WIESBADEN, Germany—Panasonic will unveil a comprehensive portfolio of projection, LED and workflow solutions to meet the demands of live events, immersive experiences, education, corporate and signage environments at Integrated Systems Europe (ISE) 2026, Feb. 3-6, at the Fira de Barcelona Gran Via in Barcelona, Spain.

The company will feature several solutions, under its Mevix branding, including:

• A new projection light-source platform, delivering true 3-Chip DLP performance without the traditional limitations of 1-Chip. The platform delivers faithful color reproduction, high brightness and improved operational efficiency in a compact, installation-friendly design.
• The PT-RQ45 42,000-lumen projector shares the same chassis as the PT-RQ35 but delivers 12,000 lumens of additional brightness. The PT-RQ45 is designed for large venues, live events and immersive installations where maximum visual impact is essential, the company said.
• Panasonic’s first 4K LCD projector will be at the heart of a golf simulator in the company’s booth. It produces close-range visuals with reduced pixel structure, supporting highly realistic imagery for immersive applications.
• A 55-inch LED platform designed for fast deployment across signage, retail brand experiences and video walls, featuring excellent brightness uniformity, modular design and practical VESA-mounting capability.

“Our customers are looking for high-impact visuals without compromise—in performance, flexibility or efficiency,” said Hartmut Kulessa, head of marketing, visual systems, at Panasonic Connect Europe.

Panasonic will also highlight its wider ecosystem of projection, display and software-driven workflow tools at ISE 2026.

See Panasonic at ISE 2026 Stand 3J500.

More information is available on the company’s website.

LAS VEGAS—iWedia, a provider of connected TV device software solutions, is highlighting its ATSC 3.0 software stack, which has helped to distinguish the Panasonic Z95B as one of the year’s best OLED TVs, at CES 2026, Jan. 6-9.

Running on a leading system-on-a-chip (SOC) platform and integrated within Amazon’s Fire OS environment, the iWedia software stack integrated into the Panasonic Z95B enables seamless NextGen TV reception and hybrid broadcast-broadband performance.

“Our collaboration with Panasonic represents the strength of long-term partnership and shared focus on quality,” iWedia business development director Zivko Radonjic said. “The success of the Z95B demonstrates how aligning with the right partners simplifies technology adoption for manufacturers. As ATSC 3.0 continues to expand across the U.S., we’re ready to support the next generation of OEMs in achieving the same level of excellence.”

By combining Panasonic’s engineering heritage with iWedia’s deep broadcast expertise, iWedia’s partnership has created a reference for premium NextGen TV deployment in the U.S. market, it said.

The Panasonic Z95B’s flawless tuner integration and superior broadcast performance highlight iWedia’s commitment to delivering software that meets the industry’s highest standards for reliability, compliance and user satisfaction, the company said.

“Working with iWedia allowed us to achieve a flawless integration of advanced broadcast capabilities into our latest OLED platform,” Panasonic television business division director Ryutaro Otake said. “Together, we’ve raised the bar for what viewers can expect from premium televisions in the U.S., and we look forward to extending that success as NextGen TV adoption grows.”

iWedia is at CES, seeking to meet with other vendors looking to leverage its ATSC 3.0 solutions for their next connected TV project.

See iWedia at CES booth 17783 at Tech East in the Las Vegas Convention Center Central Hall.

More information is available on the company’s website.

In live television, the pace of change has always been set by technology and driven by the relentless desire to increase production value. But for the second half of the 20^th century, technological improvement was incremental, and there was little change to the analog, 4:3 aspect ratio, standard definition images we all watched.

With the new millennium, technology brought about a renaissance in the television experience that literally reshaped the way stories are told on countless screens around the world. High definition and UHD, wide color space and high dynamic range, and the 16:9 aspect ratio, combined with ever larger displays, have finally provided storytellers with a canvas that offers creative freedom.

With the tools to create, and display, spectacular imagery firmly in place, demand for content is greater than ever, and so we find ourselves in the midst of another pivotal transition. Now, our focus shifts behind the scenes: building an infrastructure to support the multitude of high-bitrate signals in the most cost-effective way.

This shift is more than just replacing cables or streamlining workflow, it’s about reimagining the mechanics of live storytelling, and IP standards like SMPTE ST 2110 have emerged as the workhorse of this transformation. ST 2110 provides the flexibility, and scalability, necessary to support increasingly complex productions, enabling teams to transport more content, collaborate more effectively, and do it for less money.

The Acceleration of the Production Cycle
In a traditional broadcast environment, live production is based, in large part, on the constraints of SDI standards. Routing video, audio, and metadata through an SDI infrastructure often means that innovation had to shoehorn within the limitations of a standard invented 36 years ago.

While reliable, large SDI routers are often the single most expensive piece of hardware in a production facility, don’t have redundancy, are comprised of connections that are either in or out, and rely on the one-cable-per-signal design.

IP-based workflows change that equation. By moving signals off a router and onto a network switch, production teams gain the ability to treat live content with the same agility that digital platforms have long enjoyed. With ST 2110, video, audio, and ancillary data can move independently across the same network.

Having discrete streams gives creative teams unprecedented control, eliminates the need for most signal converters and reduces routing errors. Infrastructure cost is also dramatically reduced and the number of cables in the IP world can be condensed to a mere fraction of what an SDI demands.

IP as a Storytelling Catalyst
At its core, live production is about narrative. Whether it’s a political debate, a music festival, or a championship game, producers are tasked with guiding the audience through moments that matter deeply to them. In broadcasting, the more sources you have, the better story you can tell, but most studio cameras don’t come cheap. Everything from the need for lensing to CCUs along with the space for operators and blocking views can prohibit traditional studio cameras from being used.

Broadcast PTZ cameras can be an ideal solution, but running separate cables for control, reference, video, and even return video isn’t easy in a stadium or arena. This is where the elegance of ST 2110 really shines. Using a single cable connected directly between the PTZ and the ST 2110 switch: video, audio, camera control, PTP and return video are all active over staggering distances.

If traditional B4 mount lenses are required, studio cameras can transmit, and receive, all their signals between the camera head and the ST 2110 switch, without the need for a CCU. These cameras can even employ redundancy, known as ST 2022-7. Ultimately, the simplified, and cost-effective, infrastructure of ST 2110 translates to more budget for cameras, which in turn translates into higher-quality storytelling.

Enabling Hybrid and Remote Workflows
At this point we’re all well aware of how the pandemic accelerated the industry’s exploration of remote production, and IP has become the enabling technology that makes distributed collaboration viable. With video and audio moving as packetized data, directors, editors, and graphics operators can work from anywhere in the world while contributing to a unified production.

This flexibility has become the new baseline. Remote production reduces costs, increases efficiency, and expands access to talent. It also aligns with broader industry goals around sustainability by minimizing travel and reducing the footprint of large-scale events.

For broadcasters, the ability to scale teams up or down based on the demands of a specific production is an invaluable advantage. A small crew on-site can capture content, while a larger, distributed team handles graphics, analysis, and distribution from centralized or even home-based workstations. The quality remains uncompromised, but the operational model becomes far more adaptable.

Lessons from Early Adopters
Many early adopters of IP-based production, from major broadcasters to live event producers, have already demonstrated the technology’s potential. Their experiences highlight three recurring themes:

• Scalability: IP networks can expand without wholesale infrastructure overhauls, supporting growth in channels, feeds, and formats.
• Interoperability: Standards like ST 2110 create a foundation for vendors and technologies to work together, enabling creative flexibility rather than locking productions into proprietary systems.
• Resilience: By decoupling signals from fixed paths, IP allows productions to reroute and recover quickly in the face of technical challenges.

The Road Ahead
As with any technological transition, challenges remain. Training, interoperability testing, and cultural change within production teams all require attention. Yet the trajectory is unmistakable: IP-based workflows are becoming the new standard for live production.

Looking forward, we can expect even greater convergence between broadcast and cloud-based platforms. The same IP foundation that enables local workflows also opens the door to deeper integration with AI-driven production tools, advanced analytics, and personalized audience experiences. As these technologies mature, the pace of iteration will only accelerate, driving storytelling into new territory.

In the end, live production has always been about connection and the immediacy of being present for an unfolding story. With IP as its foundation, that connection is now easier, more cost effective, and more immersive than ever before.

Sports broadcasters consistently deliver some of the most dynamic and technically challenging sporting events in the world. For sports where every serve, volley, and footfall carry precision and emotion, audio and video quality can make or break the at-home viewer’s connection to the game.

From capturing fast-paced gameplay and moving bodies to broadcasting electrifying moments on the big screen, all while streaming across different platforms, broadcasters have a lot on their plate. Delivering an equally immersive viewing experience to both on-site and remote viewers is more challenging than it appears.

Audiovisual solutions like audio, switchers, and cameras – including studio cameras, PTZ cameras, and camcorders – allow broadcasters to seamlessly deliver professional quality productions that bridge the in-person and remote experience.

PTZ Cameras Bring Sports to Life
Cameras are the eyes of a broadcast production. Without them, no one would be able to watch the live action unfold. Today’s cameras take this a step further, allowing viewers to not just follow along but see extremely vivid moments of emotion, physical endurance, and hard-fought wins.

Have you ever watched a ball hang in the air at the goal line, a puck ricochet off the post, or a player make a split-second move that changes the game? This is the type of content PTZ cameras were designed for. Their compact size enables them to be placed in small spaces to capture shots and angles that aren’t possible with operator-controlled cameras. PTZ cameras are also extremely durable, functioning well in challenging outdoor conditions like rain, high winds, extreme temperatures and even bright or dim lighting.

PTZ cameras are also equipped with auto tracking features that automatically follow a player or ball without an operator. This ensures smooth, consistent framing during fast action, which is crucial for sports where plays unfold quickly. PTZ cameras can also capture audio from an external microphone input or embedded audio over an IP-based network to capture unique sounds, like the crack of a bat, the swish of a net, or a coach shouting instructions from the sideline.

Bridging the Gap Between In-Venue and Living Room Experiences
After capturing vivid, behind the scenes content with advanced cameras, the content is delivered in real time on large LED screens in stadiums and small home TVs or computer screens globally. Broadcasters can slow down these clips for instant replays and slow-motion breakdowns from multiple angles.

This behind the scenes look at game play helps viewers from all locations feel engaged in what’s happening. Whether their favorite team is down a point or far surpassing the competition, it’s the little, often overlooked details that can instill excitement, nervousness, or happiness in a fan regardless of where they’re tuning in from.

Switchers are central to helping a remote audience feel like they’re watching a sporting event live from inside the venue. They also help in-venue fans experience moments they might have missed. Today’s switchers connect to cameras via high-bandwidth SDI, supporting 4K/60p video, or IP-based workflows like NDI or SMPTE 2110 for uncompressed video, audio, and data streams over a single network.

This allows an operator to switch between multiple camera feeds to deliver dynamic viewing angles of a game. Switchers also use overlays, keying, and compositing features to integrate live data feeds from scoring systems to allow viewers at home to stay informed on the latest scores and player performance metrics. These feeds can also be routed on large LED walls within a venue for a cohesive experience, regardless of where a viewer is watching.

The rise of centralized control rooms and remote production allows operators to manage events without being physically onsite. Take the Paris 2024 Olympic and Paralympic Games, for example. Broadcasters leveraged switchers for centralized control and operation of multiple venues from a single server.

This reduced the need for on-site staff, saving time and money without sacrificing video quality. As remote production continues to rise in popularity, we’ll see more benefits brought to sports broadcasting from faster deployment and scalability to more consistent production quality and enhanced storytelling.

Meeting Evolving Expectations of Sports Fans
Fans want to be entertained. Whether it’s a tied match or break in gameplay, broadcasters are constantly looking for ways to maintain viewers’ attention and exceed their expectations. The future of hybrid sports is dependent on cutting-edge audiovisual technology that elevates interactivity across television, streaming platforms, and social media.

The next time you’re tuning into a sporting event, consider how audiovisual technologies are blurring the lines between viewer experiences. Whether sitting in the stands or on the couch, real-time multi-angle views put fans at the heart of action to enable more personalized connections between them and the sports they love.

Under the banner “Amplifying Innovation and Maximizing Our Impact,” Panasonic launched several new or updated products and reaffirmed its commitment to the evolving worlds that demand quality audio and video content.

“The B2B and B2C markets are growing due to demand for quality content, and in pro video production and live streaming demand is also rising,” said Toshiyuki Tsumura, executive vice president of Panasonic Entertainment & Communication Co., and director of its Imaging Solution Business Division. He announced a 20% increase by 2027 in “synergy,” products that can be used across market segments.

Chris Merrill, director, product management at Panasonic Connect, spoke next and focused on the numbers 3.0, 2.6 and 16.6—3% being the recent increase in the number of camera operators; 2.6% the increase in the size of the broadcast market; 16.6% as the rate of streaming’s growth.

“What we’re hearing is that there are not enough qualified people to create the shows we need,” Merrill said. Panasonic’s response to this challenge is its continued focus on integrated ecosystems, automation and AI assistance where it can help, and simplified connectivity, he added.

Product launches included the AG-CX370 handheld camcorder, which builds on the established AG-CX350 to offer a compact, lightweight design and energy-efficient operation for production, broadcasting and streaming applications. Upgrades include 12G-SDI output for high-quality streaming, GENLOCK input for broadcast-quality synchronization in multicamera systems, and a four-channel audio input to support up to four external microphones.

Panasonic has also updated its KAIROS live production platform version 1.8, which offers multiunit control for KAIROS Core, integration with graphics platforms such as Singular.live and Viz Flowics, and expanded support for various resolutions, including 16:10 and 5:4.

Also new are several plug-ins to support Media Production Suite and the WX-AM800 Beamform Ceiling Array Microphone, which detects and captures speakers’ voices from above for clear, natural communications in corporate and higher education applications.

© NAB

NEWARK, N.J.—Panasonic next month will release new 4K 60p 10-bit professional camcorder models, including the AG-CX20, HC-X1200 and HC-X2100 for video production, broadcast and distribution applications.

The compact, lightweight camcorders feature a 25-millimeter wide-angle lens and 24 times optical zoom, as well as many improvements over past models that are beneficial in video production, Panasonic said.

They include:

• Improved, high-resolution OLED viewfinder with 1,770 dots and larger eyecups.
• USB-C port, replacing the USB port, with the ability to provide power to the camcorder.
• Low-bit rate recording mode (via next firmware update) for FHD MP4 recording, with support for 28 Megabits per second (50p/59.94p), 24 Mbps (23.98p) and 20 Mbps (25p/29.97p).
• Improved low-speed zoom that is about 2.8 times slower than the previous model.
• Added shooting guideline display to enable users to check composition and horizontality.
• Enhanced network functionality with support for Wi-Fi 5 GHz (except for the HC-X1200) and USB tethering (available only on the AG-CX20 and HD-X2100).
• Improved operability via the dedicated HC-ROP app (except for the HC-X1200) with support for live view function.

The integrated lens offers an optical 24 times zoom that ranges from 25 mm wide-angle to 600 mm telephoto. The i.ZOOM achieves 32 times at 4K mode and 48 times at FHD mode. The 4-Drive Lens System drives the four lens groups independently, thus achieving the optical 24 times zoom and compact body size, it said.

Two manual rings are provided, one for focusing and the other for zoom or iris operation. ND Filters can be selected from 1/4, 1/16, 1/64 and Clear, while glass is used as a countermeasure against scorching from sunlight condensation, Panasonic said.

Superior focusing speed, stability and tracking performance for both 4K and Full High Definition (FHD) are achieved via Face Detection AF/AE together with the precise focus lens drive. Face Detection AF/AE provides precise focusing and sufficient exposure for subjects. Subject tracking with color recognition can be activated by touching the LCD panel, Panasonic said.

In addition to OIS (Optical Image Stabilization), Electronic Image Stabilization operates to detect and correct handshake in 5 axes, including rotational blurring. This provides strong correction under unstable conditions, such as low-angle and high-angle shooting. The Ball O.I.S. System reduces friction on the drive section, achieving delicate correction even for small-amplitude handshakes, the company said.

The camcorders support a variety of bit rates and formats, including 4:2:2 10-bit internal recording with a maximum of 29.97p in UHD and 59.94p in FHD. When set for 10-bit recording, the camcorder delivers 4K 60p 4:2:2 10-bit HDMI output, enabling high-image-quality capture with an external recorder. HEVC recording (LongGOP/10-bit 4:2:0/MOV) is also supported for recording UHD 59.94p at a high bit rate of 200 Mbps, the company said.

The new camcorder models will be available via Panasonic’s channel partners in early March.

More information is available on the company’s website.

NEWARK, N.J.—Panasonic Connect has announced the new AK-UCX100 4K studio camera and two new 4K multi-purpose cameras. In addition, the company said it will extend NDI support to its lineup of 4K integrated cameras including the AW-UE40, AW-UE50, AW-HE145 and AW-UE150 in addition to its Memory Card Camera Recorder, the AG-CX350.

Panasonic Connect said that the AK-UCX100 is designed for live events and gives event professionals the flexibility to capture engaging, high-quality content in these dynamic environments.

Capturing clear, high-quality content in live event environments can pose challenges with shifting lighting conditions and dynamic backgrounds. The AK-UCX100 supports strong image quality right out of the box. The new imager offers high sensitivity and dynamic range, easily adapting to both a darkened auditorium and venues with dazzling lighting effects. Its colorimetry has also been optimized to account for any new challenges with LED lighting and large display walls while the camera's HD low-pass filter helps manage the effect of moiré in LED walls. This allows venues to easily create the same experience for fans whether they are in-person or tuning in from home.

With improved resolution and 4K capabilities, the AK-UCX100 achieves a resolution of 2000 TV lines both horizontally and vertically, capturing detailed, ultra-high-definition images of the subject from any angle. Plus, the wide dynamic range and color gamut of HLG/BT.2020 lets content creators capture colorful, immersive stage performances for the most advanced display technologies.

When producing content in a traditional studio with a CCU, the camera pairs with Panasonic’s recently released AK-UCU700 Series Camera Control Unit, which provides all traditional points of connectivity. The UCX100 can easily pair with any Panasonic camera, including the AK-UE160 PTZ camera, to ensure consistent, cohesive production quality.

The camera will become available in December 2024 and will be on display at NAB NY (October 9-10).

More information is available here.

Panasonic connect also announced two new 4K multi-purpose cameras to improve workflows and bring creativity to any production site, enabling high-quality video production regardless of industry. The AW-UB50 and AW-UB10, available in early 2025, are compact, box-style cameras equipped with large-format sensors to meet the demands of broadcast and live entertainment with exceptional image quality and expressive detail. With Panasonic’s remote camera system, AW-UB50 and AW-UB10 will be able to remotely facilitate the workflow of video production. These multi-purpose cameras will enable the expansion of high-quality video production into markets such as education and corporate environments.

For the new cameras, Panasonic leveraged its proven Dual Native ISO and high dynamic range technologies—featuring up to 14+ stops of V-Log on the AW-UB50 and 13 stops of V-LogL on the AW-UB10—from its cinema-grade Varicam and EVA1 cameras, bringing cinema-quality shooting to a compact, versatile form factor ideal for remote scenarios. These cameras offer high-quality video production and expand creative possibilities across various industries. Key features include:

• High-quality image expression no matter the industry or production site: The AW-UB50 uses a full-size MOS sensor with 24.2M effective pixels, while the AW-UB10 uses a 4/3-type 10.3M effective pixel MOS sensor, achieving diverse, high-quality image expression with excellent color reproduction and resolution across sensor formats. Both models are also compatible with the photo style of the AW-UE160 4K integrated camera, ensuring seamless color matching in mixed operations.
• Simplified workflows: Designed with usability in mind, both cameras boast a compact body under 10 cm in height, width, and depth (excluding the lens), and are packed with features that make them highly versatile. This includes dual SD card slots, real-time recognition AF for automatic subject focus, and a variety of input/output interfaces such as 3G-SDI OUT, HDMI Type A, LAN terminal, TC IN/OUT, GENLOCK IN, USB Type-C, Φ3.5 MIC terminal, and a headphone terminal. The LAN terminal supports PoE+ for easy installation with minimal cabling. Future updates will introduce IP transmission standards like NDI® HX2, RTMPS, and SRT, as well as AI tracking technology and automatic framing functions, further simplifying remote shooting in networked environments.
• Excellent expandability: The AW-UB50 and AW-UB10 are highly expandable, seamlessly integrating with third-party robotic remote head and Panasonic controllers. Not only does this expand creative freedom, but the resulting portability and ease of installation make them adaptable to a wide range of video production scenarios. With upcoming software updates, the inclusion of advanced AI-driven features will further enhance their functionality, expanding creative possibilities and making high-quality video production more accessible across industries.

The cameras are compatible with Panasonic’s Studio cameras, PTZ cameras, and software such as Media Production Suite, supporting multi-camera setups with remote cameras. The AW-UB50 and AW-UB10 are ideal for event filming, educational content creation, and corporate video production, offering high-quality video, enhanced creativity, and streamlined workflows. The AW-UB10 will begin shipping early 2025 and the AW-UB50 will begin shipping Spring of 2025. To learn more, visit https://connect.na.panasonic.com/av/video/multi-purpose-camera/aw-ub50-ub10.

In addition, Panasonic Connect North America announced that it will extend NDI support to its lineup of 4K integrated cameras including the AW-UE40, AW-UE50, AW-HE145 and AW-UE150 in addition to its Memory Card Camera Recorder, the AG-CX350. The NDI upgrades, which previously required a paid license from Vizrt NDI AB, will be made available via a free firmware update between December 2024 and April 2025. After this period, the models will ship with ready-to-go NDI capabilities*1.

“Our collaboration with Panasonic marks a significant milestone in the expansion of the NDI ecosystem,” said Daniel Nergard, president of NDI. “By making NDI a standard feature across a wide range of products, Panasonic enables thousands of users to benefit from the seamless integration and powerful flexibility that IP video production offers. We are excited to see Panasonic leading this change and look forward to the innovative solutions that will emerge as a result of this enhanced accessibility.”

NDI, an open standard for connecting video equipment over IP networks, will enable devices to build systems in standard gigabit IP networks, simplifying the transition of video production workflows to IP environments. As a result of this upgrade, more devices can access NDI-enabled systems on the network, such as switchers, cameras, and media servers. This allows video production crews to seamlessly create and distribute a diverse array of content to their audiences. Additionally, Panasonic’s NDI-enabled PTZ cameras support Power-over-Ethernet (PoE) control and audio/video transmission via a single Ethernet cable, significantly enhancing the ease of installation and reducing cabling costs.

Panasonic’s lineup of NDI-supported products includes:

• PTZ Cameras such as the AW-UE160, AW-UE100 and AW-UE80
• Studio Cameras such as the AK-UCX100*2,
• 4K Multipurpose Cameras such as the AW-UB50*3 and AW-UB10*3
• Compact Switchers such as the AV-HSW10 and AV-UHS500 *4
• KAIROS IT/IP platform and Video Mixer plug-in for Media Production Suite

For more information on Panasonic’s NDI® enabled products visit: https://connect.na.panasonic.com/av/video

NEWARK, N.J.—Panasonic announced its return to the U.S. retail TV market with the launch of OLED and mini-LED sets that will also include support for ATSC 3.0 (aka NextGen TV). The launch will include three series of TVs:The flagship Z95A OLED TV, available in 65”; the Z85A OLED TV, available in 65” and 55” sizes. In addition, Panasonic will also sell the W95 mini-LED series, available in 55”, 65”, 75”, and 85” sizes.

All of the TVs are substantially the same as those sold by Panasonic in other regions, with some minor regional differences, the company said.

Those “minor” differences include the integration of Amazon’s Fire TV OS as well as support for ATSC 3.0. Panasonic’s support of the next-gen over the air broadcast standard could help fill a gap in the availability of NextGen TVs in the U.S. retail market created by the exit of LG a year ago due to a patent dispute. LG has appealed the case, which was brought by Convergent Designs. U.S. consumers still can choose NextGen TV sets from Sony, Samsung, TCL and Hisense.

According to a Panasonic spokesperson, support for ATSC 3.0 on these models "will come later in 2024 via an update, but exact timing for that update has not been announced."

Even after its exit from the U.S. market, Panasonic ranks as the fourth largest TV set manufacturer in the world, behind Samsung, Sony and LG.

Yasunari Anan, Executive Vice President of Panasonic Entertainment & Communication Co., Ltd., commented on the importance of the U.S. market.

“The United States is crucially important to us, and ever since we left 10 years ago, it has been my mission to find a way to return,” he said. “Today is the end of that long journey and the beginning of a new one to bring new choice to US consumers. From this year, we have started a global collaboration with Amazon so that new Panasonic smart TVs will have Fire TV built in. These TVs have already been launched in Japan, Asia, Oceania, and Europe and the response from consumers has absolutely exceeded our expectations. We are confident US consumers are also going to be thrilled with them.”

"We're excited to expand our collaboration with Panasonic—combining their outstanding picture quality together with Fire TV's content-forward streaming experience—to U.S. customers," said Daniel Rausch, VP of Alexa and Fire TV at Amazon. "This new lineup offers OLED and Mini LED displays—firsts for Fire TV built in—as well as the immersive Fire TV Ambient Experience. Customers in other countries have been loving the brilliant display, seamless Alexa integration, and impressive audio these smart TVs offer. We look forward to bringing this premium viewing experience to even more customers."

When the company left the U.S. retail TV market a decade ago, it blamed its exit on competition from OLED, which was becoming cheaper to manufacture. Improvements in existing LED technology impacted the declining market for plasma—of which Panasonic was an early supporter—as well as increasing competition from Chinese and Korean consumer electronics manufacturers were also significant factors in its decision.

As for why it’s returning, Panasonic cited the current “Golden Age of TV,” as well as the company’s increased collaboration with Hollywood and the rise of smart homes.”

Panasonic’s new TVs feature its HCX Pro AI Processor MK II processor, which serves as the brain of the operation, helping to bring customers “closer to the filmmaker’s original vision,” the company said:

Color: Panasonic’s dynamic 3D LUTs (Look-Up Tables) enable precisely detailed color reproduction, with thousands of registry points ensuring true-to-life colors.

Contrast: Supporting major HDR formats, Panasonic’s unique tone-mapping technology optimizes for natural contrast reproduction, delivering stunning images regardless of brightness levels.

Clarity: The processor enhances gradation, motion images, and detail through advanced analysis functions, including 4K Fine Remaster and Smooth Motion Drive Pro, ensuring a sharp and clear viewing experience.

More details are available here.

SAN JOSE, Calif.—Xperi’s TiVo subsidiary continues to expand the capabilities and reach of its independent media platform with the debut of the TiVo One cross-screen ad platform.

The TiVo One cross-screen ad platform combines ad inventory across multiple end-points in the home and the car empowering advertisers to efficiently optimize branded campaigns to their desired audiences with advanced forecasting, precise targeting and robust measurement capabilities, TiVo reported. 

Xperi also reported that its independent media platform has seen through increased adoption and growing footprint for TiVo OS, TiVo Broadband and DTS AutoStage Video Service Powered by TiVo over the last year. 

“As a key element of our long-term strategy for the independent media platform, offering a variety of ways to optimally engage with audiences is essential. Whether that be through our smart TV offerings or connected car solutions, partners leveraging our innovative solutions can ensure we’re committed to delivering value and driving sustainable growth,” said Jon Kirchner, CEO of Xperi. “By fostering an ecosystem that prioritizes choice, personalization and seamless integration across platforms, we aim to redefine how audiences engage with content in today’s dynamic environment.”

In the run-up to major sporting events like the Olympics that will be hosted in Europe, Tivo also stressed that it has been working with partners to expand the reach of its media platform. 

TiVo’s first OEM partner, Vestel, has smart TVs Powered by TiVo in retailers across most major European countries, under a dozen different brands. Argos, a major UK retailer, has deployed TiVo OS in their Bush house brand of smart TVs, which are available online and in stores now, and are one of the first smart TVs to incorporate Freely, the new UK streaming service delivering live TV over broadband. And Panasonic is also expected to launch smart TVs Powered by TiVo into retail stores across Europe and the UK this summer.

To help advertisers capitalize on the rapidly growing CTV market, TiVo One is designed to be a cross-screen marketing solution that can help brands optimize their advertising campaigns, analyze customer attribution across different channels and devices, and gain valuable insights into which devices and distribution platforms drive maximum engagement to adapt advertising strategies accordingly.

TiVo One initially plans to offer a ‘Homepage Ad,’ its flagship ad unit, enabling brands to amplify their message with targeted data-driven advertising. This is expected to allow advertisers to reach their targeted audiences through linear and OTT ad promotions, and provide shared ad revenue opportunities for partners, all the while allowing users to find their content through seamless search and discovery for a friction-free viewing experience.

Other key features include: 

• Cross-Platform & Global Reach: TiVo One powers all TiVo platforms, providing advertisers optimal reach and frequency across streaming, IPTV, smart TV and automotive.
• Branded Experience: Enhanced graphic display combined with video and image expansion for maximum impact and engagement, driving directly to content consumers want.
• Precision Targeting: Enhanced content discovery and engagement allows advertisers to target based on viewing audiences’ behaviors and profiles, while delivering on user privacy preferences with a consent-first framework.
• Advanced Measurement: Track, analyze and optimize campaigns in real-time, offering actionable insights to fine-tune your strategy for maximum ROI.

Panasonic has revealed some of its technology that will be used for the broadcast of this summer’s Olympic Games and Paralympics in Paris.

The company is celebrating 40 years as an Olympic partner in 2024.

At a press conference at NAB Show, Andre Meterian, director of Panasonic’s video systems unit for Europe, announced Panasonic is providing 150 cameras and 31 switchers, including Kairos, at the Games.

Each Kairos will perform production for up to three venues, said Meterian, reducing hardware installation costs and space by 60 per cent, as well as helping to make the Games more sustainable.

Panasonic will also be supplying PTZ cameras in 29 press rooms across the Games.

John Pearce, director of venue technical operations at Olympic Broadcasting Services, revealed Panasonic has also been part of the company’s move towards virtual outside broadcasting (VOB) which was trialled at the Olympic Youth Games in Gangwon earlier this year.

OBS worked with NEP and Panasonic to port software onto COTS servers as part of the broadcast workflow.

In Paris, OBS will deploy VOB at three venues, added Pearce, including Roland Garros, where eleven of the courts will be 100 per cent produced using VOB running on COTS.

This article originally appeared on TV Tech sister publication TVBEurope.

It’s been a while since the pixel count race was a big issue for broadcast production. As we head into the 2024 trade show season, then, thinking centers on what upcoming technology might make possible—on techniques, rather than specifications.

Take Blackmagic Design for example; the company’s foray into cloud contribution is talismanic of the changes which turned half of West Hall into a cloud computing village at last year’s show and demonstrated how the cloud and IP are impacting the camera’s role in new digital workflows.

“We introduced the [Blackmagic Camera] iPhone app a little while ago,” said Bob Caniglia, director of sales for the company in North America. “You can shoot with that phone, work with the cloud service, share proxies. The camera to Blackmagic cloud to Resolve workflow started with the camera app. The Ursa Broadcast G2 [camera] is now in beta for that software too. That's a good direction on where we're going.”

Bonded cellphone links are an established alternative to microwave or satellite links, although similar things with single 5G connections are more nascent. Still, regardless of the connection type, Caniglia points out that the benefits of cloud systems help with both cost and expediency. “People can directly link to a broadcaster's box. If someone's out in the field and they shot something, they can send it and get it on air faster than searching YouTube.”

Meanwhile, traditional broadcast configurations have become ever more accessible. “We have a lot in the education, house-of-worship and live event spaces,” Caniglia says. “One reason we've done so well is the cost-performance ratio and the nimbleness of the gear. It's not a rackful for a switcher. If you need a spare, buy a second one and that's the same price as an output card on some other thing. Broadcasters buy our stuff for smaller rooms or backups because they can.”

One caveat of skyrocketing capability is sheer operability, with feature sets bigger than any single human could operate. “There are tools that you can use to overcome a lot of that,” Caniglia reflects. “Even if you were doing it software-only, you could do switching on one, audio on another, moving graphics around on another and camera control on a fourth. With macros and other things you can do a lot more. We have an open API and people have been able to write all kinds of macro stuff.”

The Rise of PTZ
That sort of automation and remote control understandably boomed during the pandemic. Jim Jensen, Panasonic’s senior category owner for PTZ & remote systems, reports that, in terms of sales “we don't see record numbers like we did during Covid, but we do see steady growth. We sell a number of different features and price categories and we're finding demand for a good quality, flexible PTZ camera with flexible workflow, often replacing low end studio cameras.”

Here, flexibility often means vast connectivity. “We're seeing demand for SRT,” Jensen continues. “A couple of years ago there wasn't much. Some users use NDI [and] ST 2110 has become a big topic for some customers, with them using a higher-end PTZ in the studio, so we have an ST 2110 option in the AW-UE160. It’s one of the first in the industry to offer that because we listened to our customers.”

Demand for glossy images has pushed PTZ cameras to ever greater heights, but Jensen reflects that the push for pixels is about flexibility as much as quality. “On our one-inch sensors that are 4K, we're able to create three regions of interest which are 16:9 full HD images within that 4K,” he said. “Because it's a larger imager, it gives them the flexibility to output one of those plus the full raster 4K, so that particular PTZ now has two images coming out of it.”

Panasonic’s involvement in everything from acquisition to display is a boon, Jensen concludes. “[Customers] are looking for a manufacturer that can do glass to glass, capturing and moving that signal through, switching it, and being able to display that particular event or production in very different ways. We're finding more customers are asking about what we’re doing from a solution standpoint, and we've been able to provide something.”

HDR: An Antidote to the Pixel Race?
If there’s an overriding theme for imaging technology at the 2024 NAB Show though, it’s HDR, which is sufficiently so well established that clients often expect it with little tolerance for increased complexity. Klaus Weber, director of product marketing at Grass Valley, recalls when he supported the first ever live HDR production at an athletic championship in Europe in August 2014. “Since then I've been on maybe 50 HDR productions here and in the U.S.,” he said.

HDR, Weber muses, might be an antidote to the pixel count race.

“People have UHD sets at home in a size where UHD potentially makes sense—55- 65- or 75-inch displays,” he said. “But in typical viewing conditions, you hardly reach the point where you can see HD with the human eye. I have a 65-inch OLED at home and I was watching on-demand from the public broadcaster here in Germany. 

"For whatever reason the resolution was set to SD rather than to HD, but the up-conversion was so well done it took me a while to realize. I think at home, with typical screen sizes, more resolution is not required—but HDR makes a big difference, even on small screens.”

The perhaps-instinctive approach of shading in HDR, then downconverting for SDR is something Weber warns against. “The downconverter clips a large amount of the highlights which is not what you want,” he said. “If you shade in SDR and use all the highlights you can squeeze into the SDR signal, you will never clip anything on the HDR signal. So, as long as the SDR looks okay, HDR always looks better.”

Making that workflow practical demands innovation. “NBC has a workflow document which describes basically the same thing that we proposed around 2014,” Weber says, “but the look processing in the camera head is really new. It will be at NAB and we have developed that by request for certain parties including OBS for the Olympics.”

Even as common approaches emerge, complexities remain, says Robert Willox, director of production marketing for live solutions at Sony. “Everything that's coming into the truck you have to keep track of—even bumper tapes,” he said. "‘What LUT did you use?’ ‘Does it matter or is it OK that it looks different?’ You need to know the identity of every signal in the truck to avoid mixing from HDR to SDR.”

SDR broadcast is the moneymaker, according to Willox. “There's increasing outlets for 4K HDR but right now the sacrosanct image is the SDR. We've developed a Sony workflow where we shoot in HDR with one crew and one set of vision engineers but the SDR workflow takes care of the rest. I'm oversimplifying, but we've created a number of additions into CCUs and processing equipment… the crew can create the HDR broadcast with a perfect SDR broadcast side by side.”

“Some of the broadcasters come to us with [their shading approach] and say ‘this is what we need as a LUT in your cameras; we don't want to be using multiple layers of LUT boxes, we want something we can start with at the camera output.’” Willox adds. “They want a standard LUT in the CCU. In live entertainment, everyone wants to have their own look but from a broadcast standpoint I think there's going to be a lot of standardized LUTs… we're constantly developing new tools for this and at this NAB we’re going to introduce some new software for the HDR-C4000, our simulcast box.”

That Cinematic Look
Super-35mm cameras are discussed less than a few years ago, though perhaps because it is unremarkable rather than uncommon. Chase Hagen, ARRI’s technical sales representative and multicam expert, points out that the sensor is not the only crucial part of the chain.

“Our focus is on live productions that benefit from a sophisticated cinematic look,” Hagen said.

To that end, ARRI’s cameras include features more often seen in a CCU: “Our ALEXA 35 cameras deliver SDR and HDR simultaneously [and] the camera has a stock display reference transform that delivers images that are as similar as possible given the differences between the two formats,” he added. “With a recent firmware update, we now allow users to install their own display transforms for even more control.”

It’s tempting to assume lenses have infinite dynamic range, but Art Adams, product specialist for cinema lenses for ARRI, demurs. “Chromatic aberration and veiling glare can be extremely distracting in HDR,” he said. “It’s important to pair [the camera] with lenses that can deliver color and contrast information right up to the clipping point without compromising the rest of the image. ARRI Signature lenses were designed with that in mind… It’s a waste to make such a high-quality sensor if there’s no way to take advantage of it.”

All that picture information is useful for an industry which increasingly considers HDR the norm. Combined HDR-SDR workflows are, perhaps, the feature of the moment. For the future, long-distance IP networking, remote operation and 5G seem ascendant—but what’s clearest is that workflow innovations are increasingly limited mainly by the imagination of engineers. 

Register for the 2024 NAB Show, April 14-17 in Las Vegas at https://nabshow.com/2024/

CLEVELAND—Telos Alliance is making its Telos Infinity VIP Virtual Intercom Platform available for Panasonic Connect’s KAIROS Global Live Control Room. 

The Global Live Control Room combines the on-premise capabilities of the KAIROS IT/IP platform with LiveX’s Virtual Video Control Room, which allows operations such as switching, ISO recording, playback, graphics and intercom via Infinity VIP to be cloud-based. 

“As the industry’s only fully featured cloud-deployable intercom, Telos Infinity VIP is ideally and uniquely suited to serve as an integral part of a larger system,” said Martin Dyster, Telos Alliance vice president of business development. “All of VIPs benefits, including the ability to quickly and flexibly launch an Infinity panel on any computer, tablet or smartphone, are now available to anyone using the Global Live Control Room platform.”

More information is available on the Telos Alliance and Panasonic websites.

MONTREAL—Matrox Video has joined the Panasonic KAIROS Alliance and its ConvertIP DSS SDI/IP has received compatibility validation from Panasonic for use with the all-IP production platform, Matrox said today.

ConvertIP DSS allows the integration of traditional SDI signaling and processing into a SMPTE ST 2110 environment, thereby bridging the gap between the KAIROS and SDI devices. With ConvertIP DSS in the KAIROS workflow, KAIROS users can drive SDI monitors or ingest SDI signals into their production switcher during live productions and traditional broadcasts, the company said.

“Panasonic has a long-standing relationship with Matrox Video, and we have worked together on many broadcast projects over the years. Validating the compatibility of these two solutions was very logical,” said Kageyuki (Kenny) Fujimoto, lead manager of KAIROS Alliance at Panasonic. “By verifying this interoperability, we’re giving our partners the confidence to offer the ConvertIP device as a 2110 converter that will work with our KAIROS — ensuring there will be no unwelcome surprises in the middle of a live event.”

The Panasonic KAIROS platform natively supports IP-based video I/O, including SMPTE ST 2110. The KAIROS System Team from Panasonic tested ConvertIP DSS in a fully ST 2110 environment and found it to be compatible with all major resolutions and frame rates, and with the SMPTE ST 2022-7 specification for redundancy in any application where KAIROS could be found. The validation demonstrates that ConvertIP DSS can generate ST 2110 feeds and send them to the KAIROS or take them from the KAIROS and output them as SDI, it said.

Matrox ConvertIP DSS and ConvertIP DSH are compact, standalone ST 2110 and IPMX transmitter/receiver devices. They work on both 10-Gigabit and 25-Gigabit networks to support both HD and full-4K workflows, the company said.

The devices have a redundant media network jack to enable SMPTE ST 2022-7 redundancy, even in full 4K. They are also fanless for quiet operation and fewer points of failure, according to Matrox.

ConvertIP devices support in-band control, but a separate 1-Gigabit RJ45 control port is available for installations that keep control and media networks separate. The RJ45 connection also supports power over Ethernet, eliminating the need for a separate power supply, it said.

More information is available on the company’s website.

Today, there are myriad digital cinema cameras available in the marketplace. Netflix, the largest of the video streaming services, has created a useful guide for which of these cameras are recommended for use on their scripted programming. 

If a camera meets these specifications, it is not only approved for use on Netflix productions but should be considered a top choice for purchase by most production companies.

Rigid Standards
Netflix collaborates extensively with the creative community, camera manufacturers and globally recognized experts to approve cameras that support its production workflows. Approved cameras are evaluated to meet image capture benchmarks for dynamic range, color accuracy, detail rendition, signal to noise ratio, resolution and key workflow requirements, the streaming media company says.

In addition to the camera program, in 2018 the company launched the Netflix Post Technology Alliance and introduced a logo program that will help creators identify that their original programming meets Netflix technical and delivery specifications. Netflix said “manufacturers of products bearing this logo are closely partnered with Netflix. They have early access to the Netflix technical roadmap and collaborate with Netflix on technical support, training and updates.”

Netflix said it doesn’t expect all products in the media production process to have the logo and the alliance is not designed to endorse or force creatives to use certain tools. “As an artist, you should use the tools that make sense for your production, are best suited to your workflows, and serve your creative interests,” Netflix said. “With that in mind, this logo is an identifier to quickly tell you a product has been vetted for delivery to Netflix, and that the company who makes the product is committed to ongoing support and innovation.”

Netflix requires that 90% of a program’s final total runtime be captured on approved cameras using the following basic capture requirements. 

The company expects a camera with a true UHD 4K sensor with a minimum of 3,840 photosites across and a capture format (RAW or an intra-frame compressed codec); 16-bit linear or 10-bit log processing; and capture transfer function (e.g., S-Log3, Canon Log 2).

Bit depth must be 10-bits or greater; data rate (a minimum 240Mbps at 24FPS); scene-referred color space (S.Gamut3, ALEXA Wide Gamut, REDWideGamut etc.); and a camera system capable of jamming timecode to an external source with the code written into metadata.

Netflix also requires daily black balancing of the camera’s sensor; avoidance of spanned clips (i.e., single takes spread out on multiple cards); extra resolution for anamorphic imaging and use of aspect ratios less than or equal to 2:1.

Not Set in Stone
This list of basic Netflix requirements isn’t absolute. Not all cameras that meet these basic capture requirements are approved. However, these requirements are Netflix’s minimum specifications necessary for a camera system to be considered for approval. Other attributes taken into account include dynamic range, form factor, stability and workflow compatibility.

Netflix does allow limited use of non-approved cameras in certain situations. But the producer has to check with Netflix first about use of non-approved cameras on a production slated to be aired on the network. Nothing is set in stone and camera specs for nonfiction documentary content are more flexible.

The list of Netflix-approved cameras, especially for non-technical production executives, has proven to offer a useful guideline for the purchase of digital cinema cameras. Since camera models change so frequently, so does Netflix’s list. The latest posted update of added Netflix-approved cameras was Dec. 12, 2022 (it was updated last week with the addition of the Canon EOS R5 C).

Netflix emphasizes that its rules are not frozen, but general. Sometimes capabilities can be added to cameras with third party accessories. Some non-approved cameras might be required on a production for a special type of shot. Netflix says it is open to considering all possibilities.

Avoid Overkill
Camera buyers, however, can be assured that Netflix-approved cameras have been vetted thoroughly and the list is an excellent path to finding the best cameras to purchase or rent for a production. No filmmaker wants to do a production and later find their gear does not meet the minimum standards of a streaming service.

Even if a camera model is not on the Netflix-approved list, it can still be a good purchase decision for a specific application. Remember, the Netflix list is for shooting scripted dramatic shows for streaming. Not every producer is doing such critical production work. Often the capabilities required on a Netflix production are not needed.

For example, when shooting news, documentaries or YouTube productions, a Netflix-approved camera is overkill. Action cameras, like GoPros, don’t meet Netflix standards but may be used for special shots on Netflix productions. There are many camera choices for varying applications. Creative videographers should never be confined to a single list of cameras.

This list represents the top end of available digital cinema production cameras. All meet Netflix’s approved standards for shooting scripted television. Each is part of an extensive system of accessories. And these models also represent the most expensive video cameras on the market today. 

Netflix-approved Cameras

ARRI ALEXA Basic, Mini LF and 35

Blackmagic Design URSA Mini Pro

Canon EOS C300 Mark II, EOS C500 Mark II; EOS C700, EOS C70 and EOS R5 C

Panasonic AU-EVA1; VariCam LT 4K S35; Lumix BGH1; Lumix, BS1H; Varicam 35; Lumix S1H Mirrorless and AK-UC4000 studio camera

RED Digital DSMC2 with Gemini 5K S35 sensor; DSMC2 with Helium 8K S35 sensor; DSMC2 with Monstro 8K VV sensor; DSCC2 with Dragon-X sensor; Komodo 6K; RED Ranger with Helium 8K S35 sensor; RED Ranger with Monstro 8K VV sensor; RED Ranger with Gemini SK S5 sensor and V-Raptor 8K VV DSMC3

Sony Venice 6K; FX6; PXW-FX9 XDCAM 6K; Venice 2; PXW-Z450 4K UHD; PXW-Z750 4K; FX3 and FR7 Cinema PTZ camera

The role of the cloud is now well entrenched in broadcast and cinema production, but some traditional tools remain. This gives flexibility to production workflows that would have been unthinkable 15 years ago, when everyone’s attention was focused on the digital/HD transition.

At the 2023 NAB Show, April 15-19, there will be something old and something new. One of the latest technologies is the use of “volumes” to provide hyper-realistic backgrounds for live and cinema production.

The following is a sample of new production gear that will be shown in Las Vegas next month. 

Knocking Down Barriers
Pixotope, a provider of virtual production software solutions, will showcase its Graphics XR Edition, which includes a range of tools that simplify setup and operation in connection with the use of LED volumes, by reducing the technical complexities and associated resource costs of XR workflows and environments.

“With XR Edition, Pixotope is knocking down a major barrier to virtual production adoption by addressing the challenges that have previously made it difficult to leverage XR outside of major blockbuster productions,” said David Dowling, chief revenue officer of Pixotope. “It effectively removes the need for proprietary hardware, bringing users an off-the-shelf XR solution that enables bigger, better stories with greater ease.”

Blackmagic Design will roll out its line of network storage solutions, including Cloud Store, Cloud Store Mini and Cloud Pod, all of which let users share media files between multiple users on a global scale. The devices also understand proxy workflows, allowing a whole timeline and its media to be shared in minutes with responsiveness similar to a directly connected drive.

“We noticed how other storage solutions on the market didn’t offer the performance needed by the feature film and TV industry, so we took it upon ourselves to build something for our customers that’s not only fast but also reliable, portable and accessible in terms of costs,” said Bob Caniglia, director of sales operations for the Americas at Blackmagic Design. “The resulting Cloud Store, Cloud Store Mini and Cloud Pod are easy to set up and use, while providing secure access to media files globally with syncing and sharing media via Dropbox and Google Drive, allowing users from around the world to collaborate.”

Open Architecture
Panasonic will feature its Kairos line of IP-based production switchers. Kairos is an IT-based open architecture platform that enables functional enhancements and control linkage with external devices by adding software. At the show will be the next-generation Kairos Core 200 and Kairos Core 2000 mainframes, which offer improved functionality and performance, including many more inputs and outputs, improved video-processing performance and enhanced file-storage capacity.

Avid will be on hand to demonstrate its Maestro suite of graphics design and production tools for broadcasters. From news tickers and data-driven visuals to interactive and augmented reality content, Maestro provides solutions and tightly integrated workflows to add content on-screen in a coherent and engaging way.

LiveU will focus on flexible workflows such as remote/decentralized production, and cloud-based management and distribution help to allow delivery of high-quality, dynamic live content. LiveU will also showcase its latest 5G offerings and cloud-based solutions, which use the company’s low-latency, high-quality transmission protocols.

Rolling out its latest NDI-capable switchers is For-A, which will introduce the HVS-190, a 1-M/E version of the company’s flagship HVS-490 video switcher. As with the HVS-490, the HVS-190 also supports high-bandwidth NDI and NDI HX input and output. In addition to these switchers, FOR-A’s MFR-3100EX all-in-one production center, ClassX graphics, Insight media server, and SOAR-A live production platform are all upgradeable to NDI.

Ross Video will feature its 12G ready Ultrix FR12, the latest version of its award-winning Ultrix Router. The FR12 router has an integrated production switcher that allows customers to build an infrastructure with greater flexibility, performance and integration. The Ultrix FR12 is targeted at studios, OB vans and flypacks.

Monetizing Content
Dalet will highlight its Dalet Flex media asset management and workflow solution, which lets users seamlessly produce, curate, orchestrate, archive, deliver and monetize content. With its new mobile app, FlexMOBILE, you can bring the power of Flex to your fingertips with the ability to find, preview, comment, review and approve your assets from anywhere.

TVU will demo its RPS Link Encoder and Channel Plus. The RPS Link Encoder provides multicamera, synchronized remote production capability, targeted for use in remote locations where reliable wired IP connections are unavailable or inadequate. Channel Plus, a cloud-based playout service with integrated ad sales support, enables broadcasters to create live and VOD channel programming from a simple web browser with minimal training and experience.

Matrox will spotlight its ConvertIP line of 4K distribution products that can send zero-latency 4K over 1, 10, and 25 GbE cabling systems. Built on Internet Protocol Media Experience (IPMX), ConvertIP encoder/decoder line supports 4K60 4:4:4 IP signal transport.

Vizrt will highlight its AR and virtual studio capabilities in live production through Viz Virtual Studio and Viz Engine 5. Together, Viz Virtual Studio and Viz Engine 5 enable the creation of interactive 3D virtual sets, AR graphics, and mixed reality presentations, elevating audience experience through XR with hyper-realistic quality.

“Viz Virtual Studio in combination with Viz Engine 5 is a game changer for visual storytellers,” said Chris Black, head of brand and content at Vizrt Group. “Presenters can simply walk through 3D spaces, while the camera follows them and captures the interaction with XR infographics in an XR set that illustrates the story.”

NewTek will showcase the latest in its TriCaster line at the 2023NAB Show. On display will be the new Flex Control Panel, TriCaster Mini X, its sports replay solutions, and more. CaptureCast, the company’s flagship lecture capture solution for enterprise and education technology, will also be available.

Teradek, which will exhibit as part of the Creative Solutions Group in the North Hall, will focus on 4K with the debut of Prism Mobile, a camera-back video encoder with integrated cellular bonding, delivering 4K HDR live video from the toughest network environments. 

Teradek says it developed Prism Mobile “to provide better connectivity, seamless portability, and more reliable video contribution for professionals in the field.” It features two built-in high-performance cellular modems, and support for nine simultaneous network connections across WiFi, Ethernet, and Cellular offering the connectivity required for going live at sporting events, political rallies, and conferences. 

NEWARK, N.J.—Panasonic Connect North America has announced the next generation of its live production platform Kairos, with an eye towards supporting larger, more complex productions and providing new tools to simplify streaming workflows.

“With this release, Panasonic is demonstrating our customer-focused commitment to expand Kairos’ already broad range of functionality” explained Brad Rochon, Kairos group manager.

The release expands the Kairos ecosystem by adding two new Core mainframes (the KC200 and KC2000) and software enhancements that will increase the platform's scalability to support larger and more complex productions, the company said. 

Panasonic Connect also noted that the proliferation of streaming workflows has challenged production teams to create more dynamic content that delivers high volumes of quality video and graphics to multiple screens, with budget, and production requirements that may vary significantly. The new release is designed to ensure that Panasonic Connect’s Kairos platform can scale to meet the needs of any production, the company said. 

The latest release will expand the ecosystem, including:

• The KC2000 will offer the most capacity yet, boasting 200% of input & output capacity compared to current Cores, along with more video processing power and a much larger 900 GB internal clip player.
• Both new Cores can support 2022-7 network redundancy when connected to two 100Gb ST 2110 networks.
• The 4RU Chassis for both the KC200 and KC2000 offer significantly reduced noise levels appropriate to run in venue or studio.

In addition to streaming workflows, Kairos natively supports ST 2110 IP connectivity, the company noted.

This simplifies connections to Panasonic’s latest ST 2110 compatible cameras, the AW-UE160 PTZ and the AK-PLV100 Cinelive studio camera, allowing for much more streamlined multi-camera productions, it explained.  

“Kairos is the ideal solution for broadcast & media professionals looking to move to a next-generation IT/IP centric platform for unlimited production creativity, regardless of format or content destination,” said Rochon.

The next generation of Kairos hardware will be shown at the 2023 NAB show in April, with the hardware and software becoming available in the latter half of 2023.

More information about the Kairos solution and a live demo of its capabilities is available here. 

NEWARK—Panasonic has released Kairos v1.3.2 system software with several new features and functions, including access to RossTalk protocol integration.

The free upgrade integrates the RossTalk protocol via AT-SFE01 RossTalk activation key (with an MSRP of $3,300), enabling control of Ross XPression real-time graphics software directly from the Kairos platform, Panasonic said.

“With the release of this software upgrade and integration of the popular RossTalk protocol, Panasonic is demonstrating our customer-focused commitment to expand Kairos’ already broad range of functionality,” said Kairos group manager Brad Rochon. “Kairos is the ideal solution for broadcast and media professionals looking to move beyond the constraints of legacy systems, to a next-generation IT/IP-centric platform that focuses on delivering modern tools and interfaces for unlimited production creativity, regardless of format or content destination.”

The upgrade also gives Kairos users greater visibility over their production network, additional access to system log data and added redundancy capabilities for enhanced control and system integrity, Panasonic said.

It offers two new redundancy functions, including Kairos Core redundancy management for mainframe backups and SMPTE ST-2022-7 redundancy for networks (KC1000 only) to support complex, fast-paced productions. With the upgrade operators have increased access to system and operational log data, so they can easily monitor the status of the network and quickly resolve any issues, it said.

Kairos uses a server-class CPU/GPU architecture that eliminates the restrictions of legacy FPGA/firmware systems and enables live video processing and switching, regardless of resolution and format, while natively supporting the transition to live IP and cloud workflows with simultaneous SDI, ST 2110 and streaming support, the company said.

The software upgrade is available online as is more information on the product.

Newark, N.J.—Panasonic Connect North America has announced the expansion of its professional PTZ and studio camera lineup to support more dynamic, multi-camera productions and enable studios looking to expand their connected workflows through SMPTE2110 support and IP/networked capabilities.

“As more organizations look to increase their production quality to engage and immerse audiences in their content, it will be more important than ever for them to have high-quality, flexible camera technology at a reasonable price point,” says Carter Hoskins of Panasonic Connect. “We’re proud to expand our lineup with these solutions and help production crews across industries elevate their productions, enhance their content and ultimately reach new audiences.”

Panasonic said that the new AW-UE160 PTZ camera and AK-PLV100 studio camera are being launched at a time when more production is being aired on streaming platforms and that they are designed to help production teams make their content more exciting and engaging. 

As production crews engage in more multi-camera broadcasts, the cameras also allow crews to capture different angles and shots for more dynamic content. 

The AW-UE160 PTZ Camera joins the Platinum series of high-end broadcast quality PTZs. It features a newly developed 4K 1” MOS sensor that offers the highest sensitivity of Panasonic Connect’s entire PTZ lineup so production teams shooting in a concert venue or a church can easily capture clear images even in the most challenging lighting conditions, the company said.  

In addition, the UE160’s new optical low pass filter reduces the effect of moiré for clearer picture quality when shooting against an LED wall, which is especially important for rental and staging or worship environments, Panasonic reported. 

Its high-speed frame rate will also help sports broadcasters capture slow motion shots in HD for replays, while seamless integration with the robotic camera system brings live broadcast-style movements to the PTZ, resulting in a dynamic and highly engaging production.

AK-PLV100 35mm Cine Live Studio Camera is equipped with a large format, super 35mm Imager and PL Lens mount to accommodate cinema lenses for a shallow-depth look, Panasonic said.

The AK-PLV100 is a fully-enabled system camera, and is compatible with the AK-HCU250 and AK-UCU600 camera control units, making it a companion to existing B4 mount camera systems. To capture cinematic video, simply swap the existing camera head with the AK-PLV100, the company said. 

The camera also leverages Panasonic Connect’s expertise in IP-based live production, the company said. 

It outputs 12G-SDI signals from the camera head and can interface with return, control and other communications directly, or through ST 2110 when used without a CCU. For multicamera productions, the AK-PLV100 can also be used simultaneously with the AW-UE160 - which has the toolset to create a more unified look – to capture a variety of angles & shots for a more interesting & compelling production. With this combination of features, the AK-PLV100 gives media and entertainment professionals flexibility & control, that doesn’t sacrifice production quality, the company said. 

To support production studios moving towards more connected, IP-based workflows, both cameras will feature SMPTE2110 compatibility (AW-UE160 users can activate this through the AW-SFU60 software key, sold separately). This will enable more streamlined connection to the KAIROS IT/IP platform (released in May 2020), which gives professionals unlimited control to deliver rich content to multiple screens and streams.

Both the AW-UE160 PTZ camera and AK-PLV100 studio camera are on display at NAB Show New York (booth #725) from October 19-20, 2022, where Panasonic Connect will demonstrate its portfolio of video & broadcast solutions. 

For more information on Panasonic Connect’s complete lineup of professional PTZs and studio cameras, visit here.     

The 2022 NAB Show, April 24-27 in Las Vegas represents the largest gathering of the M&E tech industry since 2019. Among the premiere exhibitors at the show is Panasonic, which is returning with a slate of new products covering a wide range of markets from A/V to professional broadcast and cinema. 

TV Tech Editor in Chief Tom Butts recently had a chance to talk with Yasuyuki Higuchi, CEO of Panasonic Connect Co., Ltd., about how the technology and Panasonic has evolved since the last time the industry gathered in Las Vegas. 

TV Tech: I think I speak for a lot of people in our industry about how excited we are that the M&E tech industry is finally gathering in person at the NAB Show next week. Can you tell us how Panasonic has weathered the effects of the pandemic over the past two years in terms of customer relations, new products designed for remote production and supply chain issues?
Yasuyuki Higuchi: In the entertainment field, the impact of the pandemic was enormous, especially with a significant reduction in the number and size of real events. On the other hand, demand for remote production grew suddenly, and distribution of video content to the internet and other media has expanded. We have introduced new products such as remote camera systems that respond to these changes, and thankfully, we have been able to continually support many customers. 

On the other hand, in September last year, we acquired Blue Yonder, the world's top supply chain software company. Blue Yonder is a company with a stable profit structure with a recurring revenue ratio of about 70% and more than 3,000 large enterprise customers world wide. This integration has made it possible for us to serve a wide range of supply chain related customers. We would like to contribute to the realization of a better society and a sustainable future by providing hardware, software and solutions that support our customers' core operations.

TVT: Can you elaborate on the Blue Yonder acquisition and how it will impact Panasonic’s pro customer base?
YH: We are now able to provide Blue Yonder's cloud-based software that enables end-to-end control of the supply chain across manufacturing, logistics, and retail. By combining this with our industrial engineering expertise that incorporates the knowledge and know-how that Panasonic has cultivated in the manufacturing industry for over 100 years, we will provide more integrated and advanced solutions based on AI and machine learning. In addition, it is possible to grasp changes in demand and supply that require complexity and speed in real time, and make business decisions more accurately and quickly.

TVT: Does Panasonic have a sustainability initiative in an effort to reduce its carbon footprint both in terms of consumer and professional products?
YH: Yes, under what we call the Panasonic GREEN IMPACT, the Panasonic Group as a whole aims to reduce current global CO2 emissions by about 1% (approx. 300 million tons)* by 2050. Under this plan, Panasonic Connect will help our enterprise customers reduce their own CO2 emissions through the solutions and services we provide.

* 2019 Energy-derived CO2 emissions 33.6 billion tons (Source: IEA) 300 million tons is calculated based on the 2020 emissions 

TVT: How much of an impact has the pandemic had on Pansonic’s ability to supply media production equipment worldwide?
YH: Due to the global supply shortage of semiconductors, our production capacity was affected. On the other hand, due to the rapid increase in demand for remote production, sales are particularly good for the PTZ category. Moreover, we have launched and are receiving orders for our "KAIROS" IT/IP based remote production platform. Recently, the studio camera market is also on a recovery path so now we have a lot of back-orders.

TVT: Can you highlight some of the new advances in KAIROS and how it is being impacted by the industry’s move to the cloud?
YH: The ”KAIROS” IT/IP Platform will newly develop cloud support for the U.S. market. With these, we will further accelerate remote video production. This enables optimal operation for customers by hybrid operation of on-premises and cloud. In addition, as a new product, we have developed a compact control panel, strengthened the lineup of peripheral devices, updated the software (v1.2), and enhanced the Agile I/O function and audio function that can support the expansion of the number of inputs and outputs. 

TVT: What advances in AI/ML does Panasonic see will have the biggest impact on media production?
YH: With the evolution of AI/ML, we expect that both shooting and editing processes will be automated. Video content production will be easy and hassle-free, and it will bring an environment where anyone can easily produce, distribute, and share. We believe this will not only improve the efficiency of workflows, but also broaden media production. We also want to push the evolution of the camera—which is an IOT device—into a device that senses the shooting environment in combination with AI.

TVT: Panasonic has increased its focus on the PTZ market in recent years. Can you explain the reasoning behind this and the role PTZ cameras have in pro media production?
YH: Video content has continued to increase due to the diversification of viewer needs and viewing devices. In anticipation of these trends, centered on PTZ cameras, we have been working on improving both image quality and shooting operational efficiency.

With the pandemic, remote production from shooting to distribution and shooting operation avoiding crowds and enclosed spaces are accelerating. In the future, we will continue to improve the performance of PTZ cameras and with its PTZ (pan-tilt-zoom) function improvements, aim to further expand their applications and realize video content production that is not restricted by location or time, through the evolution of networking.

TVT: Can you highlight some of the new camera/imaging technologies that will be shown at NAB?
YH: In 2022, we renewed five entry-level PTZ cameras from the middle model to strengthen our lineup. Most models are compatible with 4K and have a wide viewing angle. We are also strengthening the lineup that supports IP such as NDI Native and SRT, and Free D. We will also meet the various operational needs of our customers by providing auto-tracking software and peripheral devices including third parties.

TVT: What do you see as the future of high resolution, 4K and 8K?
YH: Until now, higher resolution has always meant high image quality, but we believe that further high resolution will continue to be very effective for displaying images on large screens and other devices.

On the other hand, we believe that higher resolution has the potential to create a new way of video production, such as video content production based on cut-out editing, production of multi-view images by synchronizing multiple cameras, and application to XR.

TVT: Lastly, what do you enjoy the most as you’re making changes at Panasonic?
YH: Since returning to Panasonic in the Connected Solutions Company, [the predecessor of Panasonic Connect], in 2017 as CEO, I've been leading the push to modernize and transform the traditional, slow, and cumbersome Japanese company culture. 

First, we aimed to transform the mindset of our employees, changed our solutions portfolio, and changed our business models. The process was not always enjoyable, but the company as a whole has become more vibrant, customers themselves have told us that we have changed for the better, and I can rejoice in these results together with our employees. That is what I enjoy.

Panasonic will be in Booth C3607 in the Central Hall of the LVCC. 

TORONTO—Integrators have begun using the Imagine Communications Selenio Network Processor (SNP) software-based processing platform to provide a high-density on- and off-ramp for the Panasonic KAIROS IP live video production platform, Imagine Communications said today.

“Today, live production companies are striving to achieve maximum benefits from the move towards an all-IP infrastructure without the need to dispense of existing hardware, and implementing proven, hybrid solutions helps to ease the transition,” said John Mailhot, CTO Networking and Infrastructure at Imagine Communications.

“The seamless interoperability between the SNP and KAIROS is a perfect example of this type of solution," he continued. "We have already seen a number of successful SNP/KAIROS implementations delivering tangible operational and commercial benefits.”

The 1RU SNP platform offers a broad range of processing functions, handling conversions between SMPTE ST 2110 and SDI, including 12G-SDI, up-, down- and cross-conversion between HD and UHD and SDR and HDR, Imagine Communications said. 

It also offers an HDR-capable production multiviewer personality, SNP-MV, which can integrate content from different video formats and HDR systems into a consistent display environment. The latest SNP release incorporates JPEG XS compression capabilities, it said.

Panasonic’s KAIROS platform offers an open architecture system for live video switching with complete input and output flexibility, resolution and format independence, maximum CPU/GPU processor utilization and ME scalability. As a native IP, ST 2110 system, KAIROS supports transitions to live IP workflows, the company said.

When used with KAIROS, the SNP platform can convert a large number of SDI sources, multiplexing them onto a single fiber connection, eliminating the complication of a COTS switch. This set up could be used in applications where KAIROS and the SNP platform are spread far apart, such as in OB production or on campus installations, it said.

Imagine Communications is a KAIROS Alliance Partner. The alliance encourages vendors to collaborate in areas like SMPTE ST 2110 interoperability and device connection verification.

More information is available on the Imagine Communications website. 

CHESTERFIELD, Mo.—Panasonic has announced that Gateway Studios & Production Services has made a major investment in Panasonic 4K studio and PTZ cameras and the Tecnopoint camera Dolly and Totem systems. 

The equipment will be used by Gateway for its live music touring acts, motion picture/television and corporate event clients.

As part of the deal, Gateway has invested in 16 AK-UC4000 4K HDR studio cameras, 12 AW-UE150 4K 60P HDR PTZ cameras, and Tecnopoint floor, ceiling and totem systems for the multi-camera coverage of major music tours, festivals and corporate events. 

The cameras and robotic systems will also be for incorporation in its new studio complex under development in Chesterfield, which is expected to be the largest production services and rehearsal facility of its kind in the U.S.

“Panasonic has enjoyed a long, successful relationship with Gateway, and we’re delighted to have supported their efforts through the years on major music tours like the legendary rock band Phish,” said Carter Hoskins, director, professional imaging, Panasonic. “It is exciting to be part of Gateway’s new initiatives as they continue to raise the bar by offering our innovative 4K and HD equipment, including in mobile fly-packs and robotic camera systems, to its expanding roster of high-profile clients.”

Trey Kerr, the CEO of Gateway Studios & Production Services added that “the music touring industry has opened back up and we’re extremely busy. Major music acts are out on tour and through purchases like this, we’re able provide the leading edge in video equipment to our clients.”

Gateway has a substantial number of Panasonic AK-UC4000 studio cameras studio and AW-UE150 PTZ cameras in inventory to meet the increasing demand for equipment and adding Tecnopoint systems provides another tool to up the ante for its clients.

“Gateway is second to none in providing broadcast quality equipment to our clients and we’re always looking for new cinematic tools to implement,” Kerr said. “Incorporating Tecnopoint dolly systems allow us to make our broadcasts look even better by adding more dimensions and depth to what we are already capturing with the Panasonic robo cameras.”

The first tour that the Tecnopoint system is being utilized on is the Phish Tour that launched in late July and runs through the end of October. Fifteen Panasonic studio and PTZ cameras along with a Tecnopoint system will be used to cover the band Phish in concert.

NEWARK, N.J.—Panasonic System Solutions Company of North American has added the new AW-HE145 full-HD integrated pan-tilt-zoom (PTZ) camera to its professional pan/tilt/zoom camera line-up. 

This camera delivers broadcast-quality images, with flexible operation and compatibility with an array of Panasonic software solutions including the PTZ Control Center and AI-driven Auto Tracking, the company said. 

Designed to capture content in low-light situations, the HE145 is equipped with a large 1-inch MOS sensor and optical 20x zoom to achieve superb high sensitivity (F9/2000) shooting even in dark scenes, the company reported. 

The new camera also delivers smooth "on-air" moves and supports HDR for capturing images with a high dynamic range. The camera's 75.1-degree horizontal wide angle lens – one of the widest in its class -- allows production staff to capture full shots in large spaces, including theaters, stadiums, lecture and symphony halls, and sanctuaries, and is invaluable for studios with limited spaces.

For video streaming applications, the HE145 supports RTMP to allow direct upload of video to live-streaming services such as YouTube and Facebook Live. In addition, Secure Reliable Transport (SRT) is supported to maintain stability while transmitting high-quality video, even on unstable networks. Outputs include 3G-SDI, HDMI and IP for the flexibility to integrate with a variety of workflow infrastructures.

"The new HE145 camera is part of our growing and comprehensive line of PTZ camera solutions,” said Jim Jensen, category owner, Remote Systems, Panasonic. “It offers inventive features and the ability to perform exceptionally well in poorly-lit conditions. The HE145 is supported by our comprehensive PTZ camera ecosystem, which includes a wide range of software solutions, advanced robotic and prompter systems, and camera controllers."

The AW-HE145 will be available in both black and white in October at a suggested list price of $10,500.

More information about Panasonic professional video products is available here.  

ATLANTIC CITY, N.J.—Professional Fighters League (PFL) is the first and only league to present MMA in the tournament format where individual fighters compete in regular season, playoffs and championship. As the most innovative MMA sports league, PFL has quickly established itself as the number two mixed martial arts company in the world with distribution on ESPN networks and streaming platforms in 160 countries worldwide.

With the pandemic limiting the size of onsite crew for PFL productions this year in Atlantic City, N.J., the league was forced to rethink its broadcast using remote productions. As a result, each PFL 2021 fight card has been shot in a "bubble-like" environment at the Ocean Casino Resort in Atlantic City over a two-day period, with eight to 12 mixed martial arts matches broadcast live over ESPN, ESPN+ and ESPN Deportes channels.

REMOTE PRODUCTION WITH PTZ

Remote production is changing the way sports broadcasters operate and the Professional Fighters League broadcasts is a prime example. For this season, the addition of Panasonic professional AW-HE42 HD PTZ cameras helped accommodate these changes.

Inertia Unlimited has been supplying cameras for PFL broadcasts since the league’s inception in 2018. Everyone who works for us has a deep background in broadcast sports. We are shooters, editors and producers, so we understand what works conceptually and practically in the harsh environment of traveling sports television.

To acquire the blow-by-blow action in and out of the cage, we supplied six Panasonic HE42 1080p PTZ cameras and two additional advanced Panasonic HD PTZ models to capture all the PFL’s exciting bouts. The cameras are controlled via a Panasonic AW-RP60 compact controller with a 3.5-inch LCD screen and intuitive joystick for smooth, responsive control.

The show needed to add cameras because its announcers were not at the same location; they were delivering their commentary from their homes. The two advanced Panasonic PTZ cameras at the announcers’ homes have been remotely controlled live from our production hub in Atlantic City, a 1,000-miles away. And we have had extensive control of these cameras, including their pan, tilt, zoom and paint functions.

NO COMPROMISES NECESSARY

Panasonic’s HE42 Pro PTZ remote cameras are designed to produce great results in a variety of applications. One of the main reasons we selected the AW-HE42 for the PFL broadcasts was because of their compact size and excellent image quality. We had used other manufacturers’ PTZ cameras in the past, but we felt we were compromising —but not with the HE42. It is a polished, high-quality camera. The pan, tilt, zoom and focus of the HE42 work very smoothly.

In the mobile unit, we have had a very efficient signal infrastructure where the data and video from the six HE42s have been combined on one fiber cable onto a network to the production truck and available from the truck to be switched live to air. 

In addition to the camera's innovative design, the installation and integration of the HE42s was effortless, which has been greatly appreciated, as that has not been the case with other PTZ cameras we’ve used in the past.

For more information visit Panasonic at www.panasonic.com/global/business.

NEWARK, N.J.—Panasonic System Solutions Company of North America has announced three new additions to its DECT Digital Wireless Microphone system. 

The three new products include a 4-channel wireless receiver, an expansion receiver and a personal lavalier microphone, which broaden the ecosystem to provide audio clarity for voice lift applications and easy system scalability at a reasonable price.

Panasonic's new WX-SR204 4-channel wireless microphone receiver efficiently connects 4 wireless microphones with the same footprint as the current WX-SR202 2-channel receiver, the company reported.  

The new WX-SE200 Expansion Receiver allows a commercial integrator the ability to add up to 4 additional Panasonic wireless microphones to a 4-channel system by efficiently leveraging the antennas connected to the new WX-SR204. 

To accommodate education institutions that wish to distribute personal lavalier microphones to each instructor, Panasonic is also introducing the WX-SM410 cardioid condenser lavalier microphone as a separate item. This lavalier microphone also ships as a set with the wireless bodypack. 

Originally launched in November 2019, Panasonic's Digital Wireless Microphone System includes wireless microphones, available in handheld (WX-ST200) and a wireless bodypack + lavalier microphone set (WX-ST400) configurations, transmit to the WX-SR202 2-channel receiver via an encrypted connection using the 1.9GHz DECT frequency spectrum, outside of the crowded 200-580 MHz range. 

Panasonic's proprietary adjustable range antenna (WX-SA250) connects to Panasonic's wireless microphone receivers via a CAT5, CAT5E or CAT6 cable and allows the commercial integrator to set the range to cover the desired area in order to minimize signal interference between systems installed in adjacent classrooms, training room, boardrooms, auditoriums, etc. 

Up to 8 antennas can be connected to one wireless mic receiver, allowing the system to scale to much larger installations if needed. Panasonic also has modules available for Crestron and Extron control of the system. Additional integration partners will be added in the future.

Panasonic's Professional Audio solutions are compatible with Panasonic's full suite of visual displays, projectors and pro video offerings, providing universities and corporations the opportunity to outfit its entire audio and visuals system from one provider. For more information, visit https://na.panasonic.com/us/audio-video-solutions/professional-audio/.

MELBOURNE, Australia—Atmos and Panasonic have released Apple ProRes RAW recording from the Panasonic LUMIX GH5S camera when used with the Atmos Ninja V or Ninja V+, the companies said today.

Both products now can record up to 4K DCI p60 ProRes RAW and 3.7Kp60 anamorphic RAW from the GH5S with an update to AtomOS Firmware 10.66.

The small, compact size of the GH5S makes it well suited for gimbal and drone shooting, vlogging and cinema production. Its Micro Four Thirds image sensor provides flexible lens options, affordable anamorphic capture and dual native ISO, the companies said.

The ProRes RAW files captured when using the camera with the Ninja V or Ninja V+ will offer full metadata support in Final Cut Pro for White Balance and ISO slider adjustments, they said.

Both Atomos recorders offer accurate monitoring of the RAW signal on their daylight-viewable 5-inch 1000-nit brightness HDR screens.

Setup is simple. Users can view the RAW image accurately in HDR in a choice of HLG and PQ (HDR10) formats. The Ninja V family offers touchscreen access to tools like waveforms, 1-1 magnification and focus peaking. The Ninja records the ProRes RAW data onto a removable AtomX SSDmini or other SSD drives. When shooting is complete, the drive is removed and connected to a computer via USB for immediate offload and editing. 

The free Ninja V and Ninja V+ 10.66 firmware upgrade is available on the Atmos website.

Panasonic has also released a firmware update for the GH5S.

NEWARK, N.J.—Panasonic is addressing the increase in live video production needs by launching a new version of its Kairos live production platform, the Kairos Core 1000. The updated platform features a new mainframe option, expanded HD/4K I/Os and increased recording capacity.

The new Kairos Core 1000 mainframe option offers a higher performance CPU and GPU, which increases the system’s video processing capacity. The new mainframe also supports 4K and a CANVAS function as a standard feature. The Version 1.1 software allows less restricted use of the multilayered video composition, output in high resolution, including 8K.

The platform also expands RTP/SRT/RTMP streaming from six to eight inputs with two outputs. The Kairos Core 1000’s increased recording capacity for video has been increased to 64 GB uncompressed RAW player capacity.

“With its intuitive and user-friendly interface, Kairos is fully customizable, encompasses everything needed to adapt to any live production scenario, and provides the tools needed to create a highly engaging and visually stimulating production,” said Michael Bergeron, senior category owner, production systems, Panasonic. ”As venues are permitted to host in-person events again, Panasonic’s Kairos system will be there to support AV teams connect with their audiences to create memorable experiences.”

For more information, visit Panasonic’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.

NEWARK, N.J.—Panasonic has released EL Zone, a new exposure map tool, as part of its latest VariCam firmware update.

“Unlike false color methods that have limited steps and are IRE percent-based, EL Zone is an intuitive stop-based system that relates one-to-one with lens F-Stops and light meters,” said Mike Bergeron, senior category owner, Production Solutions, at Panasonic. “The tool is easy to use, and the color codes are arranged to be easy to remember.”

Firmware version 9.0’s EL Zone exposure map tool was created by cinematographer Ed Lachman, ASC, whose credits include “Erin Brockovich,” “Far From Heaven” and “Carol,” Panasonic said. It offers 15 delineated steps to help map the VariCam’s full exposure range. 

In EL Zone, 18% gray shows up as gray. Complete overexposure shows up as white with no detail remaining and full underexposure shows up as black with no detail remaining. With the tool, setting skin tones for light or dark skin is in +/- ½ to 1 Stop increments above and below 18% gray. Assigning EL Zone to a camera user button allows the exposure map tool to be turn on or off, the company said.

El Zone is now available for the VariCam LT and VariCam 35 4K HDR cinema cameras. EL Zone can be used in the various color modes, including: V-Log, V-709 and V-Look1 and V-Look2 (V-Look 1 and 2 are available for VariCam LT only). With the free upgrade, cinematographers have more flexibility to correct problematic shots, match shots to others and achieve highly stylized or cinematic looks in post-production, Panasonic said.

Other new firmware features include added anamorphic de-squeeze aspect ratios 1.8x and 1.5x and an in-camera custom aspect ratio frame marker generator that dials in just about any aspect ratio. There are also improved prefixed fixed frame markers that are easier to use, the company said.

More information is available on the company’s website. 

MELBOURNE, Australia—Atomos and Panasonic have worked together to bring Apple ProRes RAW recording to Panasonic’s LUMIX BGH1 and LUMIX S1 cameras. Each camera will be able to record in ProRes RAW when working with Atomos’ Ninja V platform.

The LUMIX BGH1 is a Cinema 4K Box style camera. When combined with the Ninja V, it will record up to 4K DCI ProRes RAW and up to 3.7K anamorphic RAW. The Ninja V and LUMIX BHG1 combination can also work in sync for multicamera productions, facilitated by the LTC and Genlock inputs and complemented by the Atomos UltraSync One wireless sync system.

Panasonic’s LUMIX S1 shares the ProRes RAW features of the LUMIX S1H camera, meaning it will record up to 5.9K ProRes RAW when paired with the Ninja V. There is also support for anamorphic RAW. 

The Ninja V allows users to monitor a RAW signal on its 5-inch 1000nit brightness HDR screen. It can also record ProRes RAW data onto a removable AtomX SSDmini or other SSD drives.

According to Atomos CEO Jeromy Young, the new ProRes RAW supported cameras join previous Panasonic S Series cameras, including the LUMIX S1H and LUMIX S5.

For more information, visit www.atomos.com.  

LOS ANGELES—The second season of “A Little Late With Lilly Singh” on NBC has had to reconfigure its production setup because of the COVID-19 pandemic. Now shooting the late-night talk show at Singh’s home in Los Angeles, director of photography Carissa Dorson is utilizing a mix of Panasonic’s AU-EVA1, Lumix GH5S and GH5 cameras to create a dynamic look while following safety guidelines.

The entire show is shot with three EVA1 cinema cameras, two Lumix GH5S mirrorless cameras and one GH5. Two of the EVA1s are used as the A and B cameras, with the third serving as the C camera for wide shots. 

The GH5S cameras are used for varying purposes, including mounting one on a DJI Ronin-S gimbal and one used for Singh’s monologue, which they call rants as it is done in a vlog style, according to Dorson. Dorson praised the GH5S’ dual native ISO technology and auto-focus capability.

Content is captured in full HD (1920x1080) at 23.98 fps. The EVA1s capture 10-bit 422 ALL-I files, while 10-bit 422 LongGOP is captured with the GH5S and GH5 cameras.

“We did some tests beforehand,” said Dorson. “I was able to choose picture profiles for the GH5S and EVA1s that matched as best I could. On the GH5S, I'm using the standard picture profile with the saturation and contrast dialed down. There are certain segments where we're pairing the two cameras together and to my eye they're matching pretty well. The GH5S really holds up to the EVA1, even though it's not considered a cinema style camera. It looks really impressive.”

Canon CINE-SERVO 17-120mm T2.95-3.9 EF zooms are used for lenses, as well as Lumix 12-35mm zoom lenses for the GH5S and GH5.

During celebrity interviews—with Singh on her living room couch and the guest on a Zoom call—Dorson captures a wide angle of Singh on the couch and the monitor with the guest and employs handheld cross-shooting of Singh and the monitor by the B-Cam and C-Cam operators. Sometimes the a full-screen shot of the Zoom screen is used.

“The cameras have been very flexible due to their small size, which helps our small crew. Our one AC/media manager, Iliana Ipes, does a great job juggling all of the cameras and footage,” explained Dorson. “The GH5S is perfect for running around on a gimbal, and for our rant camera in which Lilly is alone in a room talking to the camera. The EVA1s and GH5's make a good compilation of cameras that fit all of our needs.”

For more information, read Dorson’s blog on Panasonic’s website. 

LONDON—As stay-at-home orders sent streaming through the roof over the past 12 months, the TV remains the centerpiece for home entertainment. A quarter of all TV viewing in North America is now from streamed services, according to Nielsen. Households also upgraded their TV sets, setting a record for TV shipments in 2020, according to the Consumer Technology Association, which expects steady demand for displays in North America through 2021. An estimated 43 million units shipped this year will be sets over 70-inches and/or those with 8K UHD. 

TV vendors have had a tough time in recent years as consumers tended to pay more money, more frequently for smartphones. Greater attention from consumers on the value of the main screen and the maturation of a number of technical ingredients, which—combined, make for more immersive viewing experiences—has opened the window for TV makers with CES as ever the perfect place to launch a sales pitch. 

“The killer app for TV is TV,” is how Madeleine Noland, president of the ATSC, put it during a CES panel session about NextGen TV. ATSC research reveals that home viewers want higher resolution and enhanced audio (from built-in 3D speakers to sound bars and 21.1 channels). 

They also want higher dynamic range, higher frame rates and bigger displays and Filmmaker Mode, a button that sets a film’s color-palette, contrast, aspect ratio and frame rate supposedly as the director envisioned. In fact, they want the whole package to which can now be added “smart interactive personalization.” 

“What is exciting is the synergy between these consumer desires and today’s TVs, which are bringing these features to life,” she said. 

It’s been a while getting here. Michael Davies, senior vice president, field and technical for Fox Sports said on the same CES panel, that while visiting Japan last year he was “embarrassed” to admit that Fox was still broadcasting 720p SDR when the Japanese were talking about 8K. 

“We’ve been living with HDTV for 20 years,” he said. “It’s been a pretty slow roll from there. We had three 8K cameras at Super Bowl LIV but that pales beside the other 120 cameras we had there.”

AI AND UPSCALING

CTA predicts 8K TV sales will grow by 300% in 2021 albeit comprising a relatively small 1.7 million units. 

“Even in 4K there is limited content today,” acknowledged Grace Nolan, vice president, integrated marketing at Samsung. “It will be a little stretch to get to 8K on a more mainstream level—[but] we won’t get there unless the industry is pushing. It’s encouraging to see 8K games consoles [PS5 and Xbox Series X support 8K gaming] coming out. We will catch up with Japan.” 

In the meantime, vendors are relying on upscaling technology to make incoming lower-resolution pictures “8K-ish.” “We lean hard on AI and upscaling tech,” said Nolan. “The more data that is input into the TV, the better the processor is able to work to produce a more beautiful upscaled image.” 

Aside from UHD, HDR and enhanced audio, the other near universal component of TV hardware 2021 is applications for gamers. Larger, brighter screens with higher refresh rates and special gamer-only features as well as tie-ups with cloud gaming vendors should help TV brands shift more gear. 

Decoding the barrage of branding and acronyms, which go hand in hand with new TV launches is a minefield, and two in particular make for confusion this year: MiniLED and MicroLED. 

MiniLED could overtake LCD to become the main illumination source for the bulk of consumer electronics, let alone flat panel displays if news of recent developments comes to fruition. Apple is widely-rumored to be using MiniLED panels in its upcoming iPad Pro and MacBook upgrades. 

By siting tens of thousands of LEDs behind an LCD panel, combined with “dimming zones,” this technology helps deliver more precise differentiation between bright details without the light spilling into surrounding dark areas. Black levels, of course, have a direct impact on accurate color representation in SDR and HDR images but overall brightness levels are superior to those produced by OLEDs. 

MicroLED, the more expensive solution to manufacture, involves assigning microscopic LED arrays to individual pixels, therefore allowing even greater control over the picture brightness. Like OLED, this technology allows true blacks to be shown by switching any pixel off, but unlike OLED, MicroLED can deliver much brighter dynamic range and more impressive contrast. 

Compared with LCD technology, MicroLED displays offer better contrast, response times and energy efficiency. MicroLEDs form the basis of Sony’s Crystal LED screens, which it is now marketing to film and TV productions wanting to shoot on virtual sets. 

SAMSUNG

Samsung, the world’s largest TV seller, has made MiniLEDs the backlight system for its range of new NEO QLED TVs. By shrinking the LEDs to a 40th of their traditional size, Samsung is upping both brightness and black levels while allowing for more precision and less bleeding of bright areas into darker spots. 

The flagship 85-inch Neo QN900 comes with a bezel-less screen similar to the infinity screens of its Galaxy smartphone. It’s less than a centimeter thin too with the speakers embedded behind the screen. No price was given but this could cost north of $10k. 

An interesting feature is a “game bar,” which enables quick access to settings such as refresh rate and aspect ratio when attached to a PS5 or Xbox Series X. The aspect ratio can be changed from 21:9 to 32:9. It also supports 4K at 120fps, which is another must-have for gamers. 

Samsung’s CES headline generator though is its new MicroLED TVs, which come in 88-, 99- and 110-inches. Reports suggest that the largest one costs $156K and it’s only 4K. Two years ago Samsung was demonstrating this technology in an 8K 150-inch version called “The Wall” and directed at the business-to-business market. These consumer-grade monsters come with a “Multi View” feature that enables the screen to be split into four separate 55-inch pictures. Each of the four sections have their own separate volume control too.

LG

The world’s second best-selling TV brand is also introducing MicroLEDs into a range of displays it is calling “QNED.” The “Q” refers to sets’ uses of tiny “quantum dot” crystals to display colors. “N” refers to “nano cell” particles used to absorb unwanted light wavelengths to improve color reproduction and viewing angles; the ‘ED’ refers to “emitting diodes.” 

LG is packing 30,000 of these tiny LEDs into the back of its largest 86-inch screens to produce a contrast ratio of 1,000,000:1 when paired with up to nearly 2,500 dimming zones and advanced local dimming technology,” the company claimed. 

In a video presentation the company said, “The only way for LCDs to get bigger is for details to get more precise—hence ‘Mini-LED.’ Blacks that are deeper and more precise than any other of our LCD TVs.” 

However, LG’s premium picture quality will still be found in its OLED “Evo” range, which now comes with a new processor. During its press conference, LG said the Evo benefitted from “a new luminous element” that would deliver “punchy images with high clarity, detail and realism.” 

Gaming is a focus for LG too. It has a new partnership with Google, which will see Google Stadia run on its TVs while Amazon Twitch has earned a prized position on LG’s "magic" remote control. 

A prototype of a 48-inch OLED capable of bending 1000mm from a conventional flat screen into a curved display for greater immersion also targeted gamers.

PANASONIC

Panasonic majored on OLED and also zeroed in on gamers with its 55-inch and 65- inch JZ2000. The model is billed as having low latency and support for HDMI 2.1 variable refresh rates as well as frame rates up to 120fps. 

An AI processor can automatically detect what you’re watching or playing as well as the ambient light settings of the room you are in and calibrate settings including Dolby Vision IQ and HDR10+ Adaptive for optimal viewing. 

As an example, Panasonic said it can detect a football game and adjust the picture accordingly to help accentuate things like the grass on the field or how players look. The AI system will also give you a sound setting that feels like you’re in the stadium, Panasonic said. 

Alongside Dolby Atmos support, the TV comes with side and upward-firing built-in speakers, which create what the company calls 360-degree Soundscape Pro. 

HISENSE

Hisense is adding an 8K up-rezzing chip to its flagship ULED TVs later this year and will promote this through its official partnership with the rescheduled Euro 2020 soccer tournament. 

Bigger news from the Chinese vendor, though, was the unleashing of a massive 300- inch version of its TriChroma laser TV. These are laser projectors that use short throw technology to display 4K images on walls but Hisense has added a smart platform—AI cameras to support interaction like online karaoke and fitness and a TV tuner. 

“Laser TV is the only TV category which experienced growth in China last year,” said CEO Fisher Yu, who added that sales had rocketed 288% outside China in 2020. 

Since launching the first laser TV in 2014, Samsung, Sony and LG have followed suit with their own ranges.

NEWARK, N.J.—Panasonic’s Kairos next-generation IT/IP live production platform was recently installed at LiveX, a production and broadcast company, as an effort to automate its 4K broadcast streaming studio and expand the company’s remote production capabilities.

With the Kairos system providing IT/IP video processing, LiveX has upgraded its master control room to streamline their workflows and automate their studio. Kairos works with LiveX’s legacy hardware, enabling the company to use its built-in features, including the ability to control all cameras through one IP network, color correct, playback shots and edit graphics. Also, Kairos enables LiveX to have fewer operators on set.

“We will be able to use KAIROS to lock in our shots and manipulate them to have completely different types of shot movements and tracking, allowing us to be more efficient at a higher level,” said Corey Behnke, co-founder and producer at LiveX.

The Kairos platform offers an open architecture system for live video switching with input and output flexibility, resolution and format independence, CPU/GPU processor utilization and ME scalability. Kairos is a native IP, ST 2110 system, able to support transitions to live IP workflows.

In addition, LiveX is now using Panasonic’s Technopoint robotic camera system. Combined with the Technopoint TUNING floor totem and Panasonic’s AW-UE150 4K 60p professional PTZ cameras, LiveX has new movement capabilities with its remote camera live production workflows.

“Panasonic’s Technopoint robotic camera system will elevate every show we produce in our new studio. The system allows us to create jib shots, one of the most coveted shots in broadcast production, while the UE150 PTZ cameras provide outstanding image quality and ability to capture a range of cinematic shots and movements, in addition to SRT support – a protocol we utilize every day,” said Behnke.

For more information, visit Panasonic’s website. 

MELBOURNE, Australia—Atomos and Panasonic have announced they have teamed to bring 5.9K full-frame Apple ProRes RAW recording to Panasonic’s Lumix S5 full-frame mirrorless camera when paired with Atomos’ Ninja V HDR monitor-recorder. This update gives the combo of the Lumix S5 and Ninja V the ability to record up to 5.9Kp30, 4Kp60 and 3Kp50.

Ninja V is able to monitor a RAW signal on its 5-inch 1000nit brightness HDR screen. Users can view the RAW image in HDR in a choice of HLG and PQ (HDR10) formats. There is also touchscreen access to tools like waveform, 1-1 magnification and focus peaking. The Apple ProRes RAW data is recorded onto a removable AtomX SSDmini or other SSD drive.

When working with Ninja V, the Lumix S5 camera can be used for handheld, shoulder-mounted, gimbal, Steadicam and in-vehicle production. The combination can also accommodate a 3.5K Super35Anamorphic 4:3 RAW mode lens.

These new features will be activated by a firmware update for the Lumix S5 and Ninja V by the end of November.

For more information, visit www.atomos.com.  

GRASS VALLEY, Calif.—AJA has announced that it is joining Panasonic’s Kairos Alliance Partners program as a verified hardware partner with the Kairos IP live production platform in an effort to establish Kairos as a new standard for live production 

With this new partnership, AJA’s IP ST 2110 Mini-Converters, which are designed for the transmission, transport and reception of IP video for both encoding and decoding, are compatible with Kairos. This includes AJA’s IPT-10G2-HDMI, IPT-10G2-SDI, IPR-10G2-HDMI and IPR-10G2-SDI transmitter and receiver models.

“As remote production continues gaining traction in 2020, IP solutions are critical for ensuring production crews are able to control equipment from any location and collaborate at safe distances,” said Nick Rashby, president, AJA Video Systems. “AJA’s partnership with Panasonic around Kairos further improves IP workflow for live production, with our powerful fleet of IP Mini-Converters for bridging HDMI and SDI with IP fully integrated with Kairos and Panasonic’s live switching platform.”

For more information, visit www.aja.com.  

NEWARK, N.J.—Panasonic has begun to ship its new AW-UE100 Pan/Tilt/Zoom (PTZ) camera, which the company says is the first PTZ camera to support 4K/60p for high-bandwidth NDI and Secure Reliable Transport (SRT) for capturing high-quality images and video over public internet .

Among the new features of the AW-UE100 is a Direct Drive motor that allows for quieter and smoother movements, as well as heightened response time, per Panasonic. The PTZ camera also has increased flexibility with support for a range of IP transmission protocols, including NDI, NDI|HX and SRT; low latency live video transmissions with high-bandwidth NDI to transmit 4K/60p at 250 Mbps, as well as full HD at 100 Mbps over a single LAN cable; and 24x optical zoom and a 74.1-degree horizontal viewing angle.

Panasonic is also developing a plug-in for use with the AW-UE100 that integrates with the Unreal 3D Engine due to the FreeD positioning data outputted by the camera for creating immersive virtual or augmented reality experiences.

The AW-UE100 is being sold for $8,350. For more information, visit na.panasonic.com.  

OKLAHOMA CITY, Okla.—As a private, family-owned, Oklahoma-based multimedia company, Griffin Communications is committed to keeping Oklahomans safe, informed and entertained, and has been serving our community through our TV and radio stations for more than 55 years.

To continue this legacy of service, we started a project in 2019 to restructure and reinvent our newsrooms to evolve with the ever-changing media landscape by updating our content strategy and evaluating equipment needs. With 40 mobile, multimedia journalists and 25 photographers, we wanted to outfit them with the latest camera equipment that would enable them to easily shoot and create content on-the-go throughout the state.

SUPPORTING OUR JOURNALISTS

When you make a decision to upgrade your newsroom, there are many factors to consider—functionality, techs and specs, competitive price point and compatibility with existing hardware and customer service. These factors, coupled with the trust we already had in Panasonic, gave us the confidence to purchase 40 AG-CX350 handheld cameras and 26 shoulder-mounted AG-PX380G cameras to support our journalists and photographers and our new content workflow.

We are dedicated to providing our journalists with the best technology to produce the best stories. Greg Blackwood and Oscar Pea, our chief photojournalists, were excited to work with the new Panasonic cameras, particularly the CX350s due to the camera’s efficient design. The CX350 allows our mobile, multimedia journalists to gather b-roll and interviews quickly as the camera’s compact size and weight make it easy for our journalists to move around while still capturing quality video.

Along with ease of use, the CX350 also provides live streaming, best-in-class picture quality and a superior digital zoom. These high-performance features, coupled with the intuitive nature of the camera allow our journalists to shoot their own standups and live shots with very little practice, which is key to staying ahead of breaking news and reporting the stories that mean the most to our communities.

CHANGING THE PROCESS

As media companies are constantly faced with budgetary concerns and advancing technology, we took this opportunity with the new cameras to recreate Griffin Communications’ content workflows. By providing Panasonic’s handheld and shoulder-mount cameras to our mobile, multimedia journalists, we can create more content more efficiently. In fact, we doubled the content produced everyday by reimagining and restructuring our newsrooms, staffing and workflows. The Panasonic CX350 and PX380G cameras were the perfect tools to achieve this goal.

In addition to the quality of Panasonic’s broadcast cameras, we’ve also been very pleased with the level of customer support Panasonic has provided us. We’ve never purchased a warranty before, but with the affordability of Panasonic’s extended warranty, we went ahead with it. The warranty has been a huge help. Things happen with equipment when you’re in the field, and we’ve been so pleased with the repairs and responsiveness from the Panasonic team. Not only has customer service been great, but the level of the service is by far matched with the quality of products and technology Panasonic produces.

Todd Spessard is the vice president of Content at Griffin Communications and leads Oklahoma’s largest team of journalists and has helped build a newsroom culture dedicated to excellence. He can be reached at todd.spessard@griffin.news. For more information visit, www.griffin.news.

For additional information, visit na.panasonic.com.

NEWARK, N.J.—Panasonic has introduced the AK-UC3300 4K studio camera, offering high sensitivity and vivid color reproduction for use in broadcast, production, house of worship, rental and staging and eSports applications.

The AK-UC3300 supports a feature set similar to Panasonic’s flagship AK-UC4000 studio camera and offers exceptional color accuracy and dynamic range, the company said.

The camera, which is well-suited for live remote and studio production, uses a large 11-megapixel 4K image sensor to achieve a horizontal and vertical resolution of 2,000 TV lines. It offers support from various interfaces, including 12G-SDI output, TICO over SDI (4K over 3G-SDI output) and SMPTE ST 2110, the company said.

The AK-UC3300 provides a full, simultaneous HDR/SDR feature set, built-in ND filter and expanded multiformat capability, ensuring high-definition resolution for richly-detailed imagery in indoor or outdoor settings. With high sensitivity of F10 (2,000 lx), the camera enables high-quality video shooting, including 2160/59.94p and 1080/59.94p with low noise while maintaining a S/N ratio of 62 dB or higher, said Panasonic.  

The new AK-HRP1015GJ Remote Operation Panel (ROP), part of the UC3300 camera system, offers excellent operability, and the high-resolution AJ-CVF70GJ 0.7-inch Full HD OLED color viewfinder supports comfortable, high-quality on-site shooting, it said.

When paired with the AK-UCU600 camera control unit (CCU), the AK-UC3300 helps manage and deliver live and on-demand video with its 12G-SDI, two independent intercom switches and multiple fixed return video and prompter channels. The system offers extensive video and data transmission trunks, including IP and HD-SDI for optimal connectivity, said Panasonic.

The AK-UC3300 studio camera will be available in fourth quarter 2020. 

More information is available on the company’s website.

OSAKA, Japan—Panasonic has announced it will not be attending IBC in September.

Arguably the biggest vendor so far to announce it won’t be attending the show, Panasonic said it intends to launch its own Technology Experience Zone to support its partners and customers through online initiatives.

“It has been a very difficult decision. As much as we look forward each year to welcoming visitors at this important industry event, we must prioritize the well-being of our staff, partners and attendees,” said André Meterian, Panasonic’s director of the Professional Video Systems Business Unit for EMEA.

“In the meantime, we will focus on creating additional activities and work with partners and industry leaders to continuously develop new content for our Technology Experience Zone, including live streaming, webinars, video podcasts and training. We will further expand our offering and aim to provide online virtual experiences to ensure our customers can stay in touch with the latest news from Panasonic Broadcast & ProAV,” he added.

For more information, visit TVT's 2020 IBC Show: What We Know hub page.

MELVILLE, N.Y.—ChyronHego has announced that its Click Effects PRIME fan engagement engine is a partner product with the recently unveiled Panasonic Kairos, an IT/IP-centric next-gen live production platform.

The Kairos was designed for high-quality video production and delivery, live or in the studio. By pairing with the Click Effects PRIME, ChryonHego says it will add new capabilities and versatility to sports production.

Click Effects PRIME combines ChyronHego’s PRIME graphics platform with Click Effects’ tools to simplify the design and playout of dynamic content. Through this integration, keyframed actions are available to any SDI- or DVI-powered display of any aspect ratio, says ChyronHego. Operators can deliver real-time graphics, video clips, audio tracks, animations and sponsor ads.

The Kairos, meanwhile, has GPU-based processing, with all processing layers performed in one step. The platform also offers ultra-low one-frame latency processing.

“Sitting at the heart of in-venue entertainment, this video processing architecture can play the role of video processor, scaler, mixer or server—a uniquely versatile solution that pairs well with Click Effects PRIME for the latest in live venue production and maximum fan engagement,” said Michael Bergeron, Panasonic Broadcast Camera Systems senior product manager.

For more information, visit www.chyronhego.com.  

NEWARK, N.J.—Panasonic has announced Kairos, its next-generation live production platform offering an open architecture for live video switching, input and output flexibility, resolution and format independence, maximum CPU/GPU utilization and nearly unlimited ME scalability.

The COTS-based Kairos system offers native SMPTE ST 2110 IP support and enables live IP workflows. It can eliminate dedicated hardware constraints, the company said.

“Kairos is introduced as the content creation industry transitions to live IP workflows, requiring broadcast and event producers to think about how they will future-proof their productions and facilities,” said Michael Bergeron, Panasonic senior product manager for live production systems. 

“With an ever-growing set of tools and hardware, producers need a comprehensive solution for multiple applications to break free of the boundaries of traditional hardware. As an IT/IP platform based on an open software architecture, Kairos takes the various components of a broadcast program and virtualizes them, so productions are flexible, dynamic and powerful.” 

In television applications, Kairos integrates seamlessly into a facility’s existing ST 2110 infrastructure and requires no added IP gateways. At sports and entertainment venues and in live production situations, it enables staff with limited training time to deliver compelling content and set up complex systems via its customizable, user-friendly GUI, the company said.

Kairos features standardized IP connectivity rather than one-to-one video inputs and outputs, making it possible for the device to support baseband and IP signals in any combination. It offers uncompressed processing of SDI, ST 2110 and NDI streams of any resolution and in any format, including nontraditional formats like 32:9 for an LED display, Panasonic said.

The platform is GPU-based and allows users to allocate processing power with complete efficiency to achieve performance on par with larger hardware systems. Processing latency can be as low as a frame. Kairos also supports Precision Time Protocol (PTP) synchronization.

Kairos allows users to manage an unlimited number of layers and effects with ease via its GUI. Because video mix processing is GUI-based, there is no limit on the number of MEs or keys, as is the case with a traditional switcher.

PLUS: Panasonic Unveils New HDR Studio/Field Camera, IP-Rich PTZ Camera

The new platform is centered on the KAIROS Core main frame, which is responsible for all video processing. The Version 1 main frame manages video I/O through a Deltacast gateway card and/or a Mellanox 100 GbE NIC (Network Interface Card) connection to COTS IP devices and SDI and HDMI gateways. Control is managed on devices operating over a separate Gbit Ethernet, including Kairos Creator, GUI software for set up and software-based control panel and Kairos Control, Panasonic’s premium quality 2ME style hardware control panel, the company said. 

Panasonic also announced it has established a Kairos Alliance Partners program, which includes IP COTS hardware manufacturers and leading vendors of graphics, automation and media servers.

More information is available on the Panasonic website.

NEWARK, N.J.—Panasonic has introduced a 1080p HDR studio/field camera that will be upgradable to native 4K 60p/50p and a new integrated pan/tilt/zoom (PTZ) camera supporting a variety of IP transmission protocols.

The AK-HC3900GJ/GSJ 1080p HDR studio camera system offers a full simultaneous high dynamic range (HDR) and standard dynamic range (SDR) feature set and multiformat capability, including support for 1080: 59.94p, 50p, 59.94i, 50i, 29.97PsF, 25PsF, 23.98PsF; 720: 59.94p/50p; and future 4K 60p/50p. It uses an internal 4K imaging system to capture HD HDR images in ITU BT.2020 color space, said Panasonic.

The company’s new cost-effective AK-HCU250PJ/PSJ/EJ/ESJ camera control unit (CCU) and new AK-HRP250GJ remote operation panel (ROP) can be used together to connect high-grade uncompressed video and control to the camera head via optical fiber or SMPTE Hybrid cable, which also will deliver power to the camera, it said.

The new CCU offers all the system features to control the HC3800, the predecessor to today’s studio/field camera introduction, as well as simultaneous output of HDR and SDR, expanded format capability and an upgrade path to 4K. It also supports 3G trunk and 3G prompter functions, the company said. 

The new ROP offers PoE (no power supply operation). Both the ROP and CCU have SD card slots that can be used to store settings and upgrade firmware. LCD electronic viewfinders, both 9 and 7 inches, are available for the new camera. The camera, CCU and ROP will be available in Q4 2020, said Panasonic.

Panasonic’s AW-UE100 PTZ camera features a newly designed direct drive motor for smooth pan and tilt movement, low-noise performance and high-resolution image capture for a variety of applications, including broadcast, staging, corporate, sports and house of worship. IP transmission protocols supported include high-bandwidth NDI, high-efficiency NDI|HX and Secure Reliable Transport (SRT). 

The PTZ camera uses a 1/2.5-type 4K MOS sensor to produce UHD 4K/60p video. Various interfaces, including 12G-SDI, 3G-SDI, HDMI and IP, are available. A wide-angle lens with a horizontal angle of view of 74.1 degrees makes it possible to capture wide images from a limited installation space. The camera offers a 24x optical zoom, the company said.

Low latency, live video transmission is available via high-bandwidth NDI to transport 4K/60p at about 250Mb/s and to transport full HD at about 100Mb/s over a single LAN cable. High-efficiency, low-bandwidth NDI|HX supports low bitrate video transmission, and SRT can be used for high-quality video transport when used in an unstable network environment. RTMP/RTMPS is available for direct streaming via a single cable to live broadcast services like YouTube Live and Facebook Live, it said.

The camera offers FreeD output making it possible to connect with AR and VR systems. Camera tracking information for pan, tilt, zoom, focus and iris are supported, making it easy to build systems without an encoder.

Other features include: +/-175 degree panning range; tilt range of -30 to 210 degrees; four-positon ND filter; Night Mode for infrared shooting; and POE++ power supply support.

The camera will be available in Q3 2020.

More information is available on the company’s website.

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.

LAS VEGAS—Are VR headsets soon to be a thing of the past? Panasonic has announced that it has developed HDR capable UHD virtual reality eyeglasses, a first according to the company, and is showcasing them at its booth (12908, Centrla Hall) during CES 2020.

The expected launch of commercial 5G services are likely to benefit new VR experiences, like sports viewing and virtual travel experiences. But instead of the often large VR headsets currently needed for such viewing, Panasonic says its new design offers a comfortable fit akin to wearing eyeglasses.

The high-performances display device was developed in cooperation with Kopin Corporation, a manufacturer of display devices for VR glasses. Panasonic’s audio and visual technologies have been incorporated into the VR eyeglasses, including signal processing technologies, acoustic technologies of Technics audio products and optical tech use in Lumix digital cameras.

The main features of the new VR eyeglasses are the UHD high-quality images that are capable of displaying HDR thanks to a micro OLED panel and high-quality sound can be reproduced over a range of frequencies from ultra-low to high.

Panasonic is expected to continue developing the VR glasses so they can be used in a variety of applications.

LAS VEGAS—Panasonic wants it to be known that bigger isn’t always better with its three latest cameras—the HC-X1500, HCX2000 and AG-CX10—that were announced at CES 2020. Billed as the smallest and lightest 4K 60p professional camcorders by Panasonic, the new models are meant to provide a high standard of on-site mobility as well as high-quality recording capability.

The camcorders’ lightweight and size is achieved with a new heat-dispersing design that borrows air from the rear panel of the camera to efficiently disperse heat from the front panel. With this design, Panasonic can create these smaller cameras capable of 4K 60p while also providing extended shooting capability.

All three of the cams feature an optical 24x zoom that ranges from 25-mm wide angle to 600-mm tele; it also has i.Zoom for 32x at 4K and 48x at Full-HD. Each camera also comes with the 4-Drive Lens System that controls the lens group independently. Additional lens features include a Leica Dicomar lens; two manual rings, one for focusing and one for iris or zoom operation; and ND filters from 1/4, 1/16 and 1/64.

The cameras provide Face Detection AF/AE for precise focusing and sufficient exposure. It works with the precise focus lens drive on focusing speed, stability and tracking performance for 4K and Full-HD. Subject tracking with color recognition can be activated on the LCD panel.

In both UHD and FHD models, there is Optical Image Stabilization and Electronic Image Stabilization that can detect and correct shakiness in five axes, including rotational blurring. The Ball O.I.S. system reduces friction on the drive section, helping to produce images with suppressed handshake even at 24x optical zoom.

Panasonic also provided its Venus Engine from its Lumix camera series for these trio of camcorders, enabling 4:2:2 10-bit internal recording up to 29.97p in UHD and up 59.94p in Full-HD. HEVC recording is also supported. All the models support MOV, MP4 and AVCHD files, but the AG-CX10 also supports P2 MXF for broadcast station editing systems; AVC-Intra/AVC-LongG codecs are also supported.

Additional features include super slow-motion recording; a 3.5-inch monitor with 2,760K-dots of resolution; double SD card slot; 48-kHz/24-bit high resolution linear PCM audio recording; a built-in Wi-Fi module; and an optional handle unit that is equipped with a two-channel XLR audio input, audio control and LED light.

Panasonic will make all three camcorders available in March 2020.

For more information, visit www.panasonic.com. 

INDIANAPOLIS—London-based OTT subscription service DAZN has purchased several Panasonic AW-UE150 4K pan/tilt/zoom cameras for its production of “The Pat McAfee Show” from a new studio it has built in the hometown of the former Indianapolis Colts Pro Bowl punter.

The show, streamed live weekdays on DAZN from 10 a.m. till noon EDT, is one of several ventures McAfee, who also is a commentator on ESPN’s Thursday night college football coverage, has taken on for the OTT service. He also creates football-focused segments for DAZN Canada and Germany, where the OTT service holds streaming rights for the NFL, and streams a podcast three times per week.

During the summer, DAZN built out the Indianapolis studio in a warehouse space where McAfee was working.

“Pat continues to work with his longtime crew, but this is really DAZN’s first opportunity to associate our brand with football, and we wanted a high-end, future-proofed production studio,” said DAZN Technical Operations Director Petro Mynch.

Five of the new Panasonic AW-UE150 cameras are installed permanently in the Indianapolis studio. Two are stationed in McAfee’s mobile studio. DAZN also acquired two AW-RP 150 PTZ control surfaces—one each for the Indianapolis and mobile studios, as well as three Panasonic BT-LH1770 17-inch monitors—two for the former and one for the latter.

“As a host, Pat is always on the move, very kinetic, so robotic cameras were a natural choice for us,” said Mynch. “We wanted our production kit to be good for at least a few years, and while we presently produce in 1080i/59.94, we have built-in 4K acquisition with the UE150.”

The new studio was built on an accelerated schedule, and Mynch found Panasonic to be helpful with the tight schedule, delivering the equipment promptly and offering necessary training, he said. “There is no on-site engineer; it’s literally all hands on deck with camera ops, and everyone has been impressed with the UE150’s ease of set-up and use,” he said.

The Panasonic UE150 cameras deliver excellent image quality and offer plug-and-play ease with the AW-RP150 remote controllers, he added, noting that the real-time color correction support offered by the BT-LH1770 monitors is helpful.

“Beginning with our very quick studio build, then moving on to demanding weekly live production assignments, the UE150s and support gear have worked impressively well and dependably,” he noted.

More information is available on the Panasonic website.

NEWARK, N.J.—Panasonic will begin shipping its new AJ-CX4000 4K/HDR shoulder-mount camcorder by the end of December, the company announced today.

With a suggested list price of $25,000, the camera is equipped with a B4 lens mount and can be used with interchangeable lenses. Panasonic is targeting the camera at applications in network news, sports, blue-chip nature films and travel documentaries.

The camera offers many of the features and formats supported by Panasonic’s handheld AG-CX350 camera, the company said. It also shares key imaging features with the company’s AK-UC4000 flagship studio camera.

As with the AK-UC4000, the AJ-CX4000 uses a large 4.4K image sensor to achieve UHD resolution (horizontal, 2,000 TV lines), high sensitivity, low noise and a wide dynamic range, the company said. Another commonality between the cameras is LSSIEL technology, which allows a 2/3-inch lens to be used without an external adapter, with the internal lens designed for large sensors.

The camera supports Hybrid Log-Gamma (HLG) for high dynamic range (HDR) recording in compliance with BT.2100 and BT.2020 standards. It also offers HLG recording assist functions, including SDR Monitoring Gamma, HDR/SDR Parallel Output, VF/LCD HDR/SDR Selector and eight-mode Gamma selection, Panasonic said.

The camera supports a fast, connected workflow, which includes Real-Time Messaging Protocol (RTMPS) and Real-Time Streaming Protocol (RTSP) for live streaming and NDI|HX for live production. The NDI|HX mode allows video transmission and camera control via IP connection without an external converter.

The camera’s HEVC codec provides for extended recoding of 4K/10-bit video with high image quality while reducing bitrate and storage demands. This file format also supports long file names with up to 20 characters, which makes it easier to manage recorded clips, the company said.

It also supports the MXF P2 file format from broadcasting, enabling AVC-Intra or AVC-LongG HD recording on expressP2 cards, microP2 cards or SDXC memory cards. With 24-bit/48 kHz four-channel digital audio, the camera allows an audio source to be selected for each channel. A LAN terminal with a lock mechanism for IP remote control is provided, the company said.

The camera can be connected to a Panasonic AV-HLC100 Live Production Center. When used together with the production center and the HN/UN PTZ cameras, the camera contributes to an end-to-end live video production as well as web distribution, Panasonic said.

The camera’s standard 12G-SDI output terminal delivers UHD 60p (50p) 10-bit 4:2:2 output. Also provided are XLR audio input (2CH) terminals compatible with +48-V phantom power supply, as well as HDMI OUT, TC IN/TC OUT, GENLOCK IN, USB3.0 (DEVICE) and USB2.0 (HOST, wireless module) terminals.

More information about the camera is available on the company’s website.

NEWARK, N.J.—Panasonic has begun shipping its AW-UE4 compact 4K pan/tilt/zoom camera with 111-degree field of view and HDMI, LAN and USB video output interfaces.

Equally adept at shooting small and large areas, the AW-UE4 supports single-cable video transmission, camera control and power, leveraging Power over Ethernet (PoE). It can also be used as a USB camera and powered from a computer, said Panasonic.

The camera offers Real-Time Messaging Protocol (RTMP) compatibility for video to be uploaded directly to live-streaming services, it said.

Supporting 3840x2160/30p 4K video output and wide range of other resolutions, the camera includes a wide-angle lens to capture every part of large spaces while transmitting even from the smallest installation space, the company said.

A digital zoom provides 4x magnification, and expanded images can be manipulated for pan and tilt-like effects to capture images from various angles.

The camera is available in black or white finishes and has a suggested list price of $1,200.

More information is available on the Panasonic website.

NEWARK, N.J.—Bringing the story of individuals whose lives were cut short by family or friends in Investigation Discovery’s true-crime series “Betrayed” is the job of director and director of photography Yoram Astrakhan. To help him do this, he has chosen to use Panasonic’s AU-EVA1 cinema cameras, as well as some other Panasonic equipment.

Now in its fourth season, “Betrayed” is a fast-paced production, often shooting two episodes over eight day periods that feature both interviews with real people involved in the crimes and scripted recreations. Because of the demands on production, Astrakhan felt that EVA1 cameras would be ideal for keeping up with the speed at which they needed to get things done.

Two EVA1s and two camera operators are used for both interviews and recreations. The team captures 10-bit 422 FHD (1920x1080) V-Log files in 23.98 fps, and the production crew frequently uses the camera’s dual native ISO to help capture clearer images in different lighting situations. Astrakhan also praises the camera’s 14 stops of latitude and ability to work with a wide range of lenses.

However, there was one big reason he went with the EVA1, the color palette, “especially in the way skin tones are rendered and how beautifully they hold up in very dark or bright scenes,” he said.

In addition to the EVA1 camera, Astrakhan also utilizes Panasonic’s BT-LH2170 21.5-inch FHD monitor and the BT-LH910 9-inch field monitor for production.

NEWARK, N.J.—Panasonic has introduced the AW-RP60GJ compact hardware-based controller for its line of professional pan/tilt/zoom remote cameras.

The controller is equipped with a 3.5-inch QHD 960x540 color LCD monitor. It displays a GUI menu screen along with iris, zoom and focus camera information. Pan and tilt operations are done via a large joystick, the company said.

The AW-RP60GJ can control up to 200 PTZ cameras in 20 groups via IP. With 100 camera presets, the camera offers Power over Ethernet (PoE) support for single-cable integration.

The controller has four user-assignable buttons. Up to eight functions—two of a user’s choosing—can be assigned to the buttons. A PC tool can be used to customize preset names.

By registering camera angles and other remote camera settings, presets can be recalled easily. Preset speed is user-adjustable. Information that can be captured via presets includes pan/tilt position, focus position, white balance settings, crop position coordinates, zoom position, lens aperture (manual iris only) and gain, the company said.

The new controller is scheduled to be released in October at a suggested list price of $2,375.

More information is available on the Panasonic website.

NEW YORK—Panasonic will feature a next-generation IP/IT platform, 12G-SDI 4K live switcher and 4K/HDR shoulder-mount camcorder at the 2019 NAB Show New York, Oct. 16-17, at the Jacob K. Javits Convention Center in New York City.

Targeted for a 2020 launch, the next-generation IP/IT-centric platform is based on an open software architecture. Full resolution and format-independent, the platform allows users to allocate processing power with 100% efficiency and achieve a level of performance not possible with traditional hardware-based products. The platform supports one-frame latency processing, Panasonic said.

It also supports uncompressed processing, uncompressed 4K inputs and baseband as well as IP signals, including SMPTE ST 2110 and NDI, simultaneously. It can be used for remote production as well as being integrated into a full IP-based environment, the company said.

Panasonic has designed a fully customizable GUI interface for the platform that enables users to manage an unlimited number of video layers.

The company’s new AV-UHS500 4K live compact switcher is 12G-SDI-compatible. It is designed for use at broadcast stations and in OB vans, houses of worship and in educational lecture and conference halls.

The switcher, scheduled for a February 2020 release, provides for multiformat 4K/3G/HD switching. It offers an equal number of HD inputs and outputs even when operating in 4K, the company said. Additional optional boards can be added to expand inputs to as many as 16 SDI or eight HDMI inputs. Five keyers are built-in, including two chromakey channels and two channels of picture-in-picture.

The AV-UHS500 also supports up and down conversion, HDR-SDR conversion and ITU-R BT.2020/BT.709 color space conversion.

Panasonic’s new AJ-CX4000 4K/HDR shoulder-mount camcorder, scheduled for a December launch, is a B4 lens mount model supporting interchangeable lens for network news, sports, nature films and travel documentaries.

Equipped with a large-sized 11MP image sensor, the camera enables high-quality 4K recording with 2,000 TV lines of horizontal resolution. Supporting HDR compliant BT.2100 and BT.2020, the camera can be used in a fast, connected workflow, including RTMPS and RTSP for live streaming and NDI/HX for live production.

The camera’s HEVC codec provides for extended recording with 4K/10-bit high image quality while keeping storage requirements under control. The camera can also record with the P2 MXF AVC ULTRA codec onto fast, reliable expressP2 cards, cost-effective microP2 cards or low-cost SDXC memory cards. UHD 60p/50p 10-bit 4:2:2 output via a 12G-SDI output is also possible.

More information is available on the Panasonic website.

See Panasonic at NAB Show New York booth N537.