September 2013 www.tvbeurope.com


Slow-motion was not tested. “We are not there yet” — Norbert Paquet, Sony


HD lenses worked perfectly here, so much so that it was difficult to make a distinction between 4K native lenses and a box HD one. Thanks to the new focus assist function on the camera and the OLED viewfinder all the camera ops gave this a big thumbs-up. For wide angle and immersive views on the other hand, you could see limitations, so in this case we prefer native PL mounted lenses that have a big enough Modulation Transfer Function (MTF).” One key point under scrutiny


was frame rate, which Sony’s engineering lab suggests should be at least 120fps a second for live action. That capability isn’t likely until 2018 says Paquet, although they were able to use the F55’s global shutter at 125fps which not only eased blurring but made the blacks appear very clean. “The benefit of a global shutter in live is that the


we were able to colour match the F55’s with all the high definition cameras using traditional camera control. That was really seamless.” Having invested in the F55


and satisfied of its operational value for 4K live, Sony is


probably not the one to release a 2/3-inch 4K camera. “The way the F55 was designed makes it configurable for live, POV, steadicam or cine so is there any need to make a dedicated 4K camera for live?” says Paquet. In other parts of the


workflow, a MVS 8000X switcher was configured with four MEs in to achieve one 4K out — with resulting limitations on effects to basic mix, wipes and cuts. “We were also able to do some keying of logos but we are limited in the amount of chroma keying using Quad HD and this area requires more processing power and investigation,” he reports.


TVBEurope 17 News & Analysis


Seven single CMOS sensor F55 4K cameras were trained on the action alongside two HDC-2500s upconverted to 4K via prototype board


One key point under scrutiny was frame rate, which Sony’s engineering laboratory suggests should be at least 120fps a second for live action


sensitivity of the camera is very high and it delivers a very clean picture with exposure of 14 f-stops,” he says. “So we are getting back more baseband data from the sensor to the BPU. The great thing is that


Monitoring was at least true


4K by way of Sony PVM-X300 30-inch LCDs, enabling director Ben Miller to preview the programme in native resolution. He could also check the experience on a 65-inch Bravia.


EVS XT3 servers with


prototype 4K software were also tested but unable at this stage in the product’s development to output any content for post so Sony recorded ISO shots and replay


material onto a SR1000 deck for creation of a highlights package which can be viewed on its stand at IBC. The EVS systems reportedly had some sync issues in terms of fast forward and jog operations — but the Belgian manufacturer is working to overcome this. While three games are not


sufficient to start defining new editorial grammar, enough was seen to suggest that yes indeed it does provide a more immersive visual experience. Since viewers


expect to see action from multiple angles it is likely that specialist cameras — steadicam, spidercam, goalcam — which are not yet 4K capable will be upconverted. Slow-motion was not tested.


“We are not there yet,” says Paquet. “The challenge is to match picture quality with the F55 and it’s an area for investigation. There are some high-speed options out there but none are yet stable for 4K live workflow.”


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64  |  Page 65  |  Page 66  |  Page 67  |  Page 68  |  Page 69  |  Page 70  |  Page 71  |  Page 72  |  Page 73  |  Page 74  |  Page 75  |  Page 76  |  Page 77  |  Page 78  |  Page 79  |  Page 80  |  Page 81  |  Page 82  |  Page 83  |  Page 84