The NAB Show exhibit halls were chockablock full of acquisition tools for studio and location production. A group of new 4K cameras were introduced on the show floor, along with a few 8K models. Matching the work of their camera making brethren, the lens makers have duplicated their HD lenses with higher spec 4K models. Battery and power supply makers rolled out high continuous output battery packs to serve power hungry high resolution cameras. And lighting equipment makers debuted fixtures that can put out both RGB and color temperature agile white light.
ARRI rolled out its ALEXA LF large format 4K camera, which utilizes a 36.7mm x 25.54mm sensor, slightly larger than full frame sensor. This allows the company to achieve 4.5K resolution using the same pixel size as other ALEXA cameras. Because of that larger sensor size, a different lens mount, LPL, is required. To use existing LP lenses, an LP to LPL adapter is required.
BLACKMAGIC DESIGN debuted its Blackmagic Pocket Cinema Camera 4K, a handheld digital camera with full 4/3 HDR sensor. Its form-factor is an HDSLR, providing 13 stops of dynamic range and dual native ISO up to 25,600. This makes possible good HDR output and deep low light performance. Images are recorded onto standard SD/UHS-II or CFast 2.0 cards in RAW and ProRes at up to 120 frames per second.
CANON showcased its full frame EOS C700 FF digital cinema camera, designed to meet a large range of production needs. It offers ProRes and XF-AVC internal recording up to 4K to CFast cards. With the optional Codex CDX-36150 recorder, the EOS C700 FF can record 5.9K RAW up to 60 frames per second.
GRASS VALLEY introduced the LDX 86N native 4K UHD (3840x2160) and native 3G/HD (1920x1080) camera, using three 4K XensiumHAWK CMOS imagers. Customers have the option of upgrading the camera to LDX 86N Universe functionality with 6X HD and 3X HD/3G high frame rate capture. (The upgrade license is available on a one day, seven day or perpetual basis.)
HITACHI KOKUSAI debuted the CUHD1300F-S1 HDTV camera control unit with 4K, 12G-SDI output. The CU-HD1300F-S1 combines SMPTE fiber transport and multi-format HDTV support with intercom, teleprompter return, and additional signal connectivity in a space-efficient 2RU unit. The company also announced an optional firmware upgrade for its SK-UHD4000 4K Ultra HD camera system to enhance simultaneous HDR and Standard Dynamic Range acquisition. New optional 12Gbps SDI output capabilities for the accompanying CU-HD4000 CCU have also been added to its existing quad-link SDI interface.
IKEGAMI rolled out its UHK-435 2/3-inch 3-CMOS sensor 4K/HD full studio camera, the studio companion of the previously introduced UHK-430 portable 4K camera. Both cameras utilize 4K (3840x2160) CMOS sensors with RGB prism optics, delivering resolution from 24 million pixels (8 million per sensor). The 2/3-inch sensor format permits use of the full range of B4 studio and field box lenses.
JVCKENWOOD demonstrated its GY-HC900 CONNECTED CAM broadcast camcorder, a complete news-over-IP workflow solution in the field. It utilizes three 2/3-inch CMOS image sensors for high sensitivity (F12 @ 60 Hz in extended mode), HDR with hybrid log gamma, with an Industry standard B4 lens mount.
MARSHALL ELECTRONICS debuted the CV502-WP Weatherproof Miniature Camera, which captures video footage in 702p and 1080i and 1080p. The POV camera can be easily affixed to any kind of structure or terrain.
PANASONIC demonstrated its AK-UC4000 4K/HDR/high-speed studio camera with 4.4K native resolution. The UC4000 utilizes Large Single Sensor Internal Expansion Lens (LSSIEL) optics with Panasonic’s new, larger, advanced super 35mm imager, which maintains B4 broadcast lens capability and high-speed 240fps capability. The company also introduced EVA 2.0 free firmware upgrade for the 5.7K AU-EVA1 cinema camera that greatly enhances its recording capabilities with ALL-Intra frame formats and RAW data output. Panasonic also announced the EVA1 and VariCam LT will take full advantage of the new ProRes RAW software for a faster and more efficient RAW workflow, as well as 6.0 CineLive firmware that sets the cinema camera up for live and near live multi-cam use for events, concerts, television shows and corporate productions.
SONY debuted its PXW-Z280, a 4K camcorder featuring three 1/2-type Exmor R CMOS sensors. The camera integrates a 17x optical zoom lens and an electronic variable ND filter. The camera supports XAVC, MPEG HD and DVCAM codecs, which allow use of one camera to shoot 4K, HD or SD video. Recording is to SxS or SD cards, and can simultaneously record 4K and HD. The company also introduced the FS5 II, with a new ergonomic modular frame and Support for four seconds of 120fps in 4K and continuous 240fps in 2K RAW output, when used with a compatible external recorder.
LENSES & FILTERS
ANGENIEUX added the Optimo 42-420 A2S, a second Long Range Anamorphic zoom lens to its lens offerings. It features Interchangeable Rear Optics (IRO) technology. It provides a constant T4.5 across zoom range, with no ramping. With a close focus spec of 4 feet 1 inch, extreme close-up shots are possible. It features precise and ergonomic focus ring with scale rotation of 320 degrees and over 40 focus marks.
CANON introduced a bevy of new lenses, including the CJ45ex9.7B and CJ45ex13.6B 4K lenses, the largest barrel-type B-4 lenses available. For arena sports production, Canon debuted a mid-range UHD-DIGISUPER 66X box lens for 2/3” chip cameras. And for price-sensitive customers moving into 4K production, the company has developed a second tier of UHD portable zoom lenses, and the UHDgc lens line.
FUJIFILM introduced a pair of new 4K UHD lenses, the Premier UA Series of UHD 2/3-inch lenses. The UA46x9.5B has a 46x zoom ratio and a wide angle from 9.5~437mm with an F2.0 aperture. The UA46x13.5B sports a zoom range from 13.5~621mm with an F2.8 aperture. These two new lenses complete an expansion of Fujinon UHD lenses that now mirrors the company’s HD lens lineup.
SCHNEIDER-KREUZNACH demonstrated its True-Net filters. Hollywood directors of photography have long used a nylon stocking stretched over the lens barrel as a diffusion filter. The problem with that technique is that the effect varies with each application. Schneider’s True-Net filters, with the nylon sandwiched between two pieces of water white glass, allow the effect to be repeated exactly.
BATTERIES & POWER SUPPLIES
ANTON BAUER demonstrated its CINE Battery Series, lightweight and long lasting that deliver 12 Amps of continuous power. It is designed for ENG, accessorized digital cinema cameras and camera stabilizer systems. The CINE battery series includes a PowerTap to power auxiliary 14V accessories, and incorporates Fuse Link technology to provide protection to surrounding battery cells.
BHV BROADCAST launched an enhanced next-generation version of its Video Ghost power solution that enhances its data link capacities. The system now provides simultaneous transmission of digital SDI video, DC power and bidirectional data over a single coaxial cable. The data link is compatible with numerous protocols.
FREZZI showed its 150WH Power Packages, designed to provide ample power to run power hungry HD cameras. They connect to any camera with an Anton/Bauer or equivalent mounting bracket, and charge on FREZZI chargers.
IDX showcased its DUO Compact Series batteries, which are lightweight high-capacity V-Mount batteries with multiple power outputs. They feature a gold-plated 8-Pin connector to maximize power output and minimize damage caused by heat. Each battery houses two D-Taps and one USB to power devices such as lights and video transmitters.
PAG rolled out an array of new accessories to complement its PAGlink battery products, including the PAGlink Micro Charger, a small form-factor single-position charging kit that can charge multiple PAG batteries. The PAGlink PowerHub mounts between battery and camera, and eliminates the need to build D-Taps into a battery pack itself.
AADYNTECH unveiled a panel version of its JAB and PUNCH fixtures. These Quad fixtures are available in both daylight as well as variable white versions. The Quad JAB and Quad PUNCH will be available in both daylight as well as variable white versions, which feature a color temperature range from 2950°K to 5750°K.
BB&S LIGHTING showcased its Force 7, single source LED technology, utilizing an externally mounted 48-volt power supply that provides smooth dimming from 100 to zero percent. The Force 7 provides precise focus, crisp gobo projection and clean straight cuts with shutters. This is achieved by using a high quality condenser optical system in conjunction with a single point LED light source.
CINEO featured its new Standard 410, combining white-light quality with its saturated-color technology. It provides accurate, smooth dimming through the entire range of 100 percent to zero, is flicker free and silent. The color temperature range is 2700K to 6500K, with five presets. The fixtures support wireless control through the onboard LumenRadio bi-directional wireless DMX/RDM.
FLUOTEC demonstrated its StarMaker UDH 80W, 6,000 lumen tuneable panel light that is IP65 water-and dustproofed. It is all-metal construction for ruggedness and its Halodim Technology provides stepless dimming through the entire range. It can be battery operated or run off AC.
LITEPANELS introduced a new, free firmware upgrade for its Gemini 2×1, RGB-WW soft panel, which combines daylight, tungsten, and red-green-blue LEDs. The new firmware enables eleven new customizable cinema effects and other features. And a new battery plate for the Gemini allows powering from either Gold Mount or V-mount battery packs.
TRIPODS/FLUID HEADS/CAMERA RIGS
LIBEC SALES OF AMERICA demonstrated its Hands Free Monopod (HFMP) featuring lock/release foot pedals for quickly deploying and retracting the base. It includes Libec’s TH-X pan-and-tilt video head and bowl clamp, which offers a +90°/-80° tilt angle, a 360° pan angle, a fixed counterbalance and drag mode. Both the pan and tilt movements can each be locked into place.
MILLER rolled out five models in its new Compass X range, three with 75mm ball bases and two with 100mm ball bases. New features include side-loading camera plates, spare screws in the head, eight positions of counterbalance, a revision in control labeling, and a new design of pan handle rosettes that allows them to be easily replaced should they begin to wear.
RED ROCK unveiled DigiBoom, an affordable gimbal-stabilized camera rig that makes it simple for a single camera operator in the field to execute smooth camera moves with controls that make sense to an ENG camera operator.
SACHTLER and VINTEN showed their co-developed Flowtech 75 MS Carbon Fiber Tripod with Mid-Level Spreader, designed based on all-new camera tripod technology. It features new quick-release brakes and easy-adjust levers that enable camera operators to set up and begin using the tripod in seconds. It has a payload capacity of 44 pounds.
AUTOSCRIPT showcased its new Intelligent Prompting family featuring the EPIC-IP19XL teleprompter and WinPlus-IP prompting software. The Intelligent Prompting devices offer the flexibility to integrate simply via an IP network, pooling resources anywhere in the world, and implement fail-safe redundancy measures for live broadcast.
CUESCRIPT rolled out a third generation of its CueiT Software, which includes support for an OpenGear card that allows putting up to 10 CueiT softwares into one frame. The new software also enables using widgets that allow multiple messaging to the talent on the prompting screen. CueScript alsoannounced that all scroll controls for its professional teleprompting systems offer a choice of connectivity, including IP.
PANASONIC launched the AW-HN38, AWHN40, AW-UN70 and AW-HN130, a new line-up of PTZ cameras with built-in Network Device Interface (NDI|HX) support.
RUSHWORKS demonstrated its three-in-one dual-camera HD-SDI unit combining a 20x or 30x PTZ camera and a wide-angle panoramic camera in the same module. The PTZ camera has full pan, tilt and zoom functions, while the panoramic camera provides a cover shot that cannot be trimmed.
SHOTOKU USA showed its SmartPedVR, the virtual reality (VR)/augmented reality (AR)-enabled version of its SmartPed that combines built-in VR tracking capabilities with its robotic pedestal. Addition of VR tracking provides 3D position information, including orientation, and is provided in remote or local operations with seamless switching between modes.
TELEMETRICS introduced a more fully featured Advanced Control Panel, the RCCP-1A, designed for larger studios. The panel, with optional STS studio software, includes Telemetrics’ reFrame Automatic Shot Correction technology that locks cameras onto the talent and automatically trims the shot, without operator intervention.
VINTEN demonstrated its Robotic Ceiling Track system, designed for productions where floor space is at a premium. The Ceiling Track is fully integrated with the Vinten control system so that it can join the company’s pedestals, heads and elevation units in the same production.