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Welcoming Next Generation Broadcast Imaging in the ARRI Ikegami HDK-97ARRI

04.9.13 @ 11:00AM Tags : , , , , ,

Built with an ARRI Super 35mm CMOS sensor, the HDK-97ARRI intends to pave the way for large format sensors in a broadcast environment. The lovechild of two giants in the industry — Ikegami and ARRI — this imaging machine is business up front, party in the back, and vice-versa. Check the all-important specs and details below.

Current full list of specs:

  • 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

She’s one mega-beast of a camera. Combining the engineering expertise and industry familiarity of Ikegami with ARRI’s optics will surely be a hot option for big studios with broadcast needs. We’ll have to wait a bit to see any footage from this, but it looks like basically an Alexa for broadcast. MTV will be one of the early adopters of the camera, with their debut of its use slated for August 25th at the 2013 Video Music Awards.

Franz Kraus, the Managing Director at ARRI adds:

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.

What do you think about this latest iteration of the ENG style camera? Do you think this will see a lot of play in the high-end broadcasting world? Share below!

Link: Ikegami and ARRI Introduce the HDK-97ARRI: Broadcast Production Camera with Digital Cinema Image Quality — Ikegami


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  • That is one sexy broadcast cam. They will sell a ton of them.

  • Yes! Wonderfully excited for this. Studio cams traditionally can look very clinical. (Especially cheap ones) The high end ones can look quite nice, but I’m not sure the dynamic range compared to an Alexa… Anyone know? highlight roll off should be great here.

  • I don’t think that the effective DR is the most important thing when shooting in studio. When you have total control of your lighting surce, you can use even a 6stops cam and on the other side of the screen you even notice this.

    • I would agree its not the most important element, but I’ve been on several sets that definitely would have benefited from more latitude. (Especially large venues on remote shoots) If we see significant increases, we could see some of the boundaries of set design and lighting design pushed beyond where we’ve been. For me, smooth highlight roll off is where this camera could make a huge difference. Not to mention the Alexa color science… I did read the press release announcing MTV using this cam right away – DR was listed as one of the key benefits, as well as the other aspects I mentioned.

      • marklondon on 04.9.13 @ 6:06PM

        I’m with you. This is going to kill for live event shooting, particularly things like rock shows, award shows etc. High DR, low DOF if you want it.

    • Daniel Mimura on 04.21.13 @ 6:41PM

      I disagree. It’s got a shoulder mount and is clearly designed as an ENG camera…for doc work you want as much DR as you can get. It’s big budget movies, not news and docs that can light beautifully with limited DR. They have all the tools on the grip truck that they can imagine for exposure control.

  • Killer live cam

  • Trevor Lloyd on 04.9.13 @ 11:48AM

    A large chip camera with all the control of an ENG/EFP lens would be a dream come true if they could make it work in a portable format and weigh less than 8kgs

  • Man, I really would love an affordable camera in that ENG form factor with modern tech. So useful for documentary use.

  • Amazing product. Would love to see it in my bedroom.

  • earnest reply on 04.9.13 @ 1:57PM

    So what’s the price. Let’s play Price Is Right. $30K?

  • So then would new lenses compensate for such a huge sensor in this type of camera?

  • speaking of broadcast… Blackmagic design also announced a 4k live switcher.

  • Ben Howling on 04.9.13 @ 4:52PM

    brilliant! if it maintains Arri’s high DR, and ability to record to prores internally, then reality TV just got a whole lot prettier!

  • Nah, I’ll just do an internet news broadcast some day with little GoPros. :-)

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