NAB 2022 has come and gone. The rebirth of in-person events started modestly with a little over 50,000 in attendance. But the smaller numbers don’t reflect some of the advancements we saw.
The following companies stand out to me, and this week I’ll highlight their announcements.
In my mind, Adobe led the pack in more ways than one. With the acquisition of Frame.io earlier this year, Adobe acquired this cloud-based collaboration platform that enables you to stay connected with all your teams—on videos, images, and more—from anywhere on the planet.
Now we see the logic with all the companies that are joining in the ability to bring your video files from the camera to cloud as easily as possible. While Canon has added cloud accessibility directly, you can now use Adobe Frame.io with any camera via the debut of Atomos Connect to both the Shogun and the Ninja V and Ninja V+. And Frame.io is even avaible on AppleTV.
Even smartphone videographers are covered via FiLMiC Pro, so no one is left out of the cloud revolution.
For Premiere Pro, new features include a redefined workflow for import, export, and program navigation, along with AI-powered color grading.
Reimagined Import, Header Bar, and Export Experience – Following a public Beta, the redesigned core workflows are now more intuitive and visual:
Import focuses on media rather than project settings, letting video creators easily scan and scrub files for assembling media from different locations. This makes it faster for pros and easier for new users to get started.
Header Bar provides a cleaner, more centralized navigation so users can quickly switch between the core tasks of import, editing, and exporting.
Export lets users quickly upload media directly to popular destinations like YouTube, Facebook, and Twitter. It features intelligent presets that take the guesswork out of encoding and preparing files for delivery, making it easier for both new users and pros to deliver content.
Auto Color, powered by Adobe Sensei, uses A.I. to generate first-pass color corrections. It acts as a guide to help new content creators become familiar with adjustments. It is also a jumping-off point for experienced users to fast track their color correction before moving to secondary color tasks, like skin tone or sky adjustments. Auto Color was introduced as Auto Tone in Premiere Pro public beta in 2021.
Performance and Workflow Improvements include the ability to show and hide markers by color, a Remix progress indicator for audio clips, and improved trim mode playback looping.
New Free Adobe Stock Assets, including thousands of H.D. video footage, motion graphics templates, and more, are now available in-app to help create videos that stand out.
Besides the amazing Canon R5C being named as one of the 2022 NAB Show Product of the Year, Canon also announced the new Canon EOS C300 Mark III and EOS C500 Mark II Firmware Enables Frame.io Camera to Cloud Compatibility.
And of course, my personal favorite, the RF 5.2 mm Dual Fisheye Lens that matches with the Canon EOS R5 and R5C to enable Immersive Content Professionals to shoot true cinematic quality 8K 3D VR180 and have it recorded on a single frame and device for more accurate and easier data acquisition.
A question that has been on many creators’ minds is whether Canon will expand the ability to use the RF 5.2 mm Dual Fisheye Lens on cameras other than the R5 and R5C. I have tested it on the R6, and it works, although the full capabilities of the lens are not available. That probably means you could also use it on the Canon EOS R3.
But what about other RF Mount cameras? Like the Canon EOS R, Canon EOS RP, Canon EOS Ra, Canon EOS C70 Cinema Camera, or even the RED Komodo 6K. What amazing videos could be created with some of these combos?
I have been an Atomos fan for the ten years they have been on the market, starting way back with the Ninja Star all the way up to the Ninja V+, which I use with my Canon R5. Atomos pulled off a great hat trick with the ability to record 8K ProRes RAW via an HDMI port on the Canon.
But they haven’t slowed down yet. At NAB 2022, they announced the Atomos Cloud Studio. Connected with Adobe Frame.io, they boasted that direct to the cloud transfer was now possible with a “wide range of mirrorless and DSLR cameras including Canon, Sony, Nikon, and Panasonic.”
To enable full integration into Frame.io, all you need is an ATOMOS Connect Wi-Fi 6 module for the Ninja V or Ninja V+ or a 7″ Shogun Connect recorder, both new offerings from ATOMOS.
You can capture ProRes or DNx files while generating and auto-uploading 1080P, H.265 (HEVC) proxy files to Frame.io
As the salesman says, but wait, there’s more…
Wirth Atomos Stream, you can use any Atomos network-enabled device to live-stream to popular platforms like Facebook Live, Twitch, YouTube, and more. Atomos’s’ proxies are automatically uploaded to the cloud but begin uploading the file even as it’s still being captured.
Add to that the recent announcement about the Atomos Cast, and you have a complete on-location studio or streaming setup.
Here are the specs of the Atomos Ninja V+
|Panel Type IPS-Type LCD|
|Display Size 5.2″ / 13.2 cm|
|Resolution 1920 x 1080|
|Aspect Ratio 16:9|
|Maximum Brightness 1000 cd/m2|
|Bit Depth / Color Support 8-Bit+FRC (1.07 Billion Colors)|
|HDR Compatibility Advanced HDR|
|Pixels Per Inch (ppi) 423 ppi|
|Color Gamut 100% Rec. 709|
|Real-Time LUT Monitoring SDR|
|Image Controls Anamorphic De-Squeeze, Blue Only, False Color, Focus Peaking, Pixel Zoom, RGB Parade, Scaling, Vectorscope, Waveform, Zebra|
|Video 1 x HDMI Type A (HDMI 2.0) Input|
|1 x HDMI Type A (HDMI 2.0) Output|
|Embedded Audio HDMI: 2-Channel|
|Audio 1 x 1/8″ / 3.5 mm Mic/Line Input|
|1 x 1/8″ / 3.5 mm Headphone Output|
|Built-In Speaker None|
|Power I/O 1 x D-Tap Input|
|Other I/O 1 x LANC (2.5 mm)|
|Media/Memory Card Slot None|
Video Format HDMI (8/10-Bit 4:2:2)
8K Raw: 30
4K Raw: 120/60/30
DCI 4K: 120/60/50/30/25/24
UHD 4K: 60/50/30/25/24
|Gamma Curve Rec709|
Video Signal Conversion HDMI to SDI
DCI 4K: 60/50/30/25/24
UHD 4K: 60/50/30/25/24
Timecode Support Yes
Pulldown Conversion 2:2, 3:2
Camera Trigger HDMI
Pre-Roll Record 4K: 2 Seconds
Full HD: 8 Seconds
Encoding Formats Up to 7680 x 4320
ProRes 422, HQ, LT, Raw, Raw HQ 8/10-Bit 4:2:2 at up to 120 fps
H.265 422 10-Bit 4:2:2 at up to 120 fps
H.265 422 8/10-Bit 4:2:0 at up to 120 fps
DNxHR HQ, HQX, LB, SQ 8/10-Bit
|Maximum Audio Tracks 12|
Metadata Tagging 10
DC Input Power 6.2 to 16.8 VDC
Built-In Battery None
Battery Type 1 x L-Series
Power Consumption 10 W (Typical)
22 W (Maximum)
Mounting 2 x 3/8″-16 Female
Operating Temperature 104°F / 40°C
Material of Construction Aluminum, Polycarbonate
Dimensions 5.9 x 3.6 x 1.2″ / 151 x 91.5 x 31.5 mm
Weight 12.7 oz / 360 g
Package Weight 3.575 lb
Box Dimensions (LxWxH) 10.7 x 7.1 x 4.7″
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