In Broadcast February 2012 - 23


InFOCUS
Right Upfront – Camera Lenses And Accessories
By Kevin Hilton The interest tends to fall on the camera technology, but what happens in the optics is the vital first element in the path to the final screen imagery.
One of the most important parts of a camera is undeniably the lens. So, by that logic the second most important elements must be what fit on the lens – filters and the various effects and accessories that slot into matte boxes. But in the heyday of film the general attention was on the camera itself, which, observes Les Zellan, Chairman and owner of Cooke Optics, is largely a tool that holds everything else: “I always thought it strange that people waxed lyrical about cameras when they do very little other than move the film.” The coming of digital cameras has demystified the whole area even more; at their most fundamental new file-based units are blocks that either have disk magazines connected to them or are plugged into standalone recorders. Zellan comments that in Cooke’s main area of activity, 35mm features and high-end TV drama, customers have realised that with the lower cost of digital they can own the equipment themselves. But even though the camera might cost around £20,000, there is the realisation that it still needs £250,000 worth of accessories to go with it. “That’s really made people focus on the glass,” he says, apologising for the pun.
Kevin Hilton

Pin Sharp

As broadcasters continue to move towards high definition transmission, there has been a shift from standard definition lenses to HD opticals. Dudley Darby was a BBC and then freelance TV cameraman of longstanding before retiring and still keeps in touch with developments in the industry through his association with the Guild of Television Cameraman (GTC). He says the shift to HD lenses has been absolutely necessary due to the different nature of the format: “Very few

Canon’s KJ20x8.2B IRSD HD lens

people are using SD lenses now. HD lenses are different to them and you can see that even on an SDTV set. The resolution just isn’t there on the SD models but if you’re going from HD to SD there’s no problem, it’s just that the circle of confusion [the biggest dot on the recorded image that still appears sharp under the most exacting viewing conditions and which is used to calculate depth of field charts] is larger.” It is generally acknowledged that the move to HD lenses has seen major studios fully converted, though the amount of legacy SD

ARRI’s MMB-2 modular matte box system for DSLRs

lenses is shrinking, the changeover is not yet complete. A top quality SD lens may get close to the standard of the HD lens, but will inevitably lack the real resolution and contrast required for HD. As HD has become established, manufacturers have produced different grades of lenses. For example, Fujinon Broadcast, which last year launched the XA4x7.5BMD-D3R/L motor drive HD zoom lens, has left and right variations for stereoscopic 3D operation. With a F2.8 maximum aperture on its 7.5mm to 30mm focal length, the system has a minimum focus distance of 450mm. Also new is the HA19x7.4B, regarded as a lightweight alternative to the Fujinon HA22x7.3B lens. Fujinon also collaborates with German camera, lighting and lens manufacturer ARRI to produce the Alura series of lenses. This was extended during 2011 with the addition of the Alura 15.5-45/ T2.8 and 30-80 / T2.8 lightweight zooms. While the original Alura lenses were designed for tripod and dolly work, both the latest lenses are aimed at handheld and Steadicam work. ARRI spokesman Mark HopeJones says the makers of many TV dramas want to have a cinematic look even if they have chosen to shoot digitally and so use highend film lenses like ARRI’s Master Primes and Ultra Primes. “Zooms
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Table of Contents for the Digital Edition of In Broadcast February 2012

In Broadcast - February 2012
Contents
Pictorvision Academy Award
The Ultimate Strategy to Win
Importance of Smooth Streaming
Sony Vegas Pro 11 GPU Speed Boost
Trilogy Communications Celebrates 25 years
CES 2012 Smarter Systems on Show
Vitec Videocom CEO Joop Janssen has the Answers
Space Saving 3D System
OpticamSWITCH Success at Swiss TV
In Broadcast February 2012 - 1
In Broadcast February 2012 - 2
In Broadcast February 2012 - Contents
In Broadcast February 2012 - Pictorvision Academy Award
In Broadcast February 2012 - 5
In Broadcast February 2012 - 6
In Broadcast February 2012 - 7
In Broadcast February 2012 - 8
In Broadcast February 2012 - 9
In Broadcast February 2012 - 10
In Broadcast February 2012 - 11
In Broadcast February 2012 - 12
In Broadcast February 2012 - 13
In Broadcast February 2012 - 14
In Broadcast February 2012 - 15
In Broadcast February 2012 - 16
In Broadcast February 2012 - 17
In Broadcast February 2012 - 18
In Broadcast February 2012 - 19
In Broadcast February 2012 - The Ultimate Strategy to Win
In Broadcast February 2012 - 21
In Broadcast February 2012 - 22
In Broadcast February 2012 - 23
In Broadcast February 2012 - 24
In Broadcast February 2012 - 25
In Broadcast February 2012 - 26
In Broadcast February 2012 - 27
In Broadcast February 2012 - 28
In Broadcast February 2012 - 29
In Broadcast February 2012 - 30
In Broadcast February 2012 - 31
In Broadcast February 2012 - 32
In Broadcast February 2012 - 33
In Broadcast February 2012 - Importance of Smooth Streaming
In Broadcast February 2012 - 35
In Broadcast February 2012 - 36
In Broadcast February 2012 - 37
In Broadcast February 2012 - 38
In Broadcast February 2012 - 39
In Broadcast February 2012 - Sony Vegas Pro 11 GPU Speed Boost
In Broadcast February 2012 - Trilogy Communications Celebrates 25 years
In Broadcast February 2012 - 42
In Broadcast February 2012 - 43
In Broadcast February 2012 - 44
In Broadcast February 2012 - 45
In Broadcast February 2012 - 46
In Broadcast February 2012 - 47
In Broadcast February 2012 - 48
In Broadcast February 2012 - CES 2012 Smarter Systems on Show
In Broadcast February 2012 - 50
In Broadcast February 2012 - 51
In Broadcast February 2012 - 52
In Broadcast February 2012 - 53
In Broadcast February 2012 - 54
In Broadcast February 2012 - Vitec Videocom CEO Joop Janssen has the Answers
In Broadcast February 2012 - Space Saving 3D System
In Broadcast February 2012 - 57
In Broadcast February 2012 - 58
In Broadcast February 2012 - 59
In Broadcast February 2012 - 60
In Broadcast February 2012 - 61
In Broadcast February 2012 - OpticamSWITCH Success at Swiss TV
In Broadcast February 2012 - 63
In Broadcast February 2012 - 64
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