NAB 2016: the Latest Broadcast Gear You Need to Know About

Can’t make it to NAB this year? Follow along with B&H Photo and stay up to date with what’s being shown in 2016. Every day, we’ll give you a taste of the new product announcements and check in to see if any vaporware turns into actual hardware.

While it seems that most manufacturers are seeking to quench the rumor mills by announcing their new gear before NAB and relying on the unveiling of the product itself to generate the buzz, still, there were a few surprises that tried to sneak by. So read on for our continuing coverage of what’s happening out in the city in the desert as we bring you up to date and prepare you for today.

NAB 2016 Wrap-up

This year’s NAB saw companies concentrating more on improvements to existing cameras and improving the 4K infrastructure than releasing more and more 4K cameras. Although there were some new 4K cameras announced, it seems as if seems that industry as a whole is taking the opportunity to attend to some overlooked details caused by the mad dash to 4K, while we wait for the next “Big Thing.” So, read on as we cover the events and announcements of the last three days, and look forward to April 24 to 27 of next year—NAB 2017.

Sony announced the HDC-4800, capable of shooting 4K UHD at 480 fps. Although it won’t dethrone some of the high-speed 4K champs out there, it does have a similar form factor to broadcast studio cameras, yet with a Super 35mm-sized sensor and supports PL mount lenses. Also announced at the show is the new PXW-Z450, which shoots 4K UHD and features an ENG form factor and 2/3" Exmor R Sensor. The FS5 also received some attention in the form of a firmware update that enables external RAW recording, as well as auto variable ND filters.

Blackmagic Design covered just about every facet of production and post without bringing out a new camera. Included announcements are a powerful and flexible studio-style viewfinder for your URSA Mini, a 7" monitor and 4K UHD recorder—The Video Assist 4K monitor. The MultiView 4 is a 4-input version of the previous MultiView 16, only in a smaller package. For those DIY’ers out there, Blackmagic has introduced the Arduino Shield that allows you to build your own Camera Control Unit (CCU). For the post-production end, the new UltraStudio 4K Extreme 3, similar to the UltraStudio 4K Extreme, adds Thunderbolt 3 connectivity. Thunderbolt 3 features a maximum throughput of 40 Gb/s when used with compatible devices. The connector also transmits data via USB 3.1 at up to 10 Gb/s, and allows you to daisy-chain up to six devices. Free updates to the URSA Mini, a new URSA mini OS, and a free Public Beta version of Resolve round out the exciting news from Blackmagic Design.

Canon Showed its new 4K ME200S-SH utility camera, a new compact 18 to 80mm zoom lens with built-in zoom motor and a removable zoom grip for the 18 to 80mm.

Panasonic’s hard-to-get-a-glimpse-of Varicam LT made an appearance at the show, and Panasonic used the opportunity to announce two new 4K ENG-style camcorders—the AG-UX90 and AG-UX180—both due later this year.

Fujinon presented two new lenses, one a 4K Studio box lens being touted by Fujinon as the longest, widest 4K lens for 4K UHD. With a 107x optical zoom in a box configuration, it is fair to say this is one lens with which you are not shooting run ’n’ gun. Joining the Cabrio lineup is the 20 to 120mm Lightweight zoom for Super 35mm sensors. Remember—just like its siblings, this lens features a removable handgrip/motor drive, allowing you to switch it from ENG to cine-style and back again with ease.

JVC updated its line of PROHD mobile news camcorders with the GY-HM620 and GY-HM660. Both capture 4K, but the HM660 can accept a USB wireless adapter and record and stream at the same time. JVC has also released a 4K PTZ camera, the KY-PZ100, which features similar wireless connectivity when you add a wireless USB device.

Looking to the future, Lytro—known for its lightfield photography process, has changed gear and developed a monstrous 755MP video camera that shoots up to 300 fps, and allows amazing post control of focus, depth of field, frame rate, and even Z-Depth image control. Though not yet ready for mainstream production, the NAB demo was an eye opener, and could change the ways movies are made.

Another advance in how movies are made is the continued growth of VR, or Spherical Video. Although often seen as a product almost exclusively for gamers and a niche market at best, there is growing support and development for this technology, encompassing home video up to high-end movies. With 360-degree rigs such as those available from GoPro—the GoPro Onmi, which syncs 6 GoPros together; 360Heros deviated from the norm by building a rig for Blackmagic Micro cameras: Sphericam, capable of self-stitching and live-streaming 4K; as well as the Teradek Sphere—also a GoPro rig that provides control over white balance, tint, exposure and lens distortion, as well as stitches the footage in real time, while streaking. All showed the support and belief that VR and Spherical Video are going to have a major impact in the future, and won’t be headed the way of 3D Glasses.

Please check out all the NAB 2016 coverage, and join us again next year.

Day Three

On what is traditionally a more relaxed day, we are hopeful for that surprise announcement, but being realistic, this is probably the time to get the lowdown on the hidden gems of the show, and what to expect to see before the end of the year.

Pelican saves you 40%—of the weight

If you think there’s nothing exciting about cases, then you’ve never had to leave your gear in someone else’s hands. Pelican’s new Air Cases are 40% lighter than the company’s standard cases, yet are just as durable and guaranteed for life. The Air debuts after years in the design and testing process, including six foot drops onto concrete, being submerged for 30 minutes, and having a 28-lb steel dart dropped on the case from three feet away. A new HPX resin and honeycomb design combine to shave off excess weight, while still allowing the case to retain the distinct Pelican performance to survive the daily production grind. In addition to the new lightweight construction, the Pelican Air keeps the features you’ve come to trust, such as the watertight o-ring gasket, pressure relief valve, metal-clad padlock hasps, and double-throw latches. It feels just like a Pelican case should, only lighter. Available in six sizes, with up to four color choices and with same internal options (empty, Pick ’n’ Pluck, or internal dividers) the Pelican Air is a familiar, yet lighter, new friend.

Panasonic thinks 4K

In addition to the highly anticipated Varicam LT, which Panasonic had on display at NAB, Panasonic has also announced two new 4K camcorders, the AG-UX180 and the AG-UX90. The AG-UX90 features an integrated 15x optical zoom lens, 1-inch-type MOS sensor, and 4K UHD recording up to 30p. As you might guess from the model number, the AG-UX180 features 4K UHD 60p recording, and an integrated 20x optical zoom lens to go along with its 1-inch-type MOS Sensor. Even though the AG-UX90 is smaller than its larger brother, both cameras will still record 4K DCI (4096 x 2160) though only at 24 fps, while also supporting 4K UHD and 1920 x 1080.

While the UX180 is larger, it isn’t just added bulk—the added size allows for additional features that distinguish it further from its little brother, features that include dual codec recording (simultaneous 4K up to 30PUHD and HD recording), with 3G-SDI and HDMI 2.0 outputs. Both cameras feature an integrated Leica Dicomar zoom lens, an EVF, and a large flip-out LCD screen. The comfortable form factor, familiar design, individual lens rings, all mean a short learning curve and a quick transition to shooting 4K if you haven’t started yet.

Blueshape new GRANITE TWO and GRANITE MINI – with 12A Draw and Wi-Fi

Blueshape GRANITE models have been making a lot of noise in the recent past, and now they’re going to make a lot more. Blueshape is introducing the GRANITE TWO, featuring 12A of continuous draw and embedded Wi-Fi for monitoring diagnostics! In addition, Blueshape is also announcing the GRANITE MINI, which is mainly the same as the GRANITE TWO, but about half as tall! Both are available in V-mount and Gold-mount versions and are as close to bulletproof as a battery can get. The Wi-Fi feature will also be useful for rental houses because it allows you to lock the battery out when the rental period is over.

Benro new BV4 Pro and BV6 Pro tripod kits with tandem legs

You may be familiar with Benro’s BV4 and BV6 entry-level tripod kits, which support up to 8.8 and 13.2 lb, respectively. Now, Benro is introducing the pro versions of these kits, the BV4 Pro and BV6 Pro. They feature the same BV4 and BV6 fluid heads as the older kits, but with professional 2-stage/3-section tandem tripod legs. The leg tubes are larger in diameter and more robust, and the first two sections have twin legs. The benefit of the transformation is that it damps vibrations for better stability. The BV4 Pro and BV6 Pro feature 75mm bowls, stepped counterbalance, stepped pan/tilt drag, independent pan/tilt locks, 28-63" height adjustment, illuminated bubble level, adjustable/removable mid-level spreaders, oversized leg locks, and rubber feet with dual spikes.

Kupo Click Stands make carrying your stands a snap

New Kupo Click Stands don’t only fold flat; they interlock into each other for easy carrying. Using a patented mechanism, the stands can be latched together in different configurations in any direction. Once the stands are locked in, simply connect a shoulder strap and you can carry more stands than your own two hands would traditionally allow, in addition to other equipment, saving time during transport, setup, and teardown. The aluminum construction saves on weight, and the air-cushioning, built in, prevents equipment from slamming down hard when not secured properly. Two sizes of Click Stands will be offered out of the gate, Mini 7', and Midi 8' varieties.

Tenba Cineluxe bags for keeping your gear

Continuing innovation in the pro video segment, Tenba introduces its new Cineluxe bags, made especially for video cameras and accessories. Offerings in multiple sizes range from small handheld bags to larger rolling bags and backpacks. Cineluxe bags set themselves apart with their “doctor bag” type closure. Using aluminum bars, these cases provide unobstructed access to the inside of the case. A variety of protective dividers and wraps are included with each Cineluxe bag. The dividers are flexible and can be routed around equipment packed into the bag while the wraps provide extra protection to small, sensitive items such as monitors, recorders, and wireless equipment.

ATTO strikes with not one, but two Thunderbolt 3 to 40GbE adapters

Keeping up with the advancement of ports and device compatibility, ATTO has recently announced two new Thunderbolt 3 products: the ThunderLink NQ 3401 and 3402. The ThunderLink NQ 3401 is an external, single-port Thunderbolt 3 to 40 GbE adapter, whereas the 3402 is the dual-port variant. Thunderbolt 3 features a maximum throughput of 40 Gb/s when used with compatible devices. The connector also transmits data via USB 3.1 at up to 10 Gb/s, and allows you to daisy-chain up to six devices. With these adapters, you'll be able to connect compatible devices to 40 Gb/s Ethernet networks and storage devices to fully utilize the data throughput of Thunderbolt 3, making it ideal for bandwidth-intensive applications such as data backup and restoration, clustered computing, IP content delivery, and 4K video editing. Furthermore, ATTO’s ThunderLink devices also feature Advanced Data Streaming (ADS) technology, which enables consistent bandwidth and controlled acceleration of data transfers for a more efficient and speedy workflow.

 

 

SyncBac Pro is here

GoPro HERO cameras have made their way into almost every conceivable type of video production, from amateur to professional. The wide range of accessories available for the HERO system has certainly helped in that regard; however, until now there hasn’t been a way to efficiently sync multiple HERO cameras together, or to other professional audio and video equipment using timecode. The SyncBac PRO from Timecode Systems introduces a wireless solution for syncing multiple HERO4 Black or Silver cameras together with timecode that gets embedded in the cameras’ video files.

How would you sync multiple HERO cameras wirelessly, you ask? Long-range RF hardware is packed inside the SyncBac PRO unit. Each unit affixes to the rear of a HERO4 Black or Silver camera via the 30-pin HeroBus, like any other BacPac accessory. Multiple SyncBac PRO units can be simply synced together in a master/slave configuration without any extra hardware. The timecode generated by the SyncBac PRO is appended into the metadata recorded along with each video file, making for easy syncing in your favorite editing system. Using separately available :pulse, :wave, or :minitrx+ units timecode can be synced with your HERO cameras and your other professional recording equipment in your production workflow.

Wireless timecode sync is cool, but Timecode Systems didn’t stop there when developing the SyncBac pro. Using their B:LINK communication protocol and dashboard, a much broader range of information can be exchanged. Each HERO camera equipped with a SyncBac PRO can be monitored and controlled remotely using an iOS or Android device through the B:LINK wireless protocol.

The SyncBac PRO is available to check out at the B&H store website and will be available for purchase soon. Be sure to check back later for more product information and stock availability.

Day 2

Fujinon brings out new 4K lenses for broadcast and digital cinema

It wouldn’t be NAB without some exciting new lenses! Fujinon unveiled the UA107x8.4, which they call “the longest and widest 4K lens for UHD,” and the XK6x20 20-120mm T3.5 Cabrio, a lightweight super-35mm zoom lens.

The UA107x8.4 is a monster box lens. Like the name says, it has a 107x optical zoom from the widest setting of 8.4mm, giving it a whopping 900mm focal length at the telephoto end (resulting in an angular FOV of less than 1 degree!). High-Transmittance Electron Beam Coating (HT-EBC), aspherical element design, optical stabilization, and a wide maximum aperture of f/1.7 all contribute to making this lens ready to create high-resolution, future-proof, professional-level content.

Touted as being smaller, lighter, and more affordable than its Cabrio siblings, the XK6x20 20-120mm T3.5 Cabrio exists for those run-and-gun situations that still require cinema-grade images. Like the rest of the Cabrio line, this lens is convertible to be used with or without the included servo handgrip. With the handgrip attached, the XK6x20 functions much like a standard ENG lens with full servo control and communication. Remove the handgrip, and the lens operates like a lightweight cinema zoom with MOD 0.8 gearing on the focus, zoom, and iris control rings.

Sachtler reinvigorates an old friend

Further expanding on the capabilities of the Video 18 S1, the new Sachtler Video 18 S2 Fluid Head increases the weight range, while keeping the same classic form factor. The weight range of the S2 model has increased, and can now accept payloads ranging from a DSLR rig at four pounds to a full digital cinema setup weighing 44 pounds. Some familiar features brought over from the previous design include the 16-step counterbalance with a boost switch, seven-step fluid drag for both pan and tilt axes, Touch & Go 16 quick-release-system compatibility, sliding balance platform, 100mm bowl mount, and illuminated bubble level. The Video 18 S2 will be available for purchase soon, both by itself or with a compatible set of tripod legs.

JVC improves its line of ENG camcorders

Updating its line of ProHD mobile news camcorders, JVC is showing off its new GY-HM620 and GY-HM660 camcorders at NAB 2016. Both cameras feature an improved 1/3" 12-bit CMOs sensor for the 600 and 650, an upgraded 3.5" LCD screen for daylight viewing and integrated EVF. An integrated Fujinon 23x Autofocus Zoom lens incorporates three built-in ND filters and manual zoom, focus, and iris rings. The cameras support relay recording to their dual SDHC/SDXC card slots for nearly unlimited recording time.

 

In addition to its recording capability, 3G-SDI, and HDMI outputs, the 660 features built-in IP technology, allowing you to stream from the camera via Ethernet cable, or with a Wi-Fi or LTE USB modem (must be purchased separately). An integrated IFB audio channel allows communication with field reporters from the studio without interrupting the Video over IP delivery. And the built-in IP support means that you can record Full HD in the camera, while simultaneously streaming footage for broadcast. A built-in Pre-Record feature allows you to roll the camera and capture the footage up to 15 seconds prior to pressing the trigger. This is excellent for situations when events can suddenly unfold after a prolonged stand-off, and you don’t want to miss any of the action.

Introducing JVC’s first robotic PTZ IP camera, the unique KY-PZ100

 

JVC introduces its first robotic PTZ IP camera, the KY-PZ100. This camera is designed with some exceptional capabilities that should highly appeal across the broadcast, government, sports, and house of worship environments. In addition to 3G-SDI and HDMI outputs, 30x optical zoom, and LAN connectivity, it offers direct-host USB connectivity to a Wi-Fi adapter or LTE modem. This is a unique feature that will allow you to use the camera anywhere there’s a power source. Other advanced features include a proprietary IP-based communications engine capable of streaming at a variety of bit rates with minimal latency, up to 1080p60 streaming with audio using SMPTE 2022 forward error correction, and onboard HD recording at up to 50 Mbps to a microSD card (and recorded files can be uploaded to an external server). 

The new Switronix HyperCore SLIM HC8: still slim, but very different

First there was the 10A HyperCore battery, then the 10A HyperCore SLIM for low-profile applications, and now Switronix reveals the HyperCore SLIM HC8. This is a remodeled and upgraded follow-up to the first HyperCore SLIM—it’s still slim, but with the body angular and sleeker, and with the large LCD of the original HyperCore back! Not only that, but this is a totally new, ultra-clear LCD with a white backlight. The HyperCore SLIM HC8 features a TSA-friendly 85Wh capacity, and is available in a Gold-mount, V-mount, and V-mount for RED cameras. It’s ideal for UAV and gimbal applications, and will allow you to clear most gimbal rails.

This battery has all the features the HyperCore is known for, including a hibernation accelerometer to preserve state of charge, over-molded and rubberized housing, and wide charger compatibility.

Lectrosonics SRc5P and SRc: camera-slot dual UHF receiver

Lectrosonics has announced the SRc and SRc5P camera-slot dual UHF receivers that include two separate receivers built into a single, compact housing, each with adapters for video camera receiver slots and stand-alone use. Both receivers utilize Digital Hybrid Wireless technology to provide high quality, compander-free audio with compatibility with other wireless systems. The RF performance is extremely stable over a wide temperature range, making it well suited for harsh environmental conditions.

The rugged dust- and water-resistant front panel features a menu-driven LCD interface and a four-membrane switching system for viewing and altering settings. The main LCD window displays the diversity activity, RF level, audio level, pilot tone indicator, and transmitter battery status for both receivers. The two internal receivers can be operated separately, each using switching, antenna-combining diversity, or in tandem with ratio diversity reception. The audio outputs can be mixed internally, or left separated for discrete recording tracks or external mixing.

The 5P version of the SRc receiver is intended for use with cameras that do not have both audio channels enabled in the camera slot. In addition to the audio outputs on the rear panel, a second set of balanced outputs is provided through 5-pin TA5M connector on an adapter next to the control panel.

There are several different rear-panel adapters available to configure the receiver for popular camera slots and for stand-alone use. The panel adapters include SuperSlot, SRSUPER, SREXT, and SRSNY. Each receiver can be powered by an optional battery “sled” adapter that accepts standard “L” and “M” style rechargeable batteries. The adapter includes an integrated SREXT plate for the rear-panel audio outputs. Typical run time with a 7.2 V, 2200 mA “L” style battery is approximately 11 hours.

Blackmagic Design: no new cameras, but plenty of gear to go around

Even though Blackmagic Design has decided not to bring out a new, or several new, cameras as it seems fond of doing, that doesn’t mean the company has been sitting back and taking it easy. This year at NAB, Blackmagic looks to fill in what it perceives to be the gaps in the current production environment. Is the company right? Only time will tell, but let’s take a quick peek at this massive offering.

Rather than try to redesign the original Studio Camera, Blackmagic has set about creating the new URSA Studio Viewfinder with new software that transforms the URSA Mini into a live production camera. The Studio viewfinder incorporates the controls and functionality required in a live production camera, starting with the variable-tension articulating mount that allows you to adjust the resistance precisely to your taste. It also features a Tally indicator with customizable camera numbers. Control knobs built into the viewfinder allow you to adjust brightness, contrast, and peaking.

A menu knob allows you to scroll through the camera’s menus, and with three assignable buttons you can choose to display zebra, false color, edge focus detection, luminance waveform, and custom LUTs.  Customizable frame guides allow you to see where lower thirds or other graphics will be overlaid on the image, enabling you to frame your shot with these in mind. Advanced SDI Control Protocol enables Tally, camera control, talkback, video, and audio display over a single SDI cable connecting your camera to a switcher.

 The URSA Mini Software Update converts it into a studio camera. Features of this update include a built-in color corrector, lens control, talkback intercom capability, tally, and control over SDI—all features users have come to know and love from Blackmagic’s Studio Camera line. Additionally, there is a 1080i (interlace) mode along with a video lookup table (LUT) for easier compatible with broadcast switchers.

Control over SDI allows camera settings to be operated remotely via an ATEM series switcher. This frees the camera operator up to only think about composition and makes color matching between different cameras easier. The update also provides profiles to help yield a closer color match between the 4K and 4.6K URSA models. The software update can be downloaded from Blackmagic’s Support page.

Later this year, the company will bring out a shiny new operating system. The initially most apparent update to the operating system is its UI, or user interface. This has being rethought to make it more intuitive. Want to quickly navigate to a setting? Simply touch the setting you want to adjust from the main view and adjust it right there on the spot—no more menu diving for the controls you need most, like F-stop and audio levels.

The new OS sees an IQ boost, as well. Not sure what shutter angle setting will get rid of the bothersome flicker? The camera will recommend a setting for you. You can still set the shutter angle manually if you want, of course. This is especially helpful when over- or under-cranking the frame rate, since the shutter angle often will be pushed into uncharted territory to accommodate the change in frame rate. 

LUTS, LUTs, LUTs... Besides a new OS, this update will add some new camera features, most notably in the LUT department. 3D LUTs will be available for the internal LCD, as well as output over SDI. This really helps you “see” the final look while shooting RAW or log. You will be able to store up to 6 LUTs in-camera, with the ability to import LUTs from a CFast media card. The camera will be able to read LUTs generated by a variety of popular software, including DaVinci Resolve.

For those not satisfied to let others design the way you control your Blackmagic device, there is the 3G-SDI Arduino Shield. This controller interface allows you to pick up an Arduino and start writing your own commands for an SDI-controllable Blackmagic device. What the heck is an Arduino, you ask? If you have head of a Raspberry Pi, it’s a bit like that. A miniature, inexpensive computer you tailor to basically any purpose. Unlike a Raspberry Pi, however, Arduinos are simpler, more about controlling things than being full-blown micro PCs. This makes the learning curve much smaller. Those feeling adventurous can still opt to use a Raspberry Pi.

Arduino Control is supported by the Studio Camera models, as well as the URSA Mini (Studio software update required). Controls that are available include lens operation (where the lens supports it), color corrector, detail, and all camera settings. You can even take the guts out of an old CCU unit and replace them with an Arduino for an up-to-date CCU that works with your current cameras.

The UltraStudio 4K Extreme 3 features the 40 Gbps Thunderbolt 3 interface, which will better support 4K ingest when working in RGB or stereoscopic formats.* The previous UltraStudio 4K Extreme offered a PCIe port for getting high-quality 4K, but this required an extra expense on cabling, and the cable lengths were still too short. The super-high speed of Thunderbolt 3 is fast enough for the highest bit depth HDR uncompressed RGB 4K and stereoscopic formats, such as those used for high-end feature films. Additionally, the UltraStudio 4K Extreme 3 is designed to be a perfect match for the frame buffer formats of the concurrently released DaVinci Resolve 12.5.

* Thunderbolt 3 features a maximum throughput of 40 Gb/s when used with compatible devices. The connector also transmits data via USB 3.1 at up to 10 Gb/s, and allows you to daisy-chain up to six devices.

The distinctive feature of the DeckLink Duo 2 is that it allows developers to design multi-channel HD systems with a single card. Where the original DeckLink Duo was a two-channel card, the Duo 2 features four completely separate channels. The two additional channels are normally hidden, but can be turned on by developers or in the DeckLink control panel. The Duo 2 is a 3G-SDI card that supports up to a 1080p60 signal on each channel. It is a slimmed-down version of the 8-channel DeckLink Quad 2 card that was recently introduced.

You may be familiar with Blackmagic’s Mini Converters. Well, now Blackmagic has announced its first Micro Converters, each about the size of a match box and comparatively a lot more affordable. One is an SDI-to-HDMI model and the other HDMI-to-SDI. Both support up to 3G-SDI 1080p60 10-bit signals with two channels of embedded audio and offer SDI re-clocking. A convenient feature of these converters is they have the same USB power connector found on smartphones and, so, can be powered from the same sources. At the same time, a full power supply with international plug adapters is included. Use the SDI version to convert SDI signals for use with HDTVs, projectors, and other display devices; and use the HDMI model to convert an HDMI signal for use with professional broadcast monitors, decks, routers, switchers, and more!

The Video Assist 4K adds 4K recording to the Video Assist line. With SDI and HDMI inputs capable of accepting HD and UHD 4K video, the Video Assist 4K can record video using Apple ProRes or Avid DNxHD/DNxHR formats. A first for 4K video recorders of this kind, the media of choice for Blackmagic Design is convenient UHS-II SD cards, which are easy to find, relatively inexpensive, don’t add much weight, or take up a lot of physical real estate. There are two card slots, and relay recording allows you to record video constantly until you run out of cards. XLR inputs for clean audio are on board, and audio can be monitored via the headphone jack. Dual LP-E6 battery slots can power the device, and using the integrated mounting points or the included kickstand, you can place the Video Assist 4K on your camera rig, or on the table.

Great for live production environments, the MultiView4 lets you view up to four SDI video sources simultaneously on the same screen. The Teranex Mini chassis has four SDI inputs with loop-through on each one, and HDMI, as well as SDI multi-view outputs. The MultiView 4 can be controlled via Ethernet or an optional Teranex Mini Front Panel Controller. Multiple MultiView 4 units can be chained together for viewing more sources on the same screen (multi-view signals will appear inside multi-view signals) and relevant info such as audio metering, source labels, and tally can be toggled on and off. Because the MultiView 4 features powerful internal processing, signals from different sources do not have to conform to the same resolution standard. HD, UHD, and SD signals will be accepted in any given input.

Rounding out these offerings from Blackmagic Design is the Duplicator 4K, which allows you to record an incoming 4K SDI video signal using the memory-friendly, high-quality H.265 codec onto 25 SD cards at the same time. If you need more than 25 SD cards, multiple units can be daisy-chained together via SDI and control. SD cards have an advantage over optical media as they can be finished in real time, and hold more high-resolution content using more efficient compression algorithms. SD cards are also more robust than optical media, and following the disappearance of optical drives from computers and A/V shelves, they become ever more relevant for content distribution. To ensure that your content plays as a single contiguous file, Single File Recording enables you to append incoming footage to previously recorded footage. This is especially useful for recording events that have breaks, such as weddings, and conventions.

Sennheiser: Action Microphone for GoPro

Sennheiser has announced it will preview its new Action Microphone for GoPro, which promises an ultra-tough housing that’s capable of withstanding adverse conditions, such as wind, water, snow, and splashes of mud. Due to its advanced capsule design and watertight connection with the camera housing, the Action Microphone will even be able to record audio underwater. This new microphone will allow users to capture high-quality audio in scenarios where recording currently is difficult or impossible at all.

Sennheiser: MKE 440 Stereo Microphone for DSLR

Sennheiser is unveiling the MKE440 Stereo Microphone for DSLR, which allows users to capture focused stereo sound from the filmed object. The compact microphone utilizes two mini shotgun microphones and a new stereo technique that offers a supercardioid pick-up pattern, which picks up sounds predominately from the camera angle and results in a well-balanced mix between ambient sound and clearly comprehensible speech and dialogue. The MKE440 offers a frequency response of 50 Hz to 20 kHz and can handle sound pressure levels up to 132 dB. The mic offers three sensitivity settings and can run up to 100 hours on two AAA batteries. The MKE 440 enables DSLR users to capture professional stereo sound in one go, saving valuable production time and effort.

 

Unveiled: GoPro OMNI 360-Degree Video Rig for VR

 

With arrays of its popular HERO cameras already driving the engine that is spherical (also colloquially referred to as “360-degree” or “VR”) video, it’s only natural that GoPro would unveil its own professional solution, the Omni. Using six synchronized HERO4 Black cameras inside a single sturdy chassis, the Omni rig can capture footage from all angles simultaneously. Since each HERO4 Black camera records in 4K UHD resolution, the spherical videos created with this rig will have minimal artifacting around the sides of the image and will maintain sharpness when zooming in for a closer look at the action.

While the Omni rig can facilitate the creation of spherical video, it maintains a small form factor. Some spherical video rigs require dozens of cameras in ungainly configurations, creating a scenario that is not friendly to content creators who are on a budget or looking to carry the camera with them easily. Since the Omni only requires six cameras, it’s perfect for capturing intense adventures and it can be easily held in the hand, mounted on a vehicle, or secured to other adventuring gear using the threaded holes on the corners.

GoPro has held more specific details of the Omni close; however, more information will be out soon at the NAB Show.

DJI at NAB 2016: Matrice 600 and Ronin-MX

 

DJI has unveiled a new hexa-rotor addition to its high end line. The Matrice 600, in spite of its namesake, in many ways more closely resembles the Spreading Wings S900 than the Matrice 100, which came before it. This new platform is designed, in particular, for professional aerial imaging applications, and will pair with DJI’s range of Zenmuse Z15 gimbals, Zenmuse X series cameras, and the also unveiled Ronin-MX.

Probably the most notable update we’ll see in the Matrice 600 is the all-new A3 flight controller, which will be replacing the A2. A GNSS-based flight controller, as the previous A2, it features an adaptive design that automatically adjusts to varying payloads. It is fault tolerant, designed to recover in the event of a single-motor failure so that the aircraft can be landed safely. The A3 can be optionally upgraded to the A3 Pro with the addition of two upgrade kits, for triple redundancy—a crucial feature when flying high-priced equipment or relying on waypoint autopilot navigation. The GNSS system can similarly be updated to add Real Time Kinematic (RTK) support for navigation with centimeter-level accuracy.

  

The flight controller integrates Lightbridge 2. This technology beams a live, low-latency feed at up to 1080p/60fps. The image can be view by connecting an HDMI or SDI monitor to the controller or tethering a tablet via USB. Accompanying Lightbridge is the DJI GO app, for high granularity of control beyond what the controller (transmitter) offers. A complete ground station solution, the app not only shows flight vitals and enables access to aircraft settings; it also offers camera control when using a Zenmuse X-series camera.

On the gimbal front, DJI has added a new baby to the Ronin line, the Ronin-MX. In terms of camera compatibly, it compares to the Ronin-M in that it is suitable for payloads up to 10 lb (the Ronin-M takes around 8 lb). This makes it ideal for compact cinema cameras. The gimbal itself, being constructed primarily from aluminum, weighs around 6 lb. Not only does this low weight make handholding a lot less tiring (but still a workout), it means that it can be mounted on vehicles with minimal impact to vehicle handling. Additionally, it is compatible with the new Matrice 600, discussed above.

Assuming it will be mounted and not handheld, the gimbal can achieve a full 360 degrees of rotation. Furthermore, it can tilt beyond straight down, to 135 degrees. Other improvements include a more efficient drive system, making it 50% more powerful than the Ronin-M, as well as a stiffer frame for better rigidity when mounted on a moving vehicle. For power-hungry cameras like the RED EPIC, it is possible to attach a second battery plate so that a separate DJI Intelligent Battery can be used to power the camera and/or other 12V accessories.

The Ronin-MX can be controlled in a number of ways. There is a “Solo” mode, which requires the optional Wireless Thumb Controller. Dual operator mode involves one operator handling the gimbal while the second uses an RC-transmitter-style controller to pan and tilt the camera. And, finally, there is Lightbridge integration. This enables app-based control through the GO App. A universal Quick Release system that doubles as a vibration dampener allows the Ronin-MX to be connected to everything from jib to tripod and anything in between.

Day 1

 

On display at NAB 2016 are Canon’s newest offerings of professional video gear, the Compact-Servo -80mm T4.4Zoom Lens, Zoom Grip ZSG-C10, and the ME200S-SH Multi-Purpose Camera.  For in-depth coverage please see our announcement and video by clicking here.

Sony Announces a New 4K High-Frame Rate Camera for Broadcast and a PXW-FS5 Firmware Update

As a stalwart in the broadcast TV industry, Sony identified the need for versatile 4K hardware. Sony’s new HDC-4800 camera system is based on a super-35mm-sized 4K sensor block and is able to capture 4K footage at up to 480 frames per second (fps). This is a step up from the capabilities provided by the F5 and F55, which have been used in broadcast situations for their 4K capability and high-speed HD capture, since the HDC-4800 provides the best of both worlds, high speed in 4K. Sports broadcasting would be able to take advantage of the complete capabilities of the HDC-4800. Instant replays on HD broadcasts can be slowed down and heavily manipulated using zoom and pan-and-scan without any visible loss in quality.

Not satisfied with just the debut of a new 4K camera, Sony announced a major firmware update for the popular Sony PXW-FS5 camcorder. With this firmware update, FS5 owners can pay $600 to unlock raw output from the SDI spigot. Combined with compatible external recorders such as the Convergent Design Odyssey 7Q+ or Atomos Shogun, which can record or interpret the FS5 raw stream, very high-quality 4K footage can be recorded at up to 60 fps. Continuous high-speed 2K output is also enabled, for raw recording at up to 240 fps. A free benefit of the new firmware update includes the ability to have the camera automatically control exposure via the internal stepless electronic ND filter.

Atomos Announces the Advanced Shogun Inferno

Atomos reveals its most advanced monitor/recorder to date, the Shogun Inferno. A step above the recent Shogun Flame, the Inferno features the same 7", 1920 x 1200, 1500 nit display, 10-bit color, and HDR, but also offers the upgraded recording capability of DCI/UHD 4K 60p over Quad-Link3G-SDI and HD recording up to 240p It incorporates the Atomos’s well-known playback and editing functionality, which will let your team jump right into working on an image on set or on the plane ride home.

The exceptional HDR feature enhances your ability to shoot with Log footage, and Instead of displaying a washed-out image, the Inferno’s AtomHDR image processing will let you shoot with your camera’s Log profile while maintaining true-to-life colors. There’s also 3D LUT support and anamorphic de-squeeze, and PQ I/O for inputting from your NLE and connecting to HDR compatible larger displays.

Other distinctive features include the ability to trigger start/stop recording from popular cameras over SDI or HDMI, and convert interlace to progressive signals on the fly with built-in 3:2 and 2:2 pull-down. As with all Atomos recorders, the OS is simple and packed with an extensive suite of 1-touch scopes.

The four SDI inputs can be used as quad-link 3G-SDI or single-link 12G-SDI. Accompanying these is a comprehensive array of an SDI out, HDMI I/O, and LANC, Genlock, and XLR connections. The Inferno records natively in CDNG, ProRes, and DNxHR codecs to your choice of 2.5" SSDs or HDDs. 

ZacutoGratical Eye and new Recoil Rig accessories

Last year at NAB, Zacuto showed a demo of its Gratical Eye EVF, a compact counterpart to the larger, fully featured Gratical HD and à la carte Gratical X. This year, Zacuto returns with the finalized and officially announced version of the Gratical Eye, which weighs only 14 oz and fits into the palm of your hand. Sharing the same highly regarded 0.61", 1280 x 1024 micro OLED panel as its larger siblings, the Gratical Eye presents itself as the perfect companion to documentary and run-and-gun shooters.

 

To keep the overall size and weight of the unit to a minimum, you won’t find a battery slot or compartment on this EVF. Instead, it is meant to be powered from an external source—most likely the D-tap output from the battery powering your camera. This, combined with the fact that there is only a single 3G-SDI input supporting resolutions up to 1080p60, positions the EVF firmly in the market for shooters using professional SDI cameras and rigs with external power solutions. With no power button to speak of, the EVF uses a motion-detection sensor that will send the EVF into a screen-saver mode after seven seconds of inactivity, and eventually an auto shut-off, after one hour of being idle.

Despite its size, the Gratical Eye features an FPGA dual core processor that supports the same set of image analysis and monitoring tools as its bigger sibling, giving your access to 3D LUT support, waveform and vectorscope display, and peaking, to name just a few. Without much room for buttons, the EVF’s menu and features are accessed using an intuitive joystick button on the rear of the device. The button even doubles as an outboard tally light which, you have to admit, is pretty cool.

But wait, there’s more! Zacuto is also showcasing two new Next Generation Recoil Rig components, in the form of the VCT Pro Universal Baseplate and the ZGrip Trigger. The VCT Pro, as the name suggests, is an upgraded version of the Zacuto’s current baseplate, with the most notable update being the addition
of a quick-release plate for camera attachment that offers a 12" sliding range for faster and easier balancing when changing lenses.

The Zgrip Trigger is an extendable arm and handgrip solution that provides full 360-degree rotation and grip angle adjustment for customized comfort. Besides the telescopic design that extends from 11.5 to 20.5", the highlight of the product is “trigger” levers that let you quickly flip the arm and grip for setting flat on the ground or for packing away in your cage. The arm mounts on the VCT and VCT Pro baseplate or any ARRI standard rosette. Choose from a package that includes either a wooden handle or Zwivel-style articulating handle, or go for the universal model that accepts any ARRI standard rosette grip, such as the one used on the Sony FS5 and FS7.

New from Zoom: digital interfaces for “U”

Zoom has long been synonymous with solid and portable digital recording—whether you’re considering the H4n for podcasting, or the F8 MultiTrack for 8-channel field recording. Now, Zoom is expanding into the digital interface market with the U-44 and the U-24, providing you the same preamps you loved in the H5, but with 24-bit/96 kHz audio playback!

U-44 Handy audio interface

Giving you four inputs and four outputs, the U-44 seeks to be the cornerstone of your mobile recording rig, allowing you to connect microphones, instruments, monitors, computers, iPads, and more. You can bus-power the U-44 via USB, but it’ll also take two AA batteries in a pinch, and, with its 10-pin connector, this interface is compatible with every single capsule in the Zoom Universe: the X/Y module, the Mid-Side capsule, the Stereo Shotgun—the U-44 can handle all of them, providing you with numerous options for recording yourself on the go. With combo TRS/XLR inputs, the aforementioned 10-pin capsule connector, a selectable S/PDIF connection (optical or coaxial), MIDI support, and Hi-Z capability, this interface will handle all your mobile AD/DA needs with the aplomb of any Zoom Handy recorder. You can feed your monitors through the U-44’s TRS or RCA outputs, to be sure, but you can also use it as a headphone amp to pump some much needed fidelity into dinky-sounding audio devices.

 

U-24 Essential portable audio interface

The U-24 gives you almost everything its bigger sibling does: playback and recording at 24-bit/96 kHz, iPad compatibility, bus-powering, AA-battery support, H5-series combo preamps, MIDI ins and outs, Hi-Z capability, multiple monitoring options, and a headphone amp, to boot. No, you don’t get the S/PDIF connections or the 10-pin capsule support, but what you do receive is both advantageous and bounteous: all the same low-noise circuitry as the U-44, but in a package that fits in the palm of your hand. Thus, this unit is perfect for solo singer-songwriters who need to take their rig with them on the road; simply jam the U-24 in your gig-bag, plug into it when you feel inspired, and you’re good for getting your songs together, wherever you may roam.

 

SLR Magic HyperPrime lenses and anamorphic adapter

SLR Magic is making waves with its ever-evolving catalog of lenses and optics. New for NAB 2016, SLR Magic is showing off two new APO-HyperPrime Cine lenses and a new single-focus Anamorphot 1.33x – 40 anamorphic adapter.

To increase the APO-HyperPrime Cine lens line to include three lenses, SLR Magic brings along the 25mm T2.1 and 85mm T2.1 APO-HyperPrime lenses. These two will join the 50mm T2.1 APO-HyperPrime to form a trio of focal-length options. All three lenses feature highly corrected apochromatic optical designs, which feature a special selection of optical elements. These designs reduce the appearances of chromatic aberration and flaring, while increasing contrast and overall performance at wide-open apertures, even in difficult lighting situations. All the lenses in this set, to date, will cover full-frame 35mm sensors and are sharp enough to create 4K imagery.

Mechanically, all lenses are equivalent in size and focus/iris gear positions; letting you keep your gear setup consistent. Focus and iris rings are geared to the MOD 0.8 standard for interfacing with lens-control accessories, and the focus throw is fine at 300 degrees. The APO-HyperPrime Cine series will be offered with PL mounts, by default. For use on other popular camera systems, the PL mount can be replaced with separately available EF (Canon) and F (Nikon) mounts, or adapted to fit MFT or E mounts using forthcoming optional-mount adapters.

Anamorphic imagery has been making a comeback in recent years, and with SLR Magic’s offerings, indie productions and smaller projects can take advantage of the special aesthetic brought about by anamorphic optics. Until now, filmmakers without the cash to drop on expensive vintage optics had to deal with clunky dual-focus solutions. However, the new Anamorphot 1.33x – 40 anamorphic adapter features a single-focus design, so you would only have to focus the adapter, not the lens it’s attached to. This design saves time and makes it easier to ensure critical focus. The 1.33x squeeze of the optics stretches out native 16:9 footage to a cinematic 2.35:1 scope aspect ratio without sacrificing any sensor data from cropping. The nature of this lens also produces the characteristics exhibited by classic anamorphic designs, such as elongated out-of-focus areas and blue highlight streaks that cross the image horizontally.

SLR Magic has noted that these lenses are slated to be available soon, with the APO HyperPrime Cine lenses due to show up in late 2016, while the Anamorphot 1.33x – 40 could be available as early as this summer! Check back on the B&H website later for more details, availability, and pricing information.

NAB 2016: B&H The Studio Tech Center Live Day 1

Check out the latest panels, live-streaming now from 2016, live from the Las Vegas. From April 18th to 20th, watch and learn from top industry panelists on B&H's exclusive live stream.

Check back for pricing and availability.