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Fujifilm/Fujinon has showcased lens projection room and new MK demos in the month of June. The company introduced the “MK” Series of cinema lenses from its Optical Devices Division along with the UA Series of HDR zooms at the Cine Gear 2017.

The “MK” lenses that were first introduced in the month of February are designed for E-mount cameras at present. Their performance is cost effective and they facilitate enhancement of advanced optical performance, and are ultra-compact and lightweight design.

The FUJINON MK18-55mm T2.9 is a standard zoom with an 18-55mm focal length. It is currently available for $3,799. The FUJINON MK50-135mm T2.9 will be available this summer. With a combined focal length range of 18mm-135mm in the Super 35mm format, together the first two “MK” lenses cover the most frequently used range utilized by emerging cinematographers. The series offers fast lenses with T2.9 speed across the entire zoom range, enabling a shallow depth-of-field. The entire “MK” series is designed with the ‘emerging’ cinematographer in mind, whether shooting a live event, online programming, documentary, independent or short film production.

The latest handheld and studio lenses in the company’s Premier UA Series of 4K HDR 2/3” lenses will make their first Cine Gear appearance. The “UA14x4.5B” and “UA18x5.5B” are the latest handhelds, and the “UA27x6.5B” is the latest studio lens in the UA series - the world’s first designed specifically for HDR broadcast applications. The new lenses deliver edge-to-edge 4K optical quality to 2/3-inch 4K portable cameras and camcorders. These lenses join the “UA13x4.5B,” “UA22x8B,” “UA80x9B,” and “UA107x8.4B” in this series.

Tom Fletcher, Director of Sales, Optical Devices Division of FUJIFILM said, “Cine Gear draws its sizeable crowd from some of our most active and involved customers. He further added, “While we’ve participated in Cine Gear Expo since its inception, hosting a projection room with independent optical technicians from various rental houses and service facilities is relatively new. We’re looking forward to connecting with our existing customers more dynamically in this way as well as with an exciting, new group of potential Fujinon customers.”

Hitachi Kokusai Electric America Ltd’s all new Z-HD5500 1080p studio and field production camera that has the ability to address the issues at shooting in venues and environments cost effectively, has been recognised with NewBay’s Best of Show Award at the 2017 NAB Show by TV Technology.

The HITACHI Z-HD5500 can easily adapt to a wide range of LED lighting conditions thus facilitating flawless, high-performance video acquisition in TV studios, houses of worship, theaters, arenas and other facilities where such lights or large LED displays are used.

The camera that features Hitachi Kokusai’s latest advances in CMOS imaging technology has the potentials to confront the challenges at shoots that occur owing to cost or mixed-frequency LED lighting and displays. It also features Hitachi Kokusai’s advanced digital signal processing and exclusive lownoise circuit technology. This helps the camera deliver superior visual quality with exceptional sensitivity, excellent colour fidelity and an outstanding 62dB signal-to-noise ratio.

The HITACHI Z-HD5500 also features a High Dynamic Range (HDR) capability that enables it to provide HDTV video productions with increased contrast, richer colours and expanded mid-tone detail while providing native 1080p image capture at pricing normally only associated with 1080i or 720p cameras.

“We are excited that the Z-HD5500 has been recognized with NewBay’s Best of Show Award,” said Sean Moran, Chief Operating Officer, Hitachi Kokusai Electric Americas. “The Z-HD5500 was designed to affordably deliver superior 1080p performance while addressing the challenges customers face in today’s evolving production environments, and this award further validates that we have succeeded in achieving those goals.”

“The products nominated for the Best of Show program, now in its fourth year, provide an outstanding overview of new technology on the show floor and shine a spotlight on the very best,” said NewBay Broadcast & Video Group Vice President & Group Publisher Eric Trabb.

NewBay’s Best of Show Awards are evaluated by a panel of engineers and industry experts, and are selected based on innovation, feature set, cost efficiency and performance in serving the industry. Winners receive an award for display and will be featured in TV Technology, the digital television authority, serving the broadcast, cable, production, post production, business and new media markets.

Sony has announced that the company is in the process of developing a new full frame (36 x 24mm) that will use a new image sensor and will be compatible with existing Sony workflows.

The camera will feature a full frame 36 x 24mm sensor exclusively designed for this digital motion picture camera, aspect ratio-agnostic will include full frame, super 35 4K 4-perf 4:3 anamorphic, and 4K spherical 3-perf 17:9 and it will also feature a new image sensor enabling exceptional picture quality. Furthermore the camera maintains the workflow established with Sony’s 16-bit RAW/X-OCN and XAVC.

The camera will be compatible with current and upcoming hardware accessories for CineAlta cameras (DVF-EL200 Viewfinder, AXS-R7 recorder, AXS-CR1 and AR1 card reader, AXS and SxS memory cards).

At present, though we have 35 format dominating cinematography, we experience the requirement for larger sensors with large format cameras like the Panavision Millenium DXL 8K and the ARRI 65. Sony’s existing super 35 sensor measures 24 x 12.7mm and has a diagonal of 27.1mm. Most super 35 cameras use the PL mount with lens image circle exceeding 30mm.

The larger new sensors will create a need for glass with a wider image circle. The full frame of the still SLR cameras measures 36 x 24 mm, a diagonal of 43.3mm. There is of course a vast range of full-frame glass from Canon, Nikon, Zeiss and many more, with some designed for the different requirements of cinematography (T-stops, geared focus, para-focal, low breathing).

The two large format cameras have different mounts from the conventional PL. The ARRI 65 uses the LDS XPL mount, and is offered with ARRI Lenses based on medium-format Hasselblad glass.

The Millenial DXL has a 40.96mm x 21.60mm sensor (diagonal: 46.31mm) and uses Panavision 65 and 70mm glass with the Panavision 70 mount.

8K Production

The Super HiVision program is driving development for 8K sensors and lenses with the resolution to match. Through the demand for the 8k imagining for blockbuster movie production and special effects work is increasing day by day, we cannot ignore the fact that the ARRI Alexa with a sub-4K sensor is still the most popular choice of the video producers.

The new market for AR/VR is one driver for very high horizontal resolutions, but even for conventional production, higher resolutions allow for cropping and stabilisation in post, and the super-sampled capture produces sharper looking pictures.

Eight CMOS-Equipped Ikegami Unicam HD Cameras Enhance Video for Tar Heel Sports Across C ampus, Including the 2017 NCAA Men’s Basketball Champions

Go Heels Productions, the video production arm of the University of North Carolina at Chapel Hill (UNC) has a lot of ground to cover: 28 Division 1 sports are on campus, including their men’s basketball team, which stands as the 2017 NCAA champions. UNC is meeting their fans’ demands for winning imagery, adding four new Ikegami HDK-95C Full Digital Portable CMOS camera systems for live event broadcasting.

UNC’s eight total Ikegami HDK-95C cameras are central to an intense schedule, which sees Go Heels Productions covering over 200 live events per academic year. “Our schedule has us crisscrossing campus constantly between seven different venues,” says Ken Cleary, Assistant Athletic Director for Go Heels Productions. “The Ikegami HDK-95C hit the sweet spot for us in terms of quality, reliability, and value. We’re anticipating the ACC Network’s 2019 launch, and we want to be ready with the best production values possible: Everyone who sees what the HDK-95C can do -- our camera operators, shaders, network partners, and audience -- all appreciate the depth and color of these cameras’ imagery.”

4K and Control

Part of Ikegami’s Unicam HD line, the HDK-95C HD portable digital camera is equipped with Native multi-format 2.5 million pixel, 2/3 inch CMOS sensors. It also features an upgrade path to 24p and 3G formats, including 1080/60p and 4:4:4 24p. UNC’s Ikegami HDK-95C cameras have withstood the very worst of weather, with zero breakdowns. The model further helps to make the most of their upgrade budget.