In Broadcast - May/June 2011 - Cover1
In the news
Autoscript’s Rapid Reaction Force
NAB Emerging from behind the cloud – Tessa Hawkins
New Developments in fibre – Dick Hobbs
Live Production from Grass Valley
In this issue...
Communicating with your market
by Gill Craig
NAB 2011: Emerging from behind the cloud
by Tessa Hawkins
NAB 2011 drew an estimated 92,000 attendees to Las Vegas, and though this was a few thousand more than last year, you couldn’t prevent a feeling that the show was underpopulated. There may have been understandable underrepresentation from Japan but the halls seemed easier to navigate than normal, and exhibitors in the South Hall Upper and North Hall, where most IT-related vendors were sited, may have wondered where everyone went. IBC, which uses NAB for marketing and recce purposes, trotted out the customary retort that its attendance figure (around 50,000) captures those who actually enter the RAI’s doors and not those that just register, then fail to turn up. However, “no tyre-kickers, more people with genuine interest,” was the verdict of JVC’s John Kelly after day one and it has to be said NAB didn’t lack buzz – if you were excited by 4K, 3D or cloud computing. SMPTE President Peter Lude noted the dominant themes in his opening address to the Digital Cinema Summit, which ran just prior to NAB; “Advances in image and sound: 3D, 4K and beyond,” he said. “We are trying to extend this beyond cinema, though we recognize that many innovations start with cinema.” His message coincided with the announcement of Sony’s F65 digital cinematography camera that is capable of recording 16-bit 4K and higher, and tied in with the Summit’s examination of advances in imaging and sound that stems from more pixels, as well as greater bit depth, wider colour gamut, higher frame rates and 7.1-channel sound. Sony had commissioned Curtis Clark, ASC to direct and shoot a short film using the camera. “It is critically important to extract the best possible images from these new 4K pipelines,” Clark said. “If we do something to degrade the image, then what you think is 4K may not be 4K. It needs to be 4K end-to-end, and that needs to include colour management that is consistent and reliable.” Most existing digital cine cameras and most post production pipelines are built to handle 2K. There’s no practical way 2K, let alone 4K, can be broadcast to homes just yet and only one company (Sony) has a projector capable of showing 4K in all its glory at cinemas. “Recording at 4K is not just about delivering 4K today but about capturing content at a higher resolution with benefits in dynamic range, colorimetry and latitude to 2K and HD images derived from it,” said Sony’s General Manager for Content Creation Olivier Bovis. “In that sense it is similar to when broadcasters capture in
JVC’s new 3D camera.
Bringing IT and Broadcast Together
Broadcast Batteries today and tomorrow
The Fibre Alternative
HD when the deliverable was SD only.” The F65 is being readied for the Autumn, component parts from Japan permitting, and is being marketed as the first true 4K camera using an 8K 20 megapixel sensor, subsampling to 4K. That claim invoked the ire of Red Digital which has not only had the 4K Red One for three years but is now shipping the 5K rated Red Epic that are currently being used by Bryan Singer to shoot Jack the Giant Killer, Peter Jackson on The Hobbit and the new Spider-Man movie. “Red One captures 4K and debayers to 3.2K, the Epic captures 5K to the sensor and debayers to 4K - fact,” noted Red’s evangelist Ted Shilowitz. “It’s great Sony has finally realized that 1080p is not cinema but let’s see if it delivers the kind of picture people want to see rather than something that
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