It’s still dark out as we pull up to the hospital on a frosty Chicago morning at six. One of the nurses greets us quietly, and we roll our cameras, monitors, lighting, and audio equipment through the bowels of the hospital to the corridor with the operating rooms.
In two hours we’ll be filming heart surgery.
We spend the time gowning up and cleaning our gear, chatting with the staff, and going over, for the umpteenth time, where to position ourselves, when to put on our x-ray protection, how often the lights will go off and on during the procedure, how long we’ll be shooting continuously. Once the nurses and techs have prepped the room and the patient, the doctors arrive and things get going quickly and calmly.
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.
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!
During the recent NAB Show in Las Vegas, I attended a panel discussion and screening of a series of tests called the Single Chip Camera Evaluation. The SCCE shootout, produced by an independent, ad hoc group named Image Quality Geeks, compared 11 single-chip digital cinema cameras, along with two 35mm film emulsions. These extensive tests, designed for “apples-to-apples” comparisons, provided a comprehensive look at the following cameras.
Manufacturers showed tons of new gear of all kinds at this month’s NAB Show in Las Vegas. Because my time at the show was limited, I focused primarily on new professional digital video cameras.
Some of these cameras were also involved in a 12-camera shootout – the Single Chip Camera Evaluation, a screening presented by Image Quality Geeks. More on this soon. Over the next two posts, I’ll preview a number of impressive new cameras introduced at or just before this NAB.
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 […]
The National Association of Broadcasters annual trade show takes place next week at the Las Vegas Convention Center.
I’ll be there for a couple of days to check out the new cameras, among other things, and I’ll post several reports from there.
Here are some announced/rumored items I’ll be taking a close look at:
A prototype for the next (and most advanced) addition to Sony’s Cine Alta line, a new camera for digital cinematography with a sensor greater than 4K. Jon Fauer, in an article in Film and Digital Times, says the new camera will shoot from 1-72 fps in normal mode, and 1-120 fps in High Frame Rate mode.
Our flight to Japan on Virgin Atlantic is half-empty and quite comfortable. Virgin’s Premium Economy seats, which our travel agent says were not much more expensive than standard Economy, provide better food, better seats, better video, and more legroom.
Our flight leaves London at 1 pm Sunday. Twelve hours later, after flying nearly 6000 miles east across nine time zones, we arrive at Narita Airport outside Tokyo, where, somehow, it’s 10 am Monday. In San Francisco it’s still 5 pm Sunday, 17 hours earlier than Tokyo. None of us sleep much on the plane. The time change has us oddly discombobulated. Our midday departure and the availability of hundreds of movies (we’re all film buffs) both mitigate against sleep, as does, oddly, our enjoyment of the extra comfort on this flight.
The low, warm winter sun slants in on the four of us as we shuffle our gear on the curb at San Francisco Airport, en route to England and Japan. I’ve joined engineer Jim Rolin, producer Lori Wright, and director Randy Field outside the International Terminal. We count cases (13 plus carry-ons), then take a moment […]
In Brazil, our story was based in Ribeirão Preto, (pronounced something like “HEE-bay-roan PRAY-toe,” though all Brazilians laughed at our attempts to say it) a city of a half million, three or four hours inland from São Paulo. Our final shoot was at the local campus of the Universidade de São Paulo. In search of […]
I’m hunkering down at home right now after a three-week trip through Europe and South America to shoot a global corporate medical film. Our route took four of us – and 13 cases of video and audio gear – drifting through the Netherlands, Switzerland, Germany, and Brazil. Plus one day shooting here in the San […]
Presidents and paupers, musicians and moviemakers, actors and athletes, writers and regular Joes – I’ve shot hundreds and hundreds of interviews, perhaps thousands, sometimes 25 or more in a single day. But shooting for “Closer to Truth,” the PBS science series on “Cosmos, Consciousness, and God,” presents a unique challenge.
Start with the quest for a dramatic but natural lighting look, while shooting two people talking, with two cameras. Then add the factor that both cameras are moving constantly. Because the cameras will see more than 180 degrees of background during their slow journeys around the room, there’s nowhere to place stands for backlights. And front light just won’t do – flat and boring, out of the question.
Preserving the sanctity of your original media has always been one of the cardinal rules of production. In my first week of film school, I learned about work print. The original film negative is used once to make this cloned copy, then the original is locked away, presumably in a climate-controlled vault environment. The work print […]