4K UHD will form the central element of Ikegami’s exhibit at IBC2016. Making their IBC debut on stand 12.A31 will be the 4K-native 2/3 inch UHK-430 portable broadcast camera and the HQLM-3120W 31 inch monitor. Also on display will be the revolutionary new HDL-F3000 multi-format ultra-low-light camera and the new MCP-300 Network Master Control Panel. Established in September 1946, the company also celebrates its 70th anniversary at IBC2016.
4K resolution and high dynamic range have become important issues throughout the broadcast media industry as content producers and delivery channels plan their investment strategy for the coming five to 10 years. The Ikegami UHK-430 portable broadcast camera incorporates three newly-developed 4K-native 2/3 inch 8 megapixel CMOS sensors which provide full 3840 x 2160 ultra-high definition resolution plus the depth of field required for studio and outdoor production. The camera delivers four times more image detail than high definition and has a color depth of 10 bits per pixel instead of the current limit of 8 bits per pixel. The UHK-430 incorporates a B4 bayonet mount compatible with 2/3 inch HD lenses.
Two-piece construction allows the sensor and lens head to be detached as a compact unit for easy deployment on support devices such as long-reach manually-controlled camera poles. In this mode, the head can be operated up to 50 metres from the camera body. Supporting peripherals now available or planned for the UHK-430 include a high frame-rate head, 4K Super 35mm head, operating control panels, viewfinders and base stations. An optional SE-U430 expander allows large studio or OB lenses to be attached quickly to the camera for fast and easy deployment.
At the heart of the UHK-430 is a new processor, the AXII, reducing power consumption and delivering a wide range of features including 16-axis color correction and new focus-assist for 4K and HD video modes. The AXII also provides the processing for Ikegami’s newly developed i-Log transfer characteristic which delivers high contrast for a wider dynamic range. This allows more image information to be retained for greater headroom and color grading. The ITU-R BT.2020 extended color space specification is supported in 4K mode. BT.709 color space is supported in both 4K and HD modes.
Ikegami viewfinders available for the UHK-430 include the 7.4-inch OLED VFE741D, the 7-inch 1920 x 1080 resolution LCD VFL701D LCD and the 2-inch portable LCD VFL201D. All three include a serial digital interface for integrated camera and viewfinder menu control.
The companion Ikegami CCU-430 camera control unit enables easy migration from HD to 4K live production. Features include switchable 4 x 3G-SDI 4K output as well as HD output. Optional plug-in boards for 12G-SDI and video-over-IP interfaces will be introduced in the coming months.
A built-in 40 gigabits per second optical transceiver delivers full bandwidth 4K RGB 4:4:4 component channels from camera to CCU, allowing very high quality chroma keying.
Dual HD outputs are provided for teleprompt and talent monitor plus return video lines from studio to viewfinder. The UHK-430 also has a Gigabit Ethernet data port to allow networked control.
HQLM-3120W 31 inch 4K Broadcast Quality Monitor
A major addition to the Ikegami range of broadcast quality picture monitors, the HQLM-3120W is designed for use as a full 4K master reference monitor in television production studios, postproduction suites, master control rooms and playout centres. It employs an LED-illuminated 31.1 inch pixel LCD panel with full 4096 x 2160 resolution and 10-bit processing depth. This has a wide viewing angle allowing critical content evaluation within horizontal or vertical viewing angles of up to 178 degrees.
Other performance parameters include high contrast ratio (1450:1) and a wide color gamut, meeting the ITU-R BT.2020 standard specified for broadcast quality programme production and international programme distribution.
A 4K signal source can be connected to the HQLM-3120W via four 3G-SDI inputs (square division or two-sample interleave). Also provided are 12G-SDI 4K inputs plus a 3G/HD-SDI input and an HDMI input. A USB port and minijack stereo headphone output are located on the front panel.
In addition to its picture monitoring capabilities, the HQLM-3120W is equipped to operate as a waveform monitor and vectorscope. It can also display vertical-interval timecode, eight channel SDI-embedded audio level and closed-caption subtitles.
HDL-F3000 Multi-Format Ultra-Low-Light Camera
Ikegami has chosen IBC2016 as the launch venue for the revolutionary HDL-F3000 multi-format ultra-low-light camera. Capable of operating at illumination levels down to starlight, the HDL-F3000 produces high quality color video under an extremely wide range of night or daytime conditions. Image adjustment capabilities include haze removal, backlight correction and digital zoom.
The camera head measures a compact 100 x 123 x 80 mm WHD and weighs only 1 kg, making it ideal for a wide range of ground-based or airborne gyro-mounted applications. It employs three 2/3 inch 2.6 million pixel MOS sensors in RGB prism configuration to achieve 1,000 television lines horizontal resolution.
Minimum illumination level in standard operating mode is 0.0068 lux delivering 64 dB signal to noise ratio or higher in 1080/59.94i, 1080/50i, 1080/29.97psF, 1080/25psF, 720/59.94p, 720/50p. With frame accumulation switched on, the sensitivity can be increased to 0.000057 lux. Integration times are selectable across an 11-position range from 2 seconds to 1/30 second. A BTA S-1005B detachable lens mount included.
The HDL-F3000 feeds a compact control unit measuring 120 x 105 x 180 mm WHD and weighing 1.5 kg. This provides access to a wide range of features including a motorised optical neutral density filter (100/25/6,2/1.6%), electrical color filter (3200/4300/6300/8000K), adjustable gain (72 dB down to -6 dB), adjustable gamma (off/0.35/0.4/0.45) and x1.1 to x10 digital zoom. Shutter speed can be selected in eight increments from 1/100 and 1/10000.
Incorporated in the CCU are a switch-selectable color bar generator, operating menu access control, external sync input (HD/SD), two HD-SDI outputs, power input (+11 to +16 volts DC), control port and camera head interface. Camera head and CCU can be up to 30 metres distant. Power consumption is approximately 9.8 watts (camera head) and 23 watts (CCU).
MCP-300 Network Master Control Panel
The MCP-300 is a newly designed network master control panel for use not only with Ikegami’s conventional ICCP control and Arcnet based control but also under Ethernet based control. It allows simultaneous master control of up to 10 cameras. Up to 100 source cameras can be selected (10 cameras x 10 groups). The MCP-300 also supports Powering over Ethernet, so a separate power supply is not necessary.
Eleanor Adds Director Candice Vernon To Its Roster For Spots and Branded Content
Director Candice Vernon has joined production house Eleanor for U.S. representation spanning commercials and branded content. She has already wrapped several jobs at Eleanor, which waited to announce her until they had a body of work together.
Via Eleanor, Vernon made history as the first Black director on a Febreze commercial. The “Small Spaces” campaign marks a major departure from Febreze’s typical blue-and-white world. The home of the “Revolving Door” commercial is a beautiful array of bold sunset hues, African prints, and African art.
Vernon said, “I asked myself, what feels right to me? What feels new? I wanted to bring an essence of not just Black Americans but the full diaspora. I wanted to make a statement that we’re not a monolith.”
Following the success of the “Small Spaces” campaign, Febreze brought Vernon back for a comedy-infused trifecta exploring the hilarious situations that call for an air freshening hero.
Febreze Brand VP Angelica Matthews said, “About two years ago, we realized the consumers that were the most loyal to Febreze were the African American consumers. And the more we learned, the more we realized the richness that we were really missing. So we said we have to go beyond just Black casting, we need to get Black directors that truly understand the culture that truly understand how to bring authentic performances out on screen. We really looked around the industry and noticed there’s actually a shortage of African American directors who have experience doing commercials. When we all saw Candice’s reel, we could all tell the passion for the craft, passion for really trying to help us from where we are to where we’re trying to go.”
Vernon brings a unique lens to... Read More