Nikon, the Japanese company best known for still cameras, is vaulting into the mainstream of professional moving images with its acquisition of California-based RED Digital Cinema. RED cameras popular among filmmakers and other creators include the RED ONE 4K and V-RAPTOR [X] series. The company also invented the REDCODE RAW compression technology. On closing, RED will become a wholly-owned subsidiary of Nikon, which plans to merge “Nikon’s expertise in product development” with “RED’s knowledge in cinema cameras, including unique image compression technology and color science.” Continue reading Nikon to Enter Cinema Camera Business with RED Acquisition

Cloud computing and virtual production were the hot tickets at NAB 2022, where attendance was 52,468, down 40 percent since the previous most recent live show in 2019, when 91,500 convened in Las Vegas. And there were fewer exhibitors (about 900 vs. roughly 1,600 three years ago). But some things never change. Amazon Web Services, ARRI, Blackmagic, Quasar Science and Mo-Sys were among the notable companies touting cloud-based and virtual production solutions. And Sony Electronics wowed the crowd with a sprawling booth that featured its new Venice 2 digital cinema camera. Continue reading Cloud, Virtual Production Power New Workflows at NAB Show

At NAB 2022 in Las Vegas, 8K sets hinted at a home viewing revolution. With 16 times the resolution of HD and four times the 4K screens currently in about 44 percent of U.S. households, the 8K experience represents a leap in immersive viewing. Sony, LG and TCL have been selling 8K sets, but globally only 1 million were purchased. But there are ways 8K is being put to use today to benefit a variety of end-use cases. Virtual production and virtual reality are two instances where content displayed in 4K or HD still benefits from the higher-resolution capture, while 8K also offers added flexibility in post production. Continue reading 8K Slow to Take Hold in Homes but Transforming Production

TMS Consulting president Jim DeFilippis, who co-chaired the 6P Color program with Baylor University senior research scientist Gary Mandle as part of the SMPTE+ Series, moderated a discussion about the limits of the RGB color system. XStream member Gary Feather focused on display technology, noting that manufacturers have solved brightness and resolution issues for displays, but not color gamut. “It’s complex,” he said. “But color gamut has headroom to expand” to offer a better toolset for storytelling. “Let’s take that step to move beyond the [RGB] triangle,” he urged. Continue reading Experts on the Limits of RGB and Benefits of Multi-Primaries

Yves Bergquist, director of ETC@USC’s AI & Neuroscience in Media Project, described how ETC’s task force is working in concert with SMPTE to develop standards for AI and machine learning (ML) in the media and entertainment industry. During the HPA Tech Retreat, Bergquist noted how the two organizations successfully collaborated to develop standards in digital cinema, interoperable media, and cloud production. “We thought it was an opportunity to step up and help the media community better understand the scope of the AI technology,” he said. Continue reading HPA Tech Retreat: ETC, SMPTE Collaborate on AI Standards

At NAB in Las Vegas, Warner Bros. vice president of technology Michael Zink presented DCI’s perspective on two major technology changes in recent years: the advent of high dynamic range (HDR) and direct view displays. First Zink described how Digital Cinema Initiatives (DCI) was created in March 2002 as a joint venture of Disney, Paramount, Sony Pictures, Universal and Warner Bros. Studios to “establish and document voluntary specifications for an open architecture for digital cinema … to achieve interoperability and compatibility.” Continue reading DCI Examines HDR, Direct View Displays for Digital Cinema

Cinematographer Curtis Clark, ASC was presented with the John A. Bonner Award at the Academy of Motion Picture Arts & Science’s annual Scientific and Technical Awards ceremony on February 9. The award, which began in 1977 and is not awarded every year, acknowledges Clark’s “dedicated work in helping to shape the future of motion-picture technology and educate the industry at large.” Sixteen years ago, Curtis founded the ASC Motion Imaging Technology Council (MITC), which he continues to lead. Continue reading DP Curtis Clark Awarded Academy Sci-Tech’s Bonner Medal

Panavision made its Cine Gear Expo debut of the Millennium DXL2 8K camera, 8K workflow improvements, a customized optics system for specific use with drones and gimbals, four new large-format lenses and a technology demonstration of a major advance in filter technology. The new products, said Panavision chief executive Kim Snyder, are intended to evolve the ecosystem surrounding the Millennium DXL2. “We’re building a bridge between products and processes,” said senior vice president of innovation Michael Cioni. Continue reading Panavision: Lenses for Drones, New Filter Tech, 8K Workflow

Camera manufacturer RED Digital Cinema plans to release a smartphone, dubbed Hydrogen One, that the company is calling “the world’s first holographic media machine.” Due to ship in the first quarter of 2018, Hydrogen has been introduced with a limited number of specifications. RED is marketing the camera as ready for virtual reality, augmented reality and mixed reality, with a 5.7-inch “professional holographic display” featuring nanotechnology that switches between 2D, 3D and holographic content. Continue reading Digital Cinema Camera Maker RED to Release VR/AR Phone

At Sony’s Cine Gear Expo press conference, marketing and production manager Peter Crithary outlined available details of the company’s upcoming addition to its CineAlta line of digital cinema cameras. Key to this CineAlta is that the entire camera is being built new, from the ground up, and that it will feature a large full frame sensor, the first of its kind aimed at professional movie makers. The full sensor, at 36x24mm compares to the more commonly used Super 35mm sensor, at 24x18mm. The camera will be available in early 2018. Continue reading Sony Reveals Details of its Full Frame Digital Cinema Camera

Panasonic debuted its 5.7K cinema camera, the AU-EVA1, at Cine Gear Expo in Hollywood last week. The camera, which is meant to fill a gap between the Panasonic Lumix GH5 4K mirrorless camera and the VariCam LT 4K cinema camera, is aimed at handheld shooting, making it ideal for commercials, documentaries and music videos. The compact camera, which can easily fit in a backpack, weighs 2.65 pounds (body only), sports a newly designed sensor and will be priced under $8,000 when it ships in the fall. Continue reading Panasonic Intros Compact, Lightweight Super 35mm Camera

At Cine Gear Expo on the Paramount Pictures lot, Canon unveiled the much-anticipated Canon EOS C200 and Canon EOS C200B Digital Cinema Cameras, the latest in its EOS digital cinema line. Key new features are two 4K video formats, Canon’s  Cinema RAW Light and MP4, targeting HDR productions. The cameras also have a dual DIGIC DV6 image processing system, which was developed for these cameras as well as Canon’s Dual Pixel CMOS AF system. Both cameras are slated to deliver in August 2017. Continue reading Canon Announces New Cameras in EOS Digital Cinema Line

Samsung’s LED digital cinema display, first unveiled during invitation-only events at CinemaCon in March, has passed DCI compliance tests. The company is expected to have a commercial product available before the end of the year. Keio University in Japan, one of the affiliated partners of Digital Cinema Initiatives (DCI), completed the compliance test plan certification. Until now, only cinema projectors from Barco, Christie and NEC based on Texas Instruments DLP Cinema tech and Sony’s LCoS SXRD (Silicon X-tal Reflective Display) panel were considered DCI-compliant display devices.

Continue reading Samsung to Roll Out New DCI-Compliant LED Cinema Screen

At a SMPTE symposium on the Future of Digital Cinema, speakers addressed the “unknown” cyber threats to movie security. SMPTE vice president of education Richard Welsh, cofounder/vice president of Sundog Media Toolkit, identified threats beyond “the kid with a camcorder.” The audience also heard from Emile Monette, a government cybersecurity senior advisor and Ted Harrington of ISE (Independent Security Evaluators). The general consensus is that many companies fail to understand the way hackers work, leaving their content vulnerable. Continue reading NAB 2017: SMPTE Future of Digital Cinema Looks at Security

Motion Picture Solutions CTO Laurence Claydon addressed issues of security during the HPA Tech Retreat, not always the most interesting issue to a crowd of film and TV technologists. Claydon’s experience comes from more than 20 years of content localization, and working in digital cinema for Technicolor, Deluxe and others. “This is based on those workflows,” he said, “but some of it is those principles can be applied to any workflow.” Advances in technology have increased the risks of piracy, even before the advent of videotape, he noted. Continue reading HPA Tech Retreat: Security Threats, Strategies for Film and TV