In Broadcast - May 2016 - 50


50

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

InFocus

What's New in 4K/UHD Cameras
and Camcorders cont'd...
unit for easy deployment on a
support device such as long-reach
manually-controlled camera poles. In
this mode, the head can be operated
up to 50 metres from the camera
body. The head can also be replaced
by other assemblies such as a Super
35mm large-sensor front-end. This
will be compatible with Positive Lock
lenses. Camera heads for special
applications will become available as
part of the UHK-430 product range,
including a high frame-rate version.
Additional features include 12G and
IP CCU outputs and a new Ikegami
processor which allows 40 gigabit/s
uncompressed
baseband
video
transmission. The camera allows UHD

Panasonic's AG-DVX200 camcorder

and wide dynamic range production
while at the same time interfacing
easily with current HD systems. A high
frame-rate option provides easy access
to slow-motion effects. Ikegami's
newly developed iLog can be used to
achieve high contrast to handle wide
dynamic range. Based on logarithmic
gamma processing, it allows more
image information to be retained for
greater headroom and colour grading.
Designed for use with the UHK-430,
the 3U 18.5 kg model CCU-430 camera
control unit supports easy migration
from HD to 4K live production.
JVC's GY-LS300 camcorder is
equipped with a 4K Super 35 CMOS
sensor and accommodates a range of
cinema and photographic lenses and
adapters. It captures to SDHC/SDXC
media in a variety of image formats
including UHD. A dual codec design
allows two copies of a programme to
be made simultaneously. The single
chip CMOS sensor has approximately
13.5 megapixels and achieves a
standard sensitivity of ISO 400 with a
total of 12 stops of exposure latitude.

MultiDyne's
family
of
SilverBack
camera-mounted
transceivers capture images from
SD to 4K. The newest addition
is the SilverBack 4K5 fibre-optic
link for 4K quad-link 3G camcorders.
It enables users to broaden the
range of their existing 4K cameras
by converting any quad-link 4K
camcorder to a 4K live fully systemised
camera, connected to a base station
with a single fibre.
Panasonic's AG-DVX200 is a 4/3
inch-sensor 4K/60p camcorder with an
integrated Leica 13x zoom lens plus a
12-stop dynamic range made possible
by V-Log L processing. A hatchtype cover protects the battery and
terminals from dust and impacts. The
AG-DVX200 is also compatible with the
AG ROP (Remote Operation Panel) app,
which allows remote control of the 4K
camera recorder from an Apple iPad.
Red's Raven camera incorporates a
4.5K sensor that can capture full frame
raw video at up to 120 fps or in 2K full
frame at 240 fps. Weight is 3.5 lbs.
Also available from Red, the Weapon

Sony's PXW-Z150 features
a 1-inch stacked CMOS image sensor

camera features a 6K sensor, data
transfer rates of up to 300 megabytes
per second, in-camera 1D and 3D-LUT
outputs, and the freedom to record in
raw and Apple ProRes or Avid DNxHR/
HD file formats simultaneously.
Sony's PXW-Z150 is claimed to
be the world's first professional
camcorder to feature a 1-inch stacked
CMOS image sensor. This delivers a 2x
increase in read-out speed compared
to a conventional 1.0 sensor for
120 fps slow motion HD and 4K. An
XAVC Long GOP 100 Mbps codec is
incorporated. The PXW-Z150 has 12 x
zoom optics, a built-in four position ND
filter and a powered accessory shoe.
Networking capabilities include live
wireless streaming and FTP wireless
connection. The camcorder can
deliver up to 400 minutes continuous
recording time under battery power.

ZEISS Introduces Super Wide-Angle
Lens With Autofocus

Z

EISS is expanding the Batis range types," says Dr. Michael Pollmann,
of lenses with the introduction of Product Manager of ZEISS Camera
the Batis 2.8/18, a super wide-angle Lenses.
lens. For the Sony α system with
"With the expansion of the ZEISS
E-mount, the new lens, which features a Batis range of lenses, we are offering
diagonal angular field of 99 degrees, is creative and discerning photographers
currently the shortest full-frame fixed yet another professional tool," says
focal length with autofocus. The new Pollmann.
ZEISS Batis 2.8/18 with innovative
With the ZEISS Batis 2.8/18
OLED display to show focus
customers can now enjoy the
distance and depth of field is
super wide-angle full-frame
also impressive thanks to its
lens they've been waiting for.
high image quality across the
The new ZEISS Batis 2.8/18
entire image field.
is impressive on account of its
"The ZEISS Batis 2.8/18
high image quality across the
follows on from the highly
entire image field.
successful first two focal
"By virtue of the large
lengths, the ZEISS Batis
diagonal angular field of 99
2/25 and the ZEISS Batis
degrees, this lens is ideal
1.8/85. In spite of the
for capturing unique
extremely wide angle,
images in landscape,
we have succeeded
architectural and astro
in adapting the image
photography and for
quality of the ZEISS
impressive interior shots
The super wide-angle of small spaces," continues
Batis 2.8/18 perfectly to
ZEISS Batis 2.8/18 for the
the two different lens
Sony E-mount Pollmann.

The super wide-angle camera lens
has 11 lens elements in 10 groups and
draws on the ZEISS Distagon optical
design. Four of the lens elements are
aspheric on both sides and seven are
made from special types of glass. The
Floating Elements design permits
constantly high image performance in
the focal plane - from the minimum
object distance to infinity.
The new lens also features an
innovative OLED display to show focus
distance and depth of field depending
on the camera sensor used. The fast,
quiet AF drive with linear motors keeps
the subject sharply in focus.
In addition to the autofocus, a
handy, rubberised focus ring supports

The three full-frame ZEISS Batis lenses
with OLED display to show focus
distance and depth of field

precise manual focusing - meaning
the photographer has full creative
freedom when it comes to image
composition.
ZEISS Batis lenses are also equipped
with dust and weather seals, allowing
them to be used in even the harshest
weather conditions. All ZEISS Batis
lenses support all the operating modes
and functions of the current range of
E-mount cameras.
In addition to the ZEISS Batis range
of lenses, there are two further ZEISS
ranges for Sony E-mount cameras: the
ZEISS Touit and the ZEISS Loxia.


http://www.inbroadcast.com http://www.sony.co.uk/pro/product/broadcast-products-camcorders-xdcam/pxw-z150/specifications/ http://pro-av.panasonic.net/en/dvx4k/ http://www.zeiss.co.uk/camera-lenses/en_gb/website/landing_pages/batis.html http://www.zeiss.co.uk/camera-lenses/en_gb/website/landing_pages/batis.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
In Broadcast - May 2016 - 73
In Broadcast - May 2016 - 74
In Broadcast - May 2016 - 75
In Broadcast - May 2016 - 76
In Broadcast - May 2016 - 77
In Broadcast - May 2016 - 78
In Broadcast - May 2016 - 79
In Broadcast - May 2016 - 80
In Broadcast - May 2016 - 81
In Broadcast - May 2016 - 82
In Broadcast - May 2016 - 83
In Broadcast - May 2016 - 84
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_201912
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_NABSHOW2019
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