FEATURE
Clockwise from left: Sony CineAlta F65; Canon 4K stills and video concept model; JVC 4K mini HD camera
Broadcast TECH
balance resolution with the capacity to capture 14 stops of exposure range – matching that of 35mm negative. Sony claims to have got around this with a new arrangement of its colour pixels, which has twice as many red and blue pixels compared with con- ventional Bayer patterns. This, says Sony, delivers at least 4K in resolution while keeping the picture information that rivals Alexa. The Alexa was Arri’s first dig-
ital camera after decades making respected 35mm models. In the run- up to its development, Arri polled DPs asking what they valued: more Ks or better latitude. “Their answers were unquestion-
ably more latitude, wider colour gamut and more sensitivity,” says Krsljanin. “Some manufacturers are driving their offerings in the direc- tion of greater K, perhaps believing that higher-resolution capture will improve their competitiveness.” It’s a point that Sony is also keen
to de-emphasise. “There is a lot of discussion about resolution but what we find when we show F65 pictures to cinematographers is that they look at the overall quality of latitude,
14 | Broadcast TECH | November/December 2011
detail, highlights and low light, colour rendition and noise perform- ance,” says Sony strategic marketing manager for digital cinematography Peter Sykes. “It is not just about resolution but overall performance.”
‘It is not just about resolution, but overall
performance’ Peter Sykes, Sony
Moving into TV Reseller Top Teks has ordered 20 F65s with initial requirements in feature film and commercials, says managing director Mike Thomas. “Due to the F65’s pricing [£33,000 for the camera body] and feature set, I would see that coming down to TV.” Indeed, he has confirmed sales to Ice Film, Films@59 and Cineworks, which all have broadcast clients. It is a point with which Procam managing director John Brennan agrees. “The F65 will slip into drama and I think there is an application for high-end sport and high-end TV. We have already seen some interest in the cameras we have ordered from athletics bodies who want to use them for training purposes.” The R&D from camera manu-
facturers shows the same trajec- tory. Weisscam is set to release a 4K model of its 450fps T1 camera.
Canon is readying a 4K stills and video model capable of 60fps. Pana- sonic says it is developing 4K codecs based on the AVC Ultra compression system, while JVC created waves ear- lier this year when it put a 4K-ready chip inside a small camcorder. “It was intended just to show
the potential of the chip and not as a product,” notes JVC UK sales manager John Kelly. “I would have guessed there would not be a signifi- cant market for a 4K camcorder, but the feedback has been really positive in terms of form factor.” Orders are being taken for
Meduza’s dual-lens system, which is uniquely engineered to swap in new 4K or higher sensors (one for each lens) as they become avail- able, rather than building a camera around a single sensor technology. “4K is everywhere, it’s almost old hat at this point,” argues Chris Cary, chief executive of 3D Visual Enter- prises, parent company of Meduza. “There are even 4K sensors in cell phones. What we are trying to do is to accept that component technology is moving forward much faster than product development and
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