In Broadcast - September 2015 - 80


80

www.inbroadcast.com | Vol: 5 - Issue 9 | September 2015

InStudio

Fujinon Show 4K UHD TV
Zoom Lenses At IBC

FUJIFILM Corporation is to debut 2/3-inch Fujinon 4K Ultra High Definition Television
Zoom Lenses at this year's IBC in Amsterdam...

E

ver since the first colour television
content aired in 1962, FUJIFILM
has been involved in the development
of broadcast-quality lenses for the
television industry.
Then, as now, the company's mission
is to provide production professionals
with 'high-performance, high-quality'
lenses. Fujinon's lens commitment
to quality has won the acclaim and
trust of both the broadcasting and
cinema industries, recognised through
three Emmy Awards for outstanding
technological developments, as well as
IF and Red Dot Design Awards.
Now, 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. Back in 2009,
8K/4K cine parents the HK-Series cine

UA 22x8
BESM 4K UHD Lens

Visualisation of HD MTF

(Modulation Transfer Function Profile)

Visualisation of 4KMTF

(Modulation Transfer Function Profile)

zoom lenses with 8K-class optical
performance were first introduced.
These have since become popular tools
in major movie productions worldwide.
One particularly appreciated feature of
these lenses is their 'non-breathing',
as Keslow Camera's (top-end LA
camera hire company) 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 are
much lighter in weight. These were the
world's first PL-mount cine lenses to
incorporate a detachable full-servo 16bit 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 Football World
Cup. Now, with the demand for
4K video content surging (there was
a seven-fold year-on-year increase
in the shipment of 4K-compatible
television sets to approximately 11.6
million units last year; and in March
2015 a dedicated 4K channel- CS
satellite broadcasting, launched in
Japan), 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 HDC4300, 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.

UA 80x9 BESM 4K UHD Lens

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 nanolevel 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. 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.
On a global scale Fujifilm has
already received numerous orders
by Production companies for the new
UA80x9 and UA22x8 2/3-inch 4K
U-HDTV lenses. In Europe, Timeline
Television Ltd was the first customer
to acquire the new UA-Series for their
newly built 4K UHD OB-Van (Outside
Broadcast Vehicle). Built by Timeline
Television's
System
Integration
division, the unit contains the latest
UHD 4K technology including the
world's first Sony 4300 2/3 inch UHD
4K cameras, Sony UHD 4K PWS-4400
server, the world's first Fujinon UHD
4k 2/3 inch UA80x9 (9-1440mm)
EFP box and UA22x8 ( 8-352mm)
ENG lenses, Snell Kahuna UHD 4K
vision mixer and Sirius router, Axon
signal processing equipment and
Axon Cerebrum control system, EVS
XT3 UHD 4K servers, Grass Valley
Kaleido-Modular-X multiviewers and
Belden cable. The new unit was built
in conjunction with BT Sports who
have awarded Timeline a four-year
contract for the provision of Ultra HD
4K OB's to provide content for the new
BT Sport Ultra HD channel that starts
in August 2015.
Timeline Television Ltd will be a coexhibitor at Fujinon's IBC stand.


http://www.inbroadcast.com http://www.fujifilmusa.com/products/optical_devices/broadcast-uhd-hd-sd/uhd-hdtv-lenses/2-3-studio/ua_80x9_besm/index.html http://www.fujifilmusa.com/products/optical_devices/broadcast-uhd-hd-sd/uhd-hdtv-lenses/2-3-eng/ua_22x8_eng/index.html

Table of Contents for the Digital Edition of In Broadcast - September 2015

In Broadcast - September 2015 - Intro
In Broadcast - September 2015 - Cover1
In Broadcast - September 2015 - Cover2
In Broadcast - September 2015 - 3
In Broadcast - September 2015 - 4
In Broadcast - September 2015 - 5
In Broadcast - September 2015 - 6
In Broadcast - September 2015 - 7
In Broadcast - September 2015 - 8
In Broadcast - September 2015 - 9
In Broadcast - September 2015 - 10
In Broadcast - September 2015 - 11
In Broadcast - September 2015 - 12
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In Broadcast - September 2015 - 14
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In Broadcast - September 2015 - 20
In Broadcast - September 2015 - 21
In Broadcast - September 2015 - 22
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In Broadcast - September 2015 - 26
In Broadcast - September 2015 - 27
In Broadcast - September 2015 - 28
In Broadcast - September 2015 - 29
In Broadcast - September 2015 - 30
In Broadcast - September 2015 - 31
In Broadcast - September 2015 - 32
In Broadcast - September 2015 - 33
In Broadcast - September 2015 - 34
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In Broadcast - September 2015 - 37
In Broadcast - September 2015 - 38
In Broadcast - September 2015 - 39
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In Broadcast - September 2015 - 45
In Broadcast - September 2015 - 46
In Broadcast - September 2015 - 47
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In Broadcast - September 2015 - 60
In Broadcast - September 2015 - 61
In Broadcast - September 2015 - 62
In Broadcast - September 2015 - 63
In Broadcast - September 2015 - 64
In Broadcast - September 2015 - 65
In Broadcast - September 2015 - 66
In Broadcast - September 2015 - 67
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In Broadcast - September 2015 - 70
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In Broadcast - September 2015 - 89
In Broadcast - September 2015 - 90
In Broadcast - September 2015 - 91
In Broadcast - September 2015 - 92
In Broadcast - September 2015 - Cover4
In Broadcast - September 2015 - S1
In Broadcast - September 2015 - S2
In Broadcast - September 2015 - S3
In Broadcast - September 2015 - S4
In Broadcast - September 2015 - S5
In Broadcast - September 2015 - S6
In Broadcast - September 2015 - S7
In Broadcast - September 2015 - S8
In Broadcast - September 2015 - S9
In Broadcast - September 2015 - S10
In Broadcast - September 2015 - S11
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