Welcome to Definition’s NAB (NO) Show Digital Edition Although NAB Show 2020 isn’t physically happening, the gear that was to be launched is still waiting in the wings. Definition has teamed up with some high profile manufacturers to bring you our own mini Convention but in digital form.
NAB (NO) SHOW EDITION The lockdown launches you need to know about
WELCOME
EDITORIAL Editor Julian Mitchell julianmitchell@bright-publishing.com Staff writer Chelsea Fearnley Contributor Verity Butler Chief sub editor Beth Fletcher Senior sub editor Siobhan Godwood Sub editors Felicity Evans and Elisha Young ADVERTISING Group ad manager Sam Scott-Smith 01223 499457 samscott-smith@bright-publishing.com Sales manager Krishan Parmar 01223 499462 krishanparmar@bright-publishing.com Account manager Russell Marsh russellmarsh@bright-publishing.com DESIGN Design director Andy Jennings Designer Bruce Richardson Ad production Man-Wai Wong DIGITAL Head of digital content Daisy Dickinson PUBLISHING Managing directors Andy Brogden & Matt Pluck BRIGHT PUBLISHING LTD, BRIGHT HOUSE, 82 HIGH STREET, SAWSTON, CAMBRIDGESHIRE CB22 3HJ UK
Find out about the Sony FX9 on p10
WELCOME
T he show must go on! But in what respect was our first thought when we discovered that unfortunately NAB Show 2020 had succumbed to the Covid-19 pandemic. We felt for all those R&D folks who had worked day and night to get their new piece of gear into some shape to show it at NAB. Also, all those booth scripts that the demonstrators rehearse endlessly to peak, like racehorses, on the eve of the show. In light of this, we hope this digital publication goes some way to bringing you a taste of what would have been a great NAB Show 2020. We’ve concentrated on the subject of capture, with new product announcements from cameras, lights and support equipment. Each story links out to the manufacturers mentioned who are primed to come back to you with anything you want to know about their new products or services. Surely, finding out what’s new in capture, post-production and broadcast is better from the comfort of your sofa? But if you really miss the sounds of Vegas, search for albums of casino ‘atmos’ and screaming from New York-New York’s roller coaster on Spotify. There’s a certain satisfaction in being able to turn that off; the real thing is harder to ignore.
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JULIAN MITCHELL EDITOR
Definition is published monthly by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ. No part of this magazine can be used without prior written permission of Bright Publishing Ltd. Definition is a registered trademark of Bright Publishing Ltd. The advertisements published in Definition that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. The content of this publication does not necessarily reflect the views of the publisher. Prices quoted in sterling, euros and US dollars are street prices, without tax, where available or converted using the exchange rate on the day the magazine went to press.
APR I L 2020 | DEF I N I T ION 03
ADVERTI SEMENT FEATURE | SHOTOVER
In terms of both functions and range of use, Shotover’s bulletproof B1 gimbal system checks all the right boxes
IN 2019, SHOTOVER Camera Systems celebrated its tenth anniversary with the launch of its latest system, the ultra- compact and lightweight Shotover B1. The company debuted the six-axis gyro- stabilised camera system at last year’s NAB Show, by mounting it to the front of a small two-seat helicopter called the Guimbal Cabri G2. Designed to meet the needs of a wide range of markets, including production, live broadcast, industrial survey and surveillance, the B1 is the most compact and agile aerial camera system on the market today. Since its launch, the B1 has been utilised on a variety of small and low-cost aircraft, including Robinson helicopters and Cessna aeroplanes, providing operators with a cost-effective method for capturing
ultra-high definition aerial footage. San Diego-based digital cinema company, Tempt Media, was the first to fly the system mounted to an R44 helicopter. “This system opens up a huge opportunity to allow your client and director to be on board the helicopter to make sure you capture what they are looking for,” says Tempt Media creative director, Eric Everly. “Innovation is key, and Shotover never stops innovating.” The system can also be mounted on ground-based platforms and watercraft, and was recently put to the test by Salt + Air Studios while mounted on the back of a jet ski. The company, led by legendary cinematographer, Mike Prickett, travelled with the B1 to some of the most well- known surfing locations around the globe,
“I have never used a better-suited piece of equipment than the Shotover B1”
IMAGES The Shotover B1 can be mounted on a variety of aircraft, such as helicopters and planes
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SHOTOVER | ADVERTI SEMENT FEATURE
LEFT The Shotover B1 can also be mounted on ground-based platforms and watercraft, as shown here, where it’s mounted on the back of a jet ski “The B1 is small and compact; I could get right into the action while controlling it from the safety of the beach”
functionality. Coupled with 24/7 service and support, the open platform design of the system allows users the flexibility and creative freedom to choose the right payload to fit their needs. The system comes with a five-year Additional features include integration with Churchill moving map platforms, angled front window for brilliant imagery without reflections, and exceptional low-light and daylight performance. warranty that includes preventative maintenance and software updates.
including Nazaré in Portugal and Pe’ahi on the north shore of Maui, with the goal of capturing the biggest waves in the world. “I have never used a better-suited piece of equipment than the B1,” says Prickett. “It is so small and compact; I could get right into the action and be immersed with the athletes while controlling it from the safety of the beach.” Like all of Shotover’s six-axis systems, the B1 features Academy Award-winning six-axis stabilisation technology, providing unique look-down capability and
FOR MORE INFORMATION ON THE NEXT-GENERATION B1 CAMERA SYSTEM, VISIT SHOTOVER’S WEBSITE AT: shotover.com
APR I L 2020 | DEF I N I T ION 05
ADVERTI SEMENT FEATURE | QUASAR SC I ENCE
RIG THIS! COLOUR, CONNECTIVITY AND output seem to dominate most of the discussion about LED lighting technology, but the new interlocking pieces that locate rigging points almost anywhere on its structure and serve as the structural backbone for stacking multiple lights together. From the company’s earliest days, Increasingly advanced LED lights are all well and good, but without the ability to rig them exactly how and where you need them, they aren’t much use at all. Thankfully, Quasar Science has been refining just that
two accessories. First, there’s the Pin, a 5/8in baby pin that attaches to the Slider or straight to the Rail itself. Second, there’s the Rotator, which is fashioned like a small grip head, designed for attaching along industry- standard 5/8in or 3/8in pins and rods, such as a C-Stand arm. The Rotator also adds another axis to positioning Quasar lights, unlocking yet more options. Elsewhere, The DC-Plate is built with a V-Lock battery adapter and fixes anywhere on the system for run-and-gun filming. So, ABOVE The Ossium Mounting System is made up of interlocking pieces and provides a skeletal framework for mounting lights in the right spot
Ossium Mounting System from Quasar Science focuses on an altogether more practical applications – rigging the lights. With tubular or linear LED lights for instance, it’s all about getting them into odd places and positions other lights can’t achieve. The Ossium, which is Latin for bones, provides a skeletal framework needed to place lights in just the right spot, build larger arrays and attach them to virtually anything. Come time of the shoot, you’ll be looking at ultimate control. Developed in collaboration with G-Force Grips, which is a specialist in hardware design, the system is made up of
Quasar has had modularity at the forefront of its mind, and its most recent innovations are no exception. The new RR and Rainbow 2 LED Lights are the first to come with the Ossium Rail mounted down the back. Designed with ¼in-20 screws and a Nato profile, the Rail opens up the possibilities for more attachments. The first piece to showcase the capabilities of the system is the Slider, built to hug and travel along the Rail, locking anywhere end to end. The Slider has 3/8in and ¼in-20 screws placed for the next
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QUASAR SC I ENCE | ADVERTI SEMENT FEATURE
whatever the requirement, the versatility of the Ossium system means more possibilities than ever before. Then we move up to multi- bank Ossium Hardware that joins many lights into one. The Ossium Frame forms a large panel-style array for either RR or R2 lights at six and 12 lamps respectively. Last, the Ossium Blocks link lights
depending which light you choose. The Blocks expand rigging potential and provide access to K-Mount patterns and other familiar rigging hardware. Both the Frame and Block configurations of the Ossium Mounting System also help create the structure for various soft bag options coming down the pipeline. Quasar Science promises many more Ossium accessories to make rigging the lights simpler and easier.
ABOVE The Ossium system is compatible with a range of accessories, making it easy to tailor the array to fit your needs
together to form smaller arrays in single-, two-, four- and six-bank configurations, “The versatility of the Ossium systemmeans more possibilities than ever before”
MORE INFORMATION: quasarscience.com
GEAR GOSSIP: RR LED LAMPS Interview with Stephen Strong, CEO, Quasar Science
APR I L 2020 | DEF I N I T ION 07
ADVERTI SEMENT FEATURE | MARSHALL
NEW KIT ON THE BLOCK Industry mainstay Marshall has been around for quite some time, but two of its latest cameras – the CV226 and CV630-IP – are as modern as they come, and are sure to be very welcome additions in the broadcast world
When size is the deciding factor, nothing gets the job done like a lipstick camera. Small enough to be placed just about anywhere discretely, but packed with enough tech to deliver a quality image – it’s a match made in heaven as far as the requirements of live broadcast go.
The CV226 is the first of Marshall’s most recent additions, and it does just that – and more. Following the CV225 lipstick camera, the new model comes equipped with new sensor technology offering better-than-ever quality. The same 2.5-megapixel sensor, in fact, utilised in Marshall’s new CV503 “Small enough to be placed just about anywhere, but packed with tech”
ABOVE The CV226 is a 2.5-megapixel lipstick camera with great ultra low-light performance
and CV506 cameras, but in a much smaller package. The result is clearer video with greater colour accuracy, channelled through a single 3GSDI output in 1920x1080i, 1920x1080p, and 1280x720p resolutions. The new model also adds the convenience of all selectable frame rates on a single chip, to include 60, 59.94, 50, 30, 29.97, 25/24 and 23.98fps output formats. The camera’s power consumption is at an industry-leading low level and the ultra low-light performance is also exceptional, with the lowest noise ratio available on the market today. When it comes to use, a weather-resistant design means the camera is suitable in the toughest of conditions, with the ability to withstand dust, sand and even submersion in water up to 1m deep for several hours. Plus, a convenient ¼in-20 mount also allows for versatile mounting options indoors or out. The CV226 continues to offer focal length and field of view flexibility, with interchangeable lenses, remote control over RS485, and the convenience of a full-sized coaxial 3G/HD-SDI (BNC) connection to maintain broadcast-level standards for POV camera applications. TOTAL VERSATILITY When more substantial kit is needed, the new CV630-IP is an ideal solution, capable of meeting the demands of virtually any
broadcast and professional AV application. Housing a powerful 8-megapixel 1/2.5in sensor, this new camera can capture Ultra HD video, with support for Full HD and 720p when required. The CV630-IP offers massive versatility when it comes to positioning, thanks to synchronous pan, tilt and zoommotors for smooth and silent movement during shooting. Thirty times optical zoom provides a range of 4.6 to 135mm, with an angle of view close to 70° at its widest. Movement and zoom can be controlled with ease, alongside iris, shutter, white-balance, focus and more, via Marshall’s VS-PTC-IP PTZ Camera Controller. All of these functions can also be controlled by IR remote, networked video management software (VMS) or RS-232/RS-422, with support for Visca, Visca over IP, Pelco and Onvif platforms. To fulfil a wide range of broadcast needs, the CV630-IP has an equally wide range of output options. Multiple simultaneous video streams are available over HDMI, 3G-SDI and triple stream IP (H.265/H.264) with stereo audio input embeddable on all available outputs. PoE+ (power over Ethernet) provides an economical and easy solution for integrators during installation. MORE INFORMATION: marshall-usa.com
ABOVE The CV630-IP has an 8-megapixel sensor and can capture Ultra HD video
08 DEF I N I T ION | APR I L 2020
SET- UP | REV I EW: NAB SHOW
Even though we can’t go to the NAB Show this year, there are still plenty of exciting new releases. Here’s our pick NAB REVIEW ONES TO WATCH
All information is subject to change as a result of Covid-19, which may also impact delivery times
CAMERAS
SONY
pro.sony.com
Sony had planned to show its family of 4K and 6K cameras at NAB, including the Venice, which now features v5.0 firmware – adding new frame rates and monitoring options to streamline production workflows. Since its inception in 2017, the camera has become a hugely popular choice for filmmakers and has been used on a wide range of high-profile productions across the globe, such as the BBC and Netflix’s dramatisation of Dracula , which aired earlier this year. Also intended for NAB was the Sony FX9, the latest addition to Sony’s full-frame 6K line-up, which includes fast hybrid AF, dual base ISO and S-Cinetone colour science. Not forgetting Sony’s Trimaster monitors for on-set and post-production applications, as well as audio equipment for location-based audio recording.
BLACKMAGIC DESIGN blackmagicdesign.com
The Blackmagic Pocket Cinema Camera line has become a favourite among indie producers and DOPs, and the latest iteration shoots 6K at a smaller price compared to other cinema cameras. It features a Super 35 sensor, making it compatible with a wide range of Canon EF mount lenses, which are largely available and have excellent optics. The Ursa Mini Pro 4.6K, which offers 15 stops of dynamic range and can shoot at up to 300fps, is also an exciting new product, alongside Blackmagic’s editing software, DaVinci Resolve 16. The new grading software is packed with features, including a cut page designed for speed and fast turnaround work.
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REV I EW: NAB SHOW | SET- UP
LIGHTING
MOLE-RICHARDSON mole.com
The 2020 NAB Show would have seen the debut of the next generation of the Mole-Richardson Company LED Spacelites, the Vari-Space 2 and Vari-Space 4. These space lights utilise the same colour science and user interface found in the popular Mole Vari line of fresnels. The Vari-Space 2 and Vari-Space 4 have been designed to fit the needs of the 2000W and 6000W quartz space lights, respectively. With power draws of 350W and 900W, both space lights feature variable colour temperature (2700K to 6500K,) plus/minus green correction, built-in LumenRadio, RDM and Bluetooth compatibility. Along with the complete line of Vari-Fresnels and Vari-Soft Panels, the Mole-Richardson Company is also featuring the 20K LED, which is a 24-inch, single-source LED that delivers unparalleled output on two 15A circuits.
NBCUNIVERSAL AND CINEO LIGHTING cineolighting.com
systems, featuring reference-quality tuneable white light, combined with a Rec. 2020 saturated colour system. The USP of the series is the individual blades. Measuring at 24in or 48in wide by 2.5in deep, the individual LightBlades bring versatility and a low-profile footprint that can discreetly light the darkest corners of your sets. Each LightBlade boasts the ability to operate as a stand-alone fixture, with internal AC power supply, control electronics with DMX and local control. The pairing of crisp white light with full-gamut saturated colour technology means an individual LightBlade can deliver up to 5000 lumens at an 80W power draw. Both 24in and 48in LightBlades are some of the most powerful linear lighting engines on the market. Offering a unique modular design, the LightBlades are integrated into the mounting system to create the LightBlade 160 (two-blade) and LightBlade 320 (four-blade) fixtures, delivering 10,000 or 20,000 lumens.
NBCUniversal company, Cineo Lighting, has some don’t-miss releases. After gradually expanding its presence in the UK and Europe over the past few years, its lighting solutions have become far more accessible for the film, television and broadcast industries. This year, Cineo is releasing its LightBlade Edge series. This series presents versatile production lighting
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SET- UP | REV I EW: NAB SHOW
CREAMSOURCE creamsource.com
bicolour was used for Le Mans ’66 for dealing with the brightness of a Californian set. The light was also used in the film Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn) . Creamsource had plans to present its first-ever smart lighting platform at NAB, which Creamsource claims will be the first cellular radio lighting platform for unprecedented connectivity potential – more details of which will be announced soon.
Creamsource is the current cream of the crop in the lighting world and one to watch. Starting in 2004, the company has come a long way from building an industry-first, large-scale and high-powered LED installation for the movie about singing and dancing penguins, Happy Feet . In 2020, Creamsource can boast lighting some big and notable names in Hollywood. Earlier this year, we looked at how the Creamsource Micro
ACCESSORIES
DEJERO
ldejero.com
Dejero returns with its latest contribution, distribution and connectivity solutions. Highlights include an enhanced EnGo mobile transmitter, new smaller CuePoint return feed server and a new WayPoint receiver, in addition to its WayPoint 204, which supports SMPTE ST2110 workflows. The new EnGo 260 was planned to be at NAB Emmy Award-winning Smart Blending and Hybrid Encoding technologies. The 5G-ready mobile transmitter now weighs 30% less, features a screen that is 85% larger and includes a three-hour internal rechargeable battery and global modems for simplified international travel. A new smaller CuePoint 50 is also being unveiled. It simplifies talent cueing, production and confidence monitoring, and real-time teleprompting in the field, with as little as 250 milliseconds’ latency. Up to eight return video and teleprompting feeds from the facility can be seen in the field by the talent on a tablet or monitor next to the camera, or on multiple mobile devices. for the first time, and it features Dejero’s double
BEBOB
bebob.de/en
The film and television worlds are not unfamiliar with Bebob batteries, having energised our industry’s cameras for more than 25 years. With this in mind, the news of a collaboration between the established German battery supplier and industry staple, Arri, was most welcome. The growth in power consumption by new cameras and lights was something that required a partnership of knowledge and expertise to resolve, and so the B-Mount was born. The B-Mount is a new battery mount that has been built to sufficiently power today’s equipment, while also possessing the flexibility required and expected when powering modern-day production equipment. The new batteries provide 24V high power, but also boast multi-voltage use (12V and 24V). In other words, this new B-Mount system makes it possible to power every device on-set entirely on its own.
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REV I EW: NAB SHOW | SET- UP
LENSES
P+S TECHNIK pstechnik.de
With a commendable history of supplying cinematographers with the Technovision Classic and Evolution 2X anamorphic lens ranges, as well as its specialised lens systems, optical adapters and lens mount solutions, any addition to its range is always highly anticipated. P+S has unveiled the new Technovision 1.5X anamorphic primes, which now cover larger formats including full-frame, along with the Evolution 2X lenses for Super 35. In addition to this, P+S has teamed up again with Kish and Optica Magnus and is revealing the new Optica Magnus Full Frame Finder – a real optical viewfinder system. The repetition of this partnership was something hoped for by cinematographers, who will be pleased to discover that the new Full Frame Finder will work with all sensor
squeeze factors are 1.5X and 1.8X and 2.0X. Equipped with the P+S Interchangeable Mount System, the viewfinder boasts up to ten different lens mount options, a level of variety not often available to lenses of this calibre.
formats up to an image diameter of 46.31mm (Super 35, FF, VV and LF). With an ergonomic and lightweight design, the viewfinder system includes ground glass. It can be used for spherical and anamorphic cine lenses – the current supported
LEITZ
leitz-cine.com
The premium lens manufacturer, Leitz – sister company to Leica AG – is well-known for its Thalia, M 0.8, Summilux-C and Summicron-C lenses. It has recently expanded its range of highly developed cinema optics with its much- anticipated high-performance Leitz primes and Leitz zooms, which were launched late last year. As well as its new primes and zoom, the company is focusing on its Thalia range – particularly the macro set of Thalia lenses. This includes the Thalia 24mm, 55mm and 120mm. The Thalia prime lenses offer a cinematic look
throughout the range of nine lenses, from 24mm to 180mm, with an image circle of 60mm. The lenses are compact, with a matched front diameter of 95mm and are available in PL, LPL and XPL mount with Cooke/i Technology metadata contacts.
ZEISS
zeiss.com
If you want to concentrate on the release of new lenses, Zeiss is definitely one to watch. Zeiss has established itself as a company with a long and colourful history. Started by Carl Zeiss in 1846, the company has been central in shaping the optical world. From microscopes to working with the likes of Nasa, Zeiss’s diverse past seems to constantly feed into its modern innovations. This year, Zeiss is promoting its portfolio of full-frame lenses, including its new Supreme Prime Radiance lenses. These lenses render like modern
cinematography lenses – but with a twist. Despite the standard rendering, they also flare thanks to their special coating: T* blue. This means that filmmakers can now produce controlled flares while the lenses maintain a large format coverage. With a high speed of T1.5, robustness and smooth focus, this range is definitely something of note. Complete shipping of this new range of lenses begins in April.
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