40 TVBEurope
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For more information:
Blackmagic Camera crowd: “We wanted to make the camera as egalitarian and aspirational as possible in order to sell a lot of them,” said Soren Phillips
remote control and viewing of up to 50 GoPros via free app for Android or Apple smartphones. Makes you wonder how they make any money... but their stand gets bigger at each show.
www.the-av-experts.com
Another enhancement plucked from the consumer world into the professional domain is Sony’s proprietary Optical SteadyShot which stabilises images even when thrown around by the tiny £1,800 HXR NX30U camcorder. The optically stabilised camera block floats on a magnetised mechanism inside the camera and is also included in the FS700. The latter camera and its stablemate FS100 also features an ability to autofocus while tracking or panning. “It will never be good as a top end focus puller but it’s useful if you are running and gunning or operating a limited budget,” said Sony’s Sales Manager for UK and Nordics, Dave Cheeseman. Both Nikon and Arri Media’s executives
were parrying questions about a ‘4K roadmap’ with understandable irritation. After all, Nikon has only just launched the D4 HD DSLR while the Alexa is favoured by many DPs who value exposure latitude, dynamic range and colour gamut as high, or higher than, the pixel count of a sensor. DPs also value the Alexa’s workflow,
pointed out Business Development Manager, Milan Krsljanin. A ProRes 2K codec is being added to the Alexa line for ease of post producing in Final Cut Pro.
Modular and upgradeable: Arri is bringing out a fifth version of its Alexa digital cinema camera, this time sporting a full 35mm sensor with 4x3 aspect ratio to cater for the resurgence in demand for shooting widescreen. To that end it also partnered with Zeiss to market a new series of anamorphic lenses. The underlying message from Arri, and
camera developers from Red to Sony, is that to counter the fast pace of technological change they are building models of modular design and which are future proofed. “With the Alexa you have a camera which
remains at the cutting edge with new software upgrades and modules,” said Krsljanin. The first in a new series of P2
cameras that take microP2 media provides a clue to Panasonic’s future camera strategy. “The AG-HPX600 has been designed from the ground up as a modular, upgradeable camera,” described Tarrant. “For example, when AVC Ultra comes out the camera will accept the new codec. Our approach is
Autostereo show promise
If 3D has a future then it is one without glasses and there were encouraging signs at NAB that this technological nut is being cracked. Sony and Dolby previewed new
autostereoscopic displays which have gone some way to solving the problem of having to view the screen from a sweet spot. Sony had a 46-inch TV and Vaio laptop that used face tracking to optimise the parallax.
Using IP from an autostereo display project that Philips abandoned in 2009, Dolby has devised a codec for optimising 3D video for different screen sizes and will be hoping the venture is snapped up by OEMs working on glasses-free displays. “Just as people experience audio differently and can adjust the volume, we recognise that peopleexperience
3D differently so they should be able to control the depth and find a level that is comfortable to them,” said Project Leader Guido Voltolina.
In the International Research Park, equivalent to IBC’s Future Zone, was a display never before seen outside of the labs of its inventors, the Japanese government-backed National Institute of Information and Communications Technology. This was a 200-inch glasses-free back- projection from 200 projectors for which NICT is developing a 200-camera live action system. Each of its 200 viewpoints gives an HD resolution at 60fps for a viewing angle of 40˚, a viewing distance of 5.5m and an interval of parallax of
22.8mm.The system has been licensed to JVC for further development.
NAB Wrap-Up
www.tvbeurope.com June 2012
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