Ikegami UHK-430, everything a 4K camera can be

At TM Broadcast, we have had the privilege of thoroughly testing one of the camera models that has caused the most sensation in the last Las Vegas NAB: the Ikegami UHK-430 in the purest Japanese style

The UHK-430 is the top-of-the-range as far as Ikegami camera systems go. This model has all the technological advances and technologies -compared to others that only have a handful of them- to ensure uncompromised top-quality image. Thanks to Ikegami Europe, we have had the opportunity to well and truly try this complete Unicam XE system with an UHK-430 and all its accessories. What we had in our hands was:

  • A complete UHK modular unit.
  • A CCU-430 as a camera base.
  • The entire range of viewers and viewfinders: VFL201D, VFE714D and VFL701D.
  • A SE-U430 system expander with the Canon field lens (UJ90x9B).
  • A CJ20ex7.8B IASE S lens for ENG configuration.
  • Canon DP-V2410 and Ikegami HEM-1770WR displays.


Ikegami, UHK-430
Testing the camera at the studio.

Now, let’s analyse the components, shall we?


UHK-430 Camera

Undoubtedly, the UHK-430 is one of the sturdiest cameras on the market. As soon as you pick it up, you can feel the predominance of lightweight metallic materials beyond its plastic covers. This conveys a true sensation of trustworthiness and lightness, very in line with the results it yields. It doesn’t need large air vents because its new AXII low consumption video-processing chip permits operating it without the risk of overheating, even with the fan switched off in favourable environments -something unthinkable off in 4K cameras not so long ago-.


Its core employs three 2/3-inch CMOS sensors, which do away with any colour aliasing problems we might suffer in a camera with a single combined sensor for all three colour components. In combination, the three CMOS sensors and the AXII processor permit transporting an uncompressed RGB 4:4:4 signal via an SXMPTE cable up to 4 km with a maximum transfer rate of up to 40 Gbps.


It has a focus assist system that is really useful and allows the operator to maintain the desired shot in the same way as you would do in HD environments, where the focus was not so critical. Gone are the days of SD where peaking was sufficient. Now, a focus assist system is virtually a must and very highly valued by all professional operators. The manufacturers have known how to integrate it very well in this model. We also have a 16-axis colour corrector system that gives us a colour precision beyond white balance, permitting the system to operate in fiction or drama environments, such as series or the like, where the grade is important right from the very moment you take the image, minimising post-production times.


-The controls at the back, easy to handle.
-The controls at the back, easy to handle.


The system also gives us simultaneous 4K outputs in four quadrants or 2SI, as well as 2K/HD signals both over 3G and 1.5G, which are indeed possible thanks to the multiple CCU system outputs. It also supports carrying signals over 12G-SDI and it natively incorporates VoIP and Ethernet interfaces carried from the camera control unit to the camera via a simple SMPTE cable.


A novel feature is its cut-out system, which allows us to choose a region of the 4K image and offer it to one of the HD outputs with different pre-sets or in a personalised manner, which in turn, permits making two simultaneous productions in HD and 4K without having to duplicate cameras and with different shot openings which are usually required by producers in these types of situations. This is something really useful in our opinion.


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TM Broadcast International

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