October 2013
www.tvbeurope.com
TVBEurope 21 Best ofIBC2013: Acquisition Acquisition Acquisition
Super sensor:
EOS Cinema cameras see the light: A Canon C500 in broadcast guise
Canon — EOS C500/C300/C100 high ISO upgrade: Canon showed a major upcoming firmware release for its large-sensor cameras that pushes the maximum ISO setting from ISO 20,000 to ISO 80,000. The result is a significant improvement for anyone shooting in very little light, producing usable, if grainy, colour pictures in situations where you’d normally expect to see green night-vision goggle images. It steps up in 1-stop or 1/3-stop increments from ISO 320 to ISO 80,000. The upgrade also delivers improvements in other areas, such as: the Magnify function; a new LOCK mode; various image enhancements; and augmented control, such as allowing two users to access a camera at once via WiFi — so one can control the shot while another inputs metadata.
www.canon-europe.com
Acquisition
Cooke Optics/Thales Angénieux — Anamorphic lenses: Both companies are introducing new anamorphic lenses that are designed to compliment each other. The Angénieux anamorphic zooms, starting with a 56-152mm T4, “will perfectly match” Cooke’s seven T2.3 Anamorphic/i lenses (25mm, 32mm, 40mm, 50mm, 75mm, 100mm and 135mm), said Pierre Andurand, CEO and president, Thales Angénieux. “Cooke primes and Angénieux zooms have always
Meeting demand: Zellan with the new 75mm Anamorphic/i lens
complemented each other in terms of look and colour. They are frequently used together on feature films,” said Les Zellan,
chairman and owner, Cooke Optics. “There’s a huge demand for anamorphics,” he added. “We have orders stretching long into the future.” Both ranges will be available early next year.
www.angenieux.com www.cookeoptics.com
Ikegami — HDL-4500: The low-light performance of this new super high sensitivity HD camera is such that “it will still give you colour pictures in starlight,” claimed Mark Capstick, general manager Ikegami UK. “It is a unique product. Its minimum illumination is less than 0.001 lux, in colour,” added Masanori Kondo, president, Ikegami Europe. It has three 2/3-inch CMOS sensors, and can be used in normal conditions as a standard HD camera with a signal to noise ratio of 54dB, where it can also increase gain with lower noise. In near darkness “it becomes noisy,” admitted Capstick, “but you can recognise what you are looking at with very little light.”
www.ikegami.de
Starlight, still bright: The new HDL-4500 super high sensitivity high definition camera
Compact Zoom attracts wide interest: Lenhof with the CZ.2 15-30/T2.9
Carl Zeiss — CZ.2 15- 30/T2.9 lens: The third and widest of the new Compact Zoom lens family will be available by NAB and joins the lightweight CZ.2 70-200/T2.9 and CZ.2 28-80/T2.9 lenses, which were introduced earlier this year and have proved so popular that Zeiss had to double its production capacity to reduce the lead time from six or seven months to three to four months. The lenses have full frame coverage (24x36mm) and an interchangeable mount system for PL, EF, F, MFT and E mounts. Despite the fact that lenses get bigger as their image area increases, “this is still light [2.5kg] and compact,” said Helmut Lenhof, Zeiss product
manager for Digital Cinema.
www.zeiss.com/cine
Kondo with the Ikegami HDK-97ARRI studio
Ikegami — HDK-97ARRI:Shallow depth of field in a TV studio system camera is the promise of this “new type of dock-cam style studio camera with an ARRI front end, using a single large super 35mm sensor. It is ideal for studio drama or music,” said Masanori Kondo, president, Ikegami Europe. The first delivery, of eight PL-mount cameras, went to MTV for its Video Music Awards. “Although it is the same sensor as the Alexa, it is Ikegami’s digital signal processing and TV output,” added Stephan Shenk, ARRI’s general manager, camera division. “It’s a collaboration between ARRI and Ikegami to bring the aesthetics of the motion picture to the TV studio.”
www.ikegami.de
Acquisition
The built-in cradle may rock, but the image won’t: Fujinon’s new 55x lens
Fujinon — XA55x9.5BESM HD: This telephoto box lens is “the first in its class to include an optical image stabiliser. This will allow for rock steady images to be produced even when the camera is moving due to wind or an unsteady base, this feature has only been found in longer, more expensive lenses until now,” said Stefan Czich, general manager, Broadcast & CCTV Products Division, Pyser-SGI - Fujinon distributors for the UK and Ireland. The 16-bit encoder 2/3-inch format 55x zoom also has an integral camera/ lens support, which saves cost and time compared to a separate cradle.
www.fujinon.de
Acquisition
Barth: UIP turns RAW indieGS2K into a miniature
broadcast camera
Indiecam — indieUIP: The Indiecam Universal Image Processor is a “powerful but still miniscule standalone image processor” for broadcast use that “gives our camera very high-quality enhanced de-bayering, detail enhancement, noise management and RGB black balance,” explained Raphael Barth, managing director. It is needed because the indieGS2K camera is RAW, “but broadcast doesn’t like RAWso much because it’s a lot of work in post.” The UIP is small enough to use at the camera, but can be anywhere (via 3G HD-SDI). It can also be used with any 4:2:2 SDI camera as a 3D LUT box.
www.indiecam.com
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