SAN DIEGO—Sony Electronics has unveiled the SEL814G, its first fisheye zoom G Lens for full-frame Alpha E-mount cameras, and will highlight the new lens during IBC 2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

The 8mm to 14mm zoom range covers circular fisheye at 8mm through diagonal fisheye at 14mm with a constant aperture of f/3.5. Built for landscapes, architecture, sports and video production, the lens pairs a compact, lightweight body with G Lens resolution, fast and precise autofocus and refined operability for stills and movies. In a dual-lens configuration with the VENICE Extension System Mini^, it also supports spatial content production.

The SEL814G brings new creative fisheye perspectives to Sony's E-mount lineup for photographers, cinematographers and content creators.

"Our first fisheye zoom runs circular through diagonal across 8 to 14 millimeters, so you can find your perspective standing right in front of the subject. We held it to G Lens resolution through the whole range to provide an exciting, high-quality creative tool. And at 314 grams, you can carry it all day," said Yang Cheng, vice president of Imaging Solutions at Sony Electronics.

Key features include:

• Fisheye zoom coverage from circular to diagonal fisheye. The 8mm to 14mm range delivers a broad set of fisheye perspectives in one compact lens. At 8mm it shoots circular fisheye with a 180-degree angle of view projected as a circular image on a full-frame sensor. At 14mm it shoots diagonal fisheye across the full frame with an 180-degree diagonal angle of view.
• High-resolution G Lens performance across the zoom range. An optical design with ED (Extra-low Dispersion) glass and aspherical elements suppresses chromatic and other aberrations across the image area, holding high resolution throughout the zoom range. A minimum focusing distance of 0.15m and maximum magnification of 0.22x at the telephoto end enable dramatic close-up fisheye perspectives for stills and movies.
• Compact, lightweight design for high mobility and spatial content production. The lens measures about 63.1mm in maximum diameter and 82.8mm in length. It weighs about .69 pounds (314 grams), giving it mobility for handheld, gimbal and rig-based shooting.
• Autofocus performance and operability for stills and movies. The lens delivers fast, precise autofocus and Linear Response manual focus while suppressing focus breathing with quiet operation for movie production. Controls include a focus mode switch, zoom lock switch and an aperture ring with switchable click stops.

The SEL814G will be available in October for $1,599.99 U.S. and $1,999.99 CAD. Pre-orders for the SEL814G began today at 7 a.m. PDT.

See Sony at IBC 2026 stand 13.A10.

More information is available on the company’s website.

BRISTOL, Conn.—“College GameDay” is ESPN’s premier college football pregame show, for which we have won the Sports Emmy for Best Weekly Studio Show for three consecutive years (2024–2026). It’s a privilege to work on the show and to continue to shape it.

For those unfamiliar with “GameDay,” it’s a 20-plus-camera, multiset, fan-immersive broadcast that moves to a new college campus every week of the season. It’s exciting, unpredictable and one of the most technically complex studio shows on television.

Live in HDR
Last season, we began exploring how to evolve the show’s visual identity. We had already moved “GameDay” into HDR, and that shift opened the door to a more cinematic presentation. I don’t just mean shallow depth of field, which tends to dominate conversations about “cinematic sports,” but the full package: Crisp edge detail, richer color and extended dynamic range. With a controlled lighting environment on our set (even outdoors), we knew we could push the look further.

At the 2025 NAB Show, RED’s booth immediately caught my attention. They were showcasing the V-RAPTOR with the SMPTE back, and the combination aligned exactly with my search for a cinema-grade sensor that could still integrate cleanly into a broadcast workflow.

After meeting RED’s specialists and digging into the camera’s capabilities, it became clear the V-RAPTOR could deliver two things we needed simultaneously: One was a true cinematic image suitable for HDR and the other was high-frame-rate performance for studio slow motion.

We weren’t just chasing a “pretty picture.” I needed a camera that could slot into our EVS replay system, take a matching look-up table to sit alongside our Sony broadcast cameras and still be painted live from the truck. V-RAPTOR ticked every box.

Every week of the season, “GameDay” rolls into a new campus. We build a full studio environment outdoors, surrounded by thousands of fans who show up before sunrise. It’s a wild place to deploy a cinema camera, but RED made the integration straightforward.

Canon supported us with optics, primarily the Canon 17–120 mm Cine Servo zoom, and later a prototype Canon 11–55 mm. We ran the camera through a Cyanview control panel, RED provided the necessary rack gear and we powered the camera directly from the truck to accommodate the different power requirements.

Operationally, the only noticeable change was weight. With cine glass and the larger body, we assigned the camera to an operator with experience carrying one through long, energetic handheld sequences. Once it was on his shoulder, he ran with it creatively.

We deployed the V-RAPTOR for two weeks of the 15-week regular season, at Vanderbilt and Utah. Vanderbilt was a perfect test case—the show featured live country music performances, and the camera produced standout images that immediately
differentiated themselves from our standard broadcast coverage.

We ran the camera at 3x slow motion, using it for fan reaction slo-mos, which are a show signature. We also used it for our on-set field-goal challenge, where a student attempts a kick for a cash prize.

Ready for 500th Show
The camera bridged the gap between cinematic presentation and high-frame-rate replay in a way we hadn’t achieved before. RED proved itself as a valuable tool in our broader innovation strategy.

As “GameDay” enters its 40th season and prepares for its 500th road show, we’re always looking for ways to evolve. V-RAPTOR gave us a new visual language to explore and helped inform how we think about balancing cinematic storytelling with live broadcast reliability.

As we continue to push forward in HDR, in camera tech and in how we bring the energy of thousands of fans into viewers’ homes, RED will remain part of the conversation.

More information is available on the RED website.

RICHMOND, Va.—Opening a brand-new, state-of-the-art production facility at CarMax Park for the Richmond Flying Squirrels minor league baseball team presented many challenges and opportunities.

Among them was the all-important decision of selecting the camera system. Taking the leap from our previous workflow in our old stadium, “The Diamond,” our goal was clear: support productions of home games, live events, LED programming and multiplatform content with a consistent, high-quality production standard that truly sets us apart.

Knowing that the cameras would be in use throughout the day, reliability, image quality and flexibility were all important factors.

We looked at several options before selecting the Grass Valley LDX 110. During our evaluation, it delivered better performance in low light and other challenging lighting conditions than the alternatives we considered, while remaining within the budget we had set for the project. The Xenios CMOS image sensor consistently delivered the picture quality we were looking for, and the compact camcorder-style design was a good fit for how our operators work on game days.

All-Action Capture
Our production schedule begins when the gates open and finishes after the last fans leave the ballpark. During that time, in addition to the game itself, we’re producing a variety of content including player introductions, fan features, live entertainment, promotions and activity around the concourse. Camera operators are constantly moving between different environments and lighting conditions.

Our fixed cameras, including the high home and centerfield positions, provide the main coverage throughout the game. They produce excellent pictures and give us the consistency we need across the entire production.

The MVP in our live production workflow has been the mobile camera system, a huge upgrade over previous systems deployed. The LDX 110 gives us much more freedom to cover everything happening around the stadium with the same picture and color quality we see on fixed cameras. Operators can move freely around the 360-degree concourse to spend time with fans, react to big moments and capture entertainment occuring on and off the field, all with a consistent high-quality production standard. These shots are critical in telling the story of the fan experience at CarMax Park.

The mobile system is a seamless, natural fit in our workflow with the color-grading system in our control room, allowing our shader full control while the camera operator freely moves around CarMax Park. That combination has made mobile operation far easier than we have experienced in past workflows.

We use the word “consistency” often, as that has probably been the biggest operational improvement seen since opening the venue. The picture quality and consistency of the LDX 110 systems is big league, giving our production the polish our fans and partners deserve while allowing our team to stay focused on the live show.

Big-League Delivery
The response from our fans and community partners has been extremely positive. Fans, colleagues and industry peers who visit CarMax Park often describe our productions as “big league.” That was one of our main objectives when we designed the production facilities, so it is very rewarding to receive that feedback.

Overall, the deployment has exceeded our expectations, and we are already working with Grass Valley and our integration partners to add a second mobile camera system. That decision is based on how much value the first system has added to our productions and how often we now rely on it during a game.

Opening a new ballpark gave us the chance to build the production workflow we wanted from the beginning. The LDX 110 cameras have become an important part of that workflow, helping us produce consistent, professional coverage throughout every game while giving our production team more creative freedom around the stadium.

More information is available at Grass Valley’s website.

SAN DIEGO—Established in San Diego in 2009, Show Imaging was known as the group of producers who refused to say “no” to the crazy and seemingly impossible. Over the years, Show Imaging has grown to a team of over 200 people nationwide and a community of unique creators who come from every background to build all aspects of premier experiences.

San Diego Comic-Con, one of my favorite events of the year, draws hundreds of thousands of devoted fans across film, television, literature and comics to experience panels, artist showcases and cosplay competitions. Delivering a memorable experience requires reliable, high-quality video capture and displays to ensure every fan has a front-row seat.

In 2025, Show Imaging partnered with Panasonic to bring that vision to life, providing the production technology needed not only to capture Comic-Con’s iconic panels but also to deliver high-quality video coverage to engage devoted fans and audience members.

Immersive Fan Experiences
Many panels operate on a first-come, first-served basis, so auditoriums fill quickly, including the seats in the back. Our job is to ensure all 6,000 attendees receive a front-row experience, delivering real-time audio and video that keeps every viewer connected to the action regardless of where they’re seated.

That’s why we equipped the room with three Panasonic AW-UE150 4K PTZ Cameras, one AK-UC4000 Studio Camera and the Kairos Live Video Production Platform. Designed for fast, intuitive setup, these solutions allowed our team to capture dynamic panels in 4K without having to worry about technical complexity or system reliability.

For close-ups during panel discussions and audience Q&As, Panasonic’s 4K PTZ and studio cameras delivered precise color reproduction and consistent shading, ensuring every attendee—even those watching online—experienced an accurate view of the action on stage.

Panasonic’s AW-UE150 4K PTZ Cameras were particularly instrumental when “Star Wars” creator George Lucas made a surprise appearance to promote the new Lucas Museum of Narrative Art. Attendees not only saw and heard the exclusive announcement of the museum, but also close-up video of Lucas as he shared behind-the-scenes stories and insights about his work, making the panel an unforgettable moment for “Star Wars” fans.

We also deployed 18 Panasonic PT-RQ35 projectors to map content across a 250-foot linear projection screen. Thanks to Panasonic’s interoperable ecosystem, the 4K PTZ cameras and projectors worked seamlessly together to deliver accurate visuals at scale with minimal adjustment. Panasonic’s Kairos Live Production Platform enabled the production team to easily edit, overlay and switch this content across screens in real time.

Kairos can also handle
ST 2110 signals directly, dramatically streamlining workflows. Comic-Con is a large-scale live event with many moving parts, and Kairos helped us manage the PTZ cameras, studio cameras, audio inputs and other visuals.

Panasonic’s integrated production ecosystem gave us the flexibility to prioritize storytelling over technical complexity, as illustrated during the “Tron: Ares” panel. A dramatic red laser light show and live stage performance were captured seamlessly by Panasonic’s PTZ cameras, ensuring audiences experienced every moment from wherever they were seated.

Images and Energy
Panasonic’s professional AV solutions enabled our team to immerse Comic-Con attendees in every iconic moment with precise imaging, seamless workflows and reliable performance. Rather than focusing on the technology behind the scenes, our crew could focus on what mattered most: capturing the energy of every panel and delivering an unforgettable experience for fans throughout the venue.

As audience expectations continue to rise, broadcast-quality cameras and production platforms will become even more essential to live events of every size.

Combined with emerging capabilities like AI-powered auto-tracking and live captioning, these technologies will help production teams create more accessible, engaging and immersive experiences to allow every attendee and remote viewer to feel connected to the action, no matter where they are.

More information is available on Panasonic’s website.

SAN DIEGO—When your “broadcast studio” is 5,000 meters below the ocean surface, you have to get creative with your camera technology. That’s what our combined teams at DeepSea Power & Light and Ocean Exploration Trust (OET) did on a deep-sea expedition, modifying Sony’s HDC-P50 POV camera to explore and live-stream UHD content from the ocean depths of the Cook Islands.

Each OET expedition is focused on scientific exploration, visiting never-before-seen parts of the planet, documenting ecosystems in poorly understood ocean regions, discovering new species and sharing this data with the world. A core part of OET’s mission is education and outreach, using the excitement of discovery to inspire the next generation of explorers.

Extreme Tech
Sending exploration tools to depths of 5,000 meters or more requires a unique set of hardware that can survive and operate in extreme temperatures and low light. Space constraints further complicate mounting cameras on remotely operated underwater vehicles and controlling them from confined workspaces aboard an exploration vessel.

In 2019, DeepSea partnered with the Monterey Bay Aquarium Research Institute (MBARI) to design a camera system that could deliver studio-level imaging quality in these conditions, an idea first championed by MBARI’s Mark Chaffey. The team sought a camera capable of UHD resolution, HDR and native 12G outputs to integrate with standard broadcast workflows. The Sony HDC-P50 hit the sweet spot for all criteria.

What sealed the deal was the camera’s modular design. DeepSea completely deconstructed and re-engineered its chassis to integrate the HDC-P50’s features into the MxD SeaCam, a broadcast-
grade 4K subsea imaging system with a ruggedized pressure housing designed for deep‑ocean exploration, scientific research and underwater filmmaking.

Building the MxD SeaCam around Sony’s proven compact broadcast camera helps us deliver the same imaging performance and control as a full-sized studio system but hardened for thousands of underwater pressure cycles. In 2025, OET and DeepSea brought the camera to sea on the Exploration Vessel Nautilus and tested it under real-world conditions.

A key objective of the Cook Islands expedition was to explore the South Pacific region’s biological and geological diversity and provide information about these environments to the Cook Islands Government.

ROV-based (remotely operated vehicle) surveys are best suited for filming macro fauna, which is everything large enough to see with the naked eye, or about a few centimeters in size. During the Cook Islands expedition, the camera’s combination of UHD resolution with a faster frame rate to capture more detail per second brought out the finer details of organisms that scientists need to identify species and examine geological patterns. Color is also important, and this HDR system gives us a richer range of hues and spectral information about underwater habitats and environments.

High-Resolution Science
The HDC-P50 will remain an essential part of DeepSea’sMxD system and the team will test and evaluate newer Sony camera versions as our organizations continue to advance deep-sea floor imaging. Only about 28% of the seafloor has been mapped at high resolution. We know more details about the moon’s surface than we do about the ocean floor.

The ocean contains about 99% of our planet’s habitable volume, yet roughly 90% of the species that live in it have yet to be identified. The visual information we gather with Sony tools is used for high-quality broadcast viewing and permanently stored in public repositories where it remains available to scientists and anyone interested in researching and learning in the future.

For many scientists, the complexity and cost of at-sea research limit their access to the sea floor. With advanced imaging solutions like the Sony HDC-P50 and DeepSea MxD SeaCam as well as OET’s telepresence outreach, researchers worldwide can unlock new ultra-high-resolution views of the deep. The better the quality of the data we can deliver to our audiences, the better they can do their jobs.

More information is available on Sony’s website.

PORTLAND, Maine—Portland Media Center is the nonprofit community media hub for the greater Portland, Maine, area. We operate two local broadcast stations and two fully equipped production studios that are open to the public.

Our mission is straightforward and a little radical: Everyone has a story worth telling, and everyone deserves the tools, the training and the airtime to tell it. We offer workshops, seminars, and hands-on media production training for everyone from seasoned documentary makers to people who have never so much as touched a camera.

When I walked into the control room for the first time, I saw a love letter to every decade of broadcast technology since 1985. Racks upon racks were assembled over the years with genuine skill and craftsmanship, each piece there for a reason, often because something older needed a translator to talk to something newer.

It worked, but it was clunky. It was difficult to teach, scale and maintain. It was not exactly a system you could confidently put in front of a newcomer and say: “You belong here. This is yours to use. Go tell your story.”

Designing a New Studio
That needed to change and I knew what I wanted. A system that spoke one language, camera to switcher to edit suite—all of it integrated, intuitive and designed to get out of the way and let the storytelling happen.

We built out the new studio around four Blackmagic Studio Camera 4K Pro live production cameras, an ATEM Television Studio HD8 ISO live production switcher, an ATEM Camera Control Panel and four camera converters. The transformation was immediate and dramatic—three full racks of old equipment came out, and the entire Blackmagic Design system went into half of one rack.

The cameras run on Power over Ethernet, delivering clean, timeline-ready files directly to the ATEM. The clutter and complexity are gone, and now we have a studio that looks exactly as it is supposed to look.

Choosing the Blackmagic Studio Camera 4K Pro was deliberate. For a nonprofit operating on a community media budget, cost matters, but so does performance and teachability.

The Blackmagic Studio Camera 4K Pro delivers on all three. Color correction is intuitive whether you are working in camera or through the CCU. The switched feed integrates flawlessly into DaVinci Resolve Studio and Fairlight, producing a pipeline that feels less like a workaround and more like it was designed by someone who actually thought about how these things connect (because it was). Files arrive already embedded in a timeline, ready to go. In a pinch, the entire system can be run by a single operator.

Perhaps more importantly for our mission, the system is easy to teach. New creators can get up to speed quickly, while more experienced producers have plenty of depth to explore. We have shifted from a place that produces programming to a place that produces producers.

Simplfied Debates
The proof came in the form of a recent live gubernatorial debate. Five candidates—
including one appearing remotely—as well as two hosts and a live studio audience of 65, were delivered simultaneously to broadcast, video-on-demand and YouTube. It was exactly the kind of high-stakes civic production that used to require crossing your fingers and hoping nothing went sideways.

Nothing did. The Blackmagic Design system handled every element with zero drama and delivered a production we were genuinely proud of. Having the right tools meant it looked as important as it was.

For us, that’s the real value of the Blackmagic Studio Camera 4K Pro. The cameras don’t just produce excellent images, they simplify complex productions, make professional broadcasting accessible and allow our nonprofit to do more with limited resources. By modernizing our infrastructure, we’ve strengthened our ability to serve the community and ensure that more local voices can be seen and heard.

More information is available by contacting Blackmagic Design at 408-954-0500 or by visiting the Blackmagic website.

MINNEAPOLIS—I first founded Curling Stadium, a systems integration firm specializing in deploying livestreaming systems in curling arenas using PTZ cameras and NDI connectivity technology, in 2019. Combining my 25 years of IT experience with my background as an Olympic curler, we installed and managed systems in 23 curling clubs around the world.

Those deployments captured the attention of organizations, including USA Curling and international governing body World Curling. We started getting requests to provide full broadcast production services for major curling events, leading us to evolve into Stadium Sports Network, the full-service production company we are today.

Curling Challenges
We had used a variety of PTZ camera brands over the years, ranging from budget-oriented brands for small clubs to the premium high-end models we rented for larger productions. With our productions for World Curling destined for linear television anywhere in the world, we knew we needed to upgrade our cameras to achieve higher quality while remaining cost-competitive. A tipping point came when we were contracted to produce broadcasts of the U.S. Olympic Curling Trials in South Dakota last November for NBC Sports and Peacock.

Shooting curling involves some unique challenges. For example, when we’re tilting a camera down at the ice, we’re getting a lot of bright white that blows out the exposure on most of the other cameras we’ve used. The lighting also varies a lot between events depending on the venues—from dimly lit older curling clubs to bright, modern arenas—so we needed cameras with at least a 1-inch sensor as well as exceptional exposure handling.

One of our partner companies recommended we check out Telycam PTZ cameras, and I’m glad we did. After testing their broadcast-class Explore XE model, we purchased three of them.

In our typical workflow, the Telycam cameras output NDI HX3 streams that are delivered to the production center over a 10 Gbps Ubiquiti network. Switching is done on a computer running vMix software, with Singular Live powering HTML5 graphics and a Behringer X32 audio mixing console.

We use AVKANS controllers for PTZ camera control. Telycam makes its own controllers, but the Telycam cameras support the standard VISCA control protocol and we already owned many AVKANS controllers, so we stuck with them.

The Telycam PTZ cameras have been outstanding, and we couldn’t be happier with the results. When I compare them to other manufacturers we’ve used, aspects like color shading and autofocus have been standouts, and the autoexposure has been amazing in overcoming the above challenges.

In fact, we had rented high-end cameras from a big broadcast brand for a previous project, but we found that Telycam’s autoexposure and focus management blew the more expensive cameras out of the water. The Explore XE gives us superior quality and at its price point, we can buy the cameras rather than renting them. The value we’re getting from them allows us to be competitive at the high end of our market.

PTZ Creativity
Curling is also fairly repetitive compared to other sports, so the shots are almost always the same. We need to be more creative with how we mix in shots with zoom, and the Telycam cameras’ responsiveness with different presets has been valuable.

Most importantly, our broadcast clients have also been happy with the results. We previously heard from skeptics that PTZ cameras couldn’t achieve this level of production quality, but I believe that’s been proven not to be true.

Telycam has also been great to work with. The demo and sales process was smooth and their technical support has been excellent. During one project, we found that we needed a different firmware package, and within an hour, they had responded and new firmware was running on the camera.

We plan to expand to produce multiple broadcasts at the same time, so we’ll be investing in more cameras. Based on our experience, when we do, it will be with Telycam.

More information is available on the Telycam website.

VALHALLA, N.Y.—Fujifilm this week unveiled the Fujinon GF19-35mmT3.5 PZ OIS WR (GF19-35mmT3.5), adding a second Fujinon cinema power zoom lens for the GFX System.

With a native G-mount, the GF19-35mmT3.5 provides the widest angle of view available in the GF format, offering filmmakers at all levels of production a large-format cinema zoom with expanded cinematic versatility and exceptional optical performance in a compact, lightweight design, Fujifilm said.

GF19-35mmT3.5 pairs with the Fujifilm GFX Eterna 55 camera, particularly alongside the Fujinon GF32-90mmT3.5 PZ OIS WR lens. Those lenses have identical exterior dimensions, allowing for shared accessories for seamless rig setups.

The two lenses also have standardized zoom and focus functions. This enables a streamlined filming style that minimizes equipment requirements and crew workload, enhancing production efficiency and expanding creative flexibility.

“GF19-35mmT3.5 not only continues Fujinon’s legacy in optical design, but as the first expansion of the GF cinema zoom line, it emphasizes Fujifilm’s commitment to products designed specifically for filmmaking,” Fujifilm Holding America Director of Brand and Product Marketing John Blackwood said. “The expansive large-format angle of view helps preserve natural perspective across the frame, allowing filmmakers to anchor their vision for cinematic storytelling.”

Designed for immersive, location-based storytelling involving scale, movement and reliability, the GF19-35mmT3.5 pairs an ultrawide 19-to-35-millimeter focal range (equivalent to 15–28 mm in 35-mm film format) with purpose-driven optics, consistent geometric rendering and minimal focus breathing.

Purpose-built for G-mount, the compact lens is about 8.74 inches (222 mm) and weighs 4.6 pounds (2.1 kilograms).

The Fujinon GF19-35mmT3.5 PZ OIS WR lens will be available beginning July 23 for a manufacturer’s suggested retail price of $5,499.95.

More information is available on the company’s website.

MUNICH—ARRI has launched the new cforce MAX, a new high-performance lens motor that enhances the Hi‑5 lens control system with its exceptional speed and intelligent onboard control.

Compact and lightweight, the cforce MAX offers also offers versatile mounting, easy setup, and total reliability in the most demanding shooting environments, the company said.

The cforce MAX is twice as fast and just as strong as the cforce plus motor it replaces, yet 15% smaller and lighter.

Designed to complement the ultra-compact cforce mini and wireless cforce mini RF in ARRI’s lens motor lineup, the cforce MAX is ideal for larger cine primes, zoom lenses, vintage glass, and specialty optics that require strength and precision.

At the same time, its reduced form factor ensures versatility across handheld, gimbal, and studio configurations.

Combined with the new ARRI Motor Rod Clamp MRC-1, it provides a rock-solid connection to lens gears and easy adjustment on 19 mm / 15 mm rods in multiple positions.

The MRC-1 is also compatible with the cforce mini and cforce mini RF, and is a compelling upgrade for Hi‑5 system users, significantly improving stability and flexibility.

With an advanced brushless motor, the cforce MAX is quiet, durable, and easy to service. Motor response latency is so low that using the cforce MAX feels like a completely new experience for focus pullers. The high speed of up to 400 teeth per second and the market-leading latency additionally make it ideal for focus tracking systems, which cannot anticipate movement in front of the camera and must respond in real time.

Georg Lanz, an experienced focus puller and beta tester of the cforce MAX, commented on the new product by reporting that he had “tested the cforce MAX in the hottest place on Earth, in jungles, and out on the open sea. Beyond its reliability, the responsiveness and speed genuinely allow me to do a better job, especially in documentary or free-flowing environments where I am constantly reacting to unexpected movement.”

The cforce MAX features a physical button for control of core functions such as changing the motor axis—a control option already familiar to users of ARRI’s other cforce motors. In addition, its integrated display with touchscreen interface enables intuitive configuration and status monitoring directly on the motor, with expanded functionality possible in the future.

In common with ARRI’s entire Electronic Control System, the cforce MAX will benefit from ongoing software updates that enhance its feature set. Like the other cforce motors, it offers dual LBUS ports for seamless daisy-chaining and flexible system integration using standard cables, as well as full LBUS backwards-compatibility. It can be used with most existing ARRI mounting brackets, rods, and drive gears, allowing crews to integrate it effortlessly into established setups.

The cforce MAX lens motor is available now.

Learn more at www.arri.com/cforceMAX

VALHALLA, N.Y.—Fujifilm North America Corporation has announced the availability of one new broadcast zoom lens, which will start shipping in April, and its development plans for three others, which will hit the market in the fall of 2026 and the spring of 2027.

Fujifilm said the new Fujinon UA22x4.8BERD (“UA22x4.8”), a broadcast zoom lens designed for lightweight versatility ideal for a wide variety of production situations, will begin shipping to customers by the end of April 2026.

UA22x4.8 is a portable zoom lens for 2/3-inch sensor broadcast cameras, covering the wide to telephoto focal range from 4.8mm to 106mm with a compact (9.9 inches/251mm) and lightweight (4.8 lbs./2.17kg) design. This lens is a versatile solution that works well in many situations that require maximum mobility including news reporting, studio production, and live sports broadcasts that require operators to capture the excitement and immersion of events from their assigned positions.

“There is strong demand for versatile zoom lenses that can cover everything from wide angles to telephoto in professional filming environments such as news reporting, studio production, and sports broadcasting,” said Stosh Durbacz, vice president, Sales, Fujifilm North America Corporation, Optical Devices Division. “In order to meet this demand, we released Fujinon UA18x5.5BERD (“UA18x5.5”) broadcast zoom lens in 2017, which has remained well received for its compact size, light weight, and versatile focal length coverage; UA22x4.8 continues this legacy."

UA22x4.8” inherits the desired features of UA18x5.5, including its compact, lightweight design, while expanding the focal range on both the wide and telephoto side, further enhancing functionality and expressive capability. Through improvements in lens processing technology and a design that balances durability and lightweight construction, Fujifilm has decreased weight and size compared to UA18x5.5, achieving a compact and lightweight body, reducing the burden of prolonged filming in the shoulder-mounted operation. Additionally, while UA18x5.5 offers a focal length range of 5.5mm to 100mm, the expanded wide-angle range of UA22x4.8 enables filming in narrow indoor spaces and capturing dynamic sports scenes with enhanced immersive quality.

Fujifilm also announced its development plans for three additional new 4K broadcast zoom lenses: Fujinon UA16x4BERD (“UA16x4”), Fujinon UA30x7.3BERD (“UA30x7.3”), and UA94x8.7BESM

Each of these newly developed lenses covers a wide range of focal lengths in a single unit, providing strong support for immersive storytelling in a variety of broadcast production environments such as sports broadcasts, concerts, live events, and studio production.

The newly developed UA16x4 and UA30x7.3 portable broadcast zoom lenses achieve both an extended wide-angle range and high zoom ratio, fitting a focal length range that surpasses previous models into a compact and lightweight body.

In sports broadcasts, UA16x4 and UA30x7.3 support a wide range of framing options, from wide views capturing the entire stadium, to powerful zoom-ins and close-ups for post-game interviews, enabling flexible image creation. Additionally, the flexibility of these lenses enables creative freedom for camera operators in various filming environments.

“In professional production environments such as sports broadcasts, concerts, live broadcasts, and studio production, it is essential to reliably capture moments that are key to the competition or performance,” said Stosh Durbacz, vice president, Sales, Optical Devices Division, Fujifilm North America Corporation. “We’ve designed these lenses specifically to meet the needs of these high-

stake situations, combining zoom performance that covers a wide range of focal lengths from wide-angle to telephoto in a single lens with compact and lightweight designs that allow for agile operation.”

UA94x8.7 is a versatile box zoom lens for 2/3-inch sensor broadcast cameras, covering the wide-angle to super-telephoto focal range from 8.7mm to 818mm, providing operational flexibility. It is ideal for a wide variety of applications including sports broadcasts, concerts, and other large-scale live events. UA94x8.7 enables diverse visual creativity, from immersive wide-angle shots that capture the atmosphere to close-up footage that brings subjects vividly into focus.

“As professional video production styles diversify, broadcast equipment is increasingly being utilized across a wider range of settings, resulting in more demand for box lenses that offer high production quality and versatility, yet are still cost effective,” said Durbacz. “UA94×8.7 sits in a sweet spot between our UA70x and UA107x box zooms. It delivers a proprietary image stabilization system offering superior operability during zooming and focusing, reducing the burden on camera operators, and contributing to smooth operation in live production – at a price point we think will better align with their needs.”

UA94x8.7 is due to be released in fall of 2026, and both UA30x7.3 and UA16x4 are due to be released in spring of 2027. Fujifilm will showcase all three lenses at the 2026 NAB Show, the world’s largest international broadcast equipment trade shows, to be held in Las Vegas from April 19 to 22, 2026.

For more information about Fujinon broadcast and cinema lenses, visit https://www.fujifilm.com/us/en/business/cine-and-broadcast.

MELVILLE, N.Y.—NBC Sports relied upon Canon for the vast majority of broadcast lenses used for the production of Super Bowl LX between the New England Patriots and Seattle Seahawks, Feb. 8, from Levi’s Stadium in Santa Clara, Calif

As it has for the past 30 years, Canon Professional Services (CPS) also provided on-the-ground support at the Super Bowl.

"We are thrilled that Canon’s gear and expert support could contribute to the success of the image capture of the Big Game," said Kiyoshi Oka, executive vice president and general manager for Canon. "It is a distinct honor to empower the creators who preserve these historic cultural milestones. At Canon, we are incredibly proud to play a part in the joy and inspiration that this event delivers to fans everywhere."

Canon supplied more than 98% of the lenses used by NBC Sports during the game. They included 47 broadcast lenses for all of their pre- and post-game studio activations throughout the Santa Clara metro area as well as 11 lenses throughout the concourse and on-field studio sets where the CINE-SERVO 11-55mm T2.95-3.95 lens, which features an ultra-wide angle of 100 degrees, took center stage.

Canon also had a strong presence for many of the credentialed photographers at the event thanks to the Canon Professional Services (CPS) team. The CPS team brought in over 200 pieces of Canon gear, including camera bodies and lenses for photo agencies, freelancers and other credentialed Canon photographers.

"Testing Canon’s new glass at the Big Game was the perfect opportunity to see how the RF7-14mm F2.8-3.5 L Fisheye STM and RF14mm F1.4 L VCM prime lens could handle the massive scale of the stadium,” said Terrell Lloyd, Canon Explorer of Light and San Francisco 49ers director of photography.

“My goal was to capture wide, high-intensity shots from a top-down perspective, and the synergy between these lenses and the EOS R1 camera delivered exactly that. The sharpness and dynamic range allowed me to bring my home stadium into the global spotlight with more clarity than ever, once again pushing the boundaries of what I can create in a fast-paced, in-game environment."

More information is available on the company’s website.

OKERKOCHEN, Germany—Zeiss has unveiled the Aatma set of nine high-end full-frame T1.5 cinema primes that combine the benefits of modern optical design with the nostalgic image characteristics that popular today.

Nine Aatma primes make up the set, including 18mm, 25mm, 35mm, 40mm, 50mm, 65mm, 85mm, 100mm and 135mm lenses. The lens set draws inspiration from well-regarded 20^th century Zeiss lenses, combining an emotion-driven look with the mechanical reliability, data integration and workflow compatibility required for today’s productions.

“With Aatma, we wanted to give cinematographers an expressive and characterful choice within the Zeiss offering,” said Jeanfre Fachon, senior product manager of Cinema at Zeiss. “Over the years, we have come to acknowledge how much some of our legacy lens lines are still appreciated. But instead of simply remaking them, we looked at their most appealing characteristics and drew inspiration to incorporate into a new optical design.”

The word "Aatma" is derived from Sanskrit, meaning innermost essence, self or soul. Aatma lenses’ character recalls classic Zeiss optics, offering softly painted skin texture with reduced contrast, smooth and vibrant focus transitions between planes and a rich bokeh with a subtle soap bubble effect.

This carefully created aesthetic allows cinematographers to achieve a nostalgic yet refined look that supports storytelling without compromising control and repeatability.

The lenses produce an organic, emotionally resonant image while remaining suitable for a wide range of cinematic applications. Their rendering enhances texture and atmosphere, enabling filmmakers to infuse personal style into each frame while retaining the precision required for contemporary productions.

They retain the form factor, size, weight and operability of the company’s current premium cine lenses. "Extensive positive feedback on ergonomics meant there was no need to reinvent the wheel—only to adapt what is already known and trusted to work seamlessly with Aatma’s optical design," said Fachon.

Like all modern high-end Zeiss cinema lenses, Aatma offers Zeiss eXtended Data (XD) technology and is fully integrated into the Zeiss CinCraft ecosystem, supporting efficient visual effects, camera tracking and virtual production workflows.

The lenses are available individually or as a complete set. Customers may begin placing orders for the lenses. Delivery is expected to begin in June from authorized Zeiss Cinema dealers.

Zeiss has posted a YouTube video to show the capabilities of the lenses in action.

More information is available on the company’s website.

COLLEGE STATION, Texas—At Texas A&M, we’ve always looked for ways to improve how we cover our athletic events. Between our in-house team at 12th Man Productions and the work we do with ESPN and the SEC Network, we’re producing more live events than ever—and the demands keep growing. So last year, when we decided to upgrade our camera systems, we knew it had to be a leap forward and not just a small step. That’s what led us to Grass Valley’s LDX 100 series.

We ended up going with 10 LDX 135s and four LDX 150s. These cameras are doing a lot of heavy lifting for us across multiple venues on campus. What really sold us was the fact that they’re native IP (2110), which let us rethink how we manage camera signals. The ability to run these cameras without needing a camera control unit (CCU) allowed us to connect them to our 2110 network leaf switches at each venue rather than running direct fiber all the way back to our central control room. That freed up a ton of fiber and gave us way more flexibility in how we route and manage signals.

New Workflows
The move to 1080p was long overdue and this upgrade was the last step in that process. Now, we’re setting our sights on what’s next. The image quality we have seen on these cameras has us seriously exploring 1080p HDR workflows. While we’re not there yet, it’s a direction we’re actively evaluating, and early internal tests have shown a lot of promise.

Adding the four LDX 150s to our camera complement has been a massive boost to high-frame-rate looks at all of our sports. Moving from two to four high-speed, six-phase cameras has given us the flexibility to no longer have to decide which sport or event will get the high-frame-rate cameras. Now we can spread them out to give us the incredible high-speed look the LDX150s offer at all of our biggest events, especially when we have multiple events going on at the same time.

What’s also been huge—especially for our students who are learning the craft—is the Creative Grading tool. The cameras give them a lot of latitude to adjust looks based on the sport or lighting and the tool gives them a really good understanding of color grading and how it all works. It’s made our content feel more polished and intentional.

Remote Camera Control
From an engineering perspective, I also appreciate how easy it is to monitor everything remotely. With venues spread across campus, being able to check in on a camera or tweak a setting from my desk—or even off-site—has saved me a lot of time and, honestly, a lot of stress.

We’ve been working with Grass Valley for a while now, and that history gave us a lot of confidence going into this. Their gear has always been reliable and this latest rollout has only reinforced that. Working with Diversified on the integration side made a huge difference, too. They know us, they know Grass Valley and they understood what we were trying to build. It wasn’t just about new cameras—it was about designing a system that could scale as our needs evolve.

Right now, we’re producing more high-quality content than ever, with more flexibility and fewer limitations. We’ve created a smarter, more-efficient workflow that’s not only better for our crew and students but also sets us up for whatever comes next—whether that’s HDR, UHD or whatever else the industry throws our way.

And we’re just getting started.

For more information, visit www.grassvalley.com.

METAIRIE, La.—Lynx Productions is a video production company that specializes in bringing events to life through professional broadcast equipment. These events range from capturing live performances for video wall projection to managing shoots for broadcast-quality streams. The latter includes everything from corporate meetings and events to building complete TV shows, and Lynx manages everything from supplying the technology and crew to technical direction across the entire signal flow.

Our commitment to broadcast-quality excellence begins at the acquisition point, where we employ a range of cameras to support different viewpoints and requirements. In addition to Steadicams, FlyCams and POV/robotic, the Lynx Productions team counts 10 Kokusai Denki SK-UHD-7000 4K/UHD cameras, used for both tripod-mounted and handheld acquisitions, among our camera fleet.

Capturing the Parade
We have a large team of talented camera operators, and we find that they do their most creative work when there are SK-UHD-7000 cameras in the mix. We know that the visual presentation will achieve unmatched clarity, warmth and stability, especially for long-range shots. Likewise, the SK-UHD-7000 always captures the primary shot from the front-of-house position.

The SK-UHD-7000 shines in low-light conditions and will shoot in the dark with no evidence of noise or grain in the acquired image. That artifact-free performance is consistent both indoors and outdoors, from the recent Essence Festival of Culture in the New Orleans Superdome to outdoor performances at the New Orleans Jazz & Heritage Festival (Jazzfest).

One of our most popular broadcast events is Mardi Gras, where we capture and live-stream 29 parades over eight days on behalf of The Advocate, Louisiana’s largest daily newspaper. This is a simpler shoot, with a stage camera and a second, distant camera on a raised platform to capture long-range shots of marching bands, floats and more as they advance along the route.

We know to expect rapidly changing weather conditions throughout those eight days, shifting from sunlight to clouds with rain, drizzle or mist on short notice. Through those changing conditions of natural light, the performance remains consistent—there is never any flicker or banding thanks to the camera’s high sensitivity and global shutter technology.

Consistent Color
We appreciate the consistent color that these cameras capture. Specifically, the colors that appear on screen are always a real-world representation of what we capture. For example, some cameras will deliver a red or blue shift, but with the SK-UHD-7000, there is no oversaturation of colors and we can always count on a very level playing field across the spectrum.

As mentioned, the Lynx Productions team has a wide array of cameras that we use for varied content acquisition strategies. Kokusai Denki’s CCUs make it easy to color-match our robotics, POVs, PTZs and other cameras with our SK-UHD-7000 images. We can copy any color space and paint those cameras to create superior versions of their image captures.

The durability of these cameras cannot be overstated. Jazzfest is among our lengthiest productions, and our SK-UHD-7000s remain mounted in position outdoors over the event’s entire two-week duration. These are simply very well-engineered camera systems built from high-quality parts, and in the rare event we need service, our representatives are always responsive and available. That remains consistent with the branding change from Hitachi Kokusai to Kokusai Denki, and the quality of our relationship is sure to continue.

Patrick Cloud, director of sales for Lynx Productions, contributed to this article. More information about Lynx is available by emailing patrick@lynxproductions.net or by visiting lynxproductions.net.

For more information, contact Kenneth Cyr at Kokusai Denki at kcyr@kokusaidenki.us, or visit the company’s website at
https://kokusaidenki.us.

RENO, Nev.—As technical director for Minor League Baseball’s Reno Aces, the Arizona Diamondbacks’ Triple-A affiliate, I’m charged with overseeing, managing and maintaining our broadcast technology for nearly 75 home games. I support the direction and production of the baseball broadcast for the Bally Sports Live feed, local sports channel Nevada Sports Net (NSN) and the MiLB.TV feed, as well as the feed syndicated to the video board.

To achieve the look the Reno Aces wanted, we needed a durable, versatile and reliable camera that provided great images, offered lens flexibility, could be used by operators with all levels of experience and had a lower cost of operation.

HXC-FZ90 Deployment
We selected four of Sony’s HXC-FZ90 camera-system chains with the compatible camera control units (CCUs), which are used at center field, high home, low first and low third. I am familiar with Sony—we were replacing older Sony models—and the FZ90 offered us a good bang for our buck. With Sony’s cameras, if you treat the equipment right, it will last a long time.

The HXC-FZ90s are well-suited for the demands of live sports—they have a small footprint and are unobtrusive. They’re lightweight, easy to move and handle, and ergonomic enough for shoulder-mount use. Our camera operators range from novice to entry-level to experienced, and there was a short learning curve for everyone to get the most out of the camera. They are smooth, easy to use and have a nice layout. I even handled the integration of these units, and they were very plug-and-play, so setup was nice and simple out of the box.

Additionally, the camera’s ²⁄₃-inch type 4K CMOS image sensor has a dynamic range that enables us to effortlessly capture pretty sunsets over the Sierra Nevada mountain range, as well as springtime thunderstorms and majestic clouds that are full of rich, vibrant colors, with minimal painting.

Our games see their fair share of sun and shade, but the FZ90s allow us to adjust the iris and find a sweet spot that seamlessly handles shadows and bright light, especially when both are in frame simultaneously. The auto iris was a big selling point for us, especially when we don’t have a dedicated camera shader.

Full Control
On a minor league budget, we also valued the HXC-FZ90’s B4 lens-mount system, which supports the ²⁄₃-inch glass we already had in-house and allows us to swap out lenses. One of my favorite FZ90 functions is being able to maintain full ND (neutral density) control from the CCU and the ability to control different scene files. Additionally, the scene settings allow us to paint and repaint the cameras easily, without the need for a good scope. We go through the touch-panel menu settings to get into engineer mode to achieve everything quickly and simply.

Another notable feature is the XLR audio inputs which allow us to adjust the gain and run natural sound, from the crack of the bat to the coaches interacting, which adds more reality and engagement.

The cameras also offer 4K upgradability, which allows the cameras to grow as our needs do. Once MiLB or our RSN move over to 4K, we won’t be required to buy new cameras—we can just purchase an upgrade license to shoot in 4K, and the image is going to look even sharper. Finally, the compatibility with other Sony cameras is beneficial; they all match and offer integration, requiring only small tweaks, which makes our jobs easier.

For more information, visit https://pro.sony/ue_US/.

LOS ANGELES—As Korn’s cinematographer for the past 20 years, I’ve worked closely with the band to capture everything from music videos and studio sessions to global tours. When it came time to document their 30th anniversary show, I wanted to do something we’d never done before, something that matched the scale and energy of the band’s legacy while pushing the boundaries of how a concert can be filmed.

The idea? Invite the fans to shoot it.

Korn has always embraced technology and they’re constantly looking for ways to connect with fans on a deeper level. So, when I pitched the idea of using the Blackmagic Camera mobile app to let fans become part of the film crew, the band was totally on board.

Mobile Production
Blackmagic Camera adds Blackmagic Design’s digital film camera controls and image processing to iPhone, iPad, Android phone and tablets, so anyone can create the same cinematic look as a Hollywood feature film from their smart device. It has color space directly integrated to preserve the dynamic range and when footage goes to post, it is consistent with footage shot on any other Blackmagic Design camera. This was crucial for consistency between fan footage and mine, as I was shooting on a Blackmagic Pocket Cinema Camera 6K Pro.

We blasted the opportunity out on social media, inviting the first 200 fans who signed up to act as filmmakers for the night. Each downloaded the app, which is free for anyone, with a custom preset we provided to ensure a uniform recording format and upload settings. Time-code syncing was as simple as using each phone’s time of day.

DaVinci Resolve’s cloud-syncing capabilities made the phone-to-Blackmagic Cloud workflow seamless and hands-off for the fans. As fans were shooting, clips were uploading to the cloud right away. In another use case, the editor could have been working on the footage moments after it was filmed.

The footage we got was unlike anything I’ve ever shot. We had fans filming their journeys to the concert, the energy in the crowd and the raw chaos of the mosh pit. Some of the most striking moments were from right inside that pit—immersive, sweaty and emotional. It’s a perspective I could never have achieved with a traditional rig, nor would I want to disrupt those moments by pointing a professional camera in someone’s face. But thanks to Blackmagic Camera, we had hundreds of lenses capturing a deeply authentic experience from every possible angle and in cinematic quality.

Cloud Stores
We used Blackmagic Cloud Stores as local drives to sync and back up all footage. To stay organized, I relied on Blackmagic Organizations within Resolve to set up collaboration groups. We had one group for fan footage, another for our internal production team and another for editorial. This structure gave us creative flexibility while keeping everything secure and accessible.

One of the things I appreciate most about Blackmagic Camera is that it lowers the barrier to entry. Picking up a professional camera for the first time can be overwhelming; all the buttons, menus and controls can feel completely foreign if you haven’t worked in production before. But your phone? That’s something you’re already on constantly.

This app flips that learning curve on its head. You open it on the familiarity of your phone, while also experiencing the exact same user interface that’s found on Blackmagic Design’s entire line of cameras. You’re learning to frame, expose and shoot using the same visual language that professional DPs use in the field. It’s an incredible gateway into the craft.

For more information, contact Blackmagic Design at 408-954-0500 or visit blackmagicdesign.com.

RONKONKOMA, N.Y.—Sigma Corp. of America has introduced the Aizu Prime Line of cinema lenses, billing them as the world's first lineup of large-format cinema lenses to achieve an aperture value of T1.3 across all focal lengths.

The lineup of 12 lenses for the PL Mount and the Sony E-mount features a consistent T1.3 aperture across the full range from 18 millimeters to 125 mm. The initial release includes eight lenses with focal lengths from 25 mm to 75 mm, covering core cinematic production needs.

The first lenses are expected to be released in August with a suggested retail price of $8,299.

In announcing the launch, the company highlighted these key features:

• A consistent T1.3 across all focal lengths. The T1.3 aperture enables exceptionally shallow depth of field and graceful bokeh, seamlessly separating the subject while preserving a natural sense of depth and dimensionality. This refined visual language draws the viewer into the frame with a subtle yet powerful presence.
• Optical design for the demands of cinema. All lenses in the Aizu Prime lineup feature an optical system developed exclusively for cinema applications. While maintaining modern sharpness, they avoid rigid or harsh depictions—delivering a natural, organic look. They provide quiet elegance and depth to the image, with distortion and focus breathing carefully minimized to ensure visual consistency, even in dynamic scenes.
• Huge perspective range coverage. The Aizu Prime Line is designed as a system to cover a wide range of focal lengths from 18mm to 125mm. Initially, eight core lenses ranging from 25 mm to 75 mm are being released, followed by 18-mm and 21-mm wide-angle lenses, and 100-mm and 125-mm telephoto lenses. This comprehensive system, covering from ultra-wide-angle to telephoto, is adaptable to diverse scenes and compositions.
• Completely consistent look. Consistency of color balance, contrast, and flare characteristics ensures seamless integration between scenes, bringing a high level of harmony to the entire visual narrative across the lineup from 18mm to 125mm.
• ⌀46.3-mm image circle. The large ⌀46.3-mm image circle ensures full coverage not only for full-frame and Super 35 formats, but also for the latest large-format cameras such as the ARRI ALEXA LF Open Gate and VistaVision. This capability enables uncompromised filmmaking across a diverse range of projects.
• High-impact close-up expression. The short minimum focusing distance enables striking close-up shots. By getting closer to the subject, the Aizu Prime lenses create visual tension and dramatic effects, adding impactful depth to the imagery.
• A compact design that unleashes creativity. Despite being built for large-format coverage and featuring an ultra-fast T1.3 aperture, the Aizu Prime lenses remain remarkably lightweight. This rare balance of exceptional speed and mobility offers the flexibility and creative freedom demanded by modern productions—from dolly and Steadicam to gimbal and handheld operation.
• Precise operation and durability. The Aizu Prime lenses offer precise control, exceptional durability, and ease of maintenance. Despite its compact housing, it delivers unwavering reliability in demanding shooting environments. Every mechanical detail—from the wide focus rotation angle to the equal-pitch aperture ring—embodies the engineering expertise cultivated through the Sigma High Speed Prime series.
• Supports ZEISS eXtended Data. The Aizu Prime lenses support ZEISS eXtended Data, offering real-time lens metadata during shooting. It also enables the export of distortion and shading correction data, streamlining workflows for VFX productions.

The lineup includes separate lenses for the PL and Sony-E mount for 25 mm, 27 mm, 32 mm, 35 mm, 40 mm, 50 mm, 65 mm and 75 mm. Lenses for 100 mm and 125 mm will be available later.

More information and detailed specs are available here.

Although it’s an important question, few clients ever ask how bright their new lighting will be. In the hectic job of revamping a studio, such technicalities are usually left up to whoever’s doing the lighting. But because the answer will impact several systems down the line, choosing the right intensity needs to be based on your studio’s particular needs and not randomly picked. Here’s why.

Lighting will affect everything seen in the studio. This broad-ranging impact is why I suggest going through a process to discover exactly how much light is appropriate for the project. Rather than pulling a number out of a hat, I try to find the “Goldilocks” level that’s “Not too bright. Not too dark. Just right!”

Back in the early 1970s, cameras needed a whopping 300 fc (foot-candles) to produce decent pictures. That was bright enough to make you squint, rather than smile for the camera. Over the years, cameras have improved, and lighting levels have dropped a lot. Today, studio levels are a comfortable 45–65 fc. But there’s more to the task than simply picking a number in that range.

Camera Sensitivity Determines Light Intensity
Getting beautiful images requires more than just a correct exposure. Skilled photographers, cinematographers and videographers use a variety of camera techniques in crafting their images. Unless you happen to be a cinematographer as well as a lighting designer, you might not appreciate how much lighting affects the camera image. One particular camera adjustment that’s directly linked with light levels is the aperture (or iris). As we’ll see, this affects more than just the exposure.

In television, we want the viewer’s attention on the stories and the people telling them. By controlling which part of the shot is in sharp focus we direct the viewer’s eye to what’s important on the screen. By design we can control that sharp focus through manipulation of the “depth of field.”

Our sense of depth is possible because we have two eyes with overlapping fields of view. Cameras lack this type of binocular vision, called stereopsis, because they only “see” through a single lens. In the absence of stereopsis, a camera can still indicate depth by providing other visual cues for dimension. Depth of field is one such cue; by alternating a sharply focused zone against softer focused areas, our brain subconsciously builds a three-dimensional understanding of the pictured space.

So, how do we create this sense of depth by selecting the right light intensity? The lens adjustment that affects depth of field, as well as regulating how much light reaches the camera’s sensor, is the iris.

Bear with me while I cover what may be familiar ground to you. The iris (or aperture) regulates the light in increments called f-stops. The size of this aperture affects the depth of field through its impact on focus. Without delving into how the “circle of confusion” impacts focus, let’s just note that the smaller the iris opening (higher number f-stop), the greater the depth of field. The lower the f-stop number, the shallower the depth of field.

The photographer Ansel Adams famously used f/64 to get everything in sharp focus for his iconic images of the American West. While that infinite depth of field was appropriate for his scenic images, we don’t want that for our studio shows.

In newscasts or interviews, we want the visual emphasis on the talent. Towards that end, we focus attention on them with a bust shot that’s in sharper focus than the background. That selective focus is achieved by choosing an f-stop that simultaneously provides the depth of field we want and the right amount of light for a good exposure. But which f-stop is that?

My personal choice for the “Goldilocks” f-stop sits between f/2.8 and f/4. That aperture provides an adequate depth of field to keep the anchors in focus, and just the right amount of background softening to suggest some separating distance. That “f/2.8–f/4 split” is the sweet spot where I start the process of determining how much light I need to use.

Light To the F-Stop for Desired Depth of Field
To find out how much light you need for your cameras, frame a shot of the chip chart (with teleprompter to account for the light loss from the mirror) from roughly 8 feet away to approximate the “normal” anchor-to-camera distance.

White-balance with the clear camera filter at whatever color temperature lighting you’re using in your studio. Set the iris to the mark between f/2.8 and f/4. Then, adjust the chip-chart light brightness until the chips fall into their proper levels on a waveform monitor.

Once that’s done, take a light meter reading of the chart intensity from in front of the chart (sphere diffuser, pointing back to the camera lens). Whatever intensity reading you get is the value to use for your lighting positions. For most studio cameras today, it will probably be somewhere between 45 fc and 65 fc.

If the number you get is lower than 45 fc, you may need to make a modification to boost that number higher. This is especially true if your set incorporates video displays, which perform poorly at very low brightness levels. The solution is to rerun the process with the cameras set at a –3 db “gain,” which will nudge the required light level higher.

That’s my process for deciding what the “right” light level is. Neither the intensity nor the f-stop should be arbitrary or accidental in crafting an image. That’s why this process is driven by the choice of f-stop, which is, in turn, based on the depth of field we want.

The “f/2.8–f/4 split” is a subjective choice that I think looks best for most news sets. Your criteria may be different, based on how much (or little) depth of field you want. The process will run the same regardless of which f-stop you choose. The point is to choose by design, rather than haphazardly.

Zeiss Group said it has made a significant update to its Zeiss CinCraft Scenario camera tracking system. With the latest software release, 2.1, the solution now allows users to manually calibrate lenses when no prefilled template is available. This opens the possibility to work with any spherical lens.

“With this software update, we are greatly increasing the flexibility in lens choice and compatibility with virtual production stages and broadcast applications,” said Christophe Casenave, head of business unit, cinematography at Zeiss.

In announcing the upgrade, Zeiss said that the CinCraft Scenario calibration process is guided and designed to be easy to conduct.

Users can now initiate a calibration by inserting lens details (e.g. engraved barrel marks like focus, iris and zoom) into the CinCraft Scenario Software and performing an initial calibration using a chart. They can then adjust and fine-tune the calibration until satisfactory results are achieved. The calibration steps for spherical lenses are designed to be straightforward and easy to deploy while still delivering excellent results.

“This update allows CinCraft Scenario users to create a lens template from scratch with ease, enabling tracking with any third-party lenses,” Casenave said.

With the latest software release, users can also manually enter measurements for the CamBar to main camera offset instead of relying on the automated Offset Assistant.

“This offers a faster method to update the offset without needing the chart method, which can sometimes be restrictive on set," Tom Evans, product manager for Zeiss CinCraft, said. Users can quickly input manual measurements without temporarily switching to a wider lens and can store commonly used offsets, making it easy to apply these values when switching between known camera setups.

Moreover, CinCraft Scenario 2.1 now automatically detects the clip name on ARRI and Sony cameras and stores this alongside the tracking data, simplifying the process of matching the correct take in Export. For cameras that don’t provide a clip name automatically, users can manually input it during recording.

The Zeiss CinCraft Scenario system also features an enhanced Export 2.0 update.

“With Export 2.0 we are increasing comfort and value in use of tracking data for post-production,” Evans said. The new Undistortion ST Maps can be used to undistort camera plates, eliminating the need for shooting lens grids during camera prep. When paired with the matching distortion maps from Export, this allows for easy reapplication of lens distortion in the final stages of compositing.

Additionally, the Export Point Cloud provides VFX artists with data detailing camera position during production. The point cloud contains all the features that were used for tracking and will help visualize the space around the camera, which makes aligning the camera in post-production much easier. The point cloud will be provided in two formats: PTS for Unreal Engine and FBX for Nuke.

The new release is available for all users starting Nov. 7. Several online live demo sessions with product specialists going through the calibration process will be held in the weeks to come.

The full release notes for CinCraft Scenario 2.1 can be found at: zeiss.ly/scenario2-1.

CinCraft Export 2.0 can be downloaded here: https://zeiss.ly/export-download.

MUNICH, Germany—ARRI today introduced its Ensō Prime lens series designed for corporate and commercial content creators and owner-operators at earlier stages of their careers.

The small, portable and versatile lenses deliver exceptional images in almost any condition, ARRI said. The series delivers a smooth, balanced native look that can be tuned with Ensō Vintage Elements, which attach to the back of the lenses to achieve different looks with a single, cost-effective lens set, the company said.

Ensō lenses combine German precision engineering with Japanese optical excellence, ARRI said. The core set of Ensō Prime lenses includes 18 mm, 24 mm, 32 mm, 47 mm, 75 mm and 105 mm lenses and the Ensō Vintage Elements Kit.

Gear rings are in the same position on all 14 of the Ensō focal lengths, most of which are T2.1 with a 95-mm front diameter so they can be swapped onto the camera without disruption. While the focal lengths in the core set of six lenses will be used most frequently, the wide-angle 10.5 mm and 14 mm, as well as the telephoto 250 mm (350/500 mm with its included 1.4x/2x extenders) allow Ensō shooters to meet even the most extreme visual demands, the company said.

The guiding design principles were simplicity and purity of purpose, which inspired the name Ensō after the circular Zen calligraphy symbol, according to ARRI. Creating an Ensō with a single brushstroke is an expression of nowness that requires emptying one’s mind of distractions and fully committing to the creative flow, the company said.

Close focus is a standout feature of the lenses with a magnification ratio of 1:4 on most focal lengths, equivalent to a 10-inch close focus on the 32mm—only 3.7 inches from the front element. This facilitates beautiful closeup work. The lenses minimize breathing, which means focus racks have no discernible impact on framing. Stunning bokeh and falloff round out the lenses’ emotive focus characteristics, according to the company.

For projects requiring a different look, ARRI provides Ensō Vintage Elements, interchangeable optics that attach magnetically to the back of Ensō lenses. The elements offer quick, easy external lens tuning that incrementally shifts the look and feel of images, the company said.

Ensō Vintage Elements produces images that are sharper in the center and therefore easier to focus, but with a stronger detuned effect at the edges of the frame. The elements have encoded chips that convey metadata about shifts of focal length, T-stop and focus to the camera and from there to on-set monitors and postproduction, ARRI said.

Ensō Vintage Elements includes three positive elements of different strengths, producing smeary, soft-edged bokeh in the background and Petzval-like image swirl at the corners of frame. The three negative elements have the opposite effect: Out-of-focus background highlights have diffuse centers and bright outlines that overlap to create an edgier, more intrusive feel. The kit also includes an Ensō Creative Adapter to create custom looks and three retaining rings, the company said.

The core set of ARRI Ensō Prime lenses will begin shipping in November.

More information is available on the company’s website.

MELVILLE, N.Y.—Canon U.S.A. Inc. has made several new product announcements with the unveiling of the new Canon EOS C400 cinema camera, a new RF-Mount CINE-SERVO and firmware updates with enhanced features for Cinema EOS Cameras and Pro Camcorders.

The Canon EOS C400 cinema camera features a native RF-mount and full-frame, back-illuminated stacked CMOS sensor and is designed with the film and live production markets in mind. 

Canon is announced the company’s first MOUNT ADAPTER PL-RF, and an RF-mount version of the popular and award-winning CINE-SERVO 17-120mm cinema lens.

In addition, the company announced a variety of firmware updates for key models in its Cinema EOS and professional camcorder line of cameras, including the EOS C500 Mark II, EOS C300 Mark III, EOS C70, EOS R5 C cameras and the XA75/70, XA65/60 and VIXIA HF G70 camcorders. 

“Canon is proud to provide filmmakers and videographers with a variety of tools to capture high-quality and visually stunning images,” said Brian Mahar, senior vice president and general manager, Canon U.S.A., Inc. “The new camera and lens strengthen Canon’s already impressive lineup of cinema products.” 

For the first time in the cinema EOS system, the Canon EOS C400 camera features a newly developed 6K full-frame, back-illuminated CMOS sensor, with triple-base ISO, allowing the camera to deliver stunning imagery in a wide range of lighting conditions.  The base ISOs of 800, 3200, and 12,800 maximize the full dynamic range of the camera.

An additional benefit of the EOS C400 camera’s sensor is the support for the next generation of Canon’s Dual Pixel CMOS Autofocus, Dual Pixel AF II.  The back-illuminated stacked positioning offers better light-capturing efficiency, which widens the area of the sensor that can be used for autofocusing. The sensor also empowers faster readout speed, as well as better 4K image quality from 6K oversampling.

The EOS C400 camera records in 6K full-frame up to 60p in 12-bit Cinema RAW Light.  By changing the sensor mode, the camera can record 4K RAW up to 120fps and 2K RAW up to 180fps. This is all recorded in Canon’s latest iteration of Cinema RAW Light, which provides three different recording modes to choose from depending on your file size preference and workflow. 

Other recording options include the Canon-developed, industry standard XF-AVC codec which can be recorded in 10-bit 4:2:2 with oversampling from the 6K sensor, helping to create rich detail and smooth imagery, at frame rates up to 120P, without the need for cropping the image from the sensor. Canon is also introducing two new recording codecs into the EOS C400 camera, XF-AVC S and XF-HEVC S. These formats feature an easy-to-manage naming system and folder structure, while recording in the familiar MP4 format and preserving metadata.

All of these options are recorded to the camera’s CFexpress slot with sub-recording and proxy options available to the SD Card slot, which allows for simultaneous recording even when shooting RAW. 

For live productions, the EOS C400 camera body features a dedicated 12-pin lens terminal for broadcast and cine-servo lenses, a variety of output and input interfaces including mini-XLR audio inputs, DIN connectors for time code, genlock and return video, 12G-SDI and 3G-SDI monitor outputs, a full-size HDMI output, built-in Wi-Fi connectivity, Ethernet and much more. The camera also features SRT protocol for IP streaming of video and audio. For shooting scenarios where the camera will be controlled remotely, you can use the Ethernet port or Wi-Fi connectivity to enable remote control, including support for the Canon Multi-Camera Control app, browser remotes, or the Canon RC-IP100 or RC-IP1000 controllers via use of the included XC protocol, the company reported. 

The EOS C400 camera can also provide frame-by-frame metadata in real-time and post-production to support virtual production workflows. Ready for 180-degree VR shooting, the EOS C400 camera has built-in compatibility with the Canon RF5.2mm F2.8 L dual fisheye lens. 

In terms of the new CINE-SERVO 17-120mm Cinema Lens, the company said that it builds upon the legacy of the company’s CINE-SERVO line, with the added benefit of a native RF mount. The additional pins of the RF mount increase communication with RF-mount cameras such as the EOS C400, enabling auto focus, distortion correction and metadata output for virtual productions. The lens comes in either RF or PL mount configurations, with the PL mount version supporting ZEISS eXtended Data and ARIA (Automatic Restoration of Illumination Attenuation).

The lens’ new e-Xs V servo drive unit helps to improve its focus and iris speed, enables focus breathing compensation, and includes a USB-C connector for copying drive unit configurations.

In addition, Canon is also introducing the newly developed MOUNT ADAPTER PL-RF. This adapter opens up a broad range of PL mount lenses to the EOS C400 camera. The adapter maintains compatibility for Cooke i/Technology metadata communication between camera and lens and includes locking plates to help achieve maximum mount strength.  To learn more about these new products and Canon’s array of cinema solutions, please visit here.

Canon said that the Canon Cinema EOS C400 Full-Frame RF Mount Camera is scheduled to be available in September 2024 for an estimated retail price of $7,999.00. The CINE-SERVO 17-120mm will be available in October 2024 for an estimated retail price of $23,850.00. The MOUNT ADAPTER PL-RF will be available in September 2024 for an estimated retail price of $1,599.00. 

More information, including accessory prices and availability, is available here. 

In terms of the firmware updates, Canon said they will be available through a free download at the end of June 2024.

Highlights for each of the Canon products include:

• EOS C500 Mark II/ EOS C300 Mark III Cameras. “Sensor Mode” will be saved to an assignable button on the camera body to quickly change between Full-frame, Super 35mm and Super 16mm crop modes. The Focus Guide box will have two size options: Standard and Large (approximately two times larger than standard). Camera LCD screen will display a playback marker in Media Mode. 
• For the EOS C300 Mark III camera: Cinema RAW Light HQ/ST/LT recording modes will be added. Auto ISO/Gain functions that can be operated from the camera menu, an assignable button, or with a compatible remote-control unit will be added. 
• EOS C70/EOS R5 C Cameras: Same Focus Guide and playback marker enhancements as the C500 Mark II and C300 Mark III cameras will be added. Option of assigning functions to the select dial on the back of the camera, including AF subject selection, shutter, iris, ISO/gain, and white balance mode will be added.
• For the EOS R5 C camera, the following will be added: Ability to adjust the thickness of the AF frame, making it easier to see in certain lighting conditions. Ability to reset the AF position by pushing the joystick or set buttons. When shooting RAW VR content with Canon’s dual fisheye lens, you will be able to record both the peripheral illumination and chromatic aberration data. This will help with processing footage into smoother and even more amazing VR content than before the firmware update. New features from the March 2024 R5 firmware update.
• XA75/70 and XA65/60 Camcorders: Option to view the date and time in the on-screen display (OSD) while recording will be added. White balance will be able to be changed while recording.

To download the firmware updates once available, or for more information regarding the firmware updates and all of Canon’s professional video products and solutions, please visit usa.canon.com.

WHITE PLAINS, N.Y.—SMPTE and members of its Rapid Industry Solutions, On-Set Virtual Production (RIS-OSVP) initiative recently orchestrated a camera and lens measurement study to test and validate the optical model for accurately determining the circle of confusion and the near and far focus planes.

The circle of confusion is the blur circle formed when a point source of light (like a star or a distant point) is out of focus. Instead of a sharp point, it appears as a small circle on the image plane. Filmmakers can manipulate this phenomenon to create stunning visuals. Understanding and accurately modeling the circle of confusion can help those in postproduction to create visual effects that match the visual quality and tone of live-action footage, SMPTE reported. 

"After months of planning, the Camera/Lens Metadata committee under RIS-OSVP conducted a Circle of Confusion test with the assistance of the Academy of Motion Arts and Sciences," said Snehal Patel, director/producer and committee leader for the Camera and Lens Metadata committee. "Our belief is that modern digital cinema cameras are not accurately representing the usable depth of field achieved with various lenses. The calculations for depth-of-field have traditionally assumed a certain value for Circle of Confusion, which was based on experience with film technology. A more modern approach has to be achieved."

Spearheaded by Patel and Jim Helman, co-leads of the Camera and Lens Metadata committee — one of three Interoperability Groups within RIS-OSVP — this study was done with both monochrome and color cameras with the goal of finding the correct levels of focus or blur for computer-generated images. The committee will use the results to propose improved ways of encoding and using this information for virtual production and visual effects.

"Our camera tests examined multiple camera types from two different manufacturers," said Patel. "We also examined multiple versions of a camera with and without demosaicing and with and without glass filtration in front of the sensor. The cameras were mated with a set of prime lenses and measured in the center of the frame using a calibrated depth-of-field test chart. The results of the tests are currently being evaluated and the committee will publish them when the analysis is complete."

The committee is also looking at how this test will integrate into virtual twins of cinema lenses and cameras in computer-generated and ICVFX-specific workflows.

Further information about RIS-OSVP can be found at The On-Set Virtual Production Initiative (smpte.org). 

Broadcast lens makers have long worked to marching orders from large venue live sports and concert producers wanting longer and (still) longer focal length telephoto zoom lenses. This year the camera at the center field fence can frame a head and shoulders shot of the batter; next year it will inch in a bit to a head only shot.

But now those lens makers are hearing a second voice. It’s asking them for a more cinematic look, not to replace the mega-telephoto zooms, but for use on the sidelines and locker rooms.

There are a number of elements to that cinema look. The most easily identifiable is a shallow depth of field. At the risk of oversimplification, depth of field in still or motion picture photography is the distance between the nearest and the furthest objects that are in acceptably sharp focus in an image captured with a camera. The more shallow the depth of field, the less of the image is in focus, and the more is out of focus. 

This shallow depth of field has long been the province of photography and motion pictures, where it is said to be eye catching. But now it no longer is just restricted to pros—with average consumers using the “profile” feature on their smartphones, even the average joe understands its appeal.

How to Do It
There are three ways to reduce the lens’ depth of field:

• Increase the image sensor size
• Increase the iris setting, the f-stop
• Increase the lens focal length

Most live sports cameras and lenses utilize B4 mount lenses, with -inch three-chip prism sensors. Most cinema cameras and lenses utilize PL mounts, which have larger image sensors than the B4 mounts, and thus deliver a more shallow depth of field.

Opening the lens’ iris setting will also shallow the depth of field. In order to keep the light level even it may be necessary to deploy neutral density filters in the camera. Shutter speed can also be used to limit the light hitting the sensor, but can also yield unwanted effects.

To shallow the depth of field by increasing focal length, a prime lens can be switched out with a higher focal length lens, or zooming the lens can achieve the same result. For a production moving fast and furious, a zoom lens is preferred.

“Over the last series of years, be it sports or other live events, concerts, generally multicam, we’ve seen a desire to create that cinematic look,” said Stosh Durbacz, national sales manager, Optical Devices Division, Fujifilm North America Corporation. 

At the 2023 NAB Show, Fujifilm introduced its Fujinon Duvo HZK25-1000 box lens, which deploys a dual-format system that supports two single sensor sizes: a large format sensor size and a traditional super 35mm sensor.

“Our customers helped us identify a very clear need for a long and fast cinema lens that can produce cinematic results in a live production environment,” said Durbacz. Fujifilm’s newly developed 1.5x expander shifts the focal length of the telephoto side, enabling super-telephoto image capture of 1500mm (1000×1.5).

Bokeh is another lens attribute that yields a cinematic look. Bokeh is the aesthetic quality of the blur produced in out-of-focus parts of an image. 

There are several characteristics that impact bokeh, said Art Adams, product specialist, Cinema Lenses at ARRI. “But the most important is spherical aberration: do light rays from the edge of the lens focus at the same point as light rays from the center of the lens? ARRI lenses are very well corrected for spherical aberration and this produces backgrounds that are incredibly smooth. Subjects pop out of out-of-focus backgrounds as there are no residual hard edges to draw the eye away.”

Adams pointed to ARRI’s 65-300 Signature Zoom as the most useful for live sports. “It is exceptional because it doesn’t exposure-ramp at the end of the zoom range: when you start your zoom at T2.8 at 65mm, you’ll end your zoom at T2.8 at 300mm. That lens ships with a 1.7x extender at no extra charge, and that turns this lens into a very high quality 110mm-510mm T4.9.”

Ergonomic Hurdles
There are a lot of technical hurdles to developing lenses that provide the cinematic look. But there are ergonomics factors as well. 

In cinema production, there may be four or five different operators working around the cinema camera. On a broadcast crew, you have one operator for each camera. 

“This is largely because when they’re making a video, making a movie, they’re not beholden to the action head of them,” said Mark Weir, senior product manager, Alpha Cameras & Lenses, Sony Electronics. “They can have as many takes as they want because the actors and what’s happening are under the control of the production, they’re not taking images that are happening in front of them. They’re literally making them, they’re crafting them, they’re organizing them, they’re structuring them to fit their requirements.“

Weir notes that the technology for the cinematic look is in its infancy. “It doesn’t cover everything in the world of broadcast sports, for example,” he said. “You’ve got to deliver the kind of reach to cover action 100 yards away. Trying to then cover it in shallow depth of field is probably not what the production is looking for. It’s a balance of both.”

As the depth of field becomes more and more shallow, keeping the lens focused on the action becomes more difficult. 

“The challenge is knowing where to point that auto focus,” said Josh Stoner, senior specialist, Product Management Team, Broadcast and Cinema Lenses for Canon. ”The trick is how to make it react so you’re not catching someone out of frame, like somebody coming into the frame and then the focus jumping to that person.  That’s more of an operator function to learn how to do that. It’s less about learning where to point the autofocus, when to engage it and when not to engage it.”

Stoner said picking a lens for a cinematic look depends on which cameras utilized. “If they’re using a stubby camera and they have a whole rig built up around it, I’m going to suggest one of our CINE-SERVO, the 70 to 120, which is going to give you a kind of a wide angle look,” he said. “If they’re going to run around on a gimbal, with a C370, I’m going to go with one of our RF lenses to give you autofocus and lightweight capability so you can run around with it.”

With host broadcaster Olympic Broadcasting Service recently announcing that it will be using cinematic lenses for the first time at the 2024 Games in Paris, expect to see an overload of the cinematic look next summer. Which seems appropriate when you consider the French invented cinema.

MELVILLE, N.Y.—Canon U.S.A. today introduced its first RF-Mount Cinema Prime Lenses for its Cinema EOS System.

The lenses combine high optical performance for 4K and 8K shooting, cinema-style operation and RF mount communications, the company said.

The first set of seven RF-Mount Cinema Prime Lenses will quickly be followed by a lineup of RF-mount-compatible video production equipment video production of movies, TV and commercials, it said.

The lenses include focal lengths and T stops of: 14mm T3.1, 20mm T1.5, 24mm T1.5, 35mm T1.5, 50mm T1.3, 85mm T1.3, and 135mm T2.2. They are compatible with the Canon COS C70 and EOS R5 C Cinema Cameras, it said.

They enable RF-mount protocol transmission and like the EF-Mount Cinema Prime Lenses, operators can control magnification, chromatic aberration correction, peripheral light correction, and a dual-pixel focus guide via camera body operations, it said.

The new lenses are able to achieve high optical performance suitable for use with 4K and 8K cameras by optimally positioning large-diameter aspherical lens elements and lens elements with anomalous dispersion glass. Their compatibility with the full-frame large-format sensor, bright T stop values and 11-blade iris helps produce a shallow depth of field for subjects, natural round blurring and soft image expressions, Canon said.

Unified Cinema EOS color balance throughout the series helps provide consistent color, even when changing lenses.

Designed with the proper level of ring torque, the new lenses allow for the precise and smooth adjustments often needed during cinema productions, it said.

A unified design across the series, including the gear position of the operation ring, the diameter of the lens and the rotation angle (operation angle), enable lenses to be swapped in and out effortlessly without the need to adjust matte boxes or external focus accessories for each lens, it said.

A new coarse surface near the mount provides a comfortable and ergonomic fit in the user’s hand, allowing the lens to be held securely without gripping the operation ring when attaching and detaching different lenses, the company said.

More information is available on the company's website website.

MUNICH—ARRI today unveiled a Software Update Package (SUP) 2.0 for its cforce mini and cforce plus lens motors, improving the time it takes the motors to respond to user input, making them twice as responsive.

All cforce mini and cforce plus lens motors in the market can benefit from the free software update. Increased performance is not affected by the choice of hand unit, the company said.

Any ARRI ECS configuration using the Hi-5, ZMU-4, SXU-1 or the legacy WCU-4 can take advantage of the motors’ halved latency and a pronounced enhancement of the first AC’s direct connection to the lens axis, it said.

Introduced in 2014, the small, lightweight cforce mini motor is widely used in many productions, except when exceptional torque or speed is required. However, the SUP 2.0 firmware upgrade re-invigorates the cforce mini motor, making it appropriate for additional use cases, the company said.

When working with a low-friction lens, the new motor firmware delivers particularly improved performance when coupled with the larger 50t CLM-4 gear (K2.72108.0). The combination delivers 25% faster speeds than when used with the default 40t but with a slight reduction in maximum torque, it said.

The cforce plus motor, used widely for high-torque applications, is now the fastest-accelerating motor in ARRI’s product lineup. In focus pulling situations where reaction time is critical, the cforce plus will help ensure marks are hit consistently, the company said.

The Software Update Package 2.0 also offers a new Encoder Mode for the cforce mini motor, which permits the lens axis held by a lens motor to be rotated manually while still allowing data from custom lens files to be recorded and displayed, it said.

Encoder Mode enables a cinematographer to adjust the iris value directly on any lens without removing the motor. The T-stop position can then be displayed in the status overlay on all monitors and hand units and streamed to virtual production systems. This mode is not available for the cforce plus motor due to its greater torque, which elevates internal resistance, it said.

SUP 2.0 for cforce mini and cforce plus is available on the ARRI website.

More information is available on the company’s website.

OBERKOCHEN, Germany—Zeiss has acquired U.K.-based camera tracking specialist Ncam Technologies, expanding its technology portfolio for the cinema, broadcast and visual effects industries. Terms of the deal were not disclosed.

Ncam’s hybrid camera tracking technology enables spatial tracking of indoor and outdoor cameras through the use of different tracking methods. Virtual production, live compositing and many postproduction processes rely on tracking data.

The Ncam technology complements Zeiss’ cinema products, which include Supreme Prime and Supreme Prime Radiance, Cinema Zoom and CP.3 lenses in addition to lens-data-related services in the CinCraft ecosystem. The combined portfolio of the companies is aimed at delivering easy-to-use tracking and VFX solutions for professional production work, the company said.

“We are happy to be combining Ncam’s unique tracking technology with Zeiss’ longstanding expertise in cinema lenses, lens data and the cinema market,” said Christophe Casenave, who is responsible for the Zeiss cine portfolio. “This enables us to think beyond current camera tracking capabilities to offer innovative solutions, especially for visual effects, virtual production and other applications."

Zeiss plans to ensure all new features and improvements brought to the technology will also benefit existing Ncam users. The company also will offer a compelling upgrade program. The first product announcement related to the deal is expected this summer, ZEISS said.

“The team is excited to be working together with our new colleagues at Zeiss on the next step in camera tracking technology and making it available to more users than ever before,” said Bruce Michoud, head of R&D at Ncam.

Founded in 2012, Ncam has locations in Los Angeles and London. 

More information is available from Zeiss via email. 

LEICESTER, U.K.—Cooke Optics has partnered with EZtrack to develop a seamlessly integrated system that will blur the line between production and post-production by allowing film makers to merge images from on-set cameras with high-quality computer generated (CG) elements in Near Real Time (NRT). 

An integral aspect of the project is Cooke’s /i Technology maps, which allow precise and accurate manipulation of the digital image. This means lens distortion can be corrected quickly, CG elements added to the undistorted image, and then the image can be re-distorted, so the CG element is matched to how the lens sees it, the companies reported. 

This technology is coupled with the EZtrack system’s ability to deliver precise camera movement tracking, together with lens and camera data, plus the movement of many other on-set elements such as mechanical cranes. This allows the VFX and camera teams to accurately know the position and movement of the camera at all times, while also providing access to all the Cooke /i Metadata.

The combination means that a director can sit on-set watching the feed from the live cameras with a real time version of a basic CG render for the sake of positioning. Even more importantly, the collaboration between Cooke and EZtrack means that all the data collected can be used by the on-set VFX team to produce an updated rendering of the required CG that, while not big-screen-ready, is more than good enough to allow the editor to see their vision come to life in Near Real Time.

This allows filmmakers to have confidence in the shot, but also provides them with the freedom to re-think a shot if necessary before they reach the post-production phase, when laborious re-shoots are prohibitively costly. 

This innovation in the cinematography process debuted on the Italian film “Comandante.”

The project used Cooke’s 1.8x Anamorphic/i Full Frame Plus lenses as well as /i Technology, which enabled Cooke and EZtrack to provide spatially accurate, frame accurate distortion maps, that track focus pulls across time for spherical and anamorphic lenses.

Cooke and EZtrack co-developed key technical workflow aspects which fed into The Foundry’s NUKE, whose VFX compositing software delivered the Near Real Time (NRT) workflow utilized in the film. Cooke worked closely with EZtrack, The Foundry, Kevin Todd Haug and David Stump, ASC, in realizing this creative and technical achievement. Other visual effects vendors involved in the project included Wow Tapes and Bottleship, and it was produced by Indigo Films and O’Groove Productions. 

Daniela Kesselem, chief product officer at Cooke, said: “This revolutionary innovation from Cooke Optics and EZtrack may have started on `Comandante’, but the flexibility and creative control it offers filmmakers means it will feature in many more productions in the years to come”.

Timothée de Goussencourt, EZtrack CTO added that “Participating in this project was really a challenge, I think that together with Cooke we pushed the limits of what is possible. The result we got with the anamorphic lenses is incredible”.

Visit Cooke stand 48 at CineGear Los Angeles on June 2-3 2023 to see a live demonstration of the Near Real Time technology in action, in partnership with EZtrack.

SYDNEY—Fujinon has announced that the Seven Network has selected its 4K lenses as part of Seven’s Sydney-based news operations planned relocation to a high-definition television production facility at the Australian Technology Park in Eveleigh.

The Seven Network is one of five main free-to-air television networks in Australia and the largest commercial network in terms of population reach. 

“Many of Seven’s lenses used in the field have provided over twenty years’ excellent service. The initial aim of the new lens purchase was to ensure the same extended life of reliability with the same excellent results,” explained Seven Network head of broadcast engineering and development, John Albiston. “The new lenses also had to be 4K, extremely high quality and work seamlessly under robotic control.”

After a comprehensive assessment and evaluation Albiston and the Seven team chose multiple Fujinon UA14x4.5BERD-S10, UA18x5.5BERD-S10 and UA23x7.6BERD-S10 4K lenses.

“We purchased Fujinon 4K models with an S-10 drive specifically designed for these lenses to be used with robotics,” Albiston continued. “The S-10s have well and truly fulfilled our requirements and worked seamlessly both in the field and in our metropolitan studios under robotic control.”

The new S-10 drive unit and Fujinon 4K lenses used by Seven offer perfect compatibility with major robotics systems such as Shotoku, MRMC, Ross Video, Vinten/Radamec, Telemetrics and KXWELL, the companies said. 

They provide improved focus and zoom operability and include breathing compensation technology (BCT) as standard. This compensation mechanism synchronizes the zoom movement with the focus movement to automatically correct for changes in the angle of view, thereby minimizing breathing and keeping the image size constant. This function also eliminates the need to reset the angle of view after focusing, providing a high level of operability.

The S-10 also enables the user to change a 2x extender remotely by using an ECU-2C Extender Change Unit and thus, is ideally suited for crane use in a studio, Fujinon said. 

Seven’s new S-10 drive units and Fujinon lenses are also effective for CG synthesis and come with a 16-bit encoder, capable of making a high-resolution output of lens data including zoom and focal position information. They can be linked with various other systems such as a virtual studio system for combining CG images with live action footage.

“Our Fujinon 4K S-10 capable lens field application involves general news acquisition where they give us robust service and superb operational features including great zoom range and speed,” Albiston concluded. “The Fujinon 4K glass is, notwithstanding the many HD applications in which they are used. These new lenses also excel in the studio under Mosart control room automation where high accuracy digital servos eliminate any discernible dither when zooming. These lenses are a major step forward for our crews. All in all, the Fujinon UA14x4.5BERD-S10, UA18x5.5BERD-S10 and UA23x7.6BERD-S10 4K lenses with S-10 drives are excellent and the best lenses in the market for our requirements.”

VALHALLA, N.Y.—FUJIFILM has announced its new Fujinon Duvo HZK25-1000mm F2.8-F5.0 PL Mount cinema box lens with a zoom ratio of 40x and a telephoto focal length of 1000mm is expected to begin shipping by the end of this week. 

The company also plans to show the new Duvo 25-1000 at the 2023 NAB Show, April 15-19, in Las Vegas.

The Duvo 25-1000, the first in Fujifilm’s new Duvo series of cinema lenses, can provide telephoto filming with high magnification, making it suitable for sports broadcast, live concerts, movies, commercials and other productions, the company said.

“In actively observing and gathering feedback from professionals about the emerging world of cinema-sized imagers in live production, our customers helped us identify a very clear need for a long and fast cinema lens that can produce cinematic results in a live production environment,” said Stosh Durbacz, national sales manager of the Optical Devices Division at FUJIFILM.

Duvo 25-1000 deploys a dual-format system that supports two single sensor sizes: a large format sensor size equivalent to Super 35mm and a traditional Super 35mm sensor. Duvo 25-1000's use of Fujifilm’s newly developed 1.5x expander shifts the focal length of the telephoto side, enabling super telephoto image capture of 1500mm (1000x1.5), it said.

The lens enables filming with the same field of view in both formats. It produces rich image expression by taking advantage of the camera’s cinematic look, the company said.

Duvo 25-1000 can be operated in a setup specialized for live broadcasting because existing FUJINON box lens accessories can be used in support of multi-camera operation. For film and commercial production, the lens’ focus / iris / zoom features can also be remotely controlled by connecting to compatible wireless lens controllers. Duvo 25-1000 also features Breathing Compensation Technology, ensuring the subject framing does not change during focusing, helping to produce natural-looking images, it said.

To maximize portability, the upper grip of Duvo 25-1000 is designed to be slightly longer than conventional box-type broadcast lenses. As a result, it can be lifted stably near the center of gravity. A new lower grip also has been integrated to improve portability.

See FUJIFILM at NAB booth C5725.

More information is available on the company’s website.

LEICESTER, U.K.—Cooke Optics has announced the launch of four new focal length lenses – 27mm, 35mm, 65mm and the 18mm – for its S8/i Full Frame (FF) series of lenses. 

Cooke introduced the first seven focal lengths of the state-of-the-art S8/i series last March. With an all-spherical design and T1.4 throughout, these lenses were developed following feedback from cinematographers wanting to achieve more realistic and cinematic images for digital motion capture.

The S8/i FF series is now available to order in the following focal lengths: 18mm, 25mm, 27mm, 32mm, 35 mm, 40mm, 50mm, 65 mm, 75mm, 100mm, and 135mm. Remaining focal lengths to complete the sixteen-lens line-up will be added to the series over the course of this year.

“We are excited to launch additional S8/i lenses into what’s already a market-leading range for full frame production,” said Tim Pugh, CEO of Cooke Optics. “Further focal lengths offer cinematographers even more choice and flexibility to achieve their creative visions. These lenses were intelligently built from the ground up for use in motion pictures; and their all-spherical make up provides not only a beautiful aesthetic but makes them the perfect companion for digital cameras.”

Building on the famous Cooke Look, S8/i FF lenses deliver beautiful images that have an organic feel and a smooth, spherical bokeh effect with minimal color fringing. S8/i lenses enable cinematographers to capture images with a high level of dimensionality, the company reported.

The human eye’s perception of resolution is linked to contrast, therefore improved contrast results in the viewer seeing a sharper image on the screen. Cooke’s design team, led by Academy Award winning lens designer Iain Neill in a role of chief optics advisor, completed a wide-ranging analysis to guarantee maximum contrast performance for digital camera sensors. The S8/i’s all-spherical design is constructed to deliver a near telecentric projection of light rays which is more efficient for creating organic images that present as both sharp yet natural with dimensional roll off, Cooke Optics explained. 

Alongside these strategic targeted attributes, S8/i lenses are among the fastest produced for larger than full frame capture, due to their maximum aperture of T1.4 across the core focal range. This fast T stop extends the series control over depth of field and lens flare, whilst still delivering amazing low-light performance. Compact, light and agile, S8/i lenses combine design durability in an ergonomic package. The range comes with Cooke’s latest intelligent /i technology, which includes /i data focus and iris position, /i motion inertial data and /i maps, Cooke factory calibrated shading and distortion data.

MUNICH—ARRI is launching its new line of Impression Filters with eight Impression V Filters that give a vintage feel to Signature Prime and Zoom lenses. 

The four negative and four positive diopter filters incrementally shift the focus characteristics of the image, allowing a range of detuned looks to be created for Super 35 or large format with one set of Signature lenses.

The Impression V Filters are first in a new line of ARRI Impression Filters. Providing a cost-effective way to achieve multiple looks with a single lens set, they are designed to be a new creative option to selectively detune Signature Prime and Signature Zoom lenses. They are easy to exchange using the rear magnetic filter holder, with lens scales maintaining accuracy, the company said. 

Diopters are traditionally positioned in front of a lens to reduce its close focus distance, but ARRI’s new Impression V Filters are completely different, the company explained. 

Attaching to the back of Signature lenses via the built-in rear magnetic filter adapter, they alter the appearance of out-of-focus image elements. Known as bokeh, these elements play a significant role in the emotional impact of images. All bokeh is affected by the Impression V Filters, but it is particularly noticeable in background highlights, which get more of a “donut” effect (bright around the edges) with negative filters, and more of a “bauble” effect (brighter in the middle) with positive filters. In general, the positive filters have a nostalgic, glamorous feel, with swirly bokeh, glowing skin tones, and softer backgrounds; while negative filters have a grittier look, with inward-pulling bokeh and intense, vibrant backgrounds, the company reported. 

The four positive Impression V Filters are named IV 070P, IV 140P, IV 230P, and IV 330P, while the four negative filters are IV 050N, IV 100N, IV 200N, and IV 290N. 

In both cases, the increasing numbers signify a stronger diopter effect. Impression V Filters are designed to be used at T1.8, where the effect is strongest and lens scales remain accurate. Positive filters attach directly to the rear of each Signature lens, whereas the negative filters require a shim to be added to the back of the lens first. There is a 2 mm shim for shooting at T1.8, and a 1.85 mm shim to act as a base for the additional shimming required to shoot with Signature Zooms, or at higher stops with Signature Primes, the company explained. 

ARRI reported that Impression V Filters work with its latest cameras: the ALEXA 35, ALEXA Mini LF, ALEXA LF, and ALEXA 65. The filters are sold in a kit that contains all eight positive and negative diopters, as well as a shim set, an adjustable torque screwdriver for adding shims, and inscribable Velcro tabs for labeling filtered lenses on set, all packaged in a specially designed aluminum flight case. For customers who don’t need a full kit, or perhaps are replenishing one, each of the eight filter types can be purchased in a separate three-filter set that includes foam inlays, Velcro tabs and—in the case of the negative filters—a shim set. Velcro sets and shim sets can also be purchased separately.

While the Impression V Filters and shims can be mounted to lenses without requiring a qualified lens technician, ARRI recommends that decisions about which type of filter to use should be made prior to shooting whenever possible. At a stop of T1.8, productions that like the positive look can interchange all four positive filters quickly and easily, and productions that choose the negative look can attach shims in advance and swap between the four negative filters on set. It may also be possible to add or remove shims on set, depending on the crew, the location, and the specific conditions.

As with all ARRI products, Impression V Filters and shims are made to exacting tolerances and the highest standards of precision and quality. Once installed, the lenses will perform as reliably as if they had been built that way in the factory.

For more information, including educational videos, about the ARRI Impression V Filters, which are available to order now, visit here.  

LEICESTER, U.K.—Cooke Optics has released a 19-40mm wide zoom in its Varotal/i FF range, that also includes the 30-95mm medium and 85-215mm long zooms that were launched at the end of 2021. 

The launch of the 19-40mm zoom completes the Varotal/i FF series, enabling Cooke to offer broad focal length coverage for the majority of production needs.

“We are immensely proud to complete the Varotal/i FF range with the new wide zoom,” said Tim Pugh, CEO, Cooke Optics, said,  This cutting-edge series gives even more flexibility to creatives in choosing how to tell their stories, offering the Cooke Look in a zoom range to match our celebrated primes.”

The Varotal/i FF T2.9 spherical zoom series offers superb resolution, constant optical speed and minimal breathing throughout the range, the company said. 

All Varotal/i FF zooms deliver the famed Cooke Look, offering natural, flattering skin tone and character, and match the Cooke S8/i FF (at T2.8) and S7/i FF prime lenses, enabling cinematographers to preserve their creative intent when switching between primes and zooms.

The Varotal/i FF series offers focal length coverage from 19mm to 215mm. This coverage provides cinematographers with huge flexibility in the focal length choice from only three lenses, and the set is designed with suitable crossover between focal lengths, Cooke reported. 

The new 19-40mm lens is the widest of the three Varotal/i FFs, and slightly lighter at 3.5kg (7.7lbs), with 30-95mm and 85-215mm lenses both weighing 4kg (8.8lbs). As the widest zoom with suitable close focus of 320mm, this is an ideal lens for Steadicam work, allowing the camera operator to obtain fluid moving shots while getting close to the subject, the company said. 

With an ergonomic design and solid casing, the lenses are relatively compact when considering their focal length range, speed, and image circle. /i Technology connectivity is provided to both camera and the Lemo connection on the side of the lens, making lens data accessible to production from a zoom.

The full Varotal/i FF series is now available to order and will be available to test at EnergaCAMERIMAGE which takes place from 12-19 November in Torun, Poland.

SEATTLE—There’s a rule of thumb in video image capture that the finished picture will only be as good as the weakest part of the signal path. HDR (High Dynamic Range) is no exception.

“The great news is that the camera manufacturers have come a long ways in terms of how many stops of lights they can record,” said Stosh Durbacz, national sales manager at FUJIFILM Optical Device Division. “So we, the lens folks, have had to keep pace with that.”

Although HDR is a function of the processor inside the camera, the lens definitely plays a part, according to John Stoner, senior product specialist for Canon. “The light that passes through to the processer first passes through the lens, so if that light’s not clean, you’re never going to get a good HDR image,” he said.

Art Adams, cinema lens specialist at ARRI, said that HDR makes everything in a lens more pronounced. “That includes chromatic aberration, flare, softness at the edges, a lot of things that can be really distracting and can also impact the HDR image significantly.”

Secret Sauce
One critical component of a lens is the glass  optics within it. As light passes through each glass element, it creates reflections, which appear more pronounced in HDR. One way lensmakers deal with these reflections is with antireflective coatings.

“One of the biggest deciding factors is the antireflective coating that’s on the lenses,” said Snehal Patel, Head of Cinema Sales, Americas, Carl Zeiss SBE. “The higher quality antireflective coating, the higher performing antireflective coating you have on your lenses, the more exposure range you’re going to see in the lens, even when it’s wide open.”

FUJIFILM’s Durbacz noted: “Coatings are huge—they’re the secret sauce of any lens. They minimize the reflection of light. Every time light passes through a piece of glass, it comes in and then goes out, and there’s light that if reflected. So what we want to do is minimize that. These modern lenses can be 15-25-30 individual pieces of glass, all moving in unison.”

He also pointed out that in addition to reflections from the glass elements in a lens, there are other components that can create reflections. “The way the internal barrels are constructed, there’s baffling built in. It’s very small machining of those internal surfaces that will deaden any stray light that hits them.”

Another thing that’s improved is the black matte paint that’s used inside of the lens, according to ZEISS’ Patel. “Wherever you have glass elements inside the lens, you usually coat the edges with a matte black finish,” he said. “And any metal inside the lens that might be visible in the interior optics, you also coat that with matte black finish.“

“We have a design we call ‘flocking,’” said Canon’s Stoner, “which are mechanical ridges inside the barrel to eliminate that reflection of light before it gets to the camera sensor.”

Another lens error that becomes more pronounced when shooting in HDR is center to edge roll-off. FUJIFILM’s Durbacz pointed out: “Using the coatings and the grinding and polishing of the glass, we want to make sure that from the center of the lens—from the sweet spot out to the corners—that we’re providing flat illumination; we don’t have perceptible roll-off to the camera, from the center to the corner.”

ARRI makes both cameras and lenses for HDR. “Because we now have a camera that captures more dynamic range than anything else out there, the Alexa 35, we needed a set of lenses that would work with it,” said ARRI’s Adams. “We went back and redesigned our PL mount for this new camera. We realized that the previous design still had enough stray light issues that in HDR, with the new camera, you could start compromising your blacks, you could see them turn gray.”

To address HDR in broadcast production, Canon and Sony collaborated on ALAC (Automatic Chromatic Aberration Correction), a function that allows  automatic feedback between the lens and the camera, according to Stoner. “The lens tells the camera ‘I’m at this focal length and this iris position,’ and then the camera compensates for chromatic aberration, and removes them from the image before they get to the physical side.”

Difficult Compromise
Lensmakers pointed out that the degree of difficulty goes up when it comes to perfecting a zoom lens for HDR production.

“A zoom lens has a lot more glass in it,” said FUJIFILM’s Durbacz. “We’ve got moving groups, and we’ve got to maintain focus at all these different focal lengths. If you’re focused out to 25 feet, and you zoom the lens, there’s a lot going on. And there are additional groups of glass within the lens that the light has to transmit through.” 

ARRI’s Adams pointed to compromises that need to be taken. “Our zooms are more corrected for chromatic aberration, and we allow a little bit of distortion,” he said. “It’s a balancing act, they interact with each other. In a prime lens you can correct for both chromatic aberration and distortion because you’re only concentrating on one focal length. In a zoom, where you have a large range of focal lengths, you really have to go after one or the other or the lens gets very big and very, very expensive.

“So we opt to go toward correcting for chromatic aberration, because we think a little bit of distortion isn’t going to be as noticeable in HDR as chromatic aberration is. So our zoom lenses are very corrected for chromatic aberration, but there will be a little bit of distortion.”

While lensmakers go to great effort and expense to remove lens errors that have become noticeable in HDR, they’re aware that many cinematographers want the lenses to provide some character in addition to scientific perfection.

“What we’ve tried to do is to come up with a family of lenses, our Signature lenses, that work with HDR,” said Adams. “We try to maintain the most dynamic range possible, while eliminating the disturbing things that HDR doesn’t like, like chromatic aberration, and still make lenses that have character.”

ZEISS offers two different HDR- ready lens families: Supreme Prime and Supreme Prime Radiant. “The Supreme Primes are a cleaner set of lenses,” said Patel. “They have a wonderful cinematic look to them, they’re basically the successor to our Master Primes. They have both the 35 and full-frame coverage. And there’s a range of 14 focal lengths, from 15mm to 200mm. And then the Supreme Prime Radiant is a modified version of the Supreme Primes that add blue flare characteristics by manipulating anti-flare reflective coatings.”

“Now if we’re looking at real old lenses,” said Durbacz, “they still mount on these modern cameras, which is fantastic. But sometimes you start to see corner shading, or illumination roll-off to the corner. Those lenses were designed at a time when cameras didn’t see that kind of latitude, so you didn’t have to worry about a roll-off from the center out to the corner.”

Patel pointed out that “some of the things that they loved about the lenses, like maybe the flare, or the look of it, there are some qualities that maybe they didn’t notice before in some lenses that they notice now in HDR. That would be the only danger, that there might be something that they didn’t expect. They’re using a lens where they got a certain look before, but looking at it in HDR, they go ‘wow, the flares in there are very prominent, you can really see that.’

“Of course you can go back to color correction and maybe level out the blue tones and what not, to reduce the contrast level,” he added. “But it might just be baked into the image, and you won’t be able to change it as much as you want. That’s why I always say to test. You might like what you get; you might not. You certainly can get a more scientifically accurate image now, but it may not be the correct image for the production.”

Lensmakers also recommend monitoring in HDR during production itself, even if the first release will not be in HDR.

Adams warned: “Movies and TV shows especially, are going to have a long lifespan now, with streaming libraries, and I don’t think people are aware of what’s going to happen when those products are remastered for different levels of HDR, or just when they’re graded in HDR while the DP has been watching Rec 709 on the set. I think [HDR monitoring] is going to become desirable as people see the artifacts that creep in that they aren’t able to see. 

“It’s not exactly like shooting film, where you didn’t see what it was going to look like until the dailies were out, but there are probably 30-40% of the image that you’re not seeing when you shoot in Rec 709, and then graded in HDR.”  l

MELVILLE, N.Y.—Canon has unveiled several new cinema and broadcast digital imaging solutions, ranging from the CINE-SERVO 15-120mm T2.95-3.95 EF/PL lens for cinematic and live production to the DP-V2730 4K HDR monitor for filmmakers and broadcasters.

The company also announced a new expansion unit that’s compatible with several Canon cameras and new firmware for several EOS cameras.

The new CINE-SERVO 15-120mm T2.95-3.95 EF/PL (CN8x15 IAS  S) combines a versatile focal range, compact size and lightweight and offers support for Super 35mm and Full-Frame sensor cameras. Supporting a focal range from a wide 15mm to a telephoto length of 120mm, the lens can extend further to 180mm via a built-in 1.5x extender, the company said.

The new lens also supports 8K optical performance across the full focal length to support future productions, it said.

It also features Canon’s warm color science, matching the existing range of the company’s cinema lenses and offers an 11-blade aperture to produce a beautiful, round bokeh. The lens supports EF mount communications and advanced metadata capture with support for Cooke/i Technology. The PL mount version is the first Canon CINE-SERVI lens to enable ZEISS eXtended Data (XD) communication and Cooke /i Technology, Canon said.

The CINE-SERVO 15-120mm T2.95-3.95 EF/PL uses the same 16-bit encoder found in the company’s broadcast and existing CINE-SERVO lenses. It provides accurate lens position, zoom, focus and iris metadata as well as critical information and communications support between the lens and camera, which is vital for VFX, virtual and cinema production, it said.

The new EU-V3 modular expansion unit for live productions is compatible with the Canon EOS C500, Mark II and EOS C300 Mark III cameras and supports specific functions for multi-camera and live productions, Canon said.

For studio and live production applications, the EU-V3 has a 4-pin XLR DC poser input for constant power to both the expansion module and the camera body, eliminating the need for external batteries for the devices, it said.

Offering an SDI return video feature, the EU-V3 allows real-time monitoring of a live broadcast feed from a production switcher. The return output destination can be selected from the VIDEO, EVF-V50, MON/HDMI and SDI-OUT terminals. The expansion unit also supports tally, the company said.

The lens focus position can be displayed on-screen when using the EU-V3 – with compatible broadcast and CINE-SERVO lenses via 12-pin serial communication. 

The expansion unit can be combined with the CINE-SERVO 15-120mm T2.95-3.95 EF/PL (CN8x15 IAS S) lens on the EOS C500 Mark II and EOS C300 Mark III cameras, it said.

The new DP-V2730 4K HDR reference monitor has a 4K UHD display engine and offers 1,000 cd/m² full-screen peak brightness, with Canon’s local dimming technology giving an ultra-low black level of 0.001 cd/m², it said.

With a 27-inch screen, the DP-V2730 achieves high brightness with minimal noise, making it well-suited for on-set and post-production uses. The monitor meets Dolby Vision certification standards and EBU TECH3320 user requirements, it said.

The new monitor offers several monitoring tools, including waveform monitor, histogram, frame luminance monitor and RGB parade. It offers users an HDMI input and 12G-SDI terminals (4x Inputs and 5x Outputs) and is capable of delivering 4K60P 4:2:2 10-bit or 4K30P 4:4:4 12-bit signals, Canon said.

Canon’s new Cinema EOS firmware update for the EOS C500 Mark II and EOS C300 Mark III cameras enables both to be used in live environments with multiple workflows. Among the updates are:

• XC protocol support for multi-camera application and providing direct control via RC-IP100 remote camera control and Ethernet;
• Enhanced AF features, including 120p/100p AF support, alongside face detection during slow and fast shooting mode use;
• 4-channel audio display showing all channels with the mode is selected;
• New accessory and lens support, enabling the EOS C500 Mark II and EOS C300 Mark II cameras to work with both the CINE-SERVO 15-120mm T2.95-3.95 EF/PL and the EU-V3 and support for the Flex Zoom series of lenses.

The company also announced pricing and availability of the new offerings, including: 

• CINE-SERVO 15-120mm T2.95-3.95 EF/PL , $30,999, November;
• EU-V3, $2,999, December;
• DP-V2730, $18,999, March 2023;
• Canon Cinema EOS firmware update, free, October.

More information is available on the company’s website.

HAUPPAUGE, N.Y.—Tiffen has announced that it is introducing 39mm round sizes to its line-up of filters to accommodate the proliferation of lenses with 39mm lens fronts for cameras from Leica and Fujifilm.

The first in the lineup is Tiffen’s Black Pro-Mist, which has long been a staple with digital cameras due to its delicate control of highlight flares for a soft light pastel effect. It is offered in strengths of 1/8, 1/4, 1/2, 1, and 2, for an MSRP of $65.00.

Also available is a round 39mm UV Protector filter at $10.99 and a Circular Polarizer at $20.00 MSRP. Most Tiffen filter varieties can be made to order upon request.

Tiffen’s extensive array of professional filters is made from optical glass with waterproof and scratch-proof multi-coating, which reduces reflection while maintaining clarity and color fidelity.

These new filters are available via Tiffen’s authorized dealer network or from https://tiffen.com/collections/screw-in-filters

For more information about these and Tiffen other products visit www.tiffen.com.

LOS ANGELES—Tiger Group is gearing up to auction surplus equipment from Red Star Pictures, a longstanding supplier of rental lighting, grip and production equipment to the entertainment and live event industry.

The June 2  online auction will feature gear surplus to the ongoing operations of Red Star and will include digital and film cameras, lenses, lighting, grip, electric, filters, and AV accessories. Equipment will be offered in more than 450 lots from top manufacturers including Arri, Black Magic, Canon, Moviecam, Panasonic, Rokinon Tiffen, Xeen, and Sony.

Specifically, over 50 digital and movie cameras from Arri Alexa, Canon and Panasonic, as well as a large quantity of LED lighting from Arri, Kino and LTM will be up for bid. A variety of camera accessories, and grip and electric gear will be offered as well.

"We are extremely pleased to have been selected by Red Star Pictures to assist in managing their surplus gear," said Jonathan Holiday, director of business development, Tiger Commercial & Industrial. "Red Star has enjoyed exponential growth in building its rental business through acquisitions over the past five years and by offering a high level of service to all its valued customers in the industry. This sale offers an excellent mix of gear and a great opportunity to purchase from a well-established, quality rental company."

Registration begins prior to bidding, which is set to open May 26 at 10:30 a.m. (PT) and ends at 10:30 a.m. (PT) on June 2.

Asset photos, descriptions, bidding and other information is available here. 

To arrange an inspection or obtain other information, email: auctions@tigergroup.com or call (805) 497-4999.

MELVILLE, N.Y.—Canon U.S.A. has launched a new series of lenses for the company's EF Cinema Lens lineup — the Flex Zoom Lens series of lenses, which were developed to create cinema-style productions with greater workflow efficiency. 

The first lenses in the series are the CN-E20-50mm T2.4 L F/FP wide-angle zoom lens and the CN-E45-135mm T2.4 L F/FP telephoto zoom lens.

Designed in the pursuit of cinematic beauty, the new large-aperture lenses feature both high-level optical design and performance while maintaining the style and ease-of-use of Canon's EF Cinema lens series, the company said. 

With the introduction of the zoom lenses featuring focal length ranges of 20-50mm for wide-angle and 45-135mm for telephoto, Canon now offers zoom lenses that cover the same range as its six existing prime (single focal length) lenses. The versatility of these new lenses supports efficient production workflows for a wide range of scenarios, including film, TV programs, commercials, and much more.

When paired with full-frame or large-format cameras, these lenses fully leverage the cameras' signature shallow depth-of-field look and provide smooth and natural background blur, helping to produce powerful storytelling imagery. The lenses also maintain a bright T2.4 aperture across their entire zoom ranges allowing for image capture in both natural light and darker environments. 

This feature helps to reduce the need for intricate lighting setups, enabling more efficient and cost-effective video production workflows, the company said. 

Engineered with an optical configuration that creates the optimal placement of lens elements, including a large-aperture aspherical lens and an anomalous dispersion glass lens, the CN-E20-50mm T2.4 L F/FP and the CN-E45-135mm T2.4 L F/FP lenses help reduce the potential for color smudging and chromatic aberrations. This enables them to maintain high optical performance from the center of the image to the periphery when paired with 8K cameras.

In addition to supporting EF-mount data transmission, the new lenses are also compatible with /i Technology from Cooke Optics. With this capability, recording metadata such as focus, zoom, aperture, and lens model can be transmitted via the lens mount for visualization on the camera itself. This additional information helps to contribute to more efficient workflows not only during on-location recording, but also during post-production and editing.

The Canon CN-E20-50mm T2.4 L F/FP wide-angle zoom lens and Canon CN-E45-135mm T2.4 L F/FP telephoto zoom lens are scheduled to be available in early June 2022 and early September 2022 for an estimated retail price of $21,999.00.*

Canon will showcase its latest digital imaging solutions and products, including the new Flex Zoom Lens series of lenses, at the NAB Show 2022 (Booth #C4432) in Las Vegas, April 24th-27th. 

For more information about the new lenses and Canon's presence at the show, please visit usa.canon.com.

SYDNEY—MCG Scoreboard Control has deployed a new Fujinon UA 107 for live match coverage of Australian Football League (AFL) matches. 

The global integrated agency MKTG Sports + Entertainment operates the MCG Scoreboard Control as part of the commercial rights agreement to deliver the AFL. That agreement requires them to produce an in-venue coverage of AFL matches for the two big screens separate from the broadcast coverage. 

The match coverage is provided primarily through two fixed stand cameras, a tight shot provided by an 87x lens and a 40x for wider shots, and an AFL owned portable RF camera that completes the production. Recently, as part of a requirement for a newer, more powerful lens and for that they chose the Fujinon UA107.

“The two stand cameras need to be very agile and closely follow or anticipate the play,” explained MKTG's general manager of operations and technology, Mike Lewis. “The existing Fujinon 87x lens had served us well after 15 years of service and required replacement. The MCC, the equipment owner, agreed replacement was required and asked MKTG to facilitate options for replacement.”

The lens's requirements needed to be futureproofed for the MCC, and according to Lewis, the 4K UA 107 was the right choice for the application. 

“Fan engagement and brand activation are essential considerations in entertaining crowds before matches or during breaks in play,” he added. “The Fujinon UA 107 allows the operator to shoot very tight, keep up with the play, and easily single out spectators for big-screen coverage. The MCC asked us to provide options for them that would be best in class and ensure that they were futureproofed with compatible 4K capability, the Fujinon lens met that requirement. Feedback from the operators and producers has been excellent.”

MCC's general manager - IT and innovation, Rey Sumaru, noted that “the investment in this new Fujinon lens sees a commitment to the future ensuring our technological purchases keep us current and ensure we have an eye on future 4K development." 

Leicester, UK—Cooke Optics is making some notable additions to its range of Full Frame lenses. Two new Varotal/i FF zoom lenses bring leading-edge modern design and materials to this historic line of zoom lenses that were first seen in 1971, while the extensive Panchro/i Classic FF range offers the beloved vintage Speed Panchro look for full frame sensors.

The Varotal/i T2.9 zoom lenses cover all full frame sensors and are matched in resolution, color and fall-off to the Cooke S7/i range, thus providing a complete suite of Cooke full frame spherical lenses. The focal lengths of the zoom lenses are 30-95mm and 85-215mm respectively. The mounts can be chosen as either PL or LPL at time of order.

“Fifty years after the launch of the first Varotal lenses, we are proud to bring these new Varotal zooms to our customers,” said Tim Pugh, CEO of Cooke Optics. “They are now able to choose an entire color-matched Cooke line, complete with the Cooke Look, for their full frame productions.”

Like all modern Cooke lenses, the Varotal/i zoom lenses include /i Technology to record invaluable lens data, and are optimized to capture the warmth, texture and beautiful skin tones which are the hallmarks of the famed Cooke Look. The lenses are designed for all shooting applications, including handheld and Steadicam, providing comfortable balance ratio with the latest digital cinema cameras.

The Panchro/i Classic FF range offers full frame film makers the ability to capture the classic Panchro Look, as well as the Cooke Look, in their full frame productions. 

The focal lengths 18mm, 21mm, 25mm, 27mm, 32mm, 40mm, and 50mm have been specially redesigned to fill full frame image circles. 

The 65mm MACRO, 75mm, 100mm, 135mm and 152mm in the standard Panchro/i Classic range were already capable of filling a full frame image circle, so no optical or mechanical alterations have been made for these focal lengths. Additional FF scale covers are available for 65mm MACRO upwards if required to harmonize rental fleets.

Like the standard Panchro/i Classic prime lenses, the FF lenses are color balanced, color matched and compatible with all Cooke lenses. They also feature /i Technology.

The Varotal/i FF zoom lenses and the Panchro/i Classic FF range are available for pre-order now.

LONDON—Lenses, even though they sit prominently on the front of cameras, still tend to get overlooked. There continues to be a tendency towards asking “what camera did you use?” first, rather than about the lens. 

Maybe it’s because lenses smack a little of old school physics, all focal length and the circle of confusion. But it is the optical component that primarily creates the look of a program. At one time in broadcasting, a lens was just another tool, but in these days of 4K, HDR and beauty shots, it is an ever more important one.

GROWING DEMAND FOR UHD CONTENT

Such requirements are already established for shooting top-end dramas and documentaries, which have long had cinematic sensibilities, but similar considerations have been made for studio and outside broadcast (OB) production since the advent of HD. 

That is only set to increase as the demand for UHD grows, with, as Claus Pfeifer, head of connected content acquisition at Sony Professional Europe, points out, the need to accommodate a recent trend in camera technology.

“In both studio and OB work, we’ve seen the demand for large frame sensor-based cameras grow,” he says. “To complement and enhance the traditional 2/3-inch equipment, we’ve seen a matching trend in lenses.”

Large frame (LF) cameras have become the preferred format for filmmaking in the last few years. There has also been a renewed taste for shallow depth of field, which creates a narrower zone of sharp definition in a shot, which directs the viewers' attention to a specific part of an image. 

Pfeifer says this is becoming increasingly popular and demanded in sectors outside of cinema, which is placing more requirements on lenses. “In live or quickly moving environments, auto focus is more crucial because, with the shallow depth of field, focus has become absolutely critical,” he explains. “We have integrated linear focus motors to ensure that lenses focus smoothly and accurately.”

MEETING FUTURE DEMANDS

The fast-moving pace of broadcasting, both in the studio and on location, calls for equipment that can be trusted by those using it to get the shots as they happen. “Operators expect controls that match the speed of their reflexes,” agrees Peter Crithary, vice president of marketing and market development at ARRI. “And technical directors want to see a technically superior image. [Because of this] broadcast lenses require range, responsiveness and the resolution to match the capabilities of the cameras with which they are paired.”

Outlining the main requirements for broadcast lenses, Jake Ratcliffe, technical marketing manager at U.K. film and TV equipment distributor CVP, highlights excellent long focal range with good consistent performance throughout; fast operation through either traditional three-ring controls or a Servo drive unit (with fast, accurate remote control according to zoom and focus demands); and parfocal optical design. “Having extenders built into lenses is very handy as well,” he adds.

As to the vision formats now being requested by broadcasters, Fujifilm reports that although HD is still in use, 90 percent of the new sales it is seeing are for its 4K box and ENG lenses. HDR is usually mentioned together with 4K; to suppress flare and accurately transmit the blacks in a video image, Fujifilm developed the HT-EBC coating, which was introduced in 2016.

New opticals have been designed to work with HDR technologies, including ARRI's Signature series. Peter Crithary comments that building lenses now means thinking beyond existing display technologies.

“Footage shot today will still be viable many years from now,” Crithary said. “We don’t know exactly how future audiences will view that footage but we know they will see it in higher resolution and dynamic range than we see today. HDR is here and 1,000 nit [the metric unit for brightness] displays in homes will become commonplace in a few years. UHD is available through most streaming services, 8K may be next. As displays become more immersive, we need lenses that complement that trend rather than fight against it.”

Ratcliffe observes that the growing popularity of 4K programming has confirmed the need for improved optics. “Older broadcast lenses designed for lower resolutions and smaller sensors will perform much worse than their modern counterparts,” he says. “Luckily the major lens brands creating broadcast-style lenses have been updating their line-ups with options for higher resolution acquisition. This also includes higher performance for the increased HDR spec, with improved resolving power and aberration control.”

Among its brand of lenses available, CVP offers Canon’s CN10 cine-servo lens, and Ratcliffe says that particular glass is a good example of how optics will develop.

“It improved the optical quality over the CN7 and gave us extra range with a longer tele end as well as a 1.5x extender, which also gives the lens full-frame coverage,” he said. “Optical improvements will also be key when virtual production becomes the norm.”

MORE VERSATILITY

Pfeifer is of the opinion that lenses will become increasingly versatile, allowing users to select the few that really suit their needs. “However, a wide range of lenses will be on the market or in development to meet the demands of the creative industry,” he comments. “We’re also seeing the mount really start to matter. Sony’s E-mount was designed to be used for both stills and moving pictures, with APS-C/Super 35mm and full-frame sensors.”

Lenses are both scientific and artistic, with a structure that can be defined by physics combined with less definable characteristics, something Crithary concludes will both play a role in future designs.

“Tangible and intangible optical quality will be equally important,” he says. “As audiences see better and better images, it will be imperative to figure out how to deliver images that are not just technically exceptional but aesthetically pleasing. The latter is the hard part because how does one define it?”

Despite the scientific principles available to describe the optical properties of lenses, they are more likely to be spoken of in terms that are less definable, although most people would recognise what was meant by “warm,” “soft” and “real.” In the end, “the look” is important and it is increasingly so in broadcasting. Which probably makes the lens even more essential than the thing to which it is attached. 

MELVILLE, N.Y.—Canon USA this week announced the CINE-SERVO 17-120 KLL/P1 0.8mm and 25-250mm KLL/PI 0.8mm cinema modification kits.

The lens modification kits can be installed at a Canon Factory Service Center by certified technicians who will remove the Drive Unit and install industry-standard 0.8mm ring gearing for focus, zoom and iris.

The modification enables users to integrate the lenses more seamlessly into any cinema-style production. Users can expect the same image quality and overall user experience of the original CINE-SERVO 17-120mm and CINE-SERVO 25-250mm cinema lenses, the company said.

The Canon CINE-SERVO 17-120mm and CINE-SERVO 25-250mm cinema lenses offer 4K optical performance. They use ultra-low dispersion glass and a large-diameter aspherical lens. Combined with Canon’s unique optical design technology, these components work to help correct color fringing and limit chromatic aberration during operation. The lenses feature Canon’s warm color science and an 11-blade aperture that produces a beautiful, smooth bokeh, it said.

The CINE-SERVO 25-250mm features a built-in extender that stretches the zoom range 375mm and allows for full-frame sensor coverage with only a stop of difference in light loss. Both compact and lightweight, the lenses were designed to be rugged and durable.  They are available in EF and PL mount. 

The kits are scheduled for immediate availability and have an estimated price of $1,100 for labor and parts. 

More information is on the company’s website.

SYDNEY—Australian rental house VA has purchased a full set of Fujifilm Fujinon Premista 19-45mm T2.9, 28-100mm T2.9 and 80-250mm T2.9-3.5 full-frame, wide-angle zoom lenses, the company said.

The lenses have been used locally on feature films “Three Thousand Years of Longing” and “Poker Face” and a 7-Eleven television commercial. 

“VA purchased these lenses because we needed to expand our rental inventory of high-quality full-frame lenses,” said Mike Vlack, VA preparation manager. “We have many sets of full-frame prime lenses, but there are very few high-quality full-frame cine lenses, such as the Premista, currently available. The Premista lenses are truly excellent.”

The Premista zooms are sharp and detailed across the full frame without being harsh, Vlack noted. 

“A nice round 13-blade iris renders out of focus areas smoothly and pleasingly and the minimum focus is close. They have very low distortion, very minimal focus breathing and the lenses are not too big and heavy with a convenient 114mm front outside diameter,” he said.

“This allows standard clamp-on matte boxes to be used, without resorting to larger matte boxes which slow down production. The Premistas also support the Zeiss eXtended Data System, which is becoming very useful for virtual production utilizing LED volumetric walls. The lenses are also very sturdy with high quality production and quality control of manufacture, so they are very reliable.”

More information is available on the company’s website. 

MELVILLE, N.Y.—Canon U.S.A. has announced the new XF605 4K UHD professional camcorder and the new 8K resolution 10×16 KAS S portable zoom lens for 8K broadcast cameras that feature a 1.25-inch sensor. 

The new XF-series professional camcorder is billed as offering broadcast-quality features in a compact and lightweight body. 

It has a 1.0-inch CMOS sensor and the ability to record 4K/60p/4:2:2/10-bit/HDR video to dual on-board SD card slots. Equipped with Canon’s Dual Pixel CMOS AF1, the XF605 achieves high-speed and high-accuracy focusing, and is the first XF-series model to include Eye Detection AF, as well as improved face and head detection, enabling more accurate and stable tracking of subjects. The new camcorder also includes new video transmission functionality, making it an ideal tool for broadcast journalists. 

Featuring a Canon L-Series lens with 15x zoom, 3-ring operation, a 1.0-inch CMOS sensor, and a DIGIC DV7 image processor, the XF605 allows for the capture of in-camera HDR video. Users also have the ability to leverage a high frame rate of up to 120 FPS when opting for Full HD recording. Canon Log 3 recording is also available, to provide additional color latitude.

Weighing more than 21 ounces less than the XF705, (which is more than a 25% reduction), the XF605’s compact body is also 10% shorter in both length and height and it provides professionals with a more intuitive user experience.

Using the newly released CTM2 mobile app for iOS, the XF605 can connect and transfer recorded video data via cable3 or wirelessly to compatible iOS devices and transfer proxy footage, audio, and metadata to servers at broadcast stations or other locations.  

The camcorder also features built-in Wi-Fi/Ethernet connectivity for Browser Remote, IP streaming, and FTP transfer. It is the first XF-series model to feature USB Video Class, allowing use as a webcam without the need for a third party HDMI to USB adapter.   

The Canon XF605 4K UHD Professional Camcorder is scheduled to available in mid-October 2021 for an estimated retail price of $4499.00*. 

The 8K resolution 10×16 KAS S is a new portable zoom lens for 8K broadcast cameras that feature a 1.25-inch sensor and is designed to tap into the growing demand for ultra-high-resolution video production equipment, especially in such fields as sports broadcasting and documentary filmmaking. 

The lens features a fast constant aperture of f/2.8 across the entire zoom range that spans 16mm at the wide end to 160mm at the telephoto end, a zoom magnification of 10x. 

This combination of aperture speed and zoom range is ideal for events such as sports and live broadcasting, which often involve frequent changes in focal length, the company said. 

The Canon 10×16 KAS S lens is equipped with lens elements such as fluorite, UD lenses, Hi-UD lenses1 and wide-diameter aspherical lenses that help to reduce chromatic aberrations, spherical aberrations and other effects that could diminish image quality. 

The lens also features a high-performance digital drive unit powered by the high-resolution 16-bit absolute value encoder digital drive unit that has a proven track record of use with 2/3-inch 4K broadcast zoom lenses. This makes possible high-precision position detection, which is vital for productions that incorporate virtual imaging systems. 

The Canon 10×16 KAS S 8K UHD portable zoom lens is scheduled to be available in late October 2021.

For more information about the new lens and camcorder visit usa.canon.com/provideo.

LOS ANGELES—Coming up in the broadcast world I learned on 2/3-inch sensor cameras. I remember making the transition into super 35 sensors and reveling in the world of cinematic images. I took my new super 35 camera to all my shoots for the directors and producers to see a side-by-side vs my 2/3-inch camera. It didn’t take long to convert clients to the new look.

What I did miss about the broadcast cameras was the range in zoom lenses. The larger a sensor, the harder it is to pack zoom range into a lens without adding massive size to the instrument. Fujinon introduced the Cabrio series to meet this need; I ordered one of the first 19-90s and still have the lens to this day. I shot countless sports features, endless handheld for doc-style work, and fell in love with Fujinon’s contrast, color palette and sharp images. In many ways the transition to super 35 and the Cabrio shaped my career.

PREMISTA ZOOMS

After adding a large format camera and primes to my equipment roster, I turned again to Fujinon for my zooms. With three lenses, the Premista series covers an enormous range of focal lengths—19 to 250mm at T2.9—delivering this flexibility with manageable-sized instruments that bring all that I need and have come to expect from Fujinon optics. The glass produces clean, stellar images with a range that doesn’t leave you wanting to punch in more or wishing you could be wider.  

We all find ourselves running out of setup time. I thought shooting larger productions would afford me the equipment, crew and resources to make shots perfect. While there is some truth to that, it’s funny that no matter the budget of the project, there will be times you have to roll before you are ready. 

One of the most important factors in maximizing your images when you are on minimal time is the optics you shoot on. The Premista has delivered beautiful images for me even when I’m left wishing I could refine a scene.

JUST THE RIGHT COVERAGE

On a recent virtual production project, the plan going in was to use primes. We were shooting on an LED volume with camera tracking and UnReal Engine driving the imagery. Shooting on an LED wall is a balance of interactive and traditional lighting, colors and lensing. The production had an ambitious shooting schedule with multiple virtual “locations,” which means art department changeovers, wardrobe, loading new 3D environments and so on. So our time to shoot out a scene with coverage was tight. I ended up shooting the entire project on the Premista 28-100, and that lens performed beautifully. 

The range gave me everything I needed for coverage. The images held their contrast shooting into the wall and the optics handled the large amount of light I used to create exterior looking scenes, with minimal need for lenses that would have added time to our tracking setups. 

The Premista series is rounded out with the telephoto 80-250mm, which offers beautiful compressed imagery, and the wide angle 19-45mm, which brings the same optical quality in compact enough size that it can be used on a gimbal. They are a beautiful additional to any camera system, large format or otherwise. l

Mark James is a DP whose work has been featured on a range of content from the Super Bowl to commercials. He founded 2nd Decade Productions in 2010, which produces broadcast and agency content. He can be contacted at MarkJamesDP.com.

For more information visit https://fujinoncinelens.com.

LEICESTER, U.K.—Flare is nothing new in filmmaking. Directors of photography use it all the time. While for many it’s simply a light reflection from the lens glass, it can become an additional element to the storytelling process.

Cooke Optics has two sets of anamorphic prime lenses (super 35mm and full frame) that have their standard coating. These lens sets are also both available with Cooke’s Special Flare (SF) coating. The lenses are exactly the same, except for the Special Flare coating… and that Special Flare coating is really special. 

I love the Special Flare. If you’ve never seen it or used it, you’re missing out on a great creative tool.

A FLARE FOR 'STAR TREK'

That special coating accentuates flares, bokeh and other anamorphic aberrations. Being able to use different light sources that create a relationship and interaction between the sets and the camera—and control the amount of flare—is one reason I’ve used the Special Flare coated lenses on both “Star Trek: Picard” and, more recently, on “Star Trek: Discovery” season 4, where I served as lead director of photography on both.

Since it’s “Star Trek,” there are technology-lit environments with LEDs and harder light sources: ships, stars, space gases, control surfaces, bright point sources that bloom and glow. I use these different practical sources to create layers of light and contrast that enhance emotional beats in the visual storytelling. It’s not in the viewer’s face, but the impact it delivers is not subtle. That is, unless you want it to be. 

While using the Special Flare lenses, I have always had great control over flare. If I want more flare, I just use a harder light. If I want less flare, I knock down the light until I have what I want.

That’s what made the Special Flare perfect for both “Star Trek: Picard” and “Star Trek: Discovery.” It’s a natural decision for the “Star Trek” universe. So natural, that independent of the work that I was doing with both full frame and Special Flare, my colleague and mentor, Glen Keenan, who is lead DP on the newest series “Star Trek: Strange New Worlds” also went with both Cooke Anamorphic/i Full Frame Plus SF and Anamorphic/i SF.

SEE THE DIFFERENCE

As I write this, you can watch “Star Trek: Picard” on Paramount+, where you can see the difference between the series open on a more naturally lit planet Earth and the transition to the more technological lighting of being in space. “Star Trek: Discovery” season 4 will premiere in late 2021, while Keenan’s Special Flare work on “Star Trek: Strange New Worlds” will be released in 2022. In addition, there are a number of other projects that have used Cooke’s Special Flare lenses that you can view at www.shotoncooke.com.

It’s not often that DPs get the opportunity to add to their creative toolkit. Typically, today it’s gadgets—things that the camera gets attached to or that attaches to the camera or lens. But Cooke’s Special Flare coating is part of the lens. It’s integrated and controllable. I hope that you’ll grow to love it as much as I do. l

Philip Lanyon is a multi-award-winning director of photography/ cinematographer working around the globe. With more than 30 years’ experience in the film and television industry, Lanyon works on commercials to feature films, documentaries to some of the largest television shows produced today. He can be reached at philiplanyon@mac.com.

For more information visit www.cookeoptics.com. 

VALHALLA, N.Y.— Fujifilm North America Corporation has announced that its Optical Devices Division will gradually launch a series of 17 Fujinon broadcast portable zoom lenses featuring the newly developed S10 digital drive unit.

The lenses are designed to meet the growing demand for robotic systems to streamline television production and to tap into the demand for more precise and responsive lenses that provide valuable positional zoom, focus, and iris data. 

The company noted that the 17 Fujinon broadcast zoom lenses equipped with the S10 were developed with cutting-edge mechatronics engineering technology and offer improved drive unit response to zoom and focus without delay even during pan and tilt operations. T

“The S10 is the most advanced servo drive ever built for handheld lenses,” said Thomas Fletcher, director of marketing, Optical Devices Division, Fujifilm North America Corporation. “Early feedback from robotic manufacturers after testing confirms that has confirmed that this new drive’s performance is comparable to, and in many cases exceeds, the performance of similar products from current market competitors.”  

S10-equipped lenses can also output positional information on zoom, focus, and iris, enabling high-precision position detection. This allows live video footage to be combined with virtual video. 

The enhanced zoom and focus response helps camera operators shoot video exactly as intended, even when using the zoom demand/focus demand units or shooting with a shoulder-mounted camera.

For more information on the lenses visit www.fujifilm.com/us/en/about/region

WASHINGTON—The inauguration of President Joe Biden on Jan. 20 was brought to viewers on ABC, CBS and NBC, but those three networks’ coverage was pooled together with the help of mobile production company Game Creek Video. In turn, Game Creek Video relied on a number of Canon lenses to capture the historic moments seen by millions of viewers.

Game Creek provided facilities, cameras and engineering support for the three major parts of the inauguration broadcast that were all used by ABC, CBS and NBC—NBC took care of the pool coverage, CBS the parade route coverage and ABC covered Lafayette Park.

Sony cameras outfitted with Canon lenses were used to capture the event, according to Steve Dolce, Game Creek Video’s project manager for the inauguration. The majority of the 30 cameras Game Creek used for the production were Sony 2500s, with a variety of Canon portable lenses being utilized.

Among the lenses was a UHD-Digisuper 122x (which captured the podium where the inaugural address was given), four UHD-Digisuper 100x lenses, 10-12 UHD-Digisuper 86x lenses, 10 HH WA Angles lenses and six 21-24x HH lenses.

The use of Canon lenses is part of Game Creek’s long established partnership with the brand.

“Game Creek and Canon have a great partnership,” said Dolce. “It is always a pleasure working with the folks at Canon and we have always been extremely pleased with their equipment in the field. Being a company that takes partnerships with its clients extremely seriously, the ability to cultivate the same kind of partnership with Canon, one of our key vendors, has been equally as rewarding.

"When the stakes are as high as they are for events like the inauguration, millions of people are depending on us to deliver that historical moment to their screens,” added Jason Taubman, senior vice president of Technology, Game Creek Video. “It really takes the pressure off to have a group like Canon in your corner. The shot of the inaugural address was seen around the world and Canon helped us capture it flawlessly. We are looking forward to many more years of working with Canon to make sure we provide the best product we can to our clients and their viewers."

SEATTLE—Two of the largest providers of professional camera lenses to the broadcast industry recently introduced new glass designed to improve the production of an increasing supply of 4K (and higher) resolution content.

FUJINON

One of the new lenses grew out of a Fujifilm box lens developed for NHK’s postponed 8K coverage of the Olympics for the Japan television market, according to Gordon Tubbs, vice president for broadcast and cinema products for Fujinon. These 8K cameras designed for the project use Super 35 single sensors and PL mount lenses.

“Our people thought about developing as long a box lens as was possible,” Tubbs said. “Most PL-mount motion picture lenses, including the ones we developed for NHK, were like a 5x1, 7x1 zoom. I mean, your iPhone can zoom twice as far as these extremely expensive lenses we were developing for NHK.

In response, the company developed a 20x 35mm box lens, Tubb said.

“Twenty doesn’t seem like much, because we make ENG lenses in 4K that are 24x, that are normal size hand-holdable lenses,” Tubbs said. “This lens will go from 35mm to 700mm, and then with an extender go out to 1,000. That’s unheard of in PL mounts.”

The result is a difference in size and weight than with most professional lenses, according to Tubbs.

“In order to do that, the lens is heavier and bigger than our 125 box lens for 2/3-inch chip cameras,” Tubbs. “It’s a 70 pound lens. You couldn’t fit it on your coffee table, it’s too big. All of that to get a 20:1 lens. So NHK bought a few of them.”

(Note: Several camera makers have introduced 8K, 2/3-inch, three-chip cameras that allow use of smaller 8K lenses.)

Tubbs added that the new lens had potential beyond NHK’s immediate needs.

“We looked at the lens and said ‘You know something? That’s got a PL mount on it; it’s got a cine mount on it. What’s to stop us from marketing that to people who are doing concerts?’ HBO wants that cine look for its concerts. If they’re going to use cine cameras, this could be their lens. It’s the only PL mount 20x 8K zoom lens in the world.”

He thinks there’s also a market for the 20x zoom in sports production, where many super slow-motion cameras are single sensor, PL mount. “The lens is so expensive the only thing they’ll do is rent it as they need it, which is why we’re concentrating on the rental companies,” Tubbs added.

REVISITING AUTOFOCUS 

More than a dozen years ago, broadcast lens makers introduced an autofocus feature on their HD lenses. But it never sold all that well.

Fast-forward to today, Tubbs said Fujifilm is revisiting autofocus.

“Focus is much more important in 4K because depth of field in 4K is actually shorter than HD, so there’s less in focus,” he said. “That will be true again when you shoot in 8K. And we know that the viewfinders on the cameras really aren’t that advanced to be able to really, precisely show if you’re in and out of focus.”

The technology for Fujifilm’s new autofocus system is called “phased detection” and is entirely new, according to Tubbs.

“It is much more accurate than the prior system, faster and it doesn’t overshoot,” he said. “The [old system] could sometimes go past focus and then come back real quick. It won’t do that. The other thing it can do is reach focus from a much further out of focus position. With [the old system], if you were considerably out of focus, if it was just a blur, you were looking at a fog bank, it wouldn’t find focus. Now this system can find focus even from that far out of focus.”

The autofocus feature is available on Fujifilm’s 4K 107x box zoom for about an additional $20,000.

Fujifilm also introduced a UA125X8 zoom ratio box lens last spring, the longest in the industry, according to Tubbs.

“This lens is not only the longest telephoto zoom lens, it’s got the longest zoom ratio at 125x, of any broadcast lens ever made,” he said. “It’s got the widest angle of any field lens, sports lens that was ever produced. It starts at 8mm and goes to 1,000mm, so with a 2x extender it goes out to 2,000mm.”

CANON

Canon has two tiers of 4K lenses, the difference being a function of the spec, according to Larry Thorpe, Canon USA’s national marketing executive.

“We tightened the specs on the upper level, and that costs more, of course,” Thorpe said. “The specs we talk about are sharpness across the image plane, tightening up on the lateral and longitudinal chromatic aberration. And then last but not least, doing justice to the new world of HDR, getting deep, rich blacks and good treatment of speculars in the lens.”

Thorpe said Canon discovered a gap between the two wide angle zooms in Canon’s upper level of 4K lenses. To develop the new lens to fit that gap, “we mobilized some of the latest of our technologies in lens design that we’ve been able to improve, along with more powerful simulation capabilities and manufacturing capabilities. We saw that we could slot in there a lens where we push both the wide angle and the telephoto end.”

The result is the CJ20ex5B 4K UHDxs, a 20x zoom that goes from 5mm to 100mm, (200mm with a 2X extender.)

“This baby comes in at just under 5 pounds, [4.9], is 9.9 inches long with a filter diameter of 127mm,” Thorpe said. “And it has the latest in our digital drive unit that gives you the capability of broadcast controllers controlling zoom and focus. It also has an output for virtual, giving you the 16 bit information on the virtual application. It has a range extender of two times. The horizontal width that you get, the angle of zoom horizontally that you get at 5mm is 87.7 degrees.”

Thorpe emphasized the importance of HDR to the development of Canon’s lenses.

“We pay high attention to dynamic range,” he said. “We have the latest in optical coatings to ensure we get a deep, rich black, which is essential to good HDR. And then the choice of glass materials allows us to properly handle speculars.

With its small size and weight, the new lens has applications with a portable camera. “But where it really shines for that focal range is in a lot of coverage of small venue sporting arenas, probably basketball being the best illustration,” Thorpe said. “And because of size, weight and focal range it has application for SkyCams.”

COMPACT AND LIGHTWEIGHT

Last spring Canon introduced the CJ18ex7.6B KASE S, a new addition to its UHDgc series of 4K UHD broadcast portable zoom lenses. The new lens is designed to be used with 4K UHD broadcast cameras with 2/3-inch sensors. It has the same optical specifications as the existing CJ18ex7.6B IRSE/IASE except it has no optical extender. The lens features a zoom range of 7.6-137mm and weighs just 3.7 pounds.

The 4K UHD imaging quality is delivered at a price point that matches well with the many lower-cost 4K cameras in the market. By eliminating the optical range extender, the lens maintains a compact and lightweight design to meet the versatile and ever-changing needs of a broad range of video productions, including documentaries, sports, events and news coverage. Additionally, the lens is compatible with the new Canon ZDJ-G01 Zoom Demand and FDJ-G01 Focus Demand accessories that provide operators with enhanced functionality and operational control of the lens.

The new portable zoom lens utilizes Canon’s proprietary optical design technology, incorporating materials such as fluorite and Ultra-Low Dispersion (UD) glass. In addition, the lens supports the wide color gamut approved by the ITU-R BT.2020 UHD broadcasting standard, essential to HDR imaging. The ergonomics and digital servo operational controls of the lens are similar to Canon’s current lineup of portable zoom lenses, providing users with maximum mobility in a variety of shooting situations.

CAPE CANAVERAL, Fla.—As a freelancer who owns his own gear, I have to evolve with the times. In 2013, I could see the industry’s movement towards 4K, 10-bit 4:2:2 formats and S-LOG—features not available on my Sony PDW-F800, or any other 2/3-inch camera. It was a bittersweet day when I sold my 2/3-inch F800 and replaced it with Sony’s PMW-F55.

The switch to the F55 also meant giving up my Fujinon 22x zoom lens because the F55 had a super-35mm sensor.

Fortunately, Sony has started building 2/3-inch 4K ENG cameras with native B4 lens mounts and recently released the PXW-Z750, the world’s first 2/3-inch 4K camera with three CMOS sensors, global shutter, S-LOG, 10-bit 4:2:2 codecs and a native B4 lens mount. This is everything I wanted in 2013, but the technology didn’t exist at the time. So, I made the decision to retire my F55 and switch to a Z750. The question was, what lens should I use?

A TOUGH CHOICE

I’ve been a loyal Fujinon owner/operator since my first 2/3-inch camera in 1984. I’ve had to operate other brands of lenses many times, but I never felt they performed as well as my Fujinon lenses, so there was no question what lens I would use for my Z750. I zeroed in on Fujinon’s UA lenses, the most suitable for 4K productions. I found the image quality of all of the UA lenses was phenomenal, so my decision really came down to the focal length and zoom range.

I narrowed my choices to the UA18x5.5BERD and the UA24x7.8BERD. Fortunately, I got to test drive both, but it was hard to choose—both lenses produce stunning images, are tack sharp, have smooth focusing, excellent servo zooms and fast apertures.

I’m primarily a long-lens shooter of sports, wildlife, aerospace and other subjects that benefit from having a long lens, so the 24x was first on my list. According to Fujinon, the UA24x7.8 zoom is their smallest and lightest 4K HDR broadcast lens, and it did not disappoint. The 24x7.8mm focal length is roughly the equivalent to a 20mm to 468mm zoom on a super-35mm camera. Plus, like all ENG lenses, it has a built-in 2x extender that doubles the equivalent focal length to 935mm.

The 18x5.5—about the same size and weight as the 24x—is ideally suited for handheld shooting. I have never used a wide-angle lens that I liked better than this one. It made the Z750 feel perfectly balanced on my shoulder, and I’m sure I could shoot for hours with no fatigue. One thing I dislike about other wide-angle lenses is the barrel distortion you see in pans and tilts, but I didn’t see anything objectionable on this lens. I think the 18x zoom would be more than adequate for most shooting requirements, especially when you factor in the 2x extender. Fujinon has done an amazing job of improving extender performance.

Ultimately, I chose the UA24x7.8BERD because of the longer focal length. It feels great to be working again with a 2/3-inch camera and a stunning Fujinon lens. If you’ve grown weary of big sensor cameras and their limited lens choices, I suggest taking a look at how the 2/3-inch ENG world has evolved. I think you’ll be pleasantly surprised.

Doug Jensen is the owner of Vortex Media and has more than 40 years’ experience working in all facets of the television and video production industry. He is on the faculty at Maine Media Workshops and has produced more than two-dozen independent master class training videos and camcorder field guides. He can be contacted at www.DougJensen.com.

For additional information, visit www.fujifi lmusa.com.

PITTSBURGH—NEP Group has added Canon UHD-DIGISUPER 111 and UHD-DIGISUPER 122 4K field box zoom lenses to meet the growing demand for high-quality TV broadcast content, Canon said today.

"We strive to stay up to date on the latest, cutting-edge broadcast technology, and our long-term collaboration with partners like Canon makes this possible," said Glen Levine, president of NEP U.S. Broadcast Services. "We've enjoyed a great relationship with Canon over the years, and we're excited to add these lenses to our resources as we ramp up support of our clients post-COVID-19."

Canon's UHD-DIGISUPER 122 4K field box zoom broadcast lens offers a focal range from 8.2 mm at the wide end to 1,000 mm at the telephoto end, for a zoom ratio of 122x. The UHD-DIGISUPER 111 has a 111x zoom ratio and a focal-length range of 8.3 mm to 925 mm, the company said.

Both lenses offer the ability to record high-resolution and high-contrast video from the center to peripheral areas of the imaging field, it said.

The lenses are the first Canon 4K field box zoom lenses to feature the company’s proprietary Air Sphere Coating (ASC), resulting in reduced flaring and ghosting compared to previous lens coatings. ASC coating enhances the High Dynamic Range (HDR) of the lenses, providing more natural and vivid tonality. New optical coatings also help to shape spectral response to enhance Wide Color Gamut (WCG), Canon said.

"Canon's relationship with NEP goes back many years, and it's a source of great pride that such a prestigious production company continues to rely on Canon broadcast lenses to deliver major events to the world," said Tatsuro "Tony" Kano,executive vice president and general manager of Canon U.S.A.'s Imaging Technologies & Communications Group. "As live sports begin to return, we hope that NEP's work will help to bring back a sense of normalcy to everyday life."

More information is available on the Canon website.