No back link


Current Issue

Product Focus

Leading Newsroom Studio Cameras

Selection of camera and camera support is of utmost importance in this increasingly demanding TV studio environment. Cameras form a backbone of production process irrespective of the production verticals. Understanding the significance of this, Broadcast Video Producer team has complied the list of leading cameras in the industry.


Grass Valley LDX 86N Series cameras

The LDX 86N Series cameras takes the LDX 86 Series to a new level with native 4K UHD (3840x2160) and native 3G/HD (1920x1080) image capture, using three unique 3840x2160p 4K XensiumHAWK CMOS imagers with DPMUltra (dynamic pixel management) functionality. In addition, the LDX 86N gives you the same familiar GV-eLicense upgrade path so that you can always have the camera that you need, with the ability to use standard B4 2/3-inch HD lenses or the new B4 2/3-inch 4K UHD lenses becoming available. So whether it’s HD or 3X super slow-motion today, 3G or 6X super slow-motion tomorrow, or 4K UHD down the road, you’ll be ready for whatever your productions demand.

XDR — Extended Dynamic Range — operation (HDR with up to 15 F-stops or >800% of regular cameras) is available for all 50/59.94 Hz formats offering a new level of viewer experience. You also get extended color gamut supporting ITU-R BT.2020.

The LDX 86N Series provide you with two parallel upgrade paths: One based on higher resolution (HD/3G/4K UHD) and one based on higher frame rates (3X/6X).

LDX 86N Native Higher Resolution Upgrade Path
• LDX 86N WorldCam — Offers all the production formats of the LDX 80 WorldCam and LDX 86 WorldCam (HD/PsF/3G) plus an upgrade path via GV-eLicenses directly to native 4K UHD (LDX 86N 4K) as well as directly to 3X HD (LDX 86N HiSpeed) or 6X HD/3X 3G (LDX 86N XtremeSpeed), and then to all LDX 86N formats (LDX 86N Universe).
• LDX 86N 4K — Adds native 4K UHD (3840x2160p) acquisition to the LDX 86N WorldCam, and can be upgraded to 6X HD, 3X HD and 3X 3G high-speed (LDX 86N Universe).
• LDX 86N Universe — Offers “universal format” support with switchable 1X/3X/6X native HD, 1X/3X native 3G and 1X native 4K UHD from a single camera for ultimate flexibility and equipment utilization.
LDX 86N Native Higher Frame Rate Upgrade Path
• LDX 86N WorldCam — Offers all the production formats of the LDX 80 WorldCam and LDX 86 WorldCam (HD/PsF/3G) plus an upgrade path via GV-eLicenses directly to native 4K UHD (LDX 86N 4K) as well as directly to 3X HD (LDX 86N HiSpeed) or 6X HD/3X 3G (LDX 86N XtremeSpeed), and then to all LDX 86N formats (LDX 86N Universe).
• LDX 86N HiSpeed (HS) — Offers 1X/3X native HD acquisition for super slow-motion acquisition, and can be upgraded to 1X/3X/6X HD and 1X/3X 3G (LDX 86N XtremeSpeed) as well as adding 1X native 4K UHD (LDX 86N Universe).
• LDX 86N XtremeSpeed (XS) — Adds 6X HD and 1X/3X 3G acquisition to the LDX 86N HiSpeed for super slow-motion acquisition, and can be upgraded to include 1X native 4K UHD (LDX 86NUniverse).
• LDX 86N Universe — Offers “universal format” support with switchable 1X/3X/6X native HD, 1X/3X native 3G and 1X native 4K UHD from a single camera for ultimate flexibility and equipment utilization.

Hitachi SK-UHD8000 Series 8K (SHV) Studio, Field Production Camera

HITACHI is manufacturing its 4th generation Super Hi-Vision (8K) camera system in cooperation with NHK Science and Technology Research Laboratories. SHV production will develop concurrently with 4K imaging technology. All planned events in Japan and abroad point towards the adoption of 8K UHD-2 or SHV to become the norm for high-end, demanding productions. HITACHI’s multi-year development of advanced 8K cameras will support NHK’s plans to deliver Super-High Vision Olympic broadcasts in Japan in 2020. The storage and transmission of such high bandwidth signals are already being developed by global technological leaders. A raster 16X larger than HD allows inventive production techniques using a single 8K camera. Employing 8K image pan/scan/crop/cutout allows live or post-production flexibility with 4K or HD output.

The SK-UHD8000 series is available as a SMPTE Hybrid fiber cable-based production camera system that employs a high performance, multi-format, multi-standard Camera Control Unit. A large 10-inch, 4K OLED viewfinder with focus assist simplifies 8K focusing and viewing. Optional configurations include a compact, minimum weight package for use with cranes, gyro-stabilized robots, moving tracks, robotic vision systems and other challenging applications. An 8K RAW recorder can be docked to the camera for field production or used independently. A high-quality 8K RAW recorder can be ‘docked’ to the camera for untethered field production work. The recoding system can be used independently of the camera head to provide a store-and-forward, real-time playback function with its own CCU. This remote acquisition system is not currently available with any other 8K camera system.


Hitachi SK-HD1300-HS High-Speed HD Camera

The SK-HD1300-HS is our new cost-effective High Frame Rate (HFR) capture that provides up to 180 frames per second. Designed for sports super slow-motion replay. Compatible with all popular slow-motion servers. It also operates as a multi-format normal frame-rate camera. The wideband 6Gbps SMPTE-fiber transmission system permits up to 3X high speed output from the currently available CA-HF 1500 head adapter and CU-HD1500 CCU. The SDI output signal is generated by our newest 2/3” 2.6 megapixel MOS imagers. The CCU outputs include: 480/60i SD-SDI, 720/60p, 720/ 120p, 720/ 180p 1080/60i, 1080/120i/ 1080/180i. 




Panasonic AU-EVA1

The Panasonic AU-EVA1 is a small and lightweight cinema camera designed to fill the professional production requirements between the Lumix GH5 4K mirrorless camera and the S35mm VariCam LT 4K cinema camera. The EVA1 provides very high quality cinematic imagery thanks to a combination of the newly-developed Dual Native ISO 5.7K Super 35mm sensor and the much-admired colour science inherited from its VariCam cousins. The use of SD media enables substantial acquisition / production cost savings, yet the camera fully supports codecs and recordings with full 4:2:2 10-bit quality. These and other benefits provide outstanding performance, yet fit into a compact and lightweight camera body.

The camera also features a wide 14-stop dynamic range, V-Log gamma and wide-color gamut V-Gamut colorimetry, which are inherited from the VariCam Series, ensure cinema-like pictures called VariCam Look. Further it has Dual native ISO of 800/2500 offers very high sensitivity with low noise and supports High-frame-rate recording of 4K 60 fps/2K 240 fps maximum. The IR (infrared ray) cut filter ON/OFF mechanism provides the ability to shoot fantasy-like IR images with Cinematography mode. The main unit is lightweight and compact, weighing only 1.2 kg. It is equipped with an EF lens mount.






Panasonic VariCam Pure

Panasonic’s “VariCam Pure” is a package of the VARICAM 35 camera module (AU-V35C1G) and the new V-RAW 2.0 recorder AU-VCXRAW2. Video captured in 4K by the VariCam 35 camera module AU-V35C1G is recorded as uncompressed V-RAW data to Codex’s Capture Drive 2.0 at up to 120 fps. The recorder proper is 157 mm shorter than earlier systems, making it excellent for mobile use and easier to mount on gimbals and cranes than earlier systems. Using Codex’s Production Suite, recorded data can be converted to a wide range of file formats including Panasonic V-RAW, Apple ProRes and Avid DNxHR. This ensures wide-ranging support for existing workflows.





Canon EOS C700 Digital Cinema

The next generation EOS C700 Digital Cinema Camera is the camera that so many cinematographers having been asking for from Canon and incorporates what Canon has learned through professional feedback over the last five years since the original Cinema EOS C300 was announced.

Canon’s new EOS C700 Super35 format camera is designed to be a flexible “A” camera for various types of shooting scenarios. The EOS C700 features both internal 4K ProRes and XF-AVC recording. With the optional 4K Codex CDX-36150 recorder, the EOS C700 is capable of recording uncompressed RAW up to 120 frames per second.

As Canon’s flagship cinema camera, the EOS C700 features the choice of one of two new Super 35mm CMOS sensors. With three models to choose from, users can choose the best tool for their shooting requirements. The EOS C700 is available in both EF and PL versions and features a pixel resolution up to 4.5K, a dynamic range of 15 stops and Dual Pixel CMOS AF (DAF). The PL mount only EOS C700 GS PL features 14 stops of dynamic range, up to 4.2K resolution and a Global Shutter.

The EOS C700 also includes a variety of 2K/HD recording options featuring frame rates up to 120 fps using the full frame of the sensor, and up to 240 fps in 2K crop mode.

The rugged magnesium body features rounded edges and semi-circular sides behind the lens mount that hint at the Canon Cinema design legacy. The EOS C700 can be equally comfortable handheld, shoulder-mounted, on a tripod head, gimbal rig or rigged to a car mount.

The EOS C700 is designed for professionals and incorporates “must have” features that users have asked for. The versatile design allows the EOS C700 to be compatible with a wide variety of lens configurations including EF, PL, B4 with (with optional adapter), and Anamorphic.

Other key features of the camera system include Dual Pixel CMOS AF (EF Model Only), optional Professional OLED HD viewfinder, Canon Log 2 and 3, Slow and Fast Motion Recording, ACES Support, SMPTE 2084 HDR Monitoring, 10 stops of internal ND filtration, and IP Streaming.


Canon EOS C200 Digital Cinema

The EOS C200 Digital Cinema Camera is a “ready-to-go” production camera that comes with a built-in electronic viewfinder and an array of accessories including a 4-inch touch screen LCD monitor, a versatile handle and ergonomic handgrip. The camera can record internal 4K RAW to a CFast™ 2.0 card in our new Cinema RAW Light format without compromising detail, as well as 4K UHD and Full HD in MP4 format to SD cards. The 8.85 Megapixel Super 35mm CMOS sensor, 13 stops of dynamic range, Dual Pixel CMOS AF, full compatibility with Canon EF-mount lenses, and HDR capability help make the EOS C200 ideal for film, documentary and television production, corporate and event videography, and newsgathering. The camera’s multitude of features helps deliver outstanding image quality, performance and versatility. The EOS C200 is an ACES Compatible product.

The EOS C200 Digital Cinema Camera integrates an 8.85 Megapixel Super 35mm 16:9 CMOS sensor that supports 4K (DCI) recording with a maximum resolution of 4096 x 2160 pixels. The camera fully utilizes the image data delivered by this 4K CMOS sensor to also enable Over Sampling HD Processing for 2K (DCI) and Full HD 1080/60p recording.

Each pixel in this CMOS imaging sensor also maintains a wide pixel pitch that maximizes the amount of light that falls on to each photo site, thus enhancing the EOS C200 camera’s sensitivity while also minimizing noise and supporting ISO speeds of up to 102,400 for extreme low-light imaging. This sensor also reduces data-readout time, resulting in a reduction in rolling-shutter artifacts.


Blackmagic Studio Camera

The Blackmagic Studio Camera is the world’s most advanced broadcast camera for live production! You get a massive 10 inch viewfinder, MFT lens mount, talkback, tally indicators, phantom powered microphone connections, 3G-SDI and user upgradeable optical fibre connections that let you connect to your switcher with a single cable! Its incredibly tough, lightweight magnesium alloy body is packed with all the built in features you need for multi camera production and broadcast.

The company also offers Studio Camera 4K is the live broadcast camera that’s ready for multi camera Ultra HD production today. Featuring a massive 10 inch viewfinder, MFT lens mount, talkback, tally indicators, phantom powered microphone connections, 12G-SDI and user upgradeable optical fiber connections that let you connect to your switcher with a single cable! The advanced 4K model is switchable to 1080 HD, that means you can work in HD today and you’re always ready for Ultra HD production.


Ikegami UHK-435 camera

Ikegami’s UHK-435 camera, UHK-435 is the world’s first 2/3-inch 3-CMOS sensor 4K/HD studio camera. It captures the extended depth of field required for studio and outdoor production and can be used with B4 bayonet-mount large studio or OB lenses. The camera delivers wide dynamic range and wide colour gamut, fully supporting HLG (Hybrid Log-Gamma) conforming to HDR International Standard (ITU-R BT). UNICAM XE series peripherals such as the CCU-430 camera control unit, VFL701D 7-inch full HD LCD viewfinder and VFE741D 7.4-inch OLED viewfinder are fully compatible with the UHK-435. The viewfinder can be positioned close to the extended line of the optical axis. Interfaces are available for a wide range of signal protocols including Quad 3G-SDI, 12G SDI and IP.







Ikegami HDK-79GX

The HDK-79GX is a state of the art Full Digital HDTV Portable Camera with superior picture quality and high reliability for studio and field HD production. It reproduces the outstanding performance of Ikegami’s obsolete EX-series and adds new features and accessories associated with the Unicam HD.

Features
• 2/3-inch 2.3 Megapixel AIT CCD
• High Sensitivity – Low Noise – Expanded dynamic Range – Superior Resolution
• Newly developed 38-Bit FPGA & advanced ASIC digital Signal Process
• High-speed 16-Bit A/D Conversion
• Ikegami Lens Aberration Correction: ILAC
• Compact Docking Style Camera Body
• Full Compatibility with all Unicam HD Systems


AJA CION

CION is the new 4K/UltraHD and 2K/HD production camera from AJA. Shoot direct to edit-ready Apple ProRes 4444 at up to 4K 30fps, ProRes 422 at up to 4K 60fps, or output AJA Raw at up to 4K 120fps. CION is the union of great design and functionality, an engineered aesthetic that we are proud to describe as the Science of the Beautiful.

CION can encode 4K/UltraHD and 2K/HD directly to 12-bit ProRes 444 internally. Using this high quality and widely supported codec to record CION’s film like image and superb colour rendition will provide the easiest route to postproduction for 4K yet.