• Thursday, Sep. 16, 2021
COVID Delta surge prompts cancellation of NAB Show 2021
Chris Brown
LAS VEGAS -- 

This year’s NAB Show--slated for Oct. 9-13 in Las Vegas--has been canceled due to concerns with the surge of COVID cases related to the Delta variant.

Chris Brown, EVP and managing director of global connections and events at the National Association of Broadcasters, said that the increase in COVID “has presented unexpected and insurmountable challenges for our global community. As we have always kept the best interest and safety of the industry as our priority, it has become apparent in the face of these challenges that we can no longer effectively host NAB Show or our co-located events, the Radio Show and Sales and Management Television Exchange, in person.”

Brown noted that NAB will soon share details regarding virtual options for accessing select 2021 NAB Show content through Delta Amplify, the group’s digital hub.

Plans still call, however, for the 2022 NAB Show to be held next spring. Brown stated, “While we are disappointed that we will not be together again in person next month, we look forward to converging in Las Vegas at the 2022 NAB Show, April 23-27, 2022, to reignite our passion for our business and focus on a bright future ahead.”

  • Wednesday, Sep. 8, 2021
Silicon Valley finds remote work is easier to begin than end
Kelly Soderlund poses at a workstation in the TripActions office in San Francisco, Friday, Aug. 27, 2021. Switching to a hybrid work model is ideal for people like Soderlund, a mother of two young children who works in offices in San Francisco and Palo Alto, California, for TripActions, which has about 1,200 employees worldwide. (AP Photo/Eric Risberg)
SAN FRANCISCO (AP) -- 

Technology companies that led the charge into remote work as the pandemic unfurled are confronting a new challenge: how, when and even whether they should bring long-isolated employees back to offices that have been designed for teamwork. 

"I thought this period of remote work would be the most challenging year-and-half of my career, but it's not," said Brent Hyder, the chief people officer for business software maker Salesforce and its roughly 65,000 employees worldwide. "Getting everything started back up the way it needs to be is proving to be even more difficult."

That transition has been complicated by the rapid spread of the delta variant, which has scrambled the plans many tech companies had for bringing back most of their workers near or after Labor Day weekend. Microsoft has pushed those dates back to October while Apple, Google, Facebook, Amazon and a growing list of others have already decided wait until next year.

Given how they set the tone for remote work, tech companies' return-to-office policies will likely have ripple effects across other industries. Employers' next steps could redefine how and where people work, predicts Laura Boudreau, a Columbia University assistant economics professor who studies workplace issues.

"We have moved beyond the theme of remote work being a temporary thing," Boudreau says. The longer the pandemic has stretched on, she says, the harder it's become to tell employees to come back to the office, particularly full time.

Because they typically revolve around digital and online products, most tech jobs are tailor made for remote work. Yet most major tech companies insist that their employees should be ready to work in the office two or three days each week after the pandemic is over.

The main reason: Tech companies have long believed that employees clustered together in a physical space will swap ideas and spawn innovations that probably wouldn't have happened in isolation. That's one reason tech titans have poured billions of dollars into corporate campuses interspersed with alluring common areas meant to lure employees out of their cubicles and into "casual collisions" that turn into brainstorming sessions. 

But the concept of "water cooler innovation" may be overblown, says Christy Lake, chief people officer for business software maker Twilio.

"There is no data that supports that really happens in real life, and yet we all subscribe to it," Lake says. "You can't put the genie back in the bottle and tell people, 'Oh you have to be back in the office or innovation won't happen.' "

Twilio isn't bringing back most of its roughly 6,300 employees back to its offices until early next year at the earliest, and plans to allow most of them to figure how frequently they should come in.

This hybrid approach permitting employees to toggle between remote and in-office work has been widely embraced in the technology industry, particularly among the largest companies with the biggest payrolls. 

Nearly two-thirds of the more than 200 companies responding to a mid-July survey in the tech-centric Bay area said they are expecting their workers to come into the office two or three days each week. Before the pandemic, 70% of these employers required their workers to be in the office, according to the Bay Area Council, a business policy group that commissioned the poll.

Even Zoom, the Silicon Valley videoconferencing service that saw its revenue and stock price soar during the pandemic, says most of its employees still prefer to come into the office part of the time. "There isn't a one-size-fits-all approach to returning to the office," Kelly Steckelberg, Zoom's chief financial officer, recently wrote  in a blog post. 

But the biggest tech companies, which have profited even more than Zoom as the pandemic that made their products indispensable for many workers, aren't giving employees much choice in the matter. Apple, Google, Amazon, and Microsoft have made it clear that they want most of their workers together at least a few days each week to maintain their culture and pace of innovation.

That well-worn creed sounds like backward thinking to Ed Zitron, who runs a public relations firm representing technology companies — and which has been fully remote since it launched in 2012.

The only reason to have an office, he says, is to satisfy managers with vested interests in grouping people together "so that they can look at them and feel good about the people that they own ... so that they can enjoy that power."

Switching to hybrid work is ideal for people like Kelly Soderlund, a mother of two young children who works in offices in San Francisco and Palo Alto, California, for travel management company TripActions, which has about 1,200 employees worldwide. She couldn't wait to return when the company partially reopened its offices in June, partly because she missed the built-in buffer that her roughly one-hour commute provided between her personal and professional life.

"When I don't have that, I wake up in the morning, I start doing work and I take my kids to their camp or their daycare," Soderlund says. "And then I come back and I work and then we pick them up, make dinner and then I go back to work. So, it feels like it's just work all the time."

Soderlund believes being together in an office leads to more collaboration, although she also learned from the pandemic that workers don't need to be there every day for teamwork to happen.

Camaraderie and the need to separate work from home are among the top reasons employees at business software maker Adobe Software cite for coming back to the office, said Gloria Chen, chief people officer for one of Silicon Valley's older companies. Working from home "is here to stay, but we also continue to value people coming together," she said.

The transition from the pandemic should enable smaller tech companies to adopt more flexible work-from-home policies that may help them lure away top-notch engineers from other firms more insistent on having people in the office, says Boudreau, the Columbia University scholar.

"Labor markets are relatively tight now, so employees have more bargaining chips than they have had in a while," Boudreau says.
 
Ankur Dahiya, who launched his software startup RunX last year during the pandemic lockdowns, believes that remote work has helped him hire employees that otherwise may not have been candidates. The eight-worker startup rents a San Francisco office one day a week so Dahiya can meet with employees who live nearby, but other employees are in Canada, Nevada, and Oregon. The workers living outside of California have been flying in once every three months for "super productive" meetings and brainstorming, says Dahiya, who has previously worked at Facebook and Twitter.

"I've worked in offices for the last 10 years and I know there's just so much time lost," Dahiya says, recalling all the random conversations, lengthy meetings, aimless wandering, and other disruptions that seem to occur in those settings.

Twilio's Lake is hoping the remote-work experience will transform employee behavior in the office, too, once they come back. She hopes that the remote experience will have given employees a chance to better understand how their teams work.

"I think more than anything it is going to cause us to become more intentional about when, why and how we come together," she says.

  • Wednesday, Sep. 1, 2021
RED launches next generation DSMC3 camera system with new V-RAPTOR 8K VV
V-RAPTOR  8K VV camera
FOOTHILL RANCH, Calif. -- 

RED Digital Cinema® has unveiled the new V-RAPTOR  8K VV camera, launching its first entrant into the next generation DSMC3 platform. Building on RED’s dedication to advancing image quality, the camera is RED’s most powerful to date. It features the highest dynamic range, fastest cinema-quality sensor scan time, cleanest shadows, and highest frame rates of any camera in RED’s lineup. It is designed to provide unmatched performance for a variety of shooting scenarios.

Priced at $24,500, a white ST version of the camera is available for purchase while supplies last. The black version will be available in larger quantities before the end of 2021. RED also announced a forthcoming XL camera body will be released in the first half of 2022. The XL will be ideally suited for studio configurations and high-end productions, based on feedback to the RED RANGER body style.

V-RAPTOR features a multi-format 8K sensor (40.96mm x 21.60mm) with the ability to shoot 8K large format or 6K Super 35. Joining its predecessor, the MONSTRO 8K VV sensor, this unique in-camera option for impactful visual storytelling allows shooters to leverage any of their large format or S35 lenses with the push of a button and always deliver at over 4K resolution.  

The V-RAPTOR far exceeds previous sensor capabilities, presenting users with the option to capture 8K full sensor at up to 120 frames per second (150fps at 2.4:1), 6K up to 160 fps (200fps at 2.4:1), and 2K (2.4:1) at 600 frames per second, while still capturing over 17 stops of dynamic range. 

“V-RAPTOR is more than just its specs. It is a reflection of the ferocity of our team, who have spent the last two years forced apart. Through everything, we found a way to work together closer and better than ever before, fueled by the incredible passion and support of our community of filmmakers. V-RAPTOR takes an impressive array of silicon, seemingly from the future, and mashes it together with pieces of the heart and soul of every RED camera that has come before it,” said Jarred Land, president, RED Digital Cinema 

V-RAPTOR, as with the other cameras in RED’s ecosystem, harnesses RED’s proprietary REDCODE RAW codec, allowing users to capture 16-bit RAW and leveraging RED’s latest IPP2 workflow and color management tools.  

This highly anticipated DSMC3 camera is built on a newly integrated and modernized form factor while featuring a robust professional I/O array that includes two 4K 12G-SDI outputs, XLR audio with phantom power capability via adapter, and built-in USB-C interface allowing for remote control, ethernet offload, and more. All features are packaged in a compact, rugged, water, and dust resistant design that measures 6 x 4.25 inches and just over 4 pounds. Other highlights include an RF lens mount with locking mechanism; wireless control and preview via Wi-Fi; phase detection autofocus; and a newly designed and easy-to-navigate integrated display, located on the side of the camera, which allows for comprehensive controls, including in-camera format selection, customized buttons, status updates, and more. 

As with RED’s most recent camera, the RED KOMODO 6K, V-RAPTOR utilizes the updated and streamlined REDCODE® RAW settings (HQ, MQ, and LQ) to enhance the user experience with simplified format choices optimized for various shooting scenarios and needs.

Additional features include data rates up to 800 MB/s using RED branded or other qualified CFexpress media cards; integrated micro v-mount battery plate; a 60mm fan for quieter and more stable heat management; and wireless connectivity via the free RED Control app, which is available now for iOS and Android devices.

“We at RED are truly thrilled to finally show off V-RAPTOR to the filmmaking community around the globe. The fact that we are introducing yet another groundbreaking camera into the market is a testament to the hard work and dedication of all the employees across the board at RED. It is simply a part of our DNA to continue the brand’s legacy of disrupting the industry and providing filmmakers with the most advanced tools possible to unleash their wildest creative ideas without ever compromising,” stated RED founder Jamin Jannard  

Also announced from RED is a comprehensive array of first-party and co-designed accessories. The engineering team at RED worked closely with industry-leading partners such as SmallHD, Angelbird, Core SWX, and Creative Solutions to create and produce purpose-built products specifically to work with V-RAPTOR.

Available accessories include:

  • DSMC3 RED® Touch 7” LCD monitor
  • V-RAPTOR™ Wing Grip
  • RED® PRO CFexpress 660GB and 1.3 TB (available soon) media cards
  • RED® CFexpress Card Reader
  • REDVOLT® MICRO-V Battery Pack
  • RED® Compact Dual V-Lock Charger

 
RED is additionally launching a pre-bundled V-RAPTOR Starter Pack option that comes with:

  • DSMC3 RED® Touch 7” LCD
  • RED® PRO CFexpress 660GB Card
  • RED® CFexpress Card Reader
  • 2x REDVOLT® MICRO-V Battery Pack
  • RED® Compact Dual V-Lock Charger
  • 2x V-RAPTOR™ Wing Grips
  • EXT to T/C Cable

 
Later in 2021, along with the launch of the black V-RAPTOR, an additional pre-bundled Production Pack option will be available. It will come with a robust accessory package that includes the DSMC3 RED Touch 7” LCD monitor, 2x RED Pro CFexpress 660GB Cards, RED CFexpress USB-C Card Reader, 4x RED Mini V-Lock 98Wh Batteries, RED V-Lock Charger, V-RAPTOR Tactical Top Plate with Battery Adapter; V-RAPTOR Expander Module; V-RAPTOR Top Handle; V-RAPTOR Quick Release Platform Pack; RED Production Grips; V-RAPTOR Side Ribs; and a DSMC3 RED® 5-Pin to Dual XLR Adaptor. 

Furthermore, a RED® RF-PL Adapter with an electronic ND filter will soon be available.

“We are excited to partner with our amazing Premium Dealers to bring this groundbreaking camera technology to market. V-RAPTOR joins KOMODO, RANGER and DSMC2 to create what we feel is the best and most versatile lineup of cinema cameras in the industry. We will continue to work with our Premium Dealers and all of our partners to provide the highest level of service to the global community of RED users,” stated Tommy Rios, executive VP, RED Digital Cinema

More information on the availability of the black version of V-RAPTOR and the accompanying V-RAPTOR Starter and Production Packs, as well as the V-RAPTOR XL, will be available soon.  

  • Tuesday, Aug. 31, 2021
Google to invest $1.2B in Germany cloud computing program
In this April 17, 2007, file photo, exhibitors work on laptop computers in front of an illuminated sign of the Google logo at the industrial fair Hannover Messe in Hanover, Germany. Google has announced that it is investing $1.2 billion by 2030 to expand its cloud computing infrastructure in Germany and to increase the use of renewable energy. The Internet giant said Tuesday that it plans to add new cloud computing centers in the Berlin region and in Hanau, a town near Frankfurt. (AP Photo/Jens Meyer, File)
BERLIN (AP) -- 

Google said Tuesday that it is investing 1 billion euros ($1.2 billion) by 2030 to expand its cloud computing infrastructure in Germany and to increase the use of renewable energy.

The internet giant said it plans to add new cloud computing centers in the Berlin region and in the town of Hanau, close to the DE-CIX data exchange in Frankfurt.

Google said it would purchase more than 140 megawatts of electricity from the German subsidiary of French utility company Engie over the coming years to operate the data centers.

The company said Engie will guarantee that 80% of the electricity comes from carbon-free sources, including a new solar park and 22 existing wind parks in Germany. Google said it aims to use 100% renewable energy by 2030.

Germany's economy minister, Peter Altmaier, called the announcement a "strong signal" for green energy and digital infrastructure.

  • Thursday, Aug. 26, 2021
Telestream Acquires Sherpa Digital Media Expanding Into Hosting And Distributing Live Event Productions
Nevada City, California -- 

Telestream®, a portfolio company of Genstar Capital and a leading provider of digital media tools and workflow solutions, has acquired Sherpa Digital Media, a live event hosting and distribution platform used around the world by Fortune 500 companies and others to stream content to their customers, employees, and members. Sherpa Digital Media has built its platform to handle virtual events at any scale reliably and with a high degree of security.

“Sherpa Digital Media has built a solid platform that many rely upon to stream their live, interactive events, and we intend to continue its development to expand into new areas such as using our Wirecast product to produce events distributed on the platform,” commented Dan Castles, CEO of Telestream.

“The Sherpa Team is very excited to be joining Telestream and are looking forward to contributing to continued growth as well as venture into new markets by leveraging the strength of Wirecast and the rest of the Telestream portfolio of solutions,” said Mark Strathdee, CEO of Sherpa Digital Media.

The fully featured live and on-demand event platform enables customers to create live events and webinars in just a few clicks. The platform includes breakout rooms, video hosting, marketing automation integration, secure streaming, customized look and feel, and the ability to scale up to hundreds of thousands of viewers.

Sherpa Digital Media is a privately held company headquartered in the San Francisco Bay Area that has been serving its customers with their streaming platform for 10 years. The team, based initially in the San Francisco Bay area, also includes a remote workforce which will be fully integrated into the Telestream family. Existing customers can expect to see additional resources being deployed to support the platform around the world.

  • Monday, Aug. 23, 2021
"The Protégé" graded in DaVinci Resolve Studio
Maggie Q in a scene from "The Protégé." (Jichici Raul/Lionsgate)
FREMONT, Calif. -- 

Nu Boyana Post Production deployed Blackmagic Design’s DaVinci Resolve Studio pipeline to complete picture post on Martin Campbell’s new thriller, The Protégé.

The film, which stars Samuel L. Jackson, Michael Keaton and Maggie Q, tells the story of two world class assassins who share a mysterious past. It rejoins the story when Anna’s (Maggie Q) mentor Moody (Jackson) is murdered. She and Rembrandt (Keaton) must form an uneasy alliance and return to Vietnam to track down his killer.

With cinematography by David Tattersall BSC (The Green Mile), Vanessa Taylor delivered the grade.

“It was fantastic to work with Martin and David, both creatives at the top of their game.” said Vanessa Taylor. “They were both on the same page in what they wanted so the grade was easy in that respect.”

According to Taylor, a key focus was guiding the audience through the story, focusing them on specific aspects crucial to plot development. “Your eye will always be drawn to the brightest part of any picture, by darkening or brightening areas, we led the audience through the narrative.”

“We gave a lot of attention to a motorbike scene featuring Maggie Q and Patrick. In the sequence camera angles are shot both forwards and backwards, capturing various color temperatures on the sensor. David and I worked closely on the balancing of this scene. We used a combination of primary and curve tools to achieve a match.”

One scene in particular which presented a challenge had a jungle monastery setting, said Taylor, “We needed to balance the greens out to remove spill reflecting on Maggie Q’s face.

“As soon as I pushed the primary temperature warmer, her lipstick pinged out. This can happen with some lipsticks that contain fluorescent pigments. The digital cameras pick them up, making the lips appear too luminous. I had to key her lips and alter the color of her lipstick to make the correction.”

One feature in particular that Taylor likes about using DaVinci Resolve is the LUT previews. “With the new color managed workflows in Resolve, we’re using LMTs a lot, which is a look file. So, the ability to roll over a clip and load it onto the image you are looking at as a preview is very handy.”

Taylor concluded, “A colorist’s role is primarily to enhance. The more you try to push an image from its natural starting point the more digital the result. What we do is complementary. It’s the most beautiful images that are the easiest to grade.”

The Protégé was released this past weekend.

  • Monday, Aug. 23, 2021
Weta Digital joins forces with SideFX to advance cloud production with Houdini software
Weta Digital CEO Prem Akkaraju
LOS ANGELES -- 

Visual effects studio Weta Digital has partnered with SideFX on a new software service combining Weta’s proprietary tools within SideFX’s award-winning Houdini application. The WetaH partnership will enable unprecedented levels of creativity, allowing artists to take advantage of the deep integration between Houdini and Weta Digital’s award-winning technology.

SideFX is a global leader in procedural 3D animation and visual effects tools in film, advertising, and gaming, with Houdini as the industry standard. This best-in-class collaboration offers Weta Digital’s integrations and extensions of the Houdini workflow, including Weta’s Loki multi-physics solver and high-performance compute paradigm, renowned for driving some of their iconic work in films like Avengers: Endgame, Alita: Battle Angel, and War for the Planet of the Apes.
 
This partnership validates the importance of modern procedural workflows in today’s forward-looking visual effects pipelines. It has an immediate impact on Weta’s cloud service, a new business unit brought to life as part of a vision to unite industry-leading technology players. Years of joint development work and a shared outlook underpin the inclusion of Houdini as a key part of Weta’s vision for how the entertainment industry will evolve.
 
“Partnering with SideFX was essential in realizing our vision for the cloud service, I cannot imagine doing this without them,” said Weta Digital CEO Prem Akkaraju. 
 
“The industry is moving to distributed architectures that will allow our cloud service model to reduce expensive technology barriers, further enhancing the natural strength of Houdini’s node-based procedural workflows and overall position in the market,” added Akkaraju.
 
“This is such an exciting time for new generations of Houdini artists,” says Cristin Barghiel, VP of product development at SideFX. “Partnering with the visionary minds at Weta Digital will enable us to bring the efficiency and sophistication of Houdini’s procedural workflows to the broadest possible artist base. Now even the smallest studio will be able to access production-proven tools out-of-the-box, for VFX and beyond.”
 
WetaH offers Weta Digital’s years-long R&D commitment to Houdini to the entire user community.  Architected and stress-tested by artists in service of the industry’s most visionary storytellers, WetaH will unlock the untapped potential of Houdini and the Houdini Engine across many facets of the pipeline. WetaH will enter private beta in Q4, alongside WetaM, as part of Weta’s software service, offering professional and prosumer tools to artists across the global entertainment industry. 

  • Thursday, Aug. 19, 2021
Adobe to acquire Frame.io in deal valued at $1.275 billion
Adobe's Scott Belsky, chief product officer and executive VP, Creative Cloud
SAN JOSE, Calif. -- 

Adobe (Nasdaq:ADBE) has entered into a definitive agreement to acquire Frame.io, a cloud-based video collaboration platform. With over a million users across media and entertainment companies, agencies, and global brands, Frame.io streamlines the video production process by enabling video editors and key project stakeholders to seamlessly collaborate using cloud-first workflows. The combination of Adobe’s creative software, including Premiere Pro and After Effects video editing products, and Frame.io’s review and approval functionality, will deliver a collaboration platform that powers the video editing process.

Whether it’s the latest binge-worthy streaming series, a social media video that sparks a movement, or a corporate video that connects thousands of remote workers, video creation and consumption is experiencing tremendous growth. Video teams must produce an ever-increasing volume of content, and each video project requires various stakeholders, including video editors, producers, agencies, and clients. Today’s video workflows are disjointed with multiple tools and communication channels being used to solicit stakeholder feedback. Frame.io eliminates the inefficiencies of video workflows by enabling real-time footage upload, access, and in-line stakeholder collaboration in a secure and elegant experience across surfaces.

  • Collaboration is the next wave of creativity: Digital collaboration is now the foundation of all creative endeavors. Adobe’s acquisition of Frame.io brings Adobe Creative Cloud’s collaboration services to video and builds on recent innovations for creative collaboration including Adobe Creative Cloud Libraries, Cloud Documents, Design Systems in Adobe XD, Adobe Stock, and Adobe Fonts, all of which together with Frame.io, will make it easy for teams to collaborate across Adobe Premiere Pro, Adobe Photoshop, Adobe Illustrator, and other Adobe Creative Cloud applications.
  • Video workflows must empower all stakeholders: With the combination of Frame.io and Adobe, Creative Cloud customers, from video editors, to producers, to marketers, will benefit from seamless collaboration on video projects with Frame.io workflow functionality built natively in Adobe Creative Cloud applications like Adobe Premiere Pro, Adobe After Effects, and Adobe Photoshop.
  • Innovation benefits the video ecosystem: Frame.io customers and partners will benefit from the company’s robust plug-ins and third-party application support along with the innovation generated by the combined Adobe Creative Cloud and Frame.io teams. With the addition of Frame.io, Adobe Creative Cloud’s commitment to enabling collaboration across all stakeholders of creativity extends beyond Adobe’s applications to the growing number of third-party applications across the creative ecosystem.

“We’ve entered a new era of connected creativity that is deeply collaborative, and we imagine a world where everyone can participate in the creative process,” said Scott Belsky, chief product officer and executive VP, Creative Cloud. “With this acquisition, we’re welcoming an incredible customer-oriented team and adding Frame.io’s cloud-native workflow capabilities to make the creative process more collaborative, productive, and efficient to further unleash creativity for all.”

“Frame.io and Adobe share a vision for the future of video creation and collaboration that brings together Adobe’s strength in video creation and production and Frame.io’s cloud-native platform,” said Emery Wells, Frame.io co-founder and CEO. “We’re excited to join Adobe to continue to drive video innovation for the world’s leading media and entertainment companies, agencies, and brands.”

Upon close, Frame.io co-founders Wells and John Traver will join Adobe. Wells will continue to lead the Frame.io team, reporting to Belsky. The transaction, valued at $1.275 billion, subject to customary purchase price adjustments, is expected to close during the fourth quarter of Adobe’s 2021 fiscal year and is subject to regulatory approval and customary closing conditions. Until the transaction closes, each company will continue to operate independently.

  • Thursday, Aug. 19, 2021
Facebook launches virtual-reality work app for meetings
In this April 14, 2020 file photo, the thumbs up Like logo is shown on a sign at Facebook headquarters in Menlo Park, Calif. (AP Photo/Jeff Chiu, File)
MENLO PARK, Calif. (AP) -- 

Facebook is trying to pull in workplace users with a new virtual-reality meetings app called Horizon Workrooms.

Workrooms lets people meet remotely in a virtual space populated by avatars. It's an app for Facebook's headset, which costs at least $300 and weighs a pound. 

People without a headset can join with a video call. Up to 50 people can be on the call, but only 16 can be in the VR space with avatars. For the full VR experience, users need to have a Facebook account.

Facebook CEO Mark Zuckerberg is a fan of the  "metaverse," a vague concept that encompasses augmented and virtual reality with new ways of connecting. He expects it to be the next stage of how people experience the internet. 

Virtual reality has never really taken off, even during the pandemic, when remote work became the norm for millions of office workers and made the videoconferencing service Zoom a household name. 

  • Wednesday, Aug. 18, 2021
Canon's new offerings include 4K UHD camcorder, 8K resolution zoom lens
Canon's XF605 4K UHD professional camcorder
MELVILLE, NY -- 

Canon U.S.A., Inc. is launching the XF605 4K UHD professional camcorder, slated to become available in mid-October, and the 8K resolution 10×16 KAS S, a new portable zoom lens for 8K broadcast cameras that feature a 1.25-inch sensor. The new lens is scheduled for release in late October..

The new XF-series professional camcorder comes equipped with a 1.0-inch CMOS sensor and the ability to record 4K/60p/4:2:2/10-bit/HDR video to dual on-board SD card slots. Equipped with Canon’s Dual Pixel CMOS AF1, the XF605 achieves high-speed and high-accuracy focusing, and is the first XF-series model to include Eye Detection AF, as well as improved face and head detection, enabling more accurate and stable tracking of subjects. The new camcorder also includes new video transmission functionality, making it an ideal tool for broadcast journalists.

Featuring a Canon L-Series lens with 15x zoom, 3-ring operation, a 1.0-inch CMOS sensor, and a DIGIC DV7 image processor, the XF605 allows for the capture of in-camera HDR video. Users also have the ability to leverage a high frame rate of up to 120 FPS when opting for Full HD recording. Canon Log 3 recording is also available, to provide additional color latitude. Weighing more than 21 ounces less than the XF705, (which is more than a 25% reduction), the XF605’s compact body is also 10% shorter in both length and height.

In addition, the camcorder provides professionals with a more intuitive user experience through features such as Direct Touch menu operations and touch-panel playback. By way of the newly released CTM2 mobile app for iOS, the XF605 can connect and transfer recorded video data via cable3 or wirelessly to compatible iOS devices and transfer proxy footage, audio, and metadata to servers at broadcast stations or other locations, thus making possible faster and more efficient workflows for broadcast operations. The camcorder features built-in Wi-Fi/Ethernet connectivity for Browser Remote, IP streaming, and FTP transfer. What’s more, the camcorder is also the first XF-series model to feature USB Video Class, allowing use as a webcam without the need for a third party HDMI to USB adapter.  

The XF605 is equipped with a new multi-accessory shoe. By connecting the XLR microphone adapter CA-XLR2d-C4 (sold separately) developed by TEAC Corporation, up to four channels of XLR input can be used together with the audio input of the XF605. This enables flexible audio recording workflow. 

The Canon XF605 4K UHD professional camcorder carries an estimated retail price of $4,499. 

Portable zoom lens
The new lens was designed to meet the ever-growing demand in recent years for ultra-high-resolution video production equipment, especially in such fields as sports broadcasting and documentary filmmaking. Furthermore, the new 8K lens cements Canon’s commitment to next-generation and innovative lens technology for a variety of content creation industries.

The lens features a fast constant aperture of f/2.8 across the entire zoom range that spans 16mm at the wide end to 160mm at the telephoto end, a zoom magnification of 10x. This combination of aperture speed and zoom range is ideal for events such as sports and live broadcasting, which often involve frequent changes in focal length, in order to provide immersive and high-resolution imagery with colorful and vibrant appearance. The Canon 10×16 KAS S lens is equipped with lens elements such as fluorite, UD lenses, Hi-UD lenses1 and wide-diameter aspherical lenses that help to reduce chromatic aberrations, spherical aberrations and other effects that could diminish image quality. Canon utilized its optical simulation technologies, honed and improved through the company’s history to determine the ideal placement of lens elements. What’s more, high-precision manufacturing operations and assembly technologies help to optimize manufacturing consistency for this type of lens class. Together, these features and procedures allowed for Canon to develop a lens with an image that is clear and sharp from the center to the periphery throughout the entire zoom range.

The lens also features a high-performance digital drive unit powered by the high-resolution 16-bit absolute value encoder digital drive unit that has a proven track record of use with 2/3-inch 4K broadcast zoom lenses. This makes possible high-precision position detection, which is vital for productions that incorporate virtual imaging systems.

 

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