In Broadcast - May 2016 - 48


48

www.inbroadcast.com | Vol: 6 - Issue 5 | May 2016

InFocus

What's New in 4K/UHD
Cameras and Camcorders
Contributing Editor David Kirk rounds
up the latest 4K/UHD cameras and
camera systems...

M

y remit for this survey of
new and recently introduced
cameras and camcorders was to
concentrate exclusively on 4K/UHD.
Easy enough given the many products
in this category which were exhibited
during the April 2016 NAB Show.
The only exception is GoPro's Omni
which delivers 8K wide 360 degree
immersive video, but uses six imaging
elements to do so. Maybe virtual
reality immersive viewing will go the
way of 3D. More likely it will result
in an entire new category of image
capture and display technology
over the next few years, combined
perhaps with true out-of-head
surround headphone audio which
Studer successfully demonstrated at
the 108th AES Convention in Paris,
February 2000, with its BRS processor.
Meanwhile the latest developments in
strictly 2D 4K.
AJA's Cion is a 4K/UHD and 2K/HD
production camera which captures
direct to edit-ready Apple ProRes
4444 at up to 4K 30fps, ProRes 422
at up to 4K 60fps, or AJA Raw at
up to 4K 120fps. Recently updated
firmware adds new features including
improved white balance, more gamma
and colour correction options for high
sensitivity settings.
Arri has released a software
update package 4.0 for the Alexa
Mini compact camera. New features
include internal ArriRaw and Open
Gate recording as well as three
4:3 recording modes optimised for
anamorphic lenses. The first mode
records the highest 4:3 resolution
possible while the other two de-

squeeze and re-scale the recorded
images in-camera. Monitoring paths
for all 4:3 modes offer SDI setups
featuring dual 1.5G or 3G outputs.
ProRes 4:3 2.8K records the full 4:3
sensor area (2880 x 2160) and can
be used with anamorphic or spherical
lenses. It offers frame rates up to 50
fps and an optional 2x anamorphic
de-squeeze for the EVF and SDI
monitoring paths. ProRes 2.39:1 2K
Ana. records a 2.39:1 standard 2K
format (2048 x 858) which does not
require any cropping or scaling in post.
Due to the in-camera scaling the data
rate is reduced, allowing recording
speeds up to 120 fps. ProRes 16:9 HD
Ana. is for situations where the look
of anamorphic lenses is desired but
the end product is full 16:9 HD without
letterboxing. This mode also supports
recording speeds up to 120 fps. The
Alexa Mini can record 4K UHD ProRes
images, facilitating real-time 4K UHD
output.
Blackmagic's URSA digital film
camera includes a user upgradeable
4.6K Super 35 image sensor with
15 stops of dynamic range, 12G-SDI,
internal dual RAW and ProRes
recorders and a 10 inch fold out on
set monitor. Sensor and lens mount
assembly can be upgraded. The sensor
captures 4608 x 2592 pixels with 15
stops of dynamic range. The extra
large Super 35 size allows for shallow
depth of field shooting.
Belden Grass Valley's LDX 86 4K
camera offers HD/3G acquisition as
well as 4K (3840x2160p50/59.94)
capture. It also provides extended
colour gamut supporting ITU-R

Ikegami's
UHK-430 4K/HD
portable camera system

URSA digital film camera
has a user upgradeable
4.6K Super 35 image sensor

BT.2020 and the option to software
upgrade to enable 15 F-stops of high
dynamic range (HDR). The camera is
designed for live broadcast UHD/4K,
especially sports productions, using
traditional B4 mount HD lenses instead
of PL lenses. LDX 86 4K cameras are
fully integrated with all the LDX 80
series and LDX 86 series, sharing the
same accessories and using the same
control system.
Canon's XC10 camcorder can record
3840 x 2160 UHD to an internal CFast
2.0 card at up to 305 Mbps or 1920 x
1080 HD to an SD card at up to 50
Mbps, with pro-standard 4:2:2 colour
sampling. ISO rating is 20,000 to allow
low-light shooting. The XC10 includes
a 10x optical zoom lens with image
stabilisation technology. It can capture
12 megapixel stills or extract 8.29
megapixel stills from 4K video.
GoPro's Omni is a synchronised sixcamera spherical array which
works with Kolor Autopano
Video software. Content can
then be played in GoPro VR
player and published to the
GoPro VR website. 360-degree
video of up to 8K resolution can
be edited within Adobe Premiere Pro
CC and Adobe After Effects CC.
Hitachi's SK-UHD4000 4K colour
camera can be used with existing
2/3-inch format ENG and studio/field
lenses without needing an opticalmechanical adaptor between camera
and lens. A 4-MOS sensor block
provides 4K (3840 x 2160) and 2K
(1920 x 1080) video simultaneously.
Features include a 12-vector linear
matrix and skin tone masking colour
control. Two remotely controlled filter
wheels are provided.

I-Movix' Infinite slow motion
camera system is based on the
Vision Research's Phantom Flex4K
in combination with an I-Movix X10
platform. It provides continuous loop
recording with more than an hour
of high frame rate in HD and frameaccurate ramping of speed without
needing external compensation and
interpolation. It can also be used for
IP based remote operation or in a
wireless configuration. In Ultra Slow
Motion mode, recording is to the
limited internal buffer memory of
the camera and replays are operated
using the I-MOVIX slow motion remote
(JOG). In Super Slow Motion mode,
everything is recorded on an external
server at high-speed.

Another low-light
star from Canon, the XC10

Ikegami's new UHK-430 4K/HD
portable camera system employs three
newly-developed 4K-native 2/3 inch
CMOS sensors which provide full 3840
x 2160 ultra-high definition resolution
plus the depth of field required for
studio and outdoor production. The
camera is equipped with a B4 bayonet
mount compatible with 2/3 inch HD
lenses. An optional SE-U430 expander
accommodates large studio or OB
lenses. Two piece construction allows
the UHK-430's sensor and lens head to
be detached as a compact


http://www.inbroadcast.com https://www.blackmagicdesign.com/gb/products/blackmagicursa http://www.canon.co.uk/for_home/product_finder/digital_cinema/cinema_eos_cameras/xc10/ http://www.ikegami.de/uhk-430.html

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

In Broadcast - May 2016 - Intro
In Broadcast - May 2016 - Cover1
In Broadcast - May 2016 - Cover2
In Broadcast - May 2016 - 3
In Broadcast - May 2016 - 4
In Broadcast - May 2016 - 5
In Broadcast - May 2016 - 6
In Broadcast - May 2016 - 7
In Broadcast - May 2016 - 8
In Broadcast - May 2016 - 9
In Broadcast - May 2016 - 10
In Broadcast - May 2016 - 11
In Broadcast - May 2016 - 12
In Broadcast - May 2016 - 13
In Broadcast - May 2016 - 14
In Broadcast - May 2016 - 15
In Broadcast - May 2016 - 16
In Broadcast - May 2016 - 17
In Broadcast - May 2016 - 18
In Broadcast - May 2016 - 19
In Broadcast - May 2016 - 20
In Broadcast - May 2016 - 21
In Broadcast - May 2016 - 22
In Broadcast - May 2016 - 23
In Broadcast - May 2016 - 24
In Broadcast - May 2016 - 25
In Broadcast - May 2016 - 26
In Broadcast - May 2016 - 27
In Broadcast - May 2016 - 28
In Broadcast - May 2016 - 29
In Broadcast - May 2016 - 30
In Broadcast - May 2016 - 31
In Broadcast - May 2016 - 32
In Broadcast - May 2016 - 33
In Broadcast - May 2016 - 34
In Broadcast - May 2016 - 35
In Broadcast - May 2016 - 36
In Broadcast - May 2016 - 37
In Broadcast - May 2016 - 38
In Broadcast - May 2016 - 39
In Broadcast - May 2016 - 40
In Broadcast - May 2016 - 41
In Broadcast - May 2016 - 42
In Broadcast - May 2016 - 43
In Broadcast - May 2016 - 44
In Broadcast - May 2016 - I1
In Broadcast - May 2016 - I2
In Broadcast - May 2016 - I3
In Broadcast - May 2016 - I4
In Broadcast - May 2016 - 45
In Broadcast - May 2016 - 46
In Broadcast - May 2016 - 47
In Broadcast - May 2016 - 48
In Broadcast - May 2016 - 49
In Broadcast - May 2016 - 50
In Broadcast - May 2016 - 51
In Broadcast - May 2016 - 52
In Broadcast - May 2016 - 53
In Broadcast - May 2016 - 54
In Broadcast - May 2016 - 55
In Broadcast - May 2016 - 56
In Broadcast - May 2016 - 57
In Broadcast - May 2016 - 58
In Broadcast - May 2016 - 59
In Broadcast - May 2016 - 60
In Broadcast - May 2016 - 61
In Broadcast - May 2016 - 62
In Broadcast - May 2016 - 63
In Broadcast - May 2016 - 64
In Broadcast - May 2016 - 65
In Broadcast - May 2016 - 66
In Broadcast - May 2016 - 67
In Broadcast - May 2016 - 68
In Broadcast - May 2016 - 69
In Broadcast - May 2016 - 70
In Broadcast - May 2016 - 71
In Broadcast - May 2016 - 72
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In Broadcast - May 2016 - 85
In Broadcast - May 2016 - 86
In Broadcast - May 2016 - 87
In Broadcast - May 2016 - 88
In Broadcast - May 2016 - 89
In Broadcast - May 2016 - S1
In Broadcast - May 2016 - S2
In Broadcast - May 2016 - S3
In Broadcast - May 2016 - S4
In Broadcast - May 2016 - S5
In Broadcast - May 2016 - S6
In Broadcast - May 2016 - S7
In Broadcast - May 2016 - S8
In Broadcast - May 2016 - S9
In Broadcast - May 2016 - S10
In Broadcast - May 2016 - S11
In Broadcast - May 2016 - S12
In Broadcast - May 2016 - S13
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201612
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http://www.nxtbook.com/nxteu/lesommet/inbroadcast_NABSHOWNYexpo
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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/nxteu/lesommet/inbroadcast_CCW15expo
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_BROADCASTASIA2015
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http://www.nxtbook.com/nxteu/lesommet/inbroadcast_201504
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_NABSHOW2015
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http://www.nxtbook.com/nxteu/lesommet/inbroadcast_cabsat2015
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