In Broadcast - March 2016 - 68


68

www.inbroadcast.com | Vol: 6 - Issue 3 | March 2016

InFocus

Update: Lenses
And Accessories
The development of 4K, the growth of HD, and the pushing of technical boundaries continues
to be reflected in the latest lenses and accessories. Contributing Editor Jim Evans reports...
Lenses
Among significant recent lens
introductions are Canon's UJ86x9.3B
(UHD-DIGISUPER 86), its flagship
premium 4K field lens, and the
UJ90x9B (UHD-DIGISUPER 90), a
standard 4K field optic, which debuted
at IBC 2015.
"The 86x lens is actually more than
4K quality," said Kuniaki Iijima, Canon
Europe, EMEA Broadcast Products
Director.
The UHD DIGISUPER 86 (UJ86x9.3B)
and UHD DIGISUPER 90 (UJ90x9B)
are part of Canon's evolving 2/3-inch
4K lens line-up and join the recently
launched CJ12ex4.3B in the range.
Both "provide professionals with the
freedom to shoot live broadcast or
sports events in stunning 4K quality",
and in a first for Canon's 2/3-inch
lens line-up, the UHD DIGISUPER 86
(UJ86x9.3B) offers resolving power
beyond 4K. Canon also revealed the
development of a multi-purpose
lens, emphasising its continued
commitment to the broadcast industry.
"The UHD-DIGISUPER 86 is the initial
offering in the Premium 4K class, and
is the flagship of Canon's 4K field lens
family," he continued. "The design of
this lens sought the highest possible
overall optical performance to help
ensure performance in excess of
4K throughout all lens settings. The
design of its companion, the UHDDIGISUPER 90 lens, is based upon the
design criteria of our HDTV field lenses
- by providing 4K performance in a
smaller body while offering a wider
focal range."

Fujinon UA22x8 broadcast
zoom lenses for 4K UHDTV
cameras

The all new UA80x9 and UA22x8
broadcast zoom lenses from Fujifilm
have been designed to complement 4K
UHDTV cameras. Using cutting-edge
optical technology, the lenses achieve
an impressive focal length from 9mm
in wide angle to 1440mm for the EFP
Box type UA80x9 lens, and 8mm
to 352mm for the ENG type UA22x8
model.
The UA80x9 features a unique
"optical stabilisation mechanism" that
provides optimum optical adjustment
to image shakes caused by vibrations
and wind, making it an essential
tool and excellent choice in the live
coverage of sporting events and
concerts.

Zeiss has released the Milvus SLR
lens family: a total of six different
lenses (ZE and ZF.2 mounts) for highresolution DSLR cameras, compact
professional
video
cameras
and
mirrorless E-mount
cameras
via
an
adapter
solution.
With their attractive
cost-benefit
ratio,
the Milvus lenses "open up
the field of professional
videography to ambitious
users".
As full-frame camera
lenses, Zeiss Milvus lenses
also enable high-quality
film recordings with soft
and cinematic bokeh.
The UHD DIGISUPER 90
"With their high contrast
is part of Canon's evolving 2/3-inch
4K lens line-up rendition and low level

of stray light, the lenses meet the
latest video standards
such as HDR (High
Dynamic Range) and
resolutions of 6K and
more. In other words,
they are a future-proof
investment. They also
display uniform colour
characteristics
across
all focal lengths," says Christophe
Casenave, Product Manager for Zeiss
Camera Lenses. All six Milvus lenses
have exceptionally long rotation angles
of the focus ring for precise focusing.
The practical, rubber-covered focus
ring features outstanding grip
properties for optimal focusing. The
'de-click' function in the ZF.2 mount
lenses allows filmmakers to adjust the
aperture freely and smoothly, enabling
professional results even in changing
light conditions.
The Zeiss Milvus lens family will
initially consist of the following six
focal lengths: ZEISS Milvus 2.8/21,
ZEISS Milvus 2/35, ZEISS Milvus 1.4/50,
ZEISS Milvus 1.4/85 as well as the two
macro lenses ZEISS Milvus 2/50M and
ZEISS Milvus 2/100M. Further focal
lengths will be added to the ZEISS
Milvus lens family over the next few
years.

Full-frame Zeiss Milvus lenses enable
high-quality film recordings

Schneider-Kreuznach presented an
FF-Prime lens with Sony E-Mount for
the first time at IBC in Amsterdam. The
E-Mount allows users to mount the full
frame lenses to cameras like the new
Sony Alpha 7RII. Up to now, the lenses,
which have been on the market since
2014, could be used in combination
with Nikon's F or Canon's EOS mount

Schneider-Kreuznach FF-Prime E-Mount

bayonets as well as PL mounts.
"With the FF-Prime lenses we want to
provide a genuine optical alternative
to professional filmmakers and
cinematographers. We are delighted
that we can meet the considerable
demand for a combination with a
Sony E-Mount, and thus expand the
scope for application," says Harald
Barth, Head of Film and Photo at Jos.
Schneider Optische Werke GmbH.
With a 4K resolution (4096 x 2304
pixels), the lenses were designed
specifically for DSLR cameras with full
frame sensors and for professional
cine cameras.
The homogeneous set comprises
T2.1/25mm, T2.1/35mm, T2.1/50mm,
T2.1/75mm and T2.1/100mm focal
lengths. The lenses are characterised
by their easy handling, and an organic
overall impression. This sets them
apart from the crowd and makes them
the lens of choice for filming ads,
feature films, documentaries, TV series
and corporate videos.
Ikegami's BS-98/CCU-980 hybrid
2K/4K rack-mountable optical-fibre
transmission links were shown at
BVE in London last month (February).
When used in combination with current
Ikegami Unicam HD cameras, the BS98/CCU-980 can deliver HD and 4K
processed UHD signals simultaneously.
This allows users to employ their
existing HD cameras and accessories,
including lenses, for 4K productions
as economical bridge equipment until
they are confident that 4K viewing
will become popular in the broadcast
marketplace.


http://www.inbroadcast.com https://www.fujifilm.eu/eu/products/optical-devices/u-hdtv-lenses/p/ua22x8 http://www.schneiderkreuznach.com/en/entertainment-imaging/products/cine/xenon-ff-primes/ http://www.zeiss.co.uk/camera-lenses/en_gb/camera_lenses/milvus/milvus2821.html http://www.canon.co.uk/broadcast/tv_lenses/studio_field_lenses/uhd_digisuper_90/

Table of Contents for the Digital Edition of In Broadcast - March 2016

In Broadcast - March 2016 - Intro
In Broadcast - March 2016 - Cover1
In Broadcast - March 2016 - Cover2
In Broadcast - March 2016 - 3
In Broadcast - March 2016 - 4
In Broadcast - March 2016 - 5
In Broadcast - March 2016 - 6
In Broadcast - March 2016 - 7
In Broadcast - March 2016 - 8
In Broadcast - March 2016 - 9
In Broadcast - March 2016 - 10
In Broadcast - March 2016 - 11
In Broadcast - March 2016 - 12
In Broadcast - March 2016 - 13
In Broadcast - March 2016 - 14
In Broadcast - March 2016 - 15
In Broadcast - March 2016 - 16
In Broadcast - March 2016 - 17
In Broadcast - March 2016 - 18
In Broadcast - March 2016 - 19
In Broadcast - March 2016 - 20
In Broadcast - March 2016 - 21
In Broadcast - March 2016 - 22
In Broadcast - March 2016 - 23
In Broadcast - March 2016 - 24
In Broadcast - March 2016 - 25
In Broadcast - March 2016 - 26
In Broadcast - March 2016 - 27
In Broadcast - March 2016 - 28
In Broadcast - March 2016 - 29
In Broadcast - March 2016 - 30
In Broadcast - March 2016 - 31
In Broadcast - March 2016 - 32
In Broadcast - March 2016 - 33
In Broadcast - March 2016 - 34
In Broadcast - March 2016 - 35
In Broadcast - March 2016 - 36
In Broadcast - March 2016 - 37
In Broadcast - March 2016 - 38
In Broadcast - March 2016 - 39
In Broadcast - March 2016 - 40
In Broadcast - March 2016 - 41
In Broadcast - March 2016 - 42
In Broadcast - March 2016 - 43
In Broadcast - March 2016 - 44
In Broadcast - March 2016 - 45
In Broadcast - March 2016 - 46
In Broadcast - March 2016 - 47
In Broadcast - March 2016 - 48
In Broadcast - March 2016 - 49
In Broadcast - March 2016 - 50
In Broadcast - March 2016 - 51
In Broadcast - March 2016 - 52
In Broadcast - March 2016 - 53
In Broadcast - March 2016 - 54
In Broadcast - March 2016 - 55
In Broadcast - March 2016 - 56
In Broadcast - March 2016 - 57
In Broadcast - March 2016 - 58
In Broadcast - March 2016 - 59
In Broadcast - March 2016 - 60
In Broadcast - March 2016 - 61
In Broadcast - March 2016 - 62
In Broadcast - March 2016 - 63
In Broadcast - March 2016 - 64
In Broadcast - March 2016 - 65
In Broadcast - March 2016 - 66
In Broadcast - March 2016 - 67
In Broadcast - March 2016 - 68
In Broadcast - March 2016 - 69
In Broadcast - March 2016 - 70
In Broadcast - March 2016 - 71
In Broadcast - March 2016 - 72
In Broadcast - March 2016 - S1
In Broadcast - March 2016 - S2
In Broadcast - March 2016 - S3
In Broadcast - March 2016 - S4
In Broadcast - March 2016 - S5
In Broadcast - March 2016 - S6
In Broadcast - March 2016 - S7
In Broadcast - March 2016 - S8
In Broadcast - March 2016 - S9
In Broadcast - March 2016 - S10
In Broadcast - March 2016 - S11
In Broadcast - March 2016 - S12
In Broadcast - March 2016 - S13
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