NAB Part II: Ready or Not, Here it Comes

Published on in Miscellaneous

Ok, as said in NAB Part I, there is a lot going on for NAB this year. We are a mere few days away from 2017 NAB and you can feel the energy level starting to really pick up. But not to worry, I’ve cherry picked more of the must see booths at the show. NAB Part II is going to be a blast. But if you don’t see your favorite lens or gear here, be sure to check out our very own or Facebook. From the Beginning: Yes, It IS All About the Lens!


Band Pro Debuts New Angenieux EZ-2 Zoom at NAB 2017- Booth C110308

Band Pro (together with partners Angenieux and Jebsen Industrial) will debut the new Angenieux Type EZ-2 Zoom at this year’s NAB show. 

The Type EZ Series has enjoyed a hugely positive reception.  Type EZ-2, the newest addition to the series, is a wide zoom lens providing 15-40mm F1.9 / T2 in S35 format.  The same lens is configurable to 22-60mm F2.8 / T3 covering an image circle up to 46mm diagonal for full format cinematography.  

Likewise, Type EZ-1 features focal range and aperture of 30-90mm F1.9 / T2 in S35 format, and converts to a 45-135mm F2.8 / T3 covering an image circle up to 46mm diagonal.

Cinematographer Sovonto Green commented: “As a documentary filmmaker, this is a lens I’ve been waiting for the last 10 years.” 

In addition to the new zoom lens offerings, Band Pro will also showcase the Raptor macro prime lens family from IB/E Optics. Consisting of 3 focal lengths: 100mm, 150mm, and 180mm, the lenses provide a 53.0 image circle, 1:1 magnification, common T2.9 T-stop, as well as robust and durable cine mechanics.  New this year, IB/E has added some powerful accessories to the Raptor line including the Speedster speed booster, FFx1.4 Extender, FFx2 Extender, and a mountable Ring Light.  Based in Germany, IB/E is a globally respected optics manufacturer known for cutting edge lenses and adaptors, including the Arri 65 lenses.

President and CEO, Amnon Band remarked: “With the consistency of precision sensor technology available today, getting the right glass is more important than ever.  Band Pro’s lens partnerships over the years have brought the best new imaging tools to the industry.  That’s a legacy we take seriously, and are committed to for the long run.”  

EZ-1 lens deliveries will begin at NAB 2017, with EZ-2 following in the third quarter of 2017.  Type EZ Series lenses are available in the Americas through Band Pro; in Europe, the Middle East and Africa through Angenieux; and in Asia through Jebsen Industrial.

Leica/CW Sonderoptic New Leica Cine Macrolux at NAB 2017.- Booth C4345

The full set of Cine MacroLuxes will be on-hand for demos at CW Sonderoptic’s NAB booth. Utilizing the same signature Leica optics and coatings as the +1, the new Cine MacroLuxes, presented by CW Sonderoptic can be stacked or cut together for consistently beautiful and creative images.

The +2, +1 and +0.5 optics share the same mechanical housing, meaning that all three are compatible with 95mm front diameter prime, zoom and anamorphic lenses, and that all of the diopters can be stacked and combined for new effects. The addition of the Leica Cine MacroLux +2 offers a greater macro effect for table top and close-up work. The much-requested +0.5 provides many more options for use with wide angle lenses.

CW Sonderoptic calls it “Reinventing the Diopter” and says that “the diopter, a secret weapon of classic cinematography for decreasing the minimum focus distance of lenses, has been reinvented for single sensor digital cameras. Often diopters are thought of as a tool for tabletop work on longer lenses, but the creative possibilities extend well beyond macro imaging into the world of the wide and the beautiful.”

The secret of the Leica Cine MacroLux, one reads on the information available, “is not just what happens in focus, but what happens out of focus, using the Cine MacroLux on wide or mid-range focal length lenses throws the background further out of focus and accentuates beautiful elements like focus fall off and bokeh.”

The modern lens design of the Leica Cine MacroLux creates a high performance optic with no perceptible light loss, spherical aberrations, color fringing or centering issues. The custom coatings offer a high resolution and contrast along with a color temperature matched to the natural, neutral look of the Leica Summilux-C and Summicron-C lenses, although it also pairs well with other lenses, including anamorphics.

“Close focus wide angle cinematography is a very popular trend right now,” said Gerhard Baier, Managing Director of CW Sonderoptic, “and there is no easier way to bring that look to a large number of lenses than using the Leica Cine MacroLux +0.5. Plus, the fall-off characteristics give a feeling of increased aperture to any lens, even very wide focal lengths.”

Rokinon - XEEN by Rokinon 20mm T1.9 Professional Cine Lens - Booth C12629

Elite Brands Inc. announced the addition of its new XEEN by Rokinon 20mm T1.9 Professional Cine Lens.

XEEN by Rokinon is a specialized brand of professional video-cinema lenses launched by the Rokinon division of Elite Brands Inc. in 2015. The introduction of this prime wide angle lens compliments the existing 14mm T3.1, 16mm T2.6, 24mm T1.5, 35mm T1.5, 50mm T1.5, 85mm T1.5 and 135mm T2.2 Xeen cinema lenses. With expected availability of March 2017, it provides a perfect transition between the recently introduced 16mm T2.6 and the widely popular 24mm T1.5. 

The new Xeen 20mm T1.9 is available in PL mount as well as in Canon, Nikon, Sony E, and MFT mounts. Like all lenses of the XEEN 8 lens system, it features removable and changeable mounts. Five different accessory mount kits are available from Rokinon and enable cinematographers to be highly flexible in their choice of camera systems. 

Fujifilm’s Optical Devices Division to Introduce 4K - Compatible Studio Zoom Lens - Booth C7225

The Optical Devices Division of FUJIFILM will introduce a FUJINON 4K-compatible studio lens, the “UA27x6.5B,” at the NAB convention in Las Vegas this month. 

The UA27x is the latest zoom lens in the company’s Premier UA Series of 4K 2/3” lenses. The UA Series is the world’s first designed specifically for UHD broadcast applications. With its 27x zoom ratio and 4K capabilities, the “UA27.6.5B” is ideal for in-studio production. With a wide-angle focal length of 6.5mm, it’s also suited for live events such as musical concerts and sporting events.  The UA27x joins newly introduced handheld zooms, the “UA14x4.5B” and “UA18x5.5B;” along with the “UA13x4.5B” and “UA22x8B” lenses. Field lenses “UA80x9” and “UA107x8.4” round out this series. The UA27x studio lens can be seen along with the complete UA Series within the company’s NAB booth. 

Like the handhelds in this series, the UA27x studio lens delivers edge-to-edge 4K optical quality for 2/3-inch cameras. The UA27x has a focal length of 6.5-180mm and a built-in extender, which doubles its focal length.

The lens features the high resolution, high contrast and high dynamic range that are hallmarks of all Premier 4K and 4K PLUS UA Series lenses. It employs the latest High Transmittance Electron Beam Coating (HT-EBC) resulting in richer colors and greatly improved blue response and transmittance. HT-EBC, coupled with Fujifilm’s exclusive Aspheric Technology, reduces ghost and flare and increases light transmission. The latest optical simulation technology was used in the lenses’ optical design to prevent resolution degradation around the edges and control aberrations, thus achieving 4K image quality across the zoom range. An aperture shape close to that of a circle is achieved by adopting nine aperture blades, which provides a more natural bokeh.

“The images produced by the UA27x are exceptionally clear, vibrant and optically accurate 4K images,” said Tom Fletcher, Director of Sales, Optical Devices Division of FUJIFILM. “We can’t wait to show everyone who stops by our NAB booth what they can capture in 4K today. We’ve made dramatic strides in what we can offer to a wide range of our customers, and we’re eager to show that off to our current and prospective customers.”

The lens is equipped with 16-bit encoders, capable of high-resolution output of lens data, including zoom and focal position information. It can be linked with other systems such as virtual studios for combining CG images with live action footage.

In addition to the UA families of 4K lenses, FUJIFILM will also exhibit its complete line of Premier, Cabrio, and new MK cine lenses. The FUJINON UA 27x6.5 will be available in late June 2017.

ZEISS - Compact Portrait Tele Lens for Sony E-Mount with Autofocus - Booth C8247

Fans of Sony’s mirrorless full-frame cameras have a reason to smile: ZEISS has added a further tele lens focal length to its ZEISS Batis lens family. The new ZEISS Batis 2.8/135 is the first 135 mm AF focal length for Sony’s Alpha 7 system with E-mount. Like all lenses from the ZEISS Batis range, this new addition is equipped with fast and precise autofocus. To avoid shaking, which can occur very easily with tele lenses, an optical image stabilizer has also been incorporated into the design. The ZEISS Batis 2.8/135 proves its worth particularly in portrait photography: “The tele focal length means the subject can stand out nicely against the blurred background”, says Product Manager Michael Pollmann from ZEISS. “The bokeh works very well indeed, and the optical design – an Apo Sonnar – ensures outstanding images time and again.” The new ZEISS Batis could also be a great option for event and wedding photography.

Compact, Lightweight, Top Quality: “The advantage of Sony’s mirrorless full-frame system is that despite its compact size, it delivers exceptional image quality,” says Pollmann. ZEISS has continued to bring the design of the ZEISS Batis 2.8/135 into line with the needs of Sony photographers. “It was important to build a comparably handy lens – in spite of the rather long focal length. We made a conscious decision to strike a balance between compactness, weight and light intensity.” 

OLED Display Visualizes Depth of Focus: Like all ZEISS Batis lenses, this latest addition features an OLED display that enables precise visualization of the depth of field so you can be sure that the image is in focus in all the right places. The metal housing gives the lens its robust and durable character. ZEISS assures that its dust and dirt shield means photo shoots in poor weather are a walk in the park.

The image quality leaves nothing to be desired: “We have put a lot of effort into the optical design and into correcting our lenses,” says Pollmann. “For example, we are experimenting with special types of glass in order to rule out as many kinds of image errors as possible. We have thus been able to ensure corrected chromatic aberration in the ZEISS Batis 2.8/135 so that we have virtually no image errors.” 14 lenses have been built into 11 groups in the camera lens.

Price and Availability: The ZEISS Batis 2.8/135 will be available from specialist dealers starting May 2017 and will retail at $1,999.

Camera Support and Lighting

Image capture might start at the front of the lens, but where would we be without some awesome lighting and camera support?  Here are some of my favorites that I have to see along with a few new guys to throw in the mix.

Miller Camera Support, LLC - new range of arrowFX Fluid Heads at NAB 2017 - Booth C7920

Miller Camera Support, LLC, a leader in the production of innovating camera support solutions, will start shipping its new range of arrowFX Fluid Heads at NAB 2017. The series, including the arrowFX 3, arrowFX 5 and arrowFX 7, is an extension of Miller’s new arrowX line of fluid heads, providing the latest solution for high-definition live television productions where augmented reality effects are inserted into the picture. 

The arrowFX Fluid Heads feature robust, high-resolution magnetic encoders integrated into the fluid head. The arrowFX can precisely monitor and communicate, in real time, the exact position of the fluid head with zero latency.

VOCAS - Range of camera-specific items - Booth C8238

Vocas introduces a range of camera-specific and brand related items so we can complete any camera this NAB. The matte box series MB-216, MB-256 and MB-436 are fully upgraded versions which are also usable combined with the 15 mm top bars which are a standard on the Vocas top handgrip. You can also mount a top lens mount support to these bars, which makes life easier when changing the set-up.

At NAB 2017 Vocas will show all the accessories for the Sony PXW-FS7/FS7 II. In addition, Vocas developed 3 different base plates specifically for the Sony PXW-FS7 and FS7 II. All base plates have their own unique advantages, you simply have to choose which fits your requirements.

  • Base plate for Sony PXW-FS7 / FS7 II

This is the first base plate Vocas has developed for the Sony PXW-FS7, which fits the PXW-FS7 II as well. The base plate (0350-1600) is light weight and has an adjustable shoulder pad, two standard rosettes, 15 mm rails in the front and a unique low centre of gravity. For using 15 mm rails at the back, clamping block (0350-2010) is required. (entry price level)

  • Base plate MKII for Sony PXW-FS7 / FS7 II NEW

This new base plate (0350-1700) has a new removable and adjustable shoulder pad. When removing the shoulder pad the additional 3 attachment points are accessible. This means the base plate is attached to the camera at 5 separate points, creating an extremely stable connection. Also new on this base plate are integrated rail holders at the rear of the plate. The back of this new base plate features a tool less adjustable VCT-14 mushroom lock which eliminates any play. (mid price level)

  • USBP-15 MKII for Sony PXW-FS7 / FS7 II NEW

For optimal balancing even with heavy lenses in combination with the Sony PXW-FS7 II camera, Vocas advises to use their USBP-15 MKII base plate in combination with a specially developed camera adapter plate for the Sony PXW-FS7 II (0350-2255). This camera shaped adapter plate with its 5-points connection provides the highest stability.

Combining these items the Sony PXW-FS7 / FS7 II can be a part of the Vocas Sliding System. A dedicated set (0350-2207) for the Sony PXW-FS7 / FS7 II is also available! The big benefit of using the Vocas Sliding System is the ability to transfer the camera from 15 mm, to 19 mm, to a drone or a tripod in seconds!

  • Body and Handgrip Rosette Adapter for Sony PXW-FS7 / FS7 II

This standard body rosette (0390-0075) can replace the original Sony body rosette so the original Sony handgrip extender can be rotated 360°. This is especially useful when placing the camera in a camera case or setting it down on a table. A new adapter (0390-0175) which converts the bayonet of the Sony PXW-FS7 / FS7 II handgrip to a standard rosette and makes it compatible with a lot of different products such as the handgrip extenders. This allows you to move the handgrip anywhere you want using the Vocas range of extenders!

  • Viewfinder Bracket Kit for Sony PXW-FS7 / FS7 II

Replacing the original Sony viewfinder bracket with a Vocas NATO based viewfinder bracket ensures that your horizon stays level. This bracket is a must to operate the camera well. Vocas viewfinder bracket kit (0700-0065) fits both the Sony PXW-FS7 (round) and the new Sony PXW-FS7 II (square) mount.

  • 15 mm Top Lens Mount Adapter Support

Lens mount adapters from other brands than Vocas, such as Metabones, sometimes require a support in order to avoid strain on the lens mount of the camera. In these cases the Vocas 15 mm top lens mount adapter support (0360-0650) can be used.  The Vocas top lens mount adapter support works with any lens mount adapter that has a ¼” connection underneath, and prevents damages to the lens mount of the camera, especially when using heavy lenses.

  • Vocas MFC-6 follow focus system accessories

Vocas added to the MFC-6 follow focus system with its self-adjusting drive arm a new studio knob (0500-1221). The new much larger knob makes the use of the MFC-6 system in combination with cine lenses easier. When using the new big MFC-2 / 6 studio knob it is sometimes necessary or more comfortable to place the studio knob further from the lens. In this case the knob extender (0500-1570) is a welcome new accessory.

Outsight - full range of advanced LED technology lighting solutions at the NAB 2017 - Booth C10842

Outsight, the pioneering advanced lighting technology company, will be demonstrating its full range of advanced LED technology lighting solutions at the NAB 2017 on stand C10842, including the Creamsource+ range and Creamsource Sky. A brand new addition to the Outsight range will also be announced nearer to the show.

The Creamsource+ range was launched at NAB 2016 and features a fourth-generation LED light engine, offering greater than 90 CRI/TLCI. The versatility of the ‘panel PAR’ provides a spot function from the panel that can be softened with traditional techniques such as diffusion, lenses and soft boxes. Creamsource+ is available in two sizes: the Doppio+ and the Mini+. The large flat panel array of the Doppio+ creates a flexible fixture that lets the user control how the light is shaped and moulded. The Creamsource Mini + comes with all the same features as the Creamsource Doppio+ in a compact 1×1 form factor, making it ideal for location or outside broadcast work.

In addition to the Creamsource+ range, Outsight will also show the Creamsource Sky at NAB 2017. The high power full spectrum soft source combines the latest LED technology with sophisticated colour management and compact design to deliver an incredibly wide and even beam. It has an array of six LED Engines, cooled by a highly efficient and silent heat pipe system. 

Outsight’s Creamsource Sky has recently been used on Lucas film’s Rogue One: A Star Wars Story. Greig Fraser, ASC, ACS, relied on the Creamsource Sky ability to be used in all weather conditions, finding it especially useful for the raining stage shots. Creamsource Sky was also used on UKTV’s comedy-fantasy series Zapped, and DoP Pete Rowe praised the extremely flexible lighting solution as they were able to make quick adjustments to the lighting quickly and easily for each shot during production.

Zylight - LED lighting solutions - Booth C7947

Zylight, a leading manufacturer of innovative LED lighting solutions, is debuting its Pro-Cyc Color asymmetric wall washer later this month. Designed for TV studios and theaters, the 350-watt Pro-Cyc Color produces a soft, even field with enough output to cover 25-foot cyc walls. It shines pure white for a clean chromakey wash, and features Zylight’s Color Mode to produce millions of colors without gels or filters. 

Built for floor use or truss mount, the lightweight Pro-Cyc Color features solid aluminum and steel construction. Up to four Pro-Cyc Color fixtures can be daisy chained through their powercon connectors. The Pro-Cyc Color features integrated DMX operation as well as an intuitive control panel for smooth 0- 100 percent dimming. 

“Our IS3c panel light with Color Mode continues to be one of our most popular fixtures, and the Pro-Cyc Color brings that same rich color palette in a different package to provide even light output to larger cycs, horizontals, and backgrounds,” said Joe Arnao, president of Zylight. The Pro-Cyc Color is priced at $2,799 and will be available in Summer 2017. 

So that is a wrap on NAB Part II. NAB Part III is going to be a very interesting lead-in to the show. We will be looking at even more cameras, some very cool audio products, and delve into some interesting post production and graphics announcements. Check back soon!

About Mark Foley 

Mark Foley is the Technology Editor for ProductionHUB. Currently, he is binge watching the NCAAs trying to break his own record of watching 7 games in a row. 

ProductionHUB ProductionHUB Logo

Related Blog Posts
The Importance of Music on Film & Emotion
The Importance of Music on Film & Emotion
If you took a second to close your eyes and think about Star Wars, what comes to mind? What are you hearing? Laser blasters, light sabers, possibly a dramatic score by John Williams? For the major films in pop culture, music plays a major role in developing the themes and tone of the production.
Published on Friday, January 15, 2021
As I sit down and begin to contemplate 2020, I wondered out loud what were some of the better take aways from 2020? Where should I start? The first thought that came to mind was, what did we learn from 2020? Did we as an industry or as individuals learn anything? I think the quick and easy answer is that we were all pretty much “scrooged” in some fashion. From a personal and professional standpoint it's fair to say that most—if not all of us—lost something or someone in 2020. If we wanted to, we could easily sink into some of the gloom and doom of 2020, but hey, that just isn’t my style. With those thoughts in mind, let’s take a look at the whole of 2020 and see what we can make of it.
Published on Monday, December 14, 2020
Extreme Weather Productions: Taking It to the Limit
Extreme Weather Productions: Taking It to the Limit
There is no doubt in my mind that if you are living and working in the production space long enough, sooner or later you will come face to face with some extremely nasty weather and be able to tell your very own bad ass, bad weather production story. In the moment, the weather will make you wonder what the hell did I sign up for? It’s like every time I watch an episode of the long running reality show Deadliest Catch, I'm thinking—would I sign up for that? Would YOU sign up for that? I think my jury is still way out there, just trying to stay warm and not get wicked seasick.
Published on Monday, November 30, 2020


There are no comments on this blog post.

You must be logged in to leave a comment.