Canon Uhdgc 2/3-inch Portable Zoom Lenses 4k Uhd Broadcast Cameras Introduction Date !new! | Secure

"It's not just about pixel count," said Larry Thorpe, then National Marketing Director for Canon's Broadcast & Communications division, at the launch press event. "A 4K camera without a 4K lens is a sports car on flat tires. The UHDgc series ensures that every photon that hits the sensor is worthy of the UHD transmission path."

For nearly two decades, broadcast television lived in the 1080i era. But by mid-2015, the industry was at a tipping point. 4K Ultra HD was no longer a futuristic concept for nature documentaries; major broadcasters and live production houses were demanding a pipeline to future-proof their electronic news gathering (ENG) and field production workflows. "It's not just about pixel count," said Larry

If you see an ENG camera at a football game or a news crew on a street corner shooting in 4K today, the lineage of the glass on the front almost certainly traces back to the Canon UHDgc announcement of late summer 2015. But by mid-2015, the industry was at a tipping point

While 4K studio box lenses had begun to emerge, the workhorse of mobile production—the 2/3-inch portable zoom lens—lagged behind. Existing HD lenses, even high-end ones, revealed chromatic aberration, softness at the edges, and resolution falloff when paired with the new generation of 4K broadcast cameras hitting the market (such as the Sony PXW-FS7 and the soon-to-be-released Grass Valley LDX 4K series). While 4K studio box lenses had begun to

The August 2015 announcement sent immediate ripples through the broadcast community. Major rental houses like Bexel and VER placed pre-orders within days. Early adopters included network sports broadcasters preparing for the 2016 Rio Olympics—the first Summer Games to be produced extensively in 4K.

Canon Rewrites the Rules of ENG: The 2015 Arrival of the UHDgc Series 4K Portable Zooms