NEW YORK—JVC Professional Video has announced that it will be demoing a wide variety of solutions for remote production at the NAB Show New York. The demos will take place at the Broadfield Distributing booth (711) on October 9 and 10 at the Javits Center in New York.

“We ask visitors to stop by our exhibit and try firsthand our latest developments to see how our full line of remote production equipment can easily fit into your existing budget,” says Joseph D’Amico, vice president, JVC Professional Video.

Among its highlighted products on display will be JVC’s KY-PZ510 ultra-wide angle PTZ camera recognized for its award-winning features, such as AI-enabled advanced SMART auto-tracking operation and NDI supported IP-based remote operation capabilities, the company reported.

JVC’s advanced auto-tracking includes five new features: Standard, Area, Stage, Wide Area and Fine Adjustment modes. In addition, presets for exposure, color and image were added as well. These upgrades provide additional benefits in frame composition, zones, and modes of operation. There is also a USB video device class (UVC) available for direct connection to Zoom, Google Meet and other online video conferencing programs., JVC explained.

The JVC KY-PZ510 offers an ultra-wide angle with an 80-degree field of view, 4K 60P streaming and advanced auto-tracking at an unexpected price point.

In addition, on display at the NAB Show New York, JVC said it will be showing JVC’s KM-IP8S4 vMix studio switcher along with RM-LP450G, RM-LP350G vMix control surfaces, RM-LP100 PTZ Controller, and GY-HC500UN camcorder with NDI.

The KM-IP12S8 vMix line is now shipping nationwide and has been installed in a variety of sports venues including high schools and universities.

JVC’s KM-IP12S8 includes the vMix 4K license and supports up to 12 NDI^®/SRT and eight SDI video inputs, as well as multiple output options, including 12G-SDI, 3G-SDI, HDMI, DisplayPort and up to four live 3840x2160 60p inputs via 12G-SDI/NDI. Additionally, three 2.5 GbE Ethernet ports are available for NDI, SRT, Dante and RTMPS internet connectivity. The switcher also offers concurrent outputs to three CDNs, Multiview and ISO recording, all in a quiet 4RU case with liquid cooling. The KM-IP8SPRO has the same hardware specifications, with the addition of the vMix Pro software license, which enables eight-channel instant replay.

“JVC has been in existence for nearly a century and our professional video division has gained a very strong and loyal professional customer base—one that is also very ‘price versus performance’ conscious,” added D’Amico. “Once our customers purchase a JVC product, they quickly realize and appreciate the quality of the innovative engineering integrated into each model, in addition to JVC’s reputation for excellent personal service and support.”

JVC said that attendees can visit https://nabshow.com/newyork2024/ and use code NY7923 for a complimentary exhibitor hall pass.

For more information, visit JVC’s website at jvc.com/usa/pro/professional-video/ or contact the company at: https://secure.jvc.com/pro/forms/contactus.jsp.

Video over IP, in the sense that’s used in film and television, sometimes feels like a newer idea than it really is. That might be because the high-end, uncompressed ST 2110 standard took a while to finalize, or because of its rather forward-looking demands on IT infrastructure, both of which made a quick uptake less feasible than many might have preferred. The compressed alternatives might be a reaction to that—but alternatives inevitably mean choices with profound implications.

“I think the original promise was that if you go IP, you save money” says Axel Kern, senior director, Cloud and Infrastructure Solutions at Lawo. “Pretty quickly the industry confirmed the opposite. Investing in switches is definitely not saving you money [and] you have to deal with the complexity and abstraction of IP.”

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With that in mind, Kern contends, considering ST 2110 to be a direct replacement for SDI is missing the point. “That wasn’t the original promise—it [offers] higher agility and significantly higher flexibility of doing things. Now, with IBC 2024 coming, there are many options where you can really see flexibility that’s not possible on an SDI backbone.”

Kern suggests that the circumstances of specific installations tend to suggest an approach. “if you’re a truck owner, there is a decision between baseband and IP. If you’re a facility, you have this option to go IP and if it’s a ‘brownfield’ approach, where you take part of your facility… brownfield would allow you to go IP and test it out. Greenfield approaches would go IP full stop. The other topic you have to consider is how much of the gear you’re putting in your truck can be found with purely SDI capabilities.”

Somewhat-compressed alternatives allow facilities to sidestep the need for extremely expensive networks, as Kern says. “We see this when people use NDI or even SRT [Secure Reliable Transport] over the wild internet to connect facilities and do remote production,” he said. “This is the logical consequence of things like NDI, which are still high quality but for a fraction of the bandwidth.”

Involving the public internet makes cloud resources more available, though there’s recently been caution over the sheer bandwidth of video in circumstances where cloud providers charge per unit data leaving the network.

“The egress costs on cloud are sometimes outweighing the inventory cost you would have going your own way,” Kern adds. “Doing a like-for-like in the cloud is not the way forward. What we look for is whether we can make use of the technology the cloud brings us, microservices and software-as-a-service applications which you can spin up on commercial, off the shelf IT gear.”

“We introduced video over IP a long, long, long time before it became a standard,” says Edgar Shane, general manager, Engineering and Product Development for JVC. “We integrated [it] into video cameras well before the infrastructure was ready. Most of the stuff I see on a daily basis today is stuff we’ve been doing for years.”

JVC’s Connected Cam architecture handles video at modest bandwidths, making wireless and public networks a plausible alternative to costlier modes of transport. The software-definability of the camera’s encoder also offered a degree of future-proofing.

“It used to be that you had to have your camera and an IP encoder separately,” Shane says. “So, we integrated IP encoders into the cameras… enabling NDI in those cameras is easy, because we already have the encoder built in. On our cameras today you can select NDI or SRT, which is still needed when you send video over the internet.”

The explosive success of NDI might suggest an industry still cautious about the bandwidth demands of ST 2110, though Shane is clear about the different intent. “[2110] is pretty demanding of IP infrastructure,” he said. “You need to have minimum latency and precise switching… but it’s for a different audience. If you’re routing the whole house for broadcast it absolutely makes sense.”

At the higher end, though, even NDI can begin to demand more than an average office network. “NDI exists in two formats,” Shane says. “There’s full NDI, which is 180 Mbps, then there’s NDI HX2 and HX3 which is only 20-30 Mbps. This is important because customers are using standard gigabit Ethernet and people are saying they can have several cameras. [But ] for full NDI, people are putting in 10-gigabit networks.”

Economies of scale in the IT market seem likely to make ST 2110 steadily easier. But as Shane relates, the brute force approach of more bandwidth is just one solution in a world with ever more CPU horsepower.

“Cameras evolve,” Shane says. “The front end with the lens and sensor evolves less because it’s traditional. Newer sensors have more sensitivity and 4K and beyond, but we’re exploring better codecs. HEVC allows us to send video with lower bitrate and higher quality. We’re also exploring AI, because our latest PTZ cameras feature object tracking. They can recognize human beings and you can select which person out of three, four, five people.”

Sony, too, describes a combined approach. “In broad strokes, IP and 2110 have become pretty common within broadcast, live production,” says Deon LeCointe, director of Networked Solutions at Sony Electronics’ Imaging Products & Solutions. “And that’s not just 2110—we find a lot of our customers are using 2110, NDI... some people have started using SRT.”

LeCointe concurs that costs remain a bugbear at the high end. “From where I sit, 2110 is being sold as a premium over SDI. SDI has been around for decades. The cost to build the chips is lower, the cost to build a product that can support 2110 is higher.” Even so, he predicts, the finances seem likely to ease naturally. “The cost of COTS equipment is coming down… we’re in a space that moves forward much faster than the broadcast industry does.”

“What’s new,” LeCointe says, “is people focusing on how to leverage IP. We can add 5G live production, private 5G or even in the future public IP… there’s a potential for 5G to be leveraged by smaller networks and vendors as well to get from camera to a control room to a broadcast head end.”

Sony’s approach combines purpose-built hardware with software-based solutions—something video over IP was always intended to facilitate. “From a hardware perspective,” LeCointe concludes, “cameras, switchers, and monitors all have 2110. We have been really pushing the envelope on 5G, we introduced our new RPU-7 with the NXL-ME80, which is a little box that can do eight channels of video. Nevion is a software solution that has visibility across your entire media environment, to ensure that media flows get from sources to their destinations.”

Craig Heffernan, UK technical sales director, describes a considered approach. “We looked at how everything had settled in the IP market… and decided that 2110 was the route we wanted to go, in comparison to NDI or an alternative. It lets us do what we do best, which is to put some customization into it. We can have Blackmagic connected technologies but also be open enough to bring in third parties.”

The company’s key innovation is a codec that handles high-resolution, high-frame-rate material on 10-gigabit networks. “We’re compliant in terms of how 2110 works, but within that is the Blackmagic IP10 codec, which for us replaces TICO… we needed to get 2160p at 50 and 60 frames into a 10-gigabit space, with headroom. We wanted it to be entirely lossless and we wanted to keep the Ethernet network costs down.”

Attractive as that is, the advantage of IP has often been manufacturer agnosticism. Heffernan assures us that the company intends to make IP10 a standard. “We’ve released the whitepaper. The nature of the world is we’re happy to be part of the portfolio but we’re not everything to everyone. We want to create a network of OEM and developer support so the interaction between Blackmagic and non-Blackmagic is there for the customer. It’s being discussed with SMPTE.”

Blackmagic’s approach summarizes the ambitions of the industry: Economies of scale are making video over IP more affordable. Task-specific hardware seem on the way out. Flexibility is a watchword.

“Our cameras’ ability to stream back to control via SRT means we get a high quality, reliable connection into the bonded 5G at very low latency and very high quality,” Heffernan concludes. “The cost of satcom, private uplinks and all of those environments could be done away with.” Video over IP, in all its forms, is probably closer than ever to fulfilling its promise. “It’s quicker to deploy, faster to set up, easier to manage.”

Missed any of our recent product news? Here is TV Tech's weekly wrap-up of new products, services and deployments we published in our newsletter between July 29 to August 2. The stories are listed from the newest on Friday August 2, day by day back to our stories from Monday July 29

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WAYNE, N.J.—JVC Professional Video, a division of JVCKENWOOD USA Corporation, has announced the immediate availability of its new KM-IP12S8 and KM-IP12S8 PRO CONNECTED CAM vMix Studio Switchers. 

Designed to be a complete live video production solutions, the switchers provide live mixing, switching, recording and streaming for a variety of multi-camera, fast-paced applications, such as live sports and event productions. 

Both switchers come standard with licensed versions of either the vMix 4K or vMix Pro Live Production and Streaming software, which are among the industry’s most popular production solutions. 

“We are excited to now deliver the KM-IP12S8 Series switchers to our users across North America,” says Joseph D’Amico, vice president, JVC Professional Video. “Designed in direct response to end user and integrator requests, the switchers combine the most ubiquitous technology in the industry to create seamless hardware connectivity and support, at a price point that is accessible to a wider scope of users.” 

The KM-IP12S8 includes the vMix 4K license and supports up to 12 NDI/SRT and eight SDI video inputs, as well as multiple output options, including 12G-SDI, 3G-SDI, HDMI,  DisplayPort and up to four live 3840x2160 60p inputs via 12G-SDI/NDI. Additionally, three 2.5 GbE Ethernet ports are available for NDI, SRT, Dante and RTMPS internet connectivity. The switcher also offers concurrent outputs to three CDNs, Multiview and ISO recording, all in a quiet 4RU case with liquid cooling. The KM-IP8SPRO has the same hardware specifications, with the addition of the vMix Pro software license, which enables eight-channel instant replay, the company reported. 

The switchers’ front dock has four removable SSD drive trays and USB 3.0 Gen.2 ports for digital audio and control surfaces. This includes JVC’s RM-LP350G vMix Control Surface with PTZ camera joystick and the recently released RM-LP450G vMix Slow-Motion Control Surface, designed for use with vMix Replay.  

With the KM-IP12S8 switchers, JVC said that it has created a balanced hardware base for vMix software that optimizes performance for professional applications, thereby eliminating the guesswork of configuring and assembling systems. Most importantly, integration and operational support are provided by a single source for cameras, controllers and IP switchers, making for an ideal system implementation experience for users, integrators and resellers alike.

Used in conjunction with JVC’s NDI-enabled PTZ Cameras and streaming camcorders, which have uncompromising image quality, either of the KM-IP12S8 CONNECTED CAM vMix Studio Switchers will be the keystone of an ideal production system experience. 

The KM-IP12S8 has a list price of $10,999 and the KM-IP12S8PRO has a list price of $11,600.

LAS VEGAS—JVC Professional Video, a division of JVCKENWOOD USA Corporation, will be highlighting its latest NDI and vMix solutions at InfoComm 2024 (Booth C5715) this week. 

This includes the company’s new KY-PZ540 Series Connected Cam PTZ Cameras with 40x zoom and KY-PZ510 Series Connected Cam  PTZ Cameras, which each have NDI-enabled options. 

The company will also feature its KM-IP12S8 Series Connected Cam vMix Studio Switchers and RM-LP450G Slow-Motion Controller for its vMix Studio Switchers, with live demos of all products being held at the booth throughout the show. 

“Industry professionals have adopted NDI-enabled devices at a record pace, and we are thrilled to be part of the network of manufacturers to offer this solution,” says Joseph D’Amico, vice president of JVC Professional Video. “Similarly, vMix has time and again proven to be a leading brand for live streaming productions, and we are grateful for the partnership between our organizations. We look forward to reinforcing the value and advantages that JVC offers to the AV market at InfoComm this year.”

Designed in direct response to customer feedback, the multi-award-winning KY-PZ540 Series PTZ Cameras are the company’s first PTZ cameras to incorporate a 40x focal length. The cameras are ideal for large event spaces and instances when the need to zoom in from a distance is essential. The cameras feature JVC’s 4K imager and renowned Variable Scan Mapping technology, which dynamically scans the 4K sensor to produce a seamless and lossless image transition up to 40x in full-resolution HD. Increasing the zoom magnification while keeping the unit affordable made it possible for JVC to accommodate the needs of a larger segment of customers, the company reported. 

Complementing the KY-PZ540 model is the KY-PZ510 PTZ series, which is most recognized for its super-wide horizontal angle of view (80 degrees) and focal length of 21.8 to 261.8 millimeters. The KY-PZ540 and KY-PZ510 PTZ award-recognized cameras include AI-enabled advanced SMART auto-tracking operations. This feature can follow one person or one of multiple people within its field of view and includes its latest advancements in: Standard, Area, Stage, Wide Area and Fine Adjustment modes. These modes provide additional controls and adjustment options allowing for flexible and precise operations. Both series are available in black or white models and host non-NDI and NDI supported IP-based remote operation capabilities, JVC said. 

With the NDI-enabled KY-PZ540N and KY-PZ510N, users have the added ability to utilize NDI HX3 for the highest quality video with reduced latency, at a fraction of the bandwidth of full NDI. The NDI HX3 capability also enables integrators to take advantage of the cameras’ award-winning features, such as the KY-PZ510N’s super-wide horizontal angle of view (80 degrees) and focal length of 21.8 to 261.8 millimeters. 

Additionally, the incorporated Vertical Interval Time Code (VITC) with Network Time Protocol (NTP) provides the cameras with multi-camera synchronization for seamless live event production. Using the latest HEVC technology, the cameras ensure higher quality video at lower bitrates for remote production over the internet (REMI). The cameras also support H.264 and H.265/HEVC encoding, offering increased compatibility with a variety of hardware and software applications. Furthermore, the 4K60p output, via both HDMI and streaming, delivers ultra-clear, natural imagery in settings with a lot of movement, such as sports and live events.

Comprised of both the KM-IP12S8 and KM-IP12S8PRO, the KM-IP12S8 Series Connected Cam vMix Studio Switchers are complete live video production solutions that provide live mixing, switching, recording and streaming for a variety of multi-camera, fast-paced applications, JVC explained. 

The KM-IP12S8 includes the vMix 4K license and supports up to 12 NDI/SRT and eight SDI video inputs, as well as multiple output options, including 12G-SDI, 3G-SDI, HDMI, DisplayPort and up to four live 3840x2160 60p inputs via 12G-SDI/NDI. Additionally, three 2.5 GbE Ethernet ports are available for NDI, SRT, Dante and RTMPS internet connectivity. The switcher also offers concurrent outputs to three CDNs, Multiview and ISO recording, all in a quiet 4RU case with liquid cooling. The KM-IP12S8PRO has the same hardware specifications, with the addition of the vMix Pro software license, which enables eight-channel instant replay.

The switchers’ front dock has four removable SSD drive trays and USB 3.0 Gen.2 ports for digital audio and control surfaces. This includes JVC’s RM-LP350G vMix Control Surface with PTZ camera joystick and the recently released RM-LP450G vMix Slow-Motion Control Surface, which can increase the speed of a live playback workflow. 

Designed for use with vMix Replay, the RM-LP450G offers a modern appearance and simple control layout, along with 38 backlit keys to quickly identify important functions and reduce the chance of errors. Ideal for sports broadcasting, the controller caters to the replay needs of this market. It is equipped with quick-action Playback Search Disks and Control T-bar for speed control of the video playback, for up to eight video inputs, JVC said. 

LAS VEGAS—JVC Professional Video has announced that it will debut its new KY-PZ540 Series PTZ Cameras with 40x zoom at 2024 NAB Show (Booth C4720). 

As the company’s first PTZ cameras to incorporate this focal depth, the KY-PZ540 and KY-PZ540N with integrated NDI HX3 capabilities are designed with JVC’s 4K imager. The cameras also feature JVC’s Variable Scan Mapping technology, which dynamically scans the 4K sensor to produce a seamless and lossless image transition up to 40x in full-resolution HD. The cameras are ideal for large event spaces and instances when the need to zoom in from a distance is essential. 

“We asked our key customers what feature was most in demand and their request was for a PTZ camera capable of 40x zoom in 1080/60p mode at an affordable price point,” says Joe D’Amico, vice president of JVC Professional Video. “We already have an award-winning PTZ product—increasing the zoom magnification while keeping the unit affordable made it possible for us to accommodate the needs of a larger segment of customers.”  

With JVC KY-PZ510 technology at its core, the new KY-PZ540 PTZ cameras incorporate the brand’s award-winning features, such as AI-enabled advanced SMART auto-tracking operation and NDI supported IP-based remote operation capabilities.

JVC recently expanded its auto-tracking to include five new advanced features: Standard, Area, Stage, Wide Area and Fine Adjustment modes. In addition, presets for exposure, color and image were added as well. These upgrades provide additional benefits in frame composition, zones, and modes of operation. There is also a USB video device class (UVC) available for direct connection to Zoom, Google Meet and other online video conferencing programs, the company reported. 

Other key features of the KY-PZ540N include integrated NDI HX3 for seamless hassle-free system integration and SRT featuring HEVC and H.264 dual encoding for efficient bandwidth utilization. This ensures higher quality video at lower bitrates for remote production over the internet (REMI). The KY-PZ540N can also simultaneously output NDI, SRT and RTMPS for hybrid local/remote workflows to deliver the highest quality distribution to the world’s most popular CDNs, the company said.  

“JVC has been in existence for nearly a century and our professional video division has gained a very strong and loyal professional customer base—one that is also very ‘price versus performance’ conscious,” added D’Amico. “Once our customers purchase a JVC product, they quickly realize and appreciate the quality of the innovative engineering integrated into each model, in addition to JVC’s reputation for excellent personal service and support.”  

The new KY-PZ540 PTZ Camera series has a starting retail price of $1,999 and will be on display, along with several other JVC solutions, at NAB 2024 (Booth C4720).   

For more information, visit JVC’s website at jvc.com/usa/pro/professional-video/. 

LAS VEGAS—JVC will highlight partnerships with NDI and vMix at the 2024 NAB Show, April 13-17, in Las Vegas.

NDI technical director Roberto Musso and vMix senior systems engineer Heath Baker will be at the JVC booth to highlight the benefits of each company’s solutions for remote production workflows using JVC PTZ and handheld cameras as well as other video production tools, the company said.

“We are excited to have Roberto and Heath join us this year at NAB and take this time from their busy schedules to not only strengthen our collaboration but also reinforce the value and advantages that NDI and vMix both contribute to JVC’s customers,” said Joseph D’Amico, vice president of JVC Professional Video.

“Media organizations have adopted NDI-enabled devices at a record pace, and we are thrilled to be part of the network of manufacturers to offer this solution. Similarly, vMix has time and again proven to be a leading brand for live streaming productions, and we are grateful for the partnership between our organizations.”

NDI technology support is incorporated into many of JVC’s PTZ and handheld cameras. Musso will discuss the use of NDI technology to streamline video production at the JVC exhibit (booth C4720). His event will include discussions and a Q&A as well as a brief demo of JVC’s latest product developments. Musso’s presentations are scheduled for Monday, April 15, at 3 p.m. and Tuesday, April 16, at 3 p.m.

One of JVC’s NDI-enabled solutions is the KY-PZ510N CONNECTED CAM PTZ camera, which supports NDI HX3 technology that offers higher compression and requires less bandwidth, thereby providing for high video quality and reduced latency. Another is the GY-H500 CONNECTED CAM series of handheld cameras, JVC said.

The vMix live video production and streaming software solution can be used with several JVC workflow production tools. Barker will be at the booth for a discussion and Q&A about how JVC technology users can create, mix, switch, record and live stream productions with the new vMix27 software. He will do a demo at the booth on Monday, April 15, at 1 p.m.

Among the JVC products that work with vMix to assist in live productions and broadcasts are the KM-IP8S4 CONNECTED CAM vMix Studio Switcher, which can manage four 3G-SDI and up to eight NDI inputs and comes with vMix 4K licensed software, and the RM-LP350G CONNECTED CAM vMix Control Surface and the new sports series RM-LP450G IP switcher and vMix Control Surface.

See JVC in NAB Show booth C4720.

More information is available on the company’s website.

WAYNE, N.J.—JVC Professional Video has released Firmware Version 3 for its KY-PZ510 and KY-PZ510N Connected Cam PTZ Cameras that will be shown at 2024 NAB Show (booth C4720). 

With this latest free update, users now have access to five different settings of Auto Tracking, including Standard, Area, Stage, Wide Area and Fine Adjustment options. The new firmware will also make it possible for users to set presets for exposure, color and image, among others ― a feature that is being released across all NDI®-enabled JVC PTZ cameras, JVC said. 

“The enhanced auto tracking functionality of our award-winning KY-PZ510 Series PTZ cameras is designed to follow one person and can be used to select one of multiple people within its field of view ― such as an instructor, pastor or a specific individual,” says Joseph D’Amico, vice president, JVC Professional Video. “This latest firmware update aims to further enhance the creative possibilities set forth by these features, which are ideal for classrooms, corporate settings and houses of worship, among other applications. We look forward to presenting this latest solution to NAB 2024 attendees.”

With these latest features, users will be able to use the ‘Standard’ setting to set the designated position of the tracking system, adjust the headroom or indicate subject framing options, such as upper body or above the chest. The ‘vertical’ alignment setting will also enable users to adjust the amount of space above the presenter. Additionally, the new ‘Area’ setting is intended for users to designate an area from within the field of view in which the camera will stay stationary unless the speaker has left that space. Multiple spaces can be set for this function, the company reported. 

The ‘Stage’ setting establishes the left and right panning borders of the KY-PZ510 Series cameras, while ‘Wide Area’ sets stationary camera positioning concentrated towards the center of the stage. This provides minimal motion distraction while ‘Standard’ auto tracking is engaged, should the subject travel beyond the outer borders. The new firmware includes a ‘Fine Adjustment’ mode, in which the camera adjusts the framing of the subject to the preset position within a maximum six-second time span, JVC said. 

A free firmware update is also available for the JVC RM-LP100 Remote Camera Controller and web interface, which can now be used to send auto-tracking commands for the cameras via WEB API. Additionally, while in auto tracking mode, the controller can be used to select an individual or set tracking ON/OFF, using the simple left/right lever on the device.

The award-winning features of the KY-PZ510 Series include a super-wide horizontal angle of view (80 degrees) and focal length of 21.8 to 261.8 millimeters, along with incorporated Vertical Interval Time Code (VITC) with Network Time Protocol (NTP) for multi-camera synchronization. Using the latest HEVC technology, the cameras ensure higher quality video at lower bitrates for remote production over the internet (REMI). The KY-PZ510N can also simultaneously output NDI®, SRT and RTMPS for hybrid local/remote workflows to deliver the highest quality distribution to the world’s most popular CDNs.

With the new firmware updates, JVC has also released new preset options for exposure, color, image and PTZ settings. These functions will also be available across all NDI®-enabled JVC PTZ cameras, including the KY-PZ400N and KY-PZ200 Series, which have been upgraded to NDI Version 5 with their respective free firmware updates.

More details about these updates can be found in this video.

NASHVILLE, Ark.—JVC Professional Video has announced that ACE Sports recently deployed a complete, glass-to-glass production solution from JVC for one of the largest high school video boards installed in the U.S. 

For the company’s recent installation at Nashville High School in Arkansas, JVC Professional Video provided two of its industry-recognized GY-HC500UN Connected Cam  Handheld Production Cameras and a full complement of the brand’s workflow tools. 

In addition to the cameras, ACE Sports also provided the school with JVC’s KM-IP8S4PRO Connected Cam vMix Studio Switcher, which can manage up to four SDI inputs and eight NDI inputs using vMix 4K licensed software, along with the brand’s RM-LP450G Replay Control Surface and RM-LP350G Desktop Connected Cam vMix Control Surface, which works with the KM-IP8S4 to enable traditional-style switching.  

Using JVC’s all-encompassing solution, Nashville High School can livestream and present instant replays with uncompromised image quality in 4K ultra-HD to its video board, which is one of the largest installed in America at this level, the companies said. 

“Since the new video display has a resolution of around 200 million pixels, the school needs to use cameras that provide the same video quality, otherwise the content being presented on the video board could appear blurry or out of focus for the live crowds in attendance,” says Mark Bridges, director of business development, ACE Sports. “With the JVC GY-HC500s, the quality is unmatched, especially for its price point.” 

With ACE Sports’ incorporation of the JVC system at Nashville High School, sports spectators have been provided with enhanced footage of the game, which they may not have been able to view otherwise. 

“We have the cameras live streaming to the board and we’re also recording,” explains Bridges. “We usually have people watching the video board when their team is on the opposite end of the field, other times they turn their backs and look up at the board just to get a close-up view. The JVC cameras provide that feed, which is really cool.” 

It is often in those instances that the ACE Sports team also really appreciates the RM-LP350G vMix control surface, which enables traditional-style switching and provides four-channel PTZ camera presets, panning and zoom.   

A loyal integrator of JVC Professional Video for many years, ACE Sports specs the brand’s equipment for many other projects as well. “When we first came across JVC, I realized we would likely have a long-term partner,” says Bridges. “Since then, the brand has been our tried and true.”

According to Bridges, one of the best features about the cameras for this installation specifically, is the simplicity of them. ACE Sports often works with schools that opt into the curriculum the company offers, teaching students how to operate a live production; Nashville High School being one of those. 

“We needed cameras that were user-friendly and we found JVC to be a good fit,” says Bridges. “The students love them. JVC turned out to be exactly what we were looking for.”

WAYNE, N.J.―JVC Professional Video has unveiled the new RM-LP450G Slow-Motion Controller for its vMix Studio Switchers.

Created specifically for sports broadcasting, the new controller is designed to increase the speed of a live playback workflow. With a modern appearance and simple control layout, the RM-LP450G offers 38 backlit keys to help quickly identify important functions and reduce the chance of errors. 

To streamline replays, the controller is also equipped with quick-action Playback Search Disks and Control T-bar for speed control of the video playback. Up to eight video inputs can be instantly accessed to capture the action from multiple camera angles and tailor playback for analysis and programming. 

“This winning combination of eight video sources and instant replay offers in-house stadium and arena production teams a simple, cost-effective way to output video directly to a scoreboard,” says Joseph D’Amico, vice president, JVC Professional Video. “We are excited to deliver this new controller and look forward to seeing what our customers in the sports and live events industries accomplish with the solution.”

In addition to the Control T-bar, which provides increasing or decreasing playback speeds with a simple fingertip control, the RM-LP450G comes complete with several other buttons and functions. Among these are the inner and outer Playback Search Disks for endless forward and reverse search of recorded video. With search capabilities varying from frame-by-frame to 16x real-time, the controller can be set to different speeds according to the needs of the operator. 

The available Playback MARK Area function enables users to indicate the IN and OUT point of the camera playback for marking the start and end points of a particular play in a game to use during in-game replays, slow-motion reviews or post-game highlight reels. Additionally, a CAMERA Selection Area function for the replay input enables users to set a slow-motion playback either for live programming or to be previewed prior to live broadcast. 

The RM-LP450G is designed for use with JVC’s multi-award-winning CONNECTED CAM™ vMix-Powered Studio Switchers, including the KM-IP8 and KM-IP8S4, to which it can be connected via a simple USB interface. The KM-IP8 and KM-IP8S4 can each manage up to eight NDI® HX inputs and feature four 3G-SDI inputs with bi-directional connectors and mini-SDI-to-SDI cables. Both devices offer several output options, including one 3G-SDI, one HDMI and four DisplayPorts; as well as a Gigabit Ethernet network port. Additionally, the KM-IP8 and KM-IP8S4 are optimized for switching live programming in SD up to full HD 1080 60P.  

 For more information, visit  jvc.com/usa/pro/professional-video/.  

WAYNE, N.J.—JVC Professional Video, a division of JVCKENWOOD USA Corporation, has released Firmware Version 3 for its KY-PZ510 and KY-PZ510N CONNECTED CAM PTZ Cameras. 

The free update provides users with access to five different settings of Auto Tracking, including Standard, Area, Stage, Wide Area and Fine Adjustment options. The new firmware will also make it possible for users to set presets for exposure, color and image, among others ― a feature that is being released across all NDI-enabled JVC PTZ cameras. 

“The enhanced auto tracking functionality of our award-winning KY-PZ510 Series PTZ cameras is designed to follow one person and can be used to select one of multiple people within its field of view ― such as an instructor, pastor or a specific individual,” says Joseph D’Amico, vice president, JVC Professional Video. “This latest firmware update aims to further enhance the creative possibilities set forth by these features, which are ideal for classrooms, corporate settings and houses of worship, among other applications. We look forward to seeing what our customers will now be able to achieve with the solution.”

With these latest features, users will be able to use the ‘Standard’ setting to set the designated position of the tracking system, adjust the headroom or indicate subject framing options, such as upper body or above the chest, the company said. 

The ‘vertical’ alignment setting will also enable users to adjust the amount of space above the presenter. Additionally, the new ‘Area’ setting is intended for users to designate an area from within the field of view in which the camera will stay stationary unless the speaker has left that space. Multiple spaces can be set for this function. 

The ‘Stage’ setting establishes the left and right panning borders of the KY-PZ510 Series cameras, while ‘Wide Area’ sets stationary camera positioning concentrated towards the center of the stage. This provides minimal motion distraction while ‘Standard’ auto tracking is engaged, should the subject travel beyond the outer borders. The new firmware includes a ‘Fine Adjustment’ mode, in which the camera adjusts the framing of the subject to the preset position within a maximum six-second time span. 

A free firmware update is also available for the JVC RM-LP100 Remote Camera Controller and web interface, which can now be used to send auto-tracking commands for the cameras via WEB API. Additionally, while in auto tracking mode, the controller can be used to select an individual or set tracking ON/OFF, using the simple left/right lever on the device.

The features of the KY-PZ510 Series include a super-wide horizontal angle of view (80 degrees) and focal length of 21.8 to 261.8 millimeters, along with incorporated Vertical Interval Time Code (VITC) with Network Time Protocol (NTP) for multi-camera synchronization. Using the latest HEVC technology, the cameras ensure higher quality video at lower bitrates for remote production over the internet (REMI). The KY-PZ510N can also simultaneously output NDI, SRT and RTMPS for hybrid local/remote workflows to deliver the highest quality distribution to the world’s most popular CDNs, the company reported. 

With the new firmware updates, JVC has also released new preset options for exposure, color, image and PTZ settings. These functions will also be available across all NDI-enabled JVC PTZ cameras, including the KY-PZ400N and KY-PZ200 Series, which have been upgraded to NDI Version 5 with their respective free firmware updates.

NEW YORK—Broadcast Management Group (BMG) has added a variety of JVC Professional Video ultra-wide-angle, streaming and pan-tilt-zoom (PTZ) cameras to assist its clients with their productions.

“Our account rep at JVC was very effective at communicating the value of the brand’s PTZ cameras and offered to come out to BMG’s Cloud Control Production Center™ in Las Vegas for a demonstration,” said BMG founder and CEO Todd Mason. “We all walked out convinced that JVC was our best option.” 

Shortly after the visit, BMG purchased JVC KY-PZ510BU ultra-wide-angle, KY-PZ200BU streaming and KY-PZ100BU PTZ cameras, as well as RM-LP100U and RM-LP5G remote camera controllers. It has installed several of these cameras at the facilities of various clients and used the cameras and controllers in the production of live sporting events, JVC said.

BMG regularly positions JVC PTZ in the announcer booth at sporting events for use as commentator cameras throughout games televised by ESPN and CBS. The setup is equally well-suited to remote production workflows and those done in traditional production trucks on site deployed from BMG’s East and West Coast hubs, it said.

One particularly useful feature of the PTZ cameras is their ability to be remotely operated. “While we usually need to have six to 10 manned cameras covering the actual game itself, for the commentators we can use two or three PTZs with a remote operator, which is extremely helpful,” said Mason.  

The advanced streaming capabilities of the cameras include Secure, Reliable Transport (SRT) protocol support, which translates into cost savings for BMG. “With all our other cameras, the feeds are coming through encoders back to BMG’s Cloud Control Center, and those encoders are very expensive,” he said. “Our shows keep getting bigger and bigger, which means increasingly more encoders and decoders are needed. Having SRT directly out of the PTZ camera is just another big way to cut costs. It essentially frees up channels and saves us from tying up primary encoders.”

The cameras and controllers are also playing an important role in client-owned studios, such as at the Schwab Network where JVC PTZs serve as an option for different news and entertainment productions, JVC said.

BMG has deployed a JVC camera on the floor of the New York Stock Exchange for Schwab. It is used for bump shots coming in and out of shows on the NYSE floor. BMG relies on the SRT functionality for remote camera control and to feed video to the show’s control room in Chicago, it said.

The company typically has used two larger, traditional JVC RM-LP100Us controllers and has recently expanded to using the new JVC RM-LP5G compact joystick controller as well. “We first saw that controller at NAB and thought it was smart. We realized how cost-effective it was for us and now have it,” said Mason. 

More information is available on the BMG and JVC websites. 

LOS ANGELES—As a Los Angeles-based post-production rental and support company, Vortechs provides equipment and ADR services, along with access to editing suites, screening rooms and soundstages, among other offerings. 

We manage close to 100 suites between Silverlake and Santa Monica, Calif., and support productions in Atlanta, New York and London. The core of our business is renting editing gear and rooms, but we have also more recently started offering remote production systems for teams working off-site. Another aspect of our business is sourcing other types of production equipment to clients, for which we’ll specify, set up and support the gear.

On the Road 
When required, we also travel on-site to clients’ shoots to help with the productions. This includes several recent major motion pictures, like Chris Nolan’s “Oppenheimer,” which was filmed in New Mexico; the movie adaptation of “Wicked,” which was shot and edited in London; and “Gladiator II,” filmed in Malta and Morocco. Other recent projects include TV series like FX Networks’ “It’s Always Sunny in Philadelphia,” HBO’s “Righteous Gemstones,” Apple TV+’s “Physical” and Amazon Prime’s “Peripheral;” as well as films such as “My Spy 2,” “Strays,” “A Man Called Otto,” “Champions,” “Amsterdam” and Sony Pictures’ “65.” 

To support these high-profile projects, it is imperative that we use equally matched equipment, such as JVC broadcast monitors, which have been our go-to solution from the very beginning. There are many LCD monitor brands to choose from, but JVC is the leader among all editing rental houses throughout Los Angeles. I think this is because JVC hits a lot of marks―not only brand recognition, but also its products’ standout features combined with an unmatched price point. 

Whether it’s the current DT-N24F ProHD Broadcast Studio LCD Monitor or the legacy DT-V24G1Z Verité Series Studio Monitor, JVC can be found in nearly every Vortechs editing bay. We also deploy the brand’s DLA-RS4500K Projector in our screening rooms for VFX-heavy projects. 

The Right Specs
The most important factor in our choice of JVC was the support for SDI, which provides us with the I/O necessary to set up our editing bays. The DT-N24F supports up to 3G-SDI (SMPTE 425M), including Level-A and Level-B, which are capable of transferring 1080p uncompressed digital video data at a max rate of 60fps at 3Gbps. 2K-SDI (2048x1080p) is also supported to downsample to full HD display. 

Additionally, the DT-N24F is compatible with ITU-709 standard color for HDTV, so the contrast and color reproduction is very good right out of the box, and it is always reliable. The JVC monitors also have built-in waveform, vector scope and histogram, along with a 16-channel audio level meter with alerts and output selections, so you can just hit a button and quickly pull up all the necessary information. 

As a rental company, it’s important for us to provide equipment that is straightforward and easy for our customers to use. I would say 95% of our clients expect us to supply gear that they can just simply turn on/off and switch between inputs without having to know the intricacies of the product. The JVC monitors definitely deliver on these needs. When you consider all that you get for the price, the brand has a lot of selling points for us and our clients. 

For more information visit http://pro.jvc.

NEW YORK—JVC Professional Video has announced that it will feature its newest collection of affordable remote production solutions at the Broadfield Distributing Inc. booth (Booth 919) at NAB Show New York.

The company will also present its NDI-compatible PTZ and handheld cameras. 

These latest products are ideal for local news OTA stations, broadcast newsgathering, sports broadcasts, houses of worship and event facilities, among other applications. 

“We look forward to showcasing the latest JVC Professional Video solutions with Broadfield Distributing at NAB New York,” says Joseph D’Amico, vice president, JVCKENWOOD USA Corporation. “Our affordable workflow solutions are designed to provide all facilities with high-quality, price-effective, glass-to-glass tools that allow them to remain competitive in our evolving media market.”

Included among the JVC equipment being presented is the company’s multi-award-winning 

KM-IP8S4 CONNECTED CAM vMix Studio Switcher, which can manage a minimum of eight NDI inputs at 1080 60P using vMix 4K licensed software for Windows 11 Pro. The 2RU device is optimized for switching live programming in SD up to full HD 1080 60P and offers several output options, including one 3G-SDI, one HDMI, four DisplayPort and a Gigabit Ethernet network port.  

Another highlight is the RM-LP350G CONNECTED CAM vMix Control Surface, a desktop controller for vMix that works with the JVC KM-IP8 systems to enable traditional-style switching, along with the RM-LP5G CONNECTED CAM Compact Joystick PTZ Controller. This device is designed with a dual-axis joystick and zoom bridge, as well as a four-color LED multiscreen display for ease of setup and operation, and is capable of managing up to five PTZ cameras. JVC will also showcase its RM-LP100 Advanced Remote Camera Controller with joystick and rocker switch, and a seven-inch touchscreen panel that provides control of camera groups, presets, PTZ speed and CCU control of basic settings for up to 99 cameras, JVC reported. 

Finally, the company will highlight several camera solutions, including its array of NDI|HX-enabled PTZ cameras, which when combined with the affordable workflow tools, make for a complete remote production solution.  This includes the multi-award-winning KY-PZ510N, KY-PZ400N, and KY-PZ200N CONNECTED CAM PTZ Cameras. 

The company also plans to feature its multi-award winning GY-HC500UN CONNECTED CAM Handheld 4K Camcorder with NDI HX output capability. This versatile camcorder has a one-inch CMOS imager and can shoot 4K ultra-HD with HDR to record onto SSD or SDHC/SDXC media in a wide variety of formats including ProRes. Ultra-HD ProRes 422 10-bit at 50/60p is possible when recording to SSD media, which includes HD (1920 x 1080) in the ProRes 422 and 422HQ formats.

CHANDLER, Ariz.—JVC Professional Video has announced that Catholic Media Ministry, which provides technical support and production services for the Roman Catholic Diocese of Phoenix, Arizona, has selected JVC Professional Video’s KY-PZ100 PTZ Cameras for an equipment upgrade. 

The production company said it selected JVC Professional Video’s KY-PZ100 PTZ Cameras because of their ability to provide the video quality and versatility necessary for live television. 

While livestreaming church masses is commonplace today, the Diocese found it difficult for members to navigate through the web and software apps to find the videos, which resulted in the decision to broadcast the services. 

“When I first joined Catholic Media Ministry, I was given the crucial task in helping to set up our daily masses to broadcast on TV,” says Arturo Santoyo, video producer at Catholic Media Ministry. “Since we didn’t initially have a big budget for the livestream productions, we were originally using very cheap cameras. I knew we needed better cameras to produce the broadcast quality video necessary for television, and that’s when we came across JVC Professional Video.”

Prior to upgrading to JVC PTZs, Catholic Media Ministry was using handheld production cameras, which were typically operated by volunteers. “I remember one event in particular where I was in a desperate situation; it was 15 minutes before the show was set to start and no volunteers had arrived,” he says. “That night, I called my pastor, Fr. Dan McBride, the founder of Catholic Media Ministry, and explained that if we purchased PTZ cameras, I would be able to run an entire show without any volunteers, and he was sold.”   

After testing the KY-PZ100 in a dimly lit church, the team knew the cameras were the perfect fit not only for broadcasting mass, but for other applications as well, he noted. 

Catholic Media Ministry initially purchased nine KY-PZ100s. Six of the cameras went to the St. Mary’s Roman Catholic Parish of Chandler, Arizona – and were divvied evenly between St. Mary’s Church and St. Juan Diego Church, while the other three were incorporated into Catholic Media Ministry’s fly-packs for productions between churches and other events.

Since then, the production company has added six additional JVC PTZ cameras, resulting in a total of 15 KY-PZ100s spread throughout various church campuses and in their mobile production system. 

The company also purchased three RM-LP100U Remote Production Controllers to manage its cameras, which proved helpful when Santoyo needed to rely on assistance from his volunteers. “We set up a control table where a single volunteer can run cameras and also be switching at the same time,” he says. “So, we can have one single person running three or four cameras, which is awesome.” 

For Santoyo, one of the best features of the JVC PTZ KY-PZ100 camera is its presets and long-range 30x optical zoom capabilities. “We stream many different events from daily and weekend masses to outdoor processions, masses and parades,” he continues. “We use different presets for each application and venue, which makes things super convenient for us. The zoom function is also great for that same reason; it’s really nice to have.” 

Most recently, Catholic Media Ministry added four GY-HC500 Handheld Production Cameras to its collection, which the team often relies on for productions that require a quicker shooting response, such as sporting events. “We have a basketball game we call ‘Game for the Vocations,’ where priests play against seminarians, for which we deployed the GY-HC500s alongside the PTZs,” says Santoyo. “We especially love the optical and dynamic zoom of these handheld cameras; the ability to shoot in 4K and record to SSD is an added bonus. The IP remote control and viewing features are also spectacular.” 

When it comes to JVC as a brand, Santoyo feels the company has been a standout in its support. “I’ve had problems with other companies in the past, where if I have an issue with a product, it could be really hard to reach someone to fix what you need,” he says. “Whenever I have any questions for JVC, they are always extremely responsive and helpful, which is nice to find in a manufacturer.”

WAYNE, N.J.―JVC Professional Video has announced the availability of affordable new workflow solutions aimed at smaller production teams―such as classrooms, courthouses, houses of worship, college sports broadcasters and local news OTA stations. 

The new solutions that are now shipping include the new KM-IP8 and KM-IP8S4 CONNECTED CAM vMix Studio Switchers, the RM-LP350G CONNECTED CAM vMix Control Surface, the KM-HD6 CONNECTED CAM Six-Input Switcher and the RM-LP5G CONNECTED CAM Compact Joystick PTZ Controller. 

“The release of these affordable new production tools will enable budget conscious studios, venues and arenas to have high-quality, glass to glass workflow solutions,” says Joseph D’Amico, Vice President, JVCKENWOOD USA Corporation, which is the parent company of JVC Professional Video. “With growing expectations from viewers for broadcast-quality content, JVC developed these products to provide price effective, easy to configure equipment and support. These solutions will undoubtedly increase the creative production possibilities for venues around the world.” 

Included among the new solutions are the two-time award-winning KM-IP8 and KM-IP8S4 CONNECTED CAM vMix Studio Switchers, which can each manage a minimum of eight NDI|HX inputs and comes standard with vMix 4K licensed software for Windows 11 Pro. The KM-IP8S4 also features four 3G-SDI inputs with bi-directional connectors and mini-SDI-to-SDI cables. Both devices offer several output options, including one 3G-SDI, one HDMI and four DisplayPorts; as well as a Gigabit Ethernet network port. Additionally, the KM-IP8 and KM-IP8S4 are optimized for switching live programming in SD up to full HD 1080 60P, the company reported. 

Designed for use with the KM-IP8 Studio Computer, the RM-LP350G CONNECTED CAM vMix Control Surface enables traditional-style switching in the vMix environment. It provides four-channel PTZ camera presets, panning and zoom, and features a low-profile transition fader. The controller also supports 12-channel PGM and PVW switching, as well as selectable PGM/PVW in four groups of 12 downstream key settings, JVC said. 

Offered both as standalone and in a package, the KM-HD6 CONNECTED CAM Six-Input Switcher features four SDI and two HDMI inputs, with a USB Type-C output for livestreaming through a computer to popular video conferencing applications, such as Zoom, Microsoft Teams and Google Meet. Additional output options include two 3G/HD/SD-SDI, one HDMI PGM (program) and one SDI AUX, as well as one each of HDMI and SDI multi-view outputs. The switcher also boasts a variety of production options, such as automatic cut transitions; mix, fade and wipe effects; adjustable PiP/PoP window; and a GPIO interface for live tally. The integrated audio mixer also features 3.5mm and RCA audio inputs and outputs, along with USB Type-C HDMI- and SDI-embedded audio, JVC explained. 

The RM-LP5G CONNECTED CAM Compact Joystick PTZ Controller features a dual-axis joystick and zoom bridge, capable of managing up to five PTZ cameras. This compact solution supports VISCA, UDP and PELCO P/D control protocols over IP, RS422 and RS232. Additionally, the controller’s four-color LED multiscreen display affords ease of setup and operation. Available only as part of a bundled package with two or more JVC CONNECTED CAM PTZ cameras, the controller is perfect for smaller market organizations looking to provide network-caliber productions.

More information is available at JVC Professional Request for Quote.

WAYNE, N.J.—JVC Professional Video has appointed Kelli Matthews to the role of marketing manager with responsibility for developing, implementing and executing its marketing strategies. Matthews will join JVC on-site at InfoComm 2023, June 14-16, in Orlando. 

Prior to joining JVC, Matthews held dual roles as marketing specialist and trade show manager at Konica Minolta Sensing Americas. Before her time with Konica, Matthews held various sales and marketing positions at the Drew Marine Division of Ashland Chemical, Vuarnet and Liz Claiborne.

“We are thrilled to welcome Kelli to the JVC family, and know she’ll be a great asset to our company,” said Joseph D’Amico, vice president of JVC Professional Video.

“Kelli’s experience in marketing automation, trade show management, content creation and advertising planning make her a great addition to the team. We are eager to have her implement her expertise, values and skills and look forward to her contributions to the brand.”

A Rutgers University graduate with a bachelor’s degree in marketing, Matthews also earned an MBA from William Paterson University. 

See JVC at InfoComm 2023 booth 4149.

More information is available on the company’s website.

WAYNE, N.J.—JVC Professional Video has announced that it will be adding NDI|HX3 to its award-winning KY-PZ510N PTZ Connected Cam Cameras via a new free firmware update.

With the new firmware, which will be available by the end of March, users can select NDI|HX3 for the highest quality video with reduced latency, using a fraction of the bandwidth of full NDI.

The company will spotlight this feature within its KY-PZ510N camera at the 2023 NAB Show (Booth C4218).

“The addition of the NDI|HX3 option for our PTZ cameras with NDI® capabilities will provide users with a greater level of flexibility without the need to replace their hardware,” says Joseph D’Amico, vice president, JVCKENWOOD USA Corporation. “According to Vizrt, media organizations’ adoption of NDI-enabled devices is growing at a record pace, and we are thrilled to be part of the network of manufacturers to offer this solution. Our inclusion of a variety of NDI® codecs to our customers means they also have even more workflow options available to them.”

The new NDI|HX3 capability enables integrators to take advantage of the KY-PZ510N’s award-winning features, such as its super-wide horizontal angle of view (80 degrees) and focal length of 21.8 to 261.8 millimeters.

These features make the KY-PZ510N ideal for live-action events, studios, classrooms, corporate settings, event facilities, sports venues and houses of worship, JVC reported. The cameras also include enhanced SMART auto-tracking that follows one person and can be used to select one of multiple people within its field of view―such as an instructor, pastor or specific individual. Additionally, the incorporated Vertical Interval Time Code (VITC) with Network Time Protocol (NTP) provides the cameras with multi-camera synchronization for seamless live event production.

Using the latest HEVC technology, the cameras ensure higher quality video at lower bitrates for remote production over the internet (REMI). The cameras also support H.264 and H.265/HEVC encoding, offering increased compatibility with a variety of hardware and software applications. Furthermore, the 4K60p output, via both HDMI and streaming, delivers ultra-clear, natural imagery in settings with a lot of movement, such as sports and live events, the company said.

Part of the KY-PZ510 Series of cameras, the KY-PZ510N PTZs feature 4K60P HEVC Secure Reliable Transport (SRT) streaming, which is resilient to bandwidth fluctuations, data loss, and intermittent connectivity, to ensure secure and error-free video delivery over the internet. The cameras also have UVC (USB Video Class) implementation through the USB-C interface, for ubiquitous webcam applications and integration. The KY-PZ510N can also simultaneously output NDI, SRT, and RTMPS for hybrid local/remote workflows to deliver the highest quality distribution to the world’s most popular CDNs.

The NDI|HX3 firmware update will be available from the KY-PZ510NBU and KY-PZ510NWU web pages as a free download for current owners at the end of March.

Complete details of the KY-PZ510 PTZ cameras are available on the JVC Professional Video website at http://pro.jvc.com.

WAYNE, N.J.—JVC Professional Video has announced its first NDI-compatible broadcast cameras — the GY-HC500UN, GY-HC550UN and GY-HC500SPCN, which will be on display at the 2023 NAB Show (Booth C4218). 

The cameras, which will begin shipping March 24, are being launched as part of the company’s CONNECTED CAM line of HC500 Series handheld camcorders which feature optimized image processing and IP performance. Designed in direct response to systems integrator requests, the NDI-compatible versions ensure that broadcast studios, schools, churches and other facilities can seamlessly incorporate the cameras within their existing IP infrastructure as a source for live video with tally and IP remote control capability. 

Current HC500 Series users can also have their cameras upgraded by JVC to implement the new NDI capabilities.

NDI capabilities are already found in several of JVC’s newest PTZ cameras. 

NDI (Network Device Interface) allows hardware- and software-based video devices to communicate and collaborate over any standard Ethernet-based network. Among the many benefits of NDI is the reduction of hardware required to operate, and the ability to send multiple video streams over a single connection. It also allows for multiple video sources to be managed in real-time, with the easy-to-use NDI Discovery function of the network. These features not only reduce overhead costs and rack space, but also ensure simplified setup and allow for greater flexibility and creativity, JVC reported. 

“The addition of these NDI-compatible handheld camera solutions to the JVC product line-up further strengthens the brand’s commitment to IP workflows,” says Joseph D’Amico, Vice President, JVC Professional Video. “Not only does this ensure that facilities can utilize the cameras with existing infrastructure, but it also allows them to easily integrate a combination of JVC PTZ and broadcast camera solutions into one workflow ― providing a more engaging experience for viewers. We look forward to getting the NDI-enabled HC500 Series cameras into customers’ hands when they begin shipping next month.” 

All HC500 Series cameras feature a one-inch 4K CMOS imager and integrated 20x zoom lens with built-in ND filters and manual zoom, focus and iris control rings. 

Additional features include a four-inch, high-resolution LCD screen for menu navigation; LCOS viewfinder; dual XLR inputs; 3G-SDI and HDMI video outputs; and M.2 drive slot for external SSD recording. With built-in streaming and connectivity options, the cameras provide advanced low-latency video that allows users to stream live video to Facebook and YouTube. 

Like all HC500 Series cameras, the newest options can record to SSD (solid state drive) media in 10-bit ProRes 422 at 4K resolution and 50/60p frame rates, when not in NDI mode. The cameras can also record several other native 4K UHD and HD file formats to support a wide range of workflows. For creative flexibility, the cameras record HDR footage in hybrid log gamma (HLG) or 10-bit J-Log modes, and support 120 fps slow-motion HD recording. These features allow for high-quality video playback, giving users the option to highlight or review previously recorded materials from anywhere, JVC said. 

In addition to the standard capabilities of the HC500 Series, the GY-HC500SPCN model includes the unique ability to provide sports graphic overlay with real-time updates via the Sportzcast/Genius Sports SCORELINK devices, a feature that is exclusive to JVC.

The NDI-enabled JVC GY-HC500 cameras will begin shipping March 24, 2023, with an MSRP of $3,895 for the GY-HC500UN; $5,900 for the GY-HC550UN; and $5,020 for the GY-HC500SPCN. 

Current GY-HC500 Series users will also be able to have the NDI capability added to their cameras by JVC at a cost of $450.

86 Years Ago - Nov. 2, 1936: Following 18 months of breakneck construction, testing and hiring, the British Broadcasting Corp. launched the world’s first regularly scheduled “high-definition” television service. (Germany started TV broadcasts a year earlier, but with 180 lines.) 

The BBC startup was complicated slightly by a government requirement to give two competing television companies (and standards) an equal opportunity to prove themselves worthy of adoption. An agreement was struck in which the competitors would take turns in providing TV service during an initial trial period. 

Television pioneer John Logie Baird won the toss of a coin, and precisely at 3:00 p.m. the station’s “Vision On” and “Sound On” signs were illuminated, and his 240-line mechanically-scanned signals left the 200-foot “mast” at the Alexandra Palace event venue on its way to the small number of television “aerials” erected by early TV adopters in the greater London area. 

Baird’s competitor, EMI, with its higher-resolution all-electronic television system was ultimately declared the winner. The 405-line/50-field/AM sound standard developed by EMI remained in use—with an interruption caused by WWII—until 1985.  A special “Television Song” was commissioned in connection with the startup of the BBC’s service, with British vocalist Adele Dixon performing the composition in the inaugural broadcast. 

A film of her performance about “the magic rays of light that bring television to you” is available at   https://www.youtube.com/watch?v=9Rpfek-F8Rw. In addition to capturing Dixon’s performance, the film also provides a look at the 1936 television facility’s technical operations. 

OTHER NEWS FROM TV’S PAST:

75 Years Ago – November 1947: Just a few weeks after General Electric switched on its private microwave link to connect its WRGB Schenectady television station with the new AT&T Long Lines video switching center in Manhattan, AT&T inaugurated its own eight-hop microwave radio linkage constructed between New York City and Boston. (AT&T deemed their microwave video carriage “experiment” successful and started redrawing plans to augment its planned intercity video coaxial cable linkage with microwave repeaters.) 

In other news, in addition to the postwar interest in television station construction, the FCC has been receiving an increasingly large number of applications for new AM and FM stations. The Commission, concerned that there will not be enough commercial call signs to go around, issued a news release encouraging “economy” in requests for new station call signs, existing AM licensees asked to append their main AM call signs with an “FM” or “TV” suffix instead of requesting totally separate calls. Such suffixes would also be applicable for new “standalone” FM or TV stations, resulting in six-letter calls; i.e., WXXX-TV.

50 Years Ago – November 1972 : A next-gen videotape “format war” is underway, with IVC joining Sony in exhibiting a self-threading videocassette machine at the National Association of Educational Broadcasters convention in Las Vegas. IVC’s new VCR-100 series utilizes 1-inch tape, as opposed to the 3/4-inch used by Sony in their U-Matic cassette machines. According to IVC, their machines are intended for “the top end of the closed-circuit television market,” but would also be at home in broadcast and cable TV applications. 

The company stressed that the tapes are backward-compatible with all previous IVC machines as the format is the same—just packaged differently. Meanwhile, Sony announced that it expected to produce at least 100,000 U-Matic machines before year’s end, and had broken ground on a new plant to keep up with the demand. (Sony’s U-Matics cost about half of the $2,700 introductory price announced by IVC for the color version of their VCR-100.)

25 Years Ago – November 1997: Although transitioning to a digital television platform is now “the law of the land,” there is still a lot of uncertainty as to exactly how this will be done and what form it will take. The initial goal was to bring high-definition video to consumers’ homes, but this has morphed a bit as some broadcasters are considering going with a 480-line SD “main” signal and equally standard-definition ancillary programming streams. 

Others are considering going on the air with a “fake” HD signal generated by upconverter devices now reaching the market. Even the networks are in a quandary as to what to do. This “HD uncertainty” is reflected in a recent study from the Cambridge, Mass.-based Forrester Research organization, which found that even though most broadcasters were willing to spend sizeable sums to upgrade to digital and/or HD, they could expect to lose viewers to cable once they commenced transmitting digital signals. According to the study’s 10-year consumer viewing habit projection:

"Local stations will find their antenna and transmitter adjustments go for naught as 71 percent of households in 2007 eschew rabbit ears in favor of cable's broad offerings." 

FALL RIVER, Mass.—As part of its curriculum to train students for broadcast careers, BMC Durfee High School, which is part of Fall River Public Schools, has been providing students with hands-on experience with cameras from JVC Professional Video in a new upgraded television studio. 

For the new studio, Rene Kochman, director of operations for FRED TV (Fall River Education) and FRG TV (Fall River Government), was looking for user-friendly cameras that could withstand students’ use without compromising image quality and eventually he selected the brand’s KY-PZ100N PTZ Remote Cameras with JVC RM-LP100 Remote PTZ Controllers. 

In addition to the PTZ cameras, the high school also has a selection of handheld JVC models, including the GY-HM890U and GY-HM850U ProHD Shoulder Camcorders.

BMC Durfee High School’s broadcasts run as part of a Public, Educational and Government (PEG) channel, meaning the school operates a television studio for student use, as well as  community access television stations for the Fall River area. 

“We generate a lot of programming, and JVC is a huge part of that,” Kochman said. “The educational access channel handles all the school committee meetings. We also run the government access channel, which takes care of all the city council meetings and the mayor’s initiatives. The students are very involved in the production side of what we do, not only for the school but also for the PEG channels.”

The high school’s broadcast program starts with an exploratory class and expands to three levels of electives as students grow more familiar with the skills. 

These classes follow a diverse curriculum, focusing on a combination of critical analysis and media literacy with complex, hands-on production. Students begin by familiarizing themselves with smaller cameras and eventually move on to using JVC to produce their own public service announcements, documentaries and news or talk shows. 

For students who want to jumpstart their broadcast careers at an early stage, Fall River Schools’ two middle schools have full TV studios stocked with JVC cameras. Elective classes and clubs working within the studios are available for interested students looking to participate and learn the trade before high school. 

“We have around 20 fixed PTZs throughout the high school, as well as down at the government center for the city council meetings,” Kochman said. “For locations that we know we’re going to continually return to and produce from, we will affix the cameras there. We also have portable ones that we bring and mount on a tripod. In those instances, the students operate the PTZ cameras using JVC RM-LP100 Remote PTZ Controllers. We have three of them throughout the city at our various meeting locations, as well as 10 in the high school for the different departments―culinary arts, cosmetology, FRED TV, etc. The high school studio is really high-end, and we did not skimp at all on the JVC camera systems. It was an investment, but it shows. The videos that we produce from that studio are just stunning, everything from basketball games and events in the auditorium to the school’s Thanksgiving Day football game. I have people comment that the picture quality, in particular from the robotic cameras, is just stunning.” 

For Kochman his decision to go with JVC wasn’t based on durability and quality alone. “The versatility of the PTZs was a big factor for us, but you also have to look at cost per quality,” he added. “There are a lot of other expensive cameras out there, but JVC stands out as a great value, especially for a high school television station or PEG channel. Since the industry has shifted and gravitated towards streaming services, we now simultaneously broadcast and stream content. All our meetings and projects are posted on Facebook or YouTube, and it’s been an easy transition thanks to the file formats that JVC offers. Beyond that, JVC has evolved its products to be extremely user friendly. The menus are easy to work with, they look dynamite, and that’s what it really comes down to for me. In terms of what I’ve seen from the brand with cost, durability, state-of-the-art image quality and ease-of-use, it was a no-brainer for us to go with JVC.”

Fargo N.D. ABC affiliate WDAY-TV—the official official broadcast home of North Dakota State University Bison football and basketball games—has selected JVC’s GY-HC900 CONNECTED CAM to cover the collegiate action from a newly built sports production truck. 

Chief Engineer David Johnson noted the station’s long-term relationship with JVC. “We have deployed JVC for over a decade and they continue to manufacture top-of-the-line cameras that work incredibly well,” he says. “With its advanced technology and capability to handle bigger lenses, the JVC GY-HC900 was exactly what we were looking for in a camera. Football and basketball productions are growing in scale and the GY-HC900 allows us to handle whatever size production we need.”

In all, WDAY purchased four GY-HC900 cameras along with the brand’s VF-HP900G/SK-900J Studio Viewfinder kits, KA-EN200G H.265/HEVC adapters, and the BR-DE900 decoder for working with native H.265 SRT streams. Johnson also utilizes a Fujinon 2/3-inch network specification box and ENG lenses in his fleet.

“When we built the NDSU Bison sports production truck, we knew JVC would be part of the build,” adds Johnson. “The GY-HC900 allows us to broadcast with a clarity that rivals any sports production today. In addition, livestreaming to the NDSU and WDAY websites is now much more efficient when using the HEVC/H.265 plug-in encoder.”

In addition to NDSU sports, Johnson plans to use the truck for various high school sports productions, including local area hockey, basketball and golf events. 

WDAY-TV is the flagship TV station for Forum Communications, a family-owned, multimedia and technology company headquartered in Fargo.

WAYNE, N.J.—JVC Professional Video will showcase its CONNECTED CAM remote production solutions at the 2022 NAB Show, April 23-27, in Las Vegas at its suite in the Wynn Hotel.

Among the products to be shown for the first time will be the new KY-PZ400N 4K PTZ and KY-PZ200/N HD PTZ cameras, which will join the company’s GY-HC500 4K handheld camcorder and GY-HC900 2/3-inch ENG/studio camera in its exclusive NAB suite at the hotel, the company said.

“After a much-anticipated three years, we are excited to once again join our industry colleagues at the NAB Show,” said JVC general manager of engineering Edgar Shane. “We look forward to showcasing our latest cameras, including our PTZ, 500 Series and 900 Series CONNECTED CAMs. These acquisition solutions fit perfectly into any workflow and are designed for streamlined and efficient REMI applications.”

The cameras integrate SRT video transport with enhanced error correction for resilient performance regardless of internet congestion to guard against packet loss and high jitter. HEVC encoding maintains video quality while sending video via the internet at reduced data rates. Each stream includes vertical interval time code (VITC) synchronized to Network Time Protocol for remote, multi-camera synchronization in live production, the company said.

The KY-PZ200N and KY-PZ200 also support UVC (USB Video Class), which enables the cameras to be used as webcams. They can be directly connected to a PC using a USB 3.0 cable, allowing them to operate smoothly for a range of digital applications, it said.

Integrated NDI|HX technology from the Vizrt Group give the 4K KY-PZ400NW/NB and HD KY-PZ200NW/NB CONNECTED CAM PTZ cameras plug-and-play compatibility with NewTek TriCaster, vMix and a growing list of applications that support NDI, such as Zoom and Microsoft Teams, it said.

The GY-HC900 and GY-HC500 CONNECT CAM camcorders offer integrated SRT encoders, a variety of on-board recording capabilities, such as 10-bit 4:2:2 H.264 and ProRes, HDR imaging and remote-control functionality. Built-in recording features include dual memory card slots for standard SDHX/SDXC media and optional SSD and flexible recording options like redundant, relay and back-up modes, it said.

The three CMOS 2/3-inch GY-HC900 camera accepts a variety of B4-mount broadcast lenses, while the GY-HC500 features a 20x optical zoom with a lossless 40x option when shooting in HD mode, it said.

Both support hybrid workflow options, such as local studio and remote production and simultaneous recording and streaming.

See JVC at its NAB suite in the Wynn Hotel.

More information is available on the company’s website. 

LAS VEGAS—JVC Professional Video will be featuring its Connected Cam remote production solutions at the 2022 NAB Show. 

The solutions being shown for the first time include JVC’s new KY-PZ400N 4K PTZ and KY-PZ200/N HD PTZ cameras, along with the popular GY-HC500 4K handheld camcorder and GY-HC900 2/3-inch ENG/studio camera. 

JVC general manager of engineering Edgar Shane will showcase these solutions at JVC’s exclusive NAB suite in the Wynn Hotel – Fairway Villa, where he will also provide on-site remote production demonstrations, the company said. 

“After a much-anticipated three years, we are excited to once again join our industry colleagues at the NAB Show,” said Shane. “We look forward to showcasing our latest cameras, including our PTZ, 500 Series and 900 Series Connected Cams. These acquisition solutions fit perfectly into any workflow and are designed for streamlined and efficient REMI applications.”

The brand’s PTZ cameras will make their trade show debut as JVC’s newest remote production solutions. Ideal for sports, concerts, and other live event productions, these cameras provide new creative streaming possibilities for the ever-evolving remote media landscape. 

All models integrate SRT video transport featuring enhanced error correction resilient to internet congestion, packet loss and high jitter, the company explained.

State-of-the-art HEVC encoding maintains SDI video quality while sending video over the internet at reduced data rates. Each stream includes Vertical Integral Timecode (VITC) synchronized to Network Time Protocol (NTP) for remote, multi-camera synchronization in a live production.

The KY-PZ200N and KY-PZ200 also support UVC (USB Video Class), which enables the cameras to be used as webcams for more reserved remote conferences and lectures. Both models can be directly connected to a PC using a USB 3.0 cable, allowing them to operate smoothly for a range of digital applications, the company said. 

Thanks to integrated NDI|HX technology from the Vizrt Group, the 4K KY-PZ400NW/NB and HD KY-PZ200NW/NB Connected Cam PTZ cameras offer plug-and-play compatibility with Newtek TriCaster, vMix, and an ever-growing list of applications that support NDI, such as Zoom, Microsoft Teams, and many others.

In addition to the PTZs, JVC is also showcasing its renowned Connected Cam camcorders ― the GY-HC900 and GY-HC500. Both offer integrated SRT encoders, as well as a variety of on-board recording capabilities, such as 10-bit 4:2:2 H.264 and ProRes, HDR imaging and remote-control functionality. Built-in recording features include dual memory card slots for standard SDHX/SDXC media, optional SSD and flexible recording options like redundant, relay and back-up modes.

The three CMOS 2/3-inch GY-HC900 camera accepts a variety of B4-mount broadcast lenses, while the GY-HC500 features impressive 20x optical zoom with a lossless 40x option when shooting in HD mode. Both models offer hybrid workflow options, such as local studio and remote production and simultaneous recording and streaming, and are popular for sports, live events, and broadcast applications.

For more information, visit JVC’s website at pro.jvc.com.

HOLLYWOOD—JVC Professional Video, a division of JVCKENWOOD USA Corporation, has announced that the docuseries “Idol Chat”, which recently premiered on Retro TV and The Family Channel, is being shot with its GY-HC500 and GY-HC550 Connected Cam handheld 4K camcorders. 

The show, which is hosted by Susan Anton (“Baywatch”, “The Love Boat”) reunites some of America’s favorite film and television ensembles and variety show acts and provides a nostalgic up close and personal visit with treasured stars as they share memorable moments and stories from their careers, reveal behind-the-scene secrets and bring viewers up-to-date on their life today.

When award-winning video production veteran Steve Wargo, owner of SWAT HD Productions and director of photography for the docuseries was asked to work on “Idol Chat” he selected JVC’s GY-HC500 and GY-HC550 Connected Cam handheld 4K camcorders to deliver high quality video. 

Wargo set up two GY-HC500 camcorders for the guests and wide shots, and the GY-HC550 to film Anton, the host. 

“We recorded 4K in the cameras onto an M.2 SSD drive in the onboard KA-MR100G Media Adapter and ran output cables to an Atomos Shogun 7 for external HD recordings,” says Wargo. “The nice thing about recording this way is that I was able to frame the shot to allow myself some room, and then I could go back into the 4K footage to get isolated, close-up shots. That was just a lifesaver, and it’s something that we have wanted to do for a long time. With the JVC 4K cameras, we can achieve this with ease and it looks great. The switches on the side are all amazingly easy to get to and in the menus, the important stuff is right on top.”

Since purchasing his JVC GY-HC500 and GY-HC550 camcorders, Wargo has been especially impressed with the camera’s color. “The producers had planned to do color correction after we were done filming, but we didn’t have to do any at all,” he adds. “It was broadcast-ready immediately without going through thousands of dollars in color correcting or color grading. There were a couple of spots where the lighting changed and I had to increase or decrease brightness and contrast a little bit, but we did nothing with the color. What you see on TV is what we shot and the producers are amazed by it. Some people can’t believe that’s possible, but with JVC cameras it is.” 

Though the pandemic delayed his opportunity to use his new Connected Cams, Wargo has been happy to have them for his recent productions. 

“I could have purchased any cameras I wanted and I made the right choice with JVC,” he says. “JVC got it right with this camera; it just blows away others that I own. One of the things that impressed me the most about the cameras is the ability to go straight to the internet and stream. I’ve owned a lot of cameras over the years and JVC has never let me down. My JVC equipment has always been incredibly dependable.”

Filmed at the iconic Hollywood Museum, Idol Chat kicked off with “Leave it to Beaver” stars Jerry Mathers (Beaver Cleaver) and Tony Dow (Wally Cleaver). Other interviews include The Pointer Sisters, as well as the cast members from “Lost in Space”, “ET: The Extraterrestrial”, “The Love Boat”, “Happy Days”, “Knot’s Landing” and “The World of Sid & Marty Kroft”.

MILWAUKEE—Weigel Broadcasting Co. Milwaukee, home of four local stations, has selected several JVC GY-HC900 and GY-HC550 Connected Cam camcorders to record natively to SD cards. 

“We have been using JVC for over a decade in the field and have been very happy,” said Steve Percefull, chief engineer, Weigel Broadcasting Co. Milwaukee, which owns WDJT-TV, CBS 58; WMLW-TV, The M; WBME-CD, Me-TV; and WYTU-LD, Telemundo Wisconsin.

“We have the GY-HM650 ProHD Mobile News Camera and GY-HM790 ProHD Solid State Media Camcorder, as well as GY-HM850 and GY-HM890 ProHD Shoulder Camcorders in our inventory,” he said.

“We have tried other manufacturers’ cameras over the years, but have to use adapters to use SD cards, which became problematic. This time around when I was buying cameras, I wanted something easy and user-friendly, so we went back to JVC,” 

The GY-HC900 has a full-frame and two-thirds lens, which Percefull said is well-suited to the group’s needs. “It has more bells and whistles than some of the other cameras we were using, and a larger lens, so it was any easy choice,” he added.

Aaron Frye, WDJT director of photography, was among the first to use the cameras at Weigel Broadcasting. “I primarily use our new JVC GY-HC900 for field anchoring and to shoot news stories and have been really impressed,” he said. “The GY-HC900 has a nice depth of field and the colors really pop; it’s a great upgrade from our previous cameras.”

The broadcaster also bought the GY-HC550s as replacements for its aging cameras used by its Multimedia Journalists (MMJs). The ruggedness of both the GY-HC900 and GY-HC550 have impressed Percefull, he said.

“These are the most road-ready JVC cameras we have used. In addition, the support we receive has been top-notch. Both cameras are very user-friendly as they are very similar to the other JVC cameras we have in our inventory,” he said.

Although Weigel uses the new JVC Connected Cam camcorders for its live standups, the cameras also can stream content live, including to Facebook Live and YouTube Live.

More information is available on the company’s website.

WAYNE, NJ,—JVC Professional Video has announced that its new 4K KY-PZ400NW/NB PTZ cameras, the newest addition to its Connected Cam line of cameras, are now available. 

The HD versions of the PTZs, the KY-PZ200NW/NB and the more economical HD KY-PZ200W/B, will begin shipping in November, the company said. 

The cameras are designed to be particularly suitable for sports, concerts and other live event broadcasts or productions and provide new creative streaming possibilities for an ever-evolving remote media landscape, JVC said. 

With integrated NDI|HX technology from the Vizrt Group, the KY-PZ400NW/NB and KY-PZ200NW/NB cameras offer a high-quality, low-latency IP video transmission standard that is ideal for streaming.

All three camera options provide optimal image quality and performance for remote production over the internet, and are equipped with SRT technology, H.265/H.264/MJPEG encoding and VITC (Vertical Interval Timecode) multi-camera synchronization. Each model is also available in black or white to best match the ambience of the venue/project.

JVC said that NDI-enabled devices like JVC’s new PTZ NDI camera exponentially increase the video sources available for storytellers, creating efficiencies and opportunities that did not previously exist.

“We are excited to provide this functionality in our new 4K and HD PTZ production cameras and look forward to shipping these new cameras to our customers,” said Joe D’Amico, vice president, JVC Professional Video. “With the 4K model shipping now and the HD-versions shipping later this year, current and prospective JVC customers can enjoy the benefits and freedom that NDI technology brings to their streaming productions.”

All three cameras also include SRT, HTTP, RTSP, RTMP/RTMPS and standard protocols. With SRT open-source technology now becoming synonymous to JVC cameras, PTZ users are afforded a truly future-proofed solution with continual firmware updates, JVC said. 

The advanced streaming capabilities of the incorporated SRT technology adds automatic repeat request (ARQ) and forward error correction (FEC) to prevent packet loss typically found on internet connections. It also offers stream encryption for content protection. 

When paired with the JVC BR-DE900 ProHD Decoder, the PTZ camera/decoder solution delivers optimal quality of service over any network for an unparalleled viewing experience, JVC said. 

A professional-grade, high-performance IP streaming system component, the BR-DE900 decoder supports the latest bandwidth efficient HEVC/H.265 and H.264/AVC compression standards. It also features a robust, portable enclosure that’s perfectly suited for field use, and provides best-in-class video quality and industry-standard audio/video connectivity.

The incorporated Vertical Interval Time Code (VITC) with Network Time Protocol (NTP) provides the new JVC PTZ cameras with multi-camera synchronization for live event production. This feature is ideal for mixing and streaming concerts, shows, sports and other live productions where image synchronization is crucial. Remote control capabilities are made possible through the JVC RM-LP100 Remote Camera Controller, JVC KM-IP6000/4000 Live IP Production Suites or a variety of other options from vMix, OBS Studio and NewTek, JVC explained. 

For remote conferences and lectures, the KY-PZ200N and KY-PZ200 support UVC (USB Video Class), which enables the cameras to be used as webcams. Both models can be directly connected to a PC using a USB cable (sold separately), making them ideal for a range of educational and other digital applications.

Equipped with a 4K 1/2.5-inch progressive scanning CMOS image sensor, the KY-PZ400N has a wide angle of view (approx. 26.4mm @35mm equivalence), 0.5 Lux of minimum illumination and 16x digital zoom. The KY-PZ200N and KY-PZ200 include an HD 1/2.8-inch progressive CMOS image sensor, as well as 20x optical zoom reaching out to 606.9mm @35mm equivalence. All three cameras have HDMI and 3G-SDI, RJ45 with PoE, RS232 and RS485 interfaces standard.

The new KY-PZ400N camera (MSRP: $2,599) is now shipping; while the new KY-PZ200N (MSRP: $2,099) and KY-PZ200 (MSRP: $1,899) are scheduled for availability this November.

For more information, visit JVC’s website at http://pro.jvc.com or call (800) 582 5825.

FARGO, ND—WDAY-TV, the Forum Communications-owned ABC affiliate here, has adopted a sports production solution for high school game of the week segments based on the JVC GY-HC5000SPCU Connected Cam sports production and coaching camera to streamline operations and maintain coverage during the COVID 19 pandemic when social distancing measures have been necessary.

“We used to pull our production truck out and do a smaller remote for the game of the week, with three cameras,” said Forum Communications chief engineer David Johnson. “However, with COVID, we needed a one-camera solution that could do it all, including graphics. I asked around, and we received the same answer over and over, JVC.”

The station deployed the camera for high school football, basketball and hockey broadcasts and live streams during the school year. Together with the camera, WDAY-TV is using a Sportscast ScoreHub for transferring the scoreboard information directly into the camcorder for graphics overlay, the company said.

WDAY-TV is also using JVC’s BR-DE900 decoder to decode the camcorder’s native SRT stream. “We had one camera on-location and one announcer with a microphone or a headset, and that’s it,” said Johnson. “The GY-HC500 captures fantastic images, so it looked great. Everyone was very happy with the production value provided by the camera. The single camera operation was born out of necessity, but I think it’s something that we are going to continue.” 

The GY-HC500SPCU is capable of professional quality coverage of sports events with score overlay and game clock. Scores can be input manually with a tablet or automatically from the facility’s scoreboard with seamless integration with ScoreHub. The camera produces high-res lower-third graphics and overlays them on video that can be recorded and streamed directly from the camera, the company said.

“We typically send footage back from the field and then stream it using SRT from the studio, but with the GY-HC500SPCU, we can stream SRT directly from the camera, so that’s really useful,” Johnson said. “I can see that being especially beneficial when there’s a breaking news story, and you want to just stream quickly and immediately.” 

The broadcaster has used a variety of other JVC cameras for more than a decade. The station uses GY-HM750 and GY-HM790U cameras in its news studio and several GY-HM750s in its production truck. It plans to upgrade its trucks with GY-HC900s in the near future, the company said.

More information is available on the company’s website.

BOCA RATON, FLORIDA—Pine Crest School has added three JVC GY-HC900 Connected Cam camcorders to deliver content to students and families, via Vimeo, on the school’s website and social media accounts.

The acquisition is part of the school’s mission to provide a superior curriculum balanced with immersive arts and athletics. This includes media production for Pine Crest Television (PCTV) and Pine Crest News Network (PCNN), which operate from the Fort Lauderdale-based high school and two middle schools, respectively. 

For its media production the school has been using equipment from JVC Professional Video for more than a decade. Given the need to provide live sports production feeds amid the pandemic, the school is planning to expand its streaming capabilities by adding GY-HC500 Connected Cams in the new school year. 

With advanced streaming features and built-in SRT functionality, JVC Connected Cam solutions offer the school a high-end approach to online production while still working off the limited bandwidth found within the schools. 

“We love the added benefit of having the directional video, communications and streaming built directly into the Connected Cam cameras,” said Dave Burgess, director of digital media production at Pine Crest School. “The increased quality and reduction in the amount of bandwidth needed, along with the ability to not have dropped frames on remotes, is really something; it’s very cool.”

Burgess also stressed that the JVC equipment gives them the ability to broadcast from the athletic field on the school’s standard WiFi network. This makes it possible to broadcast through a non-dedicated access point, to which one or all three cameras can connect. That same access point then makes it possible for the control room team to see and manage the video. “Now, we don't have to drive our truck out there and pull fiber optic cable,” he says. “We avoid the long setup times typically necessary to do a production.”

The new GY-HC900 cameras will be used by staff and students for a mix of ENG and live production needs, including live remote broadcasting and the coverage of events, such as ballet and sports. 

According to Burgess, the design ergonomics, consistency between cameras and ease-of-use of the JVC equipment is a beneficial feature for the students. “You can really teach students on one JVC camera and they will be able to pick up any JVC camera,” he said. “From a teaching standpoint, that’s huge.”

The school has exclusively purchased JVC equipment over the past decade, including JVC GY-HM100, GY-HM170 and GY-HM710 ProHD camcorders as well as GY-HM200 and GY-LS300 4KCAM camcorders, many of which are still in-use today. 

The school also utilizes its JVC DT-X71Cl monitors in various capacities. In addition to the sports and education aspects of the Pine Crest productions, Burgess and his team also utilize the JVC equipment for various in-house communications requests.

WAYNE, N.J.—JVC Professional Video, a division of JVCKENWOOD USA Corporation, has unveiled three new PTZ Remote Cameras.

The new 4K KY-PZ400NW/NB and HD KY-PZ200NW/NB cameras are designed to provide optimal streaming image quality and performance for remote production over the internet and are equipped with NDI|HX and SRT streaming, H.265/H.264/MJPEG encoding and VITC (Vertical Interval Timecode) multi-camera synchronization technologies, the company reported. 

A third new camera, the HD KY-PZ200W/B, provides an economical solution, without NDI|HX, JVC said. 

“This new camera line marks many firsts for us at JVC, including our first PTZ camera to feature 4K streaming as well as our first PTZ with NDI|HX and SRT,” said Joe D’Amico, vice president, JVC Professional Video. “With integrated NDI|HX technology from Vizrt Group, the JVC PTZ cameras now offer a high-quality, low-latency IP video transmission standard that is ideal for streaming in an ever-evolving media landscape. We are excited to provide this functionality in our new 4K and HD PTZ production cameras and look forward to the creative streaming possibilities it will provide our users.”

“NDI-enabled devices like JVC’s new PTZ NDI camera exponentially increase the video sources available for storytellers creating efficiencies and opportunities that did not previously exist,” explained Michael Namatinia, president and general manager of NDI. “This is a significant moment for the industry, for NDI and for JVC customers who can now enjoy the benefits and freedom that IP content brings with NDI.”

GRANITE BAY, Calif.—Amazing Facts Christian Media Ministry has produced religious content for national television networks for more than 50 years. We also have our own streaming platforms, print/digital media and satellite channel, as well as an international presence. In addition to our regular weekly worship services, we produce a variety of content, such as our flagship “Amazing Facts with Doug Batchelor,” which airs on multiple networks and satellite channels, including Lifetime and Discovery. We also host “Bible Answers Live”—a weekly streaming and radio call-in show, produce historical and religious documentaries and other smaller shows.

We recently built a state-of-the-art 4K-capable studio complete with control and video engineer rooms, which include 4K broadcast monitors for referencing, color correction and color grading. When we installed our new infrastructure, we selected the JVC Professional Video DT-U31Pro, a 4K-capable, HDR, multi-use interface studio monitor. We also use the monitors in a master control setting, with signal feeds from all our locations during a live transmission, as well as for troubleshooting SDI signals from the other stations to ensure conformity.

ESSENTIAL FEATURES

We looked at models from different manufacturers but there were a few things that stood out to us about JVC, which offered a very appealing price and just as important, an attractive feature set. We wanted to have a built-in waveform, monitor, vector and histogram, along with built-in audio, which would give us more reference for broadcast signals and monitoring abilities.

The monitors also have built-in HDR capability and a single-link 12G-SDI connector, which is perfect for our new facility as it is built on a 12G-SDI coax infrastructure. It is difficult to find monitors that can receive a native IP video signal without needing a conversion to a standard SDI coax interface, but JVC has that ability. This will enable us to follow the transition of coax to IP, making JVC a future-proofed solution.

FUNCTION IS KEY

When we first acquired the monitors, we used them to color correct and synchronize our 4K cameras to our desired standard. They also helped us troubleshoot SDI signals by providing us different aspects of the SDI signal, like the exemplary data streams captions, multiple audio channels and other more detailed SDI components.

Since deploying the monitors, we discovered additional features that enhance our workflow, such as tally display, focus assist and timecode reading. We also found that they’re quite user-friendly; the menus are very straightforward; and the buttons are self-described and useful. Additionally, all the connectors are on the side and easily accessible, which is perfect for the wall-mounted application of our monitors. We have volunteer operators, so we need technology that’s not cumbersome and overly technical. The JVC monitors provide an ease of use not only for very technical individuals but also our volunteers.

Goce Shamakoski has been with Amazing Facts for more than 15 years, having first started with the production/post-production team and gradually transitioning to the broadcast sector. Shamakoski has also worked with various other TV networks, local cable channels and over-the-air transmitters, providing technical support and studio build services focused on modern IP infrastructure. He can be contacted at goces@amazingfacts.org.

For more information, contact JVC at 973-317-5000 or visit www.jvc.com.

CAMBRIDGE, Mass.—JVC is going to Harvard, or at least a few of its camcorders are. JVC’s GY-HC500 SPC Connected Cam and GY-HM890 camcorders are part of Harvard University’s athletic department to help produce and stream its sporting events.

Harvard has 42 sports teams, including football, basketball, hockey, swimming, skiing and rowing. The university broadcasts 300 live and recorded events each year, many of which now stream on ESPN+, as well as its own social media channels.

The JVC GY-HC500 SPC and GY-HM890 camcorders are equipped with production-over-IP workflows to provide streaming and advanced graphics for the production of these sporting events.

In addition to the Connected Cams, Harvard is using JVC’s KY-PZ100 Robotic PTZ cameras and RM-LP 100 PTZ controllers, mounted at various fields and arenas. Other JVC cameras on-hand include the GY-HM250, GY-HM790 and GY-HM600.

Imry Halevi, assistant director of Athletics at Harvard, brought JVC to the campus when he arrived eight years ago, citing the look of the cameras and their ease of use for students.

When looking for a camera similar to the GY-HM890 that could also deliver advanced graphics, Halevi said he was directed to the GY-HC500 SPC. The camera has proved useful in many different circumstances, according to Halevi, even in -20-degree weather to capture a recent Harvard skiing competition.

“I expect them [the JVC cameras] to work at normal conditions, but when I throw unexpected conditions at them and they continue to work, we know we have a camera brand for life,” Halevi said.

For more information, visit pro.jvc.com. 

WAYNE, N.J.—JVC Professional Video has released new firmware upgrades for its GY-HC900 and GY-HC500 cameras, bringing SRT-focused enhancements to the Connected Cam camcorders, including network adaptive encoding, PCR fast mode and an SRT decoder for return video delivery via the internet, the company announced. The additions position JVC’s Connected Cam camcorders for remote integrated model (REMI) production.

The firmware update also adds a unique portrait mode with cropping to the GY-HC500 Series. The feature, added based on the request of users, is intended for those who stream to social networks like TikTok and Instagram Stories. One of five cropping positions can be selected prior to shooting, JVC said.

“The Connected Cam system provides a truly plug-and-play streaming ecosystem that does not require expensive backpacks,” said Joe D’Amico, vice president of JVC Professional Video.

“Building off the incorporated SRT open-source technology, we are able to continually provide firmware updates, ensuring that JVC cameras are a futureproof solution for an ever-evolving media landscape. With the latest upgrades to the GY-HC900 and GY-HC500 series cameras, our customers are afforded a wide array of functions to enhance their workflows.”

Support for Network Adaptive Encoding/Adaptive Bitrate Streaming enables the encoder to monitor network conditions and reduce bitrate when there’s network congestion or high packet loss. Combined with automatic repeat request (ARQ) and forward error correction, the feature makes SRT transport resilient to network congestion, data loss and high jitter, the company said.

The new PCR Fast Mode ensures glass-to-glass latency of less than one second when streaming to the JVC BR-DE900 decoder and SRT-capable video switchers, it said.

The new support for return video via the internet enables confidence monitoring on the cameras’ LCD electronic viewfinders, teleprompter support and two-way remote guest communication.

The firmware update for the GY-HC500 is available today as a free download. The new GY-HC900 series firmware is scheduled for mid-month.

More information is available on the company’s website.

LONDON—The dramatic reductions in live events and sports have had a commensurate impact on equipment buying for mobile production. The pandemic has also given the industry reason to re-evaluate workflows and production practices, especially the move to remote production over IP. 

“The cancellation or delay of major sporting events, as well as music and many other productions, certainly had an impact on our customers’ business,” says Klaus Weber, principal, camera solutions & technology for Grass Valley. “OB, in particular, had to organize their business around the reduced number of events, so investing in new cameras was often not a high priority.” 

However, the pandemic has accelerated the move towards investing in distributed infrastructures and workflows. Weber adds, “IP cameras enable optimized integration in remote productions, which is ideal in the current climate.” 

Manufacturers are understandably reluctant to admit any downturn in sales, so let’s take their reports at face value. 

“The pandemic hasn’t really affected Blackmagic Design camera sales, and the demand across our range has actually increased,” said Craig Heffernan, technical sales director, EMEA for the company. 

JVC says any reduction in demand for traditional live event production has been off-set by an increase in smaller or lower tier event streaming requirements. 

Budgets for such production setups are relatively limited compared with larger OBtype events, according to John Kelly, general manager, EMEA for JVC. 

“Typically using two to four cameras, and with content delivery over IP rather than traditional over-the-air, this has allowed sports clubs to retain an income stream and engage not only with their normal core audience but also expanding to those who may not be able to attend in person,” Kelly said.

PENT UP DEMAND

With most large capital expenditures reduced or postponed, purchases of studio cameras by broadcasters have slowed. Hitachi suggests there’s a lot of pent-up project planning and expects to see a surge of buying as the health situation improves. 

“While sales to M&E customers have been delayed, uptake of broadcast-class cameras in other markets has held strong,” notes John J. Humphrey, vice president, business development at Hitachi America. “For example, the need to adopt or improve online streaming production has led many educational institutions and houses of worship to upgrade kit. These customers also benefit from the advantages of system cameras for their multicamera live events.” 

Sony says the impact of its camera sales for non-scripted media and news was also low as consumer demand for news skyrocketed. 

“We also saw higher demand for smaller, streaming-capable palm-type cameras for streaming live events in the corporate and private sector,” said Hiroshi Kajita, head of media solutions, Sony Professional Solutions Europe. “The impact on our innovation has been limited as our roadmaps reflect customer priorities—new HFR capabilities as well as IP-based and distributed workflow options were brought in during the pandemic.” 

The absence of the usual trade show cycle is not thought to have inhibited R&D but it’s equally apparent that there have been fewer significant innovations introduced in this period. But that’s not necessarily a bad thing as the lack of physical shows on the calendar has reduced the industry’s traditional pressure to announce new products, often before they’re ready to ship. 

“‘Virtual’ shows have been limited in their ability overall but have been even less effective for product categories such as cameras where ‘seeing is believing,’” says Humphrey. “The ability to try cameras in person is a critical part of customers’ buying process. We eagerly look forward to the return of traditional trade shows, hopefully in the fall.” 

By far the bigger impact has been on the customer engagement side. “We’ve missed the opportunity to interact with customers and partners on a wide scale,” Kajita concurred.

HD AND UHD

The continuing move toward 4K production while not yet abandoning HD is the other main trend. This includes requirements for HDR and Wide Color Gamut productions in 1080p as well as UHD. 

“Shifting from a ‘nice to have’ to a prerequisite for quality broadcasts, the ability to shoot in 1080p and 4K are the impetus behind new production formats,” says Michael Bergeron, senior product manager, Live Production Systems, Panasonic. “From a broadcast perspective, the ability to purchase an affordable camera today that can easily be upgraded to 4K in the future is allowing studios to enhance their workflows and offer more productions—in 4K and HDR—while having a camera that meets their immediate needs and can evolve with them. 

“Similarly, the ability to support a cinema workflow with studio camera technology allows for multicamera productions by using the lenses of broadcast cameras and undergoing the same post-process for cinema production,” Bergeron adds. 

Perhaps that’s why Sony chooses to flag the newest camera in its cine range for this article rather than a traditional broadcast imager. “The FX3 demonstrates the goal for Sony to create tools for content creators in all budgets and size requirements,” the company said when it launched the camera in February. The $4,000 model is comparable to BMD’s PCC range and can record 4K at 120fps (or HD 240fps) for documentary work. 

There is increasing demand for virtual studios with many popping up at existing TV facilities such as Dock10, which services U.K. broadcasters. Studio cameras are evolving to meet demands for greater automation and integration with robotic systems and tracking systems to incorporate AR and 3D graphics. 

“While these are all generally supported by IP connectivity, IP is not driving studio camera upgrades yet, since these cameras are designed to be run by in-person operators,” says Bergeron. “That said, IP is having a much bigger impact in the next generation of cameras as IP infrastructures are becoming more widespread and bring more workflow options.” 

NEW GEAR

Arguably the most significant debut in this market is from ARRI. It’s not a name associated with live but it has redesigned the Super 35 cine camera Amira for multicamera broadcast. ARRI has integrated the signal directly into a SMPTE 311M fiber transmission system and eliminated cabling, resulting in what it says is a “cleaner and more reliable” setup for live productions. 

The system permits Sony RCP image parameter and iris control for ENG-style PL and B4 lenses including box lenses, EF lenses and of course, prime and cine zoom lenses. An “even more flexible and advanced RCP operation” is offered via a Skaarhoj shading control, which supports access to LUTs and setup files.

Recent updates to JVC camcorders (GYHC500/550 and GY-HC900) include Network Adaptive Bitrate, lower latency and SRT support for return video over IP. The company has also incorporated VITC (vertical interval timecode) and LTC (longitudinal timecode) functions with this latest update. Together with the implemented NTP (Network Time Protocol) function, these are ideal for synchronizing multiple remote cameras during live event production and streaming. 

Blackmagic Design’s most recent hardware updates have arrived in its Pocket Cinema Camera range with the release of the 6K Pro. This allows you to connect the 6K Pro to an Blackmagic switcher (like the ATEM Mini) and control camera parameters as well as lens and tally light, as part of HDMI workflows for streaming and OTT. 

“We want to take the technologies used in high-end broadcast cameras and replicate them into areas like live streaming, where we have seen the most demand,” explains Heffernan. 

Grass Valley’s developments reflect the increase in demand for remote productions. Its LDX 100 camera is claimed as the only system camera to offer native IP connectivity, allowing for integration directly into IP infrastructures. 

“With products such as Creative Grading we enable highly customizable camera control panels with graphical representation of all setting parameters on a practically unlimited number of mobile display devices,” Weber explains. “We’ve also opened up new image control possibilities away from the control room. It enables improved decentralized productions and easier communication between operators involved in managing optimized image settings for the production.” 

Hitachi’s CU-HD550 CCU (timed to be unveiled at 2020’s cancelled NAB Show) can upscale natively-acquired HD video to 4K and outputs the result over 12G-SDI. “While 4K adoption is growing, HD production continues to thrive, with many high-profile events being produced in 1080p60 with HDR,” comments Hitachi Engineering Manager Emilio Aleman. “The new 4K output feature is for content creators who have some UHD production requirements but aren’t yet ready to invest in full 4K cameras and infrastructure, while the dual HDR/SDR workflow functionality helps producers optimally reach multiple generations of displays.” 

The UHK-X700 is the new flagship for Ikegami’s UNICAM XE 4K series. Launching this quarter, the model incorporates three 2/3-inch CMOS sensors with global shutters. HDR HLG is supported as well as options for BT.2020 and BT.709 color spaces. 4K is available as a 12G-SDI feed directly from the camera head, allowing the UHK-X700 to be integrated into a wireless system. High frame-rate shooting at up to 2x speed in 4K or 8K at HD is also possible via the base station. 

Panasonic’s most recent OB camera, AK-UC3300, contains an 11MP sensor for 4K capture and a 2x HD high-speed function and simultaneous HDR/SDR feature set. The new AK-HC3900 HD studio camera includes a 4K-CMOS sensor and, combined with a CCU and Remote Operation Panel, can construct a long-distance optical fibre transmission studio camera system. This camera includes a future upgrade option to support 4K at 50/60p, “making it a perfect option for broadcasting live events,” says Bergeron.

SACRAMENTO, Calif.—Access Sacramento is a public access station that allows community members to produce local TV programming across its channels. Part of Access Sacramento’s setup to do this is the JVC GY-HC900 Connected Cam cameras.

The GY-HC900 cameras were part of the station’s upgrade to full HD and are being used for the station’s green-screen virtual studio as well. The JVC cameras help create a “pristine cut and work so well with our other production technology in creating a clean virtual reality image,” said Gary Martin, executive director at Access Sacramento.

Access Sacramento has been using JVC cameras for the last decade, and that familiarity has helped them in the transition. As has the camera’s ability to be user-friendly, as the users of the equipment can range from beginners to former broadcast professionals.

The station recently used the GY-HC900 cameras as part of the Bucheron World Mystery Conventions’ “Anthony Awards.”

“Due to the COVID-19 crisis, this particular show was very challenging, as we had to have a socially distanced studio and control room,” said Martin. “We also needed to integrate live studio cameras with breakout rooms for each set of nominees. We have seven award categories that have five to seven nominees in each, resulting in 37 live feeds coming in via an internet-based, video conferencing stream that was fed into the live broadcast. Using JVC cameras in conjunction with those feeds, we were able to put all of the nominees on-air at the same time and announce a winner in the live broadcast.”

For more information, visit pro.jvc.com. 

WAYNE, N.J.—A firmware update from JVC will provide its GY-HM250 series cameras with new live streaming features, as well as provide other GY-HM models with a slew of new features, the company announced.

The firmware update for GY-HM250 4K camcorders will provide SNS video streaming with vertical and square guidelines on the viewfinder for capturing an image in either vertical (606x1080 and 404x702) and square (1080x1080 and 702x702) formats for a variety of platforms and devices. Direct streaming to YouTube Live is also now possible with GY-HM250 models, with the ability to schedule streaming start times. Additional features provided by the firmware update include a Multicamera Score Overlay feature for the GY-HM250SP 4KCAM, which enables users to duplicate score overlay information between the primary camera and up to three replica cameras.

The new firmware also provides Face-only Auto Focus for the GY-HM170, 180- and 250-series cameras. This allows users to select between a variety of face detection settings depending on the situation, like sensitivity, framing and whether the camera reacts to brightness or just to the face.

A Digital Image Stabilizer will also be available on all three camera models for HD mode. This will be in addition to the existing Optical Image Stabilizer for 4K, HD and high-speed modes.

In addition, an Auto-Color Matrix Adjustment is incorporated for use under LED stage lighting. When operating under “full auto,” the cameras can reproduce a natural color tone under LED, JVC says. A new Zoom Ease feature is also available, designed to reduce the speed change shock of the zoom operation with a gradual ramping up of the transition.

JVC says that the new firmware will be available as a free download from its website in the New Year. For more information, visit pro.jvc.com.  

WAYNE, N.J.—JVC Professional Video is adding direct streaming to its CONNECTED CAM 500 and 900 Series camcorders with the late September release of the cameras’ latest firmware update, the company said.

The 500 Series now offers SNS video streaming with vertical and square guidelines on the viewfinder to deliver optimum image capture for display on various platforms and devices. Not only does it provide viewfinder safe markers, but it also actually streams video with vertical (606x1080 and 404x720) and square (1080x1080 and 720x720) resolutions.

JVC also has added easy setup functionality, giving users of the GY-HD500 button-click streaming to Facebook Live and YouTube Live. This makes it possible for users to begin streaming in seconds rather than typing in and adjusting various settings before streaming.

“Our forthcoming firmware update further emphasizes our commitment to being a leader in streaming video productions,” said Joe D’Amico, vice president, JVC Professional Video.

“As a Facebook Live Solution Partner, JVC … provide[s] fully integrated Facebook Live streaming directly from a professional camcorder—originally with the GY-HM250, and now also with our CONNECTED CAM 500-Series cameras,” he said. “The new firmware expands on this functionality to include YouTube.”

The firmware release also incorporates RTMPS protocol for the JVC GY-HC900 camera. Users of the camera can now stream securely to Facebook Live right from the camera. The update makes JVC’s CONNECTED CAM camcorder line fully compatible with Facebook Live.

The new firmware also adds various SRT-based streaming updates, such as Forward Error Correction (FEC) and Stream Identifier (ID).

More information is available on the company’s website. 

The firmware will be available at the end of September as a free download.  

WAYNE, N.J.—JVC has launched a firmware update for its Connect Cam 500 and 900 series cameras, adding open source Secure Reliable Transport (SRT) technology.

Among the features now available in the Connected Cam models with new SRT technology is Forward Error Correction, which allows for redundant data stream packet loss recovery. There is also Stream Identifier (ID), enabling for multiple cameras to stream directly to one device. Vertical interval time code (VITC) and longitudinal time code (LTC) functions have also been applied, which are helpful for live production and synchronized streaming of live events.

JVC’s Connected Cam system, which also includes SRT-enabled BR-DE900 decoder, BR-EN900 encoder and the KM-IP6000 switcher, is cross-compatible between brands, allowing users to incorporate different streaming video capabilities with existing streaming studio equipment.

“The Connected Cam system, with compatible decoders and switchers and SRT’s open source technology, provides a truly plug-and-play streaming ecosystem that does not require expensive backpacks,” said Joe D’Amico, vice president, JVC Professional Video. He says the Connected Cam system is ideal for IP-based productions.

JVC will release the new firmware as a free download at the end of September. For more information, visit pro.jvc.com.  

WAYNE, N.J.—JVC Professional Video is extending its warranty program to now include Connected CAM 500 series streaming handheld camcorders. With this new warranty program, customers have a three-year protection guarantee on parts and labor for all applicable cameras.

JVC’s GY-HC500 base model, the GY-HC500 with advanced streaming and graphics and the GY-HC500SPC sports coaching and production camera now fall under the warranty program.

For customers to qualify for the extended warranty, they must register within 30 days of the purchase date and save a copy of the confirmation screen as proof of registration. Proof of purchase, such as a receipt or dealer invoice, will be required for warranty service. In addition, studio components must be integral to a complete studio system, with camcorder, to be applicable for the warranty.

For more information, visit pro.jvc.com.

WAYNE, N.J.—Gray-owned TV station WAFF-TV in Huntsville, Ala., has been able to increase its streaming output with the help of JVC’s ProHD Studio 4000S live streaming studio system, per a company announcement.

WAFF-TV utilizes the ProHD Studio 4000S, as well as two robotic JVC KY-PTZ100 pan/tilt/zoom cameras and JVC’s RM-LP100 PTZ camera controller, for streams of both live original content and replays of its newscasts.

The ProHD Studio fits into WAFF’s digital studio production workflow, connecting with the IP-based KY-PTZ100 cameras and the station’s routing switcher to take shots from the PTZ camera and the existing JVC GY-HM600 ProHD series cameras in studio. Additional features of the ProHD Studio include a touchscreen interface, instant replay with slow motion playback on all cameras and program stream recording.

The KY-PTZ100 camera includes JVC’s IP communications engine for network connectivity through Wi-Fi, 4G-LTE or cabled LAN, as well as a direct drive mechanism. The camera also has a 1/2.8-inch, 2.13M pixel CMOS imager and can deliver up to 30x optical zoom.

The RM-LP100 PTZ camera controller, meanwhile, provides IP control for the KY-PTZ100s and remote control functions for most JVC IP-enabled professional cameras.

WAFF-TV has used this new setup to stream content through its website, social media and OTT channels.

For more information, visit pro.jvc.com. 

JVC plans to present its new KA-EN200G H.265/HEVC encoder, which aims to provide higher quality, lower bitrate streaming for the CONNECTED CAM series, this spring.

The KA-EN200G encoder is a plug-in module that can fit into the expansion slot of any CONNECTED CAM model of camcorder (GY-HC900, GY-HC500 and GY-HC550). JVC says that this results in higher quality images with up to 50% reduced bandwidth and enables the use of 10-bit 4:2:2.

“We recognize that HEVC offers more advantages over the H.264/AVC compression standard,” said Edgar Shane, general manager, engineering at JVC. “JVC allows its customers to future-proof the investment they’ve made in JVC’s CONNECTED CAM line.”

For more information, visit pro.jvc.com. 

WASHINGTON—It’s not the size that counts, but how you use it. PTZ cameras—named such for their “pan, tilt and zoom” capabilities—are growing in popularity among broadcasters not in spite of their diminutive size compared to traditional broadcast cameras, but rather because of it.

PTZ cameras first cut their teeth mainly for surveillance, but they have become more popular in a number of other industries, including broadcasters who use them for specialized roles in certain productions. Now, as new technological capabilities are being added to boost the functionality and quality of these cameras, there is a growing acknowledgement that the cameras can come close to matching those of traditional broadcast cameras—some even think that they could eventually surpass them.

FITTING IN

We carry computers in our pockets every day in the form of our smartphones. Technology has gotten smaller, and as a result more adaptable as to where and how they can be used.

Even still, a traditional broadcast camera setup in a production studio will often require things like a pedestal, dolly, jib and a camera operator for dynamic movements. PTZ cameras, on the other hand, have built-in capabilities that can mimic some of those movements without the size restrictions.

“Most [PTZ cameras] are compact, they’re small,” said Hamid James, a product manager at Panasonic. “You still need equipment to support a PTZ camera, but not the same level that you would the traditional camera. So it helps them save on space.”

That can be true in a traditional studio space, but PTZs are also proving beneficial in places that don’t have the space to begin with. Podcasts and radio stations looking to create videos or live simulcasts have often utilized that type of strategy.

“You certainly see them more and more in really small studios, where they don’t want manned cameras,” said Drew Buttress, senior product manager, Sony Electronics. “So they’ll put a number of PTZs on tripods to give them different angles and different shots.”

Buttress also can see PTZ cameras, which already are used on occasion in sports productions, expand their role on the baseball diamond, basketball court, hockey rink or football field.

“You would potentially see PTZs where there’s not a lot of space in the actual broadcast boost with that talent calling the play-by-play,” he added. “So they might put a PTZ in there just to be able to take a live shot of the talent while the game or event is going on.” He does, however, think that high-end cameras will always be needed for top-end sports productions and larger shows.

A CHANGING WORKFORCE

Broadcasters’ operating costs are in many cases not what they used to be—many have had to downsize their budgets, their staff and their workspace. All of which have a potential solution in the form of PTZ cameras.

“The evolution of broadcast as we know it is sort of in a ‘half-life’ right now, where traditional approaches to this are being replaced by much less expensive, more efficient ways to do things,” said Rush Beesley, president of RUSHWORKS, a Dallas-based provider of production automation technology. “That’s just the nature of the market.”

Beesley believes that for broadcasters facing those constraints, it is only practical that they look toward robotic, PTZ cameras, which in addition to being generally less expensive than traditional broadcast cameras, do not require individual camera operators. A particular example of this, he sees, is with news production.

“It’s a repetitive model that happens every day, multiple times a day, and it just makes perfect sense to have robots there because if you think about what’s going on, the studio may have one or up to four sets in a 360-degree circle,” Beesley said. “If the cameras are mounted properly and used properly you can block the shots.”

“PTZ cameras lend themselves to be a little more flexible than the traditional set,” James added.

The move to more unmanned studios is a change that doesn’t appear to be changing any time soon, according to Buttress.

THE FUTURE

These are the basic elements of PTZ cameras that have helped them grow in popularity among broadcasters, but new technology that could boost resolution and functionality will help determine just how far PTZs can grow within the industry.

The biggest argument for traditional cameras is that their resolution quality cannot really be matched. However, while PTZ cameras are not at the same level, the differences to viewers is miniscule, to the point where people at home can’t really tell the difference, says Beesley.

“The gap is definitely narrowing, but there is still a gap,” said Edgar Shane, general manager, Engineering, JVC Professional Video. He points to recent upgrades to better sensors and higher signal-to-noise ratio. “PTZ cameras are pretty good today and perhaps they will be better tomorrow.”

The main question with resolution in PTZ cameras is two-fold: getting the necessary equipment for 4K-quality images in their compact frames, and the ability to create appropriately-sized lenses.

The transmission of information is also a key part of these cameras’ development. There has been a big push for PoE technology being added to PTZs, with NewTek NDI IP technology a popular option. Broadcasters also have a keen eye on the development of the SMPTE ST 2110 video over IP transport standard. Buttress says that Sony has its bases covered with either, embracing 2110 in system cameras, while also having NDI-ready cameras.

It is pretty much unanimous that PTZs are a growing part of the broadcast industry, but their potential is still up for debate.

“The incline will be relatively shallow,” said Beesley. “It’s made a lot of increases recently because of things like the NDI/PoE, but past that I don’t see vertical ascension as there is in so many other areas of technology.”

Shane, meanwhile, thinks it’s just about someone connecting the dots: “I’m pretty sure a talented designist will try to bridge this gap between the high-end PTZ and broadcast cameras. And when they do that becomes an interesting product.”

“Honestly, I don’t see limitations in the PTZ camera market, I see an industry that is growing and will continue to grow,” James adds. “Those box cameras, if they don’t adjust or adapt, the PTZ cameras are going to overtake it.”

This story was taken from TVT's eBook "Guide to PTZ Cameras," which is available for download.

WAYNE, N.J.—JVC Professional Video has announced that it is now shipping its new Connected Cam 500 Series of streaming handheld camcorders, which consists of three compact 4K cameras—the GY-HC500 base model, the GY-HC550 with advanced streaming and graphics and the GY-HC500SPC sports coaching and production camera.

All three cameras feature built-in streaming and connectivity options, as well as the ability to record to SSD media in 10-bit ProRes 422 at 4K resolution and 50/60p frame rates. Other native 4K UHD and HD file formats can be recorded as well. The camera also record HDR footage in HLG or 10-bit J-Log modes and support 120 fps slow-motion HD recording.

The 500 models can be paired with any ProHD Bridge product to provide reliable 1080p streaming up to 20 Mbps with SMPTE 2022 forward error correction, low-latency, return video and IFB. Users can also stream live video to Facebook and YouTube.

Specific to the GY-HC550, it features MPEG-2 and MXF recording, as well as dual external antennas with built-in wireless LAN, integrated GPS and Zixi error correction with automatic repeat request. The model also has Secure Reliable Transport to JVC’s Connected Cam Studio solution.

The GY-HC550 and GY-HC500SPC also include integrated Wi-Fi and broadcast overlay for lower-third graphics, and full-screen titling options for recorded or streamed video output without an external CG. The GY-HC500SPC also features pre-installed graphics for a variety of sports.

A 1-inch 4K CMOS imager and integrated 20x zoom lens with built-in ND filters and manual zoom, focus and iris control rings are part of all the 500 series cameras. Additional features for the trio include a 4-inch, high-resolution LCD screen for menu navigation; LCOS viewfinder; dual XLR inputs; 3G-SDI and HDMI video outputs; and M.2 drive slot for external SSD recording.

JVC is now shipping the Connected Cam 500 series cameras, with prices for the GY-HC500 starting at $3,900. More information is available at pro.jvc.com.

BURBANK, Calif.—J/KAM Digital provides turnkey editorial solutions to media and entertainment post professionals. With more than 20 years of experience with rentals, edit suites and technical support services, we put our knowledge and experience to work for our clients to help them complete various network television, streaming and film projects. Some of our biggest clients include ABC, including “Jimmy Kimmel Live” and Marvel Television, and Fox, for which we provide edit packages.

Over the years, we’ve come to realize that an important piece of the post workflow is having a reliable monitor—specifically one with color accuracy. This is critical because footage is shot very systematically. It’s then processed in a daily’s facility with a color grader, which applies a certain look to the show, and subsequently goes to the editors who must ensure what they see on a monitor is what the DP envisioned. Having monitors that offer color-accurate pictures is crucial to a project. That’s why we standardized our entire fleet on JVC’s DT-V series of field/studio monitors. As far as reliability, price point, color accuracy, range of applications and company support, JVC and the DT-V series are light years ahead of other options.

We have a fleet of around 50 JVC DT-V series monitors—G1Z and G2Z, as well as the lower-cost DT-R models. When we’re managing 50-plus edit systems in various environments with different applications, it’s important to standardize our monitors from one vendor as this gives us a consistency between our edit bays. With JVC monitors, we know that our clients will never call to say that the monitor needs to be calibrated or that there’s an issue. It’s just one less thing to worry about, and also lowers our support overhead.

ACCURATE COLOR

The DT-V series monitors offer several great, built-in features such as histogram, waveform, vector scope and zebra functions. Plus, JVC offers a utility that allows users to calibrate the monitor via a colorimeter probe. This allows us to run calibration on a consistent basis or as monitors come back from projects.

Aside from our in-house facility, we also provide editorial equipment that goes out on-location. We shipped an entire editing environment out to Brooklyn for “Jimmy Kimmel Live,” which included six JVC monitors, while also providing all the editorial gear for “Kimmel” here in Hollywood.

The monitors are being used in studios, editorial suites and field environments, so it was important that we sent units to New York that match the calibration of the in-studio monitors in Los Angeles. With the JVC DT-V series monitors, that objective is simple. It’s definitely no secret that the JVC DT-V series monitors are rock solid; all the best vendors use these monitors.

Erik Beauchamp has served as CTO of J/KAM Digital for more than a decade. Over the course of his 20-year career in the industry, Beauchamp has also held titles at Matchframe Video and LA Digital Post. To get in touch, contactsales@jkamdigital.com.

For more information, visitwww.jvc.com.

WAYNE, NJ (Sept. 19, 2019) – JVC Professional Video, a division of JVCKENWOOD USA Corporation, today announced KUSI, an independent television station owned by McKinnon Broadcasting that serves San Diego (DMA #29), has purchased 11 GY‑HC900 CONNECTED CAM 2/3-inch broadcast camcorders for ENG and EFP projects. Deployed in August, the new cameras are used to help produce 65 hours of news content per week.

The new cameras replaced 11 JVC GY-HM700 ProHD camcorders that had been in use since the station transitioned to HD production in April 2008. Fred Swift, KUSI chief engineer, said video quality was the main reason why the station upgraded to 2/3-inch camcorders in the field. “It’s substantially better,” he said.

In addition to its regular newscasts, KUSI produces a Friday night high school football wrap-up show, The Prep Pigskin Report, which offers highlights from about 36 games around the area. According to Swift, the GY-HC900 really shines during sports coverage. He also praised its low-light performance.

Another advantage with the new camcorders is the HD-SDI pool feed input, so photogs no longer need to bring an external device to the courthouse and other locations to record footage. “Being able to record a pool feed on your camera is pretty handy, and SD cards make it easy,” Swift added. “JVC really thought this through for news and included a lot of features. It is a professional camera.”

The new camcorders are paired with FUJINON 20x zoom lenses and protected by Porta Brace covers. While KUSI is currently using external video transmission systems in the field, Swift said the camcorder’s integrated streaming “looks enticing” for future use, possibly after 5G technology has been adopted in the region.

Both the GY-HC900 and GY-HC900ST studio model feature three 2/3-inch CMOS sensors to produce full HD images, plus an industry B4 lens mount and four-position optical filter. For ENG and other live applications, the GY-HC900 has built-in Wi-Fi, dual external antennas, streaming/FTP performance up to 20Mbps, and SMPTE 2022 forward error correction and Zixi error correction with ARQ for reliable transmission. Other features include dual SDXC card slots, three XLR inputs, 50 Mbps 4:2:2 10-bit recording, MPEG-2 recording up to 35 Mbps, and slow motion and HDR recording modes.

ABOUT JVC PROFESSIONAL VIDEO
Headquartered in Wayne, New Jersey, JVC Professional Video is a division of JVCKENWOOD USA Corporation, a wholly-owned subsidiary of JVCKENWOOD Corporation. The company is a leading manufacturer and distributor of broadcast and professional video equipment, as well as D-ILA front projection systems. For more information, visit JVC’s website at http://pro.jvc.com or call (800) 582‑5825.

WAYNE, NJ (August 28, 2019) – JVC Professional Video, a division of JVCKENWOOD USA Corporation, today announced WGTD-FM, a nonprofit radio station owned by Gateway Technical College in Kenosha, Wis., is using three GY‑HM250SP 4KCAM sports production streaming camcorders and a ProHD Studio 4000S sports production and streaming studio to produce coverage of local high school sports on Facebook Live. The station began using the new JVC system a few weeks into the 2018 football season, and produced this season’s first game on Aug. 23.

All coverage is streamed to Facebook Live in 720p, with the station rotating game coverage between several venues. For the upcoming football season, the production crew will be located in the press box at each field, with two cameras positioned in the “crow’s nest” outside the press box and the third on the field. The GY-HM250SPs are connected to the Studio 4000S via HD-SDI.

“The cameras are absolutely incredible,” said Troy McDonald, digital director and development specialist for the station. “They are lightweight and easy to use. The picture is so clear – people are impressed.”

In an effort to find a new revenue stream, the station decided to explore new ways to find an audience by covering Kenosha and Walworth County high school football and basketball. With its classical, jazz, and news programming, the radio station attracts an older audience that creates a challenging sales environment.

WGTD tested the idea using iPads as cameras that were wirelessly connected to a master iPad running iOS-based switcher software. The system relied on cellular service, so there were a lot of connectivity issues. “It was just not pretty,” admitted McDonald. “It’s a miracle we generated an audience to prove the concept.”

McDonald said the integrated replay system in the Studio 4000S was a huge selling point. A dedicated replay tab offers a preview of every camera, and allows the operator to easily produce slow-motion replays with dynamic camera switching and freeze frame options. “It lets us have that feature that heightens the drama and keeps viewers engaged,” he explained. “The software is so easy to use. It’s made a huge difference for us.”

With the previous system, football scorekeeping was done manually, and the crew did not even attempt to keep score for basketball. Now, game coverage includes lower-thirds with names and logos. The crew also brings a SportzCast Scorebot to every game, connects it to the scoreboard, and receives automatic scoring updates to the 4000S wirelessly. “The graphics through the 4000S have added a whole other layer to what we do – and it’s great,” McDonald said.

WGTD covers one game per week during the regular season, plus playoffs. The station also partners with Indian Trail High School in Kenosha, which has a communications program, to coordinate paid student production crews. During the year, students also produce local commercials that run during breaks in the sports coverage. McDonald said the student crews gain valuable experience, while the local student athletes get recruiting footage that looks professional.

The first fully integrated Facebook Live professional camcorder in the industry, the GY-HM250SP includes an integrated 24x dynamic zoom lens with optical image stabilizer, integrated sports graphics, dual XLR audio inputs, and support for a variety of file formats and frame rates. Both the 4000S and the enhanced CONNECTED CAM Studio 6000S, a new six-input model that supports NDI® and SRT streaming protocols, feature include an integrated audio mixer, four layers of DSK, and production switcher with automated switching mode and choice of transitions.

ABOUT JVC PROFESSIONAL VIDEO
Headquartered in Wayne, New Jersey, JVC Professional Video is a division of JVCKENWOOD USA Corporation, a wholly-owned subsidiary of JVCKENWOOD Corporation. The company is a leading manufacturer and distributor of broadcast and professional video equipment, as well as D-ILA front projection systems. For more information, visit JVC’s website at http://pro.jvc.com or call (800) 582‑5825.

WAYNE, N.J.—A Wisconsin radio station is getting into the video business and has selected JVC equipment to do so. WGTD-FM in Kenosha, Wis., has deployed three GY-HM250SP 4KCAM sports production streaming camcorders and a ProHD Studio 4000S sports production and streaming studio to produce a live stream on Facebook Live for local high school sports.

WGTD-FM streams all of its coverage to Facebook Live in 720p, using two cameras stations outside of the press box and the third on the field. The GY-HM250SP cameras are connected to the Studio 4000S via HD-SDI.

The Studio 4000S system offers the station a dedicated replay tab that features a preview of every camera and allows the operator to produce slow-motion replays with dynamic camera switching and freeze frame options. In addition, the crew is able to connect a SportzCast Scorebot so the Studio 4000S receives automatic scoring updates for lower-third score graphics.

WGTD-FM began using the JVC setup during the 2018 football season, and had its first game live stream on Aug. 23 this year.

WAYNE, NJ (Aug. 15, 2019) – JVC Professional Video, a division of JVCKENWOOD USA Corporation, today announced the Big South Conference, an NCAA Division 1 collegiate athletic conference, has standardized on ProHD GY-HM850 shoulder-mount camcorders to provide multi-camera coverage of sports for the ESPN+ streaming subscription service.

“It’s a really nice piece of equipment, and it’s the right tool for the job for us,” said Mark Bryant, director of broadcast services and development for Big South. “I’ve gotten positive feedback from virtually all the members – they are appreciative of having these JVC cameras in their arsenals. These are top-notch camera setups.”

When Bryant first arrived at Big South 12 years ago, he said the video equipment across the conference was a “ragtag collection” of technology. When the conference began streaming its sports content to its website, an agreement between the 11 member schools created “centralized video planning” with a basic production infrastructure and workflow to provide some consistency in coverage.

Since then, the conference has adopted a staggered upgrade path that continues to set new benchmarks in quality. Bryant said the need for a camera upgrade coincided with the move from the Big South website to ESPN+. “Last year, we knew it was time to do the cameras,” he explained. “We wanted to make a serious investment, and we wanted to do it right.”

The conference purchased 36 camera packages – three for each of the 11 member schools and three for the conference office in Charlotte, N.C. – that included the GY‑HM850, interchangeable FUJINON lens with hand grip focus and zoom controls, ProHD seven-inch LCD viewfinder, and Miller tripod. Camera packages were delivered last fall, with all schools equipped in time for basketball season. Bryant said the new cameras are a significant improvement over the Big South’s previous camcorders, which were smaller, handheld models with integrated lenses.

“What we wanted was the ability to tell our schools, ‘Here’s everything you need,’ and execute that within our budget,” Bryant explained. “JVC really understood what the conference was attempting to do and where we were going. There was really one clear winner on that.”

As part of the Big South’s agreement with ESPN+, each school provides at least a three-camera shoot for all home games for nine different sports – football, men’s and women’s basketball, men’s and women’s soccer, baseball, softball, volleyball, and lacrosse – plus championships and other sporting events as scheduling allows. The conference streams hundreds of sporting events throughout the school year, and provides a package of about 50 contests to ESPN3. The new JVC cameras are also used to provide coverage of press conferences on the Big South website, and each school’s athletic department can use the cameras for other projects across campus.

The GY-HM850 offers full HD image capture and delivery, plus a built-in streaming engine with FTP and 4G LTE connectivity. It features three, 1/3-inch CMOS sensors that provide 12-bit readout, F11 sensitivity (60Hz), and excellent signal-to-noise ratio. Dual SDHC/SDXC card slots allow simultaneous recording for instant copy/backup or relay recording for continuous shooting. The camera supports multiple native file formats at a variety of bit rates, frame rates, and resolutions. Other features include a four-channel audio system with stereo AUX inputs and two XLR inputs with phantom power, 12 assignable user buttons, and genlock and time code terminals for multi-camera setups.

ABOUT JVC PROFESSIONAL VIDEO
Headquartered in Wayne, New Jersey, JVC Professional Video is a division of JVCKENWOOD USA Corporation, a wholly-owned subsidiary of JVCKENWOOD Corporation. The company is a leading manufacturer and distributor of broadcast and professional video equipment, as well as D-ILA front projection systems. For more information, visit JVC’s website at http://pro.jvc.com or call (800) 582‑5825.

CHARLOTTE, N.C.—The Big South Conference is an NCAA Division I collegiate athletic conference that includes 11 member schools. When I arrived at Big South 12 years ago, the video equipment across the conference was a ragtag collection of technology. But when the conference began streaming its sports content to our own website, an agreement between the member schools created what I call “centralized video planning.” The result was a basic production infrastructure and workflow that would provide some consistency in our multi-camera sports coverage.

Since then, our conference has adopted a staggered upgrade path, which continues to set new benchmarks in quality. The recent need for a camera upgrade coincided with the move from streaming on our own Big South website to the ESPN+ streaming subscription service. We wanted to make a serious investment, and we wanted to do it right.

RIGHT TOOL FOR THE JOB

As a result, we standardized on JVC ProHD GY-HM850 shoulder-mount camcorders, which are a big improvement over our previous handheld camcorders with integrated lenses. It’s a really nice piece of equipment, and it’s the right tool for the job for us. I’ve gotten positive feedback from virtually all the members—they are appreciative of having these JVC cameras in their arsenals. These are top-notch camera setups.

The conference purchased 36 camera packages, three for each of the member schools and three for the conference office in Charlotte, N.C. Each camera package includes the GY-HM850, an interchangeable Fujinon lens with hand grip focus and zoom controls, ProHD 7-inch LCD viewfinder and a Miller tripod.

Our conference streams hundreds of sporting events throughout the school year and provides a package of about 50 contests to ESPN3. The new JVC cameras are also used to provide coverage of press conferences on the Big South website, and each school’s athletic department can use the cameras for other projects across campus.

COVERING THE BASES

Deliveries on the camera packages began last fall, and all schools were equipped in time for basketball season. As part of the Big South’s agreement with ESPN+, each school provides at least a three-camera shoot for all home games for nine different sports—football, men’s and women’s basketball, men’s and women’s soccer, baseball, softball, volleyball and lacrosse—plus championships and other sporting events as scheduling allows.

What we wanted was the ability to tell our schools, “Here’s everything you need,” and execute that within our budget. JVC really understood what the conference was attempting to do and where we were going. There was really one clear winner on that.

Mark Bryant is the director of broadcast services and development for the Big South Conference. Contact him atmarkb@bigsouth.org.

For more information, visitjvc.com.

WAYNE, N.J.—JVC’s GY-HM250 is now on Facebook, as the company announced a recent upgrade to the 4KCAM handheld camcorders that includes Facebook Live as a menu choice for streamlined connectivity. JVC claims that this free upgrade makes GY-HM250 the first full integrated camera with Facebook Live.

The GY-HM250 connects to Facebook Live by pairing the camera with a Facebook account, allowing for any pages setup in Facebook to appear in the viewfinder. Live streaming is initiated by clicking on the user’s timeline. While streaming, video can also be recorded to dual SD memory cards.

In an effort to boost security for live video content, Facebook now requires all streaming video to use secure RTMPS protocol. The new upgrade covers this security protocol in all GY-HM250 models, including the base model, the GY-HM250SP and GY-HM250HW.

The GY-HM250 camera from JVC is designed for single-camera production, offering features like built-in streaming, built-in graphics and XLR audio connections. Featuring a 1/2.3-inch BSI 4K CMOS imager, the camera can record in 4K/30p and 4K/24p.