HDK-97ARRISuper 35mm Format HDTV Camera System |

HDK-97ARRI: Super 35mm Format HDTV Camera System

The HDK-97ARRI offers a unique convergence of attributes, designed with the latest innovations. The ARRI Large-format front end is famed for its film-like, organic look characterized by extended, clean highlights, an extremely low noise floor, natural skin tones, excellent color separation and cinematic depth-of field. Employing large pixels and a custom-designed read-out architecture , this critically acclaimed 35mm CMOS sensor demonstrates exceptional dynamic range. In addition, ARRI’s stainless steel lens mount system ensures super stable flange focal depth between lens and sensor.

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■Super 35mm CMOS Large Sensors
Employs Super 35mm CMOS Large Sensors. Thanks to the large pixel with 8.25μm size, this camera achieves wider dynamic range, high S/N and high sensitivity.

■ PL Lens Mount
The lens mount is genuine ARRI PL lens mount providing excellent stability.

■Dockable type camera head
Employs UnicamHD dockable interface　
Suitable adaptor :・3G　Fiber Adaptor FA-97A

■Wide Dynamic Range, High S/N
Dual Gain Architecture provides superior dynamic range and high S/N respectively.

■Standard B4 lens mountable
Standard B4 mount lens can be mounted with optional B4 mount converter.

■Custom Gamma Correction
Custom Gamma EditorGamma curve created with PC can be transferred to the camera and it is variable from control panel.

■Electrical ND FIlters
1 x ND Filter　(OD 1.2) is controllable remotely from OCP.

■System Concept
This camera can be combined with all UnicamHD camera system. Control can be made for all the cameras even HDK-97ARRI and other HDK cameras are used in the same camera chain.

Sample Video:

Scanning System 1080p/59.94/29.97, 1080p/50/25, 1080i/59.94/50, 1080psf/29.97, 1080psf/25,1080p/23.98, 1080psf/23.98, 1080pd/23.98, 720p/59.94/50

Sensitivity T11 at 2000 lx (1080p/29.97）

S/N Ratio 64dB (1080p/29.97）

Dynamic Range 1200%

Gain Step Gain：-6, -3, 0, +3, +6, +9, +12dB
Variable：±6dB

Motorized ND filter

1 2

ND Clear 0D1.2(1/16)

Electrical Color Filters

A B C D E

ECC 3200K 4300K 5600K 6300K 8000K

Electrical Shutter 1/100, 1/120, 1/250, 1/500, 1/1000, 1/2000

Operating Voltage Range -20℃ ~ +45℃

Ambient Temperature Operating -20℃ ~ +45℃
Storage -30℃ ~ +60℃

Dimensions W179 x H288 x D446 mm

Weight 9.0Kg (HDK-97ARRI+FA-97)
4K Converter Board
Slot in BS-98 and CCU-980: This board provides 4K output from a 2K source. It replaces the V OUT board of an Ikegami base station or camera control unit. Existing BS-98 or CCU-980 models can be upgraded without needing modification. A camera head is required to support the upscaling process.

Camera Control Unit
CA-75HD Camera Adaptor

4K Converter Board for BS-98/CCU-980

FA-97A 3G Fiber Adaptor

CCU-980 3G Camera Control Unit

BS-98 3G Base Station

CCU-970 3G Camera Control Unit

Control Panel
OCP-300 Operation Control Panel

MCP-200/OCP-200 Master Control Panel/Operation Control Panel

MCP-170 Maintenace Control Panel

Viewfinder
VFE740HD 7.4-inch OLED Viewfinder

VFL912HD 9-inch LCD Viewfinder

Others
CSU-110 Camera Select Unit

CSU-50 Camera Select Unit

2016/8/6: TV Tech User Report: Manhattan Center Productions Expands Options with Ikegami HDK-97ARRI Cameras
August 6, 2016Broadcast / NewsFOR IMMEDIATE RELEASE TV Tech User Report: Manhattan Center Productions Expands Options with Ikegami HDK-97ARRI Cameras By Marvin Williams, Director of Video Engineering and Operations Manhattan Center Productions (MCP) stands as one of New York City’s most versatile media production complexes. We’re in the heart of midtown at 34th Street and 8th Avenue, and with our roots that go all the way back to 1906 and the legendary Roger Hammerstein, our facility has attributes that no one else in the world can offer. That starts with the historic Hammerstein, a mid-size venue that looks as beautiful as it sounds. Our Grand Ballroom is frequently booked by video productions for its size and HD connectivity, which leads directly to the control rooms of our well-equipped TV1 and TV2 studios. A common thread throughout the facility is Ikegami cameras. At the beginning of 2016, we had an inventory of over 25 Ikegami cameras, which has always been a major draw to the productions that work here. In April, however, we made a significant addition to our offerings with four new Ikegami HDK-97ARRI cameras. This quartet of cameras makes MCP even more flexible than ever before. We were drawn to the HDK-97ARRI first and foremost by its pedigree: This is a broadcast-style production camera with digital cinema characteristics, created as a joint effort between Ikegami and ARRI. With the HDK-97ARRI, it’s now possible to employ a large format sensor in multiple camera operation, which makes it a true best-of-both-worlds proposition for multi-camera studio shoots. The core of the system is an ARRI Super 35mm CMOS sensor with associated support circuitry, which provides cinema-style shallow depth-of-focus and exceptional dynamic range, as well as progressive frame rates such as 23.98p. That’s paired with broadcast-grade distribution from the Ikegami side, which provides fiber transmission using up to 2 km SMPTE hybrid fiber/copper camera cable. We were excited when we heard about the technology, but what made it a must-have for MCP was what we saw on our monitors. The imagery that the HDK-97ARRI produces can only be described as stunning. With its shallow depth of field, you get an extremely sharp image in the front while everything behind it gets softer. It’s a very pleasing look, that makes video appear much more like film, both in our control room and more importantly on viewers’ HD televisions at home, on mobile devices or online. Providing our clients with the option to craft another look was the impetus for committing to four of these cameras — we especially felt that the HDK-97ARRI would be a perfect complement to our Ikegami HDK-97C Digital 3G Portable CMOS cameras. We’ve already seen the investment pay off, with the HDK-97ARRI being selected to shoot the Season 7 finale of Spike TV’s “Ink Master.” That show was broadcast live from MCP’s Grand Ballroom, and it looked incredible thanks to the extremely rich detail that the HDK-97ARRI provides – every nuance of each competitor’s tattoo artwork was captured for the home viewer to see. Our HDK-97ARRI’s were also specifically requested by the executive producer team of “Black and White,” a new series on A&E starring the comedians Christian Finnegan and Sherrod Small. As a production complex, we feel our job goes beyond simply offering crews, space and technical infrastructure. We want to have innovative offerings, giving our clients increased creative options and an even better chance for their vision to succeed. The Ikegami HDK-97ARRI is an important way that Manhattan Center Productions is giving them more. Marvin Williams is Director of Video Engineering and Operations for Manhattan Center Productions. He may be contacted at mwilliams@mcstudios.com .... Read more...
2016/7/18: NEW A&E NETWORK SERIES “BLACK AND WHITE” PREMIERES WITH IKEGAMI HDK-97ARRI CAMERAS
July 28, 2016Broadcast / NewsFOR IMMEDIATE RELEASE For Further information:Teri Zastrow: 201-368-9171 NEW A&E NETWORK SERIES “BLACK AND WHITE” PREMIERES WITH IKEGAMI HDK-97ARRI CAMERAS Provocative Weekly Series Specifies HDK-97ARRI Cameras, Which Combine A Large Format Super 35MM CMOS Sensor in an Ikegami Unicam HD Camera MAYWOOD, NJ – July 28, 2016: August 18, 2016: A&E Network has launched its new original comedy series, “Black and White,” with advanced cameras on the set. The provocative new weekly show starring comedians Christian Finnegan and Sherrod Small debuted in July with the extremely high quality imagery of four Ikegami HDK-97ARRI Super 35mm Format Cameras. A pioneering marriage of technology between two recognized industry leaders, Ikegami and ARRI, the HDK-97ARRI is a broadcast-style production camera with digital cinema characteristics. The HDK-97ARRI was chosen specifically for the series by Executive Producer Jim Biederman of Jimco Productions, which is producing “Black and White” for A&E Network. “The choice of camera comes into play the minute I book the studio,” Biederman says. “The first time I saw the Ikegami HDK-97ARRI at work I thought they were extremely impressive. When it came time to assemble the production package for ‘Black and White’ I said, ‘These are the cameras I want.'” All four Ikegami HDK-97ARRi cameras onset are from the inventory of Manhattan Center Productions (MCP), and facilitated by Ted Nelson of USTV television management services. Recorded before a studio audience, “Black and White” tackles current and relevant news stories through the prism of race and uses comedy to diffuse the tension. Biederman and his colleagues were drawn to the film-like look of the HDK-97ARRI, which helps them to achieve high-end results without an extravagant budget. “Anyone watching the show at home will think we spent a million dollars on the set,” he says. “It makes everything – including people – look great. The imagery it produces has a very rich quality to it, with a softness that I can’t achieve using any other camera.” “The network definitely appreciates that we’re using the Ikegami HDK-97ARRI,” continues Biederman. “When A&E saw how ‘Black and White’ looked through these cameras, they were blown away. These cameras are also saving time, and therefore money, in post. I have a limited amount of time to turn each episode around, and typically in a traditional multi-camera studio set up like this I expect to do a lot of color correction. However, these HDK-97ARRI cameras calibrate together very well. That’s a time-saver, which makes us more efficient.” Jim Biederman believes that “Black and White” can not only change the way people think about a TV show, but also what they expect to see onscreen. “The Ikegami HDK-97ARRI is a big leap forward,” he concludes. “With every production, the challenge I take on is to make people say, ‘Wow, that feels really different and new.’ The HDK-97ARRI is an important part of meeting that challenge for ‘Black and White.'”... Read more...
2016/7/11: IKEGAMI HDK-97ARRI CAMERAS DELIVER DETAIL FOR “INK MASTER” SEASON 7 FINALE AT MANHATTAN CENTER PRODUCTIONS
July 11, 2016Broadcast / NewsFOR IMMEDIATE RELEASE For Further information:Teri Zastrow: 201-368-9171 IKEGAMI HDK-97ARRI CAMERAS DELIVER DETAIL FOR “INK MASTER” SEASON 7 FINALE AT MANHATTAN CENTER PRODUCTIONS Live Special Shot at Manhattan Center’s Grand Ballroom in NYC with HDK-97ARRI Cameras, Which Combine A Large Format Super 35MM CMOS Sensor in an Ikegami Unicam HD Camera MAYWOOD, NJ – July 11, 2016: The intricate art form of tattooing was celebrated recently with the Season 7 finale of “Ink Master,” the highly competitive Spike TV program. Broadcasting live from Manhattan Center Productions (MCP), the show’s producers specified the rich detail that only the Ikegami HDK-97ARRI Super 35mm Format Camera can provide. pioneering marriage of technology between two recognized industry leaders, Ikegami and ARRI, the HDK-97ARRI is a broadcast-style production camera with digital cinema characteristics. It’s extremely precise image quality made it ideal for the “Ink Master” finale, an action-packed event which saw three elite finalists battling for the title of Season 7 champion. Facing a celebrity judge panel, Anthony Michaels of Tucson, AZ was named the winner of the “Ink Master” crown and a $100,000 prize. “Our four Ikegami HDK-97ARRI’s have been an outstanding addition to Manhattan Center Productions’ inventory,” says Marvin Williams, Director of Video Engineering and Operations for MCP. “Its large-format sensor was perfect for ‘Ink Master,’ with so many subtle nuances of the contestants’ work that had to be communicated to the viewing audience. The HDK-97ARRI has a shallow depth of field that provides an extremely sharp image in the front, with a slightly softer look behind that which is very pleasing to the eye.” The HDK-97ARRI makes it possible to employ a large format sensor in multiple camera operation, resulting in a “best of both worlds” image acquisition system ideal for use in studio and field applications. Centered around ARRI’s Super 35mm CMOS sensor with its associated support circuitry, the system provides such cinematic qualities as shallow depth-of-focus, exceptional dynamic range, and progressive frame rates like 23.98p. Meanwhile, full control of the Ikegami video processing DSP provides real time camera matching and optimization, and broadcast-grade distribution is enabled with the latest in Ikegami technology, via fiber transmission using up to 2 km SMPTE hybrid fiber/copper camera cable. To complement the outstanding dynamic range and SNR of the Arri optical block, the video processing includes a Custom Gamma feature for high dynamic range HDR applications. MCP’s acquisition of four HDK-97ARRI cameras this year added to its existing inventory of over 25 Ikegami cameras, reinforcing the facility’s reputation as one of New York City’s most versatile media production complexes. Ikegami is a leading supplier of high quality professional broadcast equipment. The Ikegami name is recognized globally for its state-of-the-art television cameras, Medical cameras and CCTV equipment. World-class CMOS imagery, 4K and 8K techonolgy, multi-format flexibility, and unparalleled customer support define the Ikegami experience for users in broadcast, sports venues, mobile production, houses of worship, education, corporate and many more applications. For more information and the location of the Regional Office nearest you, call Ikegami’s headquarters at 201-368-9171 or visit www.ikegami.com. Product or service names mentioned herein are the trademarks of their respective owners.... Read more...

HDK-97ARRI Super 35mm Format HDTV Camera System (PDF:1.3MB)

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