It’s still dark out as we pull up to the hospital on a frosty Chicago morning at six. One of the nurses greets us quietly, and we roll our cameras, monitors, lighting, and audio equipment through the bowels of the hospital to the corridor with the operating rooms. In two hours we’ll be filming heart surgery.
We spend the time gowning up and cleaning our gear, chatting with the staff, and going over, for the umpteenth time, where to position ourselves, when to put on our x-ray protection, how often the lights will go off and on during the procedure, how long we’ll be shooting continuously. Once the nurses and techs have prepped the room and the patient, the doctors arrive and things get going quickly and calmly. . . . CONTINUE READING: Shooting Miracles: How to Deal with Medical Locations
Las Vegas is known for its buffets, and the NAB Show at the Vegas Convention Center is a grand smorgasbord of technology. The floor exhibits fill over 800,000 square feet. 92,000 attendees crowd around 1500 exhibitors showing the latest products and services in TV and radio broadcasting, film and video production and postproduction, cloud computing, entertainment technology, file-based workflows, 3D visuals, and pro audio.
NAB is a great place to see the latest digital cinema cameras, lighting, and support equipment. Nearly every major manufacturer has a booth—an odd, generic term for a space that could be ten-by-ten for a small vendor, or a mini-city for Sony or Canon or Panasonic.
NAB can also be a burnout. Because . . . CONTINUE READING: NAB Roundup 2013: Cameras
It’s been quite a year for digital cinema cameras. We’ve seen new models of all sizes and form factors, from the hugest to the smallest, from still cameras that take amazing-looking video to video cameras that also shoot high-resolution stills. Here are some of the new and improved cameras of 2012. . . . CONTINUE READING: Camera Gallery 2012
I’m winging to Las Vegas for a couple of days to attend the NAB Show, the annual technical meeting and equipment show of the National Association of Broadcasters. In particular, I’m interested to see the latest digital cinema cameras, some recently released, some newly announced this week. I’m especially intrigued by an excellent summary in nofilmschool.com, which compares the newest digital cameras by resolution and price. And as always, I’ll also be looking at new camera accessories and lighting gear at the show. Watch for more reports coming up soon! . . . CONTINUE READING: NAB 2012 Preview
During the recent NAB Show in Las Vegas, I attended a panel discussion and screening of a series of tests called the Single Chip Camera Evaluation. The SCCE shootout, produced by an independent, ad hoc group named Image Quality Geeks, compared 11 single-chip digital cinema cameras, along with two 35mm film emulsions. These extensive tests, designed for “apples-to-apples” comparisons, provided a comprehensive look at the following cameras.
. . . CONTINUE READING: NAB 2011: Digital Cinema Camera Shootout
Manufacturers showed tons of new gear of all kinds at this month’s NAB Show in Las Vegas. Because my time at the show was limited, I focused primarily on new professional digital video cameras.
Some of these cameras were also involved in a 12-camera shootout – the Single Chip Camera Evaluation, a screening presented by Image Quality Geeks. More on this soon. Over the next two posts, I’ll preview a number of impressive new cameras introduced at or just before this NAB.
. . . CONTINUE READING: NAB 2011: Cameras
The first time I went to the NAB Show, I wore camouflage fatigues and marched through hippies.
I was working the show for Ampex, the television equipment company that had invented videotape. During the 80s, they were buying Sony professional video camera parts, assembling them in Ampex factories, and branding and marketing them as their own. One of their promotions at that time showed a photo of their new, integrated camcorders with a camouflage paint job and the caption “Guerrillacam.”
These Ampex products, based on the Sony 200 and 300 Betacam camcorders, represented a huge improvement in portability. Before this time, most professional video shooting was done either in a two-piece configuration (with camera connected to a separate recorder) . . . CONTINUE READING: NAB 2011: Back to Vegas
The National Association of Broadcasters annual trade show takes place next week at the Las Vegas Convention Center. I’ll be there for a couple of days to check out the new cameras, among other things, and I’ll post several reports from there.
Here are some announced/rumored items I’ll be taking a close look at:
A prototype for the next (and most advanced) addition to Sony’s Cine Alta line, a new camera for digital cinematography with a sensor greater than 4K. Jon Fauer, in an article in Film and Digital Times, says the new camera will shoot from 1-72 fps in normal mode, and 1-120 fps in High Frame Rate mode.
. . . CONTINUE READING: NAB 2011: Show Preview
Yesterday afternoon I attended a preview of the new Sony Super 35 PMW-F3 camera, presented by Snader & Associates and hosted by Videofax at their new rental facility in San Francisco. Reps from Sony and from Snader, who sells the camera, were on hand to present the camera’s features and specs, and three F3s with an array of accessories provided ample opportunity for hands-on time.
The F3 is an impressive little box, a little larger (6 x 7-1/2 x 8-3/8 inches) and heavier than Sony’s popular PMW-EX3 camera (5 lb. 4 oz. for the F3, compared to 4 lb. 2 oz. for the EX3). But the F3 contains a new Exmor Super 35 CMOS . . . CONTINUE READING: Sony F3 Camcorder Preview
On our way back to the hotel after the shoot at the Karaoke club, Richard spontaneously has our driver pull the gigantic van over, right in the middle of Shibuya Square, the famed, neon-crazy crossing in the heart of Tokyo, through which nearly a million people pass every day.
We hop out into the mob scene on the sidewalk, shooting pictures and video and gaping at thecrowds. Randy climbs the built-in ladder on the gigantic van to a flat platform on the roof and shoots the huge video billboards, ads for pop stars, flashing lights, car traffic, and human flow with his Sony EX3.
We remain parked there for at least half an hour, with no permission, no permits, no pesky police presence threatening us, issuing citations, or even politely asking us to move. . . . CONTINUE READING: Around the World in 11 Days: Epilogue
Our flight to Japan on Virgin Atlantic is half-empty and quite comfortable. Virgin’s Premium Economy seats, which our travel agent says were not much more expensive than standard Economy, provide better food, better seats, better video, and more legroom.
Our flight leaves London at 1 pm Sunday. Twelve hours later, after flying nearly 6000 miles east across nine time zones, we arrive at Narita Airport outside Tokyo, where, somehow, it’s 10 am Monday. In San Francisco it’s still 5 pm Sunday, 17 hours earlier than Tokyo. None of us sleep much on the plane. The time change has us oddly discombobulated. Our midday departure and the availability of hundreds of movies (we’re all film buffs) both mitigate against sleep, as does, oddly, our enjoyment of the extra comfort on this flight.
. . . CONTINUE READING: Around the World in 11 Days: Part 3
Former White House Director of Communications David Gergen is recalling the unforgettable day that President Reagan and his staff woke up at Versailles Palace, had lunch with the Pope and ate dinner with Queen Elizabeth. My problem, however, (see photo) is lighting his dark suit without pouring too much light on the top of his head.
Henry Kissinger is describing the peace agreement in Vietnam as a high point in his White House service. But how do I get light in both of his eyes without creating distracting glare in his glasses? And what do I do about the moiré pattern on his tie?
Bill Clinton reveals that he is more idealistic about the presidency now than when he took office, . . . CONTINUE READING: Polishing the Talking Head: The West Wing Documentary Special