Sony will feature its latest technology for news, cinema, immersive and live production, including its R-Series broadcast system cameras, SRG-AS10 and SRG-XS10 auto-framing PTZ cameras and its latest networked live and software-defined broadcast innovations, during IBC 2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

Other tech developments on display will be:

• The new DP7 and DP5 controllers, FX5 Cinema Line camera and current development of the RIALTO 65 image sensor block expanding VENICE 2 to 65mm format.
• Cinematic Live's color-matched Cinema Line and HDC cameras showcasing a broad portfolio for cinematic live production.
• The fourth generation DWX series digital wireless microphone system, DWT-B40 and DWR-R40Q.
• Spatial content production solutions, OCELLUS camera-tracking system V2.0 and XYN
• HawkREPLAY delivering rapid turnaround to air with enhanced zoom and hold keyframe and HawkNEST improving fast 9:16 social exports for quicker content delivery.

Sony will also present several use cases in specific applications, including cinematic live, AR and IP broadcast studio, immersive production, AI-powered streaming studio and podcasting.

For news, Sony will feature an expanded range of data transmitters, including its previously announced collaboration with LiveU and additional demonstrations with Dejero and TVU Networks, designed to enhance transmission efficiency from the field. It will also show its latest version of a camcorder with remote-control capabilities to broaden its range of applications.

Sony's live production solutions will demonstrate how broadcasters, production teams and content creators can deliver higher-value productions with greater flexibility and operational efficiency. Next-generation system cameras will be on display, including the newly launched R-series, and the latest AI PTZ auto-framing cameras, including the BRC-AM7 for broadcast.

The BRC-AM7 demo will highlight version 3.1 firmware featuring improved tracking performance in Ball Sports (Basketball) mode, enabling smoother shooting and camera operations.

The company will also showcase the evolution of virtual and spatial content production with its latest camera tracking system OCELLUS with Crystal LED VERONA. CAPRI will be on display separately. Based on customer feedback, the upcoming OCELLUS FW V2.0 supports lens calibration and automatic offset measurement functionality to measure the positional relationship between the camera and tracking sensor. Sony’s XYN Spatial Capture solution enables real-world spaces to be captured and transformed into high-quality 3DCG assets.

Sony continues to expand its Digital Imaging and Cinema Line portfolio, with the latest Cinema Line Camera FX5 and RIALTO 65 image sensor block making show debuts. Designed to enhance creative flexibility, the FX5 features a newly developed fully stacked CMOS image sensor, while new DP7 and DP5 monitors deliver accurate color reproduction and remote camera control.

Company representatives will also lead two sessions in the Showcase Theater in Hall 3, including: "A Software Revolution: The Future of Broadcast,” Sept. 12, 4-4:20 p.m., and "The New Frontier: Redefining Multi-Camera Virtual Production,” Sept. 11, 5:15-5:35 p.m.

See Sony at IBC 2026 stand 13.A10.

More information is available on the company’s website.

MONTREAL—Grass Valley today announced a new multi-year framework agreement with RAI (Radiotelevisione Italiana), Italy’s national public broadcaster, for the supply of LDX 150 camera systems. The agreement marks the start of one of the largest camera refresh programs in RAI's recent history, with the first camera systems already deployed to refresh RAI’s outside broadcast fleet, according to Grass.

Grass Valley already has a longstanding relationship with RAI, which will progressively deploy LDX 150 camera systems over the coming years. RAI says it selected the LDX 150 camera system for its unique native IP connectivity, renowned simple and intuitive control and operation and its pristine HDR image performance.

The LDX 150 provides a camera platform that supports RAI’s current production requirements while enabling the company’s continued transition toward more flexible IP-based workflows, they said.

“As we continue to modernize our production infrastructure, we were looking for a camera platform that would support both our current operational needs and our future ambitions,” said Riccardo Rombaldoni, Dirigente Responsabile – Ingegneria di Realizzazione e Gestione Contenuti at RAI. “The LDX 150 combines excellent image quality with native IP connectivity, HDR acquisition and intuitive operation, giving our production teams the flexibility to support a wide variety of production environments while building on the trusted relationship we have established with Grass Valley over many years.”

The first phase of the deployment has been completed, with the initial LDX 150 camera systems fully operational within RAI’s outside broadcast fleet. Grass Valley’s long-time partner and systems integrator Video Progetti led the overall system integration, while Domo supported the project as the integration partner for the wireless camera components of the deployment.

MELVILLE, N.Y.—Canon U.S.A. has announced upcoming firmware updates for its Pan-Tilt-Zoom (PTZ) lineup that will introduce new advanced functionality and improved performance.

The new array of firmware updates for Canon’s 4K remote PTZ camera systems improves convenience and efficiency across a wide range of shooting needs and applications, including live events, news production, reality television and houses of worship.

All Canon IP-enabled PTZ cameras, including the CR-N700, CR-N500, CR-N400, CR-N350, CR-N300, CR-N100 and CR-X300, as well as the RC-IP1000 controller are receiving updates for performance and feature improvements. Select PTZ cameras are receiving significant new features that include on-board recording and face registration auto tracking for enhanced workflows and maximum creative control.

The firmware update includes internal SD card recording, which will now be available for the CR-N700 and CR-N400 PTZ models. The addition promotes efficiency across a wide range of video production environments. Internal recording supports formats for every production need—from broadcast standard compliant MXF-based XF-AVC to the MP4 format. While recording on an SDXC card, the update will support recording 4K 60p at up to 600 Mbps. Recording can be triggered through the RC-IP1000 controller, the camera’s Web-UI or applications such as the Remote Camera Control Application and Multi-Camera Control Application.

Switching the camera into Media mode puts it into a playback mode that allows for review of recorded videos from the camera’s Web-UI or on the RC-IP1000 Remote Camera Controller’s screen. Recorded video files can also be uploaded to an FTP server while in media mode, either one-by-one or by uploading all recorded content on the SD card.

Coming to the CR-N700, CR-N400, and CR-N350 PTZ models is a new Face Registration Tracking feature within the paid version of Canon’s auto tracking application. The new Registered Face Tracking system automatically detects, identifies and begins tracking the face with the highest priority. This provides users with added assurance that their most important subject is being tracked. This update also includes increased framing steps to better support ideal visual expression tailored to specific production needs.

Additional auto tracking updates include a new integration between presets and auto tracking that allows for auto tracking settings to be linked to presets and recalled together. By registering auto tracking settings optimized for different shooting scenarios in advance, users can quickly switch to the most appropriate tracking configuration when executing a preset.

Canon is also expanding the functionality of the RC-IP1000 Remote Camera Controller, an advanced PTZ controller enabling fast operation of multiple Canon PTZ cameras. Stream Deck support expansion introduces independent camera control, allowing users to execute presets on secondary PTZ cameras without switching control off the currently controlled camera.

Control of auto tracking, auto loop, and trace functionality are also being added as available buttons. Additionally, the firmware update adds support for the Canon EOS C50 cinema camera, empowering broadcasters and live sports to broaden what’s possible with their remote camera systems.

The firmware updates for Canon’s PTZ cameras are currently scheduled to be available by October.

More information is available on the company’s website.

NEW YORK and SAN MATEO, Calif.—GoPro, Inc. and Starman Optical, a privately held optical-photonics company, have announced a definitive merger agreement that will recapitalize the pioneering action camera-maker and help it expand into new markets.

GoPro has struggled financially in recent years and has said it was considering refocusing its businesses on defense tech.

The proposed transaction, which will see GoPro shareholders will receive an aggregate cash payment of $285 million, or $1.14 per share, will help recapitalize the company.

GoPro's outstanding debt of approximately $92 million will be repaid in full at closing, resulting in a clean, substantially debt-free balance sheet.

Over the past 24 years, GoPro has developed imaging solutions featuring innovative, advanced optics. It has amassed an associated IP portfolio of more than 2500 U.S. patents.

In announcing the deal, the two companies said that the merger intends to maximize the value of GoPro's IP and growth potential in consumer, commercial and defense markets by recapitalizing the company, strengthening its balance sheet, investing in growth and onshoring the manufacturing of products for strategic markets.

GoPro will remain a publicly listed company.

It also stressed that it will continue to fully support its existing consumer products and its subscription and cloud platform while investing in growth and a broader, diversified product roadmap.

Starman's U.S.-made optical transceivers are expected to be added to GoPro's portfolio, which will help the company expand into the large and rapidly growing market for AI infrastructure in optical transceivers.

The combined company also intends to leverage its IP, optics and imaging capabilities across defense, government, robotics and aerospace markets, building on demand for U.S.-made solutions.

"Advanced optics and imaging are essential to AI, national security, and the broader economy, yet much of the critical hardware supporting these technologies continues to be manufactured overseas," said Charles Tebele, CEO of Starman Holding. "The combination of GoPro's world-class optical expertise and intellectual property with Starman's advanced transceiver capabilities and U.S. manufacturing platform creates a unique opportunity. Together, we intend to bring production of these critical components back to the United States."

"We expect this merger to enable GoPro to grow across consumer, commercial and defense markets as a leading American imaging and optical solutions company, addressing important areas of national security related to cameras, optics and AI infrastructure. We're excited to combine with the Starman team to capitalize on this opportunity and play an important role in America's future," said Nicholas Woodman, founder and CEO of GoPro.

The transaction has been approved by GoPro's Board of Directors and by the Board of Starman. It is expected to close by year-end 2026, subject to regulatory approvals and other customary closing conditions, including approval by GoPro's stockholders.

Houlihan Lokey, Inc. is acting as financial advisor and provided a fairness opinion to GoPro, and Fenwick & West LLP is serving as legal counsel to GoPro.

GARBSEN, Germany—Proton Camera Innovations will highlight its newly launched Proton Flexy a next-generation micro POV camera built on the foundation of the company’s original Proton Flex during IBC2026, Sept. 11-14, at the RAI Amsterdam Convention Center.

Proton Flexy introduces serialized connectivity via standard 50 Ohm coax cable, enabling camera head extensions of up to 32.8 feet (10 meters) and delivering a level of deployment flexibility previously not possible with miniature broadcast cameras.

The Flexy offers significant advantages in deployments where a full camera unit would normally be at risk from damage, such as in rally or stock car races. Because the Flexy head represents just one-third of the total camera cost, it now is more economically viable for production teams to mount the lens in higher-risk areas, knowing that the ECU and its expensive processing components remain safely protected from harm.

The company has chosen to use a standardized SMA connector and cable, enabling production engineers to engage in quick repair and replacement using equipment they likely already have at hand.

The camera head itself is available in two form factors. The IP67-rated lipstick head measures just .75 inches (19mm) in diameter and 1.33 inches (34mm) in length (including SMA connector), while a square head option measures .75x.7.5x.94-inch (19x19x24mm) with an integrated micro coax cable. Both house a 1/3-inch global shutter sensor with 12-bit dynamic range, delivering crisp 1080p imagery through Proton's VEGA broadcast-grade image processor.

The ECU measures 1.33 x 1.33 x .75 inches (34x34x19mm) and provides HD BNC for SDI output, a Hirose HR10 connector for power and control, an SMA connector for the Flexy head, and a 3.5mm stereo audio socket for external audio input. Power draw is just 3W across a 6.5-25V range.

Flexy offers production teams access to a camera system that can be deployed in locations up to 32.8 feet (10 meters) from its processor, using standard coax cable, with a replaceable head that costs a fraction of the total system.

"So many of our customers have said to us: ‘We love what a Proton Cam can do, but it’s a shame that they’re too precious to us to risk in exactly the environments where they could deliver the best shots.’ So, with the Flexy, we asked ourselves: What if the camera head could go anywhere, and where the risk of damage became a negligible concern?” said company CEO and founder Marko Hoepken.

See Proton Camera Innovations at IBC 2026 stand 10.F21.

More information is available on the company’s website.

NEUSS, Germany—Ikegami will make the European market launch for additions to its UNICAM product range during IBC 2026, Sept. 11-14 at the RAI Amsterdam Convention Center.

“A highlight of our IBC 2026 demonstration will be a new constant-aperture variable neutral density filter function which expands the creative potential of the UHK-X700 and UHK-X750 UNICAM XE portable and full studio cameras,” said Gisbert Hochguertel, Ikegami Europe product specialist. “When used as an alternative to the iris, the VND filter allows the lens f-stop to remain fixed to control video exposure. This enables a director to set the depth of field for a specific shot and then control the exposure in real time by changing the continuously variable neutral density filter attenuation.”

Ikegami will also demonstrate two new viewfinders for use with its UNICAM XE and UNICAM HD cameras. Introduced at NAB Show in April, the VFE-P07D is a two-in-one viewfinder comprising a monocular OLED and an adjustable-angle 3.5-inch TFT LCD monitor.

The 3.5-inch monitor screen can face forwards, be tilted to more than 120 degrees or turned laterally to face forwards. Waveform, vectorscope and audio metering tools can be easily accessed. The VFE-P07D attaches to shoulder-mounting and studio-format cameras in the UNICAM XE series.

Shown as a prototype at IBC 2025 and making its IBC 2026 debut is the production version of the VFE-P711AD high-resolution 7-inch OLED viewfinder. Developed from the LCD-based VFL-P700AD, the new OLED model is designed to offer clear visibility even in environments with intense ambient light.

The OLED panel’s fast response time is particularly useful when focusing and framing content at high frame rate for slow-motion replay. The viewfinder also has front-facing tally indicators and a rear-facing tally. Like the VFE-P07D, the VFE-P711AD includes waveform, vectorscope and audio metering tools.

The centerpiece of Ikegami’s IBC exhibit will be the UNICAM XE series three-CMOS studio and portable cameras. Designed for the HDR, HFR, IP and UHD era, the UHK-X700 and UHK-X600 incorporate three ⅔-inch 4K sensors with global shutter architecture.

The UHK-X750 and UHK-X650 are hard-body, full-studio models sharing the same features. The UHK-X700RF is a wireless portable variant of the UHK-X700. Multichannel antenna diversity is a standard feature of this model, providing robust signal delivery in a wide range of transmission environments.

Ikegami will also promote its UNICAM HD HDK-X500 multiformat portable camera system, which can be purchased as a 1920p model upgradeable to full 4K-UHD.

Designed for remote image capture, the UHL-X40 shares the 4K-UHD 2/3-inch three-CMOS global shutter imaging architecture of the UNICAM XE series augmented for motorized pan/tilt/zoom applications in studios as well as outdoor applications, such as sports close-ups, theater and stage video capture, weather monitoring and point-of-view imaging. Two-piece construction allows remote control via up to 6.2 miles (10 km) of duplex fiber cable between head and CCU.

The UHL-43 is a three-CMOS 2160p-native 4K-UHD camera in a compact 5.7 x 6.1 x 6.6-inch (145 x 155 x 169 mm) 5.7-pound (2.6 kg) housing. It supports applications like studio robotics or remote-control PTZ image capture and point-of-view image capture. The camera can also be used on support devices, such as a shoulder brace, long-reach arm or overhead mount. The UHL-43HD variant has the same three-CMOS 2160p native sensors but comes with 1080p/i output that can be upgraded via an optional software key to allow 4K-native operation.

See Ikegami at IBC 2026 stand 12.A31.

More information is available on the company’s website.

RICHMOND, Va.—Opening a brand-new, state-of-the-art production facility at CarMax Park for the Richmond Flying Squirrels minor league baseball team presented many challenges and opportunities.

Among them was the all-important decision of selecting the camera system. Taking the leap from our previous workflow in our old stadium, “The Diamond,” our goal was clear: support productions of home games, live events, LED programming and multiplatform content with a consistent, high-quality production standard that truly sets us apart.

Knowing that the cameras would be in use throughout the day, reliability, image quality and flexibility were all important factors.

We looked at several options before selecting the Grass Valley LDX 110. During our evaluation, it delivered better performance in low light and other challenging lighting conditions than the alternatives we considered, while remaining within the budget we had set for the project. The Xenios CMOS image sensor consistently delivered the picture quality we were looking for, and the compact camcorder-style design was a good fit for how our operators work on game days.

All-Action Capture
Our production schedule begins when the gates open and finishes after the last fans leave the ballpark. During that time, in addition to the game itself, we’re producing a variety of content including player introductions, fan features, live entertainment, promotions and activity around the concourse. Camera operators are constantly moving between different environments and lighting conditions.

Our fixed cameras, including the high home and centerfield positions, provide the main coverage throughout the game. They produce excellent pictures and give us the consistency we need across the entire production.

The MVP in our live production workflow has been the mobile camera system, a huge upgrade over previous systems deployed. The LDX 110 gives us much more freedom to cover everything happening around the stadium with the same picture and color quality we see on fixed cameras. Operators can move freely around the 360-degree concourse to spend time with fans, react to big moments and capture entertainment occuring on and off the field, all with a consistent high-quality production standard. These shots are critical in telling the story of the fan experience at CarMax Park.

The mobile system is a seamless, natural fit in our workflow with the color-grading system in our control room, allowing our shader full control while the camera operator freely moves around CarMax Park. That combination has made mobile operation far easier than we have experienced in past workflows.

We use the word “consistency” often, as that has probably been the biggest operational improvement seen since opening the venue. The picture quality and consistency of the LDX 110 systems is big league, giving our production the polish our fans and partners deserve while allowing our team to stay focused on the live show.

Big-League Delivery
The response from our fans and community partners has been extremely positive. Fans, colleagues and industry peers who visit CarMax Park often describe our productions as “big league.” That was one of our main objectives when we designed the production facilities, so it is very rewarding to receive that feedback.

Overall, the deployment has exceeded our expectations, and we are already working with Grass Valley and our integration partners to add a second mobile camera system. That decision is based on how much value the first system has added to our productions and how often we now rely on it during a game.

Opening a new ballpark gave us the chance to build the production workflow we wanted from the beginning. The LDX 110 cameras have become an important part of that workflow, helping us produce consistent, professional coverage throughout every game while giving our production team more creative freedom around the stadium.

More information is available at Grass Valley’s website.

SAN DIEGO—When your “broadcast studio” is 5,000 meters below the ocean surface, you have to get creative with your camera technology. That’s what our combined teams at DeepSea Power & Light and Ocean Exploration Trust (OET) did on a deep-sea expedition, modifying Sony’s HDC-P50 POV camera to explore and live-stream UHD content from the ocean depths of the Cook Islands.

Each OET expedition is focused on scientific exploration, visiting never-before-seen parts of the planet, documenting ecosystems in poorly understood ocean regions, discovering new species and sharing this data with the world. A core part of OET’s mission is education and outreach, using the excitement of discovery to inspire the next generation of explorers.

Extreme Tech
Sending exploration tools to depths of 5,000 meters or more requires a unique set of hardware that can survive and operate in extreme temperatures and low light. Space constraints further complicate mounting cameras on remotely operated underwater vehicles and controlling them from confined workspaces aboard an exploration vessel.

In 2019, DeepSea partnered with the Monterey Bay Aquarium Research Institute (MBARI) to design a camera system that could deliver studio-level imaging quality in these conditions, an idea first championed by MBARI’s Mark Chaffey. The team sought a camera capable of UHD resolution, HDR and native 12G outputs to integrate with standard broadcast workflows. The Sony HDC-P50 hit the sweet spot for all criteria.

What sealed the deal was the camera’s modular design. DeepSea completely deconstructed and re-engineered its chassis to integrate the HDC-P50’s features into the MxD SeaCam, a broadcast-
grade 4K subsea imaging system with a ruggedized pressure housing designed for deep‑ocean exploration, scientific research and underwater filmmaking.

Building the MxD SeaCam around Sony’s proven compact broadcast camera helps us deliver the same imaging performance and control as a full-sized studio system but hardened for thousands of underwater pressure cycles. In 2025, OET and DeepSea brought the camera to sea on the Exploration Vessel Nautilus and tested it under real-world conditions.

A key objective of the Cook Islands expedition was to explore the South Pacific region’s biological and geological diversity and provide information about these environments to the Cook Islands Government.

ROV-based (remotely operated vehicle) surveys are best suited for filming macro fauna, which is everything large enough to see with the naked eye, or about a few centimeters in size. During the Cook Islands expedition, the camera’s combination of UHD resolution with a faster frame rate to capture more detail per second brought out the finer details of organisms that scientists need to identify species and examine geological patterns. Color is also important, and this HDR system gives us a richer range of hues and spectral information about underwater habitats and environments.

High-Resolution Science
The HDC-P50 will remain an essential part of DeepSea’sMxD system and the team will test and evaluate newer Sony camera versions as our organizations continue to advance deep-sea floor imaging. Only about 28% of the seafloor has been mapped at high resolution. We know more details about the moon’s surface than we do about the ocean floor.

The ocean contains about 99% of our planet’s habitable volume, yet roughly 90% of the species that live in it have yet to be identified. The visual information we gather with Sony tools is used for high-quality broadcast viewing and permanently stored in public repositories where it remains available to scientists and anyone interested in researching and learning in the future.

For many scientists, the complexity and cost of at-sea research limit their access to the sea floor. With advanced imaging solutions like the Sony HDC-P50 and DeepSea MxD SeaCam as well as OET’s telepresence outreach, researchers worldwide can unlock new ultra-high-resolution views of the deep. The better the quality of the data we can deliver to our audiences, the better they can do their jobs.

More information is available on Sony’s website.

BRISTOL, Conn.—“College GameDay” is ESPN’s premier college football pregame show, for which we have won the Sports Emmy for Best Weekly Studio Show for three consecutive years (2024–2026). It’s a privilege to work on the show and to continue to shape it.

For those unfamiliar with “GameDay,” it’s a 20-plus-camera, multiset, fan-immersive broadcast that moves to a new college campus every week of the season. It’s exciting, unpredictable and one of the most technically complex studio shows on television.

Live in HDR
Last season, we began exploring how to evolve the show’s visual identity. We had already moved “GameDay” into HDR, and that shift opened the door to a more cinematic presentation. I don’t just mean shallow depth of field, which tends to dominate conversations about “cinematic sports,” but the full package: Crisp edge detail, richer color and extended dynamic range. With a controlled lighting environment on our set (even outdoors), we knew we could push the look further.

At the 2025 NAB Show, RED’s booth immediately caught my attention. They were showcasing the V-RAPTOR with the SMPTE back, and the combination aligned exactly with my search for a cinema-grade sensor that could still integrate cleanly into a broadcast workflow.

After meeting RED’s specialists and digging into the camera’s capabilities, it became clear the V-RAPTOR could deliver two things we needed simultaneously: One was a true cinematic image suitable for HDR and the other was high-frame-rate performance for studio slow motion.

We weren’t just chasing a “pretty picture.” I needed a camera that could slot into our EVS replay system, take a matching look-up table to sit alongside our Sony broadcast cameras and still be painted live from the truck. V-RAPTOR ticked every box.

Every week of the season, “GameDay” rolls into a new campus. We build a full studio environment outdoors, surrounded by thousands of fans who show up before sunrise. It’s a wild place to deploy a cinema camera, but RED made the integration straightforward.

Canon supported us with optics, primarily the Canon 17–120 mm Cine Servo zoom, and later a prototype Canon 11–55 mm. We ran the camera through a Cyanview control panel, RED provided the necessary rack gear and we powered the camera directly from the truck to accommodate the different power requirements.

Operationally, the only noticeable change was weight. With cine glass and the larger body, we assigned the camera to an operator with experience carrying one through long, energetic handheld sequences. Once it was on his shoulder, he ran with it creatively.

We deployed the V-RAPTOR for two weeks of the 15-week regular season, at Vanderbilt and Utah. Vanderbilt was a perfect test case—the show featured live country music performances, and the camera produced standout images that immediately
differentiated themselves from our standard broadcast coverage.

We ran the camera at 3x slow motion, using it for fan reaction slo-mos, which are a show signature. We also used it for our on-set field-goal challenge, where a student attempts a kick for a cash prize.

Ready for 500th Show
The camera bridged the gap between cinematic presentation and high-frame-rate replay in a way we hadn’t achieved before. RED proved itself as a valuable tool in our broader innovation strategy.

As “GameDay” enters its 40th season and prepares for its 500th road show, we’re always looking for ways to evolve. V-RAPTOR gave us a new visual language to explore and helped inform how we think about balancing cinematic storytelling with live broadcast reliability.

As we continue to push forward in HDR, in camera tech and in how we bring the energy of thousands of fans into viewers’ homes, RED will remain part of the conversation.

More information is available on the RED website.

PORTLAND, Maine—Portland Media Center is the nonprofit community media hub for the greater Portland, Maine, area. We operate two local broadcast stations and two fully equipped production studios that are open to the public.

Our mission is straightforward and a little radical: Everyone has a story worth telling, and everyone deserves the tools, the training and the airtime to tell it. We offer workshops, seminars, and hands-on media production training for everyone from seasoned documentary makers to people who have never so much as touched a camera.

When I walked into the control room for the first time, I saw a love letter to every decade of broadcast technology since 1985. Racks upon racks were assembled over the years with genuine skill and craftsmanship, each piece there for a reason, often because something older needed a translator to talk to something newer.

It worked, but it was clunky. It was difficult to teach, scale and maintain. It was not exactly a system you could confidently put in front of a newcomer and say: “You belong here. This is yours to use. Go tell your story.”

Designing a New Studio
That needed to change and I knew what I wanted. A system that spoke one language, camera to switcher to edit suite—all of it integrated, intuitive and designed to get out of the way and let the storytelling happen.

We built out the new studio around four Blackmagic Studio Camera 4K Pro live production cameras, an ATEM Television Studio HD8 ISO live production switcher, an ATEM Camera Control Panel and four camera converters. The transformation was immediate and dramatic—three full racks of old equipment came out, and the entire Blackmagic Design system went into half of one rack.

The cameras run on Power over Ethernet, delivering clean, timeline-ready files directly to the ATEM. The clutter and complexity are gone, and now we have a studio that looks exactly as it is supposed to look.

Choosing the Blackmagic Studio Camera 4K Pro was deliberate. For a nonprofit operating on a community media budget, cost matters, but so does performance and teachability.

The Blackmagic Studio Camera 4K Pro delivers on all three. Color correction is intuitive whether you are working in camera or through the CCU. The switched feed integrates flawlessly into DaVinci Resolve Studio and Fairlight, producing a pipeline that feels less like a workaround and more like it was designed by someone who actually thought about how these things connect (because it was). Files arrive already embedded in a timeline, ready to go. In a pinch, the entire system can be run by a single operator.

Perhaps more importantly for our mission, the system is easy to teach. New creators can get up to speed quickly, while more experienced producers have plenty of depth to explore. We have shifted from a place that produces programming to a place that produces producers.

Simplfied Debates
The proof came in the form of a recent live gubernatorial debate. Five candidates—
including one appearing remotely—as well as two hosts and a live studio audience of 65, were delivered simultaneously to broadcast, video-on-demand and YouTube. It was exactly the kind of high-stakes civic production that used to require crossing your fingers and hoping nothing went sideways.

Nothing did. The Blackmagic Design system handled every element with zero drama and delivered a production we were genuinely proud of. Having the right tools meant it looked as important as it was.

For us, that’s the real value of the Blackmagic Studio Camera 4K Pro. The cameras don’t just produce excellent images, they simplify complex productions, make professional broadcasting accessible and allow our nonprofit to do more with limited resources. By modernizing our infrastructure, we’ve strengthened our ability to serve the community and ensure that more local voices can be seen and heard.

More information is available by contacting Blackmagic Design at 408-954-0500 or by visiting the Blackmagic website.

MINNEAPOLIS—I first founded Curling Stadium, a systems integration firm specializing in deploying livestreaming systems in curling arenas using PTZ cameras and NDI connectivity technology, in 2019. Combining my 25 years of IT experience with my background as an Olympic curler, we installed and managed systems in 23 curling clubs around the world.

Those deployments captured the attention of organizations, including USA Curling and international governing body World Curling. We started getting requests to provide full broadcast production services for major curling events, leading us to evolve into Stadium Sports Network, the full-service production company we are today.

Curling Challenges
We had used a variety of PTZ camera brands over the years, ranging from budget-oriented brands for small clubs to the premium high-end models we rented for larger productions. With our productions for World Curling destined for linear television anywhere in the world, we knew we needed to upgrade our cameras to achieve higher quality while remaining cost-competitive. A tipping point came when we were contracted to produce broadcasts of the U.S. Olympic Curling Trials in South Dakota last November for NBC Sports and Peacock.

Shooting curling involves some unique challenges. For example, when we’re tilting a camera down at the ice, we’re getting a lot of bright white that blows out the exposure on most of the other cameras we’ve used. The lighting also varies a lot between events depending on the venues—from dimly lit older curling clubs to bright, modern arenas—so we needed cameras with at least a 1-inch sensor as well as exceptional exposure handling.

One of our partner companies recommended we check out Telycam PTZ cameras, and I’m glad we did. After testing their broadcast-class Explore XE model, we purchased three of them.

In our typical workflow, the Telycam cameras output NDI HX3 streams that are delivered to the production center over a 10 Gbps Ubiquiti network. Switching is done on a computer running vMix software, with Singular Live powering HTML5 graphics and a Behringer X32 audio mixing console.

We use AVKANS controllers for PTZ camera control. Telycam makes its own controllers, but the Telycam cameras support the standard VISCA control protocol and we already owned many AVKANS controllers, so we stuck with them.

The Telycam PTZ cameras have been outstanding, and we couldn’t be happier with the results. When I compare them to other manufacturers we’ve used, aspects like color shading and autofocus have been standouts, and the autoexposure has been amazing in overcoming the above challenges.

In fact, we had rented high-end cameras from a big broadcast brand for a previous project, but we found that Telycam’s autoexposure and focus management blew the more expensive cameras out of the water. The Explore XE gives us superior quality and at its price point, we can buy the cameras rather than renting them. The value we’re getting from them allows us to be competitive at the high end of our market.

PTZ Creativity
Curling is also fairly repetitive compared to other sports, so the shots are almost always the same. We need to be more creative with how we mix in shots with zoom, and the Telycam cameras’ responsiveness with different presets has been valuable.

Most importantly, our broadcast clients have also been happy with the results. We previously heard from skeptics that PTZ cameras couldn’t achieve this level of production quality, but I believe that’s been proven not to be true.

Telycam has also been great to work with. The demo and sales process was smooth and their technical support has been excellent. During one project, we found that we needed a different firmware package, and within an hour, they had responded and new firmware was running on the camera.

We plan to expand to produce multiple broadcasts at the same time, so we’ll be investing in more cameras. Based on our experience, when we do, it will be with Telycam.

More information is available on the Telycam website.

SAN DIEGO—Established in San Diego in 2009, Show Imaging was known as the group of producers who refused to say “no” to the crazy and seemingly impossible. Over the years, Show Imaging has grown to a team of over 200 people nationwide and a community of unique creators who come from every background to build all aspects of premier experiences.

San Diego Comic-Con, one of my favorite events of the year, draws hundreds of thousands of devoted fans across film, television, literature and comics to experience panels, artist showcases and cosplay competitions. Delivering a memorable experience requires reliable, high-quality video capture and displays to ensure every fan has a front-row seat.

In 2025, Show Imaging partnered with Panasonic to bring that vision to life, providing the production technology needed not only to capture Comic-Con’s iconic panels but also to deliver high-quality video coverage to engage devoted fans and audience members.

Immersive Fan Experiences
Many panels operate on a first-come, first-served basis, so auditoriums fill quickly, including the seats in the back. Our job is to ensure all 6,000 attendees receive a front-row experience, delivering real-time audio and video that keeps every viewer connected to the action regardless of where they’re seated.

That’s why we equipped the room with three Panasonic AW-UE150 4K PTZ Cameras, one AK-UC4000 Studio Camera and the Kairos Live Video Production Platform. Designed for fast, intuitive setup, these solutions allowed our team to capture dynamic panels in 4K without having to worry about technical complexity or system reliability.

For close-ups during panel discussions and audience Q&As, Panasonic’s 4K PTZ and studio cameras delivered precise color reproduction and consistent shading, ensuring every attendee—even those watching online—experienced an accurate view of the action on stage.

Panasonic’s AW-UE150 4K PTZ Cameras were particularly instrumental when “Star Wars” creator George Lucas made a surprise appearance to promote the new Lucas Museum of Narrative Art. Attendees not only saw and heard the exclusive announcement of the museum, but also close-up video of Lucas as he shared behind-the-scenes stories and insights about his work, making the panel an unforgettable moment for “Star Wars” fans.

We also deployed 18 Panasonic PT-RQ35 projectors to map content across a 250-foot linear projection screen. Thanks to Panasonic’s interoperable ecosystem, the 4K PTZ cameras and projectors worked seamlessly together to deliver accurate visuals at scale with minimal adjustment. Panasonic’s Kairos Live Production Platform enabled the production team to easily edit, overlay and switch this content across screens in real time.

Kairos can also handle
ST 2110 signals directly, dramatically streamlining workflows. Comic-Con is a large-scale live event with many moving parts, and Kairos helped us manage the PTZ cameras, studio cameras, audio inputs and other visuals.

Panasonic’s integrated production ecosystem gave us the flexibility to prioritize storytelling over technical complexity, as illustrated during the “Tron: Ares” panel. A dramatic red laser light show and live stage performance were captured seamlessly by Panasonic’s PTZ cameras, ensuring audiences experienced every moment from wherever they were seated.

Images and Energy
Panasonic’s professional AV solutions enabled our team to immerse Comic-Con attendees in every iconic moment with precise imaging, seamless workflows and reliable performance. Rather than focusing on the technology behind the scenes, our crew could focus on what mattered most: capturing the energy of every panel and delivering an unforgettable experience for fans throughout the venue.

As audience expectations continue to rise, broadcast-quality cameras and production platforms will become even more essential to live events of every size.

Combined with emerging capabilities like AI-powered auto-tracking and live captioning, these technologies will help production teams create more accessible, engaging and immersive experiences to allow every attendee and remote viewer to feel connected to the action, no matter where they are.

More information is available on Panasonic’s website.

SAN DIEGO—Sony Electronics today introduced the FX5 full-frame camera, the latest in its Cinema Line series.

The camera relies on a new fully stacked CMOS image sensor that raises sensitivity performance with 15+ stops of dynamic range, three base ISO settings and a Dual Gain shooting mode.

For the first time in the Cinema Line FX series, the FX5 supports Open Gate shooting and in-camera recording in X-OCN, Sony’s proprietary RAW format. It shoots 5K at up to 60 fps, 4K at up to 120 fps, and FHD at up to 240 fps.

Sony has also released two optional accessories: a detachable OLED viewfinder and an XLR handle unit that records in-camera at up to 96 kHz, 32-bit float.

“We wanted to build on the FX3, taking it one step further with the inclusion of some VENICE 2 features, like internal RAW recording and Open Gate,” said Yang Cheng, vice president of Imaging Solutions at Sony Electronics. “Features like these have been highly requested and will allow creators more creative freedom with an easier workflow.”

The ILME-FX5 with XLR Handle Unit will be available in mid-August for a suggested retail price of $5,499.99. The ILME-FX5B body will be available in mid-August for a suggested retail price of $4,899.99.

Key features include:

• A full-frame, fully stacked Exmor RS CMOS image sensor and the latest BIONZ XR2 high-speed image processing engine with a dedicated AI processing unit.
• In S-Log3, captures 15+ stops of dynamic range.
• Three base ISOs of ISO 800, ISO 4000 and ISO 12800 keep noise low across a wide range of conditions. The Dual Gain Shooting function, a first for the FX series, draws more from the sensor for smoother gradation and wider latitude while reducing noise and preserving shadow detail.
• A first for the FX series, the camera supports 3:2 full-pixel readout across the entire sensor, or Open Gate shooting, plus 17:9, 16:9 and Super 35mm scan modes. In-camera recording in X-OCN, Sony’s proprietary 16-bit scene-linear RAW format, captures high quality without an external recorder. Alongside X-OCN LT, the new X-OCN C1 and X-OCN C2 codecs cut data size to speed transfer and streamline post-production.

More information is available on the company’s website.

VALHALLA, N.Y.—Fujifilm this week unveiled the Fujinon GF19-35mmT3.5 PZ OIS WR (GF19-35mmT3.5), adding a second Fujinon cinema power zoom lens for the GFX System.

With a native G-mount, the GF19-35mmT3.5 provides the widest angle of view available in the GF format, offering filmmakers at all levels of production a large-format cinema zoom with expanded cinematic versatility and exceptional optical performance in a compact, lightweight design, Fujifilm said.

GF19-35mmT3.5 pairs with the Fujifilm GFX Eterna 55 camera, particularly alongside the Fujinon GF32-90mmT3.5 PZ OIS WR lens. Those lenses have identical exterior dimensions, allowing for shared accessories for seamless rig setups.

The two lenses also have standardized zoom and focus functions. This enables a streamlined filming style that minimizes equipment requirements and crew workload, enhancing production efficiency and expanding creative flexibility.

“GF19-35mmT3.5 not only continues Fujinon’s legacy in optical design, but as the first expansion of the GF cinema zoom line, it emphasizes Fujifilm’s commitment to products designed specifically for filmmaking,” Fujifilm Holding America Director of Brand and Product Marketing John Blackwood said. “The expansive large-format angle of view helps preserve natural perspective across the frame, allowing filmmakers to anchor their vision for cinematic storytelling.”

Designed for immersive, location-based storytelling involving scale, movement and reliability, the GF19-35mmT3.5 pairs an ultrawide 19-to-35-millimeter focal range (equivalent to 15–28 mm in 35-mm film format) with purpose-driven optics, consistent geometric rendering and minimal focus breathing.

Purpose-built for G-mount, the compact lens is about 8.74 inches (222 mm) and weighs 4.6 pounds (2.1 kilograms).

The Fujinon GF19-35mmT3.5 PZ OIS WR lens will be available beginning July 23 for a manufacturer’s suggested retail price of $5,499.95.

More information is available on the company’s website.

MUNICH, Germany—ARRI has unveiled the ALEXA 35 Live Xtreme camera supporting high frame rate output of up to 8x for live productions using traditional SDI workflows.

With ARRI’s Live Production System LPS-1, the camera enables the emotion and drama of live entertainment events to be broadcast not just in ARRI image quality, but also in beautiful slow motion, enhancing creative options for producers and directors.

ALEXA 35 Live Xtreme comes permanently pre-installed with the existing High Speed License for ALEXA 35 and a new High Frame Rate SDI License. When combined with the ARRI LPS-1 Fiber Camera Adapter and Fiber Base Station (and a standard slow-motion playout server such as SimplyLive or EVS) the camera outputs HFR at up to 8x in HD or 2x in UHD. Up to 4x HFR can be output via a single SDI connector, and higher speeds are split across both SDI outputs.

Frame rates up to 330 fps use the camera’s full dynamic range of 17 stops, while a Sensor Overdrive mode enables frame rates up to 480 fps at a dynamic range of 11 stops. Whatever frame rate is chosen for the slow-motion feed, the system simultaneously outputs a live feed for broadcast, allowing operators to switch between the program frame rate and HFR in real time. A unique phase-blending feature provides control over motion blur and shutter effects in the live feed.

Broadcasters have embraced the ARRI Multicam System because it transforms the visual impact of live coverage, elevating production value and enriching audience experience.

With its Super 35 sensor, high dynamic range and sensitivity and exceptional color fidelity, ALEXA 35 Live Xtreme delivers a base look that stands out from the crowd. Users can choose looks from the ARRI Look Library, try ARRI’s Multicam looks or build their own LUTs—with traditional live painting still possible no matter what look is chosen.

Sports broadcasting is a key application area for the ALEXA 35 Live Xtreme with coverage of indoor, outdoor, individual and team events set to benefit. The camera’s wide dynamic range helps capture high-contrast environments, such as winter sports, while the cinematic image quality conveys the full emotion and drama of decisive moments—all in slow motion.

Since a separate high-speed camera is no longer required, the HFR content now has the same ARRI look as the regular feed, and a consistent visual style is assured across both the live coverage and highlight reels.

Seamless integration is fundamental to the ARRI Multicam System. When using ALEXA 35 Live Xtreme for a live production, everyone from the engineers and operators to shaders and directors can do their job in the normal way. The LPS-1 Fiber Base Station simply plugs directly into the slow-motion playout server, and an HFR signal is available from the camera via a standard baseband workflow for easy incorporation into the live coverage.

The ALEXA 35 Live Xtreme is now available to order.

More information is available on the company’s website.

Cameras are not just the source of images for TV shows and live sports coverage, as well as—of course—feature films; they also help create the look and style of a production.

As with many of the previously standalone components in modern broadcast workflows, though, the camera is becoming part of a bigger system. Cameras are increasingly likely to be networked to other devices, with the consequent need for more interconnectivity on location or in the studio, which ultimately offers greater operational features and flexibility to both camera operators and the production team.

This is encapsulated by the acquisition of German camera and lighting manufacturer ARRI, a hugely influential name in cinema history that has moved more into broadcasting in recent years, by compatriot company the Riedel Group. Riedel made its name in intercoms and communications, but later moved into a wider, connected digital world with a range of distributed video networking systems.

‘Highly Complementary’
The deal was announced just before April’s NAB Show, where David Bermbach, co-managing director of ARRI with Christian Richter, described the combination of the two companies as “highly complementary,” as it blends Riedel’s infrastructure and audio and video communications systems with cameras and lighting from ARRI.

“In the future it [will be] not so much about selling just products but end-to-end solutions,” he said. “I see that for cinema as well as for the live broadcast field. End-to-end [is] where the potential really lies now business-wise.”

The general camera market is already moving towards this goal, and the latest developments from other major manufacturers in this direction were evident at the 2026 NAB Show. Blackmagic Design introduced a 100G version of its URSA Cine 12K LF (large format) camera, which is not only aimed squarely at live production but is also part of the company’s wider 100G ecosystem.

“The URSA Cine 12K was originally designed to be a cinematic camera, but a lot of customers [began] requesting to use it both in a live signal workflow [and] record locally in 12K for later use,” Bob Caniglia, director of sales operations for North America at Blackmagic, said. “A few things needed to change for that, the first being the ability to connect [the camera] to an ATEM switcher for the proper color correction you would have in a live situation.”

Initially, this was achieved through two SDI outputs, but Caniglia said the addition of a 100G port to the URSA Cine 12K enables it to be part of large workflows at that transmission rate. Blackmagic’s other major NAB Show launch this year was the URSA Cine Immersive 100G, which it says is the first cinema camera designed for live production using Apple Immersive Video. The camera has already been used to cover NBA games, Caniglia said, again with the 100G capability enabling it to work in a live-TV setting.

Increase in Signals
Sony’s NAB Show lineup also reflected growing connectivity to and from live production cameras. The 3000 and 5000 series, which have been on the market since 2019 and gradually upgraded in recent years—including four-times-4K support for the 5500 and higher frame rates on 3000-series cameras to enable slow-motion capabilities for high-end sports coverage—were, in the words of Rob Willox, director of product marketing for live media solutions at Sony, further “refreshed” through increased connectivity capacity.

“It was a big customer request to send many more signals between the cameras and the camera control unit,” Willox said. “This includes multiple channels of teleprompter, talent monitors, the secondary monitor and more return channels to the viewfinder overall, so just a little increased scope of signals that can be had between the cameras, the operators and the interface to the talent.”

Also in the last few years, Sony has introduced networks and software applications that provide greater connectivity to cameras through the CNA-2 camera control network adapter. This provides the ability to assign different cameras from different studios to different remote control panels, Willox said. This has now developed into a “backbone” for camera and network management that allows multiple venues to be controlled from a central location during major events.

Networked control was also a highlight from Panasonic at the NAB Show. The company introduced an Image Adjust Pro plug-in for Panasonic’s Media Production Suite that allows centralized management of up to 20 studio and PTZ cameras per license from a PC or tablet.

Mike Bergeron, senior product manager, live video production ecosystems at Panasonic North America, said the free plug-in is a conglomeration of the software tools Panasonic provides to manage its PTZ cameras.

“The Image Adjust Pro is a software master setup tool that displays itself as a bunch of our camera paint boxes, and it works across the board with the studio cameras and the box cameras and the high-end PTZ cameras and allows you to manage all of those on the same platform,” he said.

‘Cinematic Aesthetic’
Grass Valley focused on the continuing expansion of its AMPP infrastructure, which now includes support for NDI 6.3. This allows IP video workflows, such as HDR sources, to be carried in and out. The next step in terms of camera operation is how to automate such functions as shading, particularly for multiple cameras, Director of Product Marketing Klaus Weber said.

“Things like AI come into question,” he said. “How can it help, for example, to make sure all cameras are aligned to the same look? These topics are being discussed and there are no solutions yet but it is an area we are researching.”

On the camera front, the LDX 110, introduced last year as an entry-level model, was shown with three times the speed capability for super slo-mo. Also on display were the LDX 180 and LDX C180, again launched in 2025. These were designed with a Super 35mm imager front end to bring a “cinematic aesthetic” to live productions.

The difference between GV’s approach to this growing requirement—compared to its competitors—was to use an existing live camera system and add a film optical block, instead of modifying a cinematography camera, Weber noted.

ARRI began to move into broadcast more than five years ago. At its NAB Show press conference, management acknowledged it was continuing to address the growing trend towards using cinema tools to cover sports and live events. Blackmagic’s Caniglia aslo acknowledged there is now more “crossing of the streams,” with cinematic cameras used in live broadcasts. This has led it to market the URSA Cine as two cameras in one, covering live broadcasts as well as features and TV shows, he said.

Sony has a background in Super 35mm through its cinematography cameras, and although the company is seeing demand for the format in live broadcast, Willox said it would likely be best suited to one or two cameras in a production rather than all of them.

“That longer depth of field plays a little better on replays and being able to see everything that happened within the playing surface, rather than segments of the playing surface,” he said.

Cameras will doubtless continue to develop as they always have, but it is now clear this must happen as part of an overall production infrastructure.

SHENZHEN, China—PTZ camera manufacturer Telycam has launched the Explore 100, Explore 300 and Explore 500 cameras, new models in its broadcast-class Explore series.

Telycam will showcase the new cameras in booth N7957 at InfoComm 2026, set for June 17–19 in Las Vegas.

The new models are designed to deliver outstanding image quality, precise focus and smooth mechanical movement across a wide range of production scenarios, including sports broadcasts, corporate events, educational applications, and live production environments, Telycam said.

The Explore 100 and Explore 300 are the next generation of Telycam's Explore SE and Explore XE cameras, respectively, while the Explore 500 is the newest version of its top-of-the-line Explore model.

All three models deliver improved performance with advanced features including Telycam's new Brushless DC motor and 3-axis synchronization, designed to eliminate robotic movement and deliver fluid, natural camera motion-perfect for broadcast-quality production.

The Explore 300 and Explore 500 are equipped with a 4/3-inch sensor and 20x optical zoom, coupled with Hybrid AF for exceptional low-light performance and fast, accurate autofocus, Telycam said.

Both models also incorporate an OLPF (optical low-pass filter) lens to minimize moiré effects when shooting in front of LED walls, enhancing virtual production and digital content creation.

The Explore 100 combines a 1/1.8" sensor with 30x optical zoom as a low-cost entry point to broadcast-grade PTZ capture.

All three models offer a flexible array of output connectivity. The Explore 300 outputs 4K at 60 frames per second over HDMI or NDI HX3, with 4K at 30 fps available over USB-C and 1080p60 video over 3G-SDI. The Explore 100 and Explore 500 offer the same outputs plus NDI High Bandwidth, 12G-SDI (with genlock) and SFP+ interfaces. All three models can also stream directly in SRT, RTMP and RTSP, and can record files on an SD card.

The brand-new WebUI for the next-generation Explore models is fully mobile-friendly, making it easy for users to control the cameras remotely from a phone or iPad, Telycam said. It also features four Scene Presets, allowing users to save and quickly recall different image settings for varying lighting and stage conditions. The new WebUI integrates numerous small enhancements designed to provide a smoother, more intuitive user experience, the company said.

The Explore 100, Explore 300, and Explore 500 are scheduled to be available in the third quarter. They will sell for the same original MSRP as their earlier equivalent.

More information is available on Telycam’s website.

SYDNEY, Australia—Sony Electronics has introduced the SRG-AS10 4K 60p-compatible PTZ auto-framing camera using the company’s proprietary AI, which automatically recognizes, tracks and captures subjects with a natural composition, as well as the SRG-XS10, a basic 4K PTZ camera. The company will show both at InfoComm 2026, set for June 17-19 at the Las Vegas Convention Center.

The new cameras use a 1/2.8-type 4K image sensor featuring STARVIS, Sony’s proprietary image sensor technology. STARVIS enables clear video capture even in low-light environments. The PTZ cameras are enhanced with smooth, natural pan-and-tilt operation, delivering fluid camera movement from start to stop without abrupt acceleration or deceleration, Sony said.

Both cameras can be used for a wide range of shooting distances in concert halls, theaters, gymnasiums and similar venues and for a variety of shots ranging from close-ups to the back of the hall. Their compact, lightweight design allows for installation in diverse settings and can capture high-resolution video that clearly expresses subjects’ facial expressions, Sony said.

Key SRG-AS10 features include:

• PTZ auto-framing leveraging Sony’s proprietary AI analytics algorithms, supporting capture in diverse applications, including online classes and lectures, corporate content creation, streaming and sports capture.
• Ball Sports (basketball) Mode² supporting automated capture of indoor full-court basketball games from a wide shot.
• Automatic multi-person framing of up to eight people within the frame at the same time.
• STARVIS technology to ensue clear video even in low light with a ½.8-type 4K image sensor.
• Lightweight, compact design to support flexible installation and image capture.

“With the announcement of the SRG-AS10 and SRG-XS10, Sony continues to enable professional and reliable 4K capture across real-world AV environments,” said Tom Garvan, product manager at Sony Australia. “By combining intelligent automation, smooth PTZ performance, flexible integration and support for common routing and control protocols, these compact cameras remove technical barriers, allowing education, corporate and live environments to focus on what matter most – their message and presentation.”

The SRG-AS10 and SRG-XS10 are expected to be available near the end of 2026.

See Sony at InfoComm booth C8301.

More information about the SRG-AS10 and SRG-XS10 is available on the company’s website.

MUNICH—ARRI has announced an expanded Management Board and a streamlined operating structure as part of an effort to strengthen innovation, execution, and global customer alignment.

As part of those changes, Frank Eischet and Marcel Koutstaal have joined ARRI’s Management Board alongside David Bermbach and Chris Richter.

The company said that the expanded leadership team combines operational, financial, product, and commercial expertise needed to support ARRI’s long-term growth and evolving role as a provider of integrated solutions across the Motion Picture, Live Entertainment, and Content Creation industries.

At the same time, ARRI is simplifying its organizational structure by consolidating responsibilities previously divided between the Camera Systems and Lighting business units. The new setup strengthens the focus on comprehensive solutions for our target markets rather than individual product categories, accelerates decision-making, and brings product development, operations, and commercial execution into closer alignment worldwide.

ARRI said that for customers, this translates into faster delivery of solutions and a more seamless experience across ARRI’s camera, lighting, and service portfolio.

“ARRI is entering a new phase focused on investment, integration, and scalable growth,” said Thomas Riedel, owner of ARRI. “By expanding the Management Board, we are strengthening the connection between technology, operations, and commercial execution. Frank Eischet deepens collaboration within the Riedel Group, while Marcel Koutstaal adds valuable international expertise to accelerate innovation and operational performance across the company.”

Frank Eischet joins ARRI’s Management Board as Chief Financial Officer on an interim basis. Coming from Riedel Communications, he will continue in his role at Riedel while supporting ARRI’s financial and strategic development, further strengthening collaboration within the group. The CFO position will be permanently filled in the upcoming weeks.

Marcel Koutstaal joins the Management Board as Chief Operating Officer and assumes responsibility for ARRI’s global operations and companywide product development activities. He brings extensive international leadership experience in large-scale operational optimization and high-end camera technology, combined with deep expertise across studio, outside broadcast, remote, and cloud-based production environments.

David Bermbach assumes responsibility within the Management Board as Chief Product Officer, leading ARRI’s unified product strategy across camera and lighting technologies with a strong focus on integrated solutions. He will strengthen alignment between innovation, roadmap, and customer needs across the portfolio and continue ARRI’s transformation into a provider of integrated solutions across hardware, software, and services for Motion Picture, Live Entertainment, and Content Creation.

Chris Richter assumes the role of Chief Commercial Officer within the Management Board and continues to lead ARRI’s global commercial organization, including sales, rental, and corporate communications. He will drive a consistent worldwide approach to customer engagement, commercial execution, and brand positioning.

“We are bringing product, operations, and commercial leadership closer together to respond faster to evolving customer and production requirements worldwide,” said David Bermbach and Chris Richter. “Strengthening the operational backbone within ARRI allows us to set a clear focus on supporting the Media &

Entertainment industry in these times of change, scale innovation and deliver even greater value to our customers and partners globally.“

With the expanded Management Board and streamlined organizational structure, ARRI advances its vision as the “Trusted Technology Leader for the Next Generation of Media & Entertainment.”

MONTREAL—Grass Valley has announced that U.K.-based systems integrator dB Broadcast has delivered new IP-based outside broadcast (OB) trucks for Cloudbass that feature Grass Valley LDX 100 Series cameras and K-Frame production switching technology.

The trucks will be used for live sports production across the UK.

Designed for high-end sports broadcasting, the compact, fast-deploy OB units combine UHD, HDR and high-frame-rate production capabilities with a modern IP-based infrastructure. The trucks support centralized production operations and evolving remote and distributed production models, enabling Cloudbass to deliver premium-quality coverage across top-tier football and major live sporting events.

The deployment features 32 Grass Valley LDX 150 native IP camera systems, delivering the imaging performance, operational flexibility and Native-IP connectivity required for premium live sports production. The cameras support SMPTE ST 2110 workflows directly from the camera head and are designed to help production teams transition efficiently to scalable live production environments.

The project also incorporates Grass Valley’s Creative Grading tools to support centralized camera shading workflows, alongside K-Frame production switching capabilities as part of the overall live production architecture.

“Sports broadcasters and production providers are increasingly looking for ways to expand UHD and HDR capabilities while maintaining operational efficiency and flexibility,” said Mark Gardner, senior vice president of sales, EMEA at Grass Valley. “These new Cloudbass trucks demonstrate how native IP production, centralized shading workflows and scalable live production technologies can be combined in a compact environment built for the realities of modern sports production.”

The new units feature fully IP-based workflows and are designed to support remote operations, dynamic configurations and evolving broadcast requirements. The integration was led by dB Broadcast, a long-standing Grass Valley partner with extensive experience in complex broadcast systems integration.

“This project was about delivering a future-ready IP architecture without compromising the operational practicalities of live OB production,” said Mike Bryan, technology director at dB Broadcast. “By standardising on Grass Valley’s LDX 100 native IP camera platform, Creative Grading and K-Frame technologies, we can provide Cloudbass with a consistent production environment from acquisition through to live production switching.

Supporting around 15 cameras per truck, including UHD and HDR high-speed production workflows, the new units are optimized for long-term sports production contracts while maintaining the flexibility required for evolving sports production workflows.

Grass Valley will be showing these and other solutions at booth B55 at MPTS at Olympia London on May 13–14, 2026.

At NAB 2026, Emergent Vision Technologies showcased a cutting-edge 36-camera array. The multi-server system with GPUDirect processing is designed for high-resolution volumetric capture and renders out a 4D Gaussian splat. A 4D Gaussian splat is a 3D video that allows creators to manipulate perspectives after filming, and Emergent’s capabilities now include synced sound recording. The perspective and background can be edited in post production to create truly immersive content in VR and entertainment.

Also featured were ZENITH high-resolution, high-speed cameras built on new Sony camera sensors. These cameras are capable of up to 105MP and 811fps, with a range of resolutions and framerates in-between. These cameras are being deployed in sports and immersive content industries to capture realistic motion at very high resolutions.

Watch the video to learn more!

MUNICH—ARRI has launched the new cforce MAX, a new high-performance lens motor that enhances the Hi‑5 lens control system with its exceptional speed and intelligent onboard control.

Compact and lightweight, the cforce MAX offers also offers versatile mounting, easy setup, and total reliability in the most demanding shooting environments, the company said.

The cforce MAX is twice as fast and just as strong as the cforce plus motor it replaces, yet 15% smaller and lighter.

Designed to complement the ultra-compact cforce mini and wireless cforce mini RF in ARRI’s lens motor lineup, the cforce MAX is ideal for larger cine primes, zoom lenses, vintage glass, and specialty optics that require strength and precision.

At the same time, its reduced form factor ensures versatility across handheld, gimbal, and studio configurations.

Combined with the new ARRI Motor Rod Clamp MRC-1, it provides a rock-solid connection to lens gears and easy adjustment on 19 mm / 15 mm rods in multiple positions.

The MRC-1 is also compatible with the cforce mini and cforce mini RF, and is a compelling upgrade for Hi‑5 system users, significantly improving stability and flexibility.

With an advanced brushless motor, the cforce MAX is quiet, durable, and easy to service. Motor response latency is so low that using the cforce MAX feels like a completely new experience for focus pullers. The high speed of up to 400 teeth per second and the market-leading latency additionally make it ideal for focus tracking systems, which cannot anticipate movement in front of the camera and must respond in real time.

Georg Lanz, an experienced focus puller and beta tester of the cforce MAX, commented on the new product by reporting that he had “tested the cforce MAX in the hottest place on Earth, in jungles, and out on the open sea. Beyond its reliability, the responsiveness and speed genuinely allow me to do a better job, especially in documentary or free-flowing environments where I am constantly reacting to unexpected movement.”

The cforce MAX features a physical button for control of core functions such as changing the motor axis—a control option already familiar to users of ARRI’s other cforce motors. In addition, its integrated display with touchscreen interface enables intuitive configuration and status monitoring directly on the motor, with expanded functionality possible in the future.

In common with ARRI’s entire Electronic Control System, the cforce MAX will benefit from ongoing software updates that enhance its feature set. Like the other cforce motors, it offers dual LBUS ports for seamless daisy-chaining and flexible system integration using standard cables, as well as full LBUS backwards-compatibility. It can be used with most existing ARRI mounting brackets, rods, and drive gears, allowing crews to integrate it effortlessly into established setups.

The cforce MAX lens motor is available now.

Learn more at www.arri.com/cforceMAX

Bolin Technology has been showing a number of new products this week at the 2026 NAB Show, including Range, which the company is billing as the first PTZR camera built to function as an anywhere camera, allowing production teams to use the same camera across both indoor and outdoor environments.

It also expanded Bolin’s PTZ lineup with the R9-L420N, which is designed for productions that demand high image quality and precise system synchronization, and showcased the new KBD Plus, which expands Bolin’s camera control lineup with a controller designed to simplify PTZ operation within modern production environments.

In terms of Range, the company noted that most outdoor cameras sacrifice the size and usability expected from indoor production systems. Range, however, maintains the form factor and visual presence of a professional indoor PTZ while adding the durability required for outdoor operation.

With 4K60 video and 25X zoom powered by a 1/1.8-inch Sony sensor, Range is suited for applications ranging from studios and performing arts venues to sports production and live events. Its IP65 rating, concealed rain wiper, and operating range from -40°C to +60°C allow the camera to operate reliably in changing weather conditions.

Range also introduces an industry-leading motion system, with high-precision brushless motors capable of PTZR movement up to 300° per second and acceleration from 0° - 120° per second in 200 milliseconds. The image module can rotate up to 270°, enabling vertical video, creative camera angles, and horizon correction.

Additional features include an integrated screen for reviewing settings and live preview, a built-in carrying handle with threaded accessory mounting points, and support for both Ethernet and Wi-Fi connectivity. Connectivity includes 12G-SDI, HDMI 2.0, USB-C (UVC), and IP outputs, along with support for NDI, SRT, RTMP, RTSP, and ONVIF workflows.

Also expanding Bolin’s PTZ lineup, is the R9-L420N, which is designed for productions that demand high image quality and precise system synchronization.

At its core is a 1-inch sensor paired with advanced image processing, delivering 4K60 video with up to 20X zoom and 1080p up to 120 fps for productions that require high frame rate capture. Hybrid autofocus combines phase-detection speed with contrast-based precision, helping the camera quickly acquire and maintain focus during live production.

The camera also supports adjustable cropped outputs, allowing alternate framing to be generated from the same camera image. This gives operators additional production flexibility without requiring a second camera position.

For multi-camera productions, R9-L420N supports LTC timecode and Genlock, helping ensure accurate synchronization with other cameras and production systems. Built-in ND filters allow operators to fine-tune exposure in changing lighting conditions.

Connectivity includes dual 12G-SDI, HDMI 2.0, Optical SDI, and IP outputs, with support for NDI High Bandwidth, NDI HX3, SRT, RTMP, RTSP, ONVIF, and MPEG-TS, allowing the camera to integrate into both traditional broadcast infrastructures and modern IP-based production workflows.

Complementing the new cameras, KBD Plus expands Bolin’s camera control lineup with a controller designed to simplify PTZ operation within modern production environments.

The controller integrates camera control, monitoring, and automation tools into a single interface. Built-in decoding allows operators to display live video from up to four IP camera sources simultaneously, helping streamline monitoring during production.

Low-latency decoding enables video output over HDMI 2.0 and USB-C (UVC) for production monitoring, while an integrated 4-inch LCD touch display provides direct control and visual feedback.

KBD Plus also introduces a new precision joystick designed for smoother response and improved durability, along with user-definable buttons that allow operators to customize presets and control behaviors. The controller supports a wide range of control protocols, including VISCA over IP, VISCA over serial, NDI, ONVIF, and manufacturer-specific protocols from Panasonic and Canon.

A future software update will introduce AI-based subject tracking, allowing PTZ cameras without built-in tracking capabilities to gain automated tracking functionality through the controller.

More information is available at https://bolintechnology.com/.

LAS VEGAS—Sony Electronics has announced its lineup of new and returning products and services that it will be showing at the 2026 NAB Show, April 19-22 in Las Vegas, demonstrating the latest technologies designed to address emerging challenges and needs in broadcast and production.

“At this year’s NAB Show, Sony’s theme is ‘The Power Behind Your Story’ which demonstrates how our technologies are the driving force behind various forms of storytelling,” said Anthony Kable, CCS Group Manager, Sony Australia. “From products to workflows, and acquisition to delivery, Sony has the right people, tools and expertise to enable creators to capture their vision and communicate their truth with quality and authenticity.”

Sony says its new solutions address the entire production workflow, providing authenticity and provenance, creating more personalized and emotional viewing experiences, and supporting XR and spatial content creation.

At the Sony booth, the company will showcase its live production solutions including the evolution of Sony’s “Networked Live” ecosystem, as well as new system cameras, enhanced workflows for news production, the latest in virtual production tools and processes, and a comprehensive lineup of imaging solutions.

Cameras and Production Workflow
Sony will present its new “R Series” system camera range, which join the company’s existing HDC-5000 and HDC-3000 series camera lineup. The “R Series” significantly enhances image performance, allows system expansion through additional transmission pathways and infrastructure options, and usability that enables consistent color matching across models.

Additionally, the new series features an expanded dynamic range for enhanced details, and operation modes to address different lighting environments. Models include HDC-5500R, HDC-5500RV, HDC-3500R, HDC-3500RV, and HDC-3200R, along with related products such as the HDCU-3500R Camera Control Unit and the HKCU-LUT35 3D LUT option board. The models are expected to be available in mid-2026.

Sony will also demonstrate newly released firmware updates for the PTZ auto-framing cameras BRC-AM7 (Ver. 3.0), SRG-A40, and SRG-A12 (Ver. 4.0). Leveraging Sony’s latest AI technologies, these updates expand functionality to support increasingly diverse production needs, including sports broadcasting, education, and corporate content creation.

For the first time at NAB Show, Sony’s recently launched PXW-Z300 XDCAM handheld AI-powered camcorder—the world’s first to support the C2PA standard for video authenticity—will demonstrate the growing demand for trustworthy news reporting through authenticity and provenance.

Sony will also present an end-to-end workflow that leverages camera-originated authenticity files and metadata from the field through immediate production and editing. This workflow is achieved with the LiveU TX1, a compact IP bonding-capable data transmitter (announced in September 2025), the PDT-FP1 portable data transmitter, and the newly announced PWA-RXS Network RX Station.

In addition, LiveU has announced a further expansion of its integration with Sony’s PWA-RXS through an optional license. A reference demo will showcase a new workflow powered by Sony’s cellular connectivity management system, featuring real-time carrier optimization and seamless global connectivity for creators.

Sony will also show an expanded lineup of Alpha cameras and lenses, including the Alpha 7 V capable of 4K 60p capture without crop. The 33 MP (approx.) full-frame hybrid model incorporates a BIONZ XR2 processor with an integrated AI processing engine to facilitate subject recognition and Auto Framing. Additionally, the latest version (Ver. 2.6) of the Monitor & Control app, which enables video monitoring and remote control from smartphones, tablets, and Macs, will be showcased.

Sony’s diverse Cinema Line cameras will enhance their functionality. The FR7 cinematic PTZ camera recently added AI-based Auto Framing and support for OpenTrackIO protocol through a Ver. 4.0 firmware update, while the FX6 full-frame Cinema Line camera rolled out BIG 6 home screen display support for easy access to top functions.

Additionally, experience spatial content creation brought to life through the VENICE Extension System Mini (Rialto) combined with the glasses-free 3D Spatial Reality Display.

Media Processing
Sony will also demo MOXELA, a new software-based media processing platform running on COTS (commercial off the shelf) servers or in the cloud, designed to transform how broadcasters, production companies, and media organizations transport, process, and monitor live video, audio, and data.

Additionally, attendees will see demonstrations of new features for the MLS-X1 multi-format switcher, enabling efficient production by sharing input and output signals across multiple studios. Sony will also debut the ICP-X7000A, a control panel featuring a newly developed XPT operation panel that significantly improves visibility and operability and is planned to be available in late 2026.

Virtual Production and Spatial Content Creation
To manage its ecosystem of virtual production solutions that include cameras, camera tracking and LED walls, Sony will showcase firmware updates to its Virtual Production Tool Set Ver. 3.0.

Sony will also launch the XYN Spatial Capture Solution, which generates photorealistic 3DCG (3D Computer Graphics) assets from photographs taken with mirrorless cameras. This professional solution, which will be shown at NAB Show and is expected to be available mid-2026, is comprised of three tools designed for use across virtual production and a wide range of 3DCG content creation workflows. XYN Spatial Scan Navi is a smartphone app[5] that guides efficient image capture. XYN Spatial Scan is a web application that delivers studio-grade generation quality. Finally, the XYN Renderer Plugin, enables highly realistic rendering for virtual production studios.

Additionally, Sony will host many engaging presentations and talks on trending topics throughout the show featuring notable industry voices. For more details about the company’s presence, visit Sony’s NAB Show website.

Sony will be in Booth C8401 in the Central Hall of the LVCC.

WUPPERTAL & MUNICH, Germany—Thomas Riedel, founder and owner of Riedel Communications and the Riedel Group, has announced the acquisition of ARRI, a legendary Munich-based manufacturer of camera and lighting technology for motion pictures and live entertainment.

Financial terms of the deal weren’t disclosed.

Rumors that the company might be up for sale have been circulating since last summer when Bloomberg reported a possible sale.

“My entrepreneurial path has been closely tied to ARRI for years,” said Thomas Riedel in a statement. “This acquisition represents the most significant personal milestone of my career so far. I have great respect for this exceptional brand, its outstanding products, and its strong team. At the same time, I see tremendous potential and am confident that, together, we can position ARRI for long-term stability and future success.”

Founded in 1917, ARRI has been family-owned ever since and has played a legendary role in the cinema production and professional film technology, having been recognized with 20 scientific and technical awards from the Academy of Motion Picture Arts and Sciences. “For more than a century, ARRI has stood for engineering excellence, innovation, and the highest quality. This success story will now continue and remain in German ownership,” said Dr. Walter Stahl, Managing Director of ARRI GmbH and member of the founding family.

Thomas Riedel’s bid for the company was chosen in a competitive international process, ARRI reported. It is the largest acquisition of Riedel's career to date.

The Riedel Group is a globally recognized specialist in advanced audio, video, and data technology, delivering infrastructure solutions for many of the world’s most demanding broadcast, live event, and sports productions.

Through the acquisition of ARRI, Thomas Riedel said he plans to establish a close strategic alignment between ARRI and the Riedel Group, expanding its expertise across the entire production chain — from camera optics to distribution. ARRI’s ecosystem of camera, lighting, and systems technology perfectly complements the Riedel Group’s existing portfolio and opens up new technological and strategic market opportunities for both companies.

In announcing the deal, the two companies said that they aim to unlock new areas of growth, especially in live entertainment and sports. By combining their respective technologies, the companies plan to develop integrated solutions that open new creative and technical possibilities for customers. As the first joint milestone of this collaboration, ARRI will debut its camera technology at the Eurovision Song Contest, where Riedel serves as the technology provider and NEP oversees production.

Under the new ownership of Thomas Riedel, ARRI’s existing management team will continue to lead the company. The company will retain independent operations and remain headquartered in Munich.

“Thomas Riedel has built a first-generation family business and stands for entrepreneurial continuity and long-term thinking,” said Chris Richter, managing director of ARRI. “We look forward to working with a successful entrepreneur and to the resulting market opportunities and access — both in existing and new markets.”

“The Riedel Group brings highly complementary technologies and extensive expertise in live production to this partnership,” added David Bermbach, managing director of ARRI. “This strengthens our strategic direction as a ‘Trusted Technology Leader for the Next Generation of Media & Entertainment.’”

Named after its founders August Arnold and Robert Richter, ARRI was established in Munich, Germany, where the headquarters is still located today. Other subsidiaries are in Europe, North and South America, Asia, and Australia.

The ARRI Group consists of the business units Camera Systems, Lighting, and Rental. More information is available at www.arri.com.

GARBSEN, Germany—As part of a suite of new releases being unveiled at the 2026 NAB Show by German miniature camera producer Proton Camera Innovations , the company has announced the launch of its Proton Pro, a miniature broadcast camera that combines a larger global shutter sensor with professional connectivity features.

The Proton Pro measures 30mm x 30mm x 49mm and weighs 79g is built around a 2/3-inch global shutter sensor. That is a critical advantage in high-intensity sports production due to its ability to read the entire image simultaneously, thus avoiding the skew that can sometimes be present in high-speed whip-pan shots when a rolling shutter is used. This technical foundation grants users exceptional image quality in environments where speed and precision are paramount and ensures every frame remains crisp and true to life.

Crucially, the Proton Pro achieves this without compromising low-light performance. The larger sensor size delivers enhanced light sensitivity and dynamic range, making the camera ideally suited to challenging lighting conditions.

The Proton Pro is also equipped with the professional connectivity features that broadcast workflows require. Genlock enables frame-accurate synchronisation in multi-camera setups, essential for clean switching and replay. A dedicated audio input allows for embedded sound capture directly at the camera position, whilst an aux connection provides remote motor control for lens adjustment – which can be managed by any one of a number of third-party camera controllers. Most importantly, the inclusion of a C-mount lens mount gives users the freedom to select optics tailored to their specific shooting environment, be that a wide-angle for net-cam applications or a zoom for distant action.

The Proton Pro will be on display alongside Proton’s comprehensive range of miniaturised cameras. Those include the Proton CAM: the smallest broadcast camera currently on the market, measuring just 28mm by 28mm and weighing just 24g; the 4K-capable Proton 4K; the zoom-integrated Proton Zoom; the flexibly separated Proton Flex and Flex 4K; the rugged, weather-sealed Proton Rain.

Within this existing range, the Proton CAM and 4K can already be adapted to include C-mount adaptability and external connectors.

The accessory ecosystem also offers users maximum flexibility to build their own custom configurations, providing both flexibility and specificity that allow users to tailor their camera choice to their exact creative and operational needs.

“The Proton Pro rounds out our camera range, and with its larger global shutter sensor, it will prove indispensable in fast action productions,” said Marko Hoepken, CEO of Proton Camera Innovations. “As with all of our cameras, the goal remains the same: to give creators the tools to capture shots that were previously impossible”.

“Indeed, that’s why we love attending shows like NAB,” he added. “We’ll have the opportunity to talk with customers about our full range of recent use cases which demonstrate the full potential of the ecosystem, including applications in 3D production environments, drones deployed in winter sports, helmet-mounted POV cameras, net and post cams in football, tennis and hockey, track car rigs, and even board-level mounting in chess matches. The common thread across every deployment is the creative freedom that Proton cameras grant users to frame unique shots that fully convey the excitement and emotion of the moment”.

More information about Proton and its products is available at http://proton-camera.com/ and https://doc.proton-camera.com/.

GARBSEN, Germany—In the runup to the 2026 NAB Show, miniature camera specialist Proton Camera Innovations today announces the appointment of seasoned broadcast professional Tod Musgrave as U.S. sales and marketing director.

Proton will be exhibiting at Booth C.4740 during the show from April 19 to 22.

Widely recognised across the industry for his leadership in the miniature camera sector, Musgrave brings more than a decade of experience from Marshall Electronics, where he established and led the company’s Camera Division as senior director. During that time, he directed camera design, product lifecycle management, marketing and global sales activities, helping to expand the adoption of compact broadcast cameras across a wide range of production environments.

In his new role with Proton Camera Innovations, Musgrave will focus on advancing the company’s miniature camera technologies across the United States, helping to further educate the market, expand Proton’s reach and build on the company’s recent growth. His responsibilities will include leading sales and marketing initiatives while working closely with customers and partners to support new broadcast and production workflows.

“We are excited to welcome Tod to Proton Camera Innovations,” said Stephane Ducobu, executive vice president of sales and marketing at Proton Camera Innovations. “His deep knowledge of miniature camera technology, combined with a genuine passion for the industry, aligns perfectly with our mission to deliver premium camera solutions built around comparatively larger broadcast sensors within the smallest possible form factors.”

For Musgrave, the move represents a return to a field that has long defined his career. “I’m thrilled to get back to my roots with POV and FPV cameras with an innovative manufacturer in an industry where camera design starts with broadcast sensors and chipsets,” he explained. “In this segment, attention to detail is paramount, from advanced features such as HD-HDR, UHD and high frame rates to optical zoom, virtual PTZ and true 4K 3D capabilities.”

More information about Proton and its products are available at http://proton-camera.com/ and https://doc.proton-camera.com/.

SOUTHWICK, Mass.—Kokusai Denki Electric America will showcase its new Z-HD6500-S1, an affordable native 4K broadcast camera, and RU-2500JY remote camera control panel during the 2026 NAB Show, April 18-22, at the Las Vegas Convention Center.

The Z-HD6500-S1 is built on the reliable performance of its UHD predecessor. The camera integrates 2/3-inch UHD sensors and global shutter technology to deliver high-quality images without flicker or banding. These technologies are the same used in the company's high-end SK-UHD7000, ensuring uniform image quality across live production environments.

The RU-2500JY remote control panel will be demonstrated as a key workflow element the company’s 4K MoIP ST 2110 remote production camera system. The RU-2500JY features a 3.2-inch (82 mm) slim width despite having a 3.5-inch touch panel, backlit controls and IP connectivity with Power over Ethernet (PoE). It simplifies camera control for REMI and decentralized workflows while supporting both IP and traditional ways of working. In addition to ST-2110 workflows, the system can be used in environments where the in-house broadcast infrastructure has not yet been converted to IP.

“Though our company name has changed, our ethos hasn’t. We’re clearly still focused on delivering equal or better picture quality than what’s out there while giving customers a path to grow their systems without forcing them into a major upfront investment,” said Sean Moran, chief operating officer of Kokusai Denki Electric America. “We still build and support our products the same way with the same talented engineers from the same factory location.”

The company will also exhibit its current range of broadcast production and compact box cameras, including the DK-H700 4K box camera.

See Kokusai Denki at 2026 NAB Show booth C5507.

More information is available on the company’s website.

DOWNINGTOWN, Pa.—PTZOptics will feature its Move 4K PTZ cameras and Horizon next-generation, web-based control platform for broadcast, sports and pro AV workflows as well as preview a new broadcast-focused camera platform during the 2026 NAB Show, April 18-22, at the Las Vegas Convention Center.

PTZOptics’ Move 4K with Horizon is now fully available, delivering a complete, intelligent video solution designed for modern production environments. The Move 4K series provides broadcast-quality 4K video, flexible connectivity and proven reliability, the company said.

Horizon introduces browser-based control that centralizes camera management, automation and system integration. It enables users to control cameras from anywhere without dedicated hardware. Together, Move 4K and Horizon unlock advanced capabilities, including intelligent tracking, automation and continuous software-driven innovation.

All demos aim to show how PTZOptics’ ongoing Visual Reasoning initiative is enabling robotics, AI and the cloud to come together to enable cameras to understand what they see and respond in real time.

PTZOptics is working with software partners and integrators across verticals, including broadcast, sports, and pro AV to showcase visual reasoning tools with advanced real-time capabilities, spanning auto tracking, smarter search, automated indexing, and event-driven triggers.

"As the industry moves toward more adaptive and connected workflows, we see intelligent video as the next major step forward in making these systems more aware, responsive and easier to integrate into everyday operations,” said Matthew Davis, PTZOptics chief technology officer.

Demonstrations will include Move 4K with Horizon for broadcasting applications; Horizon control software demos; a complete IP workflow for live sports streaming with Move 4K, Link 4K and Dante AV integration; hands-on control of Move SE, Studio SE and SimplTrack3 with the company’s SuperJoy controller; and Live for the Lounge, streaming live interviews and educational content via the company’s YouTube channel from the show floor.

PTZOptics will also preview a new broadcast-focused camera platform at the show. Scheduled for release later in 2026 the next-gen solution is built for professional production environments. The camera features a 1-inch sensor, 4K60 output, precision motion, AI-powered subject tracking and complete broadcast integration, including 12G-SDI, Genlock and timecode.

Powered by Horizon, the platform is designed to become increasingly intelligent, adaptable and continuously evolve – delivering new features, integrations and AI-driven capabilities over time.

See PTZOptics at 2026 NAB Show booth N1902.

More information is available on the company’s website.

SOUTHWICK, Mass.—Mondae Hott has joined Kokusai Denki Electric America as the broadcast camera and imaging solutions provider’s Northeast regional sales manager.

A more than 20-year veteran of broadcast technology company Executive Designs, Hott’s new role calls for her to lead Kokusai Denki’s sales and business development efforts throughout the Northeast and south to North Carolina, working closely with dealers, systems integrators, broadcasters and production teams to help customers make the most of the company’s solutions, it said. She will report to Chief Operating Officer Sean Moran.

“What stood out to me about Kokusai Denki is how seriously they take supporting customers and partners,” she said. “This is a relationship-driven industry, and the teams using these systems need people they can call when they have questions or when they’re planning their next project. That’s where I come in; reconnecting with those I know in the region to help them find the right solutions for their production needs is an absolute priority for me.”

Over her tenure at Ensemble Desgins, Hott played a central role in managing its global sales initiatives, built strong relationships across global markets and earned a reputation for being responsive, technically knowledgeable and committed to helping customers, Kokusai Denki said.

“Mondae has spent her career working closely with customers and partners, and that mindset fits perfectly with how we approach the market,” Moran said. “We always say that we’re not just shipping equipment, but we’re supporting the people who use it every day. Having someone with Mondae’s experience and relationships in the Northeast will make a real difference for our customers in this regard.”

Kokusai Denki said customer support is a cornerstone of its business. By investing in experienced, technically savvy regional managers, Kokusai Denki’s partners get more direct access to support, quicker responses and a closer working relationship, the company said.

For more on Kokusai Denki, visit its website.

The history of camera development is often discussed in terms of the most visible changes— SD to HD, HD to UHD and standard to high dynamic range. As improved technologies make those things easier to achieve, today’s user demands seem defined more by considerations of workflow, convenience, and—tellingly—the kind of photographic creativity that has not always been a priority in broadcast as much as it has in the world of single-camera drama.

Post Consultant Gary Adcock suggests technologies that have been waiting in the wings for some time are finally entering the mainstream.

“Broadcasters are finally awakening to ST2110 and how that’s going to change things,” he said. “I’m working a lot with productions who are doing virtualized stuff—LED walls—and [with] 2110 we start not being bound by frame rates. You come out of a video card, you’re bound by DisplayPort, but when you do 2110 you’re not.”

Let’s Get Small
The triumph of IP is long-awaited, but Adcock predicted changes for which the industry may be less prepared.

“I don’t think some of the broadcasters are being honest with themselves about how small cameras are going to become,” he said. “You can have someone go out with a DSLR and a gimbal and a wireless feed and follow the player around. The minimal depth of field gives that dominant look to a player.

“At the final American college football game, say—NFL was there with a couple of
Alexa 35s recording, the broadcasters are there with a couple of larger cameras. But 80% of the cameras on the field were FX6 or smaller, FX3, A7s.”

Adcock’s future predictions coincide with those of many others: “This big push for immersive tech—I don’t see people wearing a headset,” he said. “There are Cosm facilities in Dallas and L.A. now—that’s a mini-Sphere for live sports. They’re shooting multiple, 8K, spherically-configured cameras. It takes two days to set up, there’s someone live switching the event, and it’s a huge effort—but this is the kind of new tech that I see.”

The Real Challenges
Mike Bergeron, product manager for video infrastructure at Panasonic, reinforces the idea that “the challenge is not getting a good picture at this point.”

“[Even for HDR] we have a log system we’ve been doing for a very long time, but for our live cameras we’re mostly [encountering] HLG,” he said. “The only real, cross-vendor, end-to-end workflows for HDR that aren’t proprietary are HLG, and it tends to be what’s specced in arenas for that reason.”

Bergeron attributes the triumph of IP to convergence.

“There were several islands of IP technology,” he said. “On one hand, ST2110 is pretty well-established on the broadcast side. For a larger system, it’s actually cheaper, and we’ve been pushing to get people to try to move downmarket with it. It goes back to when we introduced the Kairos platform to take advantage of that.

“The other island is your gigabit stuff with things like NDI,” Bergeron added. “Once someone’s got a 2110 network, they’d often like to run some NDI and some SRT into that. Just because you’re doing 2110 doesn’t mean you’re not bringing a Zoom feed in.”

Bergeron credited easier implementation to providers of commodity network hardware, something IP video was always intended to enable. “Netgear’s gotten into the game with the new switches they keep launching,” Bergeron pointed out. “They’ve got people working there who care about the AV industry. And then you’ve just got streaming transport—WAN stuff, which kind of seems to be converging on SRT to get things from one place to another.”

Well-Established Fundamentals
Klaus Weber, Grass Valley’s director of product marketing, begins with a familiar bit of camera philosophy.

“Cameras have always improved over time…one could say we have reached a level of performance that is close to what the human eye can appreciate. Even so, just at the end of last year, I was attending a camera shootout in North America with similar types of cameras from three vendors on the same scene, and I can tell you they’re not all the same.”

The company’s current lineup derives from well-established fundamentals, Weber said. “We were the ones who introduced CMOS into the broadcast space in 2012 with the LDX 80. From the beginning, we introduced CMOS with global shutter. In modern production, there is almost always an LED wall involved, and they are quite challenging for rolling-shutter cameras. Maybe it can be compensated for, but you may have an application where rolling shutter doesn’t work.”

Those foundations, Weber said, have allowed the company to create large-sensor cameras that satisfy broadcast workflows, which may be frustrated by accessorized cinema cameras. “Our first Super 35 imager is an in-house development—it’s based on the same components on our 2⁄4-inch imager on a 6.25 times larger area,” he said. “Instead of 8.2 to 8.3 million, we have approximately 52 million pixels and a PL mount. This is our LDX 180, which looks like an LDX 150 but with a larger imager and the same workflow.”

Sensor size aside, Weber expands on Bergeron’s thoughts about the application of commodity networking—and particularly wireless options.

“In the old days, the standard was analog RF; this was replaced with digital transmission, but this equipment is now often replaced with systems that use standard technology,” he said. “The question is how to integrate 5G signals into the infrastructure. We work closely with Vislink from the U.K., who have a 5G solution integrated into our camera.”

That sort of integration is characteristic of much recent camera development, although Sony’s camera team has still been busy pushing specifications in the right direction.

High Frame Rate
“Over the past few years, I think the biggest change you saw was different cameras that could do high frame rate,” says Robert Willox, director of business management for live production systems at Sony. “Last year, we introduced a box camera that could do 8x slow motion, which has sold very well. Beyond 6x and 8x, things are on the screen too long.”

Collaboration between cameras and lenses has been normal in still photography for a long time. Willox reported that new applications—as well as a sheer thirst for optical performance—have provoked the adoption of more camera-lens integration in broadcast, too.

“Adjusting the circuit that puts luminance back into the corners of the image so you can use the full range of the lens—at 122:1, you can get any shot from anywhere in the stadium,” he said. “It’s an amalgamation of forces to get profiles from their lens into our camera…and it becomes even more important downstream with AR.”

Lenses are an enabling technology in many areas, Willox continued. “Very few applications were going to have all-Super-35 on a sporting event because the lenses didn’t exist until very recently,” he said. “They were for bumper shots—and those cameras were successful. We also put them into houses of worship where the front-of-house cameras would get that nice, shallow depth-of-field background—and also corporate environments, high-end telepresence.”

Willox is clear, though, that moderation is key. “For sports, especially, I think it’s always going to be a mixture of a lot of different formats,” he said. “The goal-line boundary, the line markers, are going to be very wide—probably a ¹/₃-inch to be able to get the coverage. Shallow depth-of-field cameras really do have a place in a reaction shot—someone runs out with a Steadicam and you can get the hero shot and use it for the creation of bumpers.”

Beyond Broadcast
The pressure to identify future technologies has sometimes led to wild speculation—though the industry’s interest in immersive formats could not be clearer. Bob Caniglia, director, sales operations, North America for Blackmagic Design, said the growing trend of using cinematic cameras for shallow depth of field has led to more interest in the company’s larger sensor cameras as live cameras, which was not really their original intent.

“But one thing that kind of started the last 12 months or so was the immersive camera in live events,” he said. “They did an NBA basketball game using them for the Apple Vision Pro headsets.”

Modern technology, whether applied to the camera or supporting infrastructure, seems mostly intended to create flexibility and relieve the consequences of choices as basic as framing and camera position, according to Caniglia.

“Our cameras wind up in places you don’t expect them in…even the 17Ks are getting more use because people have been exposed to it,” he said. “Right now, when you look at broadcast, they love to over-shoot for establishing shots. You go to an event early, take the camera into the helicopter and you can get amazing footage that way, the larger the sensor the better, and we’ll pull whatever we want from it.”

New applications can demand pixel counts way beyond conventional broadcast. “In my living room I don’t see [the benefit of] an 8K TV, because my living room isn’t that big [but] spheres [use] resolution we don’t normally see,” Caniglia said. “It makes sense because of the environment you’re in. I could see a moment in time where you can go to the local movie theatre where they would have the headsets, they would have the live feed, and in an environment where you’re interacting with everyone else and cheering for the same team.”

That sort of broadcast might change more than the experience—it might change the technology, the workflow, and the entire business model. Ultimately, the practicality of that depends on audience engagement, and the short-term reality seems more prosaic. Still, if there is a sustained public interest in beer and pretzels in a video sphere, the industry could not seem more ready to oblige.

MELVILLE, N.Y.—NBC Sports relied upon Canon for the vast majority of broadcast lenses used for the production of Super Bowl LX between the New England Patriots and Seattle Seahawks, Feb. 8, from Levi’s Stadium in Santa Clara, Calif

As it has for the past 30 years, Canon Professional Services (CPS) also provided on-the-ground support at the Super Bowl.

"We are thrilled that Canon’s gear and expert support could contribute to the success of the image capture of the Big Game," said Kiyoshi Oka, executive vice president and general manager for Canon. "It is a distinct honor to empower the creators who preserve these historic cultural milestones. At Canon, we are incredibly proud to play a part in the joy and inspiration that this event delivers to fans everywhere."

Canon supplied more than 98% of the lenses used by NBC Sports during the game. They included 47 broadcast lenses for all of their pre- and post-game studio activations throughout the Santa Clara metro area as well as 11 lenses throughout the concourse and on-field studio sets where the CINE-SERVO 11-55mm T2.95-3.95 lens, which features an ultra-wide angle of 100 degrees, took center stage.

Canon also had a strong presence for many of the credentialed photographers at the event thanks to the Canon Professional Services (CPS) team. The CPS team brought in over 200 pieces of Canon gear, including camera bodies and lenses for photo agencies, freelancers and other credentialed Canon photographers.

"Testing Canon’s new glass at the Big Game was the perfect opportunity to see how the RF7-14mm F2.8-3.5 L Fisheye STM and RF14mm F1.4 L VCM prime lens could handle the massive scale of the stadium,” said Terrell Lloyd, Canon Explorer of Light and San Francisco 49ers director of photography.

“My goal was to capture wide, high-intensity shots from a top-down perspective, and the synergy between these lenses and the EOS R1 camera delivered exactly that. The sharpness and dynamic range allowed me to bring my home stadium into the global spotlight with more clarity than ever, once again pushing the boundaries of what I can create in a fast-paced, in-game environment."

More information is available on the company’s website.

MUNICH—Battery manufacturer bebob has expanded its Vmicro lineup with new models featuring USB-C PD3 support, advanced communication protocols and sustainable serviceability.

The new VmicroC batteries are designed to deliver high performance in an ultra-compact and lightweight form factor, making them the well-suited to mobile production environments where space and weight are critical.

With USB-C PD3 support for both input and output, users can charge and power devices without the need for a proprietary charger, ensuring maximum flexibility on set and during travel.

The VmicroC’s advanced auto communication setup enables the batteries to adapt automatically to different camera systems, including Sony, Blackmagic Design, Red, Fuji, Arri and others. SM-Bus communication and a practical five-step LED display give users a clear and reliable indication of both the state of charge and the state of health of the batteries at all times.

The batteries also feature special operational functions, such as an integrated flashlight for quick use in dark environments. Their optimized storage design allows the batteries to be stacked safely and efficiently, making transport and storage more practical for production teams.

The entire product range is fully certified for safety according to international standards. This includes IEC 62133-2 for product safety, UN38.3 for transport safety as well as FCC and CE certifications for electromagnetic compatibility. The batteries also conform to CE, UKCA and other relevant directives, ensuring reliable and secure operation worldwide.

The company developed the new lineup with serviceability and sustainability in mind. Each model is repairable and maintenance-capable, and through a cell pack refreshment process the batteries can be given a second life, reducing waste and extending long-term usability.

The VmicroCs are backed by a two-year unconditional warranty on all components, except for the cells. The cells are covered by a one-year warranty, guaranteeing a minimum of 80% of their original capacity.

The new Vmicro lineup (with manufacturer’s suggested retail prices [MSRP]) includes:

• V45microC: 14.4V / 3.0Ah / 43Wh, $348.
• V98microC: 14.4V / 6.6Ah / 95Wh, $398.
• V150microC: 14.4V / 9.9Ah / 143Wh, $448.
• V200microC: 14.4V / 13.2Ah / 190Wh, $498.
• V240microC: 14.4V / 16.5Ah / 238Wh, $557.

Each is available immediately.

More information is available on the company’s website.

OKERKOCHEN, Germany—Zeiss has unveiled the Aatma set of nine high-end full-frame T1.5 cinema primes that combine the benefits of modern optical design with the nostalgic image characteristics that popular today.

Nine Aatma primes make up the set, including 18mm, 25mm, 35mm, 40mm, 50mm, 65mm, 85mm, 100mm and 135mm lenses. The lens set draws inspiration from well-regarded 20^th century Zeiss lenses, combining an emotion-driven look with the mechanical reliability, data integration and workflow compatibility required for today’s productions.

“With Aatma, we wanted to give cinematographers an expressive and characterful choice within the Zeiss offering,” said Jeanfre Fachon, senior product manager of Cinema at Zeiss. “Over the years, we have come to acknowledge how much some of our legacy lens lines are still appreciated. But instead of simply remaking them, we looked at their most appealing characteristics and drew inspiration to incorporate into a new optical design.”

The word "Aatma" is derived from Sanskrit, meaning innermost essence, self or soul. Aatma lenses’ character recalls classic Zeiss optics, offering softly painted skin texture with reduced contrast, smooth and vibrant focus transitions between planes and a rich bokeh with a subtle soap bubble effect.

This carefully created aesthetic allows cinematographers to achieve a nostalgic yet refined look that supports storytelling without compromising control and repeatability.

The lenses produce an organic, emotionally resonant image while remaining suitable for a wide range of cinematic applications. Their rendering enhances texture and atmosphere, enabling filmmakers to infuse personal style into each frame while retaining the precision required for contemporary productions.

They retain the form factor, size, weight and operability of the company’s current premium cine lenses. "Extensive positive feedback on ergonomics meant there was no need to reinvent the wheel—only to adapt what is already known and trusted to work seamlessly with Aatma’s optical design," said Fachon.

Like all modern high-end Zeiss cinema lenses, Aatma offers Zeiss eXtended Data (XD) technology and is fully integrated into the Zeiss CinCraft ecosystem, supporting efficient visual effects, camera tracking and virtual production workflows.

The lenses are available individually or as a complete set. Customers may begin placing orders for the lenses. Delivery is expected to begin in June from authorized Zeiss Cinema dealers.

Zeiss has posted a YouTube video to show the capabilities of the lenses in action.

More information is available on the company’s website.

SAN DIEGO—Sony, an official technology partner of the NFL, has provided details about how its technologies will play an expanded role in Super Bowl LX, which will mark the company’s most advanced presence at the NFL’s championship game to date.

The upcoming Super Bowl will be the first that is played utilizing Sony’s NFL Coach’s Headsets, which debuted at the start of the 2025 season.

Inspired by Sony's industry-leading 1000X headphone series and designed to optimize sound quality and maximize durability, comfort and clarity, the headsets have supported coaches and staff across all 32 teams with consistent reliability in high-noise, high-pressure environments in all types of weather conditions. At Super Bowl LX, they will carry the strategic communication that guides the game’s most critical moments.

Like previous years, Sony’s imaging technology will play a major role in capturing and sharing all the action from Super Bowl LX across both video and still photography. In total, more than 175 Sony cameras will be on and around the field on game day including a number of HDC cameras for broadcast and high-frame rate capture plus many AlphaTM camera bodies such as the acclaimed Alpha 1 II and Alpha 9 III models, and E-mount lenses including G Master™.

Sony’s Hawk-Eye technology, the NFL Virtual Measurement system, will also be used for the first time in a Super Bowl. The system provides a consistent and efficient Line to Gain measurement result once the ball is spotted on the field. Sony’s Hawk-Eye video and replay technology will also be used to support officiating and video reviews on all eligible plays.

“Technology plays a central role in how the NFL continues to evolve the game,” said Aaron Amendolia, deputy CIO of the NFL. “Sony’s integrated systems, whether officiating data or sideline communication, help us deliver a faster, clearer, and more consistent experience on our biggest stage.”

“Our partnership with the NFL is built on a shared commitment to innovation,” said Theresa Alesso, president, Imaging Products and Solutions Americas, Sony Electronics. “This year’s Super Bowl reflects how Sony technologies work together through data, communication, and imaging to support every moment of the game, from the field to the broadcast to the fan experience.”

“As the biggest game and the most-watched show of the year, the Super Bowl production requires tools we can trust,” said Ken Goss, NBC Sports executive vice president of Studio and Remote Operations. “Working with Sony allows us to flawlessly deliver every angle, replay and on-field moment to viewers watching around the world.”

NBC Sports will deploy Sony’s cameras and lenses across its Super Bowl LX broadcast footprint, supporting everything from primary game coverage to specialty capture, Skycam solutions, and on‑field features. Sony’s imaging systems will help provide NBC the clarity, speed, and reliability required to deliver the most‑watched live broadcast in the United States.

Sony’s imaging technology will also play a major role supporting in-venue production teams, and sideline photographers including The Associated Press and the NFL’s in-house photography and media teams. From the shallow cinematic depth of field looks to high frame rate capture and wireless mobility, Sony’s cameras and lenses will support the visual storytelling that ensures Super Bowl LX lives far beyond game day.

In addition to Virtual Measurement and officiating replay and video support mentioned above, this year’s Super Bowl will feature the first fully integrated optical player and ball tracking environment powered by Sony’s Hawk-Eye Innovations. Sony’s Hawk-Eye SkeleTRACK system tracks 29-points on each player and 3D ball tracking. The SkeleTRACK system, in combination with Zebra Technologies’ RFID wearables, together provides a player tracking system that enhances the league’s ability to analyze on-field movement and ball position with greater clarity and consistency.

Below is a cumulative, high-level outline of all the Sony cameras and related technologies that are being used to cover Super Bowl LX.

NBC:

• 37 Sony HDC-Series System Cameras:
• 35x Sony HDC-5500
• 2x Sony HDC-4300
• 18 Sony HDC-Series POV Cameras:
• 6x Sony HDC-P50A (4x 4K)
• 11x Sony HDC-P50
• 1x Sony HDC-P31
• 5 Cinema Cameras:
• 3x Sony PXW-FX9
• 2x Sony PMW-F55
• 2 Sony PTZ Cameras:
• 1x Sony ILME-FR7
• 1x Sony BRC-AM7
• 3 Aerial/ Specialty Cameras
• 2x Sony ILX-LR1
• 1x Sony HDC-P50

Funicular Goats Halftime Show Production:

• 11 Sony VENICE 2 Digital Cinema Cameras
• 3 Sony BURANO Digital Cinema Cameras
• 1 Sony FR7 Cinema Line PTZ Camera

In‑Venue Imaging at Levi’s Stadium:

• 10 Sony UHD cameras, including the HDC-3500 (hard positions), HDC-5500 (HFR), HDC-3500 (RF wireless) and ILME-FX3A (RF shallow depth of field) with Sony’s E-mount lenses sideline & photography Support
• The Associated Press: 55 Sony camera bodies, 80 lenses, 15 PDT-FP1 Portable data transmitters
• NFL Focus Photography Team: 8 Sony’s cameras, 20 lenses
• Sony Imaging PRO Support:
• 45 Sony full frame mirrorless cameras
• 90 E-mount lenses
• 12 PDT-FP1 Portable data transmitters
• PXW-Z200 camcorders
• Pre‑Loan Program: Estimated 10 bodies and 15 lenses shipped in advance

STAMFORD, Conn.—NBC Sports has selected Sony Electronics to provide technology, including more than 100 cameras and nearly 500 monitors, as well as lenses, accessories, and on-site support for its production of the 2026 Milan Cortina Winter Olympics and Paralympics.

NBC Sports will utilize Sony Electronics to deliver imaging, monitoring, and technical support for its production of the 2026 Winter Olympics and Paralympics.

At this year’s events, a range of Sony’s cameras featuring various form factors and capabilities will take center stage, including the HDC-series system cameras which will enable high frame rate capture and offer options with newly developed Variable Neutral Density filters, while the company’s pan-tilt-zoom and cinematic cameras will provide depth of field, and the use of Sony’s CNA-2 camera control network adapter will centralize multi-camera control, helping NBC Sports route the excitement in Italy back to viewers watching coverage of the Games in the United States.

“Like the Paris Olympics, NBC plans to use technology to both enhance storytelling, and give viewers at home deeper analysis; this time from thousands of miles away,” said Darryl Jefferson, senior vice president, engineering & technology, NBC Sports & Olympics. “This includes specific use of 2110 transport, teams of color experts shading Sony’s HDR cameras from a distance, enhanced PTZ robotic cameras, and support for our end-to-end BT-2020 HDR Workflow through production and our facility in Stamford. To make a finer point, converting the NBC Sports headquarters wholly to a mezzanine HDR format has been built on the continued partnership with Sony on high quality monitoring, color grading tools, and highly customizable remote production workflows.”

Sony Electronics has worked with NBC Sports for 24 years, assisting production efforts at previous Olympics and other major international sports events in Europe, Asia, and throughout the US.

“We are proud to once again partner with NBC Sports on their production of the Olympics and Paralympics, using Sony’s latest imaging technology to continue to push boundaries and elevate engagement in front of the camera and behind the scenes, together supporting the most innovative and entertaining presentation of the Games and helping to accurately capture the action, emotion, and competition for passionate fans,” said Neal Manowitz, president and COO, Sony Electronics.

Click here for more on NBCUniversal’s Milan Cortina 2026 programming.

TV Tech’s overall coverage of NBC Sports' overall tech plans for the 2026 Winter Games can be found here, here and here.

Mark Roberts Motion Control (MRMC), a Nikon company, has announced that it will celebrate six decades of innovation at the cutting edge of camera robotics and automation throughout the year in 2026.

Founded in 1966 by engineer and inventor Mark Roberts, the company’s technology has been trusted on more than 300 feature films, collectively generating billions of dollars at the global box office. With a global footprint of over 500 motion control rigs operating in 75 countries, MRMC continues to support filmmakers, broadcasters and content creators working at the highest levels of production.

“As we celebrate six decades of innovation, our focus remains firmly on the future,” said Dan Brooks, Head of Marketing at MRMC. “From pioneering motion control for film and television to advancing camera robotics and automation for broadcast, MRMC continues to build on its engineering heritage to support the next generation of creative production worldwide. We look forward to pushing technical and creative boundaries across film, broadcast, and live production for many years to come.”

From its earliest work developing computerized rostrum systems for animation and title work, MRMC has consistently applied precision engineering to creative challenges. In its early years, the company pursued the design and manufacture of electronic control systems to supersede the electromechanical systems then in use on animation stands and optical printers, including systems to control the motion of the table and camera. That philosophy drove the company’s transition from bespoke builds to standardized motion control platforms in the early 1990s, helping to make repeatable, programmable camera movement accessible at scale.

The launch of the Milo motion control crane in 1994 set a new benchmark for MRMC and the wider film industry for precision and repeatability, earning the company an Academy Scientific and Engineering Award in 1999.

This followed earlier milestones, including the development of computer-controlled systems during the 1970s, and the debut of MRMC’s Flair control software in the early 1990s. First deployed in the field in 1992 and subsequently paired with the Cyclops studio rig in 1993, Flair enabled standardized, software-driven camera movement and data capture, allowing motion paths to be programmed, saved and precisely repeated. Together, Flair and Cyclops represented a major step forward in repeatable motion control, providing the exact position of the camera for every frame taken.

Building on this foundation, MRMC continued to innovate across motion control and camera robotics, including the Bolt High Speed range and most recently the Cinebot range, enabling high end cinematography for film, commercial, and visual effects-driven productions worldwide.

More recently, MRMC has expanded its expertise into broadcast robotics, studio automation and immersive capture delivering installations for leading broadcasters and live productions. These include ESPN’s Catalyst Stage virtual production studio in Bristol, Connecticut, Al Jazeera’s next-generation news studio, and robotic camera systems supporting major global sporting events.

Since becoming part of the Nikon Group in 2016, the company has accelerated international growth and innovation across film and broadcast workflows, earning the UK’s Queen’s and King’s Award for Enterprise in International Trade on two occasions.

More information can be found here.

LOWELL, Mass.—The Paul E. Tsongas Center at UMass Lowell in Massachusetts has chosen Ikegami cameras for its broadcast-quality television production facilities.

UML's Tsongas Center has a potential seating capacity of 6,500 patrons. It is home to the NCAA First-Division UMass Lowell River Hawks hockey and basketball teams. The stadium has also hosted world-renowned musical artists and is a premier home for entertainment in New England's Merrimack Valley.

Core elements of the upgrades at the Center are four UHK-X600 studio/portable models which will be used to televise a wide range of activities including sports, stage performances and public presentations. The cameras, along with lenses, viewfinders and control equipment, were provided via Little Bay Broadcast LCC, one of New Hampshire's leading specialists in broadcast systems integration.

“The new Ikegami cameras will help deliver the next level of video quality to the center-hung display we had installed last summer," explained Chad Fillion, director of audio and visual services at the Tsongas Center at UMass Lowell. "Our coverage of the UMass Lowell River Hawks hockey, the Boston Fleet, and various University-related events, will have a much-needed boost for fans and attendees."

"The output from the new cameras has fundamentally improved the action displayed on the 3.8 mm pixel pitch HD video screens, enhancing the entire fan experience,” Fillion continued. “The signal quality, the cameras' 4K capabilities, solid construction and the ease of use for our CamOps team were all factors helping us to select the UHK-X600 models. Brian Raynes at Little Bay was instrumental in assisting us with the selection process, and Gordon Tubbs at Ikegami USA played a pivotal role in the acquisition and assisting us with our budgetary conditions."

"Once the cameras were installed and deployed, we noticed a great low-light response and dynamic range from the camera's sensors,” he added. “This provided us an impressive image quality from both the darker areas of the arena to the high-brightness glare of the on-ice action. Paired with the new 45x lens, we can now bring the action from the ice to virtually any seat in the house."

The UHK-X600 delivers 1000 TVL resolution, minimal aliasing, plus 2000 lux sensitivity at f10, 60p. Global shutter imagers minimize artifacts when televising LED screen walls or flash/strobe-illuminated stage environments. The standard feature set includes full support for Hybrid Log Gamma HDR with the ability to select between BT.2020 and BT.709 chroma spaces. Product-related features also include chromatic aberration correction, vignetting correction, ramping compensation, B4 lens mounting and remote control of backfocus-supported lenses. Core of the electronics is a power-efficient ASIC which encapsulates a wide range of high-grade video processing functions into ultra-compact component dimensions.

Future-proof options for the UHK-X600 include license-key based support for 2x, 3x and 4x high frame rate capture plus 4K processing delivering 2000 TVL resolution when operating in 2160p. Plug-in hardware-based options include a SMPTE ST 2110 compatible media-over-IP interface board and optional 12G output board.

"A recent addition to our UNICAM XE line, the UHK-X600 is a Full-HD studio/EFP camera built to withstand the rigors of OB and EFP as well as studio operation," adds Alan Keil, Senior Engineering Fellow at Ikegami USA. "Designed for pedestal or tripod mounting as well as on-the-shoulder, it has a low vertical profile and comfortable light weight, just over 11 pounds, allowing truly portable free-style operation in practically any location. When combined with the Ikegami BSX-100 base station, the camera optionally supports simultaneous output in UHD and HD."

NANJING, China—SWIT has launched the Powercell camera battery series for photographers and videographers who require professional-grade battery reliability from their Sony, Canon, Nikon and Fujifilm camera systems.

The Powercell series offers slot-in compatibility, affordable pricing and charging features that make it easy to always have a charged battery ready.

The new batteries, compatible with the industry’s most prestigious camera brands, mark a significant transition for SWIT, bringing the rigorous engineering standards usually reserved for high-end broadcast environments and scientific space exploration programs to the broader prosumer and professional mirrorless camera market, the company said.

Designed as a direct slot-in replacement, Powercell batteries are 100% compatible with the original camera manufacturer’s specifications for power supply and charging. They allow users to swap batteries in seconds while maintaining the exact shape, form and communication protocols of the original batteries.

The battery series matches the performance of original batteries while extending functionality for today’s shooting needs. The batteries use premium cells from Panasonic. This, together with SWIT’s experience serving the needs of professionals, ensures a steady power output even during high-intensity burst shooting or high-bitrate 4K and 8K video recording.

Integrated USB-C smart charging means users can charge their batteries directly via USB-C for efficient, safe charging from dedicated chargers, power banks, in-vehicle charge adapters or laptops. There’s no need for bulky proprietary chargers.

Real-time power monitoring on the battery body, via instantly visible built-in LED charge indicators, gives users an intuitive sense of the battery’s remaining power, ensuring crews will avoid unexpected downtime during long production sessions.

Safety remains a cornerstone of the Powercell design. Each unit features a reinforced, flame-retardant housing designed to withstand the rigors of field use.

The Powercell battery series has a suggested retail price ranging from $35 to $49, depending upon camera. They are now available worldwide through authorized partners and e-commerce platforms, available on Amazon and open for pre-order on B&H Photo.

More information is available on the company’s website.

PTZOptics said it will showcase a comprehensive lineup of automation-driven pan-tilt-zoom (PTZ) and fixed camera solutions at ISE 2026 in Barcelona (Booth 5K200), demonstrating how visual and audio reasoning helps automate and streamline professional video from conference rooms to industrial manufacturing environments.

“For integrators, the message is clear: We deliver the highest quality video capture and the widest range of control and automation options for any application.“ PTZ Optics Chief Revenue Officer Paul Richards said. “At ISE, we’re showcasing how easily we integrate into any workflow, and also how PTZOptics video technology empowers the latest in visual reasoning and AI applications. This is why we make such an effort to partner with trusted brands, cutting-edge software developers and design our own solutions that help our customers break into new markets and generate new revenue streams faster than ever before.”

All demonstrations are designed around practical, integrator-friendly solutions, the company said. They include:

• Multi-camera automation with voice tracking and Audio-Technica and Sennheiser microphone solutions.
• Industrial manufacturing applications with the new, high-visibility Move 4K and visual reasoning AI software integration with Detect-It.
• Public sector applications such as out-of-the-box courtroom live streaming solutions with Beincourt.
• Additional demo zones that highlight other industry-specific applications such as live streaming with new wireless and remote camera management tools.

Across all demonstrations, PTZOptics emphasizes open integration, scalable automation, and workflow-first design built for integrators. Attendees interested in exploring these new ecosystems can schedule a demo with Silke Brown or Alexander McHugh.

Visit PTZOptics.com to learn more.

GARBESEN, Germany—Proton Camera Innovations will showcase new features that expand the creative and operational flexibility of its ultra-miniaturized cameras, including the Proton CAM, at the Hamburg Open, Jan. 14-15 at the Hamburg (Germany) Exhibition and Congress Center.

Together, the updates reinforce Proton’s philosophy of delivering highly specialized cameras that excel in their intended roles while remaining adaptable enough to support a wide variety of production environments and creative visions.

The company will present the evolution of Proton’s 4K camera into the Proton 4K Zoom. By introducing zoom functionality to the compact 4K model, Proton is increasing the camera’s versatility, allowing operators to adjust framing and emphasis without changing lenses or camera positions.

For productions working in confined spaces with limited accessibility, zoom support provides a new way to refine composition while preserving the immersive image quality of Proton’s 4K offering, the company said.

Proton is also expanding lens compatibility across its range with the addition of C-mount options, complementing existing S-mount support. Having C-mount options lets users access a broader selection of lenses, opening up greater control over depth of field, focal length and visual character. The result is enhanced creative choice, Proton said.

Proton is also adding connector-based cable interfaces, rather than permanently fixed connections, to its cameras. Now users can tailor cabling to specific installations, which simplifies replacement or reconfiguration while enabling more confident placement in challenging environments, the compay said.

Proton will also highlight its recently introduced pan, tilt and crop feature, which enables resolution-perfect reframing within the image, as well as its wider Proton lineup, including the flagship Proton Cam, Proton Flex and 4K Flex, Proton Rain for extreme conditions, Proton Zoom, and the high-speed Proton HFR.

“Each of these developments is about giving our users more freedom—creatively, technically and operationally—while staying true to the compact, purpose-built nature of Proton cameras,” CEO Marko Höpken said.

See Proton at the Hamburg Open in Hall B6 at Stand 419.

More information is available on the company’s website.

NEW YORK—Iris, the new cloud-connected camera control platform, has officially launched with features that turn virtually any PTZ camera into a software-connected, remotely controlled device and eliminate such traditional constraints as hardware dependencies, inconsistent control and the lack of on-site crews.

The company said that the platform is designed to remove longstanding pain points for production teams: fragmented control tools and protocols across brands, the need for constant manual adjustments and the inherent limits of on-site equipment and staffing.

Iris changes this by providing universal, browser-based control that works across camera brands and enables full production management from anywhere in the world, the company said.

In addition, the platform’s AI-powered automation is designed to handle traditionally manual tasks, like real-time subject tracking and framing, allowing operators to focus on creative decisions rather than technical adjustments. Its intuitive interface ensures that non-technical users can achieve professional results, democratizing access to advanced capabilities that deliver the production quality of larger-budget operations, the company said.

Organizations can also use Iris to scale up without proportionally increasing their costs or crew size, the company said. A single operator can manage multiple cameras across multiple locations, while remote teams collaborate in real time as if they were in the same room. This scalability opens doors to productions that were previously impractical or impossible, from small community theater livestreams to global corporate events spanning multiple time zones.

More specifically, the Iris desktop application allows production teams to quickly discover, link to, and control over 300 camera models on their local network. For those using Iris-enabled cameras, the platform is built directly into the device’s firmware, connecting instantly to the cloud without any additional hardware or complex setup.

This direct-to-cloud capability debuts alongside broad support from leading PTZ camera manufacturers, including AIDA, BirdDog, Bolin, BZBGear, Everet, HDKATOV, Lumens, Marshall, NEOiD, Telycam, and Z CAM. Together, these integrations position Iris as the leading software standard for camera control.

“Setup now takes minutes, not hours,” said Noah Johnson, founder of Iris. “Our custom drivers unlock every camera feature—not just the common ones—and our intelligent framing tools make operating cameras feel natural, fast, and cinematic. And because Iris lives in the cloud, your cameras are now truly remote—you can manage, access, and control them from anywhere, anytime.”

As part of the launch, the company highlighted several possible use cases. Houses of worship can empower volunteer teams to deliver professional-looking livestreams using automation and visual effects. Educational institutions can manage cameras across lecture halls with a centralized, remote-control room. Corporate teams can produce executive communications and all-hands meetings across multiple offices. Media producers can collaborate in real time across locations for seamless productions. With Iris, even remote interviews become effortless: Ship a camera, plug it in and instantly access the video and controls in the Iris account.

The Iris platform is available at tryiris.ai for content producers to begin connecting cameras immediately.

SAN DIEGO—Sony Electronics today introduced the Alpha 7 V (ILCE-7M5), the fifth generation of its Alpha 7 full-frame mirrorless lineup, powered by the newly developed, partially stacked Exmor RS CMOS image sensor with approximately 33.0 effective megapixels.

The new BIONZ XR2 image processing engine incorporates the AI processing unit functions of the latest Alpha series. These innovations allow the Alpha 7 V to deliver a significant performance boost across every aspect of imaging from Real-Time Recognition AF (Auto-Focus) to Real-Time Tracking, speed, stable color accuracy, still capture and video versatility.

The company has also launched the FE 28-70mm f/3.5-5.6 OSS II (SEL28702), a Full-Frame compatible, compact and lightweight standard zoom lens that supports the Alpha 7 V’s high-speed continuous shooting.

“The Alpha 7 V resets expectations on what an all-around Full-Frame camera can achieve,” said Yang Cheng, vice president of imaging solutions at Sony Electronics. “By evolving autofocus intelligence, color science and system responsiveness, we’re enriching our expanding lineup with a powerful new option that provides creators with an advanced tool capable of keeping up with their creativity and bringing them one step closer to achieving their dreams.”

The Alpha 7 V integrates an AI processing unit into the BIONZ XR2 engine, delivering a substantial leap in autofocus speed, accuracy and reliability. The Alpha 7 V has up to 30% improvement in Real-Time Recognition AF that instantly recognizes targeted subjects and captures them with high precision. With 759 phase-detection points and up to 94% frame coverage, the camera ensures precise subject tracking across nearly the entire image area, even in challenging low-light conditions down to EV -4.0.

High-resolution RAW processing is now supported through Imaging Edge Desktop application.

The combination of a partially stacked Exmor RS CMOS image sensor with about 4.5 times faster readout speed increased and the BIONZ XR2 processor results in delivering high image quality with minimal distortion.

High-precision tracking with up to 60 times AF/AE calculations per second and blackout-free continuous shooting up to 30 fps with AF/AE tracking ensures no missed opportunities even with fast-moving subjects moving in complex patterns, such as in wildlife and sports photography. Even during 14-bit RAW shooting, it achieves high-speed continuous shooting at up to 30 fps with AF/AE tracking.

The Pre-Capture function, which can record up to 1 second before the shutter is pressed, captures decisive moments even for subjects whose movements are difficult to predict, such as pets and sports.

Expanding creative possibilities for hybrid creators, the Alpha 7 V introduces additional 4K recording modes, including 7K oversampled 4K 60p recording available in full-frame mode and 4K 120p recording in APS-C /Super 35mm mode.

Full-pixel readout without pixel binning enables highly detailed video recording down to the finest details.

The image stabilization features Dynamic Active Mode, enabling smooth and stable video expression even when handheld.

The camera also has an Auto Framing function that automatically maintains optimal subject composition during recording via AI-powered subject recognition. This enables stable composition video recording in various scenes.

New in-camera noise reduction and improved internal mic functionality ensure high-quality audio recording by reducing steady background noises, minimizing interference and maintaining natural sound.

The Alpha 7 V offers Wi-Fi 6E GHz compatibility for high-speed, stable wireless transmission, along with dual USB Type-C ports for improved workflow and flexibility.

Vertical format support and an adjustable electronic shutter sound make shooting adaptable across diverse environments.

The 4-axis multiangle monitor combines tilt and vari-angle design, offering unrestricted horizontal and vertical adjustment for greater shooting freedom.

A better finger fit on the grip provides improved comfort, stability and control during extended sessions.

The FE 28-70mm f/3.5-5.6 OSS II is a compact, lightweight lens that is engineered for speed. It fully leverages the continuous shooting capabilities of the Alpha 7 V sensor. When combined with compatible cameras, it offers up to 120 fps AF/AE tracking, continuous shooting, seamless body-lens coordinated image stabilization, AF available even during zooming and built-in breathing compensation support. From dynamic action shots to fast-paced events or high-quality video capture, the lens delivers smooth, dependable responsiveness and flexibility.

The Alpha 7 V body will be available by the end of December for $2,899. The Alpha 7 V with SEL2870-kit will be available in February 2026 for about $3,099. The FE 28-70mm f/3.5-5.6 OSS II will be available in February 2026 for about $449. Sony and at a variety of Sony's authorized dealers throughout North America will offer the products.

More information on the Alpha 7 V and FE 28-70mm f/3.5-5.6 OSS II is available online.

CARSON, Calif.—IDX has introduced the IDX CUE-J Series battery/charger kits, including the CUE-J98, CUE-J150 and CUE-J198.

The CUE-J98, CUE-J150 and CUE-J198 use the latest lithium-ion battery technology with increased capacity. Additionally, the IDX CUE-J products fit the IDX VL-2X and VL-4X V-mount chargers, the company said.

The company is combining the cost-effective CUE-J Series batteries and the IDX VL-2X or VL4X battery charger in a full-kit solution for powering cameras, portable production monitors, portable lighting and audio products. CUE-J Series batteries are appropriate for any product requiring power from a V-Mount plate or D-Tap to XLR cable input, it said.

The CUE-J98 has a battery capacity of 95 watt-hours; the CUE-J150 has a 143 Wh capacity; and the CUE-J198 has a 190 Wh capacity. Each CUE-J series battery has a single, built-in D-Tap output capable of taking an 80-watt load and a four-LED power indicator, the company said.

Key features include:

• Cost-effective V-Mount battery.
• 1x D-Tap output.
• Overcharge, overdischarge and overcurrent protection.
• Four-LED power indicator.
• Durable design and casing.

More information is available on the company’s website.

SHENZHEN, China—DJI today unveiled the Osmo Action 6, an all-in-one action camera featuring a variable aperture with a range from f/2.0 to f/4.0, the company’s custom 1/1.1-inch square CMOS sensor and 2.4-micrometer fusion large pixels.

The camera is a departure from action cameras designed with a fixed aperture, enabling users to select from multiple aperture modes to suit different shooting scenarios. With an f/2.0 maximum aperture, more light can enter the camera, improving image quality in low-light conditions.

The camera’s Auto mode enables the Osmo Action 6 to adjust its aperture automatically within each range to capture clear results. Starburst mode transforms city lights into starbursts, adding a creative effect to well-lit metro scenes, the company said.

Creators can achieve a shallow depth of field using the Macro Lens accessory (sold separately). With the Macro Lens attached, the minimum focus distance is reduced from 35 centimeters to just 11 cm, it said.

For wide shots, when the Osmo Action 6 FOV Boost Lens (sold separately) is attached, the camera automatically switches to FOV Boost mode, expanding the native 155-degree field of view to 182 degrees, it said.

The Osmo Action 6 1/1.1-inch square CMOS sensor offers up to 15.5 stops of dynamic range to achieve crisp detail in high-contrast settings. It also supports 4K recording at 120 frames per second in 4:3 aspect ratio.

With its larger sensor, larger aperture and new noise-reduction technology, the camera enables SuperNight mode to provide clarity at night, capturing detailed video up to 4K/60 fps in low-light conditions. DJI's 10-bit D-Log M color system preserves highlight and shadow detail for greater flexibility in postproduction. The Osmo Action 6 also provides an on-screen D-Log M preview for real-time color and exposure monitoring, it said.

The Osmo Action 6 debuts the new 4K Custom mode, allowing users to shoot first and crop later in postproduction to frame video, making it possible to share creative videos across different social-media platforms.

The camera natively supports up to 4K/120 fps slow-motion recording and can intelligently generate up to 32x super slow-motion playback at 1080p. By interpolating frames recorded at 1080p/240 fps, the Osmo Action 6 achieves a slowdown effect equivalent to 960 fps when played back at 1080p/30 fps.

Other features include:

• RockSteady 3.0/RockSteady 3.0+, HorizonBalancing and HorizonSteady stabilization mode: Reduces camera shake, corrects tilts to maintain the horizon level within plus or minus 45 degrees and eliminates roll axis shakes within 360 degrees to maintain a level horizon while ensuring 4K/60 fps high-definition quality.
• 2x lossless zoom: Allows users to zoom in up to 2x without compromising 4K quality.
• Natural wide field of view: Keeps a broad perspective while reducing vertical distortion.
• Film tone: customizes footage with a selection of six built-in film tones.
• Portrait mode: Intelligently detects and prioritizes the subject while optimizing exposure for true-to-life skin tones.
• Subject centering and tracking: Intelligently tracks subjects to keep them in the center of the frame.

More information is available on the company’s website.

MELVILLE, N.Y.—Canon USA has launched the CR-N400 and CR-N350, two new Pan-Tilt-Zoom (PTZ) cameras designed to deliver high image quality, versatile connectivity and advanced control for professional video applications.

The cameras cater to an array of studio productions, live events, houses of worship, corporate settings and educational environments, the company said.

The CR-N400 and CR-N350 address the need of users to access advanced functionality and streamline workflows. Designed to fill the space in Canon’s PTZ lineup between the CR-N300 and the CR-N500, the new cameras provide smooth on-air pan/tilt performance and high-quality imaging for a broader range of users, Canon said.

Both cameras offer 4K 60p imaging with a 20 times optical zoom, extendable to 40 times advanced zoom in Full HD. Their 1/2.3-inch CMOS sensor and the DIGIC DV7 image processor provide outstanding image quality and Canon’s color science. Both cameras include a vertical crop feature that allows users to simultaneously output a 9:16 crop of the full image, it said.

The CR-N400 is tailored for professional broadcasters who require a 4K SDI-based workflow, as it features 12G-SDI and 3G-SDI connectivity, genlock and timecode support for seamless integration into professional multicamera setups, Canon said.

The CR-N350 provides a cost-effective solution for users who only require 4K over HDMI/IP or Full HD over its 3G-SDI terminal. With the increasing adoption of IP protocols, such as NDI and SRT, both the CR-N400 and CR-N350 provide a versatile solution for direct IP streaming and remote production workflows, the company said.

With these features, the CR-N400 and CR-N350 are well suited to both live and recorded productions, offering operators the ability to capture dynamic content effortlessly while maintaining a competitive edge in fast-paced settings, Canon said.

The CR-N400 and CR-N350 PTZ cameras are scheduled to ship in late December for an estimated retail price of $5,699 and $3,999, respectively.

More information is available on the company’s website.

MAHWAH, N.J.—Ikegami will showcase its new IPX-100 IP extension unit as well as the latest developments in its camera and monitor portfolio at NAB Show New York 2025, Oct. 22-23, at the Jacob K. Javits Convention Center in New York.

Making its first NAB Show New York appearance, the IPX-100 IP extension unit offers an alternative to the conventional base station or CCU for applications where IP interface of video, audio and intercom are planned from day one.

The IPX-100 is 2 units high by half 19-inch rack width, lightweight and well-suited for use in mobile production vehicles, REMI equipment rooms and wherever space is at a premium. For throw-down applications, it can be ordered with a carry handle.

The unit has the same robust camera head power capacity as the BSX-100, providing power via conventional SMPTE-hybrid fiber camera cable at a distance of up to 2.2 miles depending on camera model and configuration. An integral test signal generator allows IP system configuration before a camera head is connected.

An HD-SDI video monitoring output enables direct connection of a monitor to the IPX-100, facilitating initial setup. The IPX-100 supports NMOS IS-04 and IS-05 for operational management of the IP system.

Ikegami will also feature its UHL-X40, an ultra-compact box style UHD camera measuring 4.7 by 5 by 4.4 inches and weighing 2.4 pounds. It is designed for applications requiring an inconspicuous UHD camera.

The head is powered locally with 12 volts DC (just 28 watts) and connects with the compact CCU-X40 via up to 6.2 miles of duplex single-mode fiber carrying uncompressed RGB raw pixel data. Included with the fiber link is a 1G Ethernet trunk for external data, such as pan/tilt/zoom control.

The UHL-X40 incorporates three ⅔-inch UHD sensors with a global shutter pixel architecture that captures natural images even when shooting LED screens, clear of geometric distortion during still frame replay. The global shutter imagers also minimize artifacts when televising flash or strobe-illuminated stage environments.

The UHL-X40 achieves F10 sensitivity at 2160p59.94 and a signal-to-noise ratio of 62 decibels in HD. HDR and BT.2020 color reproduction are available as standard. The CCU-X40 can output two formats simultaneously, such as 2160p UHD and 1080i HD.

Ikegami will also feature its HDK-X500 portable system camera designed for use across a wide spectrum of applications, including pedestal-mounted studio operation, tripod-based sports coverage and shoulder-mounted location production. Features include three latest-generation ⅔-inch CMOS global shutter sensors plus automatic optical vignetting correction throughout the range of OVC-compatible B4 bayonet mount zoom lenses.

Back focus of RBF-compatible lenses can be adjusted from the OCP in the control room even when the camera head is in a remote location. Optimal control of ambient lighting, studio or outdoor is supported by the same neutral-density and color-compensation dual filter system used in Ikegami’s top-end UHK camera series.

The camera’s integral digital processor provides 16-axis color correction, allowing precise scene matching or creation of specific effects. HLG HDR is fully supported. Performance parameters include 1,000 TVL typical center resolution at 5% modulation, 62 dB typical signal-to-noise ratio and F11 sensitivity (1080i/59.94). The HDK-X500 is also capable of high-frame-rate capture at 1080i 119.88 Hz.

Ikegami will also show its ULE-217-HDR Full-HD HDR/SDR video quality monitor designed for use in studio control rooms, mobile production units and post-production suites. Space-efficient and energy-efficient, it is equipped with a 21.5-inch 1920 x 1080 pixel LED display, recently upgraded from 500 to 1,000 nits brightness. HLG and HDR10 high dynamic range and all commonly used resolutions from 480p up to UHD and 4096 x 2160p60 4K are supported.

It also will feature the HLM-2460W, a 24-inch Full-HD LCD monitor with a 1920×1200 pixel 10-bit resolution LCD panel with 1800:1 contrast ratio, 400 nits brightness and 3.4-inch front-to-back depth. Multiformat SDI, 3G-SDI, HDMI, Ethernet and VBS inputs are provided as standard.

See Ikegami at NAB Show New York booth 708.

More information is available on the company’s website.

BYFLEET, England— Remote camera systems specialist Camera Corps, part of the Videndum group, will launch its newest underwater camera system during IBC2025, Sept. 12-15, at the RAI Amsterdam Convention Center.

Recently deployed for the high diving events at August’s World Aquatics Championships in Singapore, the camera is designed to be submerged up to 19.68 feet (6 meters), the company said.

Developed to cover aquatic sports in demanding conditions, the camera delivers robust performance in extreme environments. It joins a suite of specialized cameras, broadcast robotics and motion-control systems engineered to meet the demands of live production across sports and entertainment, Camera Corps said.

The suite now features UHD resolution and 18 times zoom across both tracking and PTZ models, offering enhanced clarity and precision for professional aquatic sports and other challenging broadcast scenarios. Notably, the new head has also been engineered with acoustic sensitivity in mind. Underwater noise can be a genuine issue, and this unit operates quietly to avoid distracting athletes or interfering with the competition environment, it said.

Camera Corps will also present a range of specialized cameras for use across sports and entertainment production. These include the newly launched robotic nodal intelligent remote heads, which expand automation and precision control capabilities. The company will showcase next-generation mini cameras developed for traditional broadcast and for emerging social media platforms that offer new opportunities for sponsors and content creators, the company said.

See Camera Corp at IBC2025 Stand 13.A05.

More information is available on the company’s website.

GARBSEN, Germany—Dream Chip Technologies will unveil the Atom Two Rainproof point-of-view camera during IBC2025, set for Sept. 12-15 at the RAI Amsterdam Convention Center.

The self-contained camera measures 1.165 inches by 1.165 inches by 1.338 inches (29.6 x 29.6 x 34 millimeters) and weighs 1.94 ounces (55 grams), including lens and stereo microphone. The camera has an integral 4.5-mm lens providing a 90-degree field of view, which makes it well-suited to many POV camera applications, ranging from body-worn referee cameras and goal mounts to the masts of racing yachts and mini drones, the company said.

The environmental protection built into the Atom Two Rainproof protects against anything the weather offers. Image quality is assured due to the camera’s global shutter, eliminating the visible distortions and artifacts produced by rolling shutter cameras, Dream Chip said.

“Our customers are producing some of the most exciting and high value live television, and they are constantly looking to give ever more immersion for the viewer,” said Dr. Jan Peter Berns, chief strategy officer and chief financial officer at Dream Chip. “That means more viewpoints, but more cameras cannot mean more engineering or operational requirement; the POV cameras have to perform flawlessly, whatever the circumstances, all the time.

“Atom Two Rainproof delivers the reliability broadcasters demand,” said Berns. “Together with the global shutter, that makes it simple to match the Atom Two to system cameras, so directors can freely intercut without visual disturbances. The outcome is more insight, more angles, and higher production values for the viewer.”

See Dream Chip Technologies at IBC2025 Stand 10.C10.

More information is available on the company’s website.

FOOTHILL RANCH, Calif.—RED Digital Cinema will feature its Cine-Broadcast Module supporting live broadcast workflows during IBC2025, Sept. 12-15, at the RAI Amsterdam Convention Center.

RED’s Cine-Broadcast Module supports live broadcasting of up to two channels of 4K 60P (HDR/SDR) via 12G-SDI and IP-broadcast compliant with SMPTE ST 2110 (TR-08) and up to a 4K 60P JPEG-XS feed.

It features a robust LEMO SMPTE 311M/304M hybrid fiber optical cable connector linked to a rack-mountable 2U full rack or 4U half rack base station. The module offers advanced slow motion, AI/ML enhancements and real-time 8K 120fps R3D streaming through the RED Connect license-enabled feature, the company said.

RED will show its advanced broadcast color pipeline, which facilitates live painting of RED cameras in broadcast or streaming environments and allows for on-demand adjustments and multi-camera color matching using traditional broadcast controls. This latest functionality comes in a firmware update for RED’s V-RAPTOR XL and V-RAPTOR cameras and uses industry-standard RCPs to control painting parameters in real time over IP, while saving information per frame in the recorded file’s metadata, it said.

RED will showcase the Cine-Broadcast Module’s seamless integration with EVS’ XT-VIA live production server, which allows broadcasters to enhance their workflows with up to 4x super-slow-motion at 4K and 8x at 1080p, while simultaneously delivering two baseband channels. RED’s license-enabled RED Connect feature powers this capability, which allows IP live streaming of R3Ds and unlocks advanced workflows, including real-time AI/ML augmentation and live-to-headset using 8K 120FPS R3Ds, it said.

“The evolution of RED’s Cine-Broadcast solution is redefining creative flexibility in live production,” said Jeff Goodman, vice president of product management. “Producers can now harness the visual power of large-format, cinematic storytelling within live content workflows—without sacrificing speed, reliability or standards compliance. It’s a seamless addition to the traditional broadcast ecosystem, offering a suite of advanced IP-based solutions within a single, integrated product. Whether it’s for sports, concerts, or live events, the Cine-Broadcast system opens new creative possibilities for productions around the world.”

The company also will show its new RED V-RAPTOR [X] and KOMODO-X with Nikon’s premier Z Mount. The RED V-RAPTOR [X] features unmatched low-light performance, dynamic range, resolution, high frame rates, and an industry-leading 8K VV global shutter large-format sensor.

RED’s KOMODO-X features a 6K S35 global shutter sensor and frame rates at 6K 80P and 4K 120P in a form factor measuring only 4x4x5 inches and weighing 2.6 lbs.

See RED Digital Cinema at IBC2025 Stand 11.C20A.

More information is available on the company’s website.