardware independence.

Avid announced InterPlay | MAM integrations with Adobe Premiere and Apple FCP; also, archive and full or partial restore functionality with Masstech, Oracle, SGL and Spectra Logic; end-to-end Panasonic AVC-LongG workflow support; plus, an Enterprise Marketplace for certified Connectivity Partner tools to connect with Avid’s MediaCentral Platform. Also new is UX, a cloud-based MediaCentral Platform frontend that lets users find and interact with content on any iNEWS or Interplay system within their network, regardless of location.

Dalet unveiled powerful analytics for its AmberFin media processing and mastering platform. An intuitive Business Process Model & Notation (BPMN) 2.0-compliant workflow designer lets users create complex workflow chains with little or no prior experience, while providing essential operational and business data to administrators. AmberFin also gained support for Aspera and similar fast transfer solutions, as well as interfaces to Amazon S3 compatible storage.

Digital Broadcast highlighted its Media- Vault Archive System’s new cloud storage functionality for shared access and off-site backup.

Digital Nirvana introduced CARTS (Capture, Analyze, Replay Transport Stream), a standalone digital recorder and transport stream monitor with non-compliance alerts and abilities to cut, clip, and export sections for detailed analysis. Also new, v5.0 of its AnyStreamIQ offers SaaS to record, log and monitor OTT content for compliance.

Evertz demonstrated its Mediator-X asset management and workflow engine running in full virtual mode on Amazon’s Web Services Cloud platform. Advanced processing functions and next-gen database architecture support complex elastic searches and analytics, as well as automated, rules-driven ingest, QC/QA, versioning, archiving and related media workflows.

Masstech added LTO-7 tape storage support to its MassStore for Archive and MassStore for MAM solutions. A new Avid Portal lets users drag and drop to archive, restore or flatten content directly from their editor interface. Also, new features in MassStore Spot & Program Aggregation leverage PitchBlue’s Active Format Description metadata to optimize down-conversions.

Oracle announced integration between DIVA and its Storage Cloud Service. It provides an incremental tier to on-premises storage and adds cloud to media lifecycle workflows. Updated DIVAnet 2.0 connects up to 10 DIVArchive systems through a single global namespace; DIVArchive 7.4 gained Oracle Linux and Database 12c support; AXF Explorer follows SMPTE’s open standard for content sharing and management among disparate systems.

Primestream emphasized Dynamic Media Management solutions with a demo of archival workflow and Aspera integration at IBM’s booth. Also, real-time capture to production, management and delivery systems using its Xchange product within Hitachi’s Content and Unified Compute Platforms.

Pronology debuted mRes, a standalone multi-resolution encoder that simultaneously records three tiers of uncompressed video: a high-resolution media file, an edit proxy, and a live web-streamable proxy.

Ross Video showed v3.1 of its Streamline asset manager featuring watch folders with metadata awareness; XMP metadata import; embedding within XPression’s MOS plugin; and automatic ingest/transcode for NRCS workflows.

SGL Flashnet InfinitySGL launched FlashNet Infinity, a dashboard for its flagship content manager that streamlines archive workflow with productivity widgets and reliability tools such as Checksum support. New SMPTE Archive eXchange Format (AXF) support assures long-term content access despite evolving technologies.

Signiant announced tightly integrated, pre-built workflows with Microsoft’s Azure Media Services (AMS) platform. Automated processes utilize the acceleration technology of Signiant’s SaaS utility, Flight, for secure file transport to/from on-premises storage. Transcoding is incorporated within their flagship Manager + Agents (M+A) solution.

Tedial Version FactoryTedial debuted Version Factory, a “media factory” workflow interfaced with content and rights management, traffic, and work order systems to automate and stack media engines. Using future-proof SMPTE data protocols, it offers maximum scalability for OTT/VOD platforms, network operations and brands. Also showcased, Evolution BPM (business process management), clocked 17x faster than competing systems—50,000 workflows in under three minutes—with unlimited physical or virtual scalability.

Telestream unveiled a mid-year release of its Vantage Transcode Multiscreen workflow automation with support for VP9 video coding. It lets content creators and distributors deliver to over two billion VP9-enabled end points via the Vantage Enterprise workflow. Also debuted, Telestream Cloud, a video encoding SaaS supporting Apple ProRes.

TMD showed workgroup solutions including Paragon+, Chameleon and OnPoint, all operable as simple standalones, in combination, or configured within its Mediaflex-UMS platform for Enterprise-class content management. Also announced, an integration with Fadel Asset Rights Clearance software, and a Take 1 partnership for timecode-accurate program transcriptions with searchable metadata.

Volicon —recently acquired by Verizon Digital Media Services—augmented Share, part of its Observer Media Intelligence Platform, with ad clipping, concatenation and publishing to speed-up repurposing aired content for broadcast, VOD, and digital or social media. Share lets nontechnical staff review and mark in/out points for clip extraction as content’s captured; concatenation simplifies creating video mashups; ad clipping utilizes as-run logs, SCTE messages and filtering options to generate ad-free content for VOD and other outlets. Also new, C5 service gives subscribers access to share functionality in the cloud.

In front of a climbing wall in the Atomos booth, Brooke Benton-Smith (R) explains the Atomos Ninja Flame to Jin Lee of Preco.As the Bard once said, “Displays the thing!” and at NAB Show 2016 monitors and displays provided windows into the souls of new technologies.

Atomos debuted their new HDR flagship Shogun Flame and Ninja Flame with a 1,500 nit/10-bit screen and 4K/60p over Quad- SDI recording capability. The seven-inch Atomos Flame Series monitor accurately displays 10 stops of the luminance detail of Log with 10 bit HDR Post Production color accuracy—the first time in a field monitor, according to the company.

Boland introduced large format versions of their BVB17 “Ultimate Production Monitor.” The new models, BVB42, BVB49 and BVB55, all feature true 10-bit panels (1.07 billion colors) and a full 10-bit path. The company also featured the 55-inch BVB55OLED with 200,000:1 contrast ratio.

Dolby showcased the latest in Dolby Vision- enabled consumer TVs including LG’s 2016 OLED TVs and Vizio’s 4K Ultra HD TVs. We also saw the company’s own flagship Super UHD TVs, the TCL X1, destined to debut in the fall.

Eizo demonstrated the ColorEdge CG318- 4K, a 31-inch monitor with DCI-4K (4096 x 2160) native resolution, designed for media and entertainment, cinema and broadcasting, 2D and 3D CGI, visual effects, compositing, and color grading.

Flanders Scientific introduced their BoxIO advanced color management device for on-set calibration. The 4K BoxIO has dual I/Os and supports 3D and 1D LUTs.

Fusion introduced its ORD-55, a 55-inch OLED 4K reference display system. It features Independent Processing Quad Mode Operation (IPQ), in which four individual processors provide independent control of all channels, offering flexibility previously unavailable in a quad display.

Ikan debuted the DH7 seven-inch monitor, featuring a 1920 x 1200 full HD Plus LCD panel and support for UHD 4K HDMI input and loopthrough output signals. Its five-inch brother, the DH5 is designed for small rigs and features sun visor, screen protector, screen wipe and USB port for software updates.

Ikegami introduced two new 4K monitors: the 31.1-inch broadcast quality HQLM-3120W, featuring a 10-bit, LED backlit, UHD LCD panel with 1450:1 contrast ratio, and the HQLM-3120WH, an alternate model with a special panel supporting high dynamic range.

JVCKENWOOD’s DT-N24F

Marshall Electronics’ V-R173-DLW Desktop/Rackmount Monitor

Planar’s UltraRes 84-inch pro LCD displayJVCKENWOOD unveiled the DT-N line of ProHD broadcast studio LCD monitors. Three of them—the 17.3- inch DT-N17F, 21.5-inch DT-N21F, and 23.8-inch DT-N24F—are designed for studio or field use. Three other monitors include the DT-X16H (15.6-inch), DT-X21H (21.5-inch), and DT-X24H (23.8-inch) models, each with full HD resolution 1920 x 1080 LCD panel.

Lilliput Electronics introduced a trio of monitors: the 7-inch Full HD model Q7 with SDI/HDMI cross conversion and 23.8-inch and 28-inch 4K UHD broadcast director monitors with metal carry on case. Each has 3G-SDI, four HDMI, DVI, VGA, and AV inputs.

Marshall Electronics showcased their new V-R173-DLW Desktop/Rackmount Monitor and Digital Analytics Workstation with a robust set of analytics tools packed into a 17.3- inch 1920 x 1080p LED-backlit display. A selectable quad-view mode simultaneously displays waveform, vectorscope, digital audio and live video preview.

Planar Systems introduced its Planar UltraRes Series, a line of 75-inch, 84-inch and 98-inch Ultra HD resolution (3840 x 2160) pro LCD displays for native 4K and upscaled content.

Plura Broadcast launched its Plura PBM-4K and the Plura LCM-4K Series, ranging from 24 to 84 inches. The Plura PBM-4K series supports SMPTE 2036-1, 2 x 12G/3G/HD-SDI inputs with active loop, and the LCM-4K Series handles up to 3840 x 2160 resolutions. The Plura PHB series of 7-inch and 9-inch screens feature high brightness for outdoor use.

SEETEC debuted its 17.3- inch SEETEC P173-9HSD monitor, which supports multiple inputs including HDMI, 3G/HD/SD-SDI, DVI, YPbPr, Audio (L/R), Video. The P173-9HSD also features an intuitive operating system with built-in professional tools such as waveform, vector scope, audio level, meters, histogram, focus assist, exposure and false color.

SmallHD has integreated its hallmark technologies into new full-size 17-inch, 24-inch and 32-inch production monitors. Each offers up to 2,000 nits brightness, an intuitive operating system, HDR compatibility, 1920 x 1080 resolution, 8- and 10-bit IPS LCD panel with 4up signal view, up to 5,000:1 contrast ratio, and integrated LUT support.

Sony debuted the TRIMASTER PVM-X550, a 55-inch OLED panel with 12-bit signal processing that they say is perfect for client viewing. Also new, the EL PVM-X550, a quad-view OLED monitor, supports HDR through various Electro-Optical Transfer Functions (EOTF), such as S-Log3, SMPTE ST.2084 and Hybrid Log-Gamma, covering applications for both cinematography and broadcast.

TVLogic launched the LUM- 240G, a 24-inch, 10-bit native 3840 x 2160 reference monitor with 3G quad link and 6/12G single link input plus HDMI 2.0 for 4K 60p. It provides an ultra-wide color gamut up to DCI, 10-bit color, and includes 3D LUT import/export, HD 1:1 or full-screen up scaling function and TVLogic’s free color calibration utility.

Transvideo debuted StarliteRF, a 5-inch 3G-SDI touchscreen OLED wireless monitor/recorder with built-in receiver being delivered with the TitanHD2 transmitter. With a range of 600 feet/200 meters (LOS), StarliteRF can even be used for monitoring and recording aerial shots from drones.

ViewZ came with their ViewZ 50 UHD designed for professional security and mission-critical digital signage applications. The ViewZ 50 UHD supports Quad- Full-HD/4K resolution at 3840 X 2160 with MVA technology for extra wide viewing angle and high brightness of 400 nits from panels designed to run 24/7.

Wohler introduced the UHDM-4K-TT series monitor, providing a range of high-quality 4K output screens configurable in either Full 4K or Quad Full HD mode, providing versatility in a range of applications.

Not long ago, the 2 GHz BAS relocation was one of the biggest stories in the industry. The microwave gear used in the BAS band is still an important tool for broadcasters looking to get remote video to the studio, but today there are many more ways to deliver broadcast-quality video— including some that can fit in your pocket. In the meantime, the trend toward 4K video support is widely seen in the ENG category, with numerous vendors offering 4K transport solutions.

Artel DLC510 dual-port L-Band demodulatorArtel showcased its DLC510 dual-port LBand demodulator, adding new satellite scanning functionality to the company’s DigiLink media transport platform. The DLC510 also works as an automatic transponder scanner that lets satellite operators scan L-band transponders quickly on a satellite.

AMT showcased its ENGenesis bidirectional 2/7 GHz BAS band system that lets a single high-capacity radio channel support simultaneous bidirectional data communication. LTE dynamic bandwidth allocation manages each stream in real time to provide handle multiple mobile units. The company also showcased the CID-Passport, which it partnered with Teamcast on. The modulator is compatible with all legacy encoders and allows all satellite trucks to be compliant with new FCC carrier ID mandates.

AVIWest launched the DMNG 220-HE ultra-portable HEVC video contribution encoder for cellular, WiFi, satellite and Ethernet networks. The company also showcased upgrades to its DMNG Manager that allow statistics capabilities in addition to the video thumbnail of each feed coming from field units or any standard IP video sources.

BSI showed its Real Freedom camera-back transmitter, a compact wireless system designed for live ENG and sports broadcasting. With its 3G 1080p encoder, the transmitter is capable of 10-bit, 4:2:2 sampling.

Comrex debuted 1.4.1 firmware for its LiveShot system, which now allows it to intelligently quarantine underperforming modems. The company also introduced Comrex Connect Modem, a high-powered, Industrial-strength 4G/LTE modem that is also 3G-compatible. Also new was VH2, which is similar in function to the company’s DH22 (which works on analog phone lines) but provides users with the capabilities of a two-line digital hybrid, as well as the benefits of VoIP. Comrex also introduced 4.0 firmware for ACCESS, with an added capability for bonding, which enables multiple networks to be utilized at once.

Dejero Live+ ControlDejero introduced a series of enhancements to its Live+ Control management system. The update, which is linked to the release of v.4.0 of the company’s Live+ Core software, enhances monitoring and reporting capabilities, displaying real-time analytics of network connection performance and overall transmission quality.

DSI RF Systems showcased its lightweight NewsShark Plus portable ENG transmission system, featuring one button operation and “Breaking News Mode” that supplies HD video in as little as 256kbps.

DVEO featured its new software-based iCandy 4K H.265/HEVC or H.264 live encoding and decoding solution. The iCandy-E features a software-based H.265 or H.264 transport stream encoder and HLS streamer, with 6G SDI input, and ASI and IP output, plus a matching decoder (the iCandy-D) with ASI and IP input, and 6G SDI output.

Frontline Communications displayed several trucks in its booth, as well as in the booths of partners elsewhere on the floor. One of the vehicles in Frontline’s booth was a DSNG/ENG truck built for KUSA-TV, which included a 42-foot FastMast telescoping mast, Ku-Band 1.4-meter satellite dish and 8 kW generator, built into a Nissan Titan truck chassis.

IDX showed its new CW-F25 wireless video system, which uses H.264 encoding at 25 Mbps for contribution-quality HD video. To maintain the resilience of the link, the system uses dynamic frequency selection to automatically choose the best available WiFi channel.

LiveU debuted LiveU Solo, a new plug and play live streaming bonded solution that uses LiveU Reliable Transport protocol’s integral adaptive bit rate and forward error correction technology. Solo can be managed and controlled remotely via a web interface or smartphone. The company also highlighted MultiPoint, a cloud-based large-scale distribution system that seamlessly integrates a broadcaster’s daily workflow.

Integrated Microwave Technologies (IMT) unveiled its microLite aerial transmitter that’s designed to be integrated into Aerobo’s Micro UAV. The microLite is designed to capture and display real-time, high-quality video back to ground receivers without attenuation from foliage and terrain. The company also debuted the RefCam HD-I, a COFDM, HD video transmitter with an integrated HD camera that captures footage from the referee’s POV. It’s designed to be worn with or integrated into a sports helmet in a small, low-power consumption form factor.

Moseley demo-ed its AxxceLTE BAS family of products, which are LTE devices that work in the 2 GHz BAS band to provide high-bandwidth bidirectional signals for live remote links. This creates an integrated system for delivering live remote video, with full-duplex intercom capability.

Riedel demonstrated its STX-200 Skype interface, which runs Skype TX software and can be used to integrate remote Skype feeds into a studio presentation. The STX-200 is compatible with standard-free Skype clients to allow incoming studio video feeds from a wide range of participants.

Teradek launched the Teradek Sphere for monitoring and viewing live VR content. Sphere is a combination of an HDMI or HD-SDI 4-channel H.264 encoder and a companion application for iOS devices. The H.264 encoder is about the size of a V-lock battery and compresses video up to 1080p30 at bit rates up to 5 Mbps. Users can monitor or record the live VR footage on their iOS devices and then upload the content to YouTube’s 360° platform so others can view it remotely.

TVU Networks announced the availability of its cloud-based TVU Command Center workflow solution that allows central management and control of all TVU transmitters, receivers and services within a group anywhere in the world. It enables control of TVU transmitter functions, including latency and bit rate, as well as supporting Geo-locate, a GPS-based map view of all powered TVU transmitters. The company also showcased its TVU One live mobile IP newsgathering transmitter, TVU Grid IP video distribution, routing and switching system, the TVU Anywhere app, that turns a smartphone into a live video transmitter and TVU MLink live video uplink. TVU also showed live transmission of virtual reality content.

Vidovation VidOwave 60G 750 PAVidOvation featured the VidOwave 60G 750 PA, a 60 GHz millimeter-wave broadband and wireless data connectivity solution that delivers low-latency and full-duplex Gigabit Ethernet transport speeds in a small, easy-to-install enclosure. VidOwave 60G 750 PA is targeted at links that would otherwise be impossible or cost-prohibitive with fiber-optic cable.

Vislink debuted Vislinknewsnet, a wireless communications solution that allows reporters to work in the field as if they were in the studio. The solution provides a secure, bidirectional, high-speed radio network with concurrent connections to each receive sector, all on a single channel within the broadcaster’s BAS spectrum.

ZeeVee spotlighted its ZyPer4K video-over-IP solution that provides uncompressed 4K transmission over off-the-shelf 10G Ethernet switches. ZyPer4K is available in both fiber and CATx versions, and can distribute and control content from up to 99 miles away.

Aadyntech Punch Plus VariableSince the first LED professional lights arrived at NAB Show a dozen or so years ago, the number of companies bringing LED fixtures to the show has exploded. In that time, great improvements have been made in their color rendering properties.

AAdyntech updated its Jab and Punch Plus series fixtures to output 30 and 40 percent more light, respectively, without additional power. The company also debuted The Punch Plus Variable, a new fixture that delivers the flexibility of tungsten, daylight or anything in between, without compromising output or quality of the light beam.

ARRI delivered a firmware update for its LED SkyPanel light that yields 10 new features and refinements including the ability of the fixture to replicate colors of the entire gel libraries of Lee and Rosco. It can also ape the color temperature profile during dimming of a legacy tungsten fixture.

BBS Lighting introduced its first remote phosphor light banks, utilizing the cylindrical remote phosphor lamps from its Pipeline System. The banks are available in 3- or 4-foot lengths, in 3200K, 4300K, 5600K and adjustable color models. Control is by on-fixture knobs or via DMX.

Brightline unveiled its L1.2 Series One LED studio fixture, a 108W remote phosphor lighting fixture that utilizes an intensifier to direct the light and increase output. A pair of L1.2 fixtures can be easily joined together to create a wider soft light source. Phosphor panels are available in 3200K and 5600K.

Chimera now provides the ability of its Octaplus to fit more lighting fixtures with two new speed rings. The company also rolled out light shaping products for the ARRI SkyPanel, with a full diffusion front panel, light bank body mounting, and a variety of grid sizes.

Cineo HSXChroma-Q demonstrated its Space Force LED fixtures, an octagonal replacement for existing space lights. It features tune-able color temperature from 2800K to 6300K, and its diffuse nature of output removes the need for silks or skirts.

Cineo introduced Cineo HSX, the latest member of the company’s LED Remote Phosphor line. It is a color-tunable (2700K to 6000K) soft source that provides five color presets, and puts out 25,000 lumens of light.

Dedolight, which utilizes spherical lenses in its lighting fixtures instead of Fresnel lenses, debuted its Turbo series of LED lights. With a new active cooling system, the DLED7 and DLED3 models provide nearly twice the amount of light as the fixtures they replace.

DeSisti introduced its Super LED Vari-White range of LED Fresnels which provide the ability to vary the color temperature range from 2800K to 6600K. The F6 (6-inch lens) draws 120W, and the F10 (10- inch lens) draws 180W. They are both DMX controllable and enable DC dimming for smoothness.

DoPchoice exhibited its Snapbags, Snapgrids and Butterfly grids. These light shaping accessories utilize the company’s Snap Technology to simplify their attachment to lighting fixtures as well as quick dismounting and storage.

Falcon Eyes exhibited its Professional LED Panel LP-DB600CT, a ring light with high power output for use in still or video shooting. It features adjustable color temperature ranges from 3000K to 7000K.

Fluotec launched its Vegalux 300, a powerful 12-inch 300W bicolor motorized zoom DMX dimmable studio LED Fresnel. The company also debuted the CineLight SoftLIGHT Bicolor DMX LED panel system featuring an extensive array of fixtures.

Frezzi introduced the SunLight, a bright 5600K fixture with three LED lamps, with an equivalent output of a 575W HMI while drawing just 70W. Utilizing a proprietary directional focus, the fixture focuses from a 20-degree spot through a wide beam without need for lenses.

Hive Lighting showed the 100 percent flicker-free WASP 1000 Plasma PAR Kit. Combined with a 1,000W plasma bulb is a 12-inch parabolic reflector and four HDP lens set. Plasma lighting yields high CRI color ratings.

iKan showcased three new LED Soft lights, the Rayden, Lyra and Mylo, with various models of each. The Mylo is a 45-degree 800 LED panel, small in size and ideal for news use. The Lyra provides a 110-degree beam angle, and the Rayden has a 50-degree beam angle.

K5600 rolled out new 3200K HMIs in 400W and 800W models. The company also unveiled its new Kurve parabolic umbrella, available in three different sizes. It is lit with K5600’s Joker HMI’s.

KinoFlo exhibited its Select and Diva-Lite LED fixtures, designed to provide the light properties of fluorescent light banks, but from LED tubes. The variable color temperature lights can tune their output from 2700K to 6500K and also include adjustment for Green/Magenta shift.

LightGear showcased its unique and lightweight LED lighting fixture system. The LiteMat provides evenly spaced, color-correct LEDs spread out over a large area, creating soft light without requiring diffusion.

Litepanels debuted its Astra Soft Bi-Color LED panel, a new fixture that provides the same effect as a softbox in a compact design. In addition to the color temperature agile Bi-Color model, it is also available in daylight and tungsten.

Lowel Lighting has redesigned its ViP Pro light, resulting in its just-introduced PRO Power LED. The new light replaces the tungsten bulbing with a daylight LED lamp. Many ViP Pro accessories work on PRO Power fixtures.

Mole Richardson highlighted its 1600W Tener, available in either daylight or tungsten color temperature. The focusable Fresnel fixture has a beam angle range of 10 to 55 degrees, and puts out the equivalent amount of lumens from a 10K tungsten light.

Photon Beard’s Highlight LEDNila Lighting debuted its Arina fixture, featuring a holographic lens. With a power draw of just 800W, it is designed to replace 2500W HMIs and 6000W tungsten fixtures. The fixture is available in both daylight and tungsten.

Photon Beard demonstrated its remote phosphor Highlight LED range of fixtures. Color temperature can be changed by swapping phosphor panels. Its dimming options include local control and DMX. A wide selection of accessories is available.

Rosco expanded its Silk series of LED fixtures with the Silk 110. At just over 12-inches square, it provides 2000 lumens of output. Its color temperature range is 2800K to 6500K, which along with dimming, can be controlled onboard or via DMX.

Softpanels debuted a unique LED panel fixture that has a built-in color meter. This allows the user to accurately measure the color temperature of ambient light falling on a scene so that the fixture can be tuned to match that color temperature.

Videssence now has a full line of LED Fresnels, the VN080, VN150 and VN240, drawing a corresponding 80W, 150W and 240W. They are available in both daylight and tungsten color temperature and feature local touchpad control and DMX.

Visionsmith showed its LED lamps designed to plug into the glass tungsten bulb sockets in legacy lighting fixtures. This enables a facility to re-lamp its fixtures with LEDs instead of replacing the fixtures themselves.

Zylight F8-300 LED Fresnel fixtureVisio Light introduced its B100 system of 5-inch Fresnel fixtures, featuring a diamond diffuser dome. With the Fresnel head in place, the fixtures provide a beam focus of from 28 to 53 degrees. The fixture is available in daylight, tungsten or color-agile models.

Zylight unveiled its F8-300 LED Fresnel fixture, delivering single shadow traditional Fresnel beam shaping and utilizing quantum dot LED technology to deliver excellent light quality. It is available in tungsten or daylight, with adjustable beam spread of 16 to 70 degrees.

BATTERIES
Brute force was a major trend in professional batteries at the 2016 NAB Show, where larger capacity battery packs provide longer run-times of power hungry cameras and lighting equipment.

Anton/Bauer has answered the need for a high-capacity cine battery pack with its Li-Ion-based CINE battery packs which supply 12 amps of constant power. A built-in PowerTap is used to power any other 14V accessory.

BlockBattery introduced the 1500-INV, a powerful battery providing up to 1500W of 120V AC. It delivers pure sine wave power, and its 48V output can power camera as well as lighting equipment.

Hiro Takematsu of Motion Planet Electronic Technology gets a pitch on the IDX Duo-C95 battery from Tomo Nishikawa of IDX.

PAGlink PL150Frezzi debuted its FLB 240 battery packs, touted as the most powerful and lightest weight on-camera professional battery. It can deliver eight hours of runtime with 30W camera load, weighs just 3.1 pounds and connects directly to A/B or V-Lock plates.

IDX showed a pair of high-capacity battery packs, the 7.2V SL-VBD64 (6400mAh/47Wh) and SL-VBD96 (9600mAh/70Wh) batteries, designed to provide estimated runtimes of 130 minutes and 193 minutes, respectively. X-Tap and USB power ports are included.

PAG unveiled its PAGlink PL150 battery packs. When two of the 150Wh batteries are stacked together, it becomes a powerful 300Wh pack. It is capable of handling a 12A draw when two batteries are linked, or 8A when used individually.

Switronix introduced Hypercore Prime, a battery pack design that employs a two-part separable battery pack providing a high-capacity but air-travel-friendly battery solution. Also new is Hypercore SLIM, the first line of slim battery packs capable of handling high-draw loads, making them ideal for UAV, Handheld Gimbal, etc.

ATSC 3.0 was one of the notable themes of NAB Show, and transmission gear is at the heart of this promising new standard. With the physical layer of ATSC 3.0 nailed down enough, manufacturers are announcing products that are compatible with ATSC 3.0.

The other big theme among transmitter manufacturers was increased efficiency for solid-state transmitters. One manufacturer (GatesAir) says its new solid-state transmitter achieves 50 percent efficiency, a number thought unattainable perhaps 10 years ago.

TRANSMITTERS
Egatel presented a new UHF low-power transmitter and gap-filler series, the TUWH1000 and RUWH1000 line. These 1RU systems provide output powers up to 115W and feature high-efficiency operation.

Hitachi-Comark featured its Parallax medium- to high-power transmitter line, which can work with ATSC 3.0 modulation at powers up to 100 kW. Parallax’s power modules use Doherty amplifier technology to produce high efficiency, and a double-sided liquid cooling plate configuration improves RF power density.

GatesAir Maxiva ULXTItelco-Electrosys featured its Thalna line of low- to mid-power air-cooled transmitters that can reach up to 2.4 kW for either VHF or UHF operation. Itelco-Electrosys is now implementing Doherty power- amplifier technology to improve transmitter efficiency.

GatesAir unveiled two Maxiva PowerSmart Plus products: a medium-power solid-state transmitter and an exciter that is certified to work with ATSC 3.0. Using narrow-band power modules that are available in both liquid- and air-cooled configurations, the company boasts that the new Maxiva UAXT and ULXT power modules provide efficiency ratings up to 50 percent.

Nautel showed its NT line of low- to mid-power UHF transmitters that combine a modulator, amplifier, remote control, adaptive pre-correction and mask filter in a compact enclosure. One example is the NT500/NT1 that has power output up to 1 kW and uses enhanced adaptive pre-correction for maximum power efficiency. Nautel’s TV transmitters support ATSC 3.0 broadcasting.

Rohde & Schwarz debuted the compact TLU9 UHF transmitter, with power up to 200W. The TLU9 supports transport stream-over-IP functionality, adaptive digital pre-distortion and an optioning concept that makes it possible to integrate other components, such as two satellite receivers, within the transmitter housing.

RVR-Elettronica showed a range of transmitter products, including the DTVCA1K0UU1 1 kW UHF power amplifier. The company said the DTVCA1K0UU1 has both high gain and high efficiency, and the unit can be switched between analog and digital operation with software—no hardware changes are required.

EXCITERS/MODULATORS
DekTec announced that the DTA-2115B card, its high-end test modulator for satellite, terrestrial and cable modulation standards is now available. The DTA-2115B supports a range of standards, including DVB-T2, DVB-S2(X) and ATSC 3.0.

ONEtastic showed its clever OneDriver transmitter/exciter, which can provide output power up to 130W. The OneDriver can contain the exciter, power amplifier and GPS/GLONASS receiver for SFN operation in a single 1RU chassis.

TeamCast had multiple products address ATSC 3.0 modulation, and was a partner on one of the over-the-air ATSC 3.0 demos at the NAB Show. The company’s Stream4Cast prepares an IP stream to be transmitted on single-frequency networks in compliance with the ATSC 3.0 physical standard, and its exTra3.0 ATSC exciter is one of the first commercially available ATSC 3.0 exciters.

ANTENNA
ABE Elettronica showcased its LB series of panel antennas and its GNS 1000 GPS synchronizer for single frequency networks.

Dielectric’s TFU-WB series auxiliary UHF antennaAldena Telecomunicazioni debuted its ATS series omnidirectional turnstile UHF antennas for digital or analog TV applications. In addition, the company featured its Emlab RF coverage prediction software, of which there are several versions.

Dielectric showcased its TFU-WB series auxiliary UHF antennas, which are off-the-shelf systems targeting high-power UHF applications from Channels 14 to 51. With its streamlined profile, the TFU-WB reduces wind load up to 75 percent from traditional antennas.

Electronics Research Inc. (ERI) announced a partnership with T-Mobile to build TV antennas in an effort to clear the 600 MHz spectrum. For products, ERI debuted a new family of broadband high-band VHF panel antennas that includes a horizontally polarized high-band element as well as an element for circularly polarized radiation.

Jampro highlighted its JAT-U UHF super turnstile antenna, which provides a low wind load and a broadband response that covers the entire UHF band. The JAT-U can be enclosed in a radome, and is available in either top- or side-mount configurations.

TOWERS
American Tower was on-hand to discuss its tower ownership and management functions. The company’s portfolio includes nearly 100,000 owned or managed tower sites on five continents.

Magnum Towers focused on its engineering and custom tower capabilities. Not only does Magnum manufacture guyed, self-supporting and monopole towers, it offers a range of engineering services on both existing and new towers for custom applications.

Sabre Industries was on hand to discuss its turnkey design, engineering and erection services for towers. The company can provide project coordination, site surveys, tower mapping and FAA feasibility studies for all types of broadcast and telecommunications towers.

Stainless Towers, now owned by FDH Velocitel and based in Lansdale, Penn., promoted its engineering services for the ongoing television channel repack. Stainless designed and installed a large number of broadcast towers throughout the U.S. and has the original engineering documents to enable efficient upgrades and tower re-loading.

Television is now poised to transition to the world of ultra-high definition, high dynamic range, extended color gamut, coupled with the move to the all-IP television plant where this beautifully detailed content is generated and made ready for delivery to the viewer. But no matter how sophisticated the creation and delivery portions of the video chain become, there’s one element that isn’t going to change and that’s the need for signal processing. Based on the amount and depth of signal processing gear on display at the 2016 NAB Show, manufacturers have their collective fingers on the industry’s pulse and are ready for just about any conceivable requirement.

EAS/CAP
Digital Alert Systems demonstrated integration of its DASDEC Emergency Alert System messaging platform with SAM’s ICE channel-in-a-box automated playout technology. The collaboration has resulted in a simpler approach to messaging and smoother flow of emergency information. The company also announced a partnership with Broadstream to integrate the DASDEC and CAP messaging platform with Broadstream’s OASYS playout product.

CLOSED CAPTIONING
Comprompter unveiled a multi-person version of its CC2 closed captioning system. It uses a powerful voice server to convert voice-to-text and can serve up to eight people at a time.

Digital Nirvana introduced its new closed captioning services for broadcast and online videos, which includes post-production roll-up and pop-on captioning services for all technology platforms, as well as caption synchronization conversion to an IP format from broadcast or vice versa. The new closed captioning services can handle multiple SD and HD video formats and a wide range of caption file formats.

EEG spotlighted its first iCap-encoder for encoding closed captions to live production IP video. The new iteration supports compressed MPEG transport streams and uncompressed standards such as ASPEN and VSF TR-03, which both use the SMPTE 2038 standard for ancillary tracks.

Telestream has added closed captioning capabilities of its MacCaption (Mac)/CaptionMaker (Windows) standalone platforms to the company’s Vantage Media Processing Platform. Branded as “Timed Text Flip,” the new module brings integrated closed captioning technology into Telestream’s Vantage workflow.

ENCODERS/DECODERS
DVEO showed its InstaView ultra-low delay encoder and decoder set. It provides quality identical to H.264, yet uses significantly less bandwidth and sports a 100ms delay. Also shown was the Futura II ASI+IP SD to 1080i MPEG-2 broadcast encoder.

Digigram premiered two HEVC/H.265-enabled versions of its AQORD video encoder which enable point-to-point broadcast contribution of 4K content to homes.

DTV Innovations demo-ed their Gryphon unit that offers low-latency video encoding for a range of signals including MPEG-4 with 4:2:2 10-bit HD. Gryphon includes an internal modular for DSNG, ENG or other applications and accommodates up to 16 audio channels. Also on display was the Falcon decoder that complements the Gryphon with decoding of MPEG-4 HD video and includes a satellite demodulator.

Harmonic ViBE 4K UHD encoderHarmonic, which recently acquired Thomson Video Networks, showcased new features for its ViBE 4K UHD encoder, featuring support for the HDR10 and Hybrid Log- Gamma (HLG) high dynamic range technologies and low-latency, high-bitrate 4:2:2 encoding for 4K contribution applications. It has also added UHD encoding capabilities to the ViBE CP6000 contribution platform.

Lawo spotlighted their V__remote4 system for video and audio signal transport and processing in WAN-based remote production work environments. It also includes video-over-IP coding.

Media Links MDP 3010 IP to 12K decoderMatrox unveiled a new version of its M264 encoder/decoder now with support for Sony XAVC formats, including 4K Intra Class 480 up to 59.94 fps. It’s designed for high-quality ingest, production and playout applications and its small size conserves rack space.

Media Links introduced its MDP 3010 IP to 12K decoder which provides high-speed IP to JPEG2000 processing, transforming IP packets into a video signal.

SAPEC featured its Avantos line of real-time HD/SD encoders and decoders based on the HEVC/H.265 compression standard.

Streambox rolled out their new AVENIRMicro and AVENIRDrone family of video encoders for bonded video applications.

Telairity has compressed 15 models of its Nexgen encoder line to just two: the BE8600 single-channel contribution encoder and the BE8700 multichannel distribution encoder. Nexgen systems auto-configure by input format, and have the capability to upgrade to new UHD formats.

Vitec demo-ed their MGW Ace portable HEVC appliance that encodes and streams video. Also shown was the MGW D265 portable HEVC IP decoder and MGW Vision 4K UHD hardware-based encoder.

PROCESSING
Axon showed their latest Synapse signal processing additions, including equipment for 4K production, Dolby E encoding and decoding, embedded audio, as well as timecode and VANC/HANC data.

Crystal Vision demo-ed a new Vision 3 3RU frame system that accommodates as many as 20 SDI audio/video cards, including keyers, converters, synchronizers, embedders, delay units and more. Also shown was the Safire 3-VF chroma keyer for the Vision 3 that works with 31 video standards. The company also unveiled the Vivis10S-VF video delay unit with framestore and took the wraps off their Indigo frame system that accommodates the full range of 75 interface and keying products.

DTV Innovations spotlighted their TSM- 2800 multiplexer which accepts as many as eight ASI or SMPTE-310M signals and combines them into a single TS output on dual DVB-ASI or SMPTE-310M outputs.

Elemental Technologies unveiled v2.9 of its suite of software-defined video solutions, now offering enhanced video ingest, processing and delivery capabilities. The latest version supports HDR, 8K encoding, HEVC and more.

For-A highlighted their new ACK-3000 chroma keyer which features “shadow light” technology for generating human shadows via 3D graphics.

Grass Valley demonstrated their new GV Node real-time IP processing and routing platform that supports IP/SDI workflows and SMPTE 2022-6 IP I/Os.

Imagine Communications unveiled Selenio One, a new software-based platform that accommodates a wide range of compression activities and allows service providers and content distributors to easily scale and adapt to new business requirements.

SAM debuted its IQ-Edge 3RU unit for providing IP video and audio processing across the company’s range of products, facilitating interoperability between switchers, routers, servers and other equipment.

AJA FS4 frame syncCONVERSION PRODUCTS
AJA debuted FS4, a DTV frame sync and up/down/cross conversion device which simultaneously processes as many as four channels of SD/HD/2K, or 4K video and features a 1RU footprint. It also performs a full range of audio processing, conversion and embedding. The company also introduced new entries in its Mini-Converter line, including the Hi5-4K-Plus 4K/UHD/3G-SDIto- HDMI 2.0 device and the HDP3 3G-SDIto- DVI-D scan converter. Also new were the U-TAP HDMI and U-TAP SDI capture devices, offering high-quality HD/SD capture through a bus-powered USB 3.0 port. The portable, cost-effective U-TAP products are compatible with OS X, Windows and Linux, and a broad range of software applications.

Barnfind Technologies introduced new additions to its BarnOne fiber platform, including SDI and ASI/IP conversion, as well as electrical-to-optic and optic-to-electrical conversion functionalities.

Cobalt Digital introduced the 9410 Series of 3G/HD/SD-SDI Single, Dual and Transceiver fiber openGear cards, which provide up to 40 channels of 3G/HD/SD-SDI extension in 2RU. Also new is the 9415DA-SFP-X, the first openGear card with externally accessed SFP cage and the MK2, the second generation of Cobalt’s Blue Box Group fiber-interface converter boxes. The MK2 version of BBG units supports Cobalt’s BBGConfig software for setup and status monitoring over USB.

DVEO spotlighted the CTDK, an inexpensive ASI-to-IP/IP-to-ASI device featuring real-time, low-latency bidirectional forwarding of SPTS or MPTS transport streams. It’s designed for delivering compressed content from TV stations to cable headends.

ESE showed off their ES-188E NTP-referenced master clock/timecode generator. The device receives nine-digit time information from an NTP server and converts this to several timecode formats, including SMPTE LTC, ESE-TC89, ESE-TC90, ASCII, EBU, IRIG-B and a 1PPS signal, allowing easy interface with computers, automation and clock systems.

For-A demo-ed the YEM Eletex SCV-8000, a new bidirectional converter for 4K and 8K Super Hi-Vision signals. It features automatic or manual mode switching and supports embedded audio, timecode and similar ancillary data.

Imagine Communications spotlighted their SelenioNext Just-In-Time transcoder designed for high-channel count live/linear applications. SelenioNext enables CSPs to store their content at a single bitrate.

Ross Video marked the NAB debut of its Ultrix Ultimate Connectivity Platform which combines multiple functions including multiviewer and audio processing into a single compact package. It supports SDI data rates from 270 Mbps to 12 Gbps and interfaces to HDMI, fiber and IP I/O.

SAM brought along their Alchemist XF frame rate and standards conversion for 4K HDR video. It’s a software-only implementation of the company’s Alchemist technology and provides faster than real-time processing of content.

Telestream debuted its new cloud service that provides high-quality video transcoding for all formats and codecs. It features certified ProRes presets that allow video file delivery to Apple standards.

MULTIVIEWERS
Artel took the wraps off the DLC910 multiviewer which supports a wide variety of signal formats and resolutions and adds four-channel capability to the company’s DigiLink media transport platform.

Apantac showcased their Universal Multimedia + Video multiviewer, featuring HDMI/DVI inputs and contained on an openGear card. It’s designed to complement the company’s OG-MiniQ product with SDI inputs.

Decimator Design debuted the MCDMON- 9S 1 to 9 channel multiviewer card that is fully compatible with openGear and can be controlled from DashBoard. It features custom layouts, 16-character UMD overlay per window and 16-channel audio metering overlay per window.

GMIT , a Rohde & Schwarz subsidiary, demo-ed their new iOS app VirtuWall that serves as a multiviewer and provides operators with real-time access to status information and measurements about their networks from virtually anywhere.

Lawo featured its “theWall” multiviewer app for setting up and controlling multiviewers. It assists in monitor wall configuration, signal routing, changing of mosaic layouts, and allows users to save and load preset configurations. Lawo also announced that it had partnered with Cobalt Digital to allow use of theWall with Cobalt’s OpenGear 9970-QS multiviewer card.

PESA Vidblox HTRPESA showcased their Vidblox HTR technology for dealing with signal losses in connection with video wall signal processors. The modules support multiple resolutions, provide four I/O ports and can function as a transmitter or receiver.

Volicon highlighted a number of enhancements to their multiviewer, including an option for the Observer Media Intelligence Platform providing multiviewer displays along with frame-accurate data for monitor walls or users’ desktops.

STREAMING/MOBILE/IPTV
AJA introduced the HELO standalone streaming and recording device that provides H.264 bitrates of up to 20 Mbps, accommodates video resolutions of up to 1080p/60 and features both HDMI and SDI I/O. It allows the recording of content to SD cards, USB drives or networked storage at the same time streaming is taking place.

Akamai demonstrated new capabilities to help improve overall performance of over-the-top (OTT) video services and support growing demand for 4K and virtual reality content. The company showed how its accelerated ingest capabilities can minimize the amount of time live video streams take to reach the Akamai CDN from their origination point. This faster transport is enabled through a combination of user datagram protocol (UDP) based delivery and dynamic encoder to entry-point mapping (DEEM), which provides improved throughput and automatically optimizes entry-points based on current internet conditions.

Evertz launched the 570EMR-TDM8-TS EMR TDM IP gateway which provides encapsulation/de-encapsulation of audio signals over IP and facilitates bulk distribution of TDM signals in and out of the IP realm.

Media Excel announced that its Hero Encoder product line now supports VP9/ DASH publishing of live streams to YouTube, the first carrier-grade product to do so.

Mirror Image unveiled their miPublisher system which allows broadcasters to monitor and record live video streams and deliver them via the company’s Dynamic Delivery Network (DDN). The company also showed its miAcceleration service for speeding up delivery of video files and other content.

Streampunk Media demonstrated Dynamorse, which incorporates reactive Internet technology for streaming and transforming SDI, RTP, TR-03, HTTP, WebRTC and files.

Teamcast launched its Stream4Cast, which is designed to be installed at the Network Operating Center (NOC or headend) and prepares the IP stream format to be transmitted in compliance with the new ATSC 3.0 Physical standard.

Tedial’s new Version Factory provides efficient and cost-effective support for OTT/VOD platforms, allowing a user with a single operator screen to handle millions of file I/O configurations. It interfaces to content management rights, traffic and work order systems, and provides complete scalability of operations.

Telestream Lightspeed Live StreamTelestream debuted Lightspeed Live Stream that receives SDI content via 3G baseband, as well as IP sources via 10 Gig Ethernet and then delivers these as RTMP or HTTP Live Streaming, and also MPEG DASH packages at a variety of resolutions.

VidOvation demonstrated their TV turnkey enterprise IPTV system that now includes full integration of DirecTV content, providing digital rights management, VOD, and digital recording with streaming to smart phones, desktop computers, tablets, smart TVs and set-top boxes.

Vitec demo-ed their Renewed Vision ProVideServer designed for house of worship streaming applications.

Wowza Media Systems highlighted their GoCoder for creating new apps that incorporate high-quality live video streaming in IOS and Android platforms, allowing users to broadcast live from mobile devices. In addition, the company showcased updates to Wowza’s Streaming Cloud end-to-end streaming service.

At this year’s NAB Show the march toward full AoIP connectivity and interoperability continued apace, with products offering one or more flavors of networking, including AES67 compliance, popping up everywhere. With the FCC’s incentive auction looming large, intercom companies, in particular, have responded with a slew of products for production staff that operate higher up the frequency spectrum, leaving more room—for the moment, anyway—for critical talent microphones in UHF’s more desirable neighborhood.

Calrec BrioAUDIO MIXERS
Calrec Audio’s Brio measures 35 inches wide and has 36 dual-layer faders, analog and digital I/O and GPIO built into the surface, and incorporates surround, down-mixing and loudness metering features. Calrec’s new 2U RP1 remote production engine is an FPGA-based DSP core that enables remote operation of mixing, IFB routing and monitor mixes from a distant console surface plus connectivity with any Calrec Hydra2 I/O box.

Wheatstone launched its new 32-fader LXE mixing console, on which every switch, rotary control, and control screen is programmable for any function using the console’s configuration software, and which is networkable via WheatNet-IP. The company also announced that its Gibraltar IP Mix Engine is now available for the company’s Dimension Three, Series Four, Series Two, D-8EX and IP-64 digital mixing consoles, providing direct connectivity into AES67-compatible WheatNet-IP networks. Wheatstone also announced that its WheatNet-IP audio network I/O BLADEs now include 5.1 surround input and routing, which may be managed through WheatNet-IP’s NAVIGATOR software and controlled via scripting and the WheatNet-IP BLADE ACI.

Yamaha introduced v4.0 firmware update for its CL and QL Series consoles, with new features and enhanced operation, including new EQ algorithms, a new four-band multiband compressor and control and monitoring integration of Shure’s ULX-D digital wireless systems.

AUDIO RECORDING & PLAYOUT
Aaton Digital launched a completely new mixing surface, the Cantaress, which extends the operational capabilities of the company’s CantarX3 digital sound recorder.

Sound Devices introduced v3.00 firmware, adding Dan Dugan Sound Design’s Dugan automixing to the 688 mixer/recorder plus enhancements to Sound Devices’ MixAssist automixing feature. Sound Devices also debuted its new RF Scan feature for the 688 mixer/recorder and SL-6 powering and wireless system, which works with SuperSlot-compatible receivers.

AUDIO MONITORING & METERING
Renegade Labs debuted M3G, which can monitor multiple channels of audio from a SD/HD/3G SDI stream, and the M3G-XT, which includes lip sync delay compensation; both offer other I/O options.

TSL PAM-IPTSL’s new PAM-IP range can monitor video, audio and its associated metadata from either a traditional 3G-SDI connection or—a world’s first—an uncompressed S2022-6 IP video stream. Also new is the remotely web-addressable MPA (Monitor Plus Audio) Solo, which offers the ability to listen to any channel, while the MPA series Mix enables a user to create a simple monitoring mix. Both offer MADI, SDI, AES3, and analogue connectivity plus support for Dante and Ravenna.

MONITOR SPEAKERS & HEADPHONES
Audio-Technica’s ATH-M50xMG professional headphones, featuring 45mm large-aperture drivers and sound-isolating earcups, are now available in a limited-edition matte gray version.

DaySequerra iMix 5.1 headphone monitorDaySequerra’s new iMix 5.1 headphone monitor does not require artificial ambience or special encoding to accurately reproduce multichannel audio. It features the latest version ITU-R BS.1770 loudness measurement system, and works with any type of headphone.

Genelec showed its 8430A SAM Studio Monitor, supporting AES67/Ravenna standards via an XLR-housed RJ45 connector while also offering a balanced analog XLR connector input.

Waves’ Nx virtual monitoring plug-in simulates the ideal acoustics of the sweet spot of a high-end professional mix room inside a pair of headphones and also offers head tracking.

AUDIO DISTRIBUTION, ROUTING & CODECS
DTS and Nowtilus have partnered on a market-ready solution for converting a broadcast signal and delivering it with multichannel surround sound to mobile and connected OTT devices that include DTS Headphone:X technology.

Focusrite launched Red 4Pre, a 58-in/64- out Thunderbolt interface combining four digitally-controlled Focusrite mic preamps plus instrument inputs, with dual Pro Tools HD DigiLink and Dante network audio connectivity.

AUDIO PROCESSING
CEDAR Audio has developed a new rackmount 2-channel DNS 2 noise suppressor with a new DNS algorithm offering a Learn function that identifies and adapts to background noise.

Cobalt Digital announced that its 9433 series of openGear fiber-optic audio embedder and de-embedder products are now available in a single-channel, unidirectional EO to OE configuration and as a dual channel EOOE bidirectional transport solution.

DPA Microphones’ d:facto handheld micMICROPHONES
DPA Microphones debuted a new linear version of the d:facto handheld mic range featuring a new isolation-optimized super-cardioid capsule designed to augment the human vocal range. DPA’s new GM1600 gooseneck, compatible with DPA’s entire range of instrument-mounting clips, enables the d:screet 4061 omni mic to be used as a plant mic in location sound applications.

Sanken introduced the CSS-50 three-diaphragm electret condenser short stereo shotgun microphone, which offers mono, stereo and wide stereo modes.

Sennheiser MKE 440Sennheiser previewed a new action microphone for GoPro cameras, based on a lavalier design, able to withstand adverse conditions including underwater. The company also unveiled the MKE 440 twin-shotgun stereo DSLR microphone designed to capture audio within the camera’s field of view. The new digital version of Sennheiser’s large-diaphragm MK 4 connects directly to OS, iOS and Windows devices via USB cable or Lightning cable and features a converter from Apogee Electronics. The company also previewed its Hand-Mic cardioid dynamic handheld digital mic with Apogee A/D converter and preamp is resistant to cell phone interference and is intended for recording to a handheld device via Lightning or USB connection.

WIRELESS
Sennheiser’s EK 6042 2-channel slot-in camera receiver, in a world first, can work with both analog and digital Sennheiser transmitters across 184 MHz of UHF spectrum between 470 and 654 MHz and works with Sony as well as Unislot- and SuperSlot-compatible cameras.

Sony’s URX-P03D is the first 2-channel portable receiver in its UWP-D series, supports an external input for an additional wired microphone and includes 3-channel mixer functionality.

Joquebed Colin (L) of Clear-Com discusses the company’s DX series headsets and belt pack with Rick Dowling of the University of Alabama.INTERCOM & REMOTE CONTRIBUTION
Clear-Com’s new FreeSpeak II Base Station operates at both 1.9 GHz and 2.4 GHz, supports up to 25 full-duplex wireless beltpacks and covers a large production area with 10 distributed-antenna transceivers and two transceiver splitters spanning up to 3,200 feet away from the base station. Clear-Com also introduced its PIC-4744 IFB Router, with an integrated 4-channel source and destination matrix. It complements the company’s partyline intercom systems to support multi-channel IFB requirements, simplifying management and operation.

Glensound launched new Dante versions of three of its products, including the Express IP commentary unit, GS-FW012 IP 4-wire unit and Vita 4-wire unit. Glensound also announced that its Dante-enabled products now include the DARK1616 analog and AES network audio interface, DARK88 analog network audio interface and AoIP 44 analog network audio interface. The company also introduced the Glensound Expedition, a 4G LTE, 3G UMTS and 2G GSM broadcast phone with HD Voice, allowing 7 kHz audio links across mobile voice networks, with two mic/48V/line inputs and two headphone outputs.

Pliant Technologies CrewComPliant Technologies , a new company under the CoachCom umbrella, launched CrewCom, a wireless intercom system operating simultaneously in the 2.4 GHz and 900 MHz ISM (where legal) bands with a CAT5e distribution backbone, and software monitoring and management.

Riedel ESP-2324 expansion keypanelRiedel Communications introduced the ESP-2324 compact new expansion keypanel, which provides an additional 24 keys and four high-resolution multitouch color displays for the company’s RSP-2318 Smartpanel.

RTS introduced three new keypanel models for its KP-Series intercoms. The new models can be connected to OMNEO (KP- 3016 only) and analog RTS matrices ports for more basic intercom applications, while still offering the same HD color displays and intuitive operation as the fuller-featured versions.

Wisycom announced its updated firmware for the MTK952 dual transmitter, integrating Wisycom’s new ENS compander and enabling collaboration with the company’s new MPR50-IEM and MPR30-IEM, and adding factory presets for quick setup during on-location broadcasts.

FILE-BASED WORKFLOW
iZotope added new features to its RX 5 editing software, including the ability to remove vocal plosives with level smoothing, cloning of backgrounds to extend scene beds through Ambience Match, and Instant Process, which enables audio repairs on a spectrogram graphic.

Linear Acoustic announced an update for its AERO.soft enterprise-wide audio and loudness management system, which is deployed on new processing engine hardware using AoIP to connect to xNodes and adds an option for AMX5x2 processing, providing five stereo loudness managers in a single instance.

Minnetonka Audio introduced v4.1 AudioTools Server, with new features including Linear Acoustic APTO adaptive loudness processing, available as an OEM module for direct integration or used in AudioTools Server in a file-based mode. Minnetonka also showcased how its AudioTools CLOUD enables on-demand, cloud-based processing with payment on a case-by-case basis via Amazon AWS. Also new from Minnetonka is the SurCode for Dolby Digital Plus Encoder and Decoder plug-ins, the first solution to bring Dolby Digital Plus to the Avid platform, with support for up to eight channels and configurations from 5.1 plus stereo to four independent stereo channels.

Linear Acoustic AERO.10 DTV Audio ProcessorLOUDNESS
Linear Acoustic announced updates for its AERO.10 DTV Audio Processor, including an option for a 2+2+2+2+2 configuration to support up to five simultaneous stereo programs. The option for the AMX5x2 processing instance, which provides five stereo loudness managers (2+2+2+2+2) per instance, has also been added to Linear Acoustic’s AERO.100 DTV Audio Processor and AERO.2000 Audio/Loudness.

RTW debuted its new audio processor hardware, APRO-CLC01, for Continuous Loudness Control (CLC), a platform that allows integrators or processor manufacturers to use RTW’s OEM-PCB processing algorithm for continuous loudness and dynamic control of a live signal within their products.

We used to say “fix it in post,” but with all the new power and flexibility of today’s edit systems it’s now more a question of “create it in post.” More than ever before, editing and post production systems were where much of the excitement was at the 2016 NAB Show.

AJA Hi5-4K-PLUSAdobe is adding virtual reality capabilities to Premiere Pro Creative Cloud NLE early this summer. You will also be able to immediately begin editing during ingest, create proxy workflows even from 8K and HDR files, access enhanced Lumetri Color tools and benefit from a new audio and video engine in After Effects CC.

AJA debuted the Hi5-4K-Plus, a 4K/UltraHD 3G-SDI to HDMI 2.0 converter. Hi5-4KPlus provides maximum image fidelity and HFR support up to 60p for 4K/UltraHD SDI to HDMI 2.0 conversion. AJA also presented KONA IP, its first desktop video and audio I/O product with SMPTE 2022-6 support for professional IP-based workflows.

Arvato Systems demo-ed its EditMate collaborative editing and project management system, which lets every editor use all managed projects from any editing station according to their configured access rights. EditMate administrators provide templates to manage the selection of graphics, animations, audio, etc. for each project.

Autodesk announced Autodesk Flame Family 2017, 3ds Max 2017 and, Maya 2016 extension 2. Autodesk Flame 2017 now benefits from Camera FX scene-based tools to enable the creation of sophisticated 3D composites in Action, and Autodesk 3ds Max 2017 has a new UI with support for high DPI displays.

Avid debuted Media Composer 8.5, which features more efficient and intuitive editing tools. It passes through HDR workflows unaltered and enables editors to work with up to 64 audio tracks (250 percent more than before).

Axel Technology launched an Adobe Premiere CC plug-in panel for its Axel 2016 media management software, allowing editors to search and access all Axel capabilities from within the Adobe editing system. Axel Edit software now includes transition effects as well as support for videos and photos taken on mobile devices as well as from the axel 2016 database.

Blackmagic Design DaVinci Resolve 12.5Blackmagic Design introduced DaVinci Resolve 12.5 with a new variable speed curve integrated with retime controls, allowing users to open retime controls and retime curve editor for the clip in the edit timeline. DaVinci Resolve 12.5 also has improved multicam capabilities, metadata on the edit page, and presets for output formats.

Cinedeck debuted cineXtools, a module that lets users insert a correction into the video and up to 32 audio tracks without re-exporting the entire show file. Its premiere module, cineXinsert, currently supports ProRes, DNxHD, AVC-Intra, XDCAM HD and JPEG 2000 in MOV, MXF Op1A or MXF Op- Atom wrappers.

FilmLight announced a new collaboration with Avid to introduce a new Professional Color bundle for editors which brings together the Baselight grading toolset from FilmLight with the editing power of Avid Media Composer and the MediaCentral Platform.

Forbidden —in addition to showcasing its Forescene cloud-based post production platform— also introduced its own software-only Virtual Ingest Server and a new autosync tool.

Grass Valley launched EDIUS 8.2, which now includes motion tracking to obscure identities, a primary color correction video filter, RAW decoding for Sony and Canon footage and native support for 140 HitFilm Ignite visual effects plugins (sold separately). EDIUS Pro 8 is targeted at pro editors while EDIUS Workgroup 8 is aimed at editors in a collaborative editing environment.

Rohde & Schwarz Clipster Gen 6 mastering stationRohde & Schwarz has added new functionalities to boost DCI and IMF (Interoperable Master Format) for its Clipster Gen 6 mastering station. Its color processing engine expands the range of color formats and offers on-the-fly color transformations between standardized color spaces and even customized color formats in combination with extended IMF J2K profiles for high dynamic range.

SAM showed us Go!, it’s new cross platform, web-based, thin-client Production Suite. Finished sequences from Go! are ready for immediate publishing to social media, web and TV. SAM also showed off Rio 4k/8k-HFR, HDR, BT.2020, for state-of-the-art finishing.

SGO previewed its Mistika NLE advanced Immersive Reality Toolset, combining advanced stereo 3D functionality with a new VR mode which can handle projection mapping of Equi-Rectangular content to a new 360º image-processing and finishing engine. Mistika can also connect live video output to VR devices to be viewed in real time.

Videolicious introduced an Android version of its patented automatic video editing technology which is now being used by over 240 US T.V. stations to create news packages by combining pre-build graphics with A- and B-roll video on a handheld device.

Accuweather added a “CampaignTrail” feature to its Storyteller interactive touchscreen solution.GRAPHICS
Graphics systems have grown from putting lower third announcements on the screen to becoming integral components of news and entertainment visual communication. The information they access reaches from live social media to archived databases, making graphics the boomtown growth market of content creation.

Accuweather added a “CampaignTrail” feature which covers, updates and even predicts election results to its StoryTeller interactive touchscreen solution. Also new is MapDesk, which delivers scalable world maps and quick navigation down to specific GPS locations. In addition, the turnkey StormDirector+ is an advanced, interactive global weather broadcast graphics system.

AJT Systems presented the fourth-generation of its LiveBook GFX Scorebug System with innovative new apps like the Baseball SportApp that gives baseball and softball production teams the ability to easily broadcast high-end graphics. AJT’s LiveBook GFX now has a new DVE OCR (Optical Character Recognition), broadcast template manager including lower third and full screen graphic support.

Boris FX/Imagineer Systems introduced Boris Continuum Complete (BCC) 10 with new tools for image restoration, motion graphics, integrated mocha masking, new filters and new transitions. Boris also introduced a new AVX/Adobe/OFX plugin enabled workflow for mocha Pro, that provides more efficient visual effects and GPU-accelerated planar tracking.

Brainstorm Multimedia had a 24-foot wide virtual studio theater where they displayed amazing virtual reality creations with their unique TrackFree technology. Aston 3D, Brainstorm’s 3D graphics and CG system, was seen in full integration with the company’s other star product, Infinity Set. Now operators can edit Aston templates directly in the Infinity Set’s software. Aston 3D is also now fully compatible with both Photoshop and After Effects.

ChyronHego LyricXBTI Business Technology introduced the BTI ENGAGE master control graphics platform that lets users mix closings with sports, elections or weather information, or integrate candidate tweets from Twitter while election results are displayed.

ChyronHego introduced LyricX, an all-new keyboard/control surface offering programmable LCD keys that can be completely configured for any situation. LyricX is a fundamental element in the CAMIO Universe, ChyronHego’s graphic asset management server, with v4.2 slated for release in Q3 of 2016.

Maxon Cinema 4D

PlayBox Technology TitleBox NeoCinegy showed its Cinegy Type CG now with tighter integration with Adobe After Effects CC and Adobe Premiere Pro CC for faster, more-efficient broadcast production workflows.

Maxon released v17 of its Cinema 4D graphics software, now with a new “Take System” that provides flexible scene handling to manage render layers and animation variations, new Lens Distortion tools for improved motion tracking, and completely reworked Spline Tools for a more efficient workflow for manipulating points, lines, tangents and arcs.

PlayBox Technology unveiled TitleBox Neo, a new graphic module for the company’s channel-in-a-box broadcast playout system. TitleBox Neo provides a wide range of interactive on-air graphics and live titling capabilities including substantial improvements for dealing with UHD projects and HD and SD operation.

Pixel Power demonstrated the latest version of StreamMaster virtualized playout. Built on the Clarity 3D graphics engine, the modular software StreamMaster platform is designed to provide scalable facilities for anything from a pop-up channel to a full premium service. They also showcased Pixel Factory, which automatically generates sophisticated clips, such as promos, trailers and marketing content, using templates and information entered by the commissioning producer.

Renewed Vision debuted ProPresenter 6 for Mac and Windows—the newest release of their flagship CG and video playout server—now with powerful features for broadcast and staging including a breakthrough new video engine, slide object transitions, moderated Instagram and Twitter, telestration capabilities, text tickers, and scheduling.

Ross Video Xpression Tessera

Telestream and NewBlue Inc. have collaborated to develop Post Producer Titler Engine.Ross Video introduced XPression Tessera, a multi-display real-time graphics designer and controller for sports venues and studio video walls. Also new was XPression Maps 2.0, which is now 64-bit native and adds integration with OpenStreetMaps for even more granular control of the look and feel of maps. Ross also announced that XPression will have IP connectivity by this summer.

Sixty debuted Ease Live, a new platform that integrates with broadcast graphics systems and enables interactive, clickable on-air graphics for tablets and other smart devices. Ease Live also allows broadcasters to send statistics, highlights and other compelling information from their graphics systems directly to end users.

Telestream partnered with VFX/titling specialist NewBlue Inc. to debut Post Producer Titler Engine. It’s powered by NewBlueFX and runs on Telestream’s file-based content assembly service, Post Producer, part of the Telestream’s Vantage media-processing platform. The new Titler Engine automates the creation of high-resolution animated titles and graphics when composing uniquely branded versions of the same package.

Vizrt debuted Viz Story, a new tool that enables journalists to repurpose existing video with custom resolutions—including Facebook square video—add Vizrt’s state-of-the-art graphics and immediately publish to social media, VOD platforms and send on-air as part of a live show.

The Weather Company introduced Max Engage, which allows TV weathercasters to publish concise and contextual hyper-local weather and traffic information directly to mobile and social platforms. The company also launched Max Connect, a new interactive presentation tool that allows presenters to seamlessly interact with augmented reality elements in real time without having to turn their back to the audience.

Where true 4K from 2/3-inch sensors was a stretch for most companies in 2015, this year saw some great leaps forward. And Hitachi and Ikegami showed their 8K single- sensor cameras that will be used at the upcoming Summer Olympic Games in Rio.

AJA RovoCamAJA released v1.3 firmware for the CION, AJA’s 4K/UltraHD and 2K/HD production camera. New features include improved highlight handling and black detail in every gamma mode, and new gamma naming conventions to make the modes more closely aligned to industry standards. Also new is RovoControl, a free application for controlling one or multiple AJA RovoCams. It provides efficient tools to control the complete features of AJA’s newly shipping RovoCam compact block camera for industrial, corporate, security, ProAV and broadcast.

ARRI introduced software updates for its Amira and Mini cameras, both versions 4.0. For the Amirta, Super16 lens shooting is enabled, along with a multicam mode designed for multiple cameras shooting events such as sports or concerts, or even fast-paced studio production. The update also enables 16mm lens shooting, along with anamorphic 4:3 recording along with uncompressed RAW recording. An Open Gate mode allows recording of all of a sensor’s pixels.

Blackmagic URSA Studio ViewfinderBlackmagic Design debuted a new operating system and user interface for its URSA Mini cameras. The operating system—a rewrite of its predecessor from the ground up and designed specifically for the processing architecture of the URSA Mini— allows users to quickly change settings such as ISO, white balance, shutter angle, iris, frame rate and frame guides without navigating through menus. The company also debuted the Blackmagic URSA Studio Viewfinder.

For-A showed the FT-ONE-S, an upgraded model of its FT-ONE high speed camera. It features a detachable camera head for placement in all sorts of shooting positions, and fast 500 fps shooting at 4K resolution. It utilizes a single Super 35 4096x2304 (4096x2160 DCI-compliant) sensor. Flicker correction in the HD mode has been added.

Grass Valley unveiled the LDX 86N native 4K camera series, incorporating the company’s newest UHD 2/3-inch imagers. It allows use of long zoom lenses designed for sports venues, with no unwanted cropping or zooming effects. For futureproofing, it features direct IP interface, enabling live IP remote productions. Also new from GV was the Focus 75 Live entry-level 720p/1080i switchable HD system camera.

David Woods of David Woods Productions stops to admire the Hitachi SK-UHD8060B 8K camera.Hitachi Kokusai debuted its SK-HD1300HS high-speed, slow-motion HDTV camera, designed to provide high-quality HD images at up to triple speed. The camera can simultaneously output normal- and slow-motion images, utilizing slow-motion servers from third-party partners. The company also demonstrated its SK-UHD8060 complete 8K television production system, featuring a Super 35mm CMOS sensor with 7680x4320 pixel resolution. It supports the latest HDR, wide color gamut (WCG) and high frame rate standards.

Ikegami unveiled its UHK-430 4K camera, designed for studio and field with B4 mount lenses. It utilizes three 2/3-inch full 4K (3840x2160) CMOS sensors with RGB prism optics. The camera is capable of 40G transmission using standard SMPTE hybrid fiber/copper camera cable. Also new was the HDL-F3000, a high sensitivity compact two-piece separate optics camera for gyro-stabilized gimbal applications.

Jose Francisco of HD Solutions in Brazil gets some practice shots with the JVC GY-HM660 camera.JVCKENWOOD presented upgraded models of its 600 Series of camcorders, including the GY-HM660, a streaming camcorder with an integrated IFB audio channel, and the GY-HM620.They feature new CMOS image sensors for greater sensitivity and a brighter LCD display for improved daylight viewing. One new capability added is the inserting of a branding logo in the camera to identify video being streamed to viewers outside of normal newscasts.

Lytro would have won the award for the most unusual camera at NAB, if there was such an award. During imaging, the Lytro Cinema camera captures every ray of light in the scene, capturing from each pixel color properties, directional properties and an exact placement in space. This provides the wherewithal later in post to focus and change depth of field, and control perspective, aperture and shutter angle.

Panasonic marked the NAB Show debut of its next-generation VariCam LT 4K cinema camcorder, a smaller, lightweight and more affordable version of its VariCam. Incorporating the identical imaging “DNA” in a more compact rendition, the VariCam LT (model AU-V35LT1G) delivers 14+ stops of dynamic range with V-Log, and cinematic VariCam image quality and color science, as well as the VariCam 35’s dual native ISOs of 800/5000. The company also announced that it is now delivering its AK-UC3000 4K system, which utilizes a single full-UHD resolution MOS sensor with an internal conversion lens that outputs a UHD signal up to 3840/2160/59.94p, while also delivering an HD image to a 2/3-inch B4 mount lens. Also in the booth was the fast, high-resolution AK-HC5000, capable of high-speed output up to 1080/239.76p. It features Flash Band Compensation that corrects for the flash band effect that can be experienced by most MOS-based imagers.

Ross Video entered the camera world with its ACID series, designed to enhance the chroma keying ability of its also-new Carbonite UltraChromeHR chroma keying system. The ACID Z50 UCHR (1080i) and ACID H200 (1080P) cameras output not only the SMPTE standard 4:2:2 video signal but an additional 0:4:4 UltrachromeHR chroma output, which is combined with the 4:2:2 signal at new keying system. The ACID cameras also work fine outside their chroma key functions.

Sony HDC-4800Sony had the only full 4K three 2/3-inch sensor camera at last year’s NAB. This year it unveiled the HDC-4800 camera system which combines 4K resolution with enhanced high frame rate capabilities, 8x at 4K, and up to 16x in full HD. Also premiering in the Sony booth was the PXWZ450 XDCAM shoulder-mount camcorder, which captures 4K (3840x2160) picture quality from a new 2/3-type Exmor R CMOS sensor, with low-light performance and networking features for fast turnaround workflows.