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Panasonic P2 Varicam
Sony XDCAM EX
Thomson REV PRO media cartridge
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HD Cameras Everywhere, For Everyone
As of NAB 2008, we’ve reached the milestone at which cameras can now be considered high-definition without having to belabor the point. HD acquisition is no longer a luxury; it’s a necessary cost of doing business.
Due to the comparative costs, no one in their right mind should buy a standard-definition-only camera. What’s important is what you plan to do with the camera you choose. Size, feature set, and recording system are what matters most. Then you figure out how to pay for it. On the show floor, the options for recording video, both large and small, continue to be optical disc, solid-state, hard drive, magnetic media disc, and, yes, videotape.
For the independent owner-operator and production companies that need to work with different clients that require different final masters, format flexibility is key. That’s why the new proliferation of cameras capable of 1080p/60 acquisition appears to be most attractive. From the high-resolution image, one could extract the 1080i and 720p HD formats and 480i/p SD formats and get excellent results. It’s been said that even 1080i looks better when acquired with native 1080p imagers. However, cost is an issue here.
On the show floor at NAB this year, there were lots of new models to support Panasonic's solid-state P2 recording system and Sony’s XDCAM optical disc format. Panasonic showed a new P2 VariCam (actually two versions, one with 1-megapixel sensors that capture in both 1080 and 720; and another with 2.2-megapixel CCDs that shoots in 1080) while Sony showed XDCAM HD at 50 Mbps 4:2:2 processing.
Panasonic also unveiled its new AG-HPX170 solid-state P2 HD handheld camcorder in a lightweight 4.2-pound body. Like its HPX200 predecessor, the two-slot HPX170 is a 1080p (also 1080i and 720p) camcorder with 1/3-inch 16:9 3-CCDs, 14-bit A/D conversion and 19-bit processing. There’s a standard 13X Leica Dicomar zoom lens with a 28mm wide-angle setting. The camera also provides auto or manual focus and iris.
Not to be outdone, Sony announced its new PMW-EX3 camcorder, offering 1920 x 1080 image resolution, interchangeable lenses, and genlock and time code in/out for multi-camera operation.
[Interestingly, Sony also showed the PHU-60K professional hard-disk unit, which includes a 3-D G sensor and memory buffer to protect data when the unit is dropped. When the G sensor detects that the unit is being dropped, the head of the drive is immediately parked to protect the data. The content is temporarily stored in the buffer memory and then restored in the HDD when it is operating again.]
Panasonic’s cameras uses the AVC-Intra (50 and 100 Mbps) and DVCPRO HD codecs while Sony continues to support MPEG-2 and soon MPEG-4. Panasonic announced a 64 GB P2 (PCMCIA) card coming later this year, while Sony unveiled a prototype 32 GB version of the SxS PRO solid-state memory card (PCI Express).
Red Digital Cinema showed a new prototype compact single-sensor camera called Scarlet that will acquire images at 3K resolution and cost about $3,000 (if and when it’s delivered by the end of the year, as stated). Its slowly emerging Red One camera—4K resolution for $16,000—was also shown in a form factor that is very different from its original prototype look. Those who have the camera seem genuinely satisfied with the results they’re getting. Those whose orders have yet to be filled continue to be frustrated.
Iconix Video exhibited a Studio2K point-of-view (POV) camera, the next generation of its HD-RH1F camera. The question remains: how do they get all of that functionality into such a small box? The complete system includes a 1.32" x 1.50" x 1.92" POV camera head weighing 2.5 oz.; a 3.5 lb. controller unit measuring 8.4" x 1.8" x 12"; power supply, and 3, 6 and 10 meter cables. The compact 2K camera is designed for unique uses like stereoscopic 3-D.
The Studio2K camera supports a variety of 2K digital cinema formats, including 2048 x 1080p and 2048 x 1080PsF at rates of 23.98fps, 24fps, 25fps, 29.97fps and 30fps. Output of 2K data is available via the camera's dual-link HD-SDI ports at 4:4:4 RGB. Like the HD-RH1F, it also outputs HD resolutions of 720p, 1080i and 1080p at rates of 24fps, 25fps, 30fps, 50fps and 60fps as well as NTSC and PAL.
Ikegami showed its GigaFlash (GF) camera and proprietary GFPak storage cartridges. The Flash memory-based GFCam system was developed in cooperation with Toshiba and includes the GFCam HDS-V10 tapeless camcorder, the GFStation GFS-V10 studio deck, and GFPak high-capacity Flash media. The GFPak comes in 16, 32 and 64 GB versions and features a convenient “memory paper” meter on the side to show how much capacity is left on the cartridge. The GFPaks also include a USB connection for direct connection to laptop for editing image monitoring.
The GFCam HD ENG system offers an open-codec HD/SD architecture that leverages proxy video and metadata to support file-based HD workflow efficiencies.
The company also exhibited its new HDK-77EX HD studio camera—featuring 2/3-inch CCD chips and Ikegami’s proprietary Chip C4 advanced digital signal processing technology—and the CMOS-equipped HDK-79EC camera for field and studio use.
The HDK-79EC offers three 2/3-inch 2.5 megapixel 1920 x 1080 CMOS imaging sensors that are switchable between native interlace and progressive readout modes. The camera supports the 1080/60i, 1080/24p, and 720/60p formats and can include both formats at 50Hz, high-speed dual-link 1080/60p, and (for super slow motion), 720/120i.
Thomson Grass Valley announced two new storage options for its REV PRO removable media cartridges, which store data recorded with the Infinity camcorder.
REV PRO XP offers dual-stream capability on a 40 GB disk, letting a user record and playback simultaneous 75 Mbps HD streams. This new disk features more capacity than the previous generation REV PRO disk and more headroom.
It also offers more than 50 minutes of HD recording at 75 Mbps and more than 40 minutes at 100 Mbps (using JPEG 2000 compression) and the ability to offload data from the disk at extremely high speed (DV25-encoded material can be transferred at more than six times real time). This allows users to perform sophisticated editing direct from the REV PRO disk.
REV PRO ER focuses on providing extended capacity. It allows documentary shooters and others who require longer record times to store more than 70 minutes of HD material at 100 Mbps or 90 minutes at 75 Mbps—or more than four hours of SD capacity—on a single 65 GB disk. It also supports dual-stream capability, with the ability to facilitate two 50 Mbps streams simultaneously.
The REV PRO XP 40 GB (gold) disk costs $70 while the REV PRO ER 70 GB (blue) disk costs $80. Both will be available later this year. The existing standard 35 GB (red) disk continues to be sold at various outlets for $70.
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MAXedit Server Edition
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Server-Based Editing for Maximum Throughput
At NAB a company called Maximum Throughput, known for its Sledgehammer network storage arrays, showed a server-based workgroup editing solution called MAXedit Server Edition that allows small broadcasters to cost-effectively set-up multi-seat HD/SD editing workgroups. While the software is no substitute for an Avid, Quantel or Thomson workgroup solution—as Giovanni Tagliamonti, the company’s chief executive officer will quickly tell you—it does allow someone to use standard laptops and desktop PCs to handle frame-accurate editing of compressed or uncompressed multi-resolution content.
Because the editing is executed solely on the server and not the local workstation, editors can use inexpensive, standard equipped PCs or laptops rather than expensive NLE workstations. And there is no need to install or maintain a high-performance network because large files are only accessed by editors remotely via their Web browsers.
Multiple compressed and uncompressed SD/HD formats are supported, including the HDV, DVCPRO and MPEG-2 formats. And due to its server-based design, MAXedit reduces congestion on Local Area Networks (LANs), while still enabling real-time editing of HD/SD material.
With MAXedit Server Edition, several editors can work simultaneously from a single server, but they never move large video files to and from workstations over a LAN. The only data that moves between the clients and the server is low-bitrate editing commands. Editors edit live proxies of streaming media, which ensures frame-accurate, fluid editing and complete creative control over the content.
At NAB, Maximum Throughput also introduced a hosted, subscription-based online editing service that video professionals can access on demand from any location via the Web, making it ideal for TV news crews on the go. Called MAXedit Web Edition, the service leverages the company’s servers in Boston, MA. and costs $100 per month. A demo at the show revealed fast response and seamless editing and preview of effects in real time. Very cool.
For more information, visit www.max-t.com.
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Adobe Launches CinemaDNG Format
Borrowing from its Digital Negative Specification (DNG) file format for still photography, Adobe launched an industry-wide effort to establish an open file format for high data-rate digital production at NAB.
Adobe said it plans to work with a broad coalition of leading camera manufacturers to define the requirements for an open, publicly documented file format that it plans to call CinemaDNG. Initial partners include Panavision, Silicon Imaging, Dalsa, Weisscam and ARRI, as well as software vendors, including Iridas and The Foundry, and CineForm, a codec provider.
The software company is currently developing the requirements of the CinemaDNG workflow and says it will publish a specification for the file format based on its collaborations later this year.
Adobe said that CinemaDNG would result in simplified workflows that involve multiple devices, vendors, and file formats and a reduction of proprietary or camera-specific file formats. In addition, the company said that CinemaDNG will offer support for proprietary metadata, helping manufacturers to differentiate their product offerings.
CinemaDNG will provide several advantages for digital filmmakers, including the avoidance of roadblocks caused by incompatibilities in workflows and a reliable (and lasting) archival standard. The limitations of proprietary or camera-specific file formats would be minimized, because CinemaDNG would provide an open, durable, standard format that would be available to everyone for many years to come.
For camera manufacturers and software developers, CinemaDNG would help remove a key obstacle to the adoption of new products by providing reliable, instant compatibility with existing workflows.
For more information, visit www.adobe.com.
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Holophone PortaMic 5.1
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Holophone Offers Sub-$600 Surround Capture
Holophone, a manufacturer of surround microphones, introduced the PortaMic 5.1 camera-mountable surround microphone, the first professional surround microphone to be priced under $600. This patented technology allows users to easily capture, from a single point source, a discrete surround recording that gives listeners the experience of sitting in the best seat in the house
Like the company’s popular H4 SuperMINI, the new PortaMic 5.1 offers discrete 5.1 audio quality. Its portability and sonic fidelity make it good for all audio and video applications including in-studio, field recording, documentary and ENG. The PortaMic features a 2.5 inch (6cm) x 1.5 inch (3.5 cm) mic head with six separate mic elements arranged to correspond with the typical 5.1 speaker setup in a studio or home theater.
Measuring only one inch high, the PortaMic’s encoder is equipped with Dolby Laboratories’ Dolby Pro Logic II encoding technology while providing a low profile when connected to the camera. The encoder allows the mic’s six audio channels to be encoded down to two channels, so it can be recorded to any broadcast camera or stereo recording device. The surround-encoded audio is output to both a stereo mini plug and six-pin balanced mini XLR. To ensure a quality recording even in loud environments, the mic features a unity gain control and a 12-db pad.
When moving from the field to post, the encoded recordings of the PortaMic 5.1 can be converted back to six channels using the company’s new D-CODE multi-channel decoder or any Dolby Pro Logic II Decoder. In addition, the PortaMic 5.1 is compatible with the installed base of approximately 60 million Dolby Pro Logic II consumer decoders, allowing the PortaMic’s recordings to be broadcast in stereo and decoded to surround in viewers’ living rooms. For alternate setup options, additional accessories such as boom handles and pistol grips are also offered. The mic and encoder are powered by one 9-volt battery.
For more information, visit www.holophone.com.
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Fujinon HA23x7.6BE
Canon DIGISUPER 27AF HD
Thales Angenieux 26 X 7.8AIF HD
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New Lenses Bring Full Spectrum of HD Into View
It was a big year for ENG and field lenses at NAB, with some models getting lighter, some sharper and others more data intensive then ever before.
Fujinon introduced the new HA23x7.6BE HDTV lens, a Premier Series lens offering advanced optical technology; Canon introduced new HD studio camera lenses with auto focus; and Thales Angenieux introduced a range of new HD ENG models for handheld use.
The Fujinon HA23x7.6BE includes 23 times magnification and a focal length ranging from 7.6mm at the wide end, zooming out to 175mm to capture extreme telephoto shots. At 1X, the lens has a maximum relative aperture of 1:1.8 up to 122mm and 1:2.65 at 175mm and a minimum object distance of 0.8 meters from the front of the lens. With the 2X extender engaged, the focal length ranges from 15.2 to 350mm, with a maximum relative aperture of 1:5.3 at 350mm.
For the studio, Canon introduced the DIGISUPER 27 and DIGISUPER 27AF HD box-style lenses with a focal length of 6.5mm to 180mm. The new lenses offer the optional BWA-271 0.9x Wide Attachment, the industry’s first wide-angle attachment for an HD studio lens. This “zoom-through” feature allows users to begin with a wide shot and go telephoto quickly without experiencing negative effects on light transmission. This feature alters the range of the zoom on wide settings by 10 percent toward the wide side, creating a new zoom range of 5.85mm to 162mm.
The DIGISUPER 27AF also features auto-focus capabilities based on a proprietary HD implementation of Through-the-Lens Secondary Image Registration Phase Detection Method technology. It’s designed to help camera operators ensure that their HD shots are always in exact focus, even in challenging situations. It also allows the new DIGISUPER 27AF lens to be used reliably on unmanned robotic pedestals.
Thales Angenieux introduced a range of new models, including a new generation of their Digital 26 X 7.8AIF High Definition (HD) and High Resolution (HR) Series Tele Super Zoom Lenses ENG/EFP lenses. The new lenses feature improved ergonomics and digital features. They provide an extended focal range to news and sports field production crews with extended coverage capabilities.
The new range features a focal range of 7.8mm to 203mm (5.6mm to 406mm with a 2X extender) and an aperture of f/1.8 for the HR version, and f/2.2 for the HD version.
For more information, visit www.angenieux.com, www.fujinonbroadcast.com, or www.usa.canon.com.
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Jimmy Hanks
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60-Second Q&A: Jimmy Hanks, Director/Actor/Filmmaker, Los Angeles, CA
Not one to stand on ceremony, Jimmy Hanks is constantly involved in a number of projects—from small independent features to big-budget productions—and says that the new generation of compact HD cameras from Canon helps him affordably bring ideas to the screen. “There’s no reason not to use these cameras,” he said. “Instead of sitting around, people should be out shooting.”
Hanks uses the latest Canon HD camcorders, the XH G1 and XH A1. He recently completed work on a pilot presentation called The Floor, which he shot handheld and with a Steadicam rig. The pilot, which is garnering interest, depicts “the seamy underbelly of telemarketers.”
His latest project, called When We Were Pirates, is another small budget feature, featuring Jorge Garcia of Lost fame. It’s a co-operative venture with his acting class, which he’ll begin shooting in June.
The point Hanks makes to anyone who’ll listen is that you can do production on a shoestring and get high-quality results. The equipment out there is that good. His XH G1 and XH A1 HD camcorders are equipped with a Canon 20X HD video zoom L-series lens. He’s also using a variety of lens adapters to accommodate some prime lenses that provide a more filmic look and, he said, help defeat the depth of field that is inherent with digital cameras. Limiting the depth of field, Hanks said, gets the audience to look where he wants them to. Blurring the background and applying a good rack focus are easier using prime lenses.
Q: Some people reject the smaller cameras as “toys” and won’t work with them for their projects. What would you say to them?
A: I think there are several reasons why people won’t go out and take the bull by the horns. It’s daunting. It’s hard to put it all together, but it’s silly to limit yourself to only using expensive cameras or film. In my experience, with the projects I’ve done with these small cameras, when you project it on a large screen, it’s looks pretty darn good. So I say to people, what are you complaining about?
Q: For your next project, instead of recording to HDV tape, you’re considering using the HD-SDI stream directly out of the camera and recording to an XDCAM deck. Explain why.
A: I want to get the most out of the camera. The XH G1 HD camcorder has got time code and embedded audio, so I’ll have all I need. I will then be able to utilize the camera’s uncompressed 1.485 Gb/s output with 4:2:2 color sampling.
Q: There are a lot of options in this category. Why did you choose the Canon cameras?
A: I had acted in a low-budget feature where they used the Canon camera and I was quite impressed. I started in this business shooting underwater footage as a hobby with a Sony prosumer camera (TRV-900). Then a friend of mine hired me to shoot some underwater footage on a low-budget feature he was working on because he knew I had experience shooting and I own all my own dive gear. I was also cheap. I had the opportunity to shoot with a full-size digital camera in a Pace housing. It took two or three guys to get it in the water.
Then I saw the Canon cameras. Here were these lightweight cameras that could be maneuvered easily and the camera operators had such freedom. It was eye opening for me.
I like the color rendition of the Canon cameras and the richer reds they provide. I don’t feel that I’m compromising at all. Using the HD-SDI stream out of the camera and into an XDCAM deck, I have a poor-man’s Genesis camera setup. The signal is very clean and the images look great. I also like the camera’s infrared auto focus feature. It’s truly amazing. I might get grief for saying this, but with this feature I don’t need a focus puller on set when flying a Steadicam. It’s very liberating. What more can I ask for?
Q: What’s the biggest misconception about HD production?
A: With these small cameras, you have to be very careful about lighting HD sets. It’s easy to blow out the scene (whites) and/or lose everything in the blacks.
When using larger HD cameras, you end up having to have so much support on the set that the cost advantages of video versus film get lost. I’ve seen so many problems on film shoots where they had to call the actors back to the set because they didn’t get what we needed. With video you see everything immediately, so that’s not a problem. I’ve also heard of productions being shot with a solid-state recorder and the hard drive failed.
So there’s no magic camera or way of working that can do it all. But I still love shooting on tape. I know what I’ve got is going to stay on that tape. It’s in my pocket, so it’s protected. And I don’t have to transfer it to another media. The new way is not always the best way.
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