Next Generation Broadcast Imaging is going to hit screens with the ARRI Ikegami HDK-97ARRI debut

The HDK-97ARRI is based on an ARRI Super 35mm CMOS sensor and is developed with an intention to establish large format sensors in a broadcast environment. This is a dream project for two giants in the industry, Ikegami and ARRI. This imaging machine is like none other device available in the market. You can take look at all important specs below.

Next Generation Broadcast Imaging is going to hit screens with the ARRI Ikegami HDK-97ARRI debut-global-annal

ARRI Super 35mm CMOS Sensor

Standard and 3G Formats, including 1920 x 1080/23.98/ 4:4:4

Custom and Cine Gamma

Variable ECC (Electronic color temperature correction)

Electrical lens interface for PL lenses with servo iris

2-inch, 7-inch, and 9-inch viewfinders available

Unicam HD docking-style camera head

Ikegami’s 3G FPGA-based DSP

3G transmission system transports video to and from CCU

Two Channels of prompter video in SD / One Channel in HD (with CCU-970M)

200-series remote control system via OCP, MCP, network hubs and more

Broadcast-grade distribution via fiber transmission using up to 2 km SMPTE hybrid fiber/copper camera cable

HDK-97ARRI is one hell of a camera that combines the engineering knowledge and industry awareness of Ikegami with ARRI’s optics will well cater the big studios with broadcast needs. Although there is no available footage from the camera, we’ll have to wait a bit to see some from this footage. However assessing the camera from its specs it looks like basically an Alexa for broadcast. MTV is going to be one of the early adopters of the camera and they are going to debut footage from this camera slated for August 25th at the 2013 Video Music Awards.

Franz Kraus, the Managing Director at ARRI says:

ARRI is proud to be collaborating with Ikegami, a company that has been a genuine leader in the field of professional television imaging since the earliest days of video. The collaboration represents a great opportunity for both partners; but more importantly, combining the high dynamic range and cinematic aesthetic of our 35 mm sensor with a docking-style broadcast camera system will create new opportunities for customers. With the best technologies from both worlds now available to them, we look forward to seeing how customers increase the production value of their broadcast output by using this exciting new camera.

Source: No Film School


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