Video&Filmmaker is made by filmmakers for filmmakers and can guide you through each step of your film's production, from visualising and funding your script, to selecting gear and planning your shoot. With tutorials & reviews to help you capture the best possible sound & vision, the post-production process, right on through to the distribution of your finished project.
During IBC2018, the Optical Devices Division of FUJIFILM introduced the latest in its Premier UA Series of UHD 2/3” lenses – the UA46x9.5B and UA46x13.5B. The worldwide introduction signals the continued expansion of the company’s 4K HDR lens range. FUJIFILM Optical Devices Europe will exhibit in Hall 12, Stand B20 during the show, which runs this week, from September 14-18 at the RAI Amsterdam.
The Premier UA Series is designed specifically for UHD broadcast applications. The UA46x9.5B sports a class-leading 46x zoom ratio and a wide angle from 9.5~437mm (19~874mm w/2x) with an F2.0 aperture. The “Tele” version UA46x13.5B lens also features a class-leading 46x zoom ratio and a telephoto reach from 13.5~621mm (27~1242mm w/2x) with an F2.8 aperture. Both lenses have a total weight of 5.7kg/12.56lbs and length of approximately 345.8mm.
“We remain firmly committed to the development of our 4K HDR lens range,” said Yuji Igarashi, General Manager of the Electronic Imaging Division & Optical Devices Division at FUJIFILM North America Corporation. “We’re excited about the possibilities this lens series and HDR production overall creates for our customers. Extremely high precision optics and mobility are required for this level of enhanced, high quality filming. We’re well suited to address such requirements. Our high-contrast, high-quality lenses are ideal for HDR. Given the color science expertise of Fujifilm with its motion picture and photographic film history, the FUJINON lenses are not only 4K but also produce brilliant, bright, eye-popping HDR images.”
Like the others in the series, the UA46x zooms employ the latest High Transmittance Electron Beam Coating (HT-EBC), resulting in richer colors and greatly improved blue response and transmittance. They feature 4K Ultra HD and HDR optical performance from center to corner throughout the zoom range while suppressing image distortion, due to a multi-group zoom system.
A newly designed OS-TECH image stabilizer provides the most advanced image stabilization for a lens in this class and makes the new UA46x zooms ideal for sports, wildlife, and documentary production. Versions of the lens will be available for studio, wildlife, remote-control and gyro-stabilized productions.
Also enhanced with a fresh design is the Digital Full Servo Drive Unit, which now features 16-bit encoding for highly accurate local or remote operation of the zoom, focus or iris. The drive unit offers a “Virtual Connector,” which outputs the lens’ positional data.
Availability for the UA46x9.5B and UA46x13.5 is planned for late 2018.
The new zooms are two of the latest additions to the family of FUJINON 4K UA 2/3” lenses. In addition to these two lenses, the new 4K UA70x8.7BESM field lens will also be debuted at IBC 2018. Other handheld zooms in this line up include: the UA14x4.5, UA18x5.5, UA13x4.5 and UA22x8, UA24x7.8 lenses. The UA27x6.5 studio lens and field lenses, the UA80x9 and UA107x8.4, round out the series.
IBC 2018 marks the official introduction of the FUJINON UA46x9.5B and UA46x13.5B zooms. A prototype version of the UA46x9.5B was shown at NAB 2018 in April.
FUJIFILM has announced two new models in their UA Series of 4K broadcast lenses, the FUJINON UA46x13.5BERD (UA46x13.5) and FUJINON UA70x8.7BESM (UA70x8.7) with the UA46x13.5 boasting two world firsts.
The UA46x13.5 is a portable 4K broadcast lens that offers the world’s highest zoom magnification*1 of 46x and world’s longest focal length*2 of 621mm. The UA70x8.7 is a box-type lens that covers most frequently-used focal lengths from 8.7mm on the wide-angle end to 610mm in telephoto. The UA46x13.5 will be released in May 2019, while the UA70x8.7 is scheduled to be released in November 2018.
With the introduction of the two new models, Fujifilm will meet the diversifying needs of broadcast production with an extensive lineup of eleven lenses in total.
Fujifilm launched the world’s first 4K-compatible broadcast lens in 2015. Since then, the company has rapidly expanded the lineup to lead the industry, catering to the needs for 4K video production, while also addressing demand for HD video of even greater image quality, thereby facilitating premium-quality video production.
・ The UA46x13.5 offers the world’s highest*1 46x zoom among portable 4K broadcast lenses, covering the focal lengths from 13.5mm on the wide angle end to 621mm in telephoto, the world’s longest focal length*2. Take advantage of the impressive focal length range available on the telephoto end to produce powerful video, capturing even the facial expression of a distant athlete in high definition in live sports broadcast.
・ The use of cutting-edge optical design technology reduces various chromatic aberrations, reproduces vivid colours and achieves high contrast to produce clear 4K video with rich tonal gradation in high dynamic range (HDR).
・ The lens is equipped with Fujifilm’s proprietary image-stabilisation mechanism and drive unit to enable stable video recording and comfortable operability with minimal camera shake.
・ The UA70x8.7 offers 70x zoom, covering the focal lengths from 8.7mm in wide angle and 610mm in telephoto.
・ The floating focus system, which controls multiple lens groups according to the shooting distance, achieves high-resolution footage across the entire zoom range. It produces dynamic 4K video in various scenes, such as concert coverage or live broadcast, zooming from a wide view of the venue straight into an artist on stage.
The UA46x13.5 and UA70x8.7 also produces video of higher image quality even when mounted on an HD broadcast camera.
Fujifilm will premiere the US70x8.7 alongside its extensive lineup of 4K broadcast lenses at IBC 2018 from 14-18 September at the RAI Centre in Amsterdam.
*1 World’s largest zoom magnification among portable 4K broadcast lenses according to Fujifilm data as of September 13, 2018
*2 World’s longest focal length among portable 4K broadcast lenses according to Fujifilm data as of September 13, 2018
The new the FUJINON UA46x13.5BERD (UA46x13.5) and FUJINON UA70x8.7BESM (UA70x8.7) lenses
2018 is the year of full frame cinematography, and ShareGrid, the camera sharing community, is rolling out a new video series exploring the capabilities of the Canon EOS C700 FF.
The ShareGrid team put the EOS C700FF through its paces, creating three videos that play with depth of field, explore low-light shooting scenarios, and experiment with anamorphic lenses.
ShareGrid shot two classically trained dancers in a downtown LA loft. The EOS C700 FF, mounted on a Steadicam, is paired with vintage glass, including a set of Canon K-35s and the Canon 11-165mm T2.5 Super 16mm zoom to truly see the differences between Full Frame, Super 35 and Super 16 formats.
Watch the results below.
Full Frame Sensor Size Demo with the Canon EOS C700 FF - YouTube
The Optical Devices Division of FUJIFILM will introduce the 4K UA70x8.7BESM field lens during IBC2018, in addition to the two 46x lenses. The UA Series is designed for UHD broadcast applications and made to optimize 4K HDR performance from today’s new 4K 2/3″ cameras.
With a 70x zoom ratio and focal length range of 8.7~610mm (17.4~1220mm w/2x), the UA70x7.8BESM zoom is an economical 4K box solution for sports, house of worship, and other live entertainment productions requiring a long focal length, stability and pristine optical performance.
UA70x8.7BESM 4K zoom
“As the latest in our growing series of UHD 2/3” lenses, this new box type field lens continues the expansion of our popular UA Series,” said Gordon Tubbs, Vice President, Broadcast and Communication Products, Optical Devices Division at FUJIFILM North America Corporation. “We’re particularly proud of the optical technology inherent in this 4K HDR lens range. Our high-contrast, high-quality lenses are ideal for HDR, which demands greater performance.”
“IBC is the perfect place to show it off for the first time. We’re looking forward to gathering feedback from the show’s worldwide attendees.”
Like the others in its series, the UA70x zoom employs the latest High Transmittance Electron Beam Coating (HT-EBC), resulting in richer colors and greatly improved blue response and transmittance. It features 4K Ultra HD and HDR optical performance from center to corner throughout the zoom range while suppressing image distortion, due to a multi-group zoom system. To take full advantage of the expanded dynamic range offered by HDR cameras, FUJINON UA Series lenses suppress flare and faithfully transmit the important “blacks” in video image rendering. A proprietary anti-fogging design minimizes lens fogging and reduces downtime due to moisture—a critical concern when shooting in all types of weather conditions.
A newly designed OS-TECH image stabilizer provides the most advanced image stabilization for a lens in this class and makes the new UA70x zooms ideal for sports, house of worship and entertainment productions.
The new UA70x lens has a total weight of 23.8kg/52.5lbs and length of approximately 610mm. This addition to the UA Series follows yesterday’s announcement of the IBC debut of the UA46x9.5B and UA46x13.5B lenses. Other handheld zooms in this line up include: the UA14x4.5, UA18x5.5, UA13x4.5 and UA22x8, UA24x7.8 lenses. The UA27x6.5 studio lens and field lenses, the UA80x9 and UA107x8.4, round out the series.
On day 1 of IBC on Friday, Australian pro audio giant RØDE Microphones announced that the SoundField by RØDE NT-SF1 360° Surround Ambisonic Microphone – launched at NAB in April – is now shipping internationally and will be available at a dealer near you soon.
The legendary ambisonic marque SoundField pioneered 360° surround-with-height audio capture in 1978, and was acquired by The Freedman Group, home of RØDE Microphones, in 2016. The SoundField by RØDE NT-SF1 marks the first collaboration between the two storied brands. The result is an incredible, broadcast-grade ambisonic microphone for less than USD$1000 – a world first. The NT-SF1 also comes with a blimp-style windshield and fur cover for intensive wind protection, and a shock mount for steady recording.
“With four of our incredibly transparent new TF45C half-inch cardioid capsules set in the striking tetrahedral array, the NT-SF1 rivals the finest ambisonic microphones in the world,” says The Freedman Group’s Founder and Chairman Peter Freedman AM. “Thanks to our unmatched investment in precision automated production, we can make these mics at a fraction of the cost of our competitors – and its sound quality is superior in every way. As for the ‘SoundField By RØDE’ Plugin – Wow! It is so powerful, intuitive and looks incredible. And it’s free!”
NT-SF1 COMPANION SOFTWARE – SOUNDFIELD BY RØDE PLUGIN – NOW FREE TO DOWNLOAD
The ‘SoundField By RØDE’ Plugin user interface, for mixing 360° 3D 4-track B-Format™ audio and beamforming.
SoundField is also the pioneering company behind the concepts of A-Format™ and B-Format™ audio. The Microphones record in A-Format™ but it is the conversion to B-Format™ that allows a single Ambisonic Microphone to provide 4 tracks that can be manipulated in any direction in post, possess any polarity possible and enable creators to place their sounds wherever they like within the 360° soundfield.
The SoundField by RØDE Plugin is a bespoke companion plugin available for free download on both Windows and Mac and allows users to endlessly reshape their audio. The SoundField by RØDE Plugin is perfectly matched to the NT-SF1 Microphone and operates in a completely different way to traditional ambisonic processors. Eschewing the matrices and correction filters of previous generations, it utilises state-of-the-art frequency-domain processing to deliver unparalleled spatial accuracy at all frequencies. And with the embrace of beamforming technology, B-Format™ can, for the first time, create shotgun-type patterns.
The plugin has the standard surround-sound set-ups including Dolby Atmos up to 7.1.4 and is supported by Protools, Q-base, Nuendo, Reaper and Logic in VST, AU or AAX formats, all with RØDE’s legendary ease-of-use.
The ‘SoundField By RØDE’ Plugin user interface, for mixing 360° 3D 4-track B-Format™ audio and beamforming.
Intuitive, powerful and easy to learn, the SoundField by RØDE Plugin is also a visual feast, with unique sound level visualisation providing immediate feedback into levels and soundscape, whilst ‘advanced’ mode opens up all parameters and controls for the ultimate in sound shaping.
FIND OUT MORE
For full specs, features and demonstration videos of the SoundField by RØDE NT-SF1, go to rode.com/ntsf1.
Blackmagic Design today announced the public beta of Blackmagic RAW, a new and very modern codec that combines the quality and benefits of RAW with the ease of use, speed and file sizes of traditional video formats. Blackmagic RAW is a more intelligent format that gives customers stunning images, incredible performance, cross platform support and a free developer SDK.
The Blackmagic RAW public beta will be demonstrated on the Blackmagic Design IBC 2018 booth at #7.B45. Customers can download the public beta for use with URSA Mini Pro cameras via the Blackmagic Camera 6.0 Beta Update. In addition, DaVinci Resolve 15.1 Update, which includes support for Blackmagic RAW, is also available free of charge from the Blackmagic Design website.
Blackmagic RAW has been in development for years and is a next generation hybrid codec that features multiple new technologies such as an advanced de-mosaic algorithm, extensive metadata support, highly optimized GPU and CPU accelerated processing and more. It can be used from acquisition throughout post production for editing and color grading, all from a single file.
Traditional RAW codecs have large file sizes and are processor intensive, making them hard to work with. Video file formats are faster, but suffer quality problems due to the use of 4:2:2 video filters that reduce color resolution. Blackmagic RAW solves these problems with an intelligent design that moves part of the de-mosaic process into the camera where it can be hardware accelerated by the camera itself. This results in incredibly efficient encoding that gives customers the same quality, bit depth, dynamic range and controls as RAW, but with much better performance and smaller file sizes than most popular video codecs. Because the processor intensive partial de-mosaic is done by the camera hardware, software such as DaVinci Resolve doesn’t have to do as much work decoding the files. In addition, GPU and CPU acceleration make decoding of frames incredibly fast, so you get extremely smooth performance for editing and grading.
Blackmagic RAW is much more than a simple RAW container format. Its intelligent design actually understands the camera and the sensor. This means the image data, along with the unique characteristics of the image sensor, are encoded and saved into the Blackmagic RAW file, giving customers much better image quality, even at higher compression settings, as well as total control over features such as ISO, white balance, exposure, contrast, saturation and more.
In addition, Blackmagic RAW uses Blackmagic Design Generation 4 Color Science for superior imaging that results in reproducing extremely accurate skin tones and gorgeous, lifelike colors that rival those of cameras costing tens of thousands of dollars more. Images are encoded using a custom non-linear 12-bit space designed to provide the maximum amount of color data and dynamic range.
Blackmagic RAW also makes it easy for any software developer to access all this technology. The free developer SDK lets any third party software application add Blackmagic RAW support on Mac, Windows and Linux. The Blackmagic RAW developer SDK automatically handles the embedded sensor profile metadata, along with Blackmagic Design color science, for predictable and accurate image rendering that yields consistent color throughout the entire pipeline.
Blackmagic RAW features two types of file compression. Customers can choose either constant quality or constant bitrate encoding options, depending on the kind of work they are doing. This lets them prioritize image quality or file size. Constant quality uses variable bitrate encoding so complex frames are encoded at higher data rates to preserve detail and maintain the highest possible quality. Blackmagic RAW Q0 has minimum quantization and yields the highest quality, while Blackmagic RAW Q5 uses moderate quantization for more efficient encoding and a smaller file size. Blackmagic RAW 3:1, 5:1, 8:1 and 12:1 use constant bitrate encoding to give customers the best possible images with predictable and consistent file sizes. The ratios are based on the unprocessed file size of a single frame from the camera’s sensor, making it easy to understand the relative amount of compression being used.
The pristine camera native quality of Blackmagic RAW Q0 and 3:1 are perfect for effects heavy feature film and commercial work. Blackmagic RAW Q5 and 5:1 are extremely high quality making them great for episodic television and independent films. Blackmagic RAW 8:1 and 12:1 offer high quality and speed, making it suitable for productions that wouldn’t normally consider shooting RAW. Now, more customers than ever will be able to use high quality RAW images in an incredibly efficient way that was impossible before.
“Blackmagic RAW could entirely change the workflow going from camera through post production,” said Kees Van Oostrum, Director of Photography and President of the American Society of Cinematographers. “A superb image quality, fine detail and incredibly small file sizes could possibly make Blackmagic RAW the go to format for filmmakers. It will be an important change for post because the editorial team can work with the camera original files, which are fast enough to use for everyday editing. That means less confusion in regards to creative choices I make at the camera. The images can now travel throughout the entire workflow because we’re shooting, editing and grading with the same files! Blackmagic RAW could be a game changer in the way films, television shows and commercials are made.”
Blackmagic RAW dramatically simplifies and speeds up post production workflows. DaVinci Resolve 15.1, which was also released today, includes full support for Blackmagic RAW. The performance of Blackmagic RAW is much faster in DaVinci Resolve than any other RAW format. This makes editing, color correction and visual effects incredibly fast. In addition, working with single files instead of folders full of still image sequences greatly simplifies media management. When the RAW settings are changed in DaVinci Resolve, a .sidecar file can be generated or updated if one already exists. When opened in other software applications that support Blackmagic RAW, the .sidecar file, which contains the RAW settings made in DaVinci Resolve, will be automatically used to display the image. If the .sidecar file is removed then the file will be displayed using the embedded metadata instead. This innovative new workflow gives customers a non-destructive way to change RAW settings while working between different applications.
Featuring a fully scalable design and completely modern CPU and GPU acceleration, Blackmagic RAW is optimized for AVX, AVX2 and SSE4.1 enabled processors, multi-threaded, works across multiple CPU cores and is GPU accelerated with support for Apple Metal, CUDA and OpenCL. Frame decoding and image processing is extremely fast, making it super smooth for editing, color correction and visual effects in DaVinci Resolve. Another benefit of media being stored as single files, and not image sequences, is it makes media management easier and file copying much faster.
The free Blackmagic RAW Developer SDK is available on Mac OS, Windows and Linux. This SDK takes care of all the work for developers, so adding support for Blackmagic RAW to third party software applications is easy and fast. Developers get access to GPU and CPU accelerated algorithms for decoding files, along with unique information about the camera’s image sensor so their applications can accurately decode and display the files. The SDK features highly descriptive and flexible metadata options designed to support today’s modern workflows. Metadata is embedded directly in the .braw file or it can be stored in a .sidecar file. Metadata is important because it contains the RAW settings along with information for the slate, iris, focus, focal length, white balance and a lot more. The metadata in .sidecar files can be used on top of the embedded metadata without overwriting it. Blackmagic RAW also supports frame based metadata so customers can access values, such as focus distance, that often change on a frame by frame basis.
“Blackmagic RAW is the world’s only truly modern, high performance, professional RAW codec that is open, cross platform and free,” said Grant Petty, Blackmagic Design CEO. “It’s exciting because customers can get the visually lossless image quality of RAW with the speed of traditional video workflows. Best of all, there are no hidden licenses or ongoing fees. Blackmagic RAW has been designed to provide the industry with an open, elegant and standardized high quality image format that can be used across products and in customer workflows absolutely free!”
Availability and Price
Blackmagic RAW is available today as a public beta via the Blackmagic Camera 6.0 Beta Update for URSA Mini Pro. The final release of Blackmagic RAW is expected to ship in several weeks’ time once further testing is complete.
The DaVinci Resolve 15.1 Update, which features support for Blackmagic RAW, has also been released and can be downloaded today free of charge from the Blackmagic Design website.
Watch the Blackmagic Design RAW Codec Introduction video
The BVM-HX310 reference monitor reproduces 4K HDR content of up to 1,000 nits brightness with a contrast ratio of 1,000,000:1
At IBC 2018, Sony announces a new 31-inch Grade 1 reference monitor, the BVM-HX310, which offers accurate colour reproduction and high-contrast performance that provides assurance to professional content creatives in critical picture decisions. The launch of the new reference monitor also marks the introduction of Sony’s new technology brand TRIMASTER HX.
The BVM-HX310 has been created in response to the industry’s desire to overcome the challenges of accurate picture evaluation, especially in the black reproducibility. Accurately reproducing images down to individual pixels is possible, thanks to the combination of Sony’s specified and dedicated panel and its newly developed display processing technology. The new monitor is fully capable of reproducing 4K and High Dynamic Range (HDR) content, supporting industry standard brightness of up to 1,000 nits in full-screen and a 1,000,000:1 contrast ratio for HDR productions.
“Drawing on decades of post-production and live production expertise, the BVM-HX310 is designed to provide professionals with images they can trust, helping them to work more efficiently and achieve better creative focus, whether on location or in a studio,” explained Mr. Anthony Kable, Content Creation Group Manager, Sony Australia. “At Sony, we continuously work with our customers to offer solutions that help them overcome the challenges they face daily. The result of this process is that, together, we create innovative solutions like our new reference monitor.”
Sony also introduced its new technology brand, TRIMASTER HX. HX represents the combination of both HDR (‘H’) and Liquid Crystal (Xtal) Display (‘X’) technologies. Monitors of this range offer the accuracy, consistency and quality of colour reproduction.
“When content professionals choose a reference monitor from Sony, they expect our solutions to offer trustful image quality,” Kable added. “TRIMASTER HX is the new umbrella brand that incorporates Sony’s specified million contrast LCD panel and its unique panel controlling technology to deliver consistent picture quality, accurate colour reproduction with the deepest blacks, and provides high-contrast performance consistent with our current award-winning reference monitor, the BVM-X300.”
The BVM-HX310 hosts all major HDR EOTF and, for the first time in Sony professional monitors, 12G-SDI is supported to allow simple 4K transmission with a single SDI cable. It handles ITU-R BT.2020 colour space and HDR images with Hybrid Log Gamma (HLG), SMPTE ST2084 and 2.4 (HDR) gamma alongside S-Log2, S-Log3 and S-Log3 Live HDR for SR Live Workflow.
In addition, users can load predefined Look Up Tables (LUT) based on their viewing requirements onset or in post-production thanks to BVM-HX310’s User LUT function. The existence of multiple EOTF in 4K/UHD, in addition to multiple colour spaces and RGB ranges, give rise to potential complexities in source identification.
The latest 4K HDR reference monitor incorporates Video Payload ID (VPID) which identifies signal information embedded in the SDI interface to help switch to appropriate display settings automatically – minimising the potential for human errors.
BVM-HX310 offers a Quad View mode, allowing professionals to view up to four customised individual display settings across the monitor in HD (including EOTF, colour space, transfer matrix and colour temperature), which was previously introduced on the PVM-X550. The mode will also support User LUT of the BVM-HX310.
Sony will be exhibiting at IBC 2018 on stand 13.A10 in the Elicium Hall, RAI Amsterdam. Join us at the Sony booth or visit pro.sony to find out more about the BVM-HX310.
Sony launches four new 4K/HD HDR system cameras, including the world’s first 2/3-inch 4K global shutter three CMOS sensor system, and one new Camera Control Unit with IP capability
At IBC 2018, Sony is unveiling four new live production system cameras, further expanding and evolving the Sony HDC family well-acclaimed by broadcasters and media companies across the globe. The next generation of system cameras (HDC-P50, HDC-3500) feature the world’s first 2/3-inch 4K global shutter three CMOS sensor system, and a newly developed HD HDR optical block (HDC-3100/HDC-3170). The new cameras offer content creators unprecedented flexibility and reliability, in addition to the uncompromised, premium 4K/HD HDR picture quality they have come to expect from Sony solutions.
The new family of system cameras are the HDC-P50 Point of View (POV) system camera, the portable system camera HDC-3500, as well as the affordable Fiber and Triax system cameras HDC-3100 and HDC-3170. Additionally, Sony has introduced a new Triax Camera Control Unit (CCU), the HDCU-3170, which inherits all the capabilities of the HDCU-3100 launched earlier this year.
“With the launch of our new family of live system cameras, we are providing superb image quality through the new optical system, high mobility by new POV camera and efficient operation with rich selection of options at the same time to further sustain mainstream HD and 4K live production. Based on customer feedback, we have strengthened our HDC range for HD, 4K and HDR production at multiple production price points, and with choices of infrastructure.” explained Anthony Kable, Content Creation Group Manager, Sony Australia. “We also have in mind our wider customer audience, and ensure full backward compatibility with previous generations, while bringing new capabilities, such as IP transmission technology, SMPTE ST2110, 4K and HDR, to their toolsets for content creation and more efficient infrastructure.”
The full line up of new system cameras and solutions includes:
A compact, lightweight, POV system camera, boasting the world’s first 2/3-inch 4K global shutter three CMOS sensor system, delivering a wider dynamic range. Using ultra-high precision alignment technology, it includes three 4K sensors on its newly-developed prism, which achieves ITU-R BT.2020 broadcast standard widened colour space. As a result, the HDC-P50 offers stunning, high-quality images for even the most demanding premium 4K HDR live productions. The new system camera outputs clear and crisp 4K/HD HDR signal directly from its camera body, allowing live images to be delivered at various shooting applications, such as in combination with a camera stabiliser, in handheld mode, during wireless shooting and even while filming aerial shots from a helicopter.
The portable system camera HDC-3500 expands on the capabilities of the current HDC-2000 series with the addition of a new 2/3-inch 4K global shutter three CMOS sensor system. The HDC-3500 offers high modulation of depth for HD & 4K production as well as wider dynamic range. The system camera supports HD, HDR and 4K, as well as IP capabilities. The HDC-3500 has exchangeable transmission side panel. Users can choose any of Sony’s three optional side panels, depending on their operational needs – Triax, Fiber or wireless transmission, which can easily be switched using Sony’s unique and simple side panel interface.
HDC-3100 and HDC-3170
Sony’s new affordable Fiber (HDC-3100) and Triax (HDC-3170) system cameras with 2/3-inch HD global shutter three CMOS sensor system are ideal for productions working primarily in HD, with the occasional need for 4K. Both systems are capable of HDR and SMPTE ST2110. The HDC-3170 supports 3rd generation digital Triax technology and is capable of connecting over distances up to 1800m.
The new CCU HDCU-3170 is compatible with the new 3rd generation digital Triax system cameras and can be fitted with already-available option boards for HDCU-3100 (Fiber). The CCU supports various interfaces such as 3G-SDI and SMPTE ST2110, and capable of providing outputs of HD, HDR1 and SDR. The HDCU-3170 is recommended for Triax users, but can also host an extra Fiber interface (SMPTE1 or Single Mode1). It will greatly benefit production companies doing live production in different venues requiring different transmission systems.
The latest system cameras provide “SR Live for HDR” workflow, achieving production of HDR and SDR simultaneously with just one production team. They are also backwards compatible with the current HDC-2000 series of system cameras, which allow users to easily add new models alongside their current cameras and CCUs.
The new systems announced also strengthen and improve customers’ operations, keeping Sony’s leading reputation & philosophy:
HDC series operability and robustness
Users can seamlessly blend new system cameras with existing HDC series system cameras.
The same magnesium alloy used for HDC-2500 is used for new cameras to create a camera body which is both robust and light.
Electronic Paper Display for camera number (HDC-3500 only)
An assigned number for each camera is indicated by Electronic Paper Display on the camera body and, if preferred, graphics can also be used. Information can automatically be updated when system settings change.
Focus position meter
Indication of both pre-registered focus points and current focus points graphically is possible, with three colours of RGB on the viewfinder, helping camera operators to focus precisely in any shooting conditions.
Wider space handle grip
Handle grip space is made wider than existing live system cameras, making it easier to grip, carry and place.
HDLA docking (HDC-3500 only)
With an HDLA-1500 series lens adaptor, a high magnification large lens can be easily attached in simple steps without any complex mechanical adjustments required.
All HDC-3000 series will be available from October 2018, while the HDC-P50 POV system camera will be available from February 2019. To see them live in person, please visit Sony at IBC in the Elicium Hall, RAI Amsterdam at stand 13.A10.
Extension System Provides Outstanding Mobility and Greater Freedom to Create Exceptional Imagery; Version 3.0 Firmware Updates will Add X-OCN XT, New Imager Modes, Cache REC, and More
IBC, AMSTERDAM, 14 September 2018 – Sony’s VENICE motion picture camera, which has been embraced by the production community, will enhance its usability and flexibility with the VENICE Extension System and Version 3.0 firmware updates in February 2019. The lightweight (1.9kg with PL mount and 1.4kg with E-mount), easy to use tethered extension system allows the camera body to detach from the image sensor block with no degradation in image quality, from 2.7m or 5.5m apart, offering a highly configurable and portable method of operation. The new Extension System is compatible with existing and new VENICE cameras. A user can quickly configure and freely use only VENICE’s image sensor block to capture uncompromising imagery on-site, customizing the camera for specific scenarios.
As shooting environments and capabilities become more advanced and demanding, VENICE users can expect the same image quality and integrity when using the robust Extension System. It empowers VENICE to become highly mobile and discreet for many mounting setups and filming scenarios including use with gimbals, handheld stabilizers, underwater and helicopter housings, 3D/VR rigs as well as in tight and unconventional spaces, such as in vehicles, on cranes or Russian arms.
After detailed discussions and further collaboration with James Cameron’s Lightstorm Entertainment, a prototype of the VENICE Extension System was engineered to meet their rigorous needs as they begin shooting the AVATAR sequels. Since this hardware was first demonstrated at Cine Gear 2018, additional refinements have been made in response to industry requests. Several productions have already sought out the ergonomics, small footprint and agile form factor the Extension System offers, while taking advantage of VENICE’s built-in features including the 8-step mechanical ND filter system and Dual Base ISO (ISO500/2500).
The VENICE Extension System (CBK-3610XS) consists of a front panel cover, image sensor block case with a cable and extension cable at 2.7m each. It is compatible with existing VENICE cameras with Version 3.0 firmware installed. The Extension System adds an HD-SDI output, a 12V or 24V output for powering accessories such as lens servo motors and monitoring. CBK-3610XS also comes with multiple screw holes on all surfaces to allow various rigs and accessories attachment. It is planned to be available in February 2019 at Sony authorized VENICE resellers.
Also available in February 2019 will be the free VENICE Version 3.0 firmware upgrade that further augments the camera’s capabilities. Incorporating feedback from filmmakers while protecting customers’ investment, the upgrade aims for the camera to grow with its user. Version 3.0 firmware will add a recording profile within the X-OCN (eXtended tonal range Original Camera Negative). The new profile, X-OCN XT, captures the highest quality imagery with AXS-R7 portable memory recorder. For demanding visual effects work and productions requiring the utmost, uncompromising image quality from VENICE, the new X-OCN XT profile maintains exceptionally economical file sizes comparable to Sony F55RAW file size, making the workflow affordable and efficient.
Other highlights include:
New imager modes, including 6K 2.39:1 and 5.7K 16:9 for greater shooting flexibility
Additional de-squeezed ratios for various anamorphic lenses (x1.25, x1.3, x1.5, x1.8), as requested by filmmakers
Cache REC for a maximum 30 sec in X-OCN 4K 17:9 AXS Memory / HD MPEG 50 SxS memory, so you never miss a shot