Advancements in field production equipment
can be summed up easily: Devices
are smaller and produce noticeably better
quality, according to Scott Grizzle,
product manager for DVEO, a division
of Computer Modules Inc. In the late
1990s, Grizzle started in the streaming and webcasting industry and is considered a
pioneer in that field.
“You don’t need to have massive
machines. Now you can go to high-end
broadcast or high-end production-level
quality at a reasonable price,” said Grizzle,
who developed DVEO’s MultiStreamer Flypack after
putting a similar unit together for personal use.
The Flypack is designed to be a portable, multifunction
streaming video production system
that includes an integrated audio/video streaming
encoder, compact seamless video switcher with
effects generator and preview and program monitors.
It comes in a rolling-rack mount case certified
for air travel by the U.S. Transportation Security
Administration. The basic version retails for $14,995.
“This is all broadcast-level equipment, but at
the same time a beginner can use it and not get
overwhelmed,” Grizzle said. “The whole idea is that
when it leaves the studio, it’s the way you want it to
sound, look and feel.”
Inputs and outputs are multiple HD-SDI, HDMI or
DVI, according to Grizzle. The 1RU or 2RU seamless
switchers are broadcast quality, and because they
are seamless, they are also up-converters, downconverters
and scan converters.
They feature variable image zoom to 10x and
shrink to 10 percent. DVEO offers an optional T-Bar
control panel switcher. The encoder outputs allow
multiple simultaneous Internet protocol streams
through GigE port (RJ45), SDI or HD-SDI video loop
through and (program out of switcher). The unit
supports up to 1080i, CIF, QCIF, qHD, H.264up and
many others as well as offering custom resolutions.
Its functions are self-contained in separate modules.
“If one piece fails, you can bypass it and your
show is still going. I’ve never lost a show or event,”
Grizzle said.
In addition, having smaller equipment that is easy
to transport is an advantage over renting equipment
at the production locale, Grizzle said. “People are
realizing that when they rent, they are getting gear
they don’t know much about, or if their equipment
is too big or bulky they can end up paying a lot for
shipping,” he said. “They don’t need all that.”
MOBILE STUDIOS
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| Mobile Studios Inc. PortaCast 50 Ultra-Portable HD/SD Mini Flypack |
Smaller, portable equipment is a staple of Mobile
Studios Inc., which offers its PortaCast Mini-
Flypacks starting at $7,995. They provide mobility and portability while
maintaining high standards of quality.
The latest of those flypacks is the PortaCast 50
Ultra-Portable HD/SD Mini Flypack, which is outfitted
with a Panasonic Series 50 Switcher. In addition
to the Panasonic switcher, the PortaCast 50 is
equipped with a computer DVI input, Multiviewer,
Graphics Keyer, PIP and a 22-inch
LED monitor 1920x1200.
Having those components integrated
into the system significantly
reduces the complexity and time
required for remote setups and
production, said Richard Rubin president of
Mobile Studios. “Plug in
the cameras and mics and you’re
ready to shoot multicam videos,”
he said.
The PortaCast 50’s monitor is
built in to the Pelican lid and features separate LED
electronics and custom metal framework surrounded
by die-cut foam to absorb shocks, Rubin said.
Off-the-shelf monitors are not used because they
are not made to withstand the rigors of transportable
deployment. “We tried using off-the-shelf
monitors at first and they came apart during
transport,” he said.
 |
| Panasonic AG HPX250 |
In addition, the PortaCast 50 components
are integrated in a waterproof, airline-checkable
case that weighs about 35 pounds,
and it provides switching, audio, camera
shading/control and recording capabilities.
“We designed the PortaCast
around a Pelican case platform, which
is waterproof. This is especially critical
when it is shipped and may be
placed outdoors during rain, like
baggage often does during air
shipments,” he said. “Water
can ruin equipment, ours is
protected.”
FIELD DIGITIZATION
Another conspicuous advancement is digitizing the
field production output from start to finish. During 2012, the AV Company, an audiovisual
integration and rental company in Charlottesville,
Va., transitioned to a full digital recording process, said Jason Rethemeyer, the AV Company’s director of rentals.
 |
| Blackmagic Design H.264 Pro Recorder |
The AV Company chose the $5,595 (at B&H) Panasonic AG
HPX250 camera for use with Blackmagic Design’s
$470 H.264 Pro Recorder linked directly to a laptop. The
capture function is facilitated by Blackmagic’s Media
Express software. “We can do any edits from the
laptop and get the videos turned around and given
to the client in half the time,” Rethemeyer said.
For one-on-one interviews, The AV Company
records directly from the camera to a laptop, with
or without a separate microphone.
For large events with multiple cameras
and audio sources they use
the Roland Systems Group M-300
V-Mixer--manufacturer's suggested retail price, $5995--and the Roland V-1600HD
digital video mixer, which retails for $16,995 and has its own Facebook page. They combine
the audio and video signals with a
Blackmagic audio to SDI converter
before it is sent to the H.264 converter.
“That is one trick that I would
recommend to anyone experiencing
issues with audio sync,” Rethemeyer said. “Get
your audio and video combined into one cable prior
to any compression captures.”
 |
| Roland Systems Group M-300 V-Mixer |
The Roland M-300 has 32 mixing channels,
four-band parametric equalization and dynamics on
all channels and 11 built-in multieffects
with PEQ and delay on all
channels. Universal serial bus memory
can be used for record/playback
and a PC can control the unit.
The AG HPX250 camera features
a 2.2 megapixel 3 MOS imager, integrated
22x (28-616mm Equiv) lens,
10-bit AVC-Intra recording at 100
megabytes per second and DVCPro
HD and SD Recording. It has a 3.45-
inch, 1920x480 liquid crystal display
monitor, dual P2 card slots and
HD-SDI- HDMI outputs. The camera
operates in both National Television
System Committee standards and
phase alternating line.
The $5,995 JVC GY-HM650 is a full-featured
camera based on the 600
series platform, it features a stateof-
the-art imaging system with a
23:1 Fujinon wide-angle zoom lens.
The camera has a sensitivity of F11
so it can be used in very low light.
The GY-HM650 records simultaneously
onto two memory cards, one
is HD and the other Web-friendly,
and its editing tool is Final Cut Pro
MOV, which is native to Final Cut
so file conversion for editing is not
necessary.
 |
| JVC GY-HM650 |
In addition, the files recorded at
lower resolutions can be sent out
from remote locations using the
camera’s built-in file transfer protocol
and Wi-Fi connectivity. “With
the Wi-Fi capability, the camera can
be controlled remotely using an iPad
or iPhone,” said Dave Walton, JVC
assistant vice president of marketing.
“Metadata can be entered into
the camera which, in turn, is added
to the recording.”
The Anton/Bauer high dynamic
range system features a camera that
transmits a strong HD image lineof-
sight over a great distance on a
choice of 12 channels. The system is
a collaboration with Vitec Group sister
company Integrated Microwave
Technologies and works in conjunction
with the Anton/Bauer HDRX
receiver.
 |
| Anton/Bauer’s HDRX |
“It’s for anyone who is producing
in the field, has the trucks and needs
to transmit a live video signal a great
distance,” says John Walsh, Anton/Bauer product specialist. Anton/
Bauer’s Logic Series batteries power
the system.
‘BOX CAMERA’
OPTION
Also shipping in early 2013 is the
Canon BU-47H, a less expensive and
useful camera option. It is designed
for use when an onsite camera operator
is impractical or not needed,
especially in sports coverage and
news gathering where budgets are
tight. It is a full HD pan-tilt-zoom
camera with a pan-tilt head and 18x
zoom. The image is 1080i. It can be attached to
structures or deployed on a tripod. Canon announced the BU-47H last September and expected to list it at $26,000.
“It is an all-in-one system so it has a weatherproof
housing, a remote-controlled wiper and ND
filters, and it is completely enclosed,” says Joseph
Poch, Canon USA systems and network engineer.
 |
| Canon U.S.A. BU-47H |
Grizzle agrees that field producers should consider
so-called box cameras because many use
the same lenses and chips as the more expensive
models, but will not be as costly to replace should a
mishap occur. “They are not studio quality but they
are ENG quality,”
he said. “You don’t
want a studio camera
in the field.”
MUSIC ON
THE GO
For those inclined
to combine field
production with
procedures normally
associated with
post-production,
Audio Network US
offers a website full of music that can be downloaded
directly to a laptop, iPhone or iPad or smartphone.
“The user can choose and download music and
sort projects on their chosen device while at a shoot
or event,” says Kristen Harold, Audio Network marketing
manager.
Once the user has obtained a license from Audio
Network, the company’s library of 57,872 tracks of
production and stock music is pre-cleared for worldwide
and multi-platform use in perpetuity.