by andrew yeo

TOKYO – The big ‘ wow ’ factor at Inter BEE 2014 was certainly the screening of an 8K3D video by NHK ( Nippon Hoso Kyokai ). Having developed the world ’ s first 133-mega pixel 8K image sensor that is capable of shooting fullresolution 8K video by a single sensor , NHK stunned visitors with crystal-clear 8K images in threedimension .

While it continues to push 8K development with the 2020 Tokyo Summer Olympics in mind , many of the broadcast professionals whom APB spoke to at Makuhari Messe , the exhibition venue , felt 8K — especially 8K3D — would be more suitable for IMAX theatres .

Broadcasters in Asia-Pacific , while duly impressed , were more concerned about sourcing equipment for HD and Ultra HD production . Realising this , exhibitors were busy wooing the 37,959 visitors during the three-day event with a wide range of 4K solutions .

Hiroyuki Takahama of Professional Solutions Asia Pacific , Sony Corporation of Hong Kong Limited , said : “ We are putting great efforts into 4K products and technologies that cover from shooting to viewing .

“ As Sony has proven at the 2013 FIFA Confederations Cup and 2014 World Cup , 4K has become a reality , including the workflow and having reached the level of actual implementation .

“ In the near future , we expect this will lead to 4K broadcasting .”

Takahama added that Sony is now actively promoting 4K applications , utilising the collective power of the many assets under the Sony Group of companies .

At its booth , Sony was displaying its flagship F65RS , the company ’ s CineAlta premium 4K camera , as well as the PXW-FS7 , an easy-to-carry 4K XDCam costing less than US $ 10,000 . There was also a line-up of 4K-compatible switchers , including the 3G-ready MVS-8000X , and its 4K monitor BVM-X300 would be available next month .

Although Hitachi Kokusai Electric has been developing jointly with NHK next-generation products such as 8K cameras , it chose to highlight its SK-UHD4000 , a broad-

cast 4K Ultra HDTV camera system that uses 2 / 3-inch B4 mount lenses of conventional HDTV cameras .

Eiji Ito , manager , Sales Management Center ( Asia & Oceania ), Global Business Department , Hitachi , said : “ The SK-UHD4000 allows broadcasters to continue using existing lenses .

“ The camera comes with new 2 / 3-inch MOS sensors , allowing it to acquire video images without smear , high sensitivity and resolution while using less power .”

The use of standard HDTV lenses for 4K capture is indeed a boon to broadcasters with limited budgets .

Hitachi also unveiled its SK- HD1300 portable HDTV Studio cum EFP camera at the show . The top-of-the-line camera can capture outstanding images leveraging its 1080-line progressive MOS imagers .

The Ikegami HDK-97ARRI , which won an IABM award , attracted much attention as some

Left : Although Hitachi Kokusai Electric has been developing jointly with NHK nextgeneration products such as 8K cameras , it chose to highlight its SK-UHD4000 a broadcast 4K Ultra HDTV camera system , which according to Hitachi ’ s Eiji Ito “ allows broadcasters to continue using existing lenses ”.

Below : Hiroyuki Takahama of Sony Corporation of Hong Kong Limited : “ 4K has become a reality , including the workflow and having reached the level of actual implementation .” Sony ( left ) is actively promoting 4K applications , utilising the collective power of the many assets under the Sony Group of companies .

visitors were looking for a versatile broadcast-style production camera with digital cinema picture characteristics .

According to IABM , as the HDK-97ARRI employs a largeformat sensor in multiple camera operation , the result is a “ best of both worlds ” image acquisition system ideal for use in multi- camera studio and field applications , including conventional broadcast camera operation and classic video operator control of multiple cameras .

“ And now , it can be upconverted into a 4K camera ,” smiled Naoki Kashimura , director of the Board , Marketing , Product Strategy & Development , Global Business Promotion , Ikegami .

Kashimura also drew attention to Ikegami ’ s new Unicam HD multiformat camera , the HC-HD300 . “ Our newly developed fibre system makes the camera a cost-effective studio and field solution ; with snap-on digital recorders , it can be

used as an ENG camera .” He added : “ It ’ s good value for money .”

At the Panasonic booth was the impressive Varicam 35 with its wide colour gamut and amazing latitude — 14 + stops . Leveraging its field angle and field depth of the PL lens , the Varicam records video in 4K resolution .

In addition , it is able to simultaneously record master and dailies for offline editing and previewing as it has a double-recorder and two codecs . This dual-recording function facilitates the production process , linking up with network media and thus ushering in nextgeneration workflows .

To meet the new needs of broadcast workflows for the networking age , Panasonic has produced the AJ-PX5000G . It comes with microP2 card slots , in addition to the conventional P2 card slots ; thus , it reduces media costs . And with a 4G connection , proxy files can be transferred to a network server , thereby contributing to a smoother ENG workflow based on networking and IT operation .

Creating a stir at Inter BEE ’ s Hall 6 this year was the RED Dragon .

Above : Creating a stir at Inter BEE ’ s Hall 6 this year was the RED Dragon . Boasting over 19 megapixels , the 6K Dragon sensor takes both Epic and Scarlet to the next level — further blurring the line between motion and still cameras .

Left : Ikegami ’ s Naoki Kashimura : “ Our newly developed fibre system makes the HC-HD300 a cost-effective studio and field solution ; with snap-on digital recorders , it can be used as an ENG camera . It ’ s good value for money .”

Whether you are a broadcaster , cinematographer or photographer , the RED was capable of catching your attention .

Boasting more than 19 megapixels , the 6K Dragon sensor takes both Epic and Scarlet to the next level — further blurring the line between motion and still cameras .

Visitors could see for themselves the RED ’ s latest broadcast solu tion . Compatible with both the Epic Dragon and Scarlet Dragon cameras , RED ’ s 4K broadcast module allows you to record at up to 6K resolution while broadcasting in 4K and / or HD .

Also on display was the RED 3-Axis Lens Control System , a turnkey wireless lens control kit for driving focus , iris and zoom .

To cater to the array of new 4K camera systems , Shotoku highlighted its TP500 , a compact and lightweight pneumatic pedestal supporting payloads of up to 55kg .

Ken Takahashi , International Sales Manager , Broadcast Sales Division , Shotoku , said : “ The TP500 ’ s robust modular design makes it easy to dismantle for multilocation use , such as studio , OB or event production .”