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camera support sachtler

Killer Camera Support From Sachtler

By Scott Gentry | April 15, 2008

I spent some time today at the Sachlter booth checking out the Artemis vest and support - ACT 2. I enclosed a press release after the jump, but here's what caught my attention:• Build quality seems top quality• Carbon Fiber, Carbon Fiber, Carbon Fiber!• This sucker was built on a vibration table to optimize its ability for quick motion and no flex• New internal electronics to handle the higher wattage camera systems such as RED• Revised vest ads to breathability and flexibilityWhile I don't have a need for one of these slick items, I still want one...Press release after the jump: Read More

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petrol rain cover

Petrol Bags

Clever Rain Covers From Petrol

By Scott Gentry | April 15, 2008

As I've mentioned in a previous post - I'm a bag person. Today I stopped by the folks at Petrol and got a glimpse of some of their newer products. Lucky for me my checkbook was elsewhere.Prior to leaving for NAB, I was looking for a back that I could walk the floor, quickly pull out my video camera, microphone, etc and start shooting. But I also needed my Nikon D300 in case I needed to get a few great shots. Oh yeah, and I almost forgot, I need my computer to post during the show if necessary. Petrol has such animals, and more. While the bags got my attention, a slick rain coat for my camera kept my attention.Rain slickers tend to be very good form fitting products you buy for specific camera models. What if you want to add a Matte Box? You're out of luck likely. Similarly if you'd like to share slickers across different cameras, you'll find they don't fit. Petrol's newest is pretty slick indeed. While not form fitting, it attaches to the hot shoe to stabilize it, but it's got velcro to wrap where necessary. Clever idea really.Full press release after the jump: Read More

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Red One News - Builds, Lenses, Accessories

Build 16 news, new lenses & details, new Pro Accessories

By Mike Curtis | April 14, 2008

...so besides Scarlet, Epic, and Red Ray, there was (Oh Yeah!) news for Red One too. They have some new lenses, accessories, and firmware builds coming for the Red One. I got hands on with the big honkin' 18-85mm zoom, and it is GOOD. I looked at the new 7" Pro LCD and I like it. Read on for the details that aren't on the website. Read More

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Red Ray - 2+ Hour 4K playback for under $1000…from a burnable DVD

Red Ray - 2+ Hour 4K playback for under $1000…from a burnable DVD

4K from Red cameras or Red Ray DVDs play back at 4K, 2K, 1080p, 720p, or SD resolutions

By Mike Curtis | April 14, 2008

On the show floor, I'll try to clean this up later, but here's the scoopage:EXECUTIVE SUMMARY:Playback device, 4K in, 4K, 2K, 1080p, 720p, or SD out from Red Disc, Red Express, or native R3D files from CFRED / RED RAYFavorite quote from Ted Schilowitz, Leader of the Revolution for Red:"We consider 1080p Blu-ray to be a stopgap solution. The future is way beyond 1080p."Read on below for all the nifty details: Read More

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Red Scarlet - 3K for $3K…at up to 120fps

Red Scarlet - 3K for $3K…at up to 120fps

....and sometimes 180 fps

By Mike Curtis | April 14, 2008

Again, I'm on the show floor and working fast, so here's the scoop on Red's new professional camera that is high end consumer priced:EXECUTIVE SUMMARY: 3K for $3K, 2/3" Mysterium X Sensor, 1-120 fps (180 fps burst mode), up to 100 MB/sec Redcode RAW & RGB recording to dual compact flash, 4.8" LCD, 8x T2.8 Red Zoom lens (fixed lens), full auto or manual shooting modes, HDMI, HD-SDI (4:2:2 likely), FW800, Still mode, WiFi control, compatible with many Red One accessories (as shown on show floor).RED / SCARLETHere's some of my own pictures of the prototype.Read on the all the gory details: Read More

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Red’s new Epic camera - 5K RAW, 100fps, $40K

Red’s new Epic camera - 5K RAW, 100fps, $40K

I thought he said "Red Effin'" - that woulda worked fine for me

By Mike Curtis | April 14, 2008

OK, I'm on the show floor and furiously typing this up, so this is quick, rough, but info-laden - EXECUTIVE SUMMARY: $40K, 5K, 1-100 fps, Super35mm coverage, up to 100MB/sec Redcode (yes, MB not Mb), FW800 & USB 2.0, Redcode RAW & RGB to RedFlash, dual link HD-SDI, 2 XLR, upgradeable sensor, body, boards & mount, 6 pound machined aluminum body, hybrid stainless steel mount, compatible with MOST but not all Red accessories. Ships "early 2009"RED / EPICRead on below for all the gory details. Read More

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RED Ray Introduced

By Scott Gentry | April 14, 2008

A full on "hat trick" for Red this morning with 3 major announcements.Welcom to the RED Ray. • Optical disk drive• Play back 4K video from the RED ONE• 3K video from Scarlet • HD formats from RED Disc and RED Express media• R3D RAW files from CompactFlash• 5K video from the new EPIC isn't supported, yet(?). Read More

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RED Epic Announced

By Scott Gentry | April 14, 2008

On the hot heels of Scarlett, we have Epic. 5K baby!• This 5K camera has a full-frame S35mm Mysterium X sensor.• Close match to 35mm film resolution • FPS is limited to 100RED will allow ONE customers to trade in their cameras for a full $17,500 credit towards the EPIC when it ships in 2009. Interested to learn how much money you'll ned o drop? Approx. $30,000. Read More

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scareltt

Red Announces Scarlett At NAB

By Scott Gentry | April 14, 2008

RED just announced Scarlet , its promised "pocket professional" camera at NAB.With all of the hype around RED One, this one should take off on its own right. Here's the deets: 2 / 3-inch Mysterium X sensor, shooting 1 to 120 FPS and records to dual CompactFlash cards. It can handle up to 100MB per second of REDCODE RAW HD video. More to come! Read More

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Sony Snapshots - NAB 2008 Day 0

Some highlights of what Sony is showing

By Adam Wilt | April 14, 2008

PMW-EX3 with 2/3" cine lens, Sony HDD recorder

Sony's Juan Martinez gave me a night-before-the-show tour of the Sony booth (really a miniature city; "booth" doesn't do it justice), and here are some of the highlights from a camera operator's perspective. Read More

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camcorder hmc150 panasonic

More New Panasonic Cameras - HMC 150

By Scott Gentry | April 14, 2008

Panasonic also used the press conference to introduce us to the AG-HMC150 handheld.This unit records to familiar SD and SDHC cards up to 32GB. In HE mode, that's 12 hours of 1440x1080 HD content on one 32GB card!Full on press release goodness after the jump. Read More

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NAB Exhibits Start Tomorrow

NAB Exhibits Start Tomorrow

By Scott Gentry | April 13, 2008

Between meetings, booth appointments with vendors, and the crowds, I expect to update NAB news as available.The conferences for Sony and Panasonic were interesting, but not very exciting. I'm not talking about the new product introductions like the Sony EX3 or the Varicam 3700, I'm talking about listening to the marketing speak. Here are some points gleaned from each conference. Do with this data what you will. Likely nothing...Panasonic:80,000+ P2 units worldwideFox has taken to P2 in a big way, and moving Fox News to P2HD worlwideP2HD is the official recording format for the Beijing OlympicsP2 will double in Capacity every yearMajority of P2 repairs fixed within 24 hours. That's impressive actually.Panasonic Broadcast has shown 6 consecutive years of revenue growth.Panasonic is going "Green" with a plan to reduce CO2 emmissions by 300,000 tons by 2010Sony:Survivor will adopt Sony XDCAM HD for next yearAcademy Awards, Indie Racing, SuperBowl and more shot on Sony HDEllen Degenerous moving to Sony HDSony is working to develope a recycling program for electronic equipment as their "Green" move. Read More

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Panasonic Intros 2 New P2HD Varicams: 2700 & 3700

By Scott Gentry | April 13, 2008

Varicam 3700• 1920x1080 recording• 2/3" 2.2 megapixel 3-CCD imagers• Expected Fall 2008 targeting Feature Films, Episodic TV and moreVaricam 2700• 1280x720• 2/3 1 megapixel Imager Available Fall 2008 targeting Sports, Documentaries,Indie Films, morePress Info after the jump. Read More

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Sony Announces the EX3

By Scott Gentry | April 13, 2008

Sony announces a new sister to the EX1, the new EX3 with interchangeable lenses. You know you're in a room with tech guys when Miss Universe 2008 walks out on stage to intro the EX3 and the crowd is taking more pictures of the camera, than Miss Universe.Of course Sony didn't hand out press information, instead pushing attendees to the web. Honestly, that feels a little lame for a press conference. But adding insult to injury, the link for the EX3 information goes nowhere. Nice job PR folks. Here's the link to all of the NAB Sony news, perhaps they'll update their broken links soon: Sony NAB Press InfoAlec Shapiro SVP of Sony's Business and Professional division did share some interesting facts with us:Sony's NAB booth is an incredible 26,000 square feet - the largest o at NABTheir HD linup goes from $1,800 to over $200,000Sony has sold over 31,000 units of XDCAM worldwideSony will display a prototype of a WiFi workflow at their booth.There's a new 60GB External Storage Unit with G Sensor and compatible with SxS ProClip Browser software will be updated to 2.0New BVM-L420 - 42" LCD DisplayNew Luma display models OLED Camera Viewfinder Read More

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Panasonic Intros AG-HPX 170

Panasonic Intros AG-HPX 170

By Scott Gentry | April 13, 2008

The press conference for Panasonic went slightly long, but it was full of interesting product introductions. First up:AG-HPX170 P2 HD Handheld1080i HD & SDWidest zoom lens in it's class4.2 lbs3 1/3 16:9 CCD14-Bit A/D Conversion 19 Bit Processing28mm 13x Leica Zoom lensTime/date state makes this good for legal etc.with 2 P2 slots, current 32GB cards can give you 64 continuous minutes. When the 64GB cards hit the market, double that.Available in the Fall with 5 year warranty.Press release after the jump Read More

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Blogwad - press releases of interest for NAB 2008

Here's a bunch of PR material on things that sounded kewl

By Mike Curtis | April 13, 2008

So I'm digging through all 100+ NAB related emails, to figure out what is worth checking out this week. In no particular order, here is cut & paste PR copy of what caught my eye to check out. I'm not advocating anything in particular, other than just "this caught my eye."First item, goes without saying, is abusing my Exhibitor badge to be parked front and center Monday morning at Red's booth, I have a 10am interview with Ted, which will have given me enough time to see what's up in the booth to start drilling him on questions. OK, let the PR-speak commence - this is copy/paste, not my interpretation: Read More

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Mike’s Notes from Saturday’s Digital Cinema Summit

Panel on 3D moviemaking

By Mike Curtis | April 12, 2008

I got back in late into the 3D panel after taking care of some work on the show floor. Here's my raw, unfiltered, typos-and-all notes from the panel on 3D, that I jumped in on late, so missed a lot of names. Some really good info, especially about the importance of modulating and babysitting the convergence point cut to cut, and how that affects editorial, and what steps to take to make sure the 3D cut works.Howard Lutz - 3D - silver screens - manufacturing quality has affected display qualitysupply of 3D camera rigs at the moment is an issue-if there's 2 major films being done in the Hollywood area, is OK, the minute a 3rd is in production, not enough cameras-it has ramped up so fast, "Is it real or a fad?" It is real, there's a commitment from CG and live action, it would be good to see a better supply of stereoscopic camera rigs, as well as production and post tools-Dave from ??? on challenges of getting 3D from big to small screen-whether dimensionalists, shooters, or renderers, we end up with a left and right view, superimposed, that cause your eyes to converge in front/at/behind the screen-images that create binocular disparity, when done right is gorgeous, when done wrong is painful-fundamental disparity - focusing on screen 40 feet away, converging elsewhere. Sends confusing depth cues to brain. Convergence wins...except on television-and then, a formula on a slide, about left and right eye, separated by about 2 1/2 inches. Left eye crosses to right and vice versa to converge on the apparent distance to the image, which is different from the distance to the SCREEN-Adult's interocular distance - 2.5 inches, child is 2.0 inches-if you have a face behind screen, and bring it closer, your eyes expect more difference and "roundness" of the thing's info - is an issue on small screens-Jim Maynard at Dreamworks is working on fixing this issue in software automatically in his renders-it is the little d number - the apparent distance to object, as it compares to the big D, the distance to the actual screen-5 feet from screen, closest object can be 89%, furthest at 114-depth budget - how much can you go in front or behind of the screen - shown as a percentage of size of screen-you can make your eyes diverge if you try to run it too much, big to small screen-there's a bell curve of acceptance to "Fundamental Disparity" - the eyes' converging muscles and the eyes' focusing muscles sendign conflicting depth into the brain. a few percent of folks have sensitive eyes - at the other end, agile eyes can handle anything-if you look from dashboard in car to out the front, OK. But if you go from dash to rear view to out the front...takes time. Same thing happens with convergence in 3D - takes time if way different-Registration - moving left and right eye views horizontally to move the whole scene closer or further-Depth grading - adjusting explicity depth fo objects by shaping and moving individual objects or groups of objects towards or away from the viewer-perfect 3D - can't type that fast-this is dave from InThree-if you've got shots that are "at" the screen, can adjust to move it behind the screen - but your stuff that was almost at infinity in background is now beyond infinity, but causes eyes to diverge. So make darker or defocus to get it done-25% depth budget on a TV. If you re-register, if you up that range, you can re-pdeth grade-they tested stuff for 40 foot screen, 15 foot screen, 5 foot scren, showed it to folks. perferences when viewing ona 5 foot screen content that has been depth graded for:-5 foot screen - 14% had experienced eyes, 17% had inexperienced eyes15 foot - 66 and 4240 foot screen 20 and 41Samsung HDTVs are pre-built to do 3D.-gorgeous 3D on television should be graded for 15 foot screen seems to be the take-away.Linnie Elbert - subtitles in 3D. "What's the deal? Once you get into it, makes you throw up in no time."Polar Express had subtitles, had'em projected on a separate projector on the screen.most 3D content has been children's movies, are usually dubbed-Beowolf was to be subtitled, was only dubbed in 4 languages-started some tests, picked two methods to put the movie out - in 4 territories (Neitherlands, Japan, Luxembourg) - subtitles in 3D pulled out in front, action behind usually. Can't do it in projector, have to create them. Have to create a brand new master with subtitles, often 15 to 20 languages, hence 15-20 masters. Ugh, untenableAlso tried to put'em above the image - Beowolf was 2.35, so put in the 1.85 box and shoved it down. They tried it both ways. There's more action at bottom than top. A floor, or water, etc. More often, the top is at a vanishing point and is far away, less parallax between what you're reading and what you're trying to look at.if trying to read it, there's other content your eyes are trying to understand, is a conflict.-PUTTING THEM WITH A LOT OF HEAVY BLACK OUTLINE/SHADOW SEEMS TO LOOK BEST-John ??? worked on the post/editorial stuff on 3D.-identify challenges for 3D post-with an 11 week post for a 3D movie, that was a PROBLEM. "My advice to you is that if someone comes to youwith an 11 week schedule, run the other way."-the support of production editorial-in a 2D movie, you can evaluate the set cut to director's cut-but for 3D, is imperative to keep close, conform in 3D for the editor as he was cutting a song a day, had to show daily to have an accurate presentation of whether his cuts are working or not. On a 7 camera shoot, he's going through and editing one eye.-when conforming, just matching the creative cut to show in 3D was NOT ENOUGH. -cameras were on cranes, moving, etc. -the convergence points were all over the place-without convergence matching, was painful to watch-can't tell if the cut was OK, unless can see 3D, because the cut migth be OK, but the convergence might be off (a new variable to work with in editorial)-digitize left/right eye, conform, do a basic convergence balance pass-some beam splittter issues came up time to time, to make l/r comfy to watch-convergence issues for first pass, a balancing pass, the most important new thing(Hanna Montana) - Michael woudl cut, quick conform & convergence pass, then show it, make changes, etc.-by time got to a "latched" cut (Is there a locked cut anymore?), a new set of challenges.-the real work begins, a combination of doing the color correction, doing the real 3D convergence pass (not the quickie), and doing then in tandem - how they interacted with the 3D, gotta be playing with both to get it to work right-as editorial is continuing to make changes, those choices affect what the convergence/colorist stuff is working on -bought a new Quantel Pablo, new storage, all new gear, using development code, not even beta, all this brand new pipeline to do it, a new challenge-in the future, stronger support for being able to do 3D evaluations, but is a while off before it happens-the concept of working with conforming as you go, is something they'll have to be doing. Is not a good idea to try to make 3D evaluations in teh cutting room, the director/editor want to see the 3D really quickly, to see how the 3D is affected by cuts, and how it is working-is diffferent for every shoot--4 1/2 minute music video - can tailor the convergence, have it pop, work it/push it more. For a feature, with 90 minutes, can't work their eyes as hard. Can hit'em over the head for 4 minutes, but can't do it for 90 minutes. Tailor your convergence for what is appropriate for the material and the duration-graphics and titles - was it easy or hard? There is a learnign curve for the vfx/graphics houses, did some back and forth, supported as they could with title placememt etc., but on Missy Elliot 4.5 minute video, they had some floating graphics to get the hang of where to put the graphic in z space?Do we have people up to speed on 3D graphics? No, is a learning process-they built a 3D slate, as they started doing titles, "do it like the slate" that was doine in 3D - ironic that was how the standard become, Q: -If workign off a 20 foot screen, safe for most of the widest releases, or do need to compensate for each of the deliverables. A: if designed for 20 foot screen, will work on 5, but parallax doubles on 40 foot screen, triples on 60 foot, so that's bad. But you can't tell till you can see it. So they may need a 40 foot screen to test the footage. GOTTA EVALUATE with a 40 foot or bigger screen.Atttempted to do rendered in grpahics for some things - Benelux and Japan were the two territories - this is NOT a way to burn-in stuff, isn't feasible to do it with the turnaround available.On Hanna Montana Q: do you work on the ocular separation on camera, or it is fixed, how much is done set up in front, or how much later?A: interocular set on set as shot, the controller they have is convergence control. As part of storytelling, you're using/tailoring 3D. One thign to NOT have happen is to have convergence at 40 then 15 then 60 feet - is way hard on airs.Ramp up to 3D moments, is a convergence balance, not interocular. Vince Pace did static vs. dynamic convergence when shot. Somebody controlling convergence on SOME camera rigs, but not all cameras on all showsQ: -how do you monitor convergence on set?A: had basic dual projection feed, could do it on set, most guys in consoles, the guys that drive it, could do an A+B or a differential between left and right, will show the convergence error - that is how the operators did itQ: LaserLight engines - brightnesss - based on experience so far, how bright WOULD you want it?A: no answer yetWant to see 14 foot lamberts if they could. Hanna had 4.5 foot lamberts. Creatives wanted to push it further, went to limits of projectors. Mo is bettah.Q: Waht about dual vs. single projectors?A: dual projectors would take another hour - great for making more light, but HORRIBLE to keep them aligned. Keeping the geometry, focus (across time), and something else aligned, it'd be great, but those are all hard. Dual screen is A solution, but is it a long term solution? Dunno. Everyone is doing 2 color passes - one for 2D version, one for 3D version, and the 3D is dimmer, human eye can't adapt, gotta do it both ways. Is something is at 5, 10, or 14 foot lamberts, is REALLY expensive to grade one for each type fo projectorQ: Convergence changes with age- it changes over time from young to older - have found difference audience reaction based on age?A: Hard to say, as some older folks sya they've experienced about some issues young folks don't say. Probably an anecdotal thing. People NEW to 3D have a hard time locking in. Folks who've seen it repeatedly can lock pretty quickly even on some pretty bad systems. Speaker interested on what he calls "Settling time" based on that dashboard experiement - if making movie for older audience, will motion through Z space have to be more carefully, gradually, softly dealt with?Q: stereoscopic 3D - does it change the pace of storytelling?A: Overdoing 3D - can't do stacatto cutting? NOt really true. How to control convergence and set it appropriately for the action. For fight sequences, can cut fast, but CANNOT have convergence flying all over, because of the time to settle your eyes issue. Howard expected couldn't have any slam pans - but you can, it works, can break the "RULES" so long as pay attention to the convergence on the Z AxisWhen re-dimensionalized establshing shots, wanna look at different parts in scene - "savoring" the scene. 3D is unique and gorgeous for that. Peter O'Toole crossing the desert in 3D would be gorgeous. in the Matrix- slow bullets coming at you is gorgeous - can emphasize those storytelling elements in 3DHoward - we have found that the 3D cut is different for the 2D cut. With 3D, wanna linger on stuff, as the brain has a lot coming in - if in 2D, can be relatively boring in comparsion - don't want to savor/linger. Can't just pull out one eye of a 3D movei to make a 2D movie -might not be optimal? Still so much more to be done to figure it all out.Sessions start at 8:30am, reception across the hall...-mike out to DRINK!

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Mike on the scene at NAB

Checkin' it all out

By Mike Curtis | April 12, 2008

Hey all - just a quick note to let you know I'll be at the NAB show - today is Saturday, and I'm just sitting down at the Digital Cinema Summit to take notes on...whatever they are going to talk about next.I'll be bouncing between this and the Digital Tech Guru panels today/tomorrow, with maybe some DP panels as well - gotsta get me 5 minutes to see the schedules, work has been INSANELY busy this week (another post entirely).Monday morning first thing I have an interview with Ted Schilowitz in the Red booth, and with anticipation of Scarlett ("professional, handheld camera"), 4K displays, 4K projectors, 4K distribution system, and a new Red reel I've been seeing pieces of for a few months, should be a helluva show.I'll be abusing my access priviledges to get in bright and early...for your benefit.I'm also, through work, going to be spending some time with the Codex and S.two booths, they should both have some very interesting announcements, and other stuff as well of course. It'll be an interesting show with both Apple and Avid off the floor. I noticed Apple shipped Final Cut Server quietly last week, and Avid had some good announcements too.: )-mikeUPDATE - aaaaaaand then work intervened. I took some demo footage over to the Band Pro booth, and Randy Wedick and Michael Bravin gave me a quickie look-see at the new Sony F35 camera. It is the Genesis sensor (striped CCD) 35mm sized, with a PL mount, on what is otherwise an F23 body. Better brains behind it, so some image enhancements in the circuitry. More later.I also got a quickie looksee at the Angineux Rouge lens, I will HAFTA check me out that! Aimed at the Red camera crowd.-mike, yet again Read More

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Find me at NAB, part 2

By Art Adams | April 12, 2008

I just received my April copy of HD Video Pro magazine, and there on page 54 is my write-up of Element Labs LED lighting technology for the film industry. When I'm not writing here, or shooting somewhere, I'm writing for HD Video Pro. It's turning out to be a great magazine, and I'm quite pleased to be a regular contributor. I'm losing track of what's running when these days, but future issues will see articles I've written on the Lensbaby 3GPL (Lensbabies.com), the Sony EX-1, and a truly massive article on diffusion filters for use in HD (thanks to Ira Tiffen, formerly of Tiffen, Inc., and Bob Zupka of Schneider Optics.)I'm in the Element Labs booth from Sunday through Tuesday (elementlabs.com/nab.html) giving product demos and such, but Wednesday I'll be off on my own. I'm definitely planning on visiting Iridas, the subject of one of my earlier articles, to see their new color grading system for raw Bayer-pattern workflows, and Schneider Optics, to see their new-for-HD UV and IR cutting filter. Beyond that... well, I'll just try to see as many cool things as I can before I have to jump on a plane Wednesday night.I'll be at the Digital Cinema Society Party Monday night, and the Cinematography Mailing List Party Tuesday night, so look for an incredibly handsome man with impeccable hair and the fashion sense of a Vanderbilt. I'll be the squat graying guy just behind him.Meanwhile, stay tuned to PVC for lots of NAB action. I don't know that I'll be able to post much while I'm working the booth, but I hope to have a few things to report from my jaunt on Wednesday.

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Find Me at NAB

By Art Adams | April 12, 2008

For a bit over a year now I've been consulting on a new broad-spectrum LED light for the motion picture industry. The idea is that this light, with six different LEDs, can change color temperate with a simple turn of a knob and dim without changing color temperature. The spectrum on this light is much better than current LED lighting products that use only one LED.In order to see an object's color accurately you have to light it with light containing that same color. Single LED lights typically use phosphor-based LEDs, which have a little spectral spread to them but not much. They only produce a very narrow range of colored light, so they are good an illuminating but not good at all for color reproduction. The Element Labs Kelvin Tile (the product I've been working on) has one phosphor and five dye LEDs mixed together, creating a much broader color palette.I'll be working the Element Labs booth at NAB, so come find me if you have a chance. Sunday I'll be setting up, and Monday/Tuesday I'll be giving product demos and showing off the new Kelvin Tile "paintbox" control system. Wednesday I'll be wandering NAB in search of juicy new products.Here's where I'll be:http://elementlabs.com/nab.htmlCome on by and say hi! Read More

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