 Welcome to the Crimson Engine. My name is Rubidium. As you may know, I just got back from NAB and now that the dust has settled, I wanted to make a video about the big trends that I saw at NAB that I think will shape filmmaking in the year to come. It was a pretty quiet year as far as new cameras go but that just meant that a lot of other technologies took center stage and that's what I want to talk about. Probably the biggest new lighting news was the LED Fresnel. You can now make super powerful, super efficient, very, very bright LED lights in the shape of a Fresnel, so a focusable spotlight. Last year NAB was all about the RGB LEDs and the ability to reproduce different colors following the RE sky panels lead but this year it was brightness, throw, and size. COB technology or chip on board is something that's been around for a while. IntelliTech came out with their light cannon pros. These are 120,000 lux at one meter. Unlike HMIs or tungsten-based lights, these aren't delicate. There's no bulb to break inside. They don't need time to come up to the right brightness or color temperature and they don't need generators or three-phase power to run. You can plug them straight into the wall with multiple units and you don't have to worry about breaking a circuit. The craziest one I saw was Mole Richardson's 20K LED. This is the equivalent of a 20,000 watt tungsten that you can plug into the wall. The LED itself is 3,000 watts but because LEDs are so much more efficient at converting power into light than tungsten or HMI, it puts out more light than a 20,000 watt tungsten. Now this thing is huge. It's also expensive. The retail price is going to be 40 grand. It's 64,000 lux at 10 feet. I'm guessing because at three feet, it melted the light meter. I'm guessing that this sort of high-efficiency, large-size LED is just going to keep coming down in price until we see them on film sets everywhere. Following what I saw at NAB this year, I feel like the future of hot lights of tungsten and HMI, the days are numbered. The second big trend at NAB this year was large format cinematography. Alexa released their Alexa Mini LF and if you believe the rumors, Canon, Panasonic, and Sony all have mid-priced large format cameras wetting in the wings. But it's not just the cameras that changed because of how integrated camera systems are these days with all the other technology on film sets. We saw new large format compatible batteries from Bebob, the Beemout. We saw seven and 10-inch monitors that are now HDR and 4K capable and a whole bunch more large format lenses, both from Ari and Canon, but also from smaller companies, independent companies. Now that large format looks like it's going to be the standard for the next 10 or 20 years, a lot of more companies are jumping into the freighter produce lenses now that people need to upgrade from their typical PL mount. Also, media to capture the huge amounts of information coming off these large format sensors like the Codex Compact Drive, now that CFAST and other technologies kind of hitting against the limit of the bit rate. The last big trend I saw at NAB this year was camera integration. The days of the digital cinema camera covered in a tangle of wires and third-party devices might be coming to an end. A couple of years ago we saw Red build the Xenomorph camera for David Fincher. This one unit had a sensor, a screen, wireless video, wireless audio and timecode, a battery plate, and wireless follow focus all integrated into one unit with all the cabling internal. Now this was a very expensive one-off factory custom, but other camera manufacturers are following this lead and trying to put more of the devices we need as either optional extras or things integrated into the camera itself. Some industry leaders like Ari can do this because they make cameras, wireless transmitters, wireless follow focus systems, lenses, and all the things that go together and they can create one ecosystem where everything fits together and works together. But for non Ari shooters there's also groups like the Mac Group or Vitec Group that are a family of brands owned by the one company that are starting to integrate those brands together for added functionality. The Vitec Group which owns Wooden Camera, Small HD, and Teradeck announced a new system of wireless follow focus where the follow focus unit on the camera plugs into the Teradeck wireless video transmitter and actually the Small HD monitor that can pick up embedded data from the lens and the follow focus unit telling you where the camera is focused and changing it in real time. That's my wrap up of the technologies I saw at NAB that I think will shape filmmaking in the next year. Cinegear is only about five weeks away so we'll see if there's anything new that updates on those from there. Leave your questions in the comments. Thank you very much for watching and I'll see you next time.