As promised, I told you that there would be a Part ll of our 2020 Virtual NAB coverage. So here it is! There is so much going on that I (almost) don’t know where to start except to add one thing – I can tell you that all of the companies that I deal with have really stepped up their game. Whether it is online tutorials, webinars, or virtual press conferences, they are making their presence known.
I don’t expect the “news” to slow down anytime soon, so please make sure to keep checking back often for updates here on NABHUB or ProductionHUB.com, or both! We’ve got you covered so let’s dive right in!
Right out of the gate Canon was firing on all cylinders with some exciting product announcements. First up was the EOS C300 Mark III. For a minute I thought the presenter was holding the C500 but no, the C300MKlll is sharing the same body! The next-generation Super 35mm features a new Dual Gain Output (DGO) sensor and, like the full-frame EOS C500 Mark II digital cinema camera employs a modular design and an interchangeable lens mount optional accessory.
The new 4K Super 35mm DGO imaging system captures high dynamic range content by reading out each pixel through two separate gains. One gain prioritizes saturation in highlight areas while the other suppresses noise in the shadows resulting in an image with up to 16+ stops of dynamic range, clean shadows and highlights in up to 4K/60p. In 2K recording mode, the EOS C300 Mark III camera features recording speeds up to 180p.
Equipped with Canon’s video imaging processor, the DIGIC DV 7, the camera achieves more efficient recording of 4K and HDR and can process high-speed video recording, including 4K at up to 120p.
The EOS C300 Mark III camera utilizes Cinema RAW Light, a tool that helps cut the data size of a file to about one-third to one-fifth of a similar Cinema RAW file, without losing grading flexibility. In addition to being able to record 4K and 2K RAW data internally without using an external recorder, the camera also supports XF-AVC (with a choice of Intra or LongGOP.
Included with the camera are 13 accessories, such as a 4.3-inch LCD monitor and the GR-V1 grip.
Additional features of the Canon EOS C300 Mark III camera include:
- 4K DCI/UHD up to 120 fps and 2K/HD up to 180 fps — with 4:2:2 10-bit XF-AVC recording
- 2 CFexpress media card slots
- Compatibility with EF and PL lenses (with optional mount kit) as well as anamorphic and spherical lenses
- Dual Pixel CMOS AF, up to 120fps
- 5-axis electronic image stabilization, which can be utilized even without the use of a lens with IS functionally
- Support for Canon Log 2 and 3
- Four-channel recording that supports 4 XLR inputs with the use of the EU-V2 expansion unit
- User LUT allowing users to upload and apply custom LUTs
But Canon is not done. Along with the C300 Mklll announcement, Canon rolled out some exciting lens news as well. The CINE-SERVO 25-250mm T2.95-3.95 (CN10x25 IAS S), a new CINE-SERVO cinema lens designed for use with 4K cameras. The new lens, which is available in both EF and PL mount, features 10x optical zoom, a built-in 1.5x extender and a powerful and removable servo motor drive unit, providing shoulder operation for ENG/EFP and documentary style shooters.
The lens can be utilized on cameras with a Super 35mm sensor. While the 10x zoom covers a focal range of 25-250mm, the built-in extender stretches that range to 375mm with the added benefit of allowing for full-frame sensor coverage with only a one-stop difference in light loss.
The EF mount version of the lens allows for the utilization of Canon’s Dual Pixel CMOS AF, which provides users with AF operation and high-speed tracking performance. The PL mount version supports Cooke/i Technology. In addition, like the 17-120mm, the 25-250mm lens also features a macro function to enable close-up shooting.
Canon also unveiled the CJ18ex7.6B KASE S UHDgc.
The new lens, which is designed to be, used with 4K UHD broadcast cameras that have 2/3-inch sensors, has the same optical specifications as the existing CJ18ex7.6B IRSE/IASE with the exception of having an optical extender while still delivering 4K UHD. By eliminating the optical range extender, the lens maintains a compact and lightweight design. Additionally, the lens is compatible with the new Canon ZDJ-G01 Zoom Demand and FDJ-G01 Focus Demand accessories.
Lastly, Canon also shared additional specifications of the highly anticipated Canon EOS R5 full-frame mirrorless camera currently in development. I think that this could make for some very interesting in the 8K world. If you are currently shooting 8K might not you want an 8K “B” camera? Or maybe make this your “A” camera? I will be following this one closely. The very newly released information reveals further details on the 8K video recording capability, IBIS and more.
Check it out:
- 8K RAW internal video recording up to 29.97 fps
- 8K internal video recording up to 29.97 fps in 4:2:2 10-bit Canon Log (H.265)/4:2:2 10-bit HDR PQ (H.265).
- 4K internal video recording up to 119.88 fps in 4:2:2 10-bit Canon Log (H.265)/4:2:2 10-bit HDR PQ (H.265). 4K external recording is also available up to 59.94 fps.
- No crop 8K and 4K video capture using the full-width of the sensor.*
- Dual Pixel CMOS AF available in all 8K and 4K recording modes.
- Canon Log available in 8K and 4K internal recording modes.
- The EOS R5 will feature 5-axis In-Body Image Stabilization, which works in conjunction with Optical IS equipped with many of the RF and EF lenses.
- Dual-card slots: 1x CFexpress and 1x SD UHS-II.
Canon has also announced some other interesting firmware and technology news but I’m already running out of room and we are just warming up!
You know sometimes when you are on a demanding sports productions, it is time to bring out the big boys.
FUJIFILM Announces the Development of Two Additional Fujinon 8K Broadcast Lenses
FUJIFILM North America Corporation has developed two new 8K broadcast zoom lenses, both capable of producing 8K ultra-high-definition images. The FUJINON HP66X15.2ESM (HP66X15.2) box lens reaches the world’s longest 8K focal length of 1,000mm while also featuring the world’s highest zoom magnification of 66x*1. The FUJINON HP12X7.6ERD (HP12X7.6) is a portable lens covering a range of 7.6mm to 91mm, the world’s widest 8K angle of view at 93.3 degrees. The lenses are due to be released in the summer of 2020 and the fall of 2020, respectively.
The HP66X15.2 and HP12X7.6 ultra-high-definition (UHD) lenses feature bayonet mounts targeting three 1.25” sensors for ultra-high 8K resolution. In addition to using aspherical and fluorite elements to control various types of aberration, both lenses have a nine-blade aperture for natural bokeh and are equipped with 16-bit encoders. The HP66X15.2 also features optical image stabilization mechanism to make 8K production at long focal lengths steady. Both lenses can be used with the latest generation of focus accessories to achieve the advanced level of focusing precision that 8K demands.
The company’s latest offering is the GY-HM250 Series cameras that stream directly to popular platforms, like Facebook, YouTube, and Twitch. Collaboration with the Facebook Live technology team enables users to log in to their FB account directly from the camera and publish live streams. with a push of the button. Additionally, the company’s PTZ Series can be used to broadcast from a distance as it provides full robotic, remote operation. These cameras enable users to control the camera from a distant location while streaming a broadcast, class session or church service.
The KY-PZ100 supports Zixi and SMPTE 2022 QoS. The latest firmware adds the RTMPS protocol for live streaming to Facebook. The JVC GY-HC500 Series has the companies upgraded communications engine. It includes the company’s most advanced streaming solutions available. The HC500 Series camcorders offer users error correction (QoS)technologies Zixi and SRT. For broadcasters, educators and houses of worship looking to keep a unified brand identity, the on-board graphics overlay option is available. In addition to incorporating all the features of JVC’s standard cameras, the 500 Series also boasts return video and IFB capabilities. These are also fully capable production camcorders, with 4K recording in the Apple ProRes format. These advanced features make the camcorders ideal for both live TV broadcasts as well as remote news production.
Munich – Since its introduction, Stellar—ARRI’s lighting control app—has paved a new way for lighting control. Complete with a highly intuitive user interface for advanced network configuration and management, With Stellar 2, ARRI has taken the next step forward. Third-party products are now able to be controlled with Stellar 2. Other features, such as grouping, have become much more convenient making setups faster and more flexible. Control of third-party luminaires Stellar 2 is ready to control luminaires from other manufacturers including Litegear, Astera, and Kino Flo. A set of generic dimmers can even be set up to work with tungsten lights (on a DMX dimmer). With Stellar 2, the correct DMX addresses can be assigned to the luminaires in only a couple of steps. Swap out fixtures If any fixture needs to be swapped out, possibly due to malfunction, it can be easily exchanged without affecting the setup. A re-scan will detect it if the fixture has not been in your setup before.
Grouping of different CCT ranges With Stellar 2, it is now possible to group fixtures with different CCT ranges. The fixture with the smallest range takes precedence while all the other ranges are cropped.
Intensity Not 100%, not 20%, 0%Stellar 2 is able to accommodate a variety of unique requirements. Apply your personal value as the default intensity by simply storing it as a favorite in the app settings. The intensity will also remain at the same level throughout all modes. Additional fixture data: If a fixture can provide these RDM functionalities, temperature and mode information will be displayed in the fixture setups.
In Stellar 2, several smaller enhancements have been introduced as well including a trial phase expiry warning, smoother looks application when no color mode change is necessary, improved connectivity handling, presets that apply on different fixtures, and minor usability, layout, and stability improvements.
For More information about Stellar 2 and its new features: www.arri.com/stellar.
Every day manufacturers are releasing new product news and updates. Right now we are just scratching the surface and I know there will be a lot more to follow. Dare I say 2020 Virtual NAB Part lll? Count on it!