104 Saturday 14.09.13 theibcdaily
Acquisition at a higher level
4K is clearly a hot topic and one linked with any discussion about large sensor cameras, writes Peter Yabsley, Pro Products marketing team leader, Professional Imaging Group, Canon Europe
Over the past year the broadcast industry has seen an increase in the use of large sensor cameras, across an ever-increasing range of genres. High-end cinematic and drama productions have been in the vanguard of this move for some time, but we now see significant up-take in sectors such as documentary, lifestyle and reality TV. This shift has been
happening ‘under the radar’ for some years thanks to the adoption of DSLR cameras as video production tools. However, the increasing range of dedicated video products now available – such as Canon’s Cinema EOS system – allow content acquisition at a higher level of quality and in formats more acceptable to major broadcasters, whilst also proving much easier to use. We are also seeing an
increase in interest from sports, OB and studio productions, which previously have been more sensitive to the limitations of large sensor cameras. Once again, movies and
drama productions have most commonly been the early adopters seeking to exploit the benefits of acquiring higher resolutions, but now we are seeing more experimentation across the broadcast sector. Marquee productions such
as natural history are perhaps the next step, alongside major
Thus far, many lenses for
large sensor digital cameras have reflected their initial adoption by the movie industry. The needs of television productions may be very different however, with matters such as speed of operation, remote control, auto focus and more coming into consideration. Furthermore, our customers
continue to demand smaller, lighter lenses – a real challenge when they requesting increased image quality, for example to facilitate production in 4K. Canon’s range of EF
Peter Yabsley: ‘We are also seeing an increase in interest from sports, OB and studio productions’
OB projects. For example, the Canon EOS C500 4K camera has been tested at a number of major sporting events in Europe and the US during 2013, in conjunction with Canon cine lenses. Each of these applications has their own challenges however, so at Canon we are continually working with our many customers within the industry to support them in finding solutions. Clearly, both large sensors
and high resolution capture represent a challenge with regard to lens selection. Two key issues present themselves: operation and image quality.
Cinema lenses represent our first step into provision of dedicated lenses for large sensor digital cameras. Our heritage and technology as a lens manufacturer allows us to provide a lens range with outstanding image quality in compact designs, for 4K resolution and beyond, but we will continue to develop new products to meet the many, varied needs of our customers. There’s also no doubt that a
place remains for 2/3-inch lenses, which currently use a B4 mount. The familiarity and flexibility offered by these lenses cannot be under- estimated, while the deep depth of field that they provide is more suitable for some applications than the very shallow DoF that large sensors often provide. 11.E50
ORF acquires 30 HD camcorders
Sony By Adrian Pennington
Austria’s public broadcaster ORF has purchased 30 XDCAM PDW-F800 camcorders and additional equipment as it switches to HD. There were apparently two main contributing factors behind ORF’s decision to re- tender the contract for ENG. The MSW 900 IMX generation previously used by ORF, and the associated peripheral hardware from IMX tape machines, had reached the end of its lifecycle.
The new technology also had to be compatible with the internal ORF set-ups, such as Grass Valley K2 and Omneon Media Port. The process, which begun in summer 2011 and ended with
ORF’s final decision this year, took some time due to the fact that the new camcorder had to be integrated into the broadcaster’s large-scale switch-over process to a tapeless HD workflow. “By opting for the Sony XDCAM format, we have implemented a cost-effective and reliable solution for the entire station,” said engineer Michael Gotzhaber, technical director at ORF. “This solution enables us to make a seamless transition to the new HD ENG production format and sets our station up for the future.” Once roll-out is complete,
ORF’s news content will be processed tapelessly and entirely in HD1080i50 format – this applies to all areas of production, from recording in HD and processing content to studio production and broadcast management. 12.A10
ORF and on: The
broadcaster has chosen the sony XDCAM format
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