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ACQUISITION JVC had their GY-HM660 model on display and they have been pushing the ability to stream straight from the camera for many years. This model is the next step and claims that the software algorithms will cope with a 50% packet loss before any unacceptable picture loss is noticeable. I confess that I didn’t see this in action, but this level of flexibility in a news environment where speed-to-air trumps image quality is surely beneficial. On to camera channels, and Ikegami has a new spring in its step, and were showing off their impressive 8k studio camera, but are more likely to find some immediate traction with the 4k UHK-430 studio camera. The data coming from the camera head is uncompressed 4:4:4, higher than any other I’m told, and gives some stunning pictures. The recent successes for Ikegami have almost exclusively been centred around Northern soap operas, so let’s see if there are any more takers in a Live Production sector dominated currently by Sony. With minimal units currently in the hire market, a studio or OB client looking to own their core inventory and hire in for peak periods may find it difficult to choose Ikegami, but for stand-alone, self-sufficient set ups where there is no hire requirement, Ikegami could be a good option. And I’d say this even if I couldn’t offer an interest free finance option on these units. On to lenses and there is a move for greater flexibility from 2 of the leading glass manufacturers, with both Zeiss and Cooke offer interchangeable mounts on their lenses. Zeiss were making a big noise over their award-winning new lightweight zoom. The 21-100x zoom lens sits perfectly on the ubiquitous Sony FS7, and with no need for a speed-booster due to the interchangeable mount, it should do well. It’s a little more 66 | KITPLUS - THE TV-BAY MAGAZINE: ISSUE 118 OCTOBER 2016 expensive than the FS7, which is exactly as it should be. This lens will still be in use 10 years from now, which is more than can be said for any camera bought today. Cooke also announced their “multi mounts” mod which allows the Classic and Pancro primes to switch mounts between PL, EF, E and MFT. There has been a move in recent years for a cameraman to buy a lens, but rent the camera, such is the relentless release of new camera models. But what lens mount does a cameraman choose? This new functionality from Cooke and Zeiss solves this problem. The big lens market is interesting with Canon and Fujinon battling it out for the new round of purchasing on 4k box lenses. The supply of these lenses has been the determining factor of who buys what with demand outstripping supply in the build up to the summer sporting bonanza. Now we are in to run rate football season it seems to have calmed down somewhat. Fujinon are currently winning the numbers race with the107x lens currently the longest on the market. Whether the market needs anything longer than this is debatable. I’m sure I missed as much as I saw, such is the scale of the show. Not that I’m advocating a longer show. 5 days seems excessive in my opinion when the much larger NAB show is only 4 days. This would cut the expense budget of all of us that attend as Amsterdam has become adept at abusing the IBC show with restaurants and hotels rooms priced extortionately for some fairly average fare. A more comprehensive write up across other sectors is on my Linked-In page for those interested. All constructive comments welcome.