ARRI continues to roll out new products and upgrades for the ALEXA camera. Last week they officially made available the ProRes workflow (Shoot to Edit) functionality as part of the ALEXA 2.0 firmware release, meaning the camera can now function as a standalone device for high-quality ProRes capture. Additionally, ARRI made a few more interesting announcements at IBC this year.

The ALEXA Plus is an upgrade model of the ALEXA that will be available in January 2011. Key features include wireless connectivity with several ARRI wireless components, an additional monitor output, ARRI LDS (Lens Data System) integration, an additional accessory power port and built-in position and motion sensors (great for VFX work). Any current ALEXA can be upgraded to an ALEXA Plus in the future.

…continue reading ARRI ALEXA Updates & Accessories Announced

Panasonic’s push into 3D just took another step forward. Recently, they made several announcements about their 3D product lineup including details on their 3D camera (AG-3DA), a new 3D production monitor (BT-3DL2550) and a new 3D mixer (AG-HMX100). Panasonic is moving to bring 3D to a broad community of filmmakers and these new tools certainly show their commitment. We can’t wait to see all of these new products at NAB 2010. Learn more about these new devices after the break.

…continue reading Panasonic 3D Update

Being the gear-head tech nerd that I am, I never thought it possible for me to overload on crepundia electronica (aka tech toys), until I found myself wandering through the 100+ booths at CES devoted to iPhone accessories. It hit me that CES really differs from “pro” technology shows such as NAB or IBC in its focus on marketing: trends, positioning, and hype. That’s not to say that this is a bad thing – a lot of what was shown at CES will soon come to market in a big way, and will directly influence how many of us conduct business or spend our leisure time.

Many have reported that this CES was all about 3D. I would say it was more about profitable 3D. Manufacturers have been showing 3D tech at trade shows for years, but, for the most part, the technology hasn’t changed very much. So, why is 2010 poised to become the “Year of 3D”? Because now there is a way for manufacturers to make money off of it. And this should be a good thing for all of us.

…continue reading Why 3D Will Finally Stick Around

In the vast shadow of the release of James Cameron’s Avatar, the Blu-ray Disc Association released the finalized 3D specifications. 3D media has bounced in and out of pop culture since the 1950s when it was introduced as a way for motion pictures to compete with television. Now the home entertainment industry has embraced 3D technology with a method for delivering the media.

Blu-ray 3D will be 1080p and backward compatible, meaning that the disks will be playable and viewable as 2D on existing equipment and current disks will play on any new equipment. The new compression codec is known as MPC, a variant of the current AVC. Importantly, the new standard will work with “any compatible 3D display,” which sounds vague, but appears to mean that there won’t be any format wars between different monitoring technologies. There are active and passive displays with high and low refresh rates, and side-by-side and line-interweaved technologies. Get ready for a whole new set of specs as different flat screen monitors debut for the home and the professional industry. 3D will work this time because the display technology will drive it directly to the audience. Even the Sony PlayStation 3 is included in the new Blu-ray 3D spec. Soon 3D will be yet another creative tool available to the creative cinematographer – instead of asking for a focus pull or a small dolly creep, perhaps that next dramatic moment will be best punctuated with a “depth pull.”

…continue reading Blu-ray 3D Standard Announced

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I recently had the opportunity to spend some time on the set of Step Up 3D, the latest in the popular Disney dance film franchise. The picture, scheduled for release in August 2010, is being shot entirely in 3D, with some of the footage originating on twin Phantom HD GOLD high-speed digital cameras.

I spent much of the last two weeks at the Brooklyn Navy Yard and at 25 Broadway in Manhattan working with Jeff Rios from PACE, suppliers of the Fusion 3D rigs for all the cameras used in the production. The PACE Fusion 3D rig mounts one camera vertically looking down at the reflected image off a partial mirror, with the other camera mounted horizontally looking through the partial mirror. Convergence is controlled with a motorized sled, which is very convenient.

Perfect synchronization is critical to successful 3D at high-speed. Each of the Phantom HD GOLD cameras was synchronized using IRIG military grade timecode, which is built into every Phantom HD and guarantees frame accuracy at any frame rate. Operating the two cameras in sync was relatively simple using the multiple camera control software from Vision Research.

…continue reading World’s 1st Phantom 3D Rig Used on Dance Film

From my perspective, if there were themes to NAB this year, it was 3D and 35PL glass. There were a multitude of 3D rigs on display; some of them quite clever, some rather old school and some, well, shall we say… “logically challenged”.

Then there were a few groundbreaking solutions aimed at the masses. Panasonic showed a concept camera that essentially looked like an HPX170 with binoculars on the front. Affordable HD 3D. Years away from reality, but a sign of things to come. Neat. This camera was a component of a top-to-bottom 3D initiative announced by Panasonic. Here’s the press release.

There were plenty of 3D display systems from other manufacturers as well. Sony showed a very nice 3D LCD panel that attracted quite a crowd.

…continue reading Reflections on NAB 2009