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technology is currently the right choice for sports and other 4K productions, because of its reliability, ease of operation and industry standard interfacing,” he says. “12G and IP each have their own advantages, so it’s important that we should offer production solutions that are appropriate to the user’s situation, purpose and requirements.” IBC will see FOR-A showcase its 12G product line up including video mixers, matrix switchers, video/audio processors, multi viewers, and the company’s modular series. The IP/SDI hybrid system with orchestration software will be introduced at the show, along with an introduction to FOR-A’s remote production solution.
FUJINON TV and Cine Lenses MARC HORNER
MARKETING MANAGER
“Glass to glass” is the industry term for the movement of a captured image to the viewer’s screen — and Fujifilm, inevitably, plays a key role in the transition.
“4K and HDR continue to grow and become more popular and that obviously has a large effect on workflows,” notes Marc Horner. “Our lenses are the first part of that workflow — transmitting the original image onto the camera’s sensor. Crystal clear and crisp 4K image quality is achieved by using optical simulation technologies to reduce every kind of aberration to unprecedented low levels. Highfidelity transmittance of ‘blacks’ to the camera is essential to the HDR workflow, and we achieve this with advanced optical material and the latest in lens coating technology, resulting in rich in colour gamut reproduction.” In support of this, Fujifilm has developed two new UA46x 4K HDR-optimised ENG lenses, which Horner believes are perfect for use in small stadia and helicopter shooting. This follows the launch of eight other 4K HDR optimised lenses that Horner reports are all prevalent in the sports world. FUJINON lenses have found themselves in top sporting events around the world, he points out, including the Champions League final, many FIFA World Cup games including the
final, the Winter Olympics, the Tour de France, Roland Garros and 24 Heures du Mans. “As the previous FUJINON HA42x lens was very popular with helicopter shooting, the requirements of the 4K version were very strict,” Horner explains.“We wanted the lens to remain as close to the same size and weight as possible. Therefore, the lens and drive unit were all re-designed from the ground-up to produce a lens that is the same size and only marginally heavier than our previous HD version, but with a longer range of zoom. The drive unit is also faster and more accurate, and the image stabiliser is better than the previous model.”
Gearhouse Broadcast ED TISCHLER
MANAGING DIRECTOR OF GEARHOUSE BROADCAST UK
With five separate projects running for 2018 that included studio builds, intercontinental remote productions, IBC solutions and the installation of hundreds of kilometres of SMPTE fibre cabling within the host stadiums, it’s hardly
Wireless Cameras, it’s what we do! Broadcast RF concentrate solely on the hire of RF equipment and the integration of RF technology in the making of television programmes and special events.
Get in touch with the RF experts today!
EUROPE SportTechJOURNAL AUTUMN 2018
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