Panasonic has announced the newly developed AK-UBX100 4K multi-purpose camera and the “world’s first” auto-focus function for 2/3-type 4K studio cameras, which is now supported on the AK-UCX100.
Launching in Q4, the UBX100 is a box-style 4K camera “designed to meet the evolving demands of modern video production.” Using the same 2/3-type bayonet lens mount sensor and processing platform as the UCX100, the UBX100 delivers consistent operation and colour matching for devices such as the AW-UE160 PTZ camera.
The UBX100 camera features a unified menu interface and compatibility with common remote operation panels (ROP), ensuring intuitive control across production setups. Its interoperability with the Panasonic UCX100 and UE160 enables streamlined workflows, “making it an ideal choice for multi-camera environments.”
The UBX100 supports a range of IP protocols, including SMPTE ST 2110, NDI High-Bandwidth and NDI HX2, and SRT. It offers connectivity options through dual 12G-SDI and SFP+/28 ports. Weighing approximately 1.9kg, the camera’s lightweight and compact design make it suited for robotic mounting and flexible lens configurations. An HD optical low-pass filter enhances suppression, “delivering crisp, high-quality imagery even in visually complex scenes.” The auto-focus functionality will be added via a firmware update in Q2 CY2026.
The UCX100 will be the first 2/3-type 4K studio camera to support auto-focus, ahead of the UBX100. This innovation “addresses the growing need for consistent image quality in environments using LED walls, projectors, and advanced lighting, where production demands often exceed the limits of manual shooting.”
There are also further function enhancements scheduled for the UCX100 studio camera including the addition of Low Skew Mode, which enhances image stability, making it especially effective in fast-paced or high-motion productions. Expanded Video TRUNK functionality with support for 12G-SDI output, enables high-bandwidth signal transmission, “ensuring seamless integration with advanced broadcast infrastructure.”
To maintain uniform image quality across the frame, the camera introduces automatic correction for F-drop and peripheral light falloff, minimising exposure inconsistencies. Rounding out these upgrades is remote back focus adjustment, allowing operators to fine-tune focus with precision from a distance, streamlining setup and reducing on-site complexity.
By automating key functions like auto-focus and streamlining device interoperability, Panasonic’s latest launches “reduce the need for manual adjustments and troubleshooting, especially in dynamic environments where time and precision are critical.” Whether shooting in LED studios, live-streaming multi-format content, or operating robotic cameras in fast-paced production settings, “creators can now rely on consistent image quality and intuitive controls. This means less time spent calibrating equipment and more time dedicated to creative direction, composition, and storytelling.”
André Meterian, Managing Director for Europe, Russia/CIS, Middle East & Africa (EMEA), Broadcast & ProAV, comments: “Panasonic remains committed to driving innovation in video production, delivering high-quality tools that meet the diverse needs of video creators worldwide. Panasonic’s support extends right from concept to capture, giving creators the freedom to explore, experiment, and deliver professional-grade content, regardless of their technical background or the complexity of the filming environment.”
Jon Creamer
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