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Canon U.S.A. announced the launch of the UHD-DIGISUPER 66 (UJ66x9B), a mid-range telephoto zoom lens for 4K UHD broadcast cameras. Providing 4K optical performance for cameras that feature 2/3-inch sensors, the UHD-DIGISUPER 66 features a 66x zoom ratio, making it ideal for sports and live event productions. Leveraging Canon’s Optical Shift Image Stabilizer (Shift-IS), this new lens provides both handling and operational controls similar to existing field zoom lenses for HDTV broadcast cameras, offering stable imaging and comfortable manoeuvrability during indoor and outdoor sports broadcasting, medium-size broadcasting vans and more.

“As Canon continues to put the time and thought into the R&D of Field Lenses, we are very pleased with how the new UHD-DIGISUPER 66 advances the DIGISUPER product line,” said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc. “The new lens delivers improved optical performance and operational enhancements that together meet the needs of 4K UHD production industry demands.”

The UHD-DIGISUPER 66 provides outstanding optical performance, resulting in beautiful images with no loss of sharpness or colour from the centre to the peripheral areas of image field. This lens possesses a focal length range of 9mm to 600mm, and features a built-in 2x extender that allows users to double the zoom range capabilities of the lens – up to 1200mm on the telephoto end. Additionally, Canon’s proprietary Shift-IS technology delivers smooth imaging with minimal blur during 4K shooting: a scenario in which even the most minor vibrations can severely impact the image. The lens is also compatible with standard broadcast zoom and focus demands, allowing for easy integration into a production setup.

Blackmagic Design has announced that Toronto-based production house CreamVR used four Micro Studio Camera 4Ks to shoot the virtual reality (VR) series “A Curious Mind with Dominic Monaghan,” now available on Hulu VR.

Co-produced with Hulu and Microsoft, “A Curious Mind with Dominic Monaghan” takes viewers along on a immersive scientific exploration of our universe with the host. Viewers join Monaghan as he travels into outer space and other unreachable places to deconstruct mind-bending scientific and philosophical questions, such as the concept of the Earth as one living super organism.

“The Blackmagic Design Micro Studio Camera 4K was the best option in existence for us,” says CreamVR Creative Director and Director of Photography Andrew MacDonald. “We needed cameras that were physically small enough to place side by side, while sitting no farther apart from each other than a set of human eyes, and also capable of capturing 4K. If you’re shooting in stereo and the cameras are farther than about 72mm apart, the whole world begins to look miniature and the viewer has the illusion of being a giant. We obviously need to avoid this kind of disconnect when trying to simulate environments that engage audiences in a way that traditional television can’t.”

Tristan Cezair, CreamVR Creative Director and VFX Supervisor, also notes the advantages of using a Micro Studio Camera 4K-based solution. “We used two identical camera rigs mounted on top of each other, each with two Micro Studio Camera 4Ks side by side. The lower rig focused on Monaghan, while the upper rig used a wider set of lenses to capture more of the tracking markers in the green screen studio that he stood in. This helped the team track the cameras’ movements in post production. Ensuring the CGI environment moves at the same tracking speed as the cameras allows for a perfect composite and smooth parallax which is critical for comfortably watching within a VR headset. This dual rig setup was critical in creating a satisfying, sometimes reality-bending experience that lets viewers become completely immersed in the content as active participants instead of a traditional passive role.“

Being able to genlock the cameras made a world of difference during production and post production. Using the Blackmagic Design Mini Converter Sync Generator, MacDonald synced all four cameras with each other so that they shot the exact same thing at the exact same time, ultimately ensuring viewer comfort. The ability to genlock the cameras helped the team reduce the risk of “bends,” which can result from untimed rolling shutters. For 360-degree VR applications, “bending” caused by differences between cameras’ rolling shutters that would expose different parts of the image at different times can be an issue. It creates significant post production challenges because it becomes impossible to blend the 3D the footage together evenly which can derail the whole immersive experience for viewers. CreamVR will be relying once again on the Micro Studio Camera 4K to develop a groundbreaking new workflow that will offer creatives an accelerated hybrid way of creating a game avatar by shooting it on video and then projecting it on a 3D computer model. This will significantly reduce the time and cost associated with developing these digital models for games, simulations and more.

Canon releases its flagship full frame Cinema EOS camera, the C700 FF. Due to a newly developed, next generation Canon full frame 38.1 mm x 20.1mm CMOS sensor, the camera is capable of recording up to 5.9K, delivering ultimate creative freedom and quality. The EOS C700 FF also supports multi-format recording, shooting with EF, PL and anamorphic lenses. When using EF lenses, the C700 FF supports Canon’s innovative autofocus (AF) system, Dual Pixel CMOS AF, which is ideal for full frame format shooting.

New sensor technology, sensor modes & recording formats

The newly developed full frame 38.1mm x 20.1mm CMOS sensor, designed for high-end production, enables filmmakers to capture filmic images with unprecedented low noise, natural skin tones, shallow depth-of-field, and a broad ranging tonality that exceeds 15-stops of dynamic range.

This provides freedom and flexibility in grading and post production, as well as in the capture of HDR images. The newly designed sensor also allows the user to explore different sensor modes including full frame, Super 35mm and Super 16mm, whilst recording in a wide range of versatile recording formats including ProRes, XF-AVC (internally to CFast cards) and Canon’s uncompressed Cinema RAW.

Using the dedicated CODEX CDX-36150, the EOS C700 FF can record 5.9k 12/10-bit RAW, with 4K and 2K RAW 12-bit options available, as well as shooting ProRes 4K. For high frame rate shooting, the EOS C700 FF can shoot up to 60fps (5.9K), 72fps (4K crop) and at up to 168fps (2K crop). Using the 5.9K oversampling processing, the camera is also able to deliver a higher quality 4K and 2K image with reduced moiré and noise.

Lens options and design

The C700 FF is available in both EF lock & PL mount, compatible with Canon’s extensive range of EF series and Cinema lenses. Thanks to the vertical 20.1 mm sensor size, the C700 FF also enables users to shoot with anamorphic lenses. Utilising the Canon EF lens system, users can benefit from the full sensor size whilst shooting, as well as Canon’s innovative Dual Pixel CMOS AF which ensures focusing by locking onto and tracking a moving subject; critical in higher resolution recordings.

The EOS C700 FF is also compatible with existing Canon EOS C700 accessories including the EVF-V70 viewfinder, the MO-4E/ MO-4P B4 mount adapter and the OU-700 remote operation unit.

Vinten has announced that Live X, a full-service video production company based in New York City, has adopted the Vantage robotic camera head paired with the μVRC (microVRC) controller. Working together, Vantage and μVRC offer a complete point-tilt-zoom (PTZ) solution that aligns with Live X’s technology and creative vision.

In a compact and lightweight form factor, the Vinten Vantage enables broadcast-quality video and superior motion control at the same price point as a traditional pan-tilt-zoom (PTZ) camera head. By supporting a wide range of traditional studio POV as well as cine and pro-video camcorders from a variety of manufacturers, including Canon and Sony, the Vantage gives Live X the freedom to choose the camera and lens that best meet the requirements of each project.

“The latest and most innovative technologies are critical to our work, and that goes right down to our camera support gear. Of course, Vinten is a brand that needs no introduction in that area, and we have no less than 10 Vinten tripods in our operation,” said Corey Behnke, lead producer and co-founder, Live X. “The Vantage/µVRC system packages that world-class Vinten engineering in a compact and affordable robotic solution that gives us even more freedom to push the creative boundaries of live streaming.”

Live X is well known for its experience in delivering platform-agnostic, high-profile live streams such as the Democratic National Convention, and Behnke originated the New Years’ Eve live webcast from Time Square in 2009 – a show he has been doing for 17 consecutive years. Among the company’s current clients are Vox Media and Daily Burn 365, for which a six-person team produces two concurrent web-based, live fitness shows every morning.

Live X uses the Vantage / μVRC regularly with a range of cameras including Sony PMW300s and Sony FS5s, Blackmagic Micro Studio cameras, and Ursa Mini Pros that support the company’s 12G-SDI architecture for 4K streaming. For niche projects, such as a recent shoot for a fashion brand, the Live X team has also used the Vantage with specialized cameras such as a Canon C300 cinematic camcorder or a DSLR. With the Vantage head providing a common PTZ platform, Live X can convert any of these cameras instantly into a robotic setup, removing the staff learning curve each time a different camera is used.

“The ability to interchange cameras is one of the things we love most about the Vantage. It means we can accommodate our clients’ camera choices and associated requirements for image quality” Behnke added.

“And controlled by the μVRC, the Vantage provides some really smooth camera movements. We’ve gone from having to do movement off-shot with the PTZs to adding in creative movement such as simultaneous panning and zooming using the Vantage. The µVRC’s touch screen gives access to a rich array of features such as camera select, pre-set shots, essential shading, color matching, playback, and integration with third-party video switchers.”

Canon U.S.A. Inc., has announced the launch of three new portable zoom 4K UHD broadcast lenses1: the CJ24ex7.5B, CJ18ex7.6B and CJ14ex4.3B. These new additions are compatible with 4K UHD broadcast cameras that have 2/3-inch sensors. Flanking the existing UHDxs series of 4K portable broadcast lenses that deliver excellent optical performance, these three lenses usher in the newly launched UHDgc series that will broaden 4K UHD shooting options. These new lenses provide 4K UHD imaging quality at a price point that is more accessible to the majority of the broadcast market. Additionally, the new lenses provide impressive UHD optical performance while maintaining a compact and lightweight design to meet a wide range of needs for video productions that include documentaries, sports, events and news coverage. The CJ24ex7.5B, CJ18ex7.6B and CJ14ex4.3B utilize Canon’s proprietary optical design technology featuring materials such as fluorite and Ultra-low Dispersion (UD) glass to achieve high 4K UHD performance across the entire zoom range. In addition, the lenses support the wide color gamut approved by the ITU-R BT.2020 UHD broadcasting standard2. These features are essential to HDR imaging. The lens ergonomics and digital servo operational controls are similar to previously announced Canon portable zoom lenses, providing users with maximum mobility in a variety of shooting situations. “As 4K UHD origination becomes more popular in television news, the need for affordable lenses that can deliver the necessary imaging performance has grown,” said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc. “The new UHDgc series of lenses provides the optical brilliance that makes Canon a leader in broadcast lenses, while at a budgetary level that will make them attainable to a large swath of the industry.” The Canon CJ24ex7.5B and CJ14ex4.3B 4K Portable Zoom Lenses are scheduled to be available in summer 2018, while the CJ18ex7.6B lens is scheduled to be available in fall 2018.
Cooke Optics introduces new focal lengths for S7/i and Panchro/i Classic lenses. The Panchro/i Classic series gets additional 21mm, 27mm, 65mm Macro and 135mm focal lengths while the full frame S7/i series will now include a 16mm, 21mm, 27mm and 65mm. The Panchro/i Classic prime lenses is a modern redesign with the vintage classic. The newly introduced 21mm, 27mm, 65mm Macro and 135mm lenses join the 18mm, 25mm, 32mm, 40mm, 50mm, 75mm, 100mm, 152mm to give cinematographers a choice of 12 different focal lengths. The Panchro/i Classic 135mm was displayed at NAB while the other focal lengths will all be available by the end of the year. The S7/i Full Frame Plus lens range, which was announced in 2017, is designed to cover full frame cinema camera sensors up to the full sensor area (46.31mm image circle) of the RED Weapon 8K. The lenses will also cover and work well on both the Sony VENICE and the new ARRI ALEXA LF large format camera system. The 16mm, 21mm, 27mm and 65mm will join the already available 18mm, 25mm, 32mm, 40mm, 50mm, 75mm, 100mm and 135mm focal lengths. This brings the choice of up to 12 lenses in the S7/i series.

Blackmagic Design announced the all new Blackmagic Pocket Cinema Camera 4K, a handheld digital film camera with full 4/3 HDR sensor, dual native ISO with up to 25600 ISO for incredible low light performance as well as 13 stops of dynamic range. It also eliminates expensive external recorders, as it features a unique new USB-C Expansion Port, which allows customers to record using the internal SD/UHS-II and CFast recorders or directly to the same external disks they will use for editing and colour correction. The Blackmagic Pocket Cinema Camera 4K will be available from Blackmagic Design resellers worldwide later this year for only US$1,295.

The revolutionary new Blackmagic Pocket Cinema Camera 4K is the handheld digital film camera that customers have been asking for. It packs incredibly high end imaging and professional features into a portable and affordable design that can be used anywhere. The compact body style is perfect for shooting independent films and documentaries, fashion shows, travel blogs, web videos, weddings, corporate video, sports and much more.

The Blackmagic Pocket Cinema Camera 4K features a full size 4/3 HDR sensor with native 4096 x 2160 resolution and 13 stops of dynamic range for true digital film quality. The full size of the 4/3 sensor is designed to perfectly match MFT lenses so the crop factor is greatly reduced, giving customers a wider field of view. It also features dual native ISO with up to 25600 ISO for incredible low light performance.

The Blackmagic Pocket Cinema Camera 4K is packed with features such as a MFT lens mount, large 5 inch touchscreen monitor, 10-bit ProRes and 12-bit RAW recording, 3D LUTs, 4 built in microphones, mini XLR audio input with phantom power, Bluetooth wireless camera control, HDMI on set monitoring output and more. The latest Blackmagic Design colour science lets customers shoot images that are far better than DSLR cameras and even better than professional digital film cameras costing tens of thousands more.

Technology, Inc. announced a collaboration between its IMT business and Marshall Electronics to offer a full wireless video solution for live broadcasts and sporting events. Marshall is a recognised leader in supplying professional cameras and display monitors. The integrated bundles of IMT’s wireless video transmitters and Marshall’s POV cameras were displayed at NAB 2018.

The bundles include one of IMT’s ultra-miniature wireless video systems – IMTDragonFly or MicroLite 2 HD COFDM wireless video transmitter — as well as a Marshall Mini-Broadcast POV Camera — CV502 (HD-SDI) or CV505 (HD-SDI/HDMI). The bundles will provide quality live broadcasting solutions for capturing engaging points-of-view for supported broadcast programming of any kind. The integration includes full paint control of the Marshall camera, accessed through the IMTDragonFly and Microlite 2 Web Page interface.

“This collaboration will help IMT achieve a long-range, professional and effective wireless video and camera control solution for customers at a competitive price,” says John Payne IV, president of IMT USA. “These products work together to provide an all-encompassing solution for both licensed and unlicensed users that are looking to capture high-quality and uninterrupted video.”

“Our customers have been utilising IMT wireless technology with Marshall cameras for professional sports and other wireless broadcast applications for many years,” says Tod Musgrave, director of cameras at Marshall Electronics. “It was only logical to collaborate with them to offer a more complete and integrated wireless solution encompassing the strengths of our Marshall cameras and the IMT DragonFly and MicroLite 2 video transmitters.”

The IMTDragonFly sets the standard in compact wireless video technology by delivering completely new and expanded points of view and perspective. It is available in a range of kits to fit various applications, including drones, sports, broadcast and body worn configurations. Each offering caters to the specific needs of the application. The IMTDragonFly has a compact and lightweight form factor and features minimized power requirements, making it ideal for drone and mobile use. It features HD/SD-SDI or optional HDMI inputs, and delivers up to 50mW of power in a package measuring in at 1.85 in. x 1.38 in. x .51 in. (50 mm x 35 mm x 13 mm) that weighs less than 1.2 oz. (34 g), providing long range, reliable HD video transmission.

The MicroLite 2 provides enhanced performance and video quality, perfect for broadcast applications where high-quality live streaming video is needed. The MicroLite 2 transmitter features HD/SD-SDI and HDMI inputs with COFDM transmission in a small, lightweight chassis. It delivers up to 200mW of power, providing long range, reliable HD video transmission.

The Marshall CV502 (HD-SDI) and CV505 (HD-SDI/HDMI) miniature cameras deliver up to 1920x1080p resolution at 60/59.94/50 frame rates. With a very low 0.2 lux (color) rating, the cameras capture accurate, sharp color images even under low-light conditions. The CV502 ships with an ultra-wide 3.7mm HD lens that is interchangeable to customize for specific applications. Marshall also offers a wide assortment of lens options for a fully-customizable AOV and focal length per camera position within an installation.

To further cater to unique applications, IMT and Marshall will continue to offer custom configurations. Package options will include support for specialized integration enclosures and mounts. As a reseller and distributor of Marshall cameras and accessories, IMT recently sold 50 Marshall POV cameras for use on the ADAC GT Masters series to be used in its specialized racing cars. IMT-Vislink’s reseller in Germany, SalesCube GmbH, sold the equipment to Bert Blümer - Drahtlose Kamera Systeme Blümer Systementwicklung GmbH, who will handle the production.