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The IBC preview

This week's kit show IBC in Amsterdam is an important place to catch up with the latest developments in acquisition, post production, accessories and new  technologies. Michael Burns checks out some of the delights in store

New Cameras

Ikegami (Hall 11, A31) is bringing a host of new models to the show, including demonstrations of new 4K and 8K cameras.

New for IBC is the Unicam UHD 4K-native 3-CMOS 2/3-inch camera, designed for easy integration into 4K studio and 4K field/OB truck systems. Uncompressed RGB 4:4:4 baseband is delivered from the camera head to the control unit. A 2/3-inch B4-mount allows direct docking with conventional lenses plus a focus-assist function. Ikegami BS-98/CCU-980 hybrid 2K/4K rack-mountable optical-fibre transmission links are also making their IBC debut. When used in combination with current Ikegami Unicam HD cameras, the BS-98/CCU-980 can deliver HD and 4K processed UHD signals simultaneously.

Also on show is Ikegami’s SHL-810 portable 8K camera. The company’s fourth generation 8K camera is one-tenth the size and weight of its original 2002 model. It employs a single 33 million-pixel Super 35 CMOS sensor, achieving 4,000TVL horizontal and vertical resolution and regular PL-mount lenses can be used.

ClearView Imaging (Hall 8, E17) is showcasing a new 4K compact broadcast camera which incorporates a high-quality 4K global shutter CMOS sensor and the CIS Clairvu ISP engine. 

Grass Valley (Hall 1, D11) is showing the LDX 86 Universe, an LDX 4K/6X HD switchable camera, together with the K2 Dyno Universe Replay System. The company claims this would enable any camera or replay position to be set up for regular HD, 4K or extreme-speed acquisition/replay. Also on show is the Focus 70 Live Camera. This consists of two different single HD format camera heads, with 1080i50/59.94 and 720p50/59.94 support. The system offers three fully digital Xensium-FT CMOS imagers with global shutter, while standard B4 2/3-inch lens mounts can be used to accommodate HD lenses.

Canon (Hall 11, E50) is promoting a ‘4K glass to glass’ message at the show, with models like the EOS C300 Mark II and the XC10 4K video and12MP stills camera, as part of the company’s entire 4K range on display for the first time. Though not 4K, one new model from Canon will be the tiny ME20F-SH. The HD camera is rated at a maximum ISO in excess of 4 million (+75dB) and capable of capturing full colour images in extremely low-light environments. Canon says the ability to install the camera in a semi-permanent location, with remote control operability, aims it at documentary and natural history filmmakers, long term projects and events filming.

A special camera is also on show from Panasonic (Hall 9, C45), in the shape of the AW-UE70, an Ultra HD PTZ camera with 4K IP streaming and in-camera 4K recording capabilities. It offers features such as HDR, dynamic range stretch (DRS), advanced DNR, and a night mode for monochrome shooting in almost total darkness. Panasonic is also showcasing new 4K models, like the AG-DVX200, a large-sensor 4/3 type handheld 4K camcorder that offers UHD up to 3840x2160/60p recording, the AK-UC3000 4K studio camera, offering a UHD signal output up to 3840x2160/60p, and a multi-purpose 4K box camera, the AK-UB300.

A firmware upgrade for the GY-LS300 4KCAM handheld Super 35 camcorder is the news from JVC (Hall 11, G30). The upgrade adds a ‘JVC Log’ mode that JVC says duplicates a film look, plus new Cinema 4K and Cinema 2K recording modes, a Prime Zoom feature for zoom capabilities when using prime lenses, and a histogram.

Sony (Hall 12, A10) will be showing its full range of cameras to deliver 4K, HDR and HFR. A brand new capability of streaming footage live will also be demonstrated for some of the company’s PXW-series XDCAM camcorders; the new technology will also allow Sony’s CBK-series wireless adapters to unlock live streaming for any camera with an SDI connection.

Red (Hall 11, A77) is showcasing Weapon, the newest member of the 6K Red Dragon family, offering workflow enhancements, cable-free peripherals, integrated mountings, and simultaneous recording of Apple ProRes and Redcode Raw.

As well as its Blackmagic Video Assist for external monitoring and recording, Blackmagic (Hall 7, H20), will be showing a lower priced model of Blackmagic Studio Camera. It’s due to the optical fibre connection now becoming a user installed option on the HD and UHD models of the camera. The Blackmagic Micro Cinema Camera, Blackmagic URSA Mini and the Blackmagic Micro Studio Camera 4K will be on show as well as a new 4.6K sensor for the URSA.

Supports, Tripods and Drones

Arri (Hall 11, F21) New additions to the company’s mechanical Pro Camera Accessories range and its Electronic Control System can be expected at the show. For example, designed specifically for Canon’s latest Cinema EOS cameras, there is a new cine plate for film set environments, a top-mounted support plate that provides room for handle and accessories and an adjustable broadcast plate for documentary-style filming. The latter allows quick changes from tripod to shoulder and perfect balance when handheld, says Arri.

Shotoku (Hall 11, F40) is showing a new pneumatic pedestal, with an integrated inflation pump. The TP500 is compact and lightweight and supports camera payloads of up to 55 kg. It is suitable for multi-location use such as OB, studio or event production. Also on show is SmartTrack, a rail-based dolly and elevator column with control system for live, multi-camera, studio production.

Cartoni (Hall 11, E30) is introducing four new fluid heads at IBC.  Focus 8, Focus 12, Focus 18 and Focus 22 accommodate an array of camera, lens and accessory packages from 0 to 22kg and are robust, lightweight and perfectly counterbalanced, according to the company. 

Miller Fluid Heads (Hall 11, D30) is debuting the Cineline 70 Tripod System. It comprises a heavy duty HD Mitchell Base 1-Stage Alloy Tripod, with features that include a high-capacity leg-lock system, turn-lock levers with rapid lock/release action, as well as a heavy duty Mitchell Base with a built-in bubble level. The lightweight Cineline 70 Fluid Head is constructed of corrosion resistant alloy and offers advanced precision fluid drag control, as well as counterbalance systems. Additionally, a HD Alloy Ground Spreader, designed for rapid setup and pull-down, easily attaches to the Alloy Tripod and is optimal for use on flat surfaces.

IBC has set aside a new feature area for 2015 – the Drone Zone. As well as Animon (Hall 11, C75) demonstrating its new Connex zero-latency wireless HD video transmission technology, DJI  (Hall9, C33) should be showing its Phantom 3 Standard, a drone designed specifically for first-time pilots. It records up to 2.7k HD video at 30fps using a 94-degree distortion-free lens. The DJI Phantom 3 Standard will be compatible with intelligent flight features including Follow Me, Waypoint Navigation and Point of Interest flight planning. These will also be available through a firmware upgrade at the show for the rest of the DJI Phantom 3 series and the DJI Inspire 1.

Lenses

The latest Anamorphic lens from Cooke (Hall 11, D10) is being showcased at IBC.

The 65mm Macro Anamorphic/i 2x Prime lens boasts a close-up magnification ratio of 4:1:1 and a close focus of 5.5 inches from the front of the lens.  As well as showing the company’s 5/i, Anamorphic/i, S4/i and miniS4/i lens ranges, Cooke said it would also reveal more details about a forthcoming Anamorphic/i Zoom lens.  It will also present a major update to its /i Squared Technology metadata system. The firmware update for the latter provides distortion mapping of the specific lens in use, so providing even more detailed lens data to VFX and post-production teams.

P+S Technik lenses are also on show (Hall 11, G35), notably the PS-Zoom 18-35 short lens and the PS-Zoom 35-70 CS anamorphic lens. The company said the spherical PS-Zoom 18-35 is destined for 3D stereo production, or in double cameras setups for parallel recording of still and motion pictures with a beam splitter rig. The Sigma 18-35mm/f1.8 optics come in a robust cine-style housing with cam-driven focus mechanics as well as interchangeable mounts and focus rings.

The 35 to 70 mm Cinemascope zoom lens has an 1.5 anamorphic squeeze. The lens is adapted to the widely used 16:9 sensor ratio and offers anamorphic qualities, such as barrel distortion, nicely formed flares and shallow depth of field, according to P+S Technik.

Fujifilm (Hall 11, C20) is debuting two Ultra HD lenses for 2/3-inch UHD/4K cameras. The UA22x8BERD is portable broadcast zoom lens with a 22 x zoom. It covers a focal length from 8mm at wide angle to 176mm at telephoto.

The UA80x9BESM uses optical simulation to offer an 80x zoom with advanced optical performance, such as high image resolution, contrast and colour reproduction. Covering the focal length from 9mm in wide angle to 720mm in telephoto, it uses a new optical stabilisation mechanism to reduce image shake caused by vibrations and wind.

Lighting
New lights are on show from Rosco (Hall11, G21) including the Silk LED lighting system, which the company says was specifically developed for film and video applications that demand extremely colour-accurate, high-quality light. Also on show is the compact LitePad Vector, an on-location soft light unit with a tunable colour temperature range of 3000K - 6000K.

Blind Spot Gear (Hall 9, B30a) is showcasing its versatile Scorpion Light, a low-cost portable led lighting kit for ‘tricky locations’.

Arri (Hall 11.F21) is showcasing SkyPanel, a bright but compact LED soft light that comes in two sizes, as well as both fully colour tuneable and remote phosphor versions.

Canara (Hall 11.B62) will be displaying a new range of LED products for broadcast, including a 400W LED Fresnel, 150W LED RGB Cyclorama and a 125W LED Remote Phosphor Panel.

Celeb 401, 401Q and 201 LED fixtures are on show from Kino Flo (Hall 11, E33) with an updated Kelvin scale from 2700K to 6500K and a built-in LumenRadio wireless link. The company is showing its interview light, the Diva-Lite 415 Universal and soft lights such as the Image 87 and 47, the Imara S100 and S60, and the ParaZip 415 and 215 fixtures with universal power input.

Post
AJA (Hall 7. F11) will be showing new features in an upcoming release of Shotgun that makes it easier for teams to review and share creative projects, while Lenovo (Hall 5. C20) and Promise (Hall 6. C11) will be showcasing new extensions to Maya and 3ds max.

Blackmagic Design (7.H20) is showing Da Vinci Resolve 12, with new features added just before IBC. New features include support for Intel Iris and Iris Pro GPUs, which will improve performance and assist editors and colourists who are working remotely and on-set. DaVinci Resolve 12 is also now able to create optimised media proxies with custom settings for both the codec and resolution for faster editorial performance. A new Smooth Cut transition uses proprietary DaVinci optical flow algorithms to create a seamless transition between different parts of an interview so you don’t have to cover jump cuts with b-roll. The paid version of DaVinci Resolve Software has also been renamed to DaVinci Resolve Studio.

Editors will also get a preview of a new graphics plugin from Vizrt (Hall 7, A20) for Final Cut Pro X. This features the Vizrt meta graphics workflow which allows them to add Viz Engine-rendered graphics to the timeline and store them as metadata.

German startup firm fayteq (Hall 14.M24) is launching fayIN, its first plugin for Adobe After Effects. Using fayteq’s algorithms for automated camera tracking, editors can insert digital content into their footage, says the company, skipping the time consuming processes of manually defining tracking masks keyframe by keyframe. The plug-in also features automatic environment illumination and shadow transfer as well as automatic lens distortion correction.

Fraunhofer IIS (Hall 8.B80), will introduce new features for its digital cinema packaging tool, easyDCP. These include advanced subtitling options for quality assurance for multi-language packages, scaling options for parallel generation of Flat and Scope DCPs from one source, as well as support for QuickTime audio and 30-bit export for video files. Additionally, easyDCP will support a new generation of object-based audio formats. Fraunhofer is also showcasing how its light-field technology, which exploits recording of several camera views of the same scene from a single shot, can be used as plug-in for Nuke from The Foundry.

Virtual reality
Shotoku is addressing the demand for VR with Free-d2, a VR/AR tracking system. The system provides highly accurate and constantly referenced (absolute) position tracking. Based on advanced algorithms developed by BBC R&D, it uses simple ceiling markers to determine the exact position and orientation of the studio camera. The small Free-d2 camera is attached to the broadcast camera so it does not interfere in any way, and constantly views a lighting grid area where markers are positioned.

BBC R&D (Hall 8. F14)  is also demonstrating its own VR prowess, taking showgoers on an immersive tour of its IP-enabled broadcast environment concepts and object-based audience experiences using the Oculus Rift headset. 

Jaunt Vr (Hall 8. F18) is showing a camera system, codenamed Neo, which simultaneously records 3D stereoscopic video in all directions. Coupled with 3D sound-field microphones, the company says it captures everything needed to reconstruct a complete visual and auditory experience. Proprietary computational photography algorithms transform the recorded video data using sophisticated geometric calibration, colour adjustment, and image processing.

LiveLike (Hall 8. F17) is offering a simple VR service for sports broadcasters using a 4K camera fitted with a extreme wide-angle lens. The company then blends the 4K footage with a 3D environment.

VR is just as big in audio terms. At IBC you’ll hear 3Dception from Two Big Ears (Hall 8, F20a), a real-time 3D audio and environmental modelling engine that allows you to hear sounds above, below, behind or any point in space around you over any pair of headphones.

Posted 09 September 2015 by Michael Burns
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