2018 NAB Preview Part Two

Published on in Industry Announcements / Events

Photo courtesy of ARRI and © Chase Hagen

Did you think I was all done with lenses in my 2018 NAB Preview Part One? Not even close. There are just so many great lenses out there to talk about that there always room for more. Before I get to the cameras, here are a few more of the excellent lenses that you will want to see.

CW Sonderoptic GmbH (Booth C3643)

As I have mentioned before, there are so many lenses that I want to shoot with. The problem obviously is that you have to eventually choose what works for you and what you want your “look” to be, and the look here is beautiful.

CW Sonderoptic is the designer and manufacturer of Leica Cine Lenses. Need I say more? One look at the Leica Summicron-C high-speed lens designed for Super 35 may convince you that you want to shoot with these lenses on your next shoot. All of the Leicas I have seen retain the ability to express accurate and pleasing skin tones. This includes The Leica Summicron-C and those beautiful Thalia lenses. Thalias are matched look spherical lenses for large format, VistaVision and Super 35 cinematography. 

Schneider Optics (Booth 6037)

Whether in the studio, in a large premiere theater or in the home cinema, Schneider-Kreuznach (Schneider Optics) lenses always set some of the highest standards in filmmaking. Developed and manufactured in Germany, their reputation is well earned and well respected in Hollywood. Very precise and spot on, these lenses represent some of the highest engineering and craftsmanship in the marketplace today.

Cine-Xenar III lenses are the ideal tool for your creativity. They have the speed, image quality and robust reliable construction. The high-resolution telecentric design provides even image brightness and minimizes breathing. Up to eighteen iris blades result in a beautiful, extremely pleasing bokeh. 

Cine-Xenar III lenses have all the same dimensions, and all focus and iris gears are in the same position. The Schneider-Kreuznach Cine-Xenar III lens range with focal lengths of 14, 18, 25, 35, 50, 75 and 95 mm.

Xenon FF-Primes are a set of matched professional primes, purpose-built from scratch for the demands of today’s high-resolution digital cinematography. Xenon FF-Primes were custom designed from the ground up to be versatile enough to work with an array of cameras and accessories. So whether it is RED Dragon or Weapon, Canon C100/C300/C500, Arri Alexa, Black Magic, Sony F5/F55 and HDSLR cameras, these compact lenses provide 4K (4096 × 2304 pixels) resolution and cover the full 43.3 mm image circle usable on Canon 5D and Sony A7 cameras.

Finally, On to the Cameras!

Just about every cinematographer has a camera that they migrate to. I'm the same way. Call it a “look” or a familiar feel, or expectations of performance. You have to know what works for you, right?

ARRI (Booth C7925)

One of the most recognized names in all of cinematic production, ARRI never fails to impress. That said here is a camera I can't wait to see. The ARRI ALEXA LF Large Format Camera features a sensor slightly larger than full frame. The ALEXA LF records native 4K with ARRI's best overall image quality. The ALEXA sensor retains its natural colorimetry while delivering a larger format aesthetic for filmmakers to explore. I don’t know about you but I cannot wait to put my hands on this camera.

PANASONIC (Booth C3607)

Having just reviewed the Panasonic AU-EVA1 I can highly recommend setting some time aside to see this camera. I think when you get to see the camera in person you are going to be impressed with just how much this camera has to offer. That being said Panasonic has announced the launch of the AK-UC4000, 4K studio camera that is equipped with a 4.4K sensor and supports UHD 12G-SDI output*1 and high-speed HD shooting*2, and the AK-UCU600 camera control unit (CCU) for this camera in March 2018.

The AK-UC4000 offers 4K acquisition in a wide range of settings, providing the high video quality that is only possible with a large image sensor, along with the advanced technologies such as HDR, BT.2020 and high-speed HD shooting.

SONY (Booth C11001)

Sony’s VENICE is a 6K, Full Frame camera with a 24x36mm sensor that has 15 stops of dynamic range. VENICE supports every format from Full Frame 3:2 to Super35 4K full 18mm height 4:3, Anamorphic and Spherical. Controls are where you expect them to be. There are LED panels with menus and buttons on both camera left and right sides.

Sony’s VENICE has menu displays on both sides of the camera. The main display is on the camera-right side for easy access by the camera assistant or DIT. The camera operator gets a smaller display on the “smart side”—camera left. This display shows helpful status reports as to frame rate fps, shutter angle, ISO, ND, and White Balance.

Of course, I would be remiss if I also didn’t get a plugin for another camera I recently reviewed the Sony FS 7 ll. I’m not sure why, but I tend to migrate to cameras that fit I that middle pocket of looking really nice without killing your bank account. Sony will also have the FDR-AX700, NXCAM HXR-NX80, and XDCAM PXW-Z90 4K HDR Palm Cameras in the booth.

Marshall Electronics (Booth C6508)

I first met these guys at NAB NY and was just really impressed with the quality and breadth of their offerings. The cameras look fantastic and make great images. Marshall POV Cameras have redefined sports coverage, from delivering game-calling shots in the end zone to enabling revolutionary first-person footage in the ring. Whether buried in a sand trap, embedded in concrete or submerged underwater, for dramatic shots Marshall is a good call.

This time around Marshall has a brand new camera to show at 2018 NAB. The new CV620 Offers Smoother Pan-Tilt-Zoom Motion and Advanced Broadcast Settings.

The Marshall CV620-WH2/BK2. Built on a 2-megapixel, 1/2.8-inch sensor, the Marshall CV620 delivers crisp, clear 1920x1080 video with vibrant colors and fast frame-rates. It can be controlled remotely via RS-232 over Ethernet cable or RS-422 over twisted pair and uses common protocols to make it compatible with most integrated control systems.

The Marshall CV620 has versatile outputs, including HD-SDI (3G) and HDMI (DVI) and many broadcast adjustable settings, such as white balance, exposure, iris, gamma, black level and more for tremendous flexibility of use. The pan-tilt range spans 340° horizontally and 120° vertically, and offers simultaneous 4D control for pan, tilt, zoom and focus.

“The CV620 was designed to give broadcasters an optimal solution that complements professional cameras when it comes to delivering superior HD video,” says Tod Musgrave, director of cameras for broadcast, AV, and UCC, Marshall Electronics. “With our new upgrade, the camera features a 20x optical zoom and variable transition speeds of 5 ~ 300° per second with optional motionless transition, allowing users to smoothly pan, tilt and zoom to any location without jerky camera movements or rushed zoom shots.”

AbelCine (Booth C8215)

It would be very poor form if we didn’t wrap up this part of the 2018 NAB Preview without talking about AbelCine. Long known for their outstanding rentals and services, AbelCine continues to grow and offers a stunning array of offerings to the production, broadcast and new media industries. They make technology easier for productions and content creators to understand, access and employ. With a host of services, they offer the knowledge, experience and support that creatives need at all stages of production to achieve their vision. AbelCine services include equipment sales, rental, tech services, training and financing, as well as integration services and technical consultation. AbelCine has three locations nationwide in New York, Chicago and Los Angeles.

Just Warming Up

So far we have talked about lenses and cameras, but we have barely scratched the surface of all the fantastic gear and exhibitors. But please do not worry. We still have a little bit of time left. In our next installment, we are going to touch on some other must-see exhibitors this year.

Again, I know I said this last time but if you see or hear something that is new, cool, or just plain fun let me know! I can be reached via email. Check us out on Facebook, Twitter and Instagram as well as on NABHUB for frequent updates. Find us at NAB at Central Hall Booth C12129.

About the Author

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.

ProductionHUB ProductionHUB Logo

Related Blog Posts
2018 NAB Preview Part Three: Too Much of a Good Thing?
2018 NAB Preview Part Three: Too Much of a Good Thing?
By now, I hope you are figuring it all out. 2018 NAB is going to be too much of a good thing. Isn’t that great? There's just so much to see and hear about all of the new gear and the great people that make it all happen. For some of us, it' like being the kid in the candy store. But before I get carried away, let's get down to business.
Published on Thursday, April 05, 2018
2018 NAB Show Lens Preview Part One
2018 NAB Show Lens Preview Part One
With just a few weeks to go until NAB Show Las Vegas (April 9th-2th), it’s the only show of its kind where will get to see and hear about the latest camera and lens, lighting, edit systems, drones, all the product updates and pretty much every other piece of gear you would ever want to see. Whether it's your first NAB or maybe your 25th, the thing to remember is that planning your show and pacing your show makes for a much better experience. Here is just a preview of some of the lenses of all kinds you'll get to see up close and personal at this year's show.
Published on Friday, March 23, 2018
The Efficiencies of IMF
The Efficiencies of IMF
SMPTE was hosting a major push on the IMF specification (SMPTE ST2067) with the Digital Production Partnership (DPP) out of England. The IMF specification was created to make the Interoperable Master Format (IMF), interoperable, so vendors and customers could use it. The IMF standard requires changes in the way that content is created in order to make greater efficiencies for broadcast and online content distribution. In addition to SMPTE and DPP, the North American Broadcasters Association (NABA), The European Broadcasting Union (EBU), several manufacturers and end users have been involved in making the IMF specification.
Published on Monday, March 19, 2018

Comments

There are no comments on this blog post.

You must be logged in to leave a comment.