Posted on Tuesday, April 19, 2022
The countdown is on. Many of us are days from getting on a plane and are heading out for 2022 NAB. Man it’s been way to long, right? In Part One of our ProductionHUB NAB coverage, a lot of new product information was just starting to come out, bit by bit. There was almost a measured release of the things we might see and hear about at the show. Well, the wait is over.
There are now over 900 exhibitors registered and ready to show off their products. The announcements just keep flooding the internet. I'm pretty excited to see what companies will be showing and to hear what attendees will be talking about.
From a technology standpoint, we're going to continue to see more and more refinement in remote production capabilities. I am saying that because I don’t think we are quite at the point where we are going to throw everybody back out in the field just yet. If you can streamline productions and reduce costs why wouldn’t you? At first, I thought some remote productions were uneven, but broadcasters and streaming services rolled up their sleeves and saw continued improvement through the use of improved implementation of smart logistics and technologies. One very good example is in the sports world with excellent coverage of the Winter Olympics. Even with reduced crews on the ground the productions were crisp and tight. Nothing was missed and lots of staff did there jobs so well while located in Stamford.
Looking into my LED Crystal Ball I see advances in Artificial Intelligence, (AI) streaming, file sharing, large scale storage, and editing software that will grab the attention of attendees. That, and all the devices that make all that data get from Point A to Point B.
However, let's not forget that for a lot of people, NAB is all about all new hardware. New switchers, new cameras, new HDR monitors and all the equipment that goes into studios, the control rooms, and of course the trucks! Plus, we still need to get lighting and audio in there as well. Not too much to see right? Right!
I know everyone has their “must see” list(s) and I am no exception. That being said, I wanted to share some of my list with you. So in no particular order, here goes!
What would NAB be without switchers? Blackmagic Design will be showcasing the ATEM Constellation 8K and ATEM 2 M/E Advanced Panel on site to check out. The Blackmagic Design ATEM Constellation 8K is a powerful switcher in a 2 RU chassis that can easily handle 4K video and supports 8K.
It features a built-in control panel on the front and 40 12G-SDI inputs, with two main and 24 AUX 12G-SDI outputs. Each input has its own standard converter, which allows you to seamlessly switch between inputs no matter what format it is. The Constellation 8K incorporates four DVE, 16 Keyers, and four media players, allowing for flexibility in creating your program. Four multiview outputs enable viewing 4, 7, 10, 13, or 16 simultaneous views.
Cartoni is proud to announce the new P40 Pedestal. The P40 is a midrange pedestal that addresses the need between the lightweight P20 pedestal and the heavy-duty P90 pedestal.
The new P40 pedestal combines perfect balance and on-shot movement for OB & lightweight studio environment, with payloads up to 45Kg /100 lbs. This rugged yet lightweight support features an extensive height range and is ideal for newsrooms, sports, or PTZ configurations.
PTZ Pro Solutions
Inspired by the rapid rise of PTZ cameras usage in studios, Cartoni has created a complete line-up of PTZ Solutions that allows the placement of PTZ cameras in a safe, multipurpose, and user-friendly way. The PTZ Solutions are the PTZ tripod, lightweight PTZ stand, and the revamped P20 Pedestal, which allows users to mount a teleprompter. In addition to this, Cartoni is pleased to offer a series of functional accessories such as the “T-Bar,” capable of carrying two or more PTZ cameras on the same Bar.
The Red Lock Focus series
Smooth, fast, and versatile, the Red Lock System is a new tripod system designed for professional camera operators on the go. Available in three different systems, the Focus 8, Focus 10, and the Focus 12, the Red Lock System is fast, lightweight, and robust. What makes the Red Lock System unique is both its versatility and affordability. The Red Lock Tripod comes with two rings and allows camera operators to easily change the tripod system from 75mm to 100 mm for heavy-duty camera packages. The Red Lock Focus Series offers camera operators a premium tripod at entry-level affordability!
New “must-have” accessories for sophisticated Digital Cine Operators include the new Mitchell lock. The new Mitchell lock is compact, secure, and a single piece, which mounts directly to Cartoni flat base heads or other heads via its disc adapter. The Mitchell lock works with the dual quick-release slide for Steadicam dovetail plate and standard Cine Plate for ARRI/O’Connor/ RED/ Sony, etc.
OLED 22 is a stunning new entry into the reference monitor space and SmallHD’s new standard for color perfectionists. Featuring a 1,000,000:1 contrast ratio with an absolute black point, and 100% P3 / 135% Rec 709 color gamuts that generate beautiful, true-to-life color accuracy. With the power of PageOS 4 histograms and waveforms, every tool is included to achieve perfection. OLED 22 prevents angle shift at any viewing position and provides a real-time image as vivid and pristine as the final output, on-set or in post.
1,000,000:1 Contrast 350nits 10-bit Color Depth PageOS 4 software platform
4K HDR waveform and scopes Color Pipe HDR color rendering
Monitor Calibration Wizard Canon
Always one of my favorite booths to visit at NAB, Canon is going to be showing off all kinds of new gear. But what really has my attention are some new lenses. Canon U.S.A., Inc., a leader in digital imaging solutions, announced today the launch of a new series of lenses for the company’s EF Cinema Lens lineup — the Flex Zoom Lens series of lenses, which were developed to create cinema-style productions with greater workflow efficiency. The first lenses in the series are the CN-E20-50mm T2.4 L F/FP wide-angle zoom lens and the CN-E45-135mm T2.4 L F/FP telephoto zoom lens.
Designed in the pursuit of cinematic beauty, the new large-aperture lenses feature both high-level optical design and performance while maintaining the style and ease-of-use of Canon’s EF Cinema lens series. With the introduction of the zoom lenses featuring focal length ranges of 20-50mm for wide-angle and 45-135mm for telephoto, Canon now offers zoom lenses that cover the same range as its six existing prime (single focal length) lenses. The versatility of these new lenses supports efficient production workflows for a wide range of scenarios, including film, TV programs, commercials, and much more.
Engineered with an optical configuration that creates the optimal placement of lens elements, including a large-aperture aspherical lens and an anomalous dispersion glass lens, the CN-E20-50mm T2.4 L F/FP and the CN-E45-135mm T2.4 L F/FP lenses help reduce the potential for color smudging and chromatic aberrations. This enables them to maintain high optical performance from the center of the image to the periphery when paired with 8K cameras.
In addition to supporting EF-mount data transmission2, the new lenses are also compatible with /i Technology3 from Cooke Optics. With this capability, recording metadata such as focus, zoom, aperture, and lens model can be transmitted via the lens mount for visualization on the camera itself.
I am always a sucker for new lights and I can’t wait to try out the new Sumomax. The 700-watt hexagonal fixture is the latest addition to Sumolight's LED line. Sumolight GmbH has introduced the Sumomax hexagonal 700-watt LED light.The 1,800-15,000K full-spectrum (RGBWW) Sumomax is the latest addition to Sumolight’s LED line and offers a form factor similar to that of the Sumospace+.
Its profile measures 22.1" x 19.7 "x 6.", and its flat silhouette makes packing and shipping easy. Sumomax fixtures can be arranged honeycomb-style to create unique patterns or shapes. Cells within the structure can be controlled as a group or individually.
I will admit I am pretty picky when it comes to monitors. I'm always on the lookout for that best new monitor. It could be for the control room, on location, or in the truck, doesn’t matter to me. It has to be bright, accurate, and not kill my budget.
These are the OLED monitors I cant wait to see from Boland at the show:
XK422HDR-OLED X4K27HDR-OLED X4K31HDR-OLED Check out these product highlights:
4K Resolution High Contrast (1,000,000:1) Low Latency (1-millisecond panel refresh) 12G SDI Scopes Suite HDR PQ Customizable LUTs Hitting the Road
There are few of the hundreds of exhibitors that will be on hand at NAB.
As always I am going to suggest good sneakers, lots of water, and a healthy dose of patience as we unwind the last couple of years and get down to business.
One more thing—if you see something that you think is very cool, feel free to snap some pics and email them over to me. Safe travels and we’ll see you there!
About Mark Foley Mark J. Foley, MBA BA is an award-winning producer and director and the Technology Editor for ProductionHUB.com. He is on a mission to provide the best in new equipment reviews, along with exclusive analysis and interviews with the best, the brightest, and the most creative minds in the entertainment and production business. Have a suggestion for a review? Email Mark at email@example.com.
Recent Blog Posts
ProductionHUB Announces 2022 Awards of Excellence Winners
Posted on 4/28/2022
Meet the Director and VFX Artist, Travis Button, Who's Uplifting Brands Including ASUS, Red Bull, Fiji Water, & Amazon Prime
Posted on 4/12/2022
It’s Showtime: Getting Ready for 2022 NAB (Part One)
Posted on 4/5/2022
Celebrating 10 Years of ALIBI Music with Executive Producer and Founder Jonathan Parks
Posted on 3/29/2022
Jibs, Cranes, and Robotics: Getting the Shot
Posted on 3/22/2022