IBC saw an array of new cameras and camera links (wired and wireless) launched onto the market. In the coming pages, David Fox brings us the best of the new entries
EVEN AS broadcasters are only just arriving at 1080p 50/60 HD, camera manufacturers are looking beyond that for the next big thing, which is, naturally, big — bigger sensors and bigger images, principally 4K. If you want to future-proof
your programme by shooting at higher resolutions, there are now several possibilities. Where previously the only mainstream choice was a Red, you can now opt for Canon’s EOS C500 (or its EOS-1D C full-frame DSLR), JVC’s handheld GY-HMQ10, or four Sony
models, including the newly announced F5 and F55, which will use a new H.264-based codec, XAVC, designed specifically to go beyond HD. It will record at up to 600Mbps for 10-bit 4K 4:2:2 at 50/60p, or at 200Mbps for HD 4:2:2, up to 60p. The cameras will also record MPEG-2 at 50Mbps or MPEG-4 SStP, or (using a new external recorder) 16-bit 4K Raw — and the F55 can record both MPEG2 50Mbps and XAVC 4K simultaneously to the fast new SxS Pro+ card.
The external recorder will also be used (with a new Raw 4K interface) to upgrade the existing NEX-FS700 camcorder to 4K. Meanwhile, the F65 is going beyond 4K. Following a version 3.0 upgrade it will also be able to shoot 6K and 8K Raw (it already has a full 8K sensor). It will also be able to shoot at up to 120 frames per second in 8K. The new EOS C500 is
Canon’s high-end professional 4K (4096x2160-pixel) cinema camera, and is available in both EF- and PL-mount versions. It outputs 4K via dual 3G-SDI
Arri has now taken the large sensor into the realm of the system camera with the latest Alexa upgrade, giving live productions the option of a more cinematic , higher dynamic range look
High five: Sony’s new F5 supports HD, 2K and 4K Between dreams and reality: Panasonic’s new AK-HC3800
ports to external recorders (such as models from AJA or Codex Digital) as a 10-bit uncompressed Raw data (with no de-Bayering) from one to 60fps. It can also output quad HD (3840x2160), 2K (2048x1080), HD (1920x1080), and other options. In 2K it offers a 12-bit RGB 4:4:4 format at up to 60fps or 10-bit YCrCb 4:2:2, which allows 4K or 2K output at up to 120fps. At the same time, it can record 8-bit 4:2:2 50Mbps HD to its two internal Compact Flash card slots. At about half the price of the C500 there is the full-frame EOS-1D C DSLR (about
£10,000/€12,300), for shallower depth of field. It is also claimed to offer ‘advanced low light performance and film-like dynamic range’. There are compromises. In 4K
it records 4:2:2 (compared to the 4:2:0 typical of DSLRs), but only using 8-bit Motion JPEG (same as the C300 camcorder, but 10-bit would give better fidelity). For HD it records 4:2:0 internally (to Compact Flash). Video (excluding 4K) can also be output to an external recorder via HDMI using an uncompressed YCbCr 4:2:2 signal. It also offers Canon Log Gamma, to maximise exposure latitude and dynamic
range – claimed to be comparable to film (about 13-14 stops dynamic range). Also, it doesn’t use the full
sensor for 4K, but crops it to an area equivalent to an APS-H sensor (a crop of 1.3x), but this is so that there is no need to resize or scale the image, to ensure maximum image quality. For HD, it can use either the full 35mm frame for the shallowest possible depth of field or a Super 35mm (APS-C) crop. For high-speed work, the F55 and F65 can shoot at up to 180fps in 4K (while the F5 goes to 120fps), but if you need something faster, there is For-A’s FT-One —
Studio too: Arri’s Alexa can now be used for live production