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  "document": {
    "abbrevTitle": "SMPTE Mot. Imag. J",
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      "version": "smpte-idams-publication@v1"
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    "abstract": "The decade 2010–2020 saw fast-paced developments in professional lenses and cameras—moving on the fronts of both broadcast television production and digital cinematography. The long-established 2/3-in. image format made a surprisingly smooth transition from two decades of high-definition television (HDTV) to 4K ultrahigh definition (UHD)—although, behind the scenes, this posed significant challenges to both lens and image sensor developments. The 2/3-in. B4 lens–camera mount standard remained a foundation for this transition. The decade bore witness to extraordinary international standardization activities that produced the parameter values for 4K UHD and 8K UHD for production and international program exchange—closely following with allied standards on high dynamic range (HDR) and wide color gamut (WCG). The current hesitancy in the U.S. to inaugurate 4K UHD delivery services propelled camera manufacturers to introduce broadcast television cameras that are multiformat—switchable between HD and UHD and between 2K and 4K digital cinema initiative (DCI)—and also multipurpose in being able to switch between HD colorimetry and WCG, and between HDR and standard dynamic range (SDR). Optical manufacturers applied major resources into developing 2/3-in. 4K broadcast television lenses. Meanwhile, amidst this uncertainty, 8K UHD broadcasting became a major agenda in some Asian regions, and the attendant developments in lenses and cameras significantly contributed to technological advances in the parallel 4K systems. The year 2010 saw the transition from the first generation HD/2K Super 35-mm digital cinematography lenses and cameras to 4K acquisition systems. New international manufacturers arrived in both arenas, and vigorous competitive activities escalated the pace of their respective technological developments. Within this decade, the full promise of HDR and WCG became evident for moviemaking and episodic television production. Within this same time span, the extraordinary emergence of the over-the-top (OTT) tech giants into the world of content creation, and international distribution, soon witnessed an upsurge in both the quantity of high-end scripted content and high expectations in quality.",
    "abstract$meta": {
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    "authors": [
      {
        "bio": "Laurence J. Thorpe joined Canon U.S.A., Inc., Melville, NY, in 2004, as a national marketing executive for the Broadcast & Communications Division. He was promoted to senior fellow in 2012 and currently holds that title in the Company’s Imaging Technologies & Communications Group. A renowned industry expert in the field of video acquisition, he spent more than 20 years at Sony Electronics, pioneering the development of high-definition television (HDTV) and digital production technologies in the U.S. broadcast and motion picture industries. Prior to that, he worked for RCA’s Broadcast Division, Camden, NJ, from 1966 to 1982, where he developed a range of color television cameras and telecine products. From that work, he holds ten patents in the field of broadcast development. He has published more than 60 papers on camera technology and the topic of HDTV imaging. He is a Life Fellow of SMPTE. He is a graduate of the College of Technology, Dublin, Ireland, and began his career as a design engineer with BBC, London, U.K. In 1981, he won the David Sarnoff Award for his innovations in automatic studio color cameras. He received the Montreux 2000 Gold Medal Award for Digital Cinematography, the NAB 2001 Television Engineering Achievement Award, the Society of Television Engineers (STE) 2001 Award, and the Broadcasting & Cable Technical Leadership Award in 2004. In 2014, he received the Charles F. Jenkins Lifetime Achievement Award, honoring an individual whose ongoing contributions have significantly affected the state of television technology and engineering. The award was presented during the 66th Primetime Emmy Engineering Awards ceremony in Las Vegas. In 2015, SMPTE conferred Honorary Membership on Thorpe, which recognizes individuals who have performed eminent service in the advancement of engineering in motion pictures, television, or in the allied arts and sciences.",
        "name": "Laurence J. Thorpe",
        "orcid": "0000-0001-5595-546X"
      }
    ],
    "authors$meta": {
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      "note": "Ingested from SMPTE IDAMS <publication> (_source/SMPTE/Journal Article Repository/2020/7261654/9184288/09184325.xml) via idamsIngest.js",
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      "version": "smpte-idams-publication@v1"
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    "contentType": "orig-research",
    "contentType$meta": {
      "confidence": "high",
      "note": "Ingested from SMPTE IDAMS <publication> (_source/SMPTE/Journal Article Repository/2020/7261654/9184288/09184325.xml) via idamsIngest.js",
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      "version": "smpte-idams-publication@v1"
    },
    "copyright": {
      "holder": "SMPTE",
      "holder$meta": {
        "confidence": "high",
        "note": "Ingested from SMPTE IDAMS <publication> (_source/SMPTE/Journal Article Repository/2020/7261654/9184288/09184325.xml) via idamsIngest.js",
        "source": "parsed",
        "updated": "2026-10-07T17:09:33.718Z",
        "version": "smpte-idams-publication@v1"
      },
      "year": "2020",
      "year$meta": {
        "confidence": "high",
        "note": "Ingested from SMPTE IDAMS <publication> (_source/SMPTE/Journal Article Repository/2020/7261654/9184288/09184325.xml) via idamsIngest.js",
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      "note": "Ingested from SMPTE IDAMS <publication> (_source/SMPTE/Journal Article Repository/2020/7261654/9184288/09184325.xml) via idamsIngest.js",
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    "docLabel": "SMPTE Motion Imaging Journal ( Volume: 129, Issue: 8, September 2020)",
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    "docTitle": "Progress in Lens and Cameras: 2010–2020",
    "docTitle$meta": {
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    "docType": "Journal Article",
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    "doi": "10.5594/JMI.2020.3001777",
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    "href": "https://doi.org/10.5594/JMI.2020.3001777",
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    "issn": {
      "electronic": "2160-2492",
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        "confidence": "high",
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      "print": "1545-0279",
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        "confidence": "high",
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    "journalAcronym": "MIJR",
    "journalAcronym$meta": {
      "confidence": "high",
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    "journalTitle": "SMPTE Motion Imaging Journal",
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    "keywords": [
      "ACES",
      "Advanced Television Systems Committee (ATSC)",
      "AVC",
      "B4-mount",
      "Digital Cinema Initiative (DCI)",
      "4K and 8K",
      "Full Frame",
      "HDR",
      "HLG",
      "ISO",
      "OTT",
      "PQ",
      "Standard Dynamic Range",
      "2/3-Inch",
      "UHDTV",
      "Wide Color Gamut"
    ],
    "keywords$meta": {
      "confidence": "high",
      "note": "Ingested from SMPTE IDAMS <publication> (_source/SMPTE/Journal Article Repository/2020/7261654/9184288/09184325.xml) via idamsIngest.js",
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    "number": "8",
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    "pages": "127–131",
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    "publicationDate": "2020-09-01",
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    "publisher": "SMPTE",
    "publisher$meta": {
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    "publisherLocation": {
      "city": "White Plains, NY",
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        "source": "parsed",
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        "version": "smpte-idams-publication@v1"
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      "country": "USA",
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        "confidence": "high",
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    "volume": "129",
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