32 TVBEurope IBC Wrap-Up
company Solectrix – understood to be working on it. Panasonic’s theme was
Blackmagic’s Production Camera 4K: “We have an issue with the manufacturer of the sensor,” explained Craig Heffernan
a 4K 6G-SDI version of waveform monitor Smartscope (a snip at £600). It also has IO boards, Da Vinci Resolve for grading and while its conversion and routing products are not yet 4K there are hints of ‘watch this space’ come NAB. “Like other manufacturers we
are laying the groundwork for 4K so that when broadcasters do press the go button the products are there and the workflow is stable,” said Heffernan. Blackmagic, Canon and
GoPro have shaken rivals into redesigning their own product line. A number of DSLR-style units with 4K video capability
are in the pipeline, with Shoji Nemoto, EVP, corporate executive officer revealing that Sony’s “development will merge technology and design from the Alpha range [of consumer digital stills cameras] with professional technologies like XDCAM.” ARRI placed dynamic range ahead of resolution in the design of the Alexa and has seen it become a firm favourite of cinematographers. The company has confirmed that a technology beyond the current 3.5K sensor is planned, with the brains behind the Alexa’s original digital imaging core — German
‘Practical 4K’. “There are a lot of cameras that can do 4K for high end cinema and while not discounting that market, we want to make 4K workflow practical for everyday TV production,” said Neil Noriaki Ugo, product manager. Its 4K Varicam, shown under glass at IBC, is due in 2014 recording to new P2 cards in compression scheme AVC Ultra.
Others to watch include
Panavision’s long gestating digital cine camera with a possible 70mm sensor and Weisscam’s 4K version of its T-Cam. At IBC stereo 3D was
virtually absent from booths, with vendors transferring their R&D and marketing dollars into 4K — which is seen by all as a safer bet. “You have to look at what is mainstream and what is the toy that is going to go away,” says Luc Doneux
be right for live sport. We believe 4K and 8K should have a better innings. We can use the same camera positions and shoot the same way as 1080i; the production is not an additional burden.”
Monitoring 4K a problem Until the ITU ratified Rec.2020 (successor to HD standard Rec.709) filters into product (not expected before NAB2014) there are no certified colour
“We knew 3D was not going to be right for live sport. We believe 4K and 8K should have a better innings. We can use the same camera positions and shoot the same way as 1080i”
The chip is the basis of Panasonic’s 4K product plans which includes a switcher, portable storage unit, studio camera and a handheld 4K camera as well as compatible video servers, colour grading and NLE systems.
EVP, Sports Division, EVS. “It’s not always easy to pick the right horse because some broadcasters want to be on the cutting edge to create uniqueness to their programming. We knew 3D was not going to
www.tvbeurope.com November 2013
Luc Doneux, EVS
accurate 4K projection or monitoring devices. It’s perhaps the most critical issue facing cinematographers and DITs as they try and match colour from set through post at studios, multiple vendors and distribution.
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