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NAB 2016: What is standing the test of time? (The 1 Week Edition)
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1) I was at SuperTCP in the upper south hall. Across from this booth was KeyFlow Pro. I was in the Super TCP booth for 20 minutes.
There was not ONE person in the KeyFlow Pro booth. Very sad.2) I went to dinner with my wife at STK the Friday before NAB. My wife started talking to two women at the bar who were going to NAB, with some camera company. They became Facebook friends. I went to this girls Facebook page, who was featuring the Lytro camera (the company they were with). “Who the hell is Lytro” I said to myself. Shows you how much I know. Talk about missed opportunity !
Bob Zelin
Bob Zelin
Rescue 1, Inc.
bobzelin@icloud.com -
Tim, I finally purchased a Blackmagic URSA Mini 4.6K PL mount camera about a week before NAB 2016 so it was a relief to see there was no new ‘disruptive’ camera from BMD! I very much appreciated the announcement of firmware update 4.0 due in June and that honestly is such a wonderful update that it makes the URSA Mini a new camera in terms of ease of use and flexibility.
But I don’t own any PL mount lenses yet (50mm APO ordered), so another lasting takeaway was SLR Magic demoing their new 25mm and 85mm ‘budget’ APO primes that will likely be available in September this year: they also announced a 32mm APO as well as hinted there will be an 18mm and 135mm after that. And one of the nicest touches is their very simple EF replacement mount for the PL primes. You simply unscrew the last part of the PL mount and screw on the EF mount (or other popular mounts) like you’re changing the lid on a glass jar. I mean that literally, no screws and screwdrivers involved.
I also bought the just released cheap BMD B4 1.1x optical mount for the URSA Mini PL cameras and a used Fujinon HA20x7.8B-M10 all manual compact Cine zoom (not ENG) lens which appears to be a beauty.
Very happy to see the focus on improving the utility of existing products for the first time in a long time compared to the prior emphasis on distracting ‘disruptive’ shiny things.
Edit: Oops, need to update my equipment listed below! Now using iMac 5K Retina 4.0GHz 32GB/4GB.
Rick Lang
iMac 27” 2.8GHz i7 16GB
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Bob, nice story to tell the great-grandkids when Lytro becomes the 21st century equivalent of the 20th century Kodak Brownie.
Rick Lang
iMac 27” 5K Retina 4GHz 32GB/4GB, URSA Mini 4.6K PL, Pegasus2 R6 24TB
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[John Davidson] ” I don’t think the world really gets what this application is capable of…”
I didn’t really either for the first couple of versions… and I owned it! 😀
[John Davidson] “… but I think the next few updates are going to blow minds.”
The last update most certainly gave it a HUGE boost for me, especially after a gut feeling that not too much might even happen anymore, since it seemed to go under and no one was taking much notice. But even at this point I still feel that a bunch of coders with only very basic knowledge and understanding of what and how X does things (i.e. is used in production) put it together (my tag vs. keyword thing as case in point), which need to be addressed. But it’s still essentially a v1 and the last update has made me very hopeful as I said, and I’m very excited to see what happens next. I’m also trying to do my best to be active about those changes via email with them. We’ll see… !
Still waiting for that clip of the demo btw! ;-))
– RK
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Deutsch? Hier gibt es ein umfassendes FCP X Training für dich! -
[Tim Wilson] “That said, I’m floored by the Lytro. The idea of being able to set focus and shutter in post, extract keying data from depth maps, etc., strikes me as a staggering amount of science, backed by the most extensive optics innovations in years.”
I couldn’t find the Lytro on the floor – it wasn’t listed in any of the guides except for off floor demo’s. In any case I do believe the Lytro is a major innovation – the first truly “digital” camera in that it’s creating, on a frame by frame basis, a digital map of an image including z axis, as opposed to recording only the light reflecting off the image to one spot. It will take years, but I’m guessing something like this will be the future of motion pictures.
Herb Sevush
Zebra Productions
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nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf -
Tim –
I posted this before in the NAB thread but it seems more appropriate here so I’m taking the liberty of re-posting.Just back from a quick jaunt to NAB. Not an earth shattering NAb, more incremental improvements.
Avid had the upper south hall to themselves as far as NLEs go and their booth was packed – can’t tell you why because i’m not interested, but if crowd size at NAB is any indication then this is not a dying business.
Black Magic had the lower hall prime position and plenty of action – the Ursa Mini 4K knocks me out for the money, with the caveat that I’m not a shooter. But as a fully robust studio camera for under 5K without glass, someones gonna have to explain to me why it sucks otherwise it will be in consideration for next years shoot. Also amazing how small the Micro Studio camera is – perfect for my ceiling mounted remote cam.
Tons of copter’s in the Central Hall buzzing around – obviously a growing field.
Adobe has some nice incremental improvements plus Virtual Reality editing – which I still believe is a “who cares” option. Very crowded booth, pushing a lot of Adobe Anywhere demos and Feature Film workflow demos emphasizing AE dynamic link with Ppro. Best demo was 2 kids from Austalia home brewing some fantasy you tube videos and turning it into a tv show. Very funny stuff, made for no money, 2 kids showing what can be done with a handful of actors, no money, a lot of talent and AE.
https://www.youtube.com/watch?v=nClYDL7jgj0
If you need a multiCamera live viewing option – The Decimator on the South Upper floor has some excellent options for 9 angles, or less, fully programmable, each input with a looping output, on one screen for less than 1K.Saw a neat AE 3D tracking plug-in for those too stupid for something like Mocha (meaning me) – it’s called FayIn by Faytek. Worth a look for an editor who doesn’t have time to learn something too complex.
Didn’t try any of the VR glasses, the lines were too long at the Dell site, but they were offering free popcorn, so well worth the visit.
Saw a bunch of High Dynamic Range video, with a Korean company showing it in 8K. They had a shot of a rotating glass sculpture on black that seemed like you could reach out and touch it. Even the HD versions were impressive, but since there are no agreed upon standards for TV manufacturers and no broadcasters ready to, you know, broadcast, this is still just a pipe dream – but a beautiful pipe dream that is more impressive than 8K TV or 3D if you could ever get agreement on standards. In the meantime my wife is happy watching super compressed 8 bit on Netflix as long as she can see another episode of The Gilmore Girls.
Met up with the world renown Bob Zellin at the Maxx Digital booth – he was extolling the virtues of simple video networking using the QNAP Thunderbolt NAS as the center of it’s design, and complaining about the many booths talking about Thunderbolt 3 when nobody had it to show.
Spent some time at the ProMaxx booth to review it’s “platform” – a complete software/hardware product taking you from ingest to asset management to team editing to archiving with the ability to open in a panel in Ppro (and Avid I think) and be totally controlled from there. It has tools to lock projects to prevent overwriting while editing in teams and it was impressive.
Anyhow after a day my feet hurt too much to make it to the north hall or look any deeper at the camera’s in the central hall – huge booths for Canon, Panasonic and Sony, with Red exhibiting next to Black Magic in the lower south hall.
I would estimate that 95% of the attendees were male with the highest number of female attendee’s gathered around the various camera booths in both the South and Central halls. Take that for what it’s worth.
Herb Sevush
Zebra Productions
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nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. BieberkopfSome contents or functionalities here are not available due to your cookie preferences!This happens because the functionality/content marked as “Google Youtube” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.
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Maybe OT, but I was recently at Disney’s Hollywood Studios in Orlando and saw the Frozen Sing Along show. There was a huge backdrop that looked very well painted or printed of the castle. I was just amazed at how good the resolution was of that print. Not a pixel could be seen. And I was in the front row and it was only 35 feet away perhaps and 50ft wide by 30 feet tall. Pretty big in any case.
But then the show started and it started showing scenes from the movie. Holy moly not a pixel could be seen. Had to be 8k or more and immaculate. Blown away. On closer inspection it was likely made of tons of smaller display panels but so many that it had a nice arc to it without the panels being noticeable. No breaks or seams. One HUGE display of what appeared to be limitless resolution.
Good example https://youtu.be/ApKtB1LRYbo – still hard for a video recording to do it justice of course.
Before 2015 and/or at DisneyLAND it appears to have been run of the mill projection that looks washed out in other videos.
Anyway, I was impressed. But for all I know it’s old tech. I don’t get out of the basement much!
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[Bret Williams] “But then the show started and it started showing scenes from the movie. Holy moly not a pixel could be seen. Had to be 8k or more and immaculate. Blown away. On closer inspection it was likely made of tons of smaller display panels but so many that it had a nice arc to it without the panels being noticeable. No breaks or seams.”
I’m not sure if this is being used; however, at NAB, there was a Planar-Leyard 8K LED screen that sounds very similar to this. Very impressive.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
I guess if anyone had the money, Disney would.
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What was notable to me was the Ross Acid box camera. It is a modified Hitachi DH-H200. It does 4:4:4 output with 64 db SN. I’m not aware of another studio camera that can pull this trick. It will be used in new virtual set environment, so quality of keys is key. We had considered Sony HSC-300, but this Acid camera paired with Ross’s chroma keyer that understands the two signals coming in to create 4:4:4.
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