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ROVING CAMERA BLOG • Production • Tech

NAB Roundup 2013: Cameras

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. . . . CONTINUE READING: NAB Roundup 2013: Cameras

ROVING CAMERA BLOG • Photos • Tech

Camera Gallery 2012

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

ROVING CAMERA BLOG • Tech

NAB 2012 Preview

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

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NAB 2011: More Cameras

This report on new professional digital video cameras (introduced at or just before this month’s NAB Show) is continued from the previous post.

. . . CONTINUE READING: NAB 2011: More Cameras

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NAB 2011: Back to Vegas

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) or with a “dockable” record deck mounted on the back of a camera. This older dockable rig was pretty heavy, because it mated two units that each could function independently, each with its own rugged case and power supply.

The new Ampex (and Sony) camcorders provided the basic form factor for most professional camcorders for years to come, a sleeker and lighter alternative to the dockable systems. The marketing push was directed at news shooters, especially those navigating the urban jungles. Hence, Guerrillacam.

So Ampex hired me and another cameraman named Dan Cascino to help man their booth at the National Association of Broadcasters annual trade show, oddly held that year in Atlanta. We wore jungle camouflage fatigues on the floor of the show, with camo military caps that said . . . CONTINUE READING: NAB 2011: Back to Vegas