Broadcast News
29/04/2014
NAB Reflections, By WTS' Duncan Payne
With the rigours, revelations and revelry of this year’s NAB still fresh in the mind, WTS Sales Manager Duncan Payne reflects on the array of innovations and surprises showcased in Las Vegas.
Sitting at 30,000 feet returning home from Las Vegas, surrounded by many friendly, if a little weary, faces it seemed NAB had taken its toll on the great and the good of the UK broadcast industry yet again. This time around, it was a party venue with 2 ‘k’s, and cameras with 4K that were high on the agenda, the new Hakkasan club proving a hit for the customary post-show revelries, while new 4K cameras cropped up in various configurations from some unlikely manufacturers.
Hats off to AJA for the surprise announcement of the show. Gasps were audible and whoops inevitable in the early morning dealer meeting as they debuted their new Cion PL mount 4K camera. A packed stand for the entirety of the show confirmed that they had got something very definitely right. The build quality of the Cion seemed solid, the form factor familiar – and it had the connectivity that you’d hope for in a 4K creative camera. With a release date given in the vaguest terms as "summer" it seems that AJA may have learnt lessons from other non-traditional manufacturers who have overpromised on delivery timescales.
AJA does have an enviable reputation for making kit that reliably does what it claims it can do, so the roll-out of the camera will be worth keeping an eye on. They were already showing some clever applications with their Corvid Ultra processing unit. By lining two 4K cameras up side by side the Corvid Ultra would allow an HD image to be taken from anywhere in the area covered by both cameras, including crossing over between cameras. This functionality is particularly popular in sports coverage for player tracking and off-the-ball incidents, and a relatively low cost point makes this Cion immediately viable.
Panasonic, meanwhile, are aiming their new 4K VariCam squarely at the Arri Alexa market, and their new ideas around camera form factor are strikingly clever. They have effectively launched two front ends – a 4K PL-mount version and a 3 x 2/3” CMOS HD sensors version – both of which dock on to the same recording back end.
This is a neat solution for camera hire companies, freelancers and production companies who find themselves being asked to produce high-end content for traditional TV one day, and ‘shallow depth of field’ content the next. And recording to AVC Ultra mini P2 cards seems like a well thought-out workflow. With Arri still resisting the move to 4K, there will be an intriguing subplot as to how the VariCam fares.
The reluctance of film-makers to opt for digital cinema technology rather than film has largely been overcome, in no small part by the Alexa itself, so it will be exciting to see how the Panasonic and the AJA will be adopted. Add into that mix the new Blackmagic 4K offering, the URSA, with its focus on upgradability and building everything into the camera, even down to a 10” monitor – though reading other blogs subsequently, there does seem to be some concern over the physical size of the unit.
JVC previewed four 4K cameras in total – though all are a long way off being finished products – and For-A were showing off their 4K high-speed camera, the FT-One, which also looked impressive. Elsewhere, the newly purple Grass Valley gave a technology demonstration of a 4K systems camera, which promises to be an interesting alternative to Sony’s F55/CA-4000 hybrid solution. They also paraded a new LDX ExtremeSpeed camera channel which can produce 6x speed HD pictures.
However this only gives 1080i and this speed – or you can get 3x speed operation at 1080P. As you’d expect, this integrates well with their K2 Dyno slo-mo replay system.
Sony seemed a little light on new releases for the broadcast end of the market, though one announcement of note gives an upgrade path for their much-loved F5 camcorder. By returning it to Sony for a new front-end block and global shutter change, you can morph it into an F55. However, with no commencement date and no clues on price, there was something of a sense of anti-climax.
They also revealed a new PDW-850 to replace the popular PDW-700 and PDW-F800 camcorders. I’m all for rationalisation of their extensive product range, but – at an estimated price point between the two current models and with all the features of both camcorders incorporated – the advent of the PDW-850 will surely erode the value of the many PDW-F800s already in the market.
Sony did grab some attention with their unveiling of the new PXW-X180 camcorder, which boasts a sector-leading 25x zoom lens and is capable of recording full HD XAVC Intra and XAVC Long GOP as well as MPEG 422 50 Mb/s. The camcorder is compatible with SxS PRO+ and SxS-1 memory cards and, with an appropriate card adaptor, XQD, SDXC and SDHC cards can be also used.
Perhaps the most impressive camera on display though was the little Sony A7s stills camera, with its 4K recording capability. On a dark set at the show, the image quality was impressive with little noise. Film-maker, fstopacademy.com founder and longstanding WTS friend Den Lennie test-drove a pre-production model in Japan just before NAB and the results were stunning from such a small, low-budget camera.
(Continued in Part 2)
www.wtsbroadcast.com
(IT)
Sitting at 30,000 feet returning home from Las Vegas, surrounded by many friendly, if a little weary, faces it seemed NAB had taken its toll on the great and the good of the UK broadcast industry yet again. This time around, it was a party venue with 2 ‘k’s, and cameras with 4K that were high on the agenda, the new Hakkasan club proving a hit for the customary post-show revelries, while new 4K cameras cropped up in various configurations from some unlikely manufacturers.
Hats off to AJA for the surprise announcement of the show. Gasps were audible and whoops inevitable in the early morning dealer meeting as they debuted their new Cion PL mount 4K camera. A packed stand for the entirety of the show confirmed that they had got something very definitely right. The build quality of the Cion seemed solid, the form factor familiar – and it had the connectivity that you’d hope for in a 4K creative camera. With a release date given in the vaguest terms as "summer" it seems that AJA may have learnt lessons from other non-traditional manufacturers who have overpromised on delivery timescales.
AJA does have an enviable reputation for making kit that reliably does what it claims it can do, so the roll-out of the camera will be worth keeping an eye on. They were already showing some clever applications with their Corvid Ultra processing unit. By lining two 4K cameras up side by side the Corvid Ultra would allow an HD image to be taken from anywhere in the area covered by both cameras, including crossing over between cameras. This functionality is particularly popular in sports coverage for player tracking and off-the-ball incidents, and a relatively low cost point makes this Cion immediately viable.
Panasonic, meanwhile, are aiming their new 4K VariCam squarely at the Arri Alexa market, and their new ideas around camera form factor are strikingly clever. They have effectively launched two front ends – a 4K PL-mount version and a 3 x 2/3” CMOS HD sensors version – both of which dock on to the same recording back end.
This is a neat solution for camera hire companies, freelancers and production companies who find themselves being asked to produce high-end content for traditional TV one day, and ‘shallow depth of field’ content the next. And recording to AVC Ultra mini P2 cards seems like a well thought-out workflow. With Arri still resisting the move to 4K, there will be an intriguing subplot as to how the VariCam fares.
The reluctance of film-makers to opt for digital cinema technology rather than film has largely been overcome, in no small part by the Alexa itself, so it will be exciting to see how the Panasonic and the AJA will be adopted. Add into that mix the new Blackmagic 4K offering, the URSA, with its focus on upgradability and building everything into the camera, even down to a 10” monitor – though reading other blogs subsequently, there does seem to be some concern over the physical size of the unit.
JVC previewed four 4K cameras in total – though all are a long way off being finished products – and For-A were showing off their 4K high-speed camera, the FT-One, which also looked impressive. Elsewhere, the newly purple Grass Valley gave a technology demonstration of a 4K systems camera, which promises to be an interesting alternative to Sony’s F55/CA-4000 hybrid solution. They also paraded a new LDX ExtremeSpeed camera channel which can produce 6x speed HD pictures.
However this only gives 1080i and this speed – or you can get 3x speed operation at 1080P. As you’d expect, this integrates well with their K2 Dyno slo-mo replay system.
Sony seemed a little light on new releases for the broadcast end of the market, though one announcement of note gives an upgrade path for their much-loved F5 camcorder. By returning it to Sony for a new front-end block and global shutter change, you can morph it into an F55. However, with no commencement date and no clues on price, there was something of a sense of anti-climax.
They also revealed a new PDW-850 to replace the popular PDW-700 and PDW-F800 camcorders. I’m all for rationalisation of their extensive product range, but – at an estimated price point between the two current models and with all the features of both camcorders incorporated – the advent of the PDW-850 will surely erode the value of the many PDW-F800s already in the market.
Sony did grab some attention with their unveiling of the new PXW-X180 camcorder, which boasts a sector-leading 25x zoom lens and is capable of recording full HD XAVC Intra and XAVC Long GOP as well as MPEG 422 50 Mb/s. The camcorder is compatible with SxS PRO+ and SxS-1 memory cards and, with an appropriate card adaptor, XQD, SDXC and SDHC cards can be also used.
Perhaps the most impressive camera on display though was the little Sony A7s stills camera, with its 4K recording capability. On a dark set at the show, the image quality was impressive with little noise. Film-maker, fstopacademy.com founder and longstanding WTS friend Den Lennie test-drove a pre-production model in Japan just before NAB and the results were stunning from such a small, low-budget camera.
(Continued in Part 2)
www.wtsbroadcast.com
(IT)
Top Related Stories
Click here for the latest broadcast news stories.
27/10/2017
Agile Remote Cameras Launches New PTZ Cameras & Controller
Agile Remote Cameras has announced the launch of two new PTZ cameras, each with a unique modular design, plus a desktop camera controller. The ARC360
Agile Remote Cameras Launches New PTZ Cameras & Controller
Agile Remote Cameras has announced the launch of two new PTZ cameras, each with a unique modular design, plus a desktop camera controller. The ARC360
06/09/2006
BBC Outside Broadcasts’ Special Cameras Team Pioneers HD Onboard Cameras
BBC Outside Broadcasts Special Cameras team recently pioneered HD onboard camera systems for the first time at Goodwood Revival Meeting. The meeting h
BBC Outside Broadcasts’ Special Cameras Team Pioneers HD Onboard Cameras
BBC Outside Broadcasts Special Cameras team recently pioneered HD onboard camera systems for the first time at Goodwood Revival Meeting. The meeting h
13/09/2018
New Marshall 4K, UHD & High-Speed Mini Cameras
Debuted at IBC 2018, Marshall's all-new CV380-CS, CV420-CS & CV506-H12 mini cameras will be available throughout Europe, distributed by MarCam Europe
New Marshall 4K, UHD & High-Speed Mini Cameras
Debuted at IBC 2018, Marshall's all-new CV380-CS, CV420-CS & CV506-H12 mini cameras will be available throughout Europe, distributed by MarCam Europe
08/04/2015
Canon Introduces New 4K Cameras
Canon has unveiled its next generation of input-to-output solutions for 4K production workflows. The range includes the DP-V2410, a 24-inch 4K referen
Canon Introduces New 4K Cameras
Canon has unveiled its next generation of input-to-output solutions for 4K production workflows. The range includes the DP-V2410, a 24-inch 4K referen
25/02/2015
Visual Impact Orders Modular 4k Cameras For New TV Drama
The Panasonic VariCam 35 has been selected for a major new TV drama, set to be screened in the Autumn. Visual Impact has ordered six of the modular 4K
Visual Impact Orders Modular 4k Cameras For New TV Drama
The Panasonic VariCam 35 has been selected for a major new TV drama, set to be screened in the Autumn. Visual Impact has ordered six of the modular 4K
18/04/2012
Canon Launch Two New 4K Cameras
Canon has been showing off a prototype of a new EOS digital-cinema camera, the C500, at NAB 2012. This is the next development of the camera range tha
Canon Launch Two New 4K Cameras
Canon has been showing off a prototype of a new EOS digital-cinema camera, the C500, at NAB 2012. This is the next development of the camera range tha
11/11/2024
SBS Medianet Introduces Ikegami UHK-X700 4K Cameras
Korean cable television network SBS Medianet has expanded its production base with the purchase of Ikegami UHK-X700 cameras for live coverage of a maj
SBS Medianet Introduces Ikegami UHK-X700 4K Cameras
Korean cable television network SBS Medianet has expanded its production base with the purchase of Ikegami UHK-X700 cameras for live coverage of a maj
10/06/2024
Canon Europe To Offer Firmware For 4K Remote Cameras
Canon Europe is to offer firmware for 4K remote cameras and remote camera controllers intended to improve the functionality and performance of functio
Canon Europe To Offer Firmware For 4K Remote Cameras
Canon Europe is to offer firmware for 4K remote cameras and remote camera controllers intended to improve the functionality and performance of functio
04/03/2024
Prime Vision Studio Invests In Ikegami UHK-X700 4K Studio/EFP Cameras
Prime Vision Studio has invested in Ikegami UHK-X700 4K studio/EFP cameras for addition to its production fleet. Celebrating its 21st anniversary this
Prime Vision Studio Invests In Ikegami UHK-X700 4K Studio/EFP Cameras
Prime Vision Studio has invested in Ikegami UHK-X700 4K studio/EFP cameras for addition to its production fleet. Celebrating its 21st anniversary this
06/03/2023
TNDV Invests In Sony 4K/HD Cameras
TNDV has made its second large capital investment in Sony 4K/HD cameras to support increased demand for Sony-driven 4K workflows. With its recent purc
TNDV Invests In Sony 4K/HD Cameras
TNDV has made its second large capital investment in Sony 4K/HD cameras to support increased demand for Sony-driven 4K workflows. With its recent purc
07/08/2019
dock10 Acquires 15 Sony HDC-3500 4K Cameras
dock10 has acquired 15 Sony HDC-3500 4K cameras as it future-proofs its infrastructure for increased 4K/UHD output. The investment, made through Sony
dock10 Acquires 15 Sony HDC-3500 4K Cameras
dock10 has acquired 15 Sony HDC-3500 4K cameras as it future-proofs its infrastructure for increased 4K/UHD output. The investment, made through Sony
19/06/2018
France Télévisions Selects Panasonic Cameras For 4K Coverage
France Télévisions has selected Panasonic's 4K camera lineup to deliver large TV and sporting events in the coming months. "The competition to meet Fr
France Télévisions Selects Panasonic Cameras For 4K Coverage
France Télévisions has selected Panasonic's 4K camera lineup to deliver large TV and sporting events in the coming months. "The competition to meet Fr
13/05/2016
Sony 4k Cameras A Key Component Of Sneaky Big Studios
Sony's F55 4K cameras have been chosen for image acquisition by Arizona's newest production house, Sneaky Big Studios. From inception, Sneaky Big Stud
Sony 4k Cameras A Key Component Of Sneaky Big Studios
Sony's F55 4K cameras have been chosen for image acquisition by Arizona's newest production house, Sneaky Big Studios. From inception, Sneaky Big Stud
14/10/2014
Remote Control And 4K Cameras - Bradley Engineering's IBC2014
Bradley Engineering's stand was one of the busiest at IBC with visitors arriving to test-drive the remote-controlled cameras and queueing with questio
Remote Control And 4K Cameras - Bradley Engineering's IBC2014
Bradley Engineering's stand was one of the busiest at IBC with visitors arriving to test-drive the remote-controlled cameras and queueing with questio
23/04/2013
OConnor Supports Sony 4K Cameras
Long-time cine equipment leader OConnor, part of Vitec Videocom, is meeting the challenges of support and lens accessories for Sony’s F5 and F55 4K ca
OConnor Supports Sony 4K Cameras
Long-time cine equipment leader OConnor, part of Vitec Videocom, is meeting the challenges of support and lens accessories for Sony’s F5 and F55 4K ca