Broadcast Beat Magazine September, 2015 - Page 107


Vantrix, a global provider of media optimization and delivery solutions to video and mobile service providers, announced today that it will be showcasing the world’s first demo of live 360° broadcast video using a 6K single panomorph lens on C360’s broadcast camera system. This demo, along with live HD immersive 360° videos streamed in real-time on TVs, VR head-mounted displays and mobile devices, will be featured at IBC 2015.

One appreciated feature of these lenses is their ‘non-breathing’, as Los Angeles camera hire company Keslow Camera’s Dennis McDonald comments: “These lenses do not breathe; with other lenses the image may shift that critical bit when you zoom in and out. But with Fujinon, there’s no image shift at all.” In 2012, on the back of the success of the HK-Series, Fujinon launched the 4K-class ZK-Series zooms, which were much lighter in weight. These were the world’s first PL-mount cine lenses to incorporate a detachable full-servo 16-bit drive unit, enabling broadcast-style shooting techniques and making them a popular choice for handheld movie work.

Both the HK and ZK lens series have since played a major role in 4K test broadcasts on various global sporting events including the Confederation Cup and last year’s World Cup. Now, with the demand for 4K video content surgin, other regional and global broadcasters are likely to speed up their plans for migration to the 4K format. At the moment the broadcasting industry still predominantly uses SD or HD cameras equipped with 2/3-inch sensors (albeit now including 4K models such as the recently announced Sony HDC-4300, Panasonic VariCams, Ikegami 4K Unicam, Grass Valley LDX86 and Hitachi SK-UHD4000), all requiring compatible high- resolution broadcast lenses with a high dynamic range that can deliver advanced 4K UHD optical performance. Fujinon is responding to this need, with its new line-up of 2/3- inch 4K U-HDTV broadcast lenses. Building on decades of development and enhanced by newly adapted manufacturing methods, an ideal configuration and positioning of lens elements has been formulated while higher resolution is attained by nano-level precision polishing of special aspherical lens elements.

The relative contrast is given by the absolute value of the optical transfer function (OTF), a function commonly referred to as the modulation transfer function (MTF). While optical resolution, as commonly used with reference to camera systems, describes only the number of pixels in an image, and hence the potential to show fine detail, the transfer function describes the ability of adjacent pixels to change from black to white in response to patterns of varying spatial frequency, and hence the actual capability to show fine detail, whether with full or reduced contrast.

An image reproduced with an optical transfer function that ‘rolls off’ at high spatial frequencies will appear ‘blurred’ in everyday language. A perfect lens system will provide a high contrast projection without shifting the periodic pattern; hence, the OTF is identical to the MTF. Typically the contrast will reduce gradually towards zero at a point defined by the resolution of the optics. In addition the UA-Series has integrated 16-bit encoders that provide high-resolution lens data output including extremely accurate zoom, iris and focus data. This capability and interface promise enhanced compatibility with virtual systems for composing CG with live broadcast images.

Visit Fujifilm at Hall 11, Stand C20

With the full-scale shift to 4K broadcasting on the horizon, Fujinon, along with other manufacturers, is looking to deliver next-generation products to capture and transmit broadcast TV productions to audiences around the world. In 2009, the HK- Series cine zoom lenses with 8K-class optical performance were first introduced. These have since become popular tools in major movie productions worldwide.


IBC Issue September 2015