Posts Tagged ‘Streaming’

FiOS is coming! (Yawn…)

They’re here!

The big orange spools of fiber optic jackets. The rows of white utility trucks. The polycarbonate junction boxes sitting every few feet along the curb. The spray-painted lines and alien glyphs all over my lawn, and my neighbor’s lawns.

Yes, FiOS has finally made it to our neighborhood. After nearly six years of waiting, Verizon has hired an army of subcontractors to run fiber optic cables under our lawns and breach the once-impenetrable Comcast wall.

This is FiOS! This is Big! (Well, the spools certainly are!)

Thing is, some of my neighbors are kinda blase about the whole thing. And I am, too.

Here’s why: Verizon first wired up nearby Doylestown Borough in 2003-2004, back when most people had separate telephone and cable TV hookups and broadband access was starting to pick up steam. Repeated calls to Verizon about the availability of FiOS in our township brought the same results – “We’re negotiating with your township over the franchise fees.” Seems that, unlike every other township around Doylestown, our supervisors insisted that Verizon pay the same franchise fees that Comcast had, back in the day.

This, even though Verizon had successfully negotiated discounted franchise deals with most other townships in central Bucks County.

Finally, after years of haggling, our supervisors reached an accommodation with Verizon, who had already announced they would not build out their national FiOS infrastructure any further, due to the high labor/materials costs and challenging ROI environment. Fortunately, we already had the required fiber optic ‘drops’ sitting in a Verizon service cabinet at the corner of our development from six years ago.

A few things have changed along the way since 2004. First off, Comcast’s broadband speeds have picked up considerably, and their service is quite reliable. Secondly, I, along with some of my neighbors, dropped Verizon landline telephone service and consolidated everything into the ‘triple play’ option (broadband, phone, and cable TV). And the quality of phone service is much, much better than what I had with Verizon. (Other neighbors opted to install DirecTV dishes and forego any kind of cable connection.)

I’ve also got a CableCARD-enabled TiVo HD that I use constantly to time-shift programs, and it works very well. Not only that, there are numerous ‘in the clear’ digital TV channels present on my system that can be accessed by conventional TV sets without extra set-top boxes.

I saved myself about $40 a month with the consolidation. And have gotten pretty used to the high level of service. So maybe it’s understandable that I’m not in any hurry to change over to a new provider, even if their Internet speeds are supposedly faster (something that was definitely true back in 2004, but maybe not now).

And it doesn’t help when a Verizon contractor shows up at my door, asking me if he can disconnect my cable TV wiring so he can trace the underground line back to the house. Hell, no! Not while I’m reviewing artwork for a client project!

The wires are definitely here…unless they’re somewhere else.

And that’s another thing to consider. When you call Comcast for a service problem (something I haven’t had to do in over a year), a Comcast-trained service person shows up in a Comcast truck.

When you call Verizon, you may get a Verizon tech. Or, you may get a subcontractor, particularly if you have wiring issues.  There are numerous ‘installation disaster’ stories of subcontractors puncturing gas lines and shorting out electrical lines while installing FiOS connections in the central Bucks County area. That alone gives me pause about the whole ‘switch to FiOS’ thing.

Now, don’t get me wrong. I’m not a particularly big fan of Comcast, who seems to raise their rates at the drop of a hat.  And I wonder what Comcast’s pending acquisition of NBC Universal will mean for future monthly rates and access to content.

The fact that I could switch to FiOS at any time may be useful to me to get a better rate from Comcast, or hold the line on future rate increases.

But to be honest, the service I get right right now is very good. And it’s reliable. And I can troubleshoot most of it myself with my own test equipment. And I know a lot of the service and engineering folks at Big C. So I guess I’ll stick with Comcast for a while longer, while those Verizon contractors continue to tear up everyone’s lawns and finish pulling fiber to all the houses in the ‘hood. Then we’ll see how it’s working out for any of my neighbors who decide to make the switch.

Maybe it’s simply a case of dealing with the devil you know, versus the one you don’t know?

Saturday mail delivery and DVDs: Six – no, make that two degrees of separation

Two announcements in recent weeks spell big trouble in the future for DVD rentals.

Sales of movies and TV shows on DVDs have been declining steadily for the past five years, which is not good news for Hollywood. However, DVD rentals have held fast, slipping only a tad a couple of years ago, and then recovering as Redbox “buck-a-night” rental kiosks have spread all over the country’s grocery and drug stores.

The dominant player in DVD rentals is, of course, Netflix, who is implementing a multi-year strategy to wean customers away from polycarbonate discs and get them to stream movies instead over broadband connections.  By Netflix’ own reckoning, DVD rentals will peak by 2013, and then start a slow decline towards extinction by the end of the decade.

They may want to move that timetable up a bit. The U.S. Postal Service just announced a hike of 2 cents in the cost of first-class postage, to take effect early next year. According to today’s M&E Daily, “…Janney Capital media and entertainment analyst Tony Wible …estimated that a (Postal Service) rate hike could add between $18 million and $30 million to Netflix’s physical distribution expenses in 2011.” That’s a real game-changer!

In a New York Times article from July 2, Netflix’ DVD operations head Andrew Redich was quoted as saying, “Big rate increases will absolutely squash business and will absolutely slow growth for a company like Netflix.” No kidding! No wonder the company is lobbying for a five-day mail delivery schedule instead, a move which would save the Postal Service about $2B per year.

Make no mistake about it – Netflix wants to move away from physical disc distribution to streaming, which would eliminate a ton of back-office expenses and staffing problems. The Postal Service announcement will likely hasten that move, which is not good news for DVD or Blu-ray manufacturers and distributors.

The other bad news is, of course, Blockbuster’s continuing financial troubles. Here are the vital statistics: In 2009, Blockbuster recorded a net loss of $569.3 million based on annual revenue of $4.06 billion. For Q1 of 2010, it had a net loss of $65.4 million. And BB is carrying $895 million in debt on its books. Last week, the company was informed by the New York Stock Exchange that it would be delisted as its average share price had been under $1 for a 30-day period (Blockbuster was hovering around 18 – 20 cents per share at the end of last week).

As for long-term trends, Adams Media Research stated earlier this year that 2009 in-store spending on DVD movies declined to $3.3 billion, down $1 billion from 2008 and $5.2 billion from the brick-and-mortar movie store’s high water mark in 2001.  Not a pretty picture!

So – are we seeing the last days of the DVD? Probably not for a few more years. But it’s clear that consumers like the idea of streaming content instead of buying and renting physical discs. It’s a convenience thing! (We’ve had a Blockbuster By Mail copy of Julie and Julia sitting here for almost two months, still waiting to get a ’round toit’ so we can watch it. Maybe it’s a laziness thing, too.)

The Postal Service is in almost as bad a jam as Hollywood and Blockbuster. Look at all the documents and forms that can be sent via email now, instead of through snail mail. Electronic payments, e-funds deposits, PDFs, JPEGs, virtual catalogs, you name it – if it can be digitized or scanned, it can be sent over the Internet, stamps be damned. How much longer before retail stores move entirely to electronic coupons? The ‘green’ movement is pushing more retailers to adopt online catalog and brochure formats, so more and more snail mail is just junk nowadays.

Maybe Hollywood can work with the Post Office on a movie about all this (to be streamed by Netflix, of course). They could call it, The Postman Never Rings At All. Or maybe, First Class 2: This Time, It’s 46 Cents.

And maybe we should just save that copy of Julie and Julia, instead of sending it back. It could be a collector’s item before long…

Memo to 3D TV manufacturers: First, you build the highway. Then, you build the cars!

The latest PR blurb from CEA headquarters shows that, in a survey taken of 250 sales associates in retail stores, consumer enthusiasm for 3D is strong, with 50% of customers reporting a positive response to 3D technologies, and only 2% reporting a negative response.

That’s not necessarily good news. Do the math, and you’ll see that 47% of customers had no feelings about 3D TV one way or the other, or didn’t respond. (Or were distracted by their teenagers repeatedly begging Mom and Dad for an iPhone or iPod Touch.)

The CEA report does go on to say that “…While nearly 70 percent of sales associates feel well trained to answer questions about 3D, there is still consumer confusion. According to the retail associates interviewed, roughly half of consumers had some confusion about the technology.” That pretty much covers the 47% who didn’t respond positively or negatively.

And now for the devil in the details! “…For most retail associates, 3D content is pivotal. Nearly 80 percent of the associates interviewed believe sales of 3D technologies will not be strong until more 3D content is available.  Moreover, some of the most frequently asked questions by consumers revolved around the availability of 3D content. “

World Cup in 3D…Been there, done that. What else ya got?

There’s the rub. 3D may look great in the store, but how much 3D World Cup coverage can you watch before nodding off? (Hey, did you catch Paraguay and Japan fighting to a 0-0 tie?) And there are only a couple of 3D Blu-ray discs out there that haven’t been exclusively linked up to a 3D TV bundle promotion.

DirecTV is taking some steps to solve the problem today, announcing the launch of its 24-hour 3D channel in conjunction with Panasonic at a New York City press event. That’s good news for DirecTV customers, but it’s not much help to cable or Dish Network subscribers who are currently limited to ESPN 3D.

If this seems like déjà vu all over again (apologies to Yogi Berra), it is. Remember the start of the digital TV transition in 1998, when exactly two DTV stations went on the air? (For trivia buffs, they were WRAL (CBS) in Raleigh, NC, and WFAA (ABC) in Dallas-Ft. Worth, TX.)

Set-top boxes cost about two grand. You needed component inputs on your TV that could accept the 1080i signal from the box (good luck with the 720p outputs), plus an antenna, and maybe a preamp, and a bunch of coax, and a compass to tell you where to aim the antenna.

Oh, and yes – you needed HDTV content. But there was very little of it back then, aside from some CBS prime-time programs and the ABC Saturday Night Movie. It wasn’t until four years later (2002) before most of the TV networks were carrying a majority of their evening programs and sports coverage in HD. Can 3D TV manufacturers afford to wait that long?

It’s encouraging that 70% of the sales associates interviewed by CEA felt competent enough to answer questions about 3D. But that’s not the problem, based on my experience last Sunday at Best Buy. Only two out of four 3D TV demos in the store were actually working, and one was located in the worst possible spot for a demo. The other had only one pair of working 3D glasses. How do you answer questions about 3D, when customers can’t even see a demonstration of it?

This is where a company like Sony has a leg up with their Sony Style company stores. They can ensure (and they’d better!) that potential customers get the best possible 3D demo, with a large screen LCD TV and comfortable seats positioned at the correct viewing distance. And they can put together a nice mix of live 3D (Sony is a World Cup sponsor) and clips from Sony Pictures 3D movies (think Cloudy with a Chance of Meatballs).

Samsung’s ‘experience’ store in the Time-Warner Center in New York City is also an excellent place to demo 3D. (Hmmm. Maybe Samsung should be thinking about opening their own company stores!) Alas, Panasonic has no such showcase and is at the mercy of Best Buy and Sears. And Mitsubishi (who has some of the most compelling 3D TV value propositions right now) has no 3D showcases at all. (Too bad they can’t just truck their June NYC line show around the country!)

Now, THIS is how ALL 3D demos should look. (Dream on…)

But all the demos in the world won’t do any good if there is nothing to watch in 3D. And for the vast majority of potential 3D TV customers, there just isn’t enough to watch in 3D right now, so the credit cards and checkbooks are staying in pockets and purses.

Hopefully, that problem will sort itself out by year’s end, when we should see a flurry of 3D BD releases, more coverage of sporting events, the launch of Discovery’s 3D channel, and maybe even some 3D streaming from Netflix. (That last possibility assumes Netflix can get over some significant technical hurdles, such as bandwidth.)

Hint to TV manufacturers, and to Fox Sports: S-U-P-E-R B-O-W-L I-N 3-D. (Think that was subtle enough?)

So, we’re back to 1998. Grab some shovels and picks, and let’s get started on those highways! (Maybe there are still some stimulus funds available?)

3D: All revved up, but nowhere to go!

How much fun would it be to buy a new sports car if there wasn’t any gas available to power it, or roads to drive it on?

That’s exactly the situation that today’s consumers are facing with 3D TVs: There just isn’t enough content to watch on them. And it’s even more of a problem with 3D movies, as manufacturers have inked several deals giving them exclusive rights to bundle specific 3D movie releases with their 3D TVs and Blu-ray players.

Remember when HDTV first got off the ground, back in 1998? There wasn’t a whole lot of HD content to watch, aside from a few prime time shows on CBS and the occasional movie on ABC.

Consequently, retail demand for HDTVs didn’t really take off until HD programming picked up with movies on HBO, an expanded slate of shows and sports on major TV networks, and the introduction of HD program services by Dish Network. The 2000 Super Bowl, the first to be broadcast in HD, helped generate more interest in HDTV sets.

Even so, it took a few more years before the ball really got rolling and events such as the 2004 Olympics, the Stanley Cup, NBA Playoffs, and World Series were all broadcast in HD formats.

While it’s true that 3D programming choices will expand considerably this month as ESPN launches its World Cup 3D coverage and DirecTV begins 24/7 3D broadcasts, the pickings are slim when it comes to 3D movies.

Those exclusive ‘bundling’ deals are part of the reason. Samsung has locked up 3D Blu-ray distribution of the Shrek franchise (four movies in all) for the rest of 2010, and had a recent exclusive deal for 3D BD copies of Monsters vs. Aliens.

Panasonic has a similar deal to ship 3D BD copies of Coraline and Ice Age: Dawn of the Dinosaurs in 3D with their 3D TVs, and apparently will have first dibs on Avatar when it’s released in 3D this fall, according to the Web site www.hollywoodinhighdef.com.

What’s more, Sony is apparently negotiating a deal with Disney to have exclusive rights to the 3D BD release of Alice in Wonderland this fall, bundling it with Sony 3D Bravia TVs and BD players. Cloudy with a Chance of Meatballs is supposed to be the first ‘open’ 3D BD release later this month, but even it will be part of a Sony 3D TV bundle (no surprise there, Cloudy was released by Sony Pictures!).

They jury’s still out on whether 3D in the home will be a success. But limiting the pipeline of 3D movies to a trickle at this critical juncture simply isn’t good business. If TV manufacturers really wanted to drive sales, they should pick up the costs of 3D BD mastering for popular movies and let distributors flood the market with these movies.

Frankly, I’m surprised the Blu-ray Marketing Association and Digital Entertainment Group aren’t lobbying more vigorously for this approach. The Blu-ray format hasn’t exactly been an overwhelming success, and 3D is a way for it to ‘niche’ its way forward as the replacement for red laser DVDs. (Incorporating DVRs and BD-R capacity into BD players is another, equally important way to drive adoption of the BD format.)

The DVD format wasn’t hamstrung like this, when it launched in 1997. Players were expensive at the time, but within months, consumers had plenty of DVD movies to choose from at retail, and it didn’t take long for rental stores to start offering them, either.

Reverting back to my analogy: For now, consumers can enjoy their shiny new sports car while it sits in the garage, or zips around the neighborhood. But until those fast roads get built and there is an ample supply of fuel, consumers will continue to drive around in their older sedans and SUVs.

Supply drives demand these days in the HDTV business. Come on, Hollywood – when will the floodgates open on 3D Blu-ray movies?

Aside to Netflix: What’s YOUR timetable for 3D movie streaming? Hmmm?

NAB 2010: A Show in Transition

Some of the big questions facing attendees as their flights landed in Las Vegas were these: Can NAB survive? Will it evolve into something different? Is it even that important to attend NAB anymore?

The answer to all three questions is “yes.” Even though attendance was still down from 2008 (NAB claimed 83,000 ‘officially;’ my guesstimate was more like 55,000 to 60,000), there were plenty of companies in attendance with lots of cool products to check out.

That said, the show is undergoing a rapid transformation away from a traditional ‘broadcasting’ show to a mix of InfoComm and CES – hot new products for professionals. Of course, 3D was all over the place. But so was networked video, which dominated the upper and lower South Hall exhibit areas.

Booths were smaller this year, and that’s not going to change any time soon…not when the typical booth is showing products that have price tags in the hundreds and low thousands. Contrast that with NAB shows 15 years ago, when most of the price tags had three and four zeros in them!

You know attendance was off when this was one of the largest booths in the Central Hall!

On the other hand, the alternative wasn’t too attractive…

The smaller booths and lower number of exhibitors resulted in wider aisles and less traffic – a plus. But it also resulted in NAB placing the main registration area smack in the middle of the Central Hall, something I’ve never seen before.  And there was plenty of wide-open space at the end of that hall, as well in the North and South Halls.

Can NAB be staged in three halls? Absolutely! And can you see everything you need to see in three days? Try two days. (Thursday has become ‘exhibitor bonding day,’ to quote a fellow editor.) I could have covered my beat in two days if necessary.

THE TRENDS

Not surprisingly, 3D was a big topic this year, although not to the same extent as it was at CES. The SMPTE/ETC/EBU Digital Cinema Summit focused entirely on 3D for both days, and I was fortunate enough to deliver one of the papers to a jammed room of 500+ attendees.

Sony, Panasonic, JVC, Canon, Grass Valley, AVID, Doremi, Harris, Evertz, and Ross Video were just some of the companies showing 3D products in Vegas. Those products ranged from 3D monitors and cameras to 3D workflow (acquisition, editing, post, effects, and playout) software and hardware.

Sony’s LM4251TD 42-inch LCD monitor uses micropolarizers for passive 3D viewing.

Other specialized 3D brands were in attendance, too. TD Vision, Miracube, Mistika, and HDlogix had nice exhibits in the South Hall, down the street from Grass Valley. Smaller companies like Cine-tal occupied the 3D Pavilion nearby, while Motorola and Ericsson showcased 3D transport and format recognition products upstairs.

Although the consumer TV market is seeing a big push towards active-shutter 3D TVs and monitors, the emphasis at NAB was on passive 3D viewing (cheaper glasses, more expensive displays). JVC, Hyundai, and LG all manufacture them, and there were plenty of folks standing around with RealD X-pol eyewear watching the demos.

The projector guys were on top of things, too. projectiondesign showed a stacked pair of 3-chip 1080p lightboxes in the Mistika booth, using linear polarized glasses. HDI showed a 100-inch, 1080p LCoS rear-projection TV in the HDlogix booth, also using X-pol glasses. Christie also had suitable 3D projection systems out for inspection.

There were also some demos that left me scratching my head, such as Canon’s dual-projection X-pol 3D demo, using a pair of REALiS WUXGA (1920×1200) LCoS projectors. While it worked well, it requires two separate projectors and outboard 3D filter holders – too klunky! (A Canon rep told me that was because of the 60 Hz frame rate limitation on the internal video processor.)

Well, it IS 3D, but I doubt Canon will sell very many of these rigs…

Broadband video and IPTV were also big this year. This market for MPEG-4 AVC over Ethernet, fiber, or private data networks is exploding, and encoder companies such as Adtec, Vbrick, Harmonic, Ericsson, Harris, Motorola, and Digital Rapids were showing a full range of compatible products.

Sezmi also occupied a booth at the show. This company has a unique selling proposition – a set-top box that receives both terrestrial (read: free) digital TV and selected cable channels carried on secondary terrestrial channels. It also accesses a video-on-demand server through broadband connections (SDTV only) and has a customizable program guide for each user.

While not technically broadband, the nascent MH broadcast format was in abundance at NAB. MH uses MPEG-4 AVC coding in multiple streams with IP headers to send low-resolution video to handheld receivers, such as mobile phones and combo PDA/receiver products. MH is catching on in popularity with broadcasters, who see it as a more sensible alternative to simple multicasting of secondary channels that very few people may be watching.

ATSC MH on an iPhone? Brilliant! (There’s an app for everything!)

MY PICKS

After three days of walking around, I came up with a list of “finds” that I’ll share here. These are all products that represented clever thinking, breakthrough technology, and/or new price points. Some were easy to spot; others required quite a bit of digging. But they all made the trip to Lost Wages worth it (and that’s saying a lot, considering how airlines jam you in like sardines these days!).

TV Logic: This manufacturer of LCD broadcast monitor showed the world’s first active-matrix OLED broadcast monitor (unless you think Sony’s press announcement hit first, which it didn’t.) The LM-150 ($6,200) uses a LG Display 15-inch OLED panel with 1366×768 pixel resolution and come equipped with all the expected niceties including markers, crop marks, caption displays, over/underscan, and HD/SDI, HDMI, and analog video jacks. There’s also a 3D version in the works (TDM-150) that will sell for about $7,700.

This was the coolest product at the show. But will it REALLY last 30,000 hours?

Ericsson: In addition to a host of MPEG-4 and IPTV encoders, the ‘big E’ also showcased an innovative, iPad-like LCD touchscreen remote control/video viewer. Dubbed the IPTV remote, this product can dial up video from broadband, cable, satellite, and even your home network. Not only that, it can monitor weather sensors and your home security system. (Sound much like a Crestron product?) The IPTV remote will not be offered for sale at retail. Rather, it’s intended to be a content provider offering.

Christie: Have you seen their MicroTiles yet on the Colbert Report? These innovative ‘mini’ DLP projection cubes use LED light engines to power 800×600 DMDs (the actual working resolution is 720×540) and measure about 12” x 16.” They can be configured in just about any format you wish, including floor and ceiling projection, and up to 1024 can be driven at one time. The LED light source is specified to last over 60,000 hours. Think of LED-powered LEGOÔ blocks, and you’ve got the concept.

And YOU thought iPads were all the rage…

SmallHD: It wasn’t easy finding these guys behind the Sony booth, but they’d come up with a focus assist monitor for video and still cameras that they claim is the world’s smallest HD video monitor. The actual size is about 5.6 inches and the glass is WXGA (1280×800) LCD. It comes in two flavors – one for digital SLRs ($899) and one with SDI input ($1199). The monitors are an inch thick, weigh 10 ounces, and mount to hot shoes.

Z3 Technology: I found this booth on my last pass through the South Hall, and it was worth the stop. They showed the Z3-MVE-01 MPEG encoder, a compact box that codes HD up to 1920×1080 resolution using H.64 High Profile (up to 30Hz), with Ethernet and ASI outputs. Input compatibility includes composite, component, HDMI, DVI, and HD-SDI video…all for $5,000.

JVC’s 46-inch X-pol monitor always drew a crowd.

Adtec: I didn’t expect to see an HDMI-to-QAM modulator at the show, but that’s exactly what Adtec pulled out for me. The HDMI2QAM is a dual-channel design that encodes anything from the HDMI inputs (yes, they are HDCP-compliant) to a pair of quadrature amplitude modulation (QAM) channels, using MPEG-2 encoding. The modulation format is selectable between 64-QAM (SD), 128-QAM (not widely use), and 256-QAM (HD). Bit rates are constant and optimized for each mode (i.e. 38.8 Mb/s for each HD channel).

 

Cydle: This new start-up demonstrated an app for iPods and iPhones that allows viewing of ATSC MH (A/153) video. Along with it comes the i30,  a battery-powered docking station with built-in antenna (UHF). This means that your ‘i-whatever’ has two batteries to draw from, so if you run low on talk power, simply switch to the i30 battery. Both can charge simultaneously. Cool!

Sezmi’s personal program guide rivals TiVo for user-friendliness.

Panasonic: I’ve seen it before at CES, but it now has a model number. The company’s first production camcorder now goes by the moniker AG-3DA1 and is yours for the low, low price of just $21,000. (Well, all things are relative, I guess.) The camera weighs about 6 and a half pounds and uses a pair of 2.l07 MP sensors (full 1920×1080) to record 1080i and 720p HD content to SD memory cards. Convergence and horizontal and vertical displacement are fully adjustable.

Panasonic gets another mention for the AG-AF100, which they claim is the world’s first Micro 4/3-inch (1.33:1) HD camcorder. That’s a big deal because the 4/3” format matches the coverage area of 35mm film frames…which means you can use standard 35mm film camera lenses to get effects like shallow focus, soft focus, and vignettes. The camera records to SD/SDHC/SDXC memory cards using the AVCHD format and supports 1080i/p and 720p formats, including 23.98/24/25 Hz.

Sony gets extra credit for announcing the world’s second (or first) AM-OLED professional video monitor. The PVM-750 ($3,850) is a bit smaller than TV Logic’s offering at 7.4 inches (16:9), and is not quite full HD resolution at 960×540 pixels. (Not that you’d notice on such  small screen!)  The PVM-750 has 3G HD-SDI, HDMI, and composite video inputs, the full range of adjustments from tally and markers to blue screen mode and AC/battery power operation. No word on lifespan of the display, but Sony uses small molecule (SM) OLED technology, as does LG Display.

LP Technologies rounds out my list with one of those ‘too good to be true’ products: An LCD-based 9 kHz to 3 GHz spectrum analyzer with USB 2.0 interface, built-in preamp, and Ethernet connectivity for remote monitoring. Sorry, no internal battery pack!) The USB hook-up can be used to save data in the Excel format, while the internal memory can tore 900 different waveforms. The display is a 6.4” 640×480 (VGA) LCD type. And the cost? Just $4,500…

Stick one of these on a Canon 5D MK II, and you can shoot an entire episode of ‘House!’ (No kidding!)