Camera manufacturer Ikegami showed a pre-production version of the 4/3 sensor ENG style camera at the NABshow in Las Vegas! The HDS-F90 features a 8,9 Megapixel Four Thirds sensor of the same size of the [shoplink 16841]AG-AF100[/shoplink]. But unlike the Panasonic camera the lens mount is the cine standard PL instead of the m43-mount. It records in MPEG2 4:2:2 on GFPAK Flashcards. According to Dslrnewsshooter the camera will be priced higher than the AG-AF100 and the Sony PMW-F3.
Links:
Ikegami website: http://www.ikegami.com/
Ikegami stuff on [shoplink 21547 ebay]eBay (Click here)[/shoplink].
The Panasonic AG-AF100/101/102 at [shopcountry 16841].
27 Responses
m43 sensor seems to be heading towards the (semi)pro video segment more and more; i mean more fundemental news in that direction then the consumer market…
Hopefully this development will produce a resonable set of fast primes – if only they keep the lens mount.
tobi
There are already tens, if not hundreds of PL mount lenses, many of them fast primes. PL mount is an industry standard in motion.
Good news, the more products based on 4/3rds, the more likely we will see others develop 4/3rds sensors in future…
ENG cameras have traditionally used smaller sensors. This is not moving toward semi pro, this is professional level although the PL mount seems overkill for ENG.
Q: So what does this camera does better then AF101?
A: Its designed for broadcasting (but basically its the same?)
This kind of answer is meant to please … broadcasters?
This camera is a 4k camera, the AF100 is 1080p.
Huge difference.
MPEG2 4:2:2 and more professional lens mount.
basically 4:2:2 is what we’ve been wanting for broadcast solutions. depending on the compression bitrate, this camera will be chosen over the panny for shooting broadcast commissioned material.
So another company is conceiving 4/3 sensors…
Interesting that they can market something with a micro four thirds sensor but a different lens mount. Seems a little “odd” to me legally, as it surely compromises the standard. Looks like a “workaround” to avoid paying licensing fees?
Is this an 4:3 aspect ratio sensor?
Or does it have multi-aspect ratio properties?
What’s normal for broadcast video? 16:9?
P.S.
Who is delivering this CMOS sensor? Aptina?
Better low noise / dynamic range properties than Panasonic?
Future will tell.
I’m glad to see pro equipment going the mFT sensor route. Pro equipment = higher margins and higher expectations = higher investments in research — which will be later seen in the lower segments of the market.
Looking forward to the Philip Bloom review…
Why would they use 4:3 sensor in a video camera?!!! Once you crop it to 16:9, you are left with half the pixels!
Sony uses super 35mm sensor (f3, fs100) that is standard for film.
How are megapixels relevant? You do realize that 16:9 1080p stream is barely 2 (two) megapixels?
Also, Sony’s sensor is smaller than Super 35mm. Handy reference: http://www.creativevideo.co.uk/index.php?t=helpCentre/page/39/image+sensor+size+comparison
No Sony’s sensor is not smaller than Super 35mm. Your understanding of Super 35mm is incorrect. The Super 35 camera aperture is 24.89 mm × 18.66 mm. The film industry uses 35 mm film in a different way compared to stills cameras. It uses the width of the film instead of the length of it. As you can see from your link the Sony Sensor uses 24.89 x 18.66 which is exactly the same size. The Super 35mm format uses the negative space normally reserved for the optical analog sound track on film. This is why directors of photography and cameraman and keen on this format as it gives them the DOF they are used to on film.
Thanks – you learn something new every day!
If the sensor covers the same area as 4/3 (although probably with a native 16:9 aspect ration) and is designed *specifically* for video, ie: with only the 2mp needed for HD, wouldn’t this have absolutely MIND-BLOWING low-light ability? Wouldn’t the photosites be massive? Like 3-4 times the size of a D3 or similar?
yeah but part of 4:3 sensor space is still not used in 16:9 mode, so what’s the point? regardless of whether Sony sensor is smaller than super 35, the format is still default film, so all of the sensor is used.
I didn’t mean if it was the same *shape* as the 4/3 format, but if it had the same *area*. I wasn’t asking a question about formats, but simply about how large the photo-sites must be on a video specific large sensor.
My response was intended at stu5. 4/3 is photo format. It makes no sense on video camera. It’s probably mistake made in the video.
Are you sure it was intended for me as I only posted for the first time on this thread after you posted the comment that you said was intended for me?
It is closer to movie frame size than any other thats why. In this way movie lenses are a better fit to sensor size, and they can use the same lenses they hire for movie as for digital.
Wonder what the crop factor will be for the PL mount. To me the lens mount is a big thing defining m4/3. This almost doesn’t even seem to be a m4/3 product, just a video camera that happens to have a similarly sized sensor as m4/3 cameras. Why not just put on the m4/3 mount and then add on a PL mount adapter. Seems like that would be more flexible, and it would preserve the possibility of mounting other lenses besides PL. I guess if they’re just going for the ENG market, then it makes sense.
Wish List for Panasonic: Mr. Matsushita – please resd !!! Here’s your new AG-AF200: Up to 4K, still SDHC media, detatchable EVF, keep MFT, hit me at $7995 list, MFT or PL as factory upgrade option, TC-out OK but should have IN and be full-featured, and it should be jammable. 4:2:2 10-bit internal-to-catd, use P2 if you must, add a playback deck w/lcd that uses the same AF100/200 battery. Maybe a P@ store w/500GB in SDHC. Who knows – it could happen.