In the edit bay, stereoscopic content can be output from a workstation in a number of forms.  AJA and NVidia can output separate SDI streams for each eye, using the same display interface that would be used onset.  Combining the left and right view into a single stream allows it to be played out a single SDI port or even standard DVI on a GPU to a passive 3D display.  Those specific options will depend on what software you are using, and need to match your display requirements.  Outputting 120hz from a dedicated HDMI 1.4 port requires a newer GPU and specific application support, but greatly simplifies the hardware setup.  I am sure there will be a whole variety of new options announced at NAB next month, and as new hardware and software tools are developed, the preview options become cheaper to setup and easier to use.

Sony has a number of new toys that span the budget gamut.  On the high end, the SRW 9000 is an HDCam-SR camcorder with capabilities similar to the F23, and an all in one shoulder-mount formfactor like the F900.  With option boards, this unit is capable of recording up to 60fps at full raster 1920×1080, with up to 10bit 4:4:4 RGB of color information.  The next step below SR is really XDCam-HD422 at this point, since regular HDCAM is basically obselete.  The new PDW-F800 basically replaces all of the functionality of the F900 (30i/p, 25/44p, etc.) plus the advantages of full 1920×1080 recording in 4:2:2 instead of HDCam’s 1440×1080 at about 3:1:1.  The 50Mb files can also be edited in their native form in almost any NLE, and can be accessed in a non-linear fashion directly from the storage disk. (No rewinding, preroll, or realtime capture required)  The new camera even has a network jack right on the side for copying the recorded files to a network, and can dump the proxies to a USB flash drive if you want to go that route.  That won’t be necessary for any workflow I will use, since Premiere, FCP, and even Avid can access the full resolution files directly without import conversions, for truly native editing.  Finally a workflow that is actually designed to “work” and “flow.”  Sony also had a number of new LCD monitors on display, including a 4K one, two circular polarized 3D screens, and two new 30″ and 17″ additions to their BVM line of LCDs.  The 3D screens look great, and while I couldn’t confirm the inner workings, with a single input, it seems to use an interface technology that would be compatible with Cineform’s new Neo3D software that I have been demo-ing all week.

The only thing I was really impressed with at the Panasonic booth was that they created an Economy line of P2 cards, but I have yet to find the specifics on the new pricing levels.  With $900 being the minimum price, an economy option was definitely needed.  SxS cards at least have SDHC based replacement options, which is especially ironic since the P2 cards are rumored to physically contain 4 SDHC cards.  Panasonic also has a new 3D plasma screen, based on sequential alternating frames, which requires active 3D shutter glasses.  I have also heard they have a new 10bit 1080p projector for $2400 that I should go check out tomorrow.

NVIDIA has released OSX drivers for the QuadroFX 4800, so it seems that that will probably become the highend card of choice for those purchasing the new MacPro, which was recently revised with Nehalem based Xeon CPUs.  I have been pleased with the performance I get from my equivalent QuadroCX card, and I am looking forward to trying a QuadroFX 5800 on my SpeedGradeDI system sometime in the near future.

Panasonic has released a number of new camcorders.  They have three lines of solid-state recording: AVC-Intra to P2 Cards, DVCPro-HD to P2 Cards, and AVCHD to SDHC cards.  At the upper end, the new HPX3700 and HPX2700 both record 10bit 4:2:2 to P2 in AVC Intra.  Both support “Varicam” variable framerate options at 1080p, and the top of the line HPX3700 model also has Dual-Link 4:4:4 RGB output capability.  In the prosumer market, three cameras that I would describe as variations to the HVX200 have been released.  All have 3 1/3″ CCDs, and have the same basis shape look of the original.  The updated HVX200A has improve optics and sensor, as well as the addition of an HD-SDI output.  The lower cost HPX-170 removes the outdated SD-MiniDV tape option option, allowing only P2 recording.  Lastly, the HMC-150 is similar in physical formfactor, but record to SDHC cards in the AVCHD codec, at much lower bitrates.  The other two options in the new professional AVCHD line are the shoulder mount HMC-70 and the 1 lb, 3CCD, HV30 competitor, the HSC1U.

Panasonic has also announced that a 64GB P2 card will be available later this year, which will double the maximum record time of all their cameras utilizing that technology.

Fibre Channel technology marches onwards, with the release of 8Gb products by ATTO.  Not to be confused with the existing 10Gb Fibre Channel specification used for Fibre switch interconnects.  The new 8Gb client connection technology provides 800MB/s bandwidth per channel.  Since I don’t currently have any application for transfers at that speed, I am most excited about the implications this will have on the prices of current “obselete” 4Gb Fibre HBAs, that I actually do use.

Last on the list, is the item I was most impressed with, but have the least realistic practical application for.  I was stunned to see a true 3D image on a large flat panel TV as I walked by a booth.  I guess Philips released this a couple of months ago, but a totally separate company was displaying what they could do with it.  The display uses lense technology at the individual pixel level to control the projected light pattern, which allows it to display different images when viewed from different angles.  With the ability to send each eye a different image, a depth effect is easily created.  Instead of alternating only two left and right images, the Philips solution displays 9 different angles before repeating the sequence, greatly improving the probability that the viewer will percieve the image depth correctly.  This leads to the question of: where do the nine angles come from?  Instead of the traditional way of producing 3D depth effects by creating two separate streams, the Philips TV accepts a single flat video input, as well as a Z-depth map, and renders the different angles live based on that information.  A Z-depth map can be easily created for animated content, but is nearly impossible to produce efficiently for regular video footage, limiting the potential sources of content.  A technology called Declipse allows multple layer to be input, allowing a full lookaround effect for objects in the forground, which I can confirm, adds significantly to the effect.  Although it can not be easily applied to my stereoscopic style of shooting 3D, it was definitely a very impressive technology to see in action.  I intend to keep an eye on its further development, and look forward to seeing it deployed on a large scale.