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!