NAB From A to Z
While show-goers check out these products on the convention floor, non-attendees can keep pace with manufacturers’ latest product briefs
By Christine Bunish
|ARRI’s ALEXA Plus upgrade is the camera’s first
After launching its ALEXA digital camera at NAB 2010, ARRI (www.arri.com) unveils the first modular enhancement to ALEXA at this year’s show. The ALEXA Plus upgrade adds built-in wireless remote control, the ARRI Lens Data Systems (LDS), additional MON OUT video and RS power outputs, lens synchronization for stereo 3D, and built-in position and monitor sensors. ALEXA Plus is available either as part of a complete camera package or as an upgrade for current ALEXA customers.
ALEXA also boasts new accessories.
Two new fixtures representing the next-generation of ARRILITE’s traditional, open-faced lights make their NAB debut (www.arri.com).
The small, lightweight ARRILITE 750 Plus is well suited to portable lighting kits. It can be fitted with bulbs ranging from 800w to 375w; its innovative one-arm stirrup enables many different pan-and-tilt options; and a new accessory holder permits direct fitting of the Chimera Video PRO Plus S and usage of the ARRI 650 Plus’s 4-leaf barndoor and scrims.
The stable and compact ARRILITE 2000 Plus features an improved focus mechanism and, like the 750 Plus, implements disc-brake technology from the ARRI True Blue range of lamp heads, which holds the fixture steady even with heavy accessories attached.
|Autodesk’s Flame Premium 2012 includes tools for working
with light within a true 3D compositing space.
Autodesk (www.autodesk.com) spotlights Flame Premium 2012′s innovative finishing tools. Among them are comprehensive tools for working with light within a true 3D compositing space, including the ability to produce ultra-realistic lens flares, edge effects, glints, glares and authentic 3D shadows. It also features a deep creative toolset for stereo 3D finishing with color grading tools, advanced 3D VFX and next-generation relighting tools, plus improved integration with Autodesk Maya and 3ds Max.
Autodesk Smoke 2012, which brings professional editorial finishing to the Mac, contains a new Action Node Bin, a brand new lighting system that includes cast shadows and ultra-realistic 3D lighting artifacts, and a comprehensive new set of creative and technical tools for common finishing tasks, including Flame FX Damage, Deform, Edge Detect and Pixel Spread.
|Avid Symphony version 5.5 debuts at NAB.|
New versions of Avid’s (www.avid.com) flagship editing systems — Media Composer version 5.5, NewsCutter version 9.5 and Symphony version 5.5 — bow at NAB in response to customer requests for increased third-party hardware support, enhanced “in-the-box” functionality and more open, collaborative workflows with added control integration and format flexibility.
Leading the new features is support for AJA Io Express input and output interface, which offers increased options between accelerated Avid hardware and cost-effective, third-party solutions when using Media Composer and NewsCutter systems. Improved search capabilities via Avid PhaseFind streamline clip and project management, speeding editorial and simplifying the dialogue-editing and logging process.
EUCON support for integration with Avid control surfaces delivers greater flexibility for effects, audio and transport manipulation. Also offered is the new Avid Nitris DX AVC-Intra video accelerator for increased performance with Panasonic AVC-Intra material; native support for Sony HDCAM SR Lite; and enhanced Smart Tool functionality for direct transition manipulation within the timeline, enabling editing on the fly.
Pro Tools version 9 offers users of the popular music creation and audio production solution the unprecedented choice of working with Avid or third-party audio interfaces, or no hardware at all when using the built-in audio capabilities of a Mac or PC. Avid EUCON support enables Pro Tools customers to expand control-surface options to include Avid’s Artist Series and Pro Series, formerly known as Euphonix consoles and controllers.
What I’m shopping for: “I look at the show from an IT perspective, so it’s less about equipment and more about things you can hook to a network. I’ll be looking at asset-management systems, open-source solutions and workflow solutions like easier ways to transcode files. I also like to get a sense of where things are going as a whole, and I always visit the smaller companies with the pipe-and-drape booths: Two years from now they might be in a big booth!”
What I don’t want to miss: “A new version of Final Cut has been announced, and I’m expecting [Apple] to talk about it at NAB. I want to see Thunderbolt add-ons for Apple laptops, which would give high-speed access to laptops that we only got with big towers before.”
Revolutionary or evolutionary year? “It’s all evolutionary now; last year was evolutionary, too, even with all the hype about 3D. When Final Cut was accepted as a professional tool, the introduction of the RED camera, the move to file-based systems — those were revolutionary moves.”
|Canon introduces its BU-46H outdoor
remote-control HD, pan-tilt-zoom camera.
This year the Broadcast and Communications division of Canon U.S.A., Inc. (www.usa.canon.com) introduces two new Canon Broadcast remote-control HD, pan-tilt-zoom cameras.
The BU-46H and BU-51H remote-control HD cameras include 2X digital extenders to double the image size of distant objects captured with the cameras’ 20X Canon HD zoom lens. Both are equipped with three 1/3-inch CCD sensors and feature an advanced Canon auto focus function and image stabilizer technology. The cameras’ imaging capabilities are further enhanced with a newly designed Night Mode feature allowing frame accumulation that elevates camera sensitivity.
|New from Canon is the BU-51H indoor remote-control HD,
The BU-51H indoor remote-control camera includes a built-in microphone with adjustable settings. The BU-46H outdoor remote-control camera features a weatherproof housing with windshield wiper-style blade to keep its lens port clear. Both cameras can be operated in automatic or manual mode and can pan, tilt and zoom simultaneously to up to 32 preset coordinates. They also provide genlock input for broadcast video system synchronization.
Codex Digital (www.codexdigital.com), a leading developer of digital media recorders and media management systems for film and television production, showcases its Desktop Transfer Station at NAB. The system, designed to serve as the hub of a file-based workflow, uses Mac OS X and can ingest digital negatives from Codex recorders and other digital sources, generate deliverables in virtually any format required for editorial, dailies and archival purposes and/or quickly move the digital negative onto a SAN.
|The Codex Desktop Transfer Station serves as the hub
of a file-based workflow.
The Desktop Transfer Station is suitable for productions of all types and is at home on the set, in the editorial office or a postproduction facility. All material can be kept live and available for on-demand dailies generation and reprints using Codex’s proprietary virtual file system. When editorial is complete, finishing files can be generated automatically, in a matter of minutes or hours.
Codex Digital has been awarded an ARRIRAW T-Link (Transport Link) certificate confirming the ability of its recorders to record raw data from ARRI’s ALEXA camera.
|Dashwood Cinema Solutions unveils its Stereo3D CAT
on-location software calibration and analysis system.
Dashwood Cinema Solutions
Dashwood Cinema Solutions (www.Dashwood3D.com) unveils a new line of Mac-based stereo 3D products designed to accelerate 3D productions from camera lens calibration to mastering by automating complex production tasks and lending continuity to 3D workflows.
Stereo3D CAT is an on-location software calibration and analysis system that dramatically simplifies and speeds the calibration of left and right eye cameras and offers a unique eyestrain warning system; production crews can make quick lens changes without resorting to time-consuming recalibration using traditional charts.
Version 3.0 of Dashwood’s flagship 3D mastering tool, Stereo3D Toolbox, is slated to reveal new “top secret” features at the show. And Stereo3D Utilities will be on hand for the first time supporting ingest of 3D material from new cameras on the market and output of stereo files to monitors and recording devices.
|New from Element Technica is the Atom rig, especially
designed for RED EPIC cameras.
Element Technica, a leading provider of stereo 3D rigs for a broad range of cameras and applications (www.elementtechnica.com), introduces the Atom, especially designed for RED EPIC cameras, at NAB. The compact, streamlined rig accommodates full-sized PL and PV prime lenses as well as smaller zooms; rigged with a pair of RED EPICs, the magnesium Atom model provides a full 5K 3D beamsplitter system that weighs as little as 36 pounds.
Like other Technica 3D rigs, the Atom provides full interocular (IO) and convergence (C) control and allows recording of IO, C and lens metadata. It integrates with the same cine-style lens control available with the company’s Quasar (large camera), Pulsar (medium camera) and Neutron (small camera) 3D rigs.
Gates Deep Pulsar/Deep Atom and Hydroflex Neutron BORG underwater housings are also being shown.
Crew West, Inc.
and Sat West, Phoenix
What I’m shopping for: “HD encoders and IRDs for satellite trucks. And I look at TV lighting and grip equipment every year. I’m also looking for information: As a crewing company we supply cameras and crews in the field and have to be ready for every client that calls. Our disc-based Sony XDCAMs record several formats so they’re a good fit for many clients, but some clients are still tape-based. So I’ll be looking at [various] HD cameras and lenses. We own a Canon 5D DSLR, and although it won’t replace our XDCAMs, we’ll probably buy another for different applications.”
What I don’t want to miss: “The smaller, bigger-sensor cameras like the Sony F3, and a Steadicam for the Canon 5D and other small cameras. I also want to find out how the news from Japan will affect Sony.”
Revolutionary or evolutionary year? “Crew West and Sat West will have a booth at NAB for the first time, so it will be revolutionary for us! But I think in terms of technology, it will be an evolutionary show. As ENG/EFP acquisition specialists, we’re not really interested in 3D.”
|Fujinon’s PL-mount lenses feature the fastest T speeds
available in a family of zooms.
Fujifilm North America Corporation’s Optical Devices Division (www.fujifilm.com/northamerica) brings new lenses, advances and popular models to NAB, including its latest products related to 3D sports production. Fujinon showcases its XA88x8.8B ESM/PF telephoto field lens, the industry’s widest angle in class with an 88X zoom range and Precision Focus Assist, and the cost-effective XA50x9.5B ESM HD field telephoto lens designed to work with ENG-style 2/3-inch HD cameras. Also on tap are four PL-mount lenses featuring the fastest T speeds available in a family of zooms, with unprecedented color matched 4K-and-beyond optical performance.
Now with increased processing speed, the TRACE facial recognition system is again on hand as a technology demonstration with availability estimated at the end of this year.
|GoPro’s 3D HERO System connects two HD HERO cameras in one
housing with a synchronization cable to shoot full 1080p 3D video.
GoPro (www.gopro.com) showcases its cost-effective 3D HERO System, shown in prototype last year. The system connects two HD HERO cameras in one housing with a synchronization cable to shoot full 1080p 3D video. All 1080p HD HERO cameras are compatible with the 3D HERO Expansion Kit.
Known for the first full broadcast integration solutions for ultra-slow motion, I-MOVIX (www.i-movix.com) debuts an enhanced version of its SprintCam Vvs HD (Phantom-Powered) that now operates at up to 2,700 fps in 1080i/50 or up to 5,800 fps in 720p/60 (more than 200 times slower than live action) and provides instant replay at native HD resolution and image quality.
|The enhanced version of I-MOVIX’s SprintCam Vvs
HD system now operates at increased speeds.
New features include a dual output that allows a camera operator to shoot and record at the same time; segmented memory; speed ramping within a replay; dual output of live-action and replay sequences; and integration of both live and replay view on the viewfinder. The SprintCam Vvs HD system comprises the latest generation Vision Research high-speed HD camera; an operational control panel with real broadcast-quality color matrix and frame-rate choice; a slow-motion remote that allows the user to select a video sequence and instantly replay it with an HD-SDI output for live broadcast or storage; and a camera-control unit.
|JVC introduces its compact GY-HM750U
ProHD shoulder-mount camcorder.
The new GY-HM750U ProHD compact, shoulder-mount camcorder bows at the JVC Professional Products Company booth (http://pro.jvc.com). Equipped with a 3-CCD imaging system, it delivers 1920×1080 images in a small, lightweight form factor and is ideal for ENG, sports, documentaries, events and other location shoots. It offers the industry’s fastest shoot-to-edit workflow by recording native HD or SD footage in ready-to-edit file formats on low-cost SDHC memory cards. It also permits simultaneous recording to both SDHC cards for instant backup or client copy. An improved Pre Rec feature stores 20 seconds of footage in its cache. A LoLux version, the GY-HM750LL, is available for ENG when external lighting cannot be used.
Also on hand is the new KA-AS790G ASI module, which provides a compressed MPEG-2 output ideal for microwave transmission and long cable runs with no additional encoding required. The module attaches to the back of the GY-HM750U or GY-HM790U without external wiring or adapters.
Locke Bryan Productions,
What I’m shopping for: “File-based acquisition and editing systems and cameras with 35mm or bigger sensors. We’re looking to streamline the post workflow and maximize file-based systems, and we’re always interested in new acquisition solutions.”
What I don’t want to miss: “I don’t want to miss any of it! It’s part of NAB to wander the halls, look and learn, come upon something new. It gives you the knowledge to spot trends, and I always find a few surprises every year.”
Revolutionary or evolutionary year? “Evolutionary. The problem with our industry is that the technology changes unbelievably rapidly, and there’s a weird juxtaposition of very high-quality deliverables for TV and big screens and projects for social media. They have different sets of needs and budgets, and one set of tools doesn’t do it all. You have to be able to play in all those environments in a market like ours.”
|Litepanels calls its Sola fresnels “game changing.”|
This year, Litepanels (www.litepanels.com) LED lighting showcases its “game-changing” Sola fresnels, which combine the light projection, control and focusing ability of fresnels with the friendliness, dimmability and energy savings of LED technology. The new Sola 6 (with a 6-inch fresnel lens) and Sola ENG (with a 3-inch fresnel lens) are both capable of focusing their output from a 70∫ to 10∫ beam and dimming from 100 percent to zero with no color shift; they use 95 percent less energy than traditional fresnels. The Sola 6 is designed for studio or remote applications while the Sola ENG is small and lightweight enough for on-camera use in an ENG or remote application.
Additionally, Litepanels will show its modular 1×1 dimmable soft sources and its family of Micro, MicroPro and MiniPlus small, portable, battery-powered LED lights that easily mount on cameras or elsewhere.
|Maxell extends its iVDR line with a new 4-bay storage tower.|
Maxell Corporation of America (www.maxellpromedia.com) extends its iVDR line with seven new products, developed in partnership with Addonics Technology, specifically for storage and backup applications. The products, which comprise 4-, 5- and 9-Bay Storage Towers; 4- and 5-Bay Cipher Towers; a 9-Bay Storage Rack and an iVDR Desktop Drive with SATA connectivity, combine the inherent advantages of rugged iVDR storage technology with RAID functionality and Just a Bunch of Disks (JBOD) usability. Each can be configured with a combination of iVDR, SATA or IDE Drive Trays accommodating both 2.5- and 3.5-inch HDD; they also support Solid State Drives to fit a user’s specific needs.
All seven products complement postproduction activities. Once connected, a user can edit footage using Adobe Premiere, Edius, Apple Final Cut Pro or a comparable program directly from the Storage Tower, Cipher Tower, Storage Rack or Desktop unit.
|The new OConnor 2065 fluid head is designed for
popular digital cameras.
OConnor’s innovations (www.ocon.com) this year include the new 2065 Fluid Head, which replaces the 2060HD and is designed to handle popular digital cameras, such as RED One, Sony F-35 and ARRI ALEXA. It is loaded with the same popular OConnor features and controls customers have come to expect; among the new offerings is stepless, ultra-smooth pan- and-tilt fluid drag designed to deliver the ultimate control and stability required for film-style shooting. Patented sinusoidal counterbalance provides true, accurate balance at any point in the tilt range.
Also on hand are the CFF-1 Cine Follow Focus with modular design and low profile for rock-solid performance with big lenses; versatile O-Grips professional camera hand grips; and the new O-Box WM mattebox designed for full-size sensor camera setups.
|Panasonic’s new solid-state AG-HPD24 P2 deck offers 3D
At NAB, Panasonic Solutions Company (www.panasonic.com/broadcast) introduces a versatile wireless system for its new AJ-HPX3100 master-quality 1080p P2 HD camcorder that simplifies the process of utilizing user-selected metadata. Comprised of a wireless module and software, the system promotes a seamless transfer of critical camera information between the HPX3100 and an array of intelligent devices, including PCs, iPads and iPhones.
Also on tap is the new solid-state AG-HPD24 P2 deck with 3D synchronized record/playback, native 24p recording with variable frame rates, super fast USB 3.0 interface and HDMI output. In addition, Panasonic introduces AVCCAM Importer software, a QuickTime plug-in that eliminates the need to convert AVCHD files to ProRes422 files before editing in Apple’s Final Cut Pro, plus the AJ-PCD30 three-slot P2 device with “blazing fast” transfer speeds via a USB 3.0 interface. Earlier, the company announced major price reductions for its entire line up of high-capacity, high-speed P2 cards.
Midtown Video, Miami
What I’m shopping for: “Cameras with S35mm sensors. We’re traditionally a video company and have stocked cameras with video-size CCDs or CMOS sensors. Now Sony and Panasonic are coming out with lower-priced cameras with S35mm and micro 4/3-inch sensors, so they’re not just for the Hollywood market anymore. I want to look into new studio HD-SDI cameras for our houses of worship market. We’ve become Zeiss dealers so PL-mounted lenses are a completely new area for us to check out. And I want to see if companies are ready to deliver on rumors of wireless video systems through 3G networks.”
What I don’t want to miss: “The whole buzz around 3D although we don’t see an immediate need for it in our marketplace. Compared to New York or LA, the Miami/South Florida market is not a trendsetter — we’re four or five years behind. I also want to educate myself on the lower-price cameras that Sony and Panasonic are introducing.”
Revolutionary or evolutionary year? “Evolutionary. It will be a continuum of the technology that’s out there already. NAB has changed a lot. We used to go to close deals; now we go more to educate ourselves. It’s great to talk to people at different levels at the manufacturers and see what’s going on.”
|New from Quantel is QTube for frame-accurate
editing anywhere via the Internet.
New from Quantel (www.quantel.com) is QTube whose workflow over IP offers instant access to live media with frame-accurate editing anywhere via the Internet. Although QTube was first shown in a broadcast production context, its ability to break the bonds which had restricted fully interactive workflows to a local studio complex has many potential applications in postproduction. With QTube, anyone involved in the production process can view, log and edit material, which may itself be located anywhere in the world. Fully finished editing projects can be produced and published anywhere.
Quantel also showcases its newly released Pablo PA, the company’s first stand-alone, software-only product. Pablo PA is designed to help customers get maximum value from their eQ, iQ or Pablo suites by handling conforms, prep and workflow so the main suite can concentrate on client-focused work. It also offers new customers a low-cost way to benefit from Quantel’s postproduction tools. Pablo PA features Pablo V5 color; multi-layer timeline effects; import, export, archive and conform tools; plus a stereo 3D toolset.
Also on hand is Quantel’s Enterprise sQ news/sports production system.
|RED Digital Cinema spotlights its trim, full-featured EPIC camera.|
RED Digital Cinema
In addition to promising “some surprises” at the show, RED (www.red.com) spotlights its EPIC camera, one-third the size of RED One with a 5K Mysterium-X sensor and 27-layer ASIC processor. Engineered to be a Digital Still & Motion Camera with a dynamic range of over 13 stops and a resolution that exceeds 35mm film, EPIC can boost its dynamic range to up to 18 stops with HDRx extended dynamic range technology. Purpose-built for multi-camera synchronization, EPIC is ideal for stereo 3D applications.
A functioning version of the eagerly awaited Scarlet camera is on hand along with the new REDRAY PRO, which plays in realtime 2K and 4K RAW R3D files recorded on RED One or EPIC. It also can play out two simultaneous streams of 3D HD and 2K to accommodate stereo 3D content.
|SGO unveils version 6 of Mistika, its flagship DI and stereo
3D post system.
SGO (www.sgo.es) introduces version 6 of Mistika, its flagship DI and stereo 3D postproduction system, and Mistika Live, its live on-set application, at NAB.
As stereo 3D gains momentum, Mistika version 6 can now play an astounding 48 fps, re-conform in the timeline while still retaining previous effects, provide an overall accurate pixel-by-pixel color adjustment between both eyes via the highly advanced Matching Color feature, and solve practical 3D issues with the Depth Map tool. Mistika also offers a significant speed enhancement for native and realtime Raw file data handling for cameras such as the RED EPIC, ARRI ALEXA, Phantom and Weisscam. The system is empowered to support up to 5K realtime color grading and streamlines postproduction by reading most raw camera codecs.
The latest innovations also apply to Mistika Live, which takes SGO’s powerful stereo 3D and color correction tools onto the set or to live environments.
|Sachtler introduces an improved Video 20 S1 fluid head.|
Sachter camera support (www.sachtler.us) showcases its new Cine DSLR fluid head system for 1-11 pound payloads to handle a DSLR bare or fully outfitted with a heavier lens and accessories. Lightweight and compact, it is easily transported, and its special camera plate can be quickly mounted and remounted.
Also on exhibit are improved classic Video 18 S1 and Video 20 S1 fluid heads with 16-step counterbalance adjustment and enhanced payload ranges and new artemis camera stabilizers: artemis Handheld for DSLRs and artemis Cine HD Pro for digital cine cameras and stereo 3D rigs.
Zoic Studios, Los Angeles
What I’m shopping for: “I’m interested in seeing the new and upgraded hardware releases, like RED EPIC, ARRI ALEXA, Isilon storage, AJA Kipro, Blackmagic hardware encoders and transcoders. We’re big fans of The Foundry; they’re beta testing Storm, and I’m eager to see where it goes. Zoic has also started dabbling in facility architecture and integration, so I’m looking at dollies, cranes, jibs and fluid heads now. And we’re doing a lot more feature film work so I’ll be looking at Christie projectors as well.”
What I don’t want to miss: “Developments in stereo 3D: what 3ality has to offer and Element Technica’s Atom rig.”
Revolutionary or evolutionary year? “Evolutionary. The non-tape pipeline is here, and we’re looking for tools to support it.”
|New from Sony Electronics is the PMW-F3 Super 35mm
digital production camera with an “indie” price tag.
At NAB, Sony Electronics (www.sony.com/professional) spotlights a range of HD products and technologies for 2D and stereo 3D production ranging from camcorder and camera systems to switchers and displays.
Sony’s new PMW-F3, the first professional handheld Super 35mm digital production camera that delivers high performance at an “indie” price, is now available. Based on Sony’s XDCAM EX workflow, it uses the SxS ExpressCard-based recording media format. A 3D-link feature for the camera, permitting synchronous remote command between two F3s using one remote controller, will be announced. Also at the show: the newest NXCAM HD camcorder equipped with a Super 35mm equivalent sensor.
The next generation of Sony’s HDCAM SR technology premieres with a new SRMemory camcorder, SRMemory studio deck and SRMemory transfer unit. The HDCAM SR format is well entrenched in postproduction and is the de facto standard for mastering, on-set recording and deliverables.
Sony also will be demonstrating its continuing commitment to developing complete stereo 3D solutions.
|Toshiba adds the compact IK-HR2D to its HD camera family.|
Toshiba Imaging Systems Division (www.cameras.toshiba.com) introduces the IK-HR2D to its HD camera family. The compact, one-piece CMOS HD camera offers realtime, live-image data capture up to 60 fps and features both DVI-D and USB outputs for microscopy, industrial and broadcast applications.
|Vinten launches the Vector 75 head with pantographic
Vinten Radamec (www.vintenradamec.com) unveils its new Fusion FHR-35, a compact, lightweight robotic pan-and-tilt head designed to support broadcast camera and lens packages of up to 35 pounds in remote locations where the head needs to be as unobtrusive as possible.
The Vinten-branded Vector 75 head also launches with the same outstanding camera carrying performance as the popular Vector 750, but incorporates standard LF drag control plus a pantographic balance mechanism that simplifies adjustment.
Vinten Radamec has two dedicated Virtual Reality (VR) sets on the show floor demonstrating how its products work live with Brainstorm and Orad software. One of the VR systems runs with the Quattro SE, a manually-operated pedestal with built-in encoders; the other features a fully robotic system using the Fusion FP-188VR pedestal.
|Zylight showcases its IS3 wide soft source LED.|
The booth of LED lighting leader Zylight (www.zylight.com) features the latest version of its Active Diffusion LCD panel — the recipient of two technology awards at NAB 2010. Fully adjustable and easy to use, the thin, flexible panel attaches to a standard diffusion frame and can be precisely adjusted across a range of densities. It can be used in front of “cool” lighting sources such as LEDs and fluorescents, and not having to switch sheets of diffusion between takes as the ambient light changes saves time and money on location or in the studio.
Also at the show are Zylight’s palm-sized Z90 and IS3 wide soft source LED lighting instruments. They produce fully calibrated bright white light of any color temperature and any color, forever eliminating gels and include full wireless control, DMX integration and AC or DC power options.
Sixteen19, New York City
What I’m shopping for: “We do a lot of color and post work, so I’ll be looking at developments and ramifications for workflow. Also, the big new reference-grade displays: By all accounts the O-LED monitors from Sony and Dolby look awesome, and we’re curious about the price and life-cycle considerations for these displays. I want to check out archiving software for LTFS or LT05 and how to implement them for more elegant restores. And I want to see Mac Thunderbolt and what it means for laptops and new storage options.”
What I don’t want to miss: “I’m hoping for a big announcement about color-timing systems. Last year the big news was DaVinci Resolve on Mac. Color-correction possibilities are shifting, and I want to see how they shake out. On a goofy note, I like to see the parts of NAB that don’t have a lot to do with our business — I always look at the helicopters!”
Revolutionary or evolutionary year? “I’d love to see a revolution in color-timing systems. Given the economy, I wonder how aggressive product-development cycles are at this point; it takes a lot of resources to come up with innovations. Yet developers might be motivated by the slowdown: It might incentivize a little revolution!”