LOS ANGELES—Sony today announced the newest addition to its Cinema Line: the FX30 (model ILME-FX30), a 4K Super 35 compact cinema camera that offers many professional features of the Cinema Line, such as Dual Base ISO, Log shooting modes, and user-imported LUTs (Look Up Tables) at a price point targeting aspiring filmmakers. 

In addition to introducing the new FX30, Sony announced two new CFexpress Type A Memory Cards—CEA-G320T and CEA-G640T. Both are large capacity cards that support high-speed performance with a maximum writing speed.

"The new FX30 is a great fit for a wide range of filmmakers," said Yang Cheng, Vice President, Imaging Solutions, Sony Electronics Inc. "As part of our Cinema Line, it is an attractive addition for seamless integration into large productions. Additionally, by incorporating many professional features found in our flagship cinema cameras, it is a perfect camera for up-and-coming filmmakers that are working with tight budgets."

The FX30 offers next-generation filmmakers cinematic expression with the latest imaging systems, according to Sony. It features a new back-illuminated 20.1 megapixels APS-C Exmor R CMOS sensor (Super 35 format) with a dual base ISO (800/2500) to deliver high sensitivity, low noise, and 14+ stops of latitude. 

The FX30 supports a variety of video recording codecs. It can shoot in high frame rates, including 4K at 120fps and full HD at 240fps. The FX30 also features the ability to shoot 4K Super 35 (16:9) by oversampling from 6K at up to 60fps. Both 16:9 recording modes can shoot at 10-bit 4:2:2 while the HDMI Type-A port outputs 4K, 16-bit RAW for an external recorder.

Like the rest of the Cinema Line, the FX30 features Log shooting modes by enabling Cine El, Cine El Quick, and Flexible ISO modes for recording with the S-Log3 gamma curve, which allows more flexibility when color grading. All three modes allow video shooting while monitoring with an appropriate LUT to preview the final image. In addition, the FX30 includes a selection of built-in cinematic looks, such as Sony's S-Cinetone, and can shoot single stills. The camera offers advanced image processing capabilities with the BIONZ XR processing engine for natural gradations and realistic color reproduction. 

The FX30 features Sony’s fast and reliable still and video autofocus, with settings including: 

• Real-time Eye AF (human, animal or bird)
• Real-time Tracking
• Detailed AF settings 
• AF Assist

Creatives also have more control when using the Focus Map, which makes it easy to visualize depth of field, and Breathing Compensation to offer a stable angle of view when focusing. The camera includes effective stabilization for run and gun shoots using Active Mode thanks to the optical in-body 5-axis image stabilization. The FX30 also includes time code sync.

The FX30 incorporates other features that retain the spirit of the Cinema Line, including: 

• New customizable list-style main menu screen for quick access to frequently used items  
• New standby movie screen that provides an unobstructed view of the subject 
• Buttons and dials dedicated to movie shooting

The FX30 also includes added functionality to assist with the creative workflow, such as post-production editing using embedded LUT, and EI metadata.  This metadata is available using the latest version of Sony’s Catalyst Prepare or Catalyst Browse applications. A new "Catalyst Prepare Plugin" for Adobe Premiere Pro was released in August. 

The compact and lightweight FX30 has a flat-top design with threaded accessory attachment points, making it easy to use for shooting handheld, capturing low-angle shots, mounting on a gimbal, or adding accessories. 

The FX30 also features an XLR handle unit, which can be used to capture low-angle shots and also allows filmmakers to capture crystal clear audio through various audio inputs, including two XLR audio inputs and a 3.5 mm stereo mini jack for 4-channel recording. External microphones can be connected directly to the camera via the Multi Interface Shoe or microphone jack. The FX30 also features an internal stereo microphone for audio recording.

The FX30 are equipped with two memory card slots that are compatible with both CFexpress Type A cards and SDXC/SDHC cards, bringing wide range of shooting experiences to filmmakers. The FX30 is also compatible with the newly announced large capacity CFexpress Type A memory cards. 

The FX30 pairs advanced performance with outstanding reliability. It features an innovative heat dissipation structure for uninterrupted 4K/60p recording, reliable power for extended recording, and a durable magnesium alloy chassis. A comprehensive selection of E-mount lenses, high-performance microphones, and other essential components offers extraordinarily flexible systems for a broad range of creative needs.

The FX30 comes with an option to purchase with or without the XLR handle. The new FX30 (supplied with the XLR handle) will be available in late October for approximately $2,200 USD and $2,900 CAD. It will be sold at a variety of Sony's authorized dealers throughout North America. 

The new FX30B, (supplied without the XLR handle) will also be available in late October for approximately $1,800 USD and $ 2,400 CAD. It will be sold at a variety of Sony's authorized dealers throughout North America. 

For detailed product information, visit:

• (US) – FX30 
• (CA) – FX30 

A product video on the new FX30 can be viewed HERE.  

A product launch video focused on the FX30 can be viewed HERE and the behind the scenes can be viewed HERE.

The FX30 will also be compatible with the new version of Camera Remote SDK (Version 1.06), a development kit for software that enables remote operation and configuration changes.

CFexpress Type A Memory Cards: CEA-G320T and CEA-G640T
The compact and high-performance CFexpress Type A memory card CEA-G320T will be available in October for approximately $650 USD and $850 CAD (CEA-G320T), while the CFexpress Type A memory card CEA-G640T will be available in December for approximately $1,250 USD and $1,630 CAD. In addition to the existing 80GB and 160GB cards, large capacity 320GB and 640GB cards will be added to the series.

These large capacity cards support high-speed performance with a maximum writing speed of up to 700MB/s and Video Performance Guarantee "VPG400", which offers sustained writing speeds of up to 400MB/s, and enables 4K 120p high bit rate video shooting.

The new large capacity cards have achieved TOUGH specification, which means they have been certified to be waterproof, dustproof, and robust enough to support stable long-term shooting in various environments. 

FREMONT, Calif.—Blackmagic Design has announced the Blackmagic URSA  Broadcast G2 broadcast camera with 6K digital film sensor to deliver digital film quality to traditional and online broadcasters. 

The 6144 x 3456 digital sensor delivers exceptional low-light performance with dual gain ISO of up to +36dB and 13 stops of dynamic range. It supports H.265 and Blackmagic RAW file formats and Blackmagic generation 5 color science. It also offers a USB-C expansion port for external disk recording.

The URSA Broadcast G2 can be used as a 4K production camera, a 4K studio camera or a 6K digital film camera. Using the existing lenses and batteries of broadcasters, the camera records to common SD cards, UHS-II cards, CFast 2.0 cards or external USB disks, using common file formats like H.265, Apple ProRes and Blackmagic RAW, making it compatible with all video software and broadcast media management systems.

The 6K sensor, flexible enough for broadcast and digital film work, can use B4 lenses, giving users a 4K window for the sensor for Ultra HD broadcast use. If they change to a PL or EF lens mount, they can use the full 6K resolution of the sensor for digital film.

The low-light performance of the new camera enables users to shoot using ambient light or even under moonlight. The Blackmagic URSA Broadcast G2 features gain from -12dB (100 ISO) up to +36dB (25,600 ISO) so it's optimized to reduce grain and noise in images, while maintaining the full dynamic range of the sensor. The gain can be set via a camera switch, the LCD menu or remotely using the SDI remote camera control protocol.

The camera’s dual CFast 2.0 recorders and dual SD/UHS-II card recorders give users the ability to choose the media that's best for them. Both types of media are standard, inexpensive and readily available at computer and camera stores, the company said.

With dual media slots, URSA Broadcast gives users non-stop recording. When a card is full, recording automatically continues onto the next card so customers can swap a full card while recording continues, it said.

The Blackmagic URSA Broadcast G2 is currently available now and priced at $3,995 from Blackmagic Design resellers worldwide.

More information is available on the company’s website.

WAYNE, N.J.—JVC Professional Video has announced that it is now shipping its new Connected Cam 500 Series of streaming handheld camcorders, which consists of three compact 4K cameras—the GY-HC500 base model, the GY-HC550 with advanced streaming and graphics and the GY-HC500SPC sports coaching and production camera.

All three cameras feature built-in streaming and connectivity options, as well as the ability to record to SSD media in 10-bit ProRes 422 at 4K resolution and 50/60p frame rates. Other native 4K UHD and HD file formats can be recorded as well. The camera also record HDR footage in HLG or 10-bit J-Log modes and support 120 fps slow-motion HD recording.

The 500 models can be paired with any ProHD Bridge product to provide reliable 1080p streaming up to 20 Mbps with SMPTE 2022 forward error correction, low-latency, return video and IFB. Users can also stream live video to Facebook and YouTube.

Specific to the GY-HC550, it features MPEG-2 and MXF recording, as well as dual external antennas with built-in wireless LAN, integrated GPS and Zixi error correction with automatic repeat request. The model also has Secure Reliable Transport to JVC’s Connected Cam Studio solution.

The GY-HC550 and GY-HC500SPC also include integrated Wi-Fi and broadcast overlay for lower-third graphics, and full-screen titling options for recorded or streamed video output without an external CG. The GY-HC500SPC also features pre-installed graphics for a variety of sports.

A 1-inch 4K CMOS imager and integrated 20x zoom lens with built-in ND filters and manual zoom, focus and iris control rings are part of all the 500 series cameras. Additional features for the trio include a 4-inch, high-resolution LCD screen for menu navigation; LCOS viewfinder; dual XLR inputs; 3G-SDI and HDMI video outputs; and M.2 drive slot for external SSD recording.

JVC is now shipping the Connected Cam 500 series cameras, with prices for the GY-HC500 starting at $3,900. More information is available at pro.jvc.com.

LAS VEGAS — A the 2018 NAB Show, Panasonic debuted a new high speed 4K HDR camera, firmware update to its EVA camera line and showcased 8K Region of Interest (ROI) for sports and live events.

ACQUISITION

Panasonic debuted the AK-UC4000, a 4K high-speed studio camera that features 4.4K native resolution, HDR, and high-speed 240fps capability. The camera features native support of SMPTE 2110 MoIP output, an integrated stadium wireless system, and unique assets for sports production. They also demoed the AK-UC3000 4K camera, showcasing simultaneous 4K HDR SMPTE 2020 imaging and ITU 709 HD broadcast.

There is now free EVA 2.0 firmware upgrade for the 5.7 AU-EVA1 cinema cameras that enhances its recording capabilities with All-Intra frame formats and RAW data output. There’s also new firmware for the VariCam LT V. 6.0 CineLive that simplified setup for live and near live multicamera use for events, concerts, television shows and corporate productions. Panasonic announced that its EVA1 and Varicam LT now support the new ProRes RAW software for a faster more efficient RAW workflow.

Panasonic also highlighted the low-light performance of the VariCam 35, VariCam LT, and AU-EVA1 cinema cameras, as well as 4K HDR content from the VariCam and EVA1 cinema cameras.

PRODUCTS FOR NDI

Panasonic was at the NDI Central Pavilion, demonstrating its AV-HLC100 Live Production Center now with support for Newtek’s Network Device Interface. This system combines a 1/ME switcher, remote camera controller, graphics overlays, recording, and audio mixer to facilitate live streaming by a single operator.

In addition to seeing the HLC100 working in a real-world control room, visitors got a look at NDI-compatible products ranging from graphics to streaming to screen capture to recording. PTZ cameras now offer built-in NDI support, including the AW-HN38, AW-HN40, AW-UN70 and AW-HN130.

PARTNER SOLUTIONS

Panasonic featured new partner integrations with its P2Cast cloud-based platform’s workflow, including: two Panasonic/TVU video solutions featuring IP video switching, routing and distribution. The company also demonstrated new versions of the P2Cast Bridge, which enables connectivity into partner newsroom systems, including Adobe Premiere and Avid Media Composer for nonlinear editing, and Avid Interplay for media asset management.

Third-party solutions from Areplus, BlackTrax, and Tecnopoint, which enhance the versatility of Panasonic integrated PTZ cameras, were also showcased. A real-time BlackTrax tracking solution with Areplus interface allows a Panasonic PTZ camera to follow the speaker or content. And, a Tecnopoint Tuning System, consisting of a ceiling dolly and a vertical column, is the first track system totally integrated with Panasonic PTZ cameras.

SPECIAL ATTRACTIONS

The Panasonic exhibit also demonstrated an 8K Region of Interest (ROI) system for sports and live event HD applications, including an 8K camera’s super-wide field of view and HD windows with full pan/tilt/zoom control. It enables a single operator to follow the action from multiple virtual camera angles, saving space over multiple manned cameras.

Also demonstrated was a 360-degree/VR live streaming system that combines Panasonic’s low-latency 360-degree Live Camera with Haivision’s KB 4K encoder and LiveScale’s distribution platform to form an end-to-end, broadcast-quality solution.

MELVILLE, N.Y. –Canon today launched three portable zoom 4K UHD broadcast lenses and introduced a mid-range telephoto zoom lens for 4K UHD broadcast cameras.

The new portable zooms include the CJ24ex7.5B, CJ18ex7.6B and CJ14x4.3B. The mid-range telephoto is designated as the UHD-DigiSuper 66 (UJ66x9B).

The three new portable zoom lenses, which are compatible with 2/3-inch sensor broadcast cameras, usher in Canon’s UHDgc series intended to broaden 4K UHD shooting options, the company said. They are designed to deliver 4K UHD imaging quality at a more-accessible price for the majority of the broadcast market.

The CJ24ex7.5B, CJ18ex7.6B and CJ14ex4.3B use Canon’s proprietary optical design technology featuring materials such as fluorite and Ultra-low Dispersion (UD) glass. They support the wide color gamut approved by the ITU-R BT.2020 UHD broadcasting standard. These features are essential to HDR imaging, according to Canon.

The new UHD-DigiSuper 66 (UJ66x9B), designed for 2/3-inch sensor cameras, offers a 66x zoom ratio, which is desirable for sports and live event production, Canon said. The new lens incorporates Canon’s Optical Shift Image Stabilizer (Shift-IS), which makes handling and controlling the lens similar to how existing field zoom lenses for HD broadcast cameras are treated. Shift-IS also delivers smooth imaging with minimal blur during 4K shooting where even slight vibrations can impact the image, the company said.

The UHD-DigiSuper 66 has a focal length range of 9mm to 600mm. A built-in 2x extender doubles the range capabilities of the lens.

According to Canon, the UHD-DigiSuper 66 telephoto and CJ18ex7.6B portable zoom lenses will ship in the fall; the CJ24ex7.5B and CJ14ex4.3B 4K portable zoom lenses will ship in the summer. All four will be shown at the 2018 NAB Show, April 9-12, in booth C4325. 

SEATTLE—When the television and cine markets began demanding 4K cameras, the quickest solution was to use large-format, single 4K sensors. Since many of these sensors were close to the size of a 35mm frame of film, shooters could draw on the large supply of 35mm PL mount film lenses. Lens makers quickly began development and production of a newer generation of optics.

However, a problem arose when it came to using these large-sensor cameras for the extreme telephoto zoom shots in sports and entertainment venues: the laws of optical physics dictated that to duplicate shots like a centerfield view of a batter it would take a lens the size of a howitzer. And even if a lens of that size could be used, its depth of field would be so shallow the batter might be in sharp focus and the catcher, a few feet back, might be soft.

The solution was to revert to 2/3-inch sensors, used in TV cameras for decades, which could utilize lenses of the same form-factor as are used in large venue HD productions today. The challenge: putting enough pixels on those 2/3-inch sensors to yield 4K resolution.

THE BEST OF BOTH
Sony is one company that is making large single-sensor 4K cameras, including the F55, and the HDC-4300, a 4K multi 2/3-inch sensor camera. Each of the 4300’s 2/3-inch CMOS sensors has an array of 4096x2400 pixels, which allows it to image in native 4K.

Sony HDC-4300

“So you have a true 4K 2/3-inch system camera that looks, drives, feels and integrates with existing Sony infrastructures,” said Rob Willox, marketing manager for content creation systems at Sony Electronics. The company actually got a “two-fer” out of the 4300, because it not only is a full 4K camera, but has advanced HD capabilities that can be used every day on high-definition remotes while waiting for 4K jobs to come up.

“We had a 3x super motion camera, the HDC-3300, [but] that was getting a little long on the technology curve,” Willox said. “So we started with a clean sheet of paper, and with 4K we were able to create a replacement for the 3300 that now has up to an 8x HD frame rate on the same camera that can do 4K. And the 4300 came in at a lower price than the HDC 3300.”

Ikegami is another company making both large single sensor and multi 2/3-inch sensor 4K cameras. It partnered with ARRI to create the HDK-97ARRI, utilizing a single 35mm sensor, with PL mount lenses, in a familiar shoulder-mount design. But the company’s UHK-430 is also a full resolution 4K camera, utilizing 2/3-inch CMOS sensors.

“[The UHK-430] is using 4K sensors in each of the three color channels, RGB, 8 megapixel sensors in each channel, 24 megapixels total,” said Alan Keil, director of engineering for Ikegami. He pointed to the importance of talking about the total number of pixels on each chip, “because it does give an overall better understanding of the camera’s resolution capabilities.”

Keil sees a ready market for the UHK- 430. “A lot of people are interested in the 4K 2/3-inch format, not just in sports,” he said. “I guess there will be customers in a pretty wide range of applications who would like to stick with the 2/3-inch format due to the availability and convenience of lenses. I do think large-format single-sensor cameras have their place, but the lenses are very limited in their zoom range, and compromises are required in terms of operational convenience, ease, size and weight, and so forth.”

A DIFFERENT PATH
Hitachi Kokusai took a slightly different path to provide 4K from multi 2/3-inch sensors, according to Emilio Aleman, engineering manager for the company. “It’s the foursensor design that allows the SK UHD 4000 camera to have four 2K 2/3-inch sensors,” one each for red and blue, and two for green, he said. The second green sensor is offset 1/2 pixel-width diagonally, which provides 4K resolution in the luminance channel.

Because there was no need to develop new sensors when utilizing this technique, “it lowers the overall cost of the camera versus having native 4K sensors,” Aleman continued. “So the buy-in cost of our camera is a lot lower, almost the same as a normal 2K camera. For production it’s excellent, because it allows you to have the best quality in 2K format, while you can record 4K for archiving or for future use. It’s the same workflow and the same camera as you’re going on the air with now.”

Aleman sees customers for the camera coming from more than just sports productions. “Our target for this camera was studio production, and existing broadcasters that wanted a noticeable improvement over their existing 2K cameras for news, sitcoms and variety show production. It’s ideal for that kind of user. And for large screens such as 4K projections, it gives you a nice, pristine picture when you put that big picture on the screen.”

Grass Valley attacked the 4K multi 2/3-inch imager market with its multifunctional LDX 86 High Frame Rate/HD/3G/4K Software Upgradable Camera Platform. “Basically all the LDX 86 camera system is delivered with all the hardware needed for any application,” said Klaus Weber, senior product marketing manager for camera systems for the Montreal-based company. “And then the camera can be upgraded by software licenses. The camera is based on our Xensium-FT CMOS HD imager.” Three of those imagers are utilized for resolutions up to 4K.

The software licenses can be purchased for as little as seven days, or perpetually. At the top end, the camera can be license-upgraded to the LDX 86 Universe, which provides universal format support with switchable 1X/3X/6X HD, 1X/3X 3G and 1X 4K from a single camera.

“All of our cameras are addressing the live production market,” said Weber, “so they’re typically broadcast-type applications for high end entertainment production, but also news applications. For the moment, the most interest is from the high-end, OB broadcasters, live TV crews in the U.S. and Europe, top-end players.”

Canon C300NO EXTERNAL RECORDER REQUIRED
Canon has concentrated solely on the large single-sensor 4K cameras, and has just introduced a second generation of its C300. “The feedback we got from a lot of our customers was that this was the year they wanted to see a camera that could record 4K footage directly in the camera, without the need for an external recorder,” said Chuck Westfall, product planning advisor at the company’s ITCG Image Communication Products Business Planning Division. “And we were able to do that with the C300 Mark II. It does 4K at 30 frames per second, and it can do basically what’s called 12-bit RGB 4:4:4, which is extremely high quality. It is compressed, but it’s extremely high-quality video in the camera.”

The camera has two slots for the CFast type media, which is the second generation of Compact Flash, and can support all the data that is 4K, according to Westfall. “The camera also does support RAW 4K out, if it’s important to be able to go into a RAW recording,” he said. “That will produce the absolute maximum level of image quality that is possible with the C300 Mark II, using an external recorder.”

AJA Video was not known for making cameras up until a few years ago, but then came CION. “CION really is what we would describe as a next-generation production camera in the sense that it’s taking the formats we need today, which is primarily HD and 2K, but providing you a camera system which is fully 4K all the time,” said Andy Bellamy, CION product manager.

He pointed out that the large single-sensor CION can internally scale that oversampled 4K image to HD needs. So if you need HD today, you’re still benefiting from oversampling a larger sensor. “And the camera was primarily designed to be ergonomic, so it’s lighter in weight,” Bellamy said. “It fits very comfortably to the shoulder, and it’s easy and straightforward to use, very intuitive, almost simple.

Marco Solorio of OneRiver Media shooting the feature film, “10/10ths” (2016 release) with the Blackmagic URSA. BTS photography by Courtney Cutchen. Photo ©2015, Ten Tenths Films, LLC. CION was always intended to be very film-like, according to Bellamy. “So throughout the process of development, it was never, ever to look like video. You can, of course, tune it to make it look a little more like video if that’s what you need for your individual project.”

Blackmagic Design is another company that suddenly sprung into being a camera designer and manufacturer. “When we designed the original Blackmagic Cinema Camera, we thought we were creating sort of a handheld camera,” said Bob Caniglia, senior regional manager for Eastern North America at Blackmagic Design. “That turned into a ‘cyclops,’ with people adding all kinds of third party pieces to it.”

That led the company to bring out URSA, a robust, fully-featured design that allowed for multiple users. “Monitors on opposite sides of the camera can be simultaneously used by the DP and a focus-pulling assistant,” Caniglia said. “And then an audio engineer could be at the rear of the camera, where he has meters and can plug in whatever he needs into the XLR jack.”

URSA is designed to be upgradeable, including the sensor. “For 2015 we announced a 4.6K sensor upgrade availability, which we should see in a month or so,” Caniglia said. “So if you bought the original 4K and wanted to move to the 4.6K, you can do so and insure the original investment in the camera.” The company also introduced a smaller form-factor URSA Mini, which can be used on its own or in combination with an original URSA. The look of the video matches in both cameras.

JVC GY-HM890FOCUS ON NEXT GENERATION
JVC and Panasonic both have 4K large single-sensor cameras, but are also concentrating on their new HD cameras.

At the 2014 NAB Show, JVC introduced its GY-HM890, a full shouldermount camera that’s ENG, EFP style, but can be converted to a studio system. “It has ability to utilize a full studio system, whether it be fiber or multicore, without buying new cabling,” said Craig Yanagi, JVC product manager of professional video. “When used in the field, you have a highly versatile camcorder using cutting-edge technology, with the ability to stream live video from the camera.”

Though most stations don’t share individual cameras between the field and the studio, Yanagi noted that the possibility always exists if the station had a camera go down.

Having the same model cameras in the studio as in the field has another advantage: the commonality of spare parts, where one set of spares could cover both studio and field cameras.

“We actually have a program where the customers maintain a unit on consignment, and they have that there in case something was to happen,” Yanagi said. “But we have an extremely low service count on the cameras.”

Panasonic recently introduced a new, HD, news-type camera that can also be used for production. “The AJ-PX380 is a fully-loaded, light, low-power camcorder that’s ideal for newsgathering, but equally well-suited for reality TV production, live event and corporate uses,” said Steve Cooperman, senior product manager at Panasonic. “It’s an excellent choice for shooters who prefer the ergonomics of a shouldermount camera, yet at a cost below larger 2/3-inch native cameras.”

The 1/3-inch 2.2MP 3MOS AVC-ULTRA camera offers powerful, advanced network functionality as well as dual codec recording for simultaneous high resolution and HD/SD proxy image capture. The built-in network functions support wired LAN, wireless LAN and 4G/LTE connection, which facilitates live streaming. The camera features a quality of service layer that dynamically adjusts the bit rate of the streaming signal to optimize transmission speed as the bandwidth of the cellular network changes.

Panasonic offers the camcorder in two versions: the AJ-PX380GF, including camera body plus AG-CVF15 Color Viewfinder and XT17x4.5 BRM 17X Fujinon lens.