{"id":1449,"date":"2011-05-12T10:01:01","date_gmt":"2011-05-12T18:01:01","guid":{"rendered":"http:\/\/www.icgmagazine.com\/wordpress\/?p=1449"},"modified":"2011-05-12T10:01:01","modified_gmt":"2011-05-12T18:01:01","slug":"nab-2011","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/nab-2011\/","title":{"rendered":"NAB 2011"},"content":{"rendered":"
\"\"
NAB 2011 attendees gathered for the keynote address \/ Photo courtesy of NAB <\/figcaption><\/figure>\n

The Road to Wisdom, Technologically Speaking. By Valentina I. Valentini.<\/strong><\/p>\n

Conjure images of the newest, shiniest cameras, the biggest and brightest displays, the most exciting leaps and bounds in the burgeoning 3D filmmaking world, and you\u2019ve seen just a fraction of what NAB 2011 had to offer. In addition to the massive amount of new gear on the show floor, there were panels galore during the busy mid-week rush.<\/p>\n

This year\u2019s offerings were all about integration \u2014 streamlining workflow from pre-production to postproduction and back again. The hour-long sessions crammed in as much valuable information as possible \u2014 from discussions on groundbreaking image data preservation software, to DSLR workflow, to a new wave of CG animation techniques, and even how to make 3D on a budget.<\/p>\n

One of the hottest topics last year was DSLR cinematography, so was to be expected that at least one of the 2011 panels would revisit the hybrid phenomenon. Between 2009 and 2010, the Canon 5D and 7D DSLR cameras went from relatively obscure still cameras to front-line use on film and TV projects like House<\/em>, Tiny Furniture<\/em>, Red State<\/em>, and hundreds of high-profile commercials for clients including BMW, Nissan and others.<\/p>\n

The DSLR Cinematography panel<\/strong>, moderated by American Cinematographer <\/em>associate editor Jon D. Witmer, featured three cinematographers from distinctly different backgrounds, all singing the praises of DSLR capture. Russell Carpenter, ASC, (True Lies<\/em>, Charlie\u2019s Angels<\/em>, Monster-in-Law<\/em>), who was a stills shooter, and Svetlana Cvetko, an up-and-coming documentary and commercial DP, both bought a Canon 5D Mark II in 2009. John Guleserian, the third panelist, shot the Sundance Grand Jury Prize-winning Like Crazy<\/em> entirely on the 5D.<\/p>\n

\u201cOriginally we\u2019d thought about using the 5D as a B-camera and a RED\u00ae<\/sup> ONE as the primary shooter,\u201d Guleserian revealed. \u201cThen our producer suggested we shoot the whole film with it. I was apprehensive, but as we kept playing with it and Drake [director Drake Doremus] and I discussed how it could enhance the actors\u2019 performances because of the camera\u2019s low-key profile, we decided to use it for the whole movie.\u201d<\/p>\n

All panelists loved the low-key profile of the DSLR.<\/p>\n

\"\"
DSLR Panel, L to R: Jon Witmer, Russell Carpenter, Svetlana Cvetko, John Guleserian \/ Photo by Jon Silberg<\/figcaption><\/figure>\n

\u201cThe capability of having multiple cameras, especially in documentary situations, is a big advantage,\u201d explained Cvetko. \u201cAll of the projects I used a DSLR on, there was a cost factor. But when people look at the footage and realize that it\u2019s great, it becomes an aesthetic choice as well.\u201d<\/p>\n

Carpenter said that when he was introduced to the 5D in 2008, he knew it would revolutionize how images could be captured.<\/p>\n

\u201cIt was going to even the playing field of what could be produced for a limited amount of money, but at a professional quality level,\u201d he recalled. \u201cI wanted to use [the 5D] for insert shots, but at that time post-production houses couldn\u2019t quite figure out how to make the compression of the H264 in these DSLR cameras translate into film space. Within a year though, they\u2019d been embraced and people were doing some amazing things with them.\u201d<\/p>\n

The discussion also touched on the challenges DSLRs pose to camera crews, including potentially leaving focus pullers out of the equation. Although they added that since the units can be retrofitted, it\u2019s not always a certainty that just because a project is going with a DSLR, the crew will be tightened down.<\/p>\n

\u201cWhen I go out with a camera by myself, I miss my assistant,\u201d admitted Cvetko. \u201cI always wish I had my focus puller and assistant with me because they\u2019re so great at what they do.\u201d<\/p>\n

\u201cThe unions have been very responsive to the new technology: people are getting trained, and the people I work with are all up to speed,\u201d Carpenter added.<\/p>\n

All three panelists expressed the desire for some tech changes in the near future, like eliminating cables and getting hardware on-board to make sharing information from the cameras easier with post-production crews.<\/p>\n

The myths and realities of a more streamlined workflow were also on tap for the Quality Filmmaking on a Budget<\/strong> panel, moderated by ICG Magazine<\/em> editor David Geffner. Cinematographer Lukas Ettlin said he brought the lower budget mentality of independent filmmaking to recent studio shoots like Sony\u2019s Battle: Los Angeles<\/em> and Lionsgate\u2019s The Lincoln Lawyer<\/em>.<\/p>\n

\u201cThe perception that you have to pay big to go big isn\u2019t necessarily true,\u201d Ettlin insisted. \u201cIt\u2019s about balancing quality and understanding the nature of a project with everyone else involved, including the producers and the studio and what they\u2019re looking for.\u201d<\/p>\n

\"\"
Local 600 Panel - GoPro to 3D: Quality Filmmaking on a Budget, L to R: David Geffner, Pankaj Bajpai, Lukas Ettlin, Sean McKittrick, Steven Poster, ASC, Scott Steele \/ Photo by Jon Silberg<\/figcaption><\/figure>\n

Sean McKittrick, who produced director Richard Kelly\u2019s Donnie Darko<\/em> and The Box<\/em> (both shot by fellow panelist and Local 600 President Steven Poster, ASC), spoke about capture mode choice.<\/p>\n

\u201cIn my opinion, it\u2019s the producer\u2019s job to make it work for what the DP and the director want. Sometimes what they want is impossible, but more often than not you can work it out. And more importantly,\u201d McKittrick continued, \u201cthere\u2019s a perception that once you dive below a certain budget level you can\u2019t shoot union. But that is where all the talent is, and every union is going to work to your budget size. My approach with them has always been, \u2018This is what we have, how do we do this with you?\u2019 and every single time they\u2019ve come back and worked with us and its never been a huge headache.\u201d<\/p>\n

As Pankaj Bajpai, a colorist at Encore, revealed, things are also changing at the end of the chain.<\/p>\n

\u201cOne way to save money is by developing a relationship with your post house,\u201d Bajpai offered. \u201cWhen you get into the digital realm you\u2019re not just sending your negative to a lab anymore. You\u2019re sending it to a place that will somehow interpret what you\u2019ve shot. There is an incredible amount of communication that needs to happen, in many cases, long before you even start shooting.\u201d<\/p>\n

3ality Digital stereographer Scott Steele talked about one of the big misconceptions in the industry today.<\/p>\n

\u201cThere\u2019s this assumption that because 3D systems are at the top of the industry in terms of technology, they are unattainable for many productions,\u201d Steele said, \u201cand that\u2019s just not true. At one end of the spectrum we\u2019re working on The Hobbit<\/em>, but at the other end we have a documentary done with three people in a pick-up going around Wyoming shooting in 3D.\u201d<\/p>\n

The voice of craft-first no matter the budget, Poster urged the audience not to sacrifice quality because of money.<\/p>\n

\u201cWith the release of the F65 from Sony and the Phantom 65, we\u2019ve seen some really high-end equipment being developed,\u201d Poster noted. \u201cBut we\u2019ve also seen some really low-end equipment coming out, and there is absolutely a time and place for low-end digital capture.\u201d<\/p>\n

Another surefire way to maintain image quality was presented during the Justified<\/em>\/IIF\/ACES <\/strong>panel. This new architecture for production and post (IIF stands for Image Interchange Framework) preserves image data and helps give digital capture a filmic look \u2014 like maintaining latitude where it was previously lost \u2014 has been called a groundbreaking new workflow, and is the product of six years of work by The Academy of Motion Pictures Arts and Sciences\u2019 Science and Technology Council.<\/p>\n

Ray Feeney, co-chair of the council, spoke on the panel with Francis Kenny, ASC, Curtis Clark, ASC, and Bajpai, all of whom were involved in the development and implementation of IIF.<\/p>\n

\"\"
Justified\/IIF\/ACES Panel, L to R: Pankaj Bajpai, Francis Kenny, ASC, Curtis Clark, ASC, Ray Feeney \/ Photo by Jon Silberg<\/figcaption><\/figure>\n

\u201cThe structure of the system we\u2019ve been putting together at the Academy has been to provide a variety of different things, but primarily to provide an unambiguous method to get into the archive, to interchange materials from one facility to the other, and, most importantly, to move beyond the limitations of a 10-bit DI-type workflow,\u201d explained Feeney, who also is president and founder of RFX Inc.<\/p>\n

Bajpai, Feeney, Curtis and Kenny had tested IIF on previously shot material from season one of FX\u2019s Justified<\/em>, for which Kenny is the DP. In its second season,\u00a0the television series became\u00a0the first commercial production to\u00a0implement IIF\/ACES, with seemingly spectacular results.<\/p>\n

\u201cHow lucky can you get as a cinematographer?\u201d Kenny asked. \u201cTo have all these guys take your images and make them look even better, and then I get the credit for it? In all seriousness, [the capture] began to look more and more like film and I began to once again use my eye, rather than a meter or a monitor, to shape the image. What these gentlemen are doing is a miracle and truly a gift to cinematographers. With IIF, I can actually approach it like I\u2019m shooting film.\u201d<\/p>\n

Another premise of IIF is to separate the laboratory steps from the creative steps.<\/p>\n

\u201cWe\u2019re seeing more of a discussion about what DPs can get when they go into DI \u2014the nature and feel of the images and less of a discussion of the nitty-gritty mechanics of workflow,\u201d explained Clark, chairman of the ASC\u2019s Technology Committee. \u201cThat, to me, is an indication that this system is maturing quickly and becoming second nature for people in production.\u201d<\/p>\n

The development of IIF\/ACES included input from color scientists from more than 50 different companies.<\/p>\n

\u201cWe were trying to bridge the gap between electronic media and film and to provide the ability to have the best of both worlds,\u201d Feeney said.<\/p>\n

Another popular FX show, Sons of Anarchy<\/em><\/strong>, provided the backdrop for an in-depth panel on how to produce a gritty show about bikers. Kurt Sutter, creator, writer and executive producer, said he had a contact in northern California who was \u201cliving the life.\u201d<\/p>\n

\u201cAfter seven seasons on The Shield,<\/em> I was in a place to write about these damaged characters, this sort of pulp style with stories bigger than life,\u201d he shared.<\/p>\n

\"\"
Sons of Anarchy Panel: L to R: Paul Maibaum, Kurt Sutter, Anthony Medina \/ Courtesy of NAB<\/figcaption><\/figure>\n

After the pilot was shot, Paul Maibaum was brought on as cinematographer. Due to his comedy-rich background, Maibaum said he thought it might be hard to get onto a hardcore show of this caliber, but in fact it seems to have done the opposite.<\/p>\n

\u201cNow that I have Sons <\/em>at the top of my CV, I get agents telling me they can\u2019t even submit me to comedy projects,\u201d he laughed. \u201cI believe that once you\u2019re given the parameters of what a project is about, a good DP should be able to shoot anything, whether it\u2019s brighter and flatter \u2013 the standard for comedies \u2013 or darker and more real, something like Sons<\/em>.\u201d<\/p>\n

Sutter\u2019s main criteria for his DP in what he calls a \u201cguerilla filmmaking\u201d environment, was someone who could work and assess quickly, while still making it all look great.<\/p>\n

\u201cIt\u2019s a down-and-dirty schedule,\u201d Sutter explained, \u201cshooting eight pages a day on a seven-day shoot. I often find with other DPs that speed is not their strong suit. It was a critical aspect of bringing Paul in.\u201d<\/p>\n

The discussion also covered shooting fast and efficiently, even when with a cast of actors on motorcycles who aren\u2019t stuntmen.<\/p>\n

\u201cWhen we\u2019re shooting the guys on the bikes, we have two motorcycle rigs: one with a platform on the right side and the other a platform on the left, with an excellent driver who knows the safety measures that need to be taken,\u201d Maibaum explained. \u201cAnd even though the setup for shooting the bikes on the street can take an hour and a half, safety always comes first.\u201d<\/p>\n

The panel wrapped up with insight on the show\u2019s look, which is accomplished in large part by Anthony Medina, the production designer.<\/p>\n

\u201cI had a few field trips that I can\u2019t talk about too much,\u201d said Medina. \u201cI had the chance to see what this life looks like from the inside so that I could achieve the most real look possible.\u201d<\/p>\n

Sutter shared his opinion on his collaborators: \u201cBecause the look and the feel of the show is so real, sometimes people think that\u2019s easier to get to than something that does look lit or staged. But it takes a lot of work and time to master that look [of realism].\u201d<\/p>\n

For the Rango <\/em><\/strong>panel, the next-generation in CG animation was discussed \u2014 an arena not traditionally tied to live-action cinematography. However Rango\u2019s<\/em> creative team \u2014animation director Hal Hickel from\u00a0Industrial Light & Magic (ILM), visual effects supervisor and Local 600 member John Knoll (also from ILM), production designer Mark \u201cCrash\u201d McCreery, and co-writer and creature designer James\u00a0Byrkit, both of whom had worked with Gore Verbinski, director of Rango<\/em>, on Pirates of the Caribbean<\/em> \u2014 all had live action backgrounds with no experience in animation.<\/p>\n

\u201cWe come from the school of making things more complex, more textured, more layered,\u201d explained Byrkit. \u201cIt didn\u2019t matter that Gore or I had never done an animated movie before. We just said to each other, \u2018Why don\u2019t we not worry about that and let\u2019s just make a movie that happens to be animated?\u2019\u201d<\/p>\n

\"\"
Rango Panel, L to R: John Knoll, James Byrkit, David Cohen, Variety; Hal Hickel, Crash McCreery \/ Courtesy of NAB<\/figcaption><\/figure>\n

Byrkit, Verbinski and McCreery worked with ILM on the photo-realized Davey Jones character from the Pirates<\/em> franchise.<\/p>\n

\u201cWe figured we could use that technology to make this film,\u201d Byrkit said.<\/p>\n

Knoll and the team knew from the beginning that they wanted a photographic look.<\/p>\n

\u201cI know a lot of animated features use very careful stylization of lighting with contrast and colors to show form,\u201d Knoll stated. \u201cBut I didn\u2019t know how to do any of that.\u201d<\/p>\n

The panelists discussed how their cinematography approach to styling Rango<\/em> was influenced by the films of Italian director Sergio Leone, revealing information through composition changes and camera motion.<\/p>\n

\u201cThat\u2019s kind of a dated look now,\u201d allowed Knoll, \u201cso we talked about what more modern pictures might be good keystones. Gore really liked There Will Be Blood<\/em> [for which Robert Elswit, ASC, won an Oscar\u00ae<\/sup>] as a recent film with a beautiful style, and relevant to what we were looking for. On our first lighting test we were actually trying to emulate particular shots from Blood<\/em>.\u201d<\/p>\n

\u201cAs soon as we threw away the whole animation caveat and opened ourselves up to what we learned from live-action, that\u2019s when the flow started,\u201d McCreery said. One of the ways they broke the rules of animation was in the number of characters they created. Generally, animated features have about a 12-character limit. In Rango<\/em> there were no fewer than 60 characters, each with their own name and a little backstory, even if the character was only on the screen for a few seconds.<\/p>\n

One of the final panels at NAB was an eye-opener for the dozens of cinematographers and hundreds of industry professionals who came to see an impartial and comprehensive evaluation of the image quality of 11 top digital motion picture cameras and 35mm film. It was presented by Bob Primes, ASC, and the Image Quality Geeks (IQG) \u2014 a group of DPs, engineers and image aficionados.<\/p>\n

Primes recruited the IQG members to create 15 live-action and instrumented tests to evaluate the Sony F35 and F3, ARRI\u00ae<\/sup> ALEXA, Kodak Vision3 film, the RED ONE MX-sensor, Weisscam HS-2, Phantom Flex, Panasonic AF-100, Canon 1D Mark IV, 5D Mark II, and 7D, and the Nikon D7000. They tested each camera for sharpness, low-light sensitivity, exposure latitude, highlight detail, shadow detail, color quality, skin tone reproduction, compression losses and shutter artifacts. Offered as a work in the public domain, the presentation gives filmmakers the opportunity to compare these aspects of the cameras tested to meticulous standards.<\/p>\n

\u201cThis whole thing began with a very strange phone call from Zacuto in Chicago last November,\u201d Primes explained. \u201cThey provided the funding, but at my behest it was a completely independent test.\u201d Primes\u2019 brain trust included Josh Siegel (IQG), Mike Curtis (Pro Video Coalition), Bill Hogan (Clarity Image), William Feightner (EFILM), and Michael Bravin. Then Alex Forsyth, Jack Holm, Ray Feeney and Andy Maltz, all of whom are associated with the Academy\u2019s Science and Technology Council, came on board. The DPs were Stephen Lighthill, ASC, Matthew Siegel, and Nancy Schreiber, ASC.<\/p>\n

\u201cWhile I don\u2019t want to do this exact test again, I don\u2019t believe this one is finished,\u201d Holm said. \u201cWe tried very hard to get this stuff through ACES, but we were fighting the clock and didn\u2019t get a chance to do so with every camera then; however, we have now. I\u2019m hoping we\u2019ll see more of this footage in the near future that will have taken out the differences in color analysis of the cameras.\u201d<\/p>\n

Lighthill acknowledged that they were really trying to test the boundaries of each capture device.<\/p>\n

\u201cIn the real world, this test should be used judiciously,\u201d he said. \u201cFor example, the RED camera test could have had improved lighting, but we weren\u2019t changing the lighting for each camera. What it really comes down to is the fact that a $1,700 camera [a Canon DSLR] is competing quite well with a $16,000 camera [Sony F3]. So, whatever works for the project at hand is what you should go with.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

The Road to Wisdom, Technologically Speaking. By Valentina I. Valentini. Conjure images of the newest, shiniest cameras, the biggest and brightest displays, the most exciting leaps and bounds in the burgeoning 3D filmmaking world, and you\u2019ve seen just a fraction of what NAB 2011 had to offer. In addition to the massive amount of new gear on the show floor, there were panels galore during the busy mid-week rush.<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[9],"tags":[],"class_list":["post-1449","post","type-post","status-publish","format-standard","hentry","category-specials"],"acf":[],"yoast_head":"\nNAB 2011 - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/nab-2011\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"NAB 2011 - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"The Road to Wisdom, Technologically Speaking. By Valentina I. Valentini. Conjure images of the newest, shiniest cameras, the biggest and brightest displays, the most exciting leaps and bounds in the burgeoning 3D filmmaking world, and you\u2019ve seen just a fraction of what NAB 2011 had to offer. In addition to the massive amount of new gear on the show floor, there were panels galore during the busy mid-week rush.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.icgmagazine.com\/web\/nab-2011\/\" \/>\n<meta property=\"og:site_name\" content=\"ICG Magazine\" \/>\n<meta property=\"article:publisher\" content=\"http:\/\/www.facebook.com\/theicgmag\" \/>\n<meta property=\"article:published_time\" content=\"2011-05-12T18:01:01+00:00\" \/>\n<meta property=\"og:image\" content=\"http:\/\/www.icgmagazine.com\/wordpress\/wp-content\/images\/2011-NAB-Lead-Image.jpg\" \/>\n<meta name=\"author\" content=\"EDITOR\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@theicgmag\" \/>\n<meta name=\"twitter:site\" content=\"@theicgmag\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"EDITOR\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"15 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/nab-2011\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/nab-2011\/\"},\"author\":{\"name\":\"EDITOR\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#\/schema\/person\/3da442a689e09c8352acb17db68abf9a\"},\"headline\":\"NAB 2011\",\"datePublished\":\"2011-05-12T18:01:01+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/nab-2011\/\"},\"wordCount\":2989,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/nab-2011\/#primaryimage\"},\"thumbnailUrl\":\"http:\/\/www.icgmagazine.com\/wordpress\/wp-content\/images\/2011-NAB-Lead-Image.jpg\",\"articleSection\":[\"Specials\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/www.icgmagazine.com\/web\/nab-2011\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/nab-2011\/\",\"url\":\"https:\/\/www.icgmagazine.com\/web\/nab-2011\/\",\"name\":\"NAB 2011 - ICG Magazine\",\"isPartOf\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/nab-2011\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/nab-2011\/#primaryimage\"},\"thumbnailUrl\":\"http:\/\/www.icgmagazine.com\/wordpress\/wp-content\/images\/2011-NAB-Lead-Image.jpg\",\"datePublished\":\"2011-05-12T18:01:01+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/nab-2011\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.icgmagazine.com\/web\/nab-2011\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/nab-2011\/#primaryimage\",\"url\":\"http:\/\/www.icgmagazine.com\/wordpress\/wp-content\/images\/2011-NAB-Lead-Image.jpg\",\"contentUrl\":\"http:\/\/www.icgmagazine.com\/wordpress\/wp-content\/images\/2011-NAB-Lead-Image.jpg\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/nab-2011\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.icgmagazine.com\/web\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"NAB 2011\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#website\",\"url\":\"https:\/\/www.icgmagazine.com\/web\/\",\"name\":\"ICG Magazine\",\"description\":\"Showcasing the members of the International Cinematographers Guild\",\"publisher\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/www.icgmagazine.com\/web\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#organization\",\"name\":\"ICG Magazine\",\"url\":\"https:\/\/www.icgmagazine.com\/web\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2014\/04\/ICG_logo_blkbox.jpg\",\"contentUrl\":\"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2014\/04\/ICG_logo_blkbox.jpg\",\"width\":1294,\"height\":1080,\"caption\":\"ICG Magazine\"},\"image\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"http:\/\/www.facebook.com\/theicgmag\",\"https:\/\/x.com\/theicgmag\",\"http:\/\/www.instagram.com\/theicgmag\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#\/schema\/person\/3da442a689e09c8352acb17db68abf9a\",\"name\":\"EDITOR\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/83145934764009a60ec02fe64432db422c7a5243fc99eab84bc68416977970fd?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/83145934764009a60ec02fe64432db422c7a5243fc99eab84bc68416977970fd?s=96&d=mm&r=g\",\"caption\":\"EDITOR\"},\"url\":\"https:\/\/www.icgmagazine.com\/web\/author\/adminwes\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"NAB 2011 - ICG Magazine","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.icgmagazine.com\/web\/nab-2011\/","og_locale":"en_US","og_type":"article","og_title":"NAB 2011 - ICG Magazine","og_description":"The Road to Wisdom, Technologically Speaking. By Valentina I. Valentini. Conjure images of the newest, shiniest cameras, the biggest and brightest displays, the most exciting leaps and bounds in the burgeoning 3D filmmaking world, and you\u2019ve seen just a fraction of what NAB 2011 had to offer. In addition to the massive amount of new gear on the show floor, there were panels galore during the busy mid-week rush.","og_url":"https:\/\/www.icgmagazine.com\/web\/nab-2011\/","og_site_name":"ICG Magazine","article_publisher":"http:\/\/www.facebook.com\/theicgmag","article_published_time":"2011-05-12T18:01:01+00:00","og_image":[{"url":"http:\/\/www.icgmagazine.com\/wordpress\/wp-content\/images\/2011-NAB-Lead-Image.jpg","type":"","width":"","height":""}],"author":"EDITOR","twitter_card":"summary_large_image","twitter_creator":"@theicgmag","twitter_site":"@theicgmag","twitter_misc":{"Written by":"EDITOR","Est. reading time":"15 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.icgmagazine.com\/web\/nab-2011\/#article","isPartOf":{"@id":"https:\/\/www.icgmagazine.com\/web\/nab-2011\/"},"author":{"name":"EDITOR","@id":"https:\/\/www.icgmagazine.com\/web\/#\/schema\/person\/3da442a689e09c8352acb17db68abf9a"},"headline":"NAB 2011","datePublished":"2011-05-12T18:01:01+00:00","mainEntityOfPage":{"@id":"https:\/\/www.icgmagazine.com\/web\/nab-2011\/"},"wordCount":2989,"commentCount":0,"publisher":{"@id":"https:\/\/www.icgmagazine.com\/web\/#organization"},"image":{"@id":"https:\/\/www.icgmagazine.com\/web\/nab-2011\/#primaryimage"},"thumbnailUrl":"http:\/\/www.icgmagazine.com\/wordpress\/wp-content\/images\/2011-NAB-Lead-Image.jpg","articleSection":["Specials"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/www.icgmagazine.com\/web\/nab-2011\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/www.icgmagazine.com\/web\/nab-2011\/","url":"https:\/\/www.icgmagazine.com\/web\/nab-2011\/","name":"NAB 2011 - ICG Magazine","isPartOf":{"@id":"https:\/\/www.icgmagazine.com\/web\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.icgmagazine.com\/web\/nab-2011\/#primaryimage"},"image":{"@id":"https:\/\/www.icgmagazine.com\/web\/nab-2011\/#primaryimage"},"thumbnailUrl":"http:\/\/www.icgmagazine.com\/wordpress\/wp-content\/images\/2011-NAB-Lead-Image.jpg","datePublished":"2011-05-12T18:01:01+00:00","breadcrumb":{"@id":"https:\/\/www.icgmagazine.com\/web\/nab-2011\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.icgmagazine.com\/web\/nab-2011\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.icgmagazine.com\/web\/nab-2011\/#primaryimage","url":"http:\/\/www.icgmagazine.com\/wordpress\/wp-content\/images\/2011-NAB-Lead-Image.jpg","contentUrl":"http:\/\/www.icgmagazine.com\/wordpress\/wp-content\/images\/2011-NAB-Lead-Image.jpg"},{"@type":"BreadcrumbList","@id":"https:\/\/www.icgmagazine.com\/web\/nab-2011\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.icgmagazine.com\/web\/"},{"@type":"ListItem","position":2,"name":"NAB 2011"}]},{"@type":"WebSite","@id":"https:\/\/www.icgmagazine.com\/web\/#website","url":"https:\/\/www.icgmagazine.com\/web\/","name":"ICG Magazine","description":"Showcasing the members of the International Cinematographers Guild","publisher":{"@id":"https:\/\/www.icgmagazine.com\/web\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.icgmagazine.com\/web\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/www.icgmagazine.com\/web\/#organization","name":"ICG Magazine","url":"https:\/\/www.icgmagazine.com\/web\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.icgmagazine.com\/web\/#\/schema\/logo\/image\/","url":"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2014\/04\/ICG_logo_blkbox.jpg","contentUrl":"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2014\/04\/ICG_logo_blkbox.jpg","width":1294,"height":1080,"caption":"ICG Magazine"},"image":{"@id":"https:\/\/www.icgmagazine.com\/web\/#\/schema\/logo\/image\/"},"sameAs":["http:\/\/www.facebook.com\/theicgmag","https:\/\/x.com\/theicgmag","http:\/\/www.instagram.com\/theicgmag"]},{"@type":"Person","@id":"https:\/\/www.icgmagazine.com\/web\/#\/schema\/person\/3da442a689e09c8352acb17db68abf9a","name":"EDITOR","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.icgmagazine.com\/web\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/83145934764009a60ec02fe64432db422c7a5243fc99eab84bc68416977970fd?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/83145934764009a60ec02fe64432db422c7a5243fc99eab84bc68416977970fd?s=96&d=mm&r=g","caption":"EDITOR"},"url":"https:\/\/www.icgmagazine.com\/web\/author\/adminwes\/"}]}},"_links":{"self":[{"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/posts\/1449","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/comments?post=1449"}],"version-history":[{"count":0,"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/posts\/1449\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/media?parent=1449"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/categories?post=1449"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.icgmagazine.com\/web\/wp-json\/wp\/v2\/tags?post=1449"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}