In Broadcast - June 2016 - 28


28

www.inbroadcast.com | Vol: 6 - Issue 6 | June 2016

InFocus

Specialist Camera Systems

IO Industries
4KSDI mini-cam

of familiar lenses to be used. For
stereo 3D or panoramic configurations,
or live-to-air broadcasts, an HD sync
reference is included for multi-camera
synchronisation.
8K for VFX
A production ecosystem for 8K is
being pursued full steam ahead by
mainly Japanese manufacturers in
order to showcase 'Japan Inc' ahead of
the Tokyo Olympics.
Hitachi and Ikegami have new 8K
systems cameras and Canon is working
on one too. It won't be due until 2018
though. A prototype at NAB was
housed in a C300 M11 and was shown
recording to four Convergent Design
Odyssey7Qs in four 4K quadrants, and
displayed on Canon's prototype 55-

inch reference monitor.
"8K is much more challenging
than the move from SD to HD
and the industry is still facing
the challenge of going to 4K,"
warned Canon's Professional Video
Products Manager, Tim Smith.
Canon will have an eye on the cine
film market where the overhead of
information gathered from highresolution sensors are a bonus
for VFX-intensive productions and
emerging forms of volumetric imaging.
RED has beaten Canon to it. The
Weapon sports an 8K (8192 x 4320)
sensor and is already in use on Marvel
Studios' Guardians Of The Galaxy 2
with a Codex assisted workflow. The
camera can capture 8K resolution at
up to 75 fps although with multiple
cameras, the amount of REDcode
RAW data generated on this VFX
blockbuster topped 100TB in just a
month's shooting.
Chinese company Kinefinity has
new 5K and 6K Terra cameras which
resemble REDcameras in design.
They both record as ProRes 422 or in
KineRAW, which can be transcoded
into CinemaDNG and ProRres by the

cont'd...

company's own software.
The Terra 5K has dual shutter modes:
a rolling shutter for a wide latitude,
low noise, and fast frame rates up to
15 f-stops and a global shutter up to
13 stops. It can shoot 5K up to 60 fps.
The Terra 6K version uses a 6K CMOS
sensor with rolling shutter with up to
14 f-stops latitude (at 25fps). both are
available via European distributor MJIT
Berlin.
Light-Field Future
A camera being launched by Silicon
Valley tech developer Lytro later this
year is able to record video through a
microlens array comprising millions
of lenslets onto a 755 RAW megapixel
sensor up to 300fps.
The technique, known
as light-field, captures
the depth, direction and
intensity of light rays
in a scene as data to
enable greater flexibility
in altering the image in
post.
"Currently, key creative
decisions such as the frame rate are
'baked in' at the time of capture,"

explains Jon Karafin, Head of LightField Video, Product Management,
Lytro. "Light-field means you can
computationally change the shutter
time, frame rate and aperture
after the event. For the film and TV
community, that means they can get
shots that previously weren't possible.
Computers, storage and bandwidth
have finally caught up to a point
that makes light-field practical, with
the level of quality for demanding
production."
While cinematographers may baulk
at the idea, the Lytro Cinema Camera
can simulate existing lenses, for
example by applying an anamorphic
lens to scenes in post. The first version
is built like a tank so can only be used
in studio and it's being offered for rent,
inclusive of technicians and server.

Light-Field technology -
Lytro Cinema Camera

RED Digital Cinema
Shows DSMC2 Cameras

R

ED Digital Cinema returned to
BroadcastAsia to show its line of
DSMC2 cameras and learn about RED's
intuitive workflow via demonstrations
from industry experts.
RED showcased the WEAPON camera
which boasts up to 6K resolution at
100 frames per second, 19 megapixel
stills from motion, and incredibly fast
data speeds up to 300 MB/s.
In addition to WEAPON, RED also
showed the 5K SCARLET-W and 4.5K
RAVEN cameras. Based on a camera
BRAIN and the complete Base I/O

V-Lock package, SCARLET-W blends
flexibility and accessibility with highend performance.
RAVEN - the smallest camera in the
RED ecosystem - also has a V-Lock I/O
package. Its lightweight durable design
makes it suitable for professionals
looking to shoot on the move.
All of RED's DSMC2 cameras offer
superior image quality through
the award-winning RED DRAGON
sensor, incredible dynamic range,
simultaneous recording of REDCODE
RAW and Apple ProRes or Avid DNxHR/

RED WEAPON
- all the way to 8K

HD, and adhere to the
company's dedication
to
'Obsolescence
Obsolete' policy, a core
operating
principle
that allows current RED
owners to move between
DSMC2
cameras
without
having to purchase all new gear.
At NAB RED announced additional
DSMC2 accessory options to help
shooters expand their arsenal. Some
of the new products included in the
announcement were:
*	 DSMC2 Side Handle: Ideal for
shooters who prefer a compact
handheld configuration, RED's newest
side handle uses a navigation wheel
and customisable settings to place
menu functionality at your fingertips.
*	 DSMC2 Jetpack-SDI Expander:
An I/O expander purposely designed
for aerials, gimbals, and other
lightweight/remote
configurations
using SDI connections.
*	 DSMC2 V-Lock Battery Module:

RED's
5K SCARLET-W

Module option that integrates with a
variety of expander modules to power
industry-standard V-Lock batteries
while maintaining flexible I/O options.
*	 RED
PRO
Touch
7.0"
LCD:
Designed
for
off-camera
configurations, this display option
offers remote camera control in a
high-definition viewing experience.
The recently released free firmware
update, makes Avid DNxHR and Avid
DNxHD recording formats available
for all DSMC2 cameras, bringing
yet another powerful and intuitive
workflow option to professionals
shooting on RED.


http://www.inbroadcast.com https://youtu.be/AaTqUrdLoDU https://www.lytro.com/cinema http://www.red.com/ http://www.red.com/

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

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