Ikegami HDK-97ARRI Cameras At “Ink Master” Season 7 Finale

Spike TV’s Season 7 finals of Ink Master broadcast live from Manhattan Center’s Grand Ballroom in NYC with HDK-97ARRI cameras, which combine ARRI’s Super 35mm CMOS sensor and Ikegami video processing and fiber transmission.

Manhattan Center Productions (MCP) chose the Ikegami camera for its precise image quality, making it ideal for the “Ink Master” finale, an action-packed event which saw three elite finalists battling for the title of Season 7 champion. Facing a celebrity judge panel, Anthony Michaels of Tucson, AZ was named the winner of the “Ink Master” crown and a $100,000 prize.

“Our four Ikegami HDK-97ARRI’s have been an outstanding addition to Manhattan Center Productions’ inventory,” says Marvin Williams, Director of Video Engineering and Operations for MCP. “Its large-format sensor was perfect for ‘Ink Master,’ with so many subtle nuances of the contestants’ work that had to be communicated to the viewing audience. The HDK-97ARRI has a shallow depth of field that provides an extremely sharp image in the front, with a slightly softer look behind that which is very pleasing to the eye.”

The HDK-97ARRI makes it possible to employ a large format sensor in multiple camera operation, resulting in a “best of both worlds” image acquisition system ideal for use in studio and field applications. Centered around ARRI’s Super 35mm CMOS sensor with its associated support circuitry, the system provides such cinematic qualities as shallow depth-of-focus, exceptional dynamic range, and progressive frame rates like 23.98p. Meanwhile, full control of the Ikegami video processing DSP provides real time camera matching and optimization, and broadcast-grade distribution is enabled with the latest in Ikegami technology, via fiber transmission using up to 2 km of SMPTE hybrid fiber/copper camera cable. To complement the outstanding dynamic range and SNR of the Arri optical block, the video processing includes a Custom Gamma feature for high dynamic range HDR applications. 

You might also like...

BT Sport’s Live VR 360 Coverage Of Premier League Brings Fans Closer To The Action

While the merits of 8K delivery is being debated by broadcasters around the world, some are moving forward with plans to deploy the high resolution quality in creative ways that engage viewers and encourage them to interact with a live…

PTP V2.1 – New Security & Monitoring For IP Broadcast Infrastructures - Part 2

In the last article in this series, we looked at how PTP V2.1 has improved security. In this part, we investigate how robustness and monitoring is further improved to provide resilient and accurate network timing.

HDR: Part 33 - DOPs: The Less You Show, The More You Know

It’s a truism of our craft that compelling visual stories in film and TV are communicated in the subtext of scenes, that is to say, what we exclude from the Frame is almost always more important to the storytelling t…

PTP V2.1 – New Security & Monitoring For IP Broadcast Infrastructures - Part 1

Timing accuracy has been a fundamental component of broadcast infrastructures for as long as we’ve transmitted television pictures and sound. The time invariant nature of frame sampling still requires us to provide timing references with sub microsecond accuracy.

EU-Funded Group Looking To Productize 5G For Broadcast Production And Distribution

For the past year an international group of technology companies, funded by the European Union (EU), has been looking into the use of 5G technology to streamline live and studio production in the hopes of distributing more content to (and…