In Broadcast - January 2015 - 34

www.inbroadcast.com | Vol: 5 - Issue 1 | January 2015

InTech

Broadcast Camera Optics
Extend Range
Contributing Editor David Kirk
has a look at the latest innovations in
lens technology on the rise
of UHD shooting...

BC2014 saw a lot of new
developments in camera optics,
responding to the ﬂood of the UHD
video cameras now coming onto the
market at very affordable prices.
Within a year or so, UHD will have
displaced HD as the logical format
for all programme-makers keen to
maximise the commercial life of
their productions. UHD demands
good lenses to capture the four times
greater level of detail potentially
available through the system.
Among
the
most
impressive
demonstrations at IBC was Samsung's
display of 4K 21:9 widescreen.
This too is being addressed by lens
manufacturers with an increasing
number of anamorphic lenses allowing
21:9 production using 16:9 cameras. It
is a beautiful format and seems to me
to have tremendous future potential
- beyond that, maybe 21:9 at 8K
resolution.
The following products are new since
the last look at broadcast optics in
the April 2014 edition of InBroadcast.
Any award for originality must surely
go to Vantage for its Hawk V-Plus
Vintage'74 which makes a virtue of the
characteristics many producers would
try quite hard to avoid.
Angénieux introduced at IBC2014
the Optimo 30-72 mm A2S wide angle
anamorphic lens. Following the Optimo
56-152 mm A2S launched in 2013, the
Optimo 30-72 mm A2S is the second
lens in a planned series of three for
21:9 widescreen production.
Optimo
A2S
lenses
combine

Angénieux Optimo 30-72 A2S is the
second lens in a planned series of three

cylindrical and spherical optical
elements in the rear group to achieve
a two-times squeeze of the image on
the horizontal axis. This is claimed to
provide greater sharpness and lower
distortion compared with spherical
lenses adapted with a rear anamorphic
attachment.
The Optimo A2S is a PL mount lens; a
PV mount is available on request. The
design allows quick swapover between
PL and PV mounts. The lenses are
compatible with the Angénieux ASU
lens servo unit.

in
broadcaststyle
shooting
environments where
cine
lenses
are
impractical.
Focus
ring rotation is 180
degrees. Canon's EFmount conveys lens
metadata and other
functions such as
Peripheral
Illumination
Correction. Cooke /i Technology
is supported in the PL-mount variant,
allowing cameras to capture lens data.
A 16-bit encoder is incorporated to
allow use in virtual studios.

Canon's CN7x17
KAS S E1/P1 boasts
4K resolution and an
11-blade diaphragm

use as a standard PL-Mount lens or
as an ENG-style lens. The ZK-Series
are available with and without servo
handgrip, they also feature 16 bit
encoders, ﬂange focal distance
Cooke Optics' /i Technology enables adjustment, macro function and LDS
ﬁlm and digital cameras to record key (Lens Data System).
lens data for every frame shot and
They are i/metadata compatible. ZKprovide it to post-production teams Series lens focal lengths range from
digitally. It allows continuous remote 14.5 to 300 mm with starting weights
readout of focus setting, T stop and of 2.7 kg including drive unit and servo
depth-of-ﬁeld from electronics inside motors.
the /i equipped lens. Data records to
The ZK12x25 is claimed to have
ARRI's new Ultra Wide Zoom UWZ digital or ﬁlm recording medium or to the longest focal range available
9.5-18/T2.9 is claimed to be the ﬁrst an SD card.
among light weight cine zoom lenses.
super wide-angle zoom lens for the
Fujinon's new HA18x5.5BE (5.5 to
professional cine market. With
200 mm) HDTV lens merges
an image circle of 34.5 mm,
the capabilities of a standard
the UWZ has been designed for
and a wide angle lens. It is a
existing and future generations
ENG HDTV lens compatible
of large-sensor digital cameras.
with 2/3 inch sensor Bayonet
The optical performance of
mount cameras, covering focal
this new telecentric design
lengths of 5.5 mm (wide angle)
is claimed to be comparable
to 100 mm (telephoto). Also
with that of high-end wideintroduced is the HA21x7.8 BE
angle prime lenses. Distortion
(7.8 to 328 mm) HD telephoto
is less than 1% at 9.5 mm and
lens. All these lenses have a
less than 0.1% at 18 mm. A
16-bit encoder which enables
Leica Summicron T2.0 prime lenses for high ASA/ISO
new multilayer anti-reﬂective
the lens to communicate zoom/
digital cameras
coating is claimed to minimise
focus position and other lens
ﬂare and veiling glare. The UWZ has a
CW Sonderoptic's Leica Summicron data for use in virtual studios.
highly uniform ﬁeld illumination, from T2.0 prime lenses are built with high
image centre to corners. ARRI Lens ASA/ISO digital cameras in mind. At
Panavision has introduced a new
Data System features provide lens 101 mm long and weighing between 1.3 line of Primo 70 lenses optimised
metadata for zoom, focus and aperture and 1.6 kg, each lens offers an image to work with larger sensor digital
settings.
circle wider than 35 mm in diameter to cameras. They are available for rental
easily cover the newest sensors from in twelve focal lengths: 24, 27, 35, 40,
Canon's CN7x17 KAS S E1/P1 is Sony, ARRI and RED.
50, 65, 80, 100, 125, 150, 200 and 250
designed to support 4K resolution
mm. Super 70 zoom lenses are also
and incorporates an
Fujinon announced
11-blade diaphragm. new 4K UHD and
It has a 7x zoom with HD
lens
line-up
a 17 to 120 mm focal at IBC2014. The
length and 3-group ZK-Series
(Cabrio)
inner focus optics.
lightweight
cine
The CN7x17 KAS S zoom lenses feature
E1/P1
incorporates a detachable servo
Fujinon's ZK-Series
a
servo
drive drive unit, making (Cabrio) cine zoom lenses
unit, enabling use them suitable for feature a detachable servo drive unit

http://www.inbroadcast.com http://www.canon.co.uk/For_Home/Product_Finder/Digital_Cinema/Cine_Lenses/CN7x17_KAS_S_E1-P1/ http://cw-sonderoptic.com/summicron-c/ https://www.youtube.com/watch?feature=player_embedded&v=ET_5RNIuUXc https://www.youtube.com/user/AngenieuxLenses

In Broadcast - January 2015

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