ARRI unveiled the D-21, an upgrade to its digital cinema D-20 single Super 35mm CMOS sensor camera. The D-21 can utilize standard 35mm PL-mount film lenses as well as new 35mm lenses developed for digital cinematography. As it is the only high-end camera with 35mm’s 4:3 aspect ratio, it is the only one that can utilize anamorphic lenses to get a Cinemascope look. It features a rotating mirror shutter that enables progressive image capture with film-like motion.

The camera provides RAW sensor output for a 2K workflow or a number of HD formats. It can capture uncompressed ARRIRAW via Dual Link HD-SDI and simultaneously output compressed HD for video monitoring and offline editing. In HD mode, it can output 4:2:2 YPbPr or 4:4:4 RGB with frame rates up to 60fps. Unlike the D-20, the D-21 was supposed to be available for purchase, but at this time it can only be rented, mostly via the same network of rental houses with the D-20.

At the Polecam booth, CAMERA CORPS showed its HD MiniZoom, a miniature (3.8 x 1.9 x 1.8 in.) camera with remotely-controllable 10x zoom lens. Its single 1/3-inch, 2-megapixel CMOS sensor captures 720p/1080i in 50/59.94 Hz. The camera can be used in full auto mode with remotely controlled pan and tilt when in the weatherized Fishface housing. It can be coupled to camera mounts such as the Polecam and has a standard 37mm screw fitting, which can take various wide-angle adapters. It is packaged with Convergent Design’s Flash XDR recorder.

CANON unveiled its XL H1A and XL H1S HD shoulder-mount camcorders, twin upgrades to the XL H1 HDV camera. Both use the same 16:9, 1.67-megapixel CCDs (1440x1080) and Digic DVII sensors but have an expanded menu of options for customizing the camera’s performance and interface, including enhanced color matrices, color correction, gamma and gain levels, custom functions and noise reduction. The new menu system matches that used by Canon's XH A1 and XH G1 HDV cameras, allowing for easy settings interchange.

While the H1A/H1S' interchangeable lens looks much the same as that on the XL H1, updates include optical stabilization, better manual and tactile control with slower turning focus and exposure rings, f-stops boldly marked on the exposure ring, and a 6-pin IEEE 1394 terminal. The XL H1A lacks the JackPack (genlock, timecode, HD-SDI) of I/Os bundled with the original XL H1 and XL H1S, which saves more than $3,000 on the list price.

HITACHI introduced the portable, dockable SK-HD1000, a two-piece HD studio and field production camera with 2.2-megapixel CCDs, horizontal resolution of 1,100 TV lines, 14-bit A/D conversion, 60dB S/N ratio (at f/10) and enhanced gamma adjustment for digital cine applications. As a field production camera, it can be used with digital coax or triax cable or fiber and can include a 1080i/720p cross-converter. Sometime early in 2009, it will be the first camera to mate with the dockable P2 HD recorder being developed by Panasonic.

ICONIX announced production of the Studio2K camera, the next generation of its ultra-compact HD-RH1F. Compatible with the current line of Iconix cameras, the two-piece Studio2K camera captures and outputs video for 2K digital cinema formats, including 2048x1080p and 2048x1080PsF at rates of 23.98, 24, 25, 29.97 and 30fps; HD resolutions of 720p, 1080i and 1080p at rates of 24, 25, 30, 50 and 60fps; and NTSC and PAL. 2K data is output via the camera’s Dual Link HD-SDI ports at 4:4:4 RGB.

As expected, IKEGAMI introduced its GFCAM camera system, which comprises the GFCAM HDS-V10 tapeless camcorder, GFSTATION GFS-V10 studio deck and GFPAK Flash media. The HDS-V10 features three full-raster 1920x1080 HD CCDs that capture multiple 1080i, 720p and SD digital video formats to the GFPAK (up to 128 minutes). The camera also offers retro-loop recording, critical in news, sports and nature photography. The GFCAM represents a collaboration between Ikegami and Toshiba: Ikegami built the camera section of the camcorder, while Toshiba supplied the record section, the GFSTATION recorder/player and the GFPAK record media, available in 16GB, 32GB and soon 64GB capacities. As well, Ikegami showed the economically priced HDK-77EX HDTV studio camera and CMOS-equipped HD cameras including the HDK-79EC native multiformat system for studio and field use.

I-MOVIX unveiled the SprintCam Live V2 camera system, which provides the ability to capture, replay and store ultra-high-speed HD footage in real time. SprintCam Live V2 records in both 1080i and 720p formats and is the only high-speed system able to shoot up to 8,000fps with a direct playout in SD or HD. Based on the Photron SA-1.1 camera and a Fujinon DigiPower broadcast lens, SprintCam Live V2 boasts full broadcast integration and is operated via two remotes: one for slow-motion replay and the other for color settings. It currently records to servers and disk recorders like those from EVS. I-Movix announced after the show that the SprintCam Live V2 will provide extreme-slow-motion HD coverage at the Beijing Olympic Games.

JVC's focus was on its 720p/1080i-selectable GY-HD200UB ProHD camcorder and MR-HD200U camera-mounted media recorder for the company's Pro HD 200 Series camcorders. The shoulder-mount HD200UB camera provides selectable live transport stream output capability of 1080 60i/50i signals or 720 24p/25p/30p/50p/60p through the IEEE 1394 connection. That same output signal can also be recorded to the ProHD DR-HD100 hard disk recorder as either .m2t or .mov QuickTime files.

P+S TECHNIK showcased the high-speed Weisscam HS-2, a variabl-speed specialty camera capable of imaging up to 4,000fps in 720p, 2,000fps in 1080i and 1,500fps in 2K. The camera can output in 4:2:2 YC, 4:4:4 RGB and RAW 12-bit for 1080i and 720p, as well as RAW 12-bit uncompressed in 2K. A companion onboard Weisscam DM-2 recording magazine was also on display, which provides up to 4TB of storage in the HS-2's various formats. The DM-2 features a built-in monitor for instant preview.

PANASONIC announced a pair of P2 solid-state recording-enabled VariCam camcorders: the two-megapixel VariCam 3700 (AJ-HPX3000) and one-megapixel 2700 (AJ-HPX2700). The cameras feature 2/3-inch native HD imagers and full-resolution 10-bit 4:2:2 AVC-Intra 100 recording, with the 3700 capable of 4:4:4 RGB Dual Link live HD-SDI output. Both cameras provide variable frame rates in one-frame increments, HD-SDI output of 23.98PsF/24PsF, and a multi-gamma function including Film-Rec for a look similar to recording on film.

Panasonic also upgraded its AG-HVX200 P2 camcorder. The HVX200A features a 1/3-inch 16:9 progressive 3-CCD imager with an effective resolution of 1.1 million active pixels (using spatial offset). It offers a higher S/N ratio and better low-light performance than the HVX200. While the HVX200A has advanced DSP (14-bit A/D, 19-bit inner processing), it offers the same range of digital formats and discrete frame rates (12-60fps).

A new P2 camera with digital cinema attributes is the AG-HPX170. It offers CineGamma mode, 20 discrete frame rates (12-60fps), switchable aspect ratios and recording of digital formats spanning 1080i, 1080p, 720p and 480i. It offers pre-record, loop, interval and one-shot recording. The HPX170 records up to 64 minutes of DVCPRO HD on two 32GB P2 cards. It also has SD/HD-SDI, IEEE 1394, component and composite outputs, two XLR audio inputs and a built-in stereo mic. It ships this fall.

For tighter budgets, Panasonic’s handheld AVCHD AG-HMC150 camcorder can record hours of high-quality 1080 and 720 HD onto solid-state SD and SDHC memory cards at lower bit rates than current HDV formats. It records in several quality modes (6-24Mb/s), with the enhanced quality mode averaging 21Mb/s.

PHOTRON introduced a higher-speed, higher-resolution version of its Fastcam SA1 camera system; the SA2 is capable of 5,400fps at 1Kx1K resolution and 1,000fps at 2Kx2K. In 720p mode it can record up to 4,000fps and is sensitive enough to do so in less than ideal lighting.  Further, the system can image at up to 10,000fps at 512x416-pixel resolution. The SA2 records to 32GB of onboard RAM and can output to larger storage via Gigabit Ethernet and dual channel HD-SDI. The 12-bit CMOS camera uses PL-mount film lenses.

RED DIGITAL CINEMA's NAB camera announcements included Epic, said to be a 5K camera, and Scarlet, said to be a pocket-sized 3K digital cinematography camera priced at under $3,000. Both cameras are expected to be available next year.

RED's Epic, which will be slightly smaller than the RED ONE, features a full-frame, Super 35mm-sized Mysterium X sensor. The camera will record at up to 100fps and will provide up to 100Mb/s REDCODE RAW and RGB recording to RED FLASH.

Based on a 2/3-inch 3K Mysterium sensor, Scarlet will shoot 1-120fps and offer an attached 8x zoom lens. It will be compatible with many of the accessories of the RED ONE camera. RED’s Ted Schilowitz is convinced that Scarlet will have broad appeal. “Everyone from soccer moms to Hollywood will be using it. It’s not a toy, but an affordable tool for serious work. We’re building cameras for the future, not just for today.”

SILICON IMAGING and partner P+S Technik added a suite of features to the SI-2K digital cine camera including a film-camera-style optical viewfinder, OLED electronic viewfinder, stereo 3D capabilities, and multi-camera frame-accurate synchronization and recording. There is also a Mini-Rig for ergonomic single-handed or shoulder-mounted camera operation, a modular upgradeable SI-2K enclosure, and integrated CineForm RAW QuickTime recording, plus other new software-based functionality.

SONY introduced several HD camcorders, but none generated as much buzz among producers and shooters in the middle of the pack as the PMW-EX3. While some regard it as an EX1 with interchangeable lenses (but at twice the cost), it is actually more than that. Besides its three 1920x1080 CMOS sensors, it offers key features for multi-camera use including genlock, timecode I/O and remote control. It can continuously record up to 280 minutes onto two 16GB SxS memory cards at 25Mb/s. Another great feature is its external variable speed dial, which enables changing frame rates with the push of a button and twist of a dial. This and its native 23.98 frame rate are among the many reasons that this camera is included in Sony’s elite CineAlta family.

The PDW-700, also in the XDCAM family, was the news that many broadcasters have been awaiting: an XDCAM HD camera with 2/3-inch sensors, two-channel HD-SDI and composite outputs. It has pool feed inputs, i.LINK and Ethernet, 4:2:2 color sampling, four-channel audio and the ability to record 1080i and 720p at 50/60Hz at up to 50Mb/s, all for under $30,000. There is also a half-rack VTR, the PDW-HD1500, with SD/HD-SDI, i.LINK, Ethernet I/Os and a recording capacity of 200 minutes at 25Mb/s.

Sony also unveiled the F35, a high-end offering with a single sensor of beyond 1920x1080 capable of 4:4:4 capture of 1080p at 1-50fps. Superficially, it is almost identical to the F23, including its integration with the SRW-1 recorder, but it uses PL-mount lenses for shallower depth of field. “It's basically the F23 with PL-mount lenses and the [Panavision] Genesis sensor," says Michael Bravin, director of camera sales at Band Pro.

On the lower end of the price spectrum, Sony introduced three HDV camcorders: the HVR-Z7U (handheld), HVR-S270U (shoulder-mount) and HVR-HD1000U (shoulder-mount). All three utilize Sony’s 1/3-inch ClearVid CMOS sensors fortified by Exmor technology for high-res, low-noise imaging even in low light (1.5 lux). The Z7U and S270U offer 24p and 30p native recording plus 1080i HDV, DVCAM and DV. The S270U is available with SD/HD-SDI.

THOMSON GRASS VALLEY introduced the Infinity DMC 1000/20 to its Infinity tapeless camcorder line. The new camera uses two new types of Infinity REV PRO removable hard drives: REV PRO XP (extra performance), sporting higher data transfer speeds on and off the disk pack, and REV PRO ER (extended recording), capable of storing up to 80 minutes of 10-bit, 4:2:2 HD video on a single 65GB disk. The DMC 1000/20 offers the same feature set as the DMC 1000/10, including three 2/3-inch progressive 1920x1080 native HD Xensium CMOS imagers for acquisition in HD and SD, at 50Hz and 59.94Hz.

VISION RESEARCH's Phantom high-speed camera systems were on display at the show. Phantom HD is capable of 1,000fps operation at resolutions beyond 2K, while Phantom 65 can deliver 4K resolution at a frame rate up to 140fps. Phantom 65 uses a single film plane imager the size of a 65mm film negative, allowing the use of lenses designed for that format to provide the depth of field and image view that 65mm offers.

Vision Research also showed its CineMag Flash memory cartridge, which mounts on top of the Phantom HD or Phantom 65 to record uncompressed images of the high-speed camera systems. CineMag will be available in the fall in 256GB and 512GB loads.

Vision also introduced Miro, an extremely compact high-speed digital video camera with a maximum resolution of 800x600. This rugged camera can take 512x512 images at up to 2,200fps. Only double the size of a high-end DSLR, Miro is ideal for very tight situations and for lower-budget shoots where full HD is not required. For HD, there is the Phantom v5.2, which records at up to 1,000fps at its maximum resolution of 1152x896 and up to 148,000fps at lower resolutions.

LENSES

16x9's line of lens accessories for compact HD camcorders includes the EX Super Fisheye, a single-element fisheye adapter that adds 0.4x magnification, and the EX 1.5X Tele Adapter, which adds 1.5x magnification to the telephoto zoom range. Also on display was the EX 0.7X Wide Converter, which attaches to the 62mm threads on the front of a compact HD camcorder's lens, enabling 30 percent more wide-angle coverage.

ABEL CINE TECH and Wolfgang Roessel of CPT introduced the HD Scope, a borescope/snorkel lens with a 2/3-inch B4 mount for HD use. It can be rotated and panned 360 degrees and is optimized for use with high-end cameras such as Sony's F23 and F900R and Panasonic’s VariCam and HPX3000.

BAND PRO FILM & DIGITAL introduced the Zeiss +0.5 DigiDiopter, which works with Zeiss DigiPrime and DigiZoom lenses as well as other 2/3-inch HD lenses, providing increased close-focus range and magnification capability. Band Pro also expanded its Zeiss DigiPrime line for 2/3-inch, 3-CCD HD cameras with the addition of two prime lenses: the 135mm T1.9 and 52mm T1.6.

In partnership with SCHNEIDER KREUZNACH, Band Pro introduced a line of HD C-mount lenses designed to enhance the performance of 1/3-inch HD cameras including the Iconix HD-RH1F. According to Band Pro president Amnon Band, “With the growing use of these [1/3-inch] cameras, we saw there was also a growing need for a new generation of high-end optics that would free them from the limitations of SD and raise their performance to the level of true high definition.” The team plans to produce a family of lenses beginning with wide angle, normal and telephoto primes in 2009, with an eye to creating additional focal lengths and zooms in the future.

In addition to unveiling two DIGISUPER HD studio lenses, CANON touted its HDgc line of HD lenses for the 1/2-, 2/3- and 1/3-inch imagers on lower-cost tapeless HD ENG cameras. The higher-end eDrive Series of HDgc lenses are designed for cameras with 2/3-inch imagers and include a built-in 2x extender and Canon’s digital eDrive feature, which enables users to program such functions as zoom and focus settings into the lens for precise, automated repeatability.

Canon also showed its HD-EC (High-Definition Electronic Cinematography) prime and zoom lenses, designed for digital HD “24p” production, and the ACV-235 Anamorphic Converter, which captures very wide aspect ratio (2.35:1) images with 2/3-inch 24p digital HD cameras.

CAVISION introduced a pair of 0.4 fisheye lens adapters and the 6x6 Universal Matte Box, which sports three universal filter stages (two rotating) with swing-away feature. This matte box is designed for 16:9 aspect ratio and can accommodate most wide-angle lenses. Cavision also offers a 16:9 matte box and 4x5.65 hard shade matte box for Sony's EX1 that avoid the camera's low microphone.

CMOTION showcased its cdisplay II, which displays lens information and offers a touchscreen camera control display for both film and video operation.

Although not exhibiting at NAB, COOKE OPTICS announced in April that Silicon Imaging has incorporated support for the Cooke-developed /i technology into its SI-2K digital cinema platform. /i technology enables film and digital cameras to automatically record key lens and camera data for every frame shot and provide it to postproduction teams digitally.

FUJINON introduced the HD Select Series, a family of cost-effective HDTV ENG lenses for 2/3-inch HD video cameras that includes the ZA22x7.6BE telephoto, ZA17x7.6BE standard and ZA12x4.5BE wide angle. For sports broadcast applications, the company unveiled the XA88x12.5BES super telephoto HD lens with 88x magnification.

There were also specialty lenses at the show. INNOVISION OPTICS announced the first production models of DV Probe, a 19-inch tubular add-on lens system that can focus down to half an inch with just half a stop light loss. DV Probe’s interchangeable straight and 45-degree attachments enable shooting from an ultra-low perspective. An invaluable tool for extreme close-ups, DV Probe lets operators shoot less than 4mm from the front element. Developed in conjunction with Schneider Optics, DV Probe is waterproof to a depth of 17 in.

In addition to showing a prototype 3D Mirror Rig, which offers the ability to create stereoscopic films without the limit of a side-by-side camera system, P+S TECHNIK launched a new camera front with Interchangeable Mount System (IMS) for the RED ONE camera. The IMS consists of an intermediate flange and lens-mounting rings to use hundreds of film and still photography lenses—including ARRI PL-mount, Panavision mount, BNC-R mount, professional F-mount, Nikon F-mount, Canon EF-mount, Canon FD-mount, Contax mount, Leica-R mount and Leica-M mount—on the RED camera.

SCHNEIDER OPTICS introduced a line of Century HD lens accessories for Sony's EX1 camcorder including the 0.6x HD Wide-Angle Adapter, 0.75x HD Wide-Angle Converter, 1.6x HD Tele-Converter, Super Fisheye HD Adapter and Extreme Fisheye HD Adapter. These accessories attach easily to the outer threads (or other mount) of the fixed camera lens.

THALES ANGENIEUX launched the Optimo DP (Digital Production) Series of lenses for large-format HD video production cameras. The first lens of the series, a 30-80mm zoom lens nicknamed Optimo Rouge for its red trim and in recognition of its pairing with the RED ONE camera, is optimized for 4K cameras with single-chip imagers.