Ikegami Expands 4K/HD Unicam Camera Line
The UHK-430 4K/HD Unicam XE camera features three 2/3-inch 4K (3840x2160) CMOS sensors and RGB prism optics.
With a new 3G Fiber-optic camera base station that’s compatible with its line of Unicam HD system cameras, Ikegami is giving operators the ability to upgrade from HD to 4K at any time. There are also options for up conversion from HD to 4K and an ST-2110 MoIP Interface with its main output in HD or 4K.
The new BSX-100 base station is a 3U high half-rack-sized unit designed for easy integration into mobile production vehicles and other locations where space is limited.
The BSX-100 provides full support for Hybrid Log-Gamma in conformance with the international standard (ITU-R BT.2100). High dynamic range video with very wide range image reproduction from dark to bright areas is possible, as well as wide color gamut. Ikegami’s BSX-100 future proof design allows support for native 4K cameras with flexibility to provide 12G-SDI or quad link 3G-SDI outputs.
The company has also announced the UHL-43 UHD/HD camera, a one-piece unit that features the same 4K-native sensors as the Ikegami UHK-430 and UHK-435 “Unicam XE” series cameras to achieve the same performance.
The UHL-43’s compact form factor makes it ideal for POV applications such as robotic studio production, sports, traffic and weather coverage and video surveillance. The company is also offering a portable conversion kit for the UHL-43, featuring a top handle and 2-inch color viewfinder, as well as a shoulder pad and battery bracket for mounting both battery and wireless transmitter.
The camera's 4K signal output options include 12G-SDI and 3G-SDI Quad Link. The UHL-43 incorporates three 2/3-inch 8 megapixel CMOS sensors, each capable of capturing 4K-native 3840 x 2160 resolution images; providing high sensitivity (F10 in 4K/60p) and a very high signal-to-noise ratio. Unlike cameras using a single chip or pixel-offset technology, the three 4K-native CMOS sensors and prism optics provide real UHD resolution, superior color reproduction and no color aliasing.
HDR acquisition capability allows the UHL-43 to deliver detailed picture quality across the full range of brightness levels from deep black to peak white.
The UHL-43 provides an HLG (Hybrid Log Gamma) mode conforming to ITU-R BT.2100, which is an international standard for High Dynamic Range. HDR enables the UHL-43 to deliver detailed picture quality across the full range of brightness levels from deep black to peak white. With its wide color gamut, the camera also captures rich color.
In addition to native 4K, the UHL-43 can deliver HD/3G-SDI signals for main output. It has been designed to support 12G-SDI output interface as standard, ensuring flexible support for future trends in 4K system integration.
Other cameras in the Ikegami portfolio include:
The UHK-430 4K/HD Unicam XE camera, designed for use in the studio and field, features three 2/3-inch 4K (3840x2160) CMOS sensors and RGB prism optics. This supports “Real 4K” resolution from 24 million pixels (8 million per sensor).
The HDK-99 3G 3-CMOS HD camera from Ikegami’s Unicam HD line. It employs three 2.6 Megapixel high performance CMOS image sensors for superb picture quality capable of capturing full HD 1920 x 1080 resolution. Along with a wide dynamic range of more than 600%, the HDK-99 captures superb HDTV video with its horizontal resolution of 1000TVL, SNR of 62dB or more, and high sensitivity of F11 (59.94Hz).
HLG (Hybrid Log Gamma) mode is featured on the HDK-99, conforming to the ITU-R BT.2100 International standard for HDR. HLG makes it possible to expand the range represented from dark to bright, providing superb bright pictures with High Dynamic Range, while achieving rich colors with wide color gamut. A native multi-format camera, the HDK-99’s CMOS sensors support progressive and interlace readout. It natively supports 1080i /59.94, 1080i/50, 720p/59.94, 720p/50, 1080p/29.97, 1080p/25 and 1080p/23.98. It also supports 1080p/59.94, 1080p/50, 1080i/119.88, and 1080i/100 3G HDTV formats.
You might also like...
Interlace: Part 3 - Deinterlacing
Now that interlace is obsolete, we are left only with the problem of dealing with archive material that exists in the interlaced format. The overwhelming majority of video tapes, whether component or composite, analog or digital, would be interlaced.
Compression: Part 6 - Inter Coding
The greatest amount of compression comes from the use of inter coding, which consists of finding redundancy between a series of pictures.
Magicbox Puts Virtual Production Inside An LED Volume On Wheels
Virtual production studios are popping up across the globe as the latest solution for safe and cost/time-effective TV and movie production. This method replaces on location shooting and, by utilizing all-encompassing LED walls (often called “volumes”), is fundamentally changing the…
Celebrating BEITC At NAB Show
As we approach the 2023 NAB Show in the NAB centenary year, we celebrate the unique insight and influence of the Broadcast Engineering & IT Conference that happens alongside the show each year.
Waves: Part 6 - Wave Fronts
Refraction is a topic that is at the heart of waves of all kinds. It affects the broadcaster in many ways, in lenses, optical fibers and in the way transmissions propagate.