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Lost Wages: Everything Looks Great at NAB

In my mind, I’m Danny McCoy, deftly easing my washboard abs into my 69 Camaro ragtop, trolling confidently up and down the Strip, the wind ruffling my hair as I head for a liaison with my all-grown-up childhood pal Mary Connell, or a dalliance with Delinda Deline, the boss’s daughter.

In RL (gamer parlance for Real Life), I’m a middle-aged guy with grey hair, a little too full of sushi and sake, ambling and people-watching from Luxor to New York, New York, trying to take a few interesting photos on the Strip before collapsing into bed after a long day walking the floor at NAB.

Obviously I’ve watched too many episodes of “Las Vegas!” Like the Josh Duhamel character in the Camaro in that now-defunct series, I use a lot of cameras. Unlike him, I’m a freelance DP, not a casino surveillance and security expert.

I’m often asked about how some camera or other looked at the annual NAB Show in Lost Wages. My answer is usually the same: “It looked great.”

The truth is, nearly everything looks great at NAB. The manufacturers show off their cameras in shooting galleries in their booths. Every camera they make is lined up and pointed at a colorful, flatly lit set, populated by a strange race of young people with gleaming teeth, perfect bodies, and flawless skin. Back in the day, the models were all women in some form of flimsy beach attire. Now the galleries hold attractive folks of . . . CONTINUE READING: Lost Wages: Everything Looks Great at NAB