RKL349 wrote:
Does it really matter?
It does to those manufacturers that were not selected by NBC.
Mac
Loc: Pittsburgh, Philadelphia now Hernando Co. Fl.
RKL349 wrote:
Does it really matter?
Probably only to those who have an inferiority complex and need to be reassured that their brand is used by others.
Just be sure to get the lenses used by the majority, thereby guaranteeing excellent photos. But be prepared to purchase new gear in 4 years.
Canon and Fujinon (the pro division of Fujifilm) are the only two manufacturers of broadcast lenses here in North America. Nikon does not, and never has, made a lens for either broadcast or cine use. Broadcast lenses are parfocal, they hold their focus as they are zoomed in or out. On long lenses, both the zoom and focus are servo controlled. Zoom ranges are between 60x and 100x. Speed is usually around f/1.8 at the wide end ramping down to around f/4.5 at the tele end. The aperture is usually remotely controlled by a dedicated person. They are priced between $140k and $200k, with a significant quantity discount. Because of their size, these box lenses mount on the tripod first with a special adaptor and then the camera body mounts on the back of the lens. The tripod head for one of these lenses typically runs $25k and a tripod $2.5k. A studio pedestal is about $15k to $25k. The trucks I work on typically carry 6 to 8 long lens build-ups depending on the sport and client requirements. These are the most expensive lenses but a 'standard' 16x zoom costs around $15k and a wide lens with a 12x zoom, $35k.
Presently, since the late 80's, broadcast cameras used in multi-camera productions have 2/3 inch sensors which are about a quarter of the size of a full frame. This gives a greater depth of field when compared to a full frame sensor at the same aperture, ideal for fast moving, unpredictable subjects. Presently, Sony is the leading manufacturer but until recently Ikegami, a division of JVC, made a superior product. Phillips, Thompson and Hitachi also make cameras. In most cases, these cameras cost $60k to $80k, with very significant quantity discounts.
It is interesting to see all the talk about Nikon or Canon lenses being used for the Olympics... Yes I am sure that for still photographers are using them but for the video, I am sure that NBC is using 4 and even up to 8k cameras such as the new Panavision DXL camera (which is amazing) or the Red Epic,the Arri Alexa the Sony F55 or the Phantom Flex 4k (the camera I work with most). Although in most cases you can mount a Nikon or Canon lens the normal mount for these cameras is a PL. They will be using Panavision, Angenieux or Cooke or Leica lenses all of which are far superior to Nikon or Canon.. And for the price, minimum 10x a Canon lens they should be!
Canon lenses and Sony equipment as stated in the closing credits.
Looks to me the majority are white lenses which tells us Canon is shooting most of the olympics
Presently, there is a mix of HD and 4k productions out there. The Olympics are shot on 2/3" 4k cameras which are down-res'd for HD broadcast. (Sony often brings prototypes of the next generation gear to the Games) The Alexa, Red and F55 are cine cameras and have Super 35mm sized sensors. They use different lenses with a different mount. Cine cameras are usually not used in a multi-camera sports production. However, for the last MLS Cup (soccer) there was an EFP unit shooting promo pieces using Arri Amira's with Fujinon lenses at 24p. (The video looked great but quite different than the aired program) Different cameras for different uses.
Boy could have a field day in there !!!
Cannon is supplying photo equipment. Sony, the electronics.
Tommy II wrote:
Cannon is supplying photo equipment. Sony, the electronics.
As has been noted multiple times.
Sony cameras, Canon lenses.
as far as NBC, or any broadcaster, is concerned, Canon is supplying lenses. The broadcasters have little to do with consumer photography gear.
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