A fairly recent NAB Show tradition has
been to play “Who’da thunk they’d start
building cameras?” Joining the camera
club in 2014 was AJA. Meanwhile, there
were a spate of other 4K camera introductions
and new benchmarks set in
AJA introduced its CION camera for
shooting 4K/Ultra HD and 2K/HD resolutions.
It features an ENG shoulder camera
form-factor, and provides a global shutter.
The CION can output 4K raw data at up
to 120 fps via 4x 3G-SDI outputs, and can
record directly to AJA Pak SSD media at
up to 60fps. The camera’s menu parameters
can be controlled on the side of the
camera, or remotely via a Web interface
and can be accessed through any Web
browser via a LAN connection.
ARRI debuted its AMIRA documentary-style
camera, available in a range of upgradeable
packages. The AMIRA combines
the image quality of CFast 2.0
workflows with a form-factor designed
for shoulder and tripod-mounted shooting
by a single operator. It comes with a
variety of 3D LUT-based looks, as well as
the ability to build custom LUTs.
BLACKMAGIC DESIGN unveiled two new
4K video cameras. The URSA is built to
handle the ergonomics of a full crew or
single shooter, and features the ability to
interchange sensors and lens mounts. It
comes with a Super 35 global shutter
sensor and internal dual RAW and Apple
ProRes recorders. The Blackmagic Studio
Camera is available in 1080 HD or
Ultra HD models, and includes features
specifically designed for live production
requirements, such as large viewfinder,
talkback, tally and optical fiber capability.
|Adam Knight of Red Element Studios checks out the
Blackmagic Studio Camera.
CANON introduced two compact video
HD cameras, the XF205 and XF200. Both
provide greater versatility with a more
powerful Canon HD Video System, numerous
recording modes, wireless connectivity
and an enhanced operational
design. Each camera features a 26.8mm
wide-angle Canon HD lens with an optical
zoom that has been increased to 20x,
along with Canon’s latest HD CMOS PRO
imaging sensor and 50 Mbps MPEG-2 recording
and 4:2:2 color sampling.
FOR-A presented a new version of its FT-ONE
4K super slow-motion camera, providing
fiber I/O connections built directly
into the unit when shooting from the field.
The FT-ONE CMOS global shutter sensor
was developed to provide high resolution
and sensitivity. RAW material is recorded
at high speed to the internal RAM memory,
which holds nearly 10 seconds of 4K
content shot at 900 fps. And the camera
plays back full 4K (4096 x 2160 pixels).
GOPRO unveiled several permutations to
its action cameras, including the HERO3+
Black Edition. Twenty percent smaller
and lighter than its predecessor, it provides
improved image quality and powerful
new features such as SuperView for
an extreme wide-angle view. Also new
was the HERO3+ Silver Edition, with all
of the Black Edition’s advantages, but
twice as powerful. It captures video at up
to 1080p60, and 10 megapixel photos at
up to 10 frames per second.
|Paul De Bresser with Grass Valley demonstrates the
company’s new LDX XtremeSpeed 4K Ultra camera.
four new additions to the
LDX camera range: the LDX
HiSpeed (LDX HS) and LDX
Compact HiSpeed (LDX
Compact HS) 3X super slow-motion
cameras, and the LDX
XtremeSpeed (LDX XS) and
LDX Compact XtremeSpeed
(LDX Compact XS) 6X ultra
The company also showed
technology to produce 4K
images from a three-chip, 2/3-inch camera.
Though the chips use an HD array of
pixels, GV uses advanced processing to
build 4K images from those sensors.
HITACHI KOKUSAI debuted its Z-HD6000
CMOS HDTV studio camera, which features
a 2/3-inch 2.6 megapixel 1920 x
1080 CMOS RGB sensor. It features RLAC
(real-time lens aberration correction)
and DNR (dynamic noise reduction) circuitry.
The company also showed an 8K
camera it has developed for Japan’s NHK
I-MOVIX showcased its new line of products
based on its X10 ultra-slow-motion
technology. Using its internal memory,
the X10 high-speed camera can image
in full HD at more than 2,000 fps, and
1,000 fps in 4K. The X10’s deflickering
technology eliminates light strobing, and
the entire X10 product range has been
optimized to be upgraded for evolving
requirements and new cameras.
IKEGAMI debuted its HDK-97ARRI broadcast
camera form-factor ARRI Alexa, produced
in partnership with ARRI. The
camera delivers digital cinema characteristics,
and makes it possible to employ a
large-format sensor in multiple camera
operation. Also featured by Ikegami was
the HDK-95C Unicam HD, utilizing next-generation
2.5 megapixel high-performance
CMOS sensors with the ability to
produce in a wide array of formats.
|Attendees try out the cameras in the JVC booth.
introduced its 800 Series cameras,
which consists of the GY-HM890U and
the GY-HM850U. Both feature three, 1/3-
inch 2.07 effective megapixel CMOS
sensors that capture full 1920 x 1080
images, and are delivered with new Fujinon
wide-angle 20x zoom lenses
that feature auto focus, built-in
optical image stabilization and
chromatic aberration correction.
Both camcorders can also have
a cellular modem plugged into
them for built-in liveshot capability.
The company also debuted
four new 35mm sensor 4K cameras.
NAC IMAGE TECHNOLOGY showcased
its Hi-Motion II ultra-slow-mo
camera system, a three 2/3-
inch chip camera that mounts
standard HD ENG or box-style lenses.
It can capture more than
10x high-speed images in
full HD (1920 x 1080). The
Hi-Motion II provides a 4x
improvement in light sensitivity
compared to the company’s
NIKON unveiled a new generation
of its DSLR, the
Nikon D4S. Though primarily
designed as a still camera,
it has features such as
that is useful to either still
or motion picture camera crews, along
with a time-lapse movie mode. It features
an HDMI output and a plug-in mic port,
and shoots at 1080p60, which can be recorded
in H.264 on an internal memory
card and simultaneously to an external
recorder if so desired.
PANASONIC introduced three new VariCam cameras designed around the AVCULTRA
codec. The AJ-PX270 is designed
for ENG, sports, reality and production
work. The 4K VariCam 35 is a 35mm sensor
4K camera that supports P2 ULTRA
workflow as well as a RAW workflow.
The VariCam 35 has a modular design,
with a 4K camera head attached by umbilical
cord to the recorder. The VariCam
HS (high speed) is a MOS 2/3-inch camera
designed to shoot full HD at up to
|Jill Brooks with River Design checks out the Sony F55 4K
RED DIGITAL CINEMA unveiled
its 4K Broadcast Module. It
provides for streaming live, uncompressed
footage at 60 fps.
The module is compatible with
Red’s Epic Dragon and Scarlet
Dragon cameras, and has provisions
for multicamera productions.
SAMASERVE showcased its Nipros
fiber adapter system, which
works with any 4K camera to
simultaneously pass 4K and HD
signals uncompressed. The LS-750/GT
camera-mounted fiber adapter system
provides five 3G-SDI downstreams directly
out of the camera, as well as one
return of 3G/HD-SDI/SD-SDI signals. All
types of 4K plus HD, or five separate HD
streams, can be transported simultaneously,
with the ability to mix the five
asynchronous 3G/HD/SD streams independently.
SONY introduced its Alpha 7s DSLR mirrorless
full-frame camera, built around
a brand new, 12-megapixel, full-frame
sensor. The company also that the 4K
F5 camera can be upgraded to an F55,
and v4.0 firmware is available for both
cameras. Sony also introduced a shouldermount
docking station for the F5 and
F55, which puts controls where shoulder
camcorder users are used to finding
them. The company also announced
Avid DNxHD and Apple ProRes codecs
for the F5 and F55.
VISION RESEARCH presented its third-generation
digital cinema camera. Designed
for cinematographers, the Phantom
Flex4K is a high-speed camera providing
a wide range of frame rates, from 15 fps
up to 1,000 fps at 4K, and up to 2,000 fps
at 2K/1080p. The camera’s Cine RAWformat
provides fast high-speed capture on
set. Files are saved to the hot-swappable
Phantom CineMag IV, up to 2 TB.