In Broadcast - June 2013 - 38


I N T E R N A T I O N A L

N E W S

WWW.INBROADCAST.COM | ISSUE 20 - JUNE 2013

InFOCUS

Specialist Cameras: UltraHD Takes Off
While the workflow and business case for live Ultra-HD production still needs building out, if you really
need to master content with a resolution of 4K or higher there are several practical options…

By Adrian Pennington
Contributing Editor

Y

38

ou can even shoot 4K for under
£325 with a GoPro Hero3,
although the GoPro’s selling point
remains its portability for mounting
on persons or equipment for sports
action. Who cares if you break one
at that price?
The Hero3 camera comes in a
Black, Silver and White edition with
the Black one featuring 12Megapixel
stills, a wi-fi remote control and
several video rates including
4K/15fps, a 2.7K/24fps, 1080p/60fps
and 720p/120fps.
Released last February is the
Novo, a palm-held 2K/4K shooter,
co-designed by LA-based rental
house Radiant Images and View
Factor Studios, and available to
rent in Europe through P+S Technik.
Key features include a LCD touch
screen, C-mount lens system plus
a PL mount adapter, back focus
adjustment and exposure control
capabilities that open up a widerange of artistic possibilities for
cinematographers and camera
operators. The auto exposure
function standard with the GoPro
can be disabled on the Novo,
permitting cinematographers to
use the lens to manually adjust the
aperture, says the company.
Radiant Images offers
accessories including a wireless
follow-focus system.
For live broadcast, FOR-A’s 900fps
FT-ONE and Vision Research’s
1000fps Phantom Flex4K (due
IBC2013) are the first to bring 4K
super slo-motion action.
FOR-A debuted a RAW to DPX
converter (FT1-READ) for the FTONE which turns the original file
format into one widely accepted
by other equipment for
grading or editing
giving the product
an application

GoPro’s HERO 3’s remote combo

outside of live sports.
The Flex 4K is powered by a
core optical technology that seeks
to record at very fast frame rates
in environments with sub-optimal
lighting conditions. At NAB, Vision
Research wanted to show how
far it could push this with a model
designed for scientific research
capable of HD at 16,000fps.
“When you look at images of
combustion and diesel images you
can see the things you could never
see before, like the flow of fuel in the
chamber,” said Business Manager
Patrick J Ott de Vries.
NAB saw Panasonic unveil its thirdgeneration VariCam HD production
camera which incorporates the
AVC-ULTRA video codec, three full
1920 x 1080p wide dynamic range
MOS imagers and high frame rate
recording to 120fps in full 1080p.
A 4K VariCam is in the works,
possibly for 2015, but Panasonic
is also developing a 4K broadcast
ENG camera and related
production products.
“The target for 4K products is
2014; however Panasonic is still
investigating market demand,” said
Kunihiko Miyagi, President of the
company’s imaging division.
Red is outfitting 5K Epics with
a new sensor capable of 6K at up
to 100fps. “The Dragon sensor is
ten times the resolution of HD and
over two times the resolution of
our original 4K sensor,” said Red’s
Ted Schilowitz. “We conservatively
estimate it offers 17 stops of
dynamic range.”
The new Meizler wireless control
module, devised by Assistant
Camera Operator Steven Meizler
and co-developed by Red
and 3ality Technica,
p e r m i t s w i re l e s s
1080p transmission
and remote-control
of follow focus,

EPIC ushers in
the next generation of
digital cinema, featuring a 5K
sensor capable of capturing 1 to 120
frames per second at full resolution

aperture and zoom control.
The Blackmagic Design 4K
Production Camera is built on the
same body as the company’s 2.5K
model but features a Super 35 size
sensor, a global shutter for smoother
panning and a slightly reduced
dynamic range.
It’s designed to output a 4K
feed either in Apple ProRes 422
or lossless CinemaDNG RAW files,
over a single cable using 6G-SDI, an
industry standard interface which is
four times faster than HD-SDI.
Available in July from Blackmagic
Design is a very neat looking Pocket
Cinema Camera that contains a
S16mm sized HD chip and offers
13 f-stops. It records to SD cards
and can be fitted with Micro Four
Thirds lenses and via an adaptor,
any PL mount lens.
“This is a true cinema camera
with a dynamic range that looks
like film and in a form in which you
can be inconspicuous filming in
environments like crowds, warzones
or airplanes,” asserted Stuart Ashton,
European Director.
Most projects using its Cinema
Camera to date have been short
films, corporate and commercials.
It was also used for Hero Punk,
a feature length sci-fi directed
by Kanen Flowers for Scruffy.TV,
which was largely shot against
green screen.
Perhaps in reaction to the stylish
DSLRs emerging from non-traditional
camera equipment vendors like
BM, Sony created most stir at its
press conference with a concept
DSLR system representing it said ‘a

statement about
our commitment
and innovation.’
Olivier Bovis, Sony’s Head of AV
Media explained: “Fundamentally
the market is changing from a
product design standpoint. From
new DSLR products to cameras
from GoPro, everything is up for
grabs in terms of customers wanting
to use them. We wanted to make
sure that everyone is aware that
Sony is thinking from every angle.
We may be the largest camcorder
manufacturer but we wanted to
make sure that we are at the head of
discussions about where the market
is evolving. These products were
illustrations only of that intent.”
While 3D innovation was light
on the ground at NAB, German
research outfit Fraunhofer HHI
showed off a collaboration with
Walt Disney Animation Research
and Arri to develop a trifocal camera
system which is intended to make
3D production as straightforward
as 2D. The prototype employs an
Alexa as the prime lens paired with
IndieCamGS2K satellite cameras,
with depth maps extrapolated in
post to render 3D.
Fraunhofer, which is full of good
ideas, also previewed a single-body
3D camera intended for low cost
live and recorded broadcasts. The
Automated Stereo Production (ASP)
system on-boards Zeiss lenses and
a Stereoscopic Analyser, which
calculates parameters like colour
matching and stereo geometry,
identifies any incorrect settings and
adjusts them on-the-fly.
It also had what it claimed to be
the first camera with single shot
sampling for high dynamic range
CONTINUED ON PAGE 39


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Table of Contents for the Digital Edition of In Broadcast - June 2013

In Broadcast - June 2013
Contents
InNews: Rogers Opts for Quantel at City Montreal
InNews: Vizrt and Mosart Enter Newsroom Partnership
InForm: Istreamplanet Live-Video Workflow
InReply: BSI Wireless Camera Captures the Action
InFocus: Sound Devices Pix 240 Sprints Ahead
InView: Bradley Engineering Focuses on Remote Camera Control Systems
InView: Government Tax Breaks: The Devil Is in the Detail
InMedia: In Demand Uses Aja to Create Promotional Content
InMedia: Ihse Draco Kvm-Matrix Switchers Support Broadcast It Workflow
InMedia: Media Production - the Next Generation
In Broadcast - June 2013 - Intro
In Broadcast - June 2013 - In Broadcast - June 2013
In Broadcast - June 2013 - Cover2
In Broadcast - June 2013 - Contents
In Broadcast - June 2013 - InNews: Rogers Opts for Quantel at City Montreal
In Broadcast - June 2013 - 5
In Broadcast - June 2013 - InNews: Vizrt and Mosart Enter Newsroom Partnership
In Broadcast - June 2013 - 7
In Broadcast - June 2013 - 8
In Broadcast - June 2013 - 9
In Broadcast - June 2013 - 10
In Broadcast - June 2013 - 11
In Broadcast - June 2013 - 12
In Broadcast - June 2013 - 13
In Broadcast - June 2013 - 14
In Broadcast - June 2013 - 15
In Broadcast - June 2013 - 16
In Broadcast - June 2013 - 17
In Broadcast - June 2013 - 18
In Broadcast - June 2013 - 19
In Broadcast - June 2013 - 20
In Broadcast - June 2013 - 21
In Broadcast - June 2013 - InForm: Istreamplanet Live-Video Workflow
In Broadcast - June 2013 - 23
In Broadcast - June 2013 - InReply: BSI Wireless Camera Captures the Action
In Broadcast - June 2013 - 25
In Broadcast - June 2013 - 26
In Broadcast - June 2013 - 27
In Broadcast - June 2013 - 28
In Broadcast - June 2013 - 29
In Broadcast - June 2013 - 30
In Broadcast - June 2013 - 31
In Broadcast - June 2013 - 32
In Broadcast - June 2013 - 33
In Broadcast - June 2013 - 34
In Broadcast - June 2013 - 35
In Broadcast - June 2013 - 36
In Broadcast - June 2013 - 37
In Broadcast - June 2013 - 38
In Broadcast - June 2013 - 39
In Broadcast - June 2013 - 40
In Broadcast - June 2013 - 41
In Broadcast - June 2013 - 42
In Broadcast - June 2013 - 43
In Broadcast - June 2013 - InFocus: Sound Devices Pix 240 Sprints Ahead
In Broadcast - June 2013 - 45
In Broadcast - June 2013 - 46
In Broadcast - June 2013 - 47
In Broadcast - June 2013 - 48
In Broadcast - June 2013 - 49
In Broadcast - June 2013 - 50
In Broadcast - June 2013 - 51
In Broadcast - June 2013 - 52
In Broadcast - June 2013 - 53
In Broadcast - June 2013 - 54
In Broadcast - June 2013 - 55
In Broadcast - June 2013 - 56
In Broadcast - June 2013 - 57
In Broadcast - June 2013 - 58
In Broadcast - June 2013 - 59
In Broadcast - June 2013 - InView: Bradley Engineering Focuses on Remote Camera Control Systems
In Broadcast - June 2013 - 61
In Broadcast - June 2013 - InView: Government Tax Breaks: The Devil Is in the Detail
In Broadcast - June 2013 - 63
In Broadcast - June 2013 - 64
In Broadcast - June 2013 - 65
In Broadcast - June 2013 - 66
In Broadcast - June 2013 - 67
In Broadcast - June 2013 - InMedia: In Demand Uses Aja to Create Promotional Content
In Broadcast - June 2013 - 69
In Broadcast - June 2013 - 70
In Broadcast - June 2013 - 71
In Broadcast - June 2013 - InMedia: Ihse Draco Kvm-Matrix Switchers Support Broadcast It Workflow
In Broadcast - June 2013 - 73
In Broadcast - June 2013 - InMedia: Media Production - the Next Generation
In Broadcast - June 2013 - 75
In Broadcast - June 2013 - 76
In Broadcast - June 2013 - 77
In Broadcast - June 2013 - 78
In Broadcast - June 2013 - 79
In Broadcast - June 2013 - 80
In Broadcast - June 2013 - 81
In Broadcast - June 2013 - Cover3
In Broadcast - June 2013 - Cover4
In Broadcast - June 2013 - S1
In Broadcast - June 2013 - S2
In Broadcast - June 2013 - S3
In Broadcast - June 2013 - S4
In Broadcast - June 2013 - S5
In Broadcast - June 2013 - S6
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201705
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_NABSHOW2017
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201704
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_cabsat2017
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201703
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_INREVIEW2016
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201612
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_201611
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_NABSHOWNYexpo
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_20110708_DEMO
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_inshowguide2016
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201607
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http://europe.nxtbook.com/nxtbooks/lesommet/inbroadcast_APAC03
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_NABSHOW2016
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201604
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_cabsat2016
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http://www.nxtbook.com/nxtbooks/lesommet/inbroadcast_APAC02
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_201512
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_201511
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_CCW15expo
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http://www.nxtbook.com/nxtbooks/lesommet/inbroadcast_APAC01
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http://www.nxtbook.com/nxteu/lesommet/inbroadcast_201507
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_BROADCASTASIA2015
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_NABSHOW2015
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