Spring has finally arrived, which, to tens of thousands in this biz, means that it’s time again to fly to Vegas for the big show – not the ones on the florid casino floors, but to NAB, the multimedia technology extravaganza held at the Las Vegas Convention Center. Besides being the annual meeting of the National Association of Broadcasters, the event is by far the largest technology fair of its kind globally.

There really is something for everyone in the electronic media biz, but for a gear-head, it’s the world’s biggest candy shop.

For Rob Sim, president of Sim Video, attendance is obligatory.

‘We have to attend NAB to keep up with technology and to keep up with the tools our clients need and demand – from cameras and lighting to NLEs… We own 25 Red cameras, and this year we’re shopping for lenses, filters and other accessories for them. We’re also focused on [2K/4K] post, and we’ll be looking at Avid’s new Red work flow for their Nitris DS, versus Apple’s in Final Cut Pro.’ (Coincidentally, Avid is reappearing at NAB this year, while Apple will be conspicuously absent.)

At PS Production Services, camera manager Penny Watier is also seeing NAB 2009 through Red spectacles.

‘We need more PL-mount lenses because of all the new Red Ones in town. Half of them are privately owned, with no lenses, so we’ve had to borrow lenses, filters and matte boxes from our film cameras to meet the demand. We also need lighter tripods for them,’ she says.

But it’s not all about the Red. Sim plans to use a broad gauge approach at NAB, looking at solid-state cameras and tape, too. And, he adds, the unexpected plays a big role for him at NAB: ‘I’m always looking to make some great new discoveries.’

One of these could be Weisscam’s new digital high-speed camera, the HS-2, which captures 1080p at up to 2,000 fps, or 720p at up to 4,000 fps. (And with P+S Technik’s interchangeable mount system, lenses with PL, Nikon F, Panavision and other mounts can be used.) The data-intensive footage can be recorded to their new two-terabyte portable solid-state drive, the DM-2, with a sturdy handgrip for transport. It can also be used with other large-format cameras like ARRI’s D20/21, Sony F35 and F23, Grass Valley’s Viper, the Phantom HD, Red and others.

THE ROUND-UP

The news from Panasonic may be less about cameras and more about the manufacturer’s 124 GB P2 cards. Each has a maximum capacity of 10 hours of 1080p/24 with the new AVC Intra codec at 50 Mbps. Thus, P2 camcorders with four slots could capture up to 40 hours before downloading.

New Panasonic cameras include the AG-HPX300 P2 HD camcorder with native 2.2-megapixel 1/3-inch CMOS imagers and 4:2:2 sampling. It is designed for on-the-shoulder use and includes a 17X Fujinon HD lens, all for under US$10,000. Panasonic will also add a compact AVCCAM camera head, which records to its new solid-state AG-HCK10 field recorder.

JVC will showcase two new solid-state camcorders that natively record Quicktime files, ready for Final Cut Pro editing. The GY-HM700 records to regular SDHC cards at 35 Mbps. Its smaller cousin, the GY-HM100, also records Quicktime and sells for under $4,000.

Ikegami will add more tools to support GFCam, its 2.5 megapixel solid-state camcorder. These include a GF Station Portable player/recorder (studio deck) and a low-cost desktop player, the GF Player. The GF Adapter provides a media interface for PCs, while the Studio GF Adapter and Media Manager do so for servers.

Ikegami will also debut a multi-format interlace/progressive high-speed HD camera system, the HDK-79EC/HS, which captures slow-mo at up to 120 fps in 720p, and up to 60 fps in 1080p. Also new is an ultra-compact camera, the HDL-F25, ideal for aerials with gyro-stabilized mounts.

Grass Valley will also exhibit two slow-mo cameras, the LDK8300 3X HD super slo-mo camera, and the LDK8000 SportElite 2X HD slow-mo camera.

Sony typically comes to NAB with both barrels blazing. Last year, it introduced the long anticipated PDW 700, the first 2/3-inch XDCAM camcorder. This year, many are hoping to see an HDCAM SR 4:4:4 camcorder, a much sleeker version of the F35/SRW-1 combo. While rumors abound, no one will confirm or deny anything. (But they do encourage you to attend NAB.)

Sony has announced a new XDCAM HD field recorder, the PDW-HR1 with jog/shuttle control, which also records MPEG IMX, 4:2:0 HD 24P, and DVCAM.

There will be some useful new camera accessories, also, like the HDVF-C30WR, a new HD eyepiece, with improved color accuracy and contrast for use with many Sony HD cameras such as the CineAlta F23 and F35 cameras as well as HDCAM and XDCAM models.

For its popular half-inch PMW EX1 and EX3 camcorders, Anton Bauer presents a power adapter/mount to adapt its Hytron and other 14.4 V camera batteries. This not only beefs up the power supply but provides better ballast and balance for on-shoulder shooting.

Sony will also add an HD lipstick camera, the HXR-MC1 and the HXR-MC1 controller/recorder, with six-hour capacity (AVCHD) on a 16GB Memory Atick.

Also featured is its HVR Z5 HDV camcorder, which records 1080i, 1080/24p and 1080 30p HDV to tape, and to a dockable flash recorder.

LENSES

Rumor has it that several lens manufacturers may introduce new PL mount lenses at NAB this year to meet the growing demand, caused mainly by the surge in the use of large-format digital cameras.

‘Red is making a huge impact on our market and there isn’t an abundance of lenses now for all the new digital and film cameras in use,’ says PS Production’s Lowell Schrieder. ‘We’ve managed to meet the demand so far, but hope to buy some new lenses this year.’

While many manufacturers are keeping their cards close to the vest before NAB, here is a glimpse of what to anticipate.

ARRI brings its newest set of prime lenses, its Master Primes, to NAB. This set of 14 superior prime lenses made its debut last fall, but has never been to NAB. The lenses range from 14mm to 150mm and boast superior optics and speed. ARRI sources hint that still more new PL-mount lenses may be forthcoming at NAB. You may even get a chance to have a peek at one, or a Master Prime, on ARRI’s newest digital cine camera, the D21.

Canon Broadcast will introduce a wider wide-angle HD lens, the HJ14ex4.3B, with an exceptional 14X zoom range and with Digital Drive ergonomics and operability.

It will also show its (HD-EC) prime lenses and three HD-EC cine-style zooms, plus the ACV-235 Anamorphic Converter, which enables super 35 shooting with 2/3-inch cameras.

Cooke Optics showcases its ‘i’ Intelligent Technology, which enables film and digital cameras to automatically record key lens and camera metadata for every frame captured for use in post. Digital cameras equipped with the requisite i-pins now include Red One.

Fujinon will showcase its HD Select Series of economical ‘pro-grade’ HD lenses for mid-level pro (2/3-inch) cameras. They include: the ZA22x7.6BERM HD telephoto, ZA12x4.5BERM HD wide-angle and ZA17x7.6BERM HD standard lenses. All offer digital features like Inner Focus/Quick Zoom, One Shot Preset and Cruise Zoom.

Rumors indicate that Fujinon is also likely to introduce some new PL mount digital cine lenses to complement its B4 mount options. The latter include primes, compact-style cine zooms and super cine-style zoom lenses. If you don’t attend NAB, check the website for updates.

Thales Angenieux complements its standard DP 30-80mm Rouge lens with its new wide-angle DP Rouge 16-42mm lens. Both have PL mounts and are optimized for use with large-format cameras like Red One.

TRIPODS FOR THE RED ONE

Oconnor Engineering ergonomically redesigned its Ultimate 2575 Fluid Head, with all controls now on the operator’s side (left) for easier adjustment and with more pan bar mounting points. Counterbalance specs and other key features of the Ultimate 2575 C are the same..

For HDV-type camcorders, Sachtler adds the FSB 8 and FSB 4 fluid heads to its FSB series with three-step damping and five-step counterbalance, plus Speed Balance technology. The FSB8 handles payloads to 22 pounds, while the FSB4 is limited to 8.8 pounds.

But, really, there’s no fun just reading about what’s in a candy shop. You have to see it for yourself.