MAY 2014
Vol 202
NAB 2014 Part One I must say that I enjoyed this year’s show more than most. Perhaps it was that there were some real improvements in the products that many vendors had to offer; perhaps I’m getting better at time management so I can spend it where I want and not be racing from one end of the halls to the other ( at least 10 minutes at a fast clip ); perhaps the fact that I got to bed early each show night or perhaps the incentive that I had two weeks travelling around the National Parks of Colorado, Utah and California with my wife after the show was over. Anyway, it was a very good show and there are lots of things to tell you. I’ll start with DVT because I wanted you to see the photo in colour and they deserve to be first because they are such great supporters of our little publication. Let us begin back in New Zealand with Chris Barr from DVT because, somehow, we didn’t quite get to meet at NAB – however, that’s another story. We will include a photo of Chris “Photoshopped” into a typical Las Vegas scene, so you know what he looks like, as he’s telling us what he found interesting this year when he wasn’t with me.
“Now where was I supposed to meet Grant?”
Chris: I think the biggest thing I got from NAB was the fact that the ability to get access to a 4K camera is easier than it ever has been, but also that there is a camera to suite any budget. But of course too its all well and good that you can get access and have the ability to shoot 4K, you still need to ensure that you have a post-production workflow that will allow you to do so. What we have now, and what was shown at the show, are vendors providing software and hardware solutions making it possible to consider shooting 4K. For those that are unsure as why they need to consider 4K, they need to know I guess, situations where consideration needs to be made in favour of 4K eg. is the content saleable to an overseas market, is it an historical event? Do you shoot for creative needs, eg. green screen or template?