November 2013
www.tvbeurope.com
“Streaming and FTP upload is a very important issue for news”
focus) through the EF lens mount. The camera can output 1080 50/60p 10-bit (4:2:2 or RAW) via a single link 3G-SDI connection. IO’s Flare camera series has
been extended to include a 12-megapixel model, giving 4096x3072 pixels at up to 125fps. IO also has a new lens adaptor to allow its miniature cameras take Canon EF-mount lenses. “It’s an active adaptor, meaning we can remotely control the lens,” explained Andrew Searle, IO’s global sales manager. “We’re really trying to focus
on broadcasting,” he added, and the Polecam RCP is “really important for OB integration. We’ve had a lot of interest for live sports, especially for shooting special angles for viewing on second screen apps at home.” IndieCam has also added new
broadcast-friendly functionality for its tiny cameras with its indieUIP (Indiecam Universal Image Processor), a “powerful but still miniscule standalone Image Processor” that “gives our camera very high-quality enhanced de-bayering, detail enhancement, noise management and RGB black balance,” explained Raphael Barth, managing director. Also new is indieGS2K RAW
recording on Convergent Design’s Odyssey and Gemini 4:4:4 recorders, which can take CinemaDNG RAW footage from up to four indieGS2K cameras at once. They include rich metadata and timecode support, and recording times start at 90 minutes per camera per SSD-module. The new sinaCAM basic
miniature camera is a 2D HD version of Solectrix’s twin-head 3D sinaCAM HD remote camera. It can be controlled using a standard Sony remote control panel in an OB vehicle. The sinaCAM basic has a single 2/3-inch CCD HD sensor, runs at up to 60fps, and has a RAW output option. GoPro has upgraded its Hero
cameras. The Hero3+ models are 20% smaller and lighter with 30% better battery life than previously. They also have an improved lens, 4x faster WiFi, and a wider range of mounts. The $400 Hero3+ Black Edition also has a SuperView mode for more immersive wide-angle videos and an Auto Low Light mode that intelligently adjusts frame rate for varying lighting conditions. The low-light performance of
Ikegami’s new HDL-4500 super high sensitivity HD camera is such that “it will still give you colour pictures in star light,” according to Mark Capstick, general manager Ikegami UK. “It is a unique product. Its minimum illumination
TVBEurope 19 IBC Wrap-Up
Equipped for live production: Canon’s 4K C500 in a full broadcast cradle
is less than 0.001 lux, in colour,”
emphasised Kondo. It has three 2/3-inch CMOS sensors and can be used in normal conditions as a standard HD camera with an S/N ratio of 54dB, where it can also increase gain with lower noise.
Upgrade path Canon showed software upgrades for most of its cameras at IBC that brought many new features, including the ability to shoot in much lower light. The firmware update will shift the maximum ISO setting on its EOS C500, EOS C300 and EOS C100 from ISO 20,000 to ISO 80,000, which its demonstration showed produced usable, if grainy, images. There will also be a wide range
of enhancements aimed at cinematic and drama production, notably for the 4K C500, including wider colour gamuts, a new high- speed mode at up to 120fps, and reduced fan noise during shoots. ARRI is also upgrading its
Alexa. The free Software Update Packet (SUP 9.0) offers higher speed recording, pre-record buffers, self-healing metadata (the ability to detect an incomplete metadata file, compare it with the recorded frames and reconstruct it, to stop the camera refusing this media for further recording), and support for SanDisk’s new CFast 2.0 media. The high-end Alexa XT can now go ‘open gate’, to use all 3434x3303 pixels on the sensor.
4K + large sensor Canon’s 4K DSLR camera, the EOS-1D C has become the first DSLR to meet the EBU Tech 3335 requirements for broadcast production. The camera is also gaining new features via a firmware update, including lens correction functions, storage of lens metadata, and improved audio with the ability to use an external audio source. The new Blackmagic Design
Production Camera 4K makes large-sensor 4K production a great deal more affordable — it costs £2589/€3089. Not surprisingly, there were thousands of pre- orders before the show.
It doesn’t do 50p, but it does support Ultra HD and 1080HD resolution capture at 23.98, 24, 25, 29.97 and 30p or 50/60i, and it has two quarter-inch jacks for audio instead of XLRs. It may not have the ergonomics and controls of a traditional camera, but its touchscreen controls are fairly simple to use, and it has useful metadata features. There is also a Super35mm
sensor, 6G-SDI output for live production, and a Thunderbolt connection. It takes EF and ZE mount lenses, records CinemaDNG RAWand Apple ProRes 422 (HQ) to its built-in SSD recorder, and comes with Blackmagic’s DaVinci Resolve colour grading software. Sony is also bringing 4K to lower
budget productions with the new PXW-Z100, which it hopes will do for 4K what the venerable Z1 did for HD, by allowing users to begin shooting UHD even if they deliver HD, “and giving them the comfort of knowing they are investing in future-proof technology,” said Sony channel sales manager (Northern Europe), Dave Cheesman. It will cost about €6500 and
record XAVC 4K 50p/60p, 4:2:2 10-bit at 500/600Mbps, HD at up to 223Mbps from its single 1/2.33- inch 4096x2160 Exmor R sensor. It should have similar low-light performance to the PMW-100. Panasonic has revealed its plans to introduce a 4K VariCam camcorder and ambition to occupy the middle ground for 4K, with switchers, palmcorders, field recorders and other 4K products. “There are high-end cameras and some consumer cameras, but for TV production there isn’t much choice,” said Rob Tarrant, Panasonic’s European product manager, Broadcast and Pro AV. Its 4K/2K/HD codec will be
AVC-Ultra444 and it will support 4K shooting from 24p to 100/120p using a newly developed Super35mm-size high sensitivity sensor offering wide dynamic range, extended colour space, and log support, recording to new Ultra P2 cards with a high speed PCIe interface.
Andre Meterian, Panasonic Europe, with Quentin Guiné and Thomas Jumel of BFMTV and the new AJ-PX270
While others are tentatively
moving to 4K, Red has released its latest 6K Dragon sensor for the Epic (now also available in a carbon fibre version that weighs about 500g less). The Dragon can roar along at 100fps at 6K and can be fitted as an upgrade to existing Epic and Scarlet cameras.
On Stream For news, getting the story back fast is at least as important as picture quality, and a few cameras are now available with built-in streaming. JVC has upgraded its compact GY-HM650 camcorder to do live streaming using WiFi, 4G or 3G connections via USB while recording full HD to its SDHC/SDXC memory card, thanks to its integrated dual encoder. Material can also be uploaded in the background via FTP thanks to a clip trimming function, which allows users to select, copy, and dub sequences via a single button push. “Streaming and FTP upload is
a very important issue, for people to get content very fast from location to studio,” said JVC product manager, Gustav Emrich. For French news channel BFMTV, the integrated mobile
In the high-speed realm, the new Phantom Flex4K from Vision Research can deliver 1000fps at 4K (4096x2160) and twice that in HD. The super 35mm sensor digital cinema camera also features new hot-swappable Phantom CineMag IV storage in sizes up to 2TB. It outputs uncompressed Cine RAW, but in-camera compression will arrive via a firmware update in early 2014. It also has 3G HD-SDI video outputs for use with external recorders.
According to its first European buyer, Stephen Price, director of Love High Speed, it is “the most advanced digital high-speed camera ever produced,” with many improvements, notably “much more latitude, so it can capture much higher brightness levels than before,” which will simplify matching it to normal cameras and make it more usable in high-contrast lighting. “It’s a much cleaner video signal. You can look much deeper into the blacks.”
network connectivity (3G/4G/WiFi) in Panasonic’s new AJ-PX270 handheld camera was a key factor in its decision to become the first purchaser of 1/3-inch camcorder on the day it launched at IBC. “Being able to send media while or right after shooting in different quality wasn’t possible without additional equipment. It’s an all- in-one tool that will simplify the way field newsgathering works for journalists,” said Quentin Guiné, BFMTV’s head of maintenance and operations.
www.arri.com www.blackmagic-design.com www.bradeng.com www.canon-europe.com www.gopro.com www.grassvalley.com www.hitachi-keu.com www.i-movix.com www.ikegami.de www.indiecam.com www.ioindustries.com www.jvcpro.eu www.livemotionconcept.de www.panasonic-broadcast.com www.red.com www.solectrix.de www.sinacam.eu www.pro.sony.eu www.telemetricsinc.com www.visionresearch.com
Higher and higher
I-Movix has two significant upgrades for its cameras: what it claims is “the first and only fast processing automatic de-flickering solution” and automatic colour matching. Its d-flicker automatic de-flickering system works in realtime to eliminate any flickering problems typically found when using high-speed cameras in artificial lighting, and works with its SprintCam Vvs HD and X10/X10+ systems.
The new ColorMatch function does automatic in-field calibration between X10/X10+ systems and other cameras used in a live broadcast and should save time by simplifying the task of matching the colours between all cameras used at an event.
The tiny Antelope Pico can deliver 340fps in HD, and can be fully integrated into a live outside broadcast via three BNC cables to the CCU giving the OB truck total control of the camera and high-speed cache clips.
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