Page 22


LOOKING BACK (AND FORWARD) George Jarrett talks to two Canon executives about past glory moments and answering current marketing trends

PICTURED RIGHT: Blazej Klacansky

“There is a vibrant mix evolving in what used to be pure traditional broadcast style.” BLAZEJ KLACANSKY


anon perpetually reloads its technology with an annual R&D budget close to £3 billion, and in 2018 it marked the 60th anniversary of the broadcast zoom lens. Its very first customer was NHK. That was preceded five years earlier by a set of cinema lenses, but 1958 sits firm as the kick-off point for a series of ‘world’s first’ landmarks which followed first with the 1968 adoption of synthetic (or artificial) Fluorite; this helped to control chromatic and other aberrations in broadcast lenses. In 1973 Canon won an Academy Award – the first given to a Japanese company – for a set of prime lenses. In 1982 it was internal focus that put the onus back on broadcast lenses, and the user could cover wider focal ranges and use the lens for shoulder applications. Then in 1990 Canon introduced its optical image stabilisation technology Vari-Angle Prism, so useful in longer focal distances. In 2002 it introduced the 100X zoom lens, and two years later came the new category of compact studio lens, offering brightness and shallower depth of field advances. In 2014 we saw the world’s longest large format lens for S35 image coverage. Canon’s first 8K lenses came in 2009, for NHK, and this glass is now at second-generation status. To discover the Canon of today, Stephen Hart Dyke, professional imaging/ B2B product market manager, teamed up with Blazej Klacansky, channel development manager, as tour guides. In detailing the milestones, Klacansky frequently uses the terms ENG and EFP, but are they not yesterday’s terminology? “There is such a big crossover in terms of production. ENG still remains but EFP is more obsolete because drama production is slowly changing,” he says. “There is a shift to larger sensors and lenses, but we still have plenty of productions like the daily soaps that, because of the workflow and speed of production, remain


with the P4 mount. “The older group are still happy with shoulder-mount cameras and using 2/3-inch lenses, because ENG/ Broadcast has always been about clarity in the glass. But the newer generation is shifting to a different, filmic look, as seen with Cooke and Panavision looking back to their vintage lenses,” he adds. “There is a vibrant mix evolving in what used to be pure traditional broadcast style.” The Canon Cinema EOS range has seen a number of

Profile for Future PLC

TVB Europe January / February 2019  

TVB Europe January / February 2019