InBroadcast
Virtual stage productions, remote live productions and hybrid events necessitating physical attendance and a rich online delivery are fixtures in the post-Covid media landscape from high-end recorded content to broadcast OBs, concerts and corporate presentations. Pan Tilt Zoom remote controlled cameras are in high demand and packing sophisticated functionality from 4K to NDI networking. InBroadcast rounds up the latest entrants.
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PTZOptics have released a pair of powerful PTZ camera control joysticks, the SuperJoy and the PT-Joy-G4, enabling easier workflows for both amateur and professional producers. The company has built its products around a smooth and efficient video production workflow, and these two products deliver on that promise.
Explains Paul Richards, Director of Marketing, “We’ve consulted our customers to create the most functional and professional PTZ camera controllers on the market, considering everything from customisable network-based controls to the feel of the buttons. Specifically, the PT-SuperJoy-G1 joystick controller is a comprehensive solution supporting serial and network-based camera control. It features a new and improved PTZ joystick, on-screen-display controls, quick camera select buttons, and Power over Ethernet (PoE) support. The PT-Joy-G4 is a legacy-friendly joystick that supports either serial or network camera control.
“We’ve also brought network capabilities to more of our cameras, rolling out NDI|HX across both our product lines to allow customers to leverage the network for camera management, video production, and content distribution. Additionally, our cameras are now SRT ready, helping customers secure live streaming and video production over wide area networks.”
BirdDog’s latest announcements are Cloud Connect and PLAY. Cloud Connect is a series of apps for iPad, iPhone, Android, Apple TV, Android TV, and BirdDog PLAY that allow for real-time collaboration between producers, directors, and editors for remote editing workflows. Supporting both Adobe Premiere and Avid Media Composer the “lightning speed” creates an over the shoulder editing experience for parties to come together on projects from anywhere in the world.
“BirdDog are excited to be once again pushing the boundaries of what’s possible with NDI Eamon Drew, Co-Founder and CMO. “Real-time, remote production workflows are a breeze when using Cloud Connect. With as little as 2-frames latency from PTZ camera to iPad, iPhone, Android tablet, or desktop computer controlling a production from anywhere in the world is now a reality. Cloud Connect enables these amazing workflows across the public internet, all whilst being fully encrypted.”
Drew says BirdDog PLAY is the smallest 4K NDI Player “on the planet” and features full support for NDI 5 and NDI HX2. “Simply connect PLAY to your NDI network, plug it into your TV via HDMI, and use your own remote to browse the new and gorgeous interface. PLAY pairs perfectly with Cloud Connect.”
Agile Remote Cameras are now part of MRMC. The ARC360 PTZ Camera houses a Sony Exmor R sensor within a precision-engineered housing. Designed to operate in a variety of conditions, the ARC360 camera offers a fully remote solution for a wide range of applications from live sport and natural history to music environments.
Paddy Taylor, Head of Broadcast, MRMC says, “The Agile Remote Camera acquisition marks a really exciting point in the development of MRMC automated camera tracking systems. MRMC have long been admirers of the Agile cameras. The Arc 360 in particular is a very popular rugged waterproof PTZ camera used in events like The America's Cup, concerts tours and festivals. It is a perfect complement to our existing pan-tilt solutions. We’ve been asked many times if we would produce a PTZ camera so this was a great opportunity to bring one into our range of products.”
The camera also provides a number of features as standard, which other manufacturers’ products offer as additional optional extras, Taylor says. These include a driven horizon axis as well as a static wiper blade that can be used when the camera is mounted externally.
“The ARC 360 utilises the latest technology to ensure reliability and performance. The 14-bit positional encoders and belt drive technology provide an unsurpassed level of precision accuracy. Built around an ARM processor, the camera’s electronics have been designed to be remotely accessed or upgraded if required, ensuring down time is kept to a minimum. Its unique modular design allows for a simple upgrade path for both hardware and firmware.”
In the last 18 months, with studios working with less on-site staff, Sony says it has seen a great interest in remotely controlled cameras, “especially those that offer high image quality.” More recently, says Norbert Paquet, Head of Live Production, Sony Professional there’s been interest in PTZs with built in AI features or models compatible with third party specialist suppliers that offer advanced features such as facial or object tracking.
“This is where collaboration with our partners such as Mosys and others has really borne fruit for our customers, such as Aftonbladet or RTL Belgium who are using our BRC or SRG ranges to diversify their content offering, in easy to set up and smart environments,” Paquet says.
Sony’s BRC-X400/SRG-X400/X120 newly support the SRT streaming protocol with Sony's unique ARC (Adaptive Rate Control) technology. Poor network conditions can mean glitchy, stuttering video streams with distorted or frozen pictures. SRT technology addresses the challenges of remote video contribution while maintaining speedy delivery.
“The latest software version allows the cameras to output SRT video/audio which can be directly streamed to the cloud via public internet,” Paquet explains. “Sony offers some unique features in this regard, namely a stable and high-quality streaming through the use of SRT & ARC technology, as well as effectively creating a one-stop solution for native cloud production (what we call Virtual Production).”
Sony began supporting the FreeD protocol in 2020 for its BRC range of PTZs and has since been expanding its ecosystem with various ‘virtual solution’ providers this year. These collaborations make the design of virtual studios simpler and more effective. These include Mosys, Brainstorm, Pixotope, Zero Density and Skaarhoj
Marshall Electronics is now shipping its miniature CV568 and compact CV368 Global Shutter Cameras with genlock. Armed with an impressive global shutter 1/1.8” sensor with 25 percent larger pixel size, these are ideal for any application that requires high speed or low light capture.
“While the sensor type is nothing new to the industry, we’re eager to add options within our range of miniature POV cameras,” says Tod Musgrave, Director of Camera. “Global shutter sensors perform better in higher speed environments as all pixels are exposed simultaneously. Rolling shutter sensors roll through the sensor array in sequence (usually top to bottom), which can cause warping or motion blur in fast paced action. This is not to say one is better than the other, each play a role and have a purpose in video production.”
The CV568 features interchangeable M12 lenses, secure locking connections and remote adjust/match features. The CV368 has a slightly larger CS mount lens type with a wide variety of variable and fixed lens options available. Both models feature tri-level sync that allows multiple cameras to be plugged into HD workflows already in sync (genlock), which enables seamless transitions between cameras with minimal amount of delay. Tri-level sync runs at higher frequency making the signal sync accurate and seamless.
Among JVC’s PTZ range is the new 4K KY-PZ400NWU camera for streaming remote production over the internet. It is equipped with a 4K 1/2.5-inch progressive scanning CMOS image sensor, NDI|HX and SRT streaming and H.265/H.264/MJPEG encoding. Additionally, with the incorporated Vertical Interval Time Code (VITC) with Network Time Protocol (NTP), the new JVC PTZ camera also features multi-camera synchronization for live event production. This is useful for the mixing and streaming of concerts, shows, sports, and other live productions where image synchronization is crucial. Remote control capabilities are made possible through the JVC RM-LP100 Remote Camera Controller, KM-IP6000/4000 Live IP Production Suites, or a variety of other options from vMix, OBS Studio, and NewTek.
The AW-UE150 is the newest addition to Panasonic's professional PTZ camera lineup. Featuring a 1-type MOS large sensor, this model supports high-quality 4K 50p video, features a 75.1 degree viewing angle, 20x optical zoom and supports versatile outputs, including 12G-SDI, HDMI, optical fiber and IP. Simultaneous 4K/HD operation makes this powerhouse ideal for those looking to future-proof their system, Panasonic says – in particular for video production in stadium, lecture halls and other venues.
The camera is equipped with a variety of interfaces and supports simultaneous 4K/HD operation which allows for versatility in current and future production systems.
The software version 2.16 makes the AW-UE150 series compatible with FreeD and Augmented Reality (AR) and Virtual Reality (VR) systems.
Datavideo claims its PTC-140 is currently the most cost effective professional PTZ camera with NDI|HX technology on the market. Its new RMC-300A camera controller can control up to 24 Datavideo cameras using IP technology and features a touch panel to control all camera parameters.
“Our PTZ cameras are used anywhere, but the coolest place we’ve seen was underwater at a waterpolo training facility in Hungary,” says Valentijn Diemel, Marketing Manager EMEA. “They’ve encased them in special waterproof housings and put them underwater to see the movement of the individual players.”
He explains, “Datavideo PTZ cameras use stepper motors, so getting back to the exact same position each time is a piece of cake. Combined with IP control we can make them do the same motion time and time again. This means that they are exceptionally suited to be put in a system where they are operated automatically. Using AI you can incorporate tracking of a person moving on stage, however this comes with some pitfalls. As you can imagine you should carefully buffer the motions to prevent a jerky image when someone moves back and forth the whole time.”
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