SMPTE -- Lens Considerations for 4K Digital Cinematography and UHD Television Production


Last Updated: July 14, 2015 11:57 pm GMT
(July 14, 2015) 4K UHD was hugely visible at this year's CES and NAB Show. Associated technologies for production, postproduction, workflows, and infrastructures are rapidly advancing on a global basis. 4K was born in the realm of digital cinematography and, in that context, has been largely based upon the Super 35 (S35mm) image format. 4K digital camera developments have become prolific. Allied development in 4K S35mm zoom and prime lenses continues to grow apace. Size and weight consideration constrain the focal ranges available, and that is a compromise long accepted in the world of digital motion imaging. An increasing number of television program genres have adopted the cinematic imagery offered by this larger image format size.

Recent growing interest in 4K/ultra high definition (UHD) live television production has spawned a brisk new movement in lens developments based upon the long established smaller 2/3-inch image format size. The central drive is the desire to preserve both the very long zoom field lenses and the accompanying portable lenses that are central to outside current HDTV broadcast coverage of sporting and other major events.

Join special guest speaker Larry Thorpe to review the optical sciences underlying high-performance zoom and prime lenses for contemporary 4K S35mm digital motion-imaging cameras for both cinematography and television production. Important operational requirements will be examined. The separate imperatives for 2/3-inch long zoom and portable lenses will also be outlined.

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