TALLAHASSEE, Fla.—As a government-access television network housed in the Florida Capitol building in Tallahassee, The Florida Channel serves as the state’s primary source for live, unedited coverage of the governor, cabinet, legislature and Supreme Court. We are funded by the Florida Legislature and produced and operated by Florida State University’s WFSU-TV. 

We have always recorded every Capitol meeting, broadcasting them live or online before archiving them. However, the ability to tune in remotely became much more important during the pandemic when the Capitol was closed to the public. 

In recent years, we had deployed 70 robotic cameras throughout the Capitol complex, but in 2021, it was time to upgrade the camera systems in the House and Senate chambers and the Knott committee rooms. Our outdated equipment began causing issues and failures, inhibiting our ability to provide high-quality content for at-home viewers. 

Better Workflows in the House
After looking at multiple solutions, we chose to deploy eight Panasonic AW-UE150 4K 60p PTZ cameras with AW-SF300 Visual Preset Software because of their high-quality acquisition, ease of use and reasonable
price points. 

Our production crews have always maintained a busy schedule. While covering one live meeting, they simultaneously cover three other meetings for later viewing. When the state legislature is in session, we often capture as many as 16 meetings per day for the Florida Senate and the Florida House of Representatives, producing 2,500 hours of annual public programming. Our remote events group also covers key government meetings statewide when the state legislature is not in session.

With the UE150 cameras, one operator can run anywhere from three to eight cameras at a time. We can make our audience feel part of the action with the ability to capture more close-ups of the speakers through the 20X zoom. The cameras’ seamless operation makes them easy to use whether the operator is an experienced member of the production team or part-time employee.

We also implemented Panasonic’s AV-UHS500 4K/HD live production switcher, which aligns well with the cameras to streamline workflows with their easy-to-use interface and built-in PIP, viewfinder and waveform monitor.

Remote Camera Control
In addition to deploying the new PTZ cameras, we installed single-mode fiber-optic wiring around the Capitol complex to control the cameras remotely from a central master control. This new setup, along with the flexibility afforded by the cameras, has made our broadcasts run much more smoothly.  

Since deploying Panasonic PTZ cameras, we have dramatically enhanced the quality of our broadcasts, which means we’re keeping residents engaged and informed on key legislative activity. Our viewership has also increased now that people can watch our footage online via 18 different web channels. 

We have already equipped our remote events crew with Panasonic AW-HE42 HD PTZ cameras to support their extensive meeting coverage throughout the state. So far, the cameras have cut down on setup time and reduced the number of crew members needed.

We’re excited to continue improving our broadcasts as we change out the camera technology in other parts of the Capitol in the years ahead. 

For more information on Panasonic cameras visit https://na.panasonic.com/us/.

NEWARK, N.J—Panasonic this week began delivery of its new AW-UE 150 4K/60 pan/tilt/zoom (PTZ) camera and the AW-RP 150 remote controller.

The new PTZ camera offers UHD 60p output, a wide horizontal viewing angle of 75.1 degrees, 20x optical zoom and 32x intelligent zoom in HD mode. Applications for the camera include reality TV production as well as use in stadiums, lecture halls, churches and other venues.

The UE150 relies on a 1-inch MOS sensor and supports various 4K interfaces, including 12G-SDI, HDMI, optical fiber and IP connectivity. The camera outputs 4K and HD at the same time and achieves smooth video moves –even when rapid movement is required. Images shot in 4K can be output full frame while simultaneously outputting cropped parts of images.

The camera offers high dynamic range (HDR) support and has an optical image stabilizer for automatic correction of vibrations. The camera’s Night Mode offers infrared shooting. Pan and tilt operation speeds vary from a minimum of 0.08 degrees/second to 180 degrees/second.

The AW-RP150 camera controller relies on a 7-inch LCD touchscreen to display a GUI for monitoring and menu setting. A joystick with a seesaw lever for zoom and focus control offers single-hand operation. An SDI input to the LCD panel for camera monitoring is provided.

The panel is outfitted with frequently used buttons. Menu, camera switching function and indicators are assigned to the touch panel. Focus is quickly aligned to the area on the screen that is touched. A Focus in Red function assists with aligning focus by framing in red the area of the image to be focused.

Scene files, system settings files and other camera settings can be saved on the RP150 SD card and then copied to multiple cameras.

More information is available on the Panasonic website.

MONROE, LA.—KNOE-TV, Gray Television’s CBS affiliate serving the ArkLaMiss area, last week celebrated completion of a major building renovation and technology upgrade that implements the station group’s vision for a modern, unified master control and production control room.

With a price tag of $4 million, the project not only outfitted the station for the future with new technology in the newsroom, control center and studio, but it also preserved the station’s exterior—a local fixture for the past 65 years since being founded by former Louisiana Governor James A. Noe Sr.

“While the exterior of our Oliver Road studios displays a vintage salute to our past, inside you will find a modern broadcast facility, fully equipped with the latest technology,” said KNOE General Manager Laura Long.

TECHNICAL MEDIA PRODUCTION
Like most television stations, KNOE operated with separate master control and production control rooms.

However, the renovation presented the station with the opportunity to implement Gray Television’s operational approach in which both functions are combined and run by a Technical Media Producer (TMP) from one room.

“That was the biggest transition for us–and of course, we went automated,” said Russell Kendrick, the station’s chief engineer.

At the heart of the TMP room is a 3.5M/E Ross Video Vision production switcher with Ross OverDrive news automation calling switcher functions, including control over Ross Cambotics robotic camera systems in the station’s new studio, he explained.

To handle increased demand for graphics for the station’s new 70-foot long primary news set, KNOE swapped out its existing two-channel Ross Xpression CG and graphics engine for a four-channel Xpression, said Kendrick.

Five Grass Valley multiviewers are located in the TMP room for monitoring, and a Grass Valley Kaleido-MX drives monitor arrays on the news set.

Two Logitek JetStream audio engines handle audio duties in the TMP room. A Logitek JetStream Plus is assigned as the primary audio mixer handling most tasks, including all mix-minuses, and a JetStream Mini with a conventional control surface is available as a backup.

A Ross Video Carbonite video switcher is also installed in the TMP room as a backup. “We have a lot of redundancy in the control room,” said Kendrick.

The station chose not to adopt IP routing and continues to direct baseband signals around its new facility using an existing 64 x 64 Utah Scientific routing switcher, he added.

STUDIO AND NEWS SET

KNOE produces local news for its CBS affiliate on its main channel and for its ABC affiliate on a digital subchannel out of the same new 50x100-foot studio.

Florida Set Works in Pensacola designed and built KNOE’s new news set, a hard set featuring a 4:3 aspect ratio monitor array consisting of nine monitors directly behind the news desk and a second array two monitors high and eight long to the right of the desk.

The local CBS newscast is produced from the desk, and the ABC newscast is done in front of the long monitor array. “When we do that news product, we can change out the graphics to suit the ABC newscast,” said Kendrick.

Five Sony PMW-320K XDCAM cameras are mounted to the Cambotics robotic camera heads, which are suspended above the set on the lighting grid. Another camera is mounted high on a wall in the studio to capture an overview for the closing shot of the newscasts.

Two rarely used roll-around cameras can be deployed as needed for cooking shows and other local productions, added Kendrick.

“This treatment makes the studio really big and clean with no clutter,” he added.

IN THE NEWSROOM
KNOE’s newsroom saw a major technology upgrade and renovation as well. Now occupying 4,000 square feet, the newsroom includes a workspace for reporters, producers and managers, green room area, sports office and the new TMP control room.

Two Panasonic AW-HE130KP3 PTZ cameras, controlled from the TMP room, are mounted in the area—one in the newsroom for live shots and the other in the green room, said Kendrick.

“When we did our remodel, a wall was built for that and plumbed for all the drops from the camera—reference, control, video out,” he explained. A teleprompter, confidence monitor and an air monitor were added to both. “That way, when talent or even a guest is in front of one of those camera positions, they know what is going on,” added Kendrick.

KNOE continues to use ENPS for its newsroom computer; however, it has made changes to enable reporters to edit their own stories. The station has replaced its old Adobe Premiere-based editing suites with Grass Valley EDIUS editing software running on reporters’ computers.

The station relies on a variety of tools to select and produce stories for its website, social media and mobile viewers, according to News Director Brad Ginsberg.

Ginsberg and his editorial team track the station’s digital content via Google Analytics and Social News Desk on monitors in the newsroom. “It’s a crucial part of our editorial meetings,” he said.

“We always start with weather, then digital, then we go into stories because reporters and everyone need to know what is hot right now on the digital side,” said Ginsberg.

CONSTRUCTION & LOGISTICS
CT Darnell Construction of Atlanta, which served as the general contractor, and 11 subcontractors from Monroe, La., were used to complete the renovation. Crews began the project in August 2017, and by May 2018 all structural work was completed. In July, the station went on air from its new news set.

Working around the ongoing renovation proved tough, said Kendrick. “We had a lot of refugees from the dust and debris show up,” he said.

Originally, production control and master control were on the second floor of the building along with the engineering tech core of the station—all in “a relatively small space,” he said.

During the construction, the entire sales staff, programming personnel and traffic joined engineering on the second floor.

“The actual office parts of engineering were the only sections that could be locked up at night,” Kendrick said. “So, anybody with sensitive information on their computers had to cram themselves in the engineering area.

“Everything got misplaced. Nobody’s phone extension was in the right place. You think you are calling somebody, but you are calling somebody else,” he recalled with a chuckle.

Transitioning the news department was easier, said Ginsberg. The newsroom stayed put while work was completed in a different part of the building on the new newsroom. Once that phase of work was complete, the news department simply moved into its new space.

Transitioning the news set proved to be a bit trickier, said Kendrick. For the changeover, KNOE dusted off an old virtual set, put up some temporary lighting and did its newscasts from the virtual set for about 10 days.

Over one weekend, workers disassembled the old news set and put up the new one, he said. Another week was spent lighting the set and “putting all the bits and pieces together,” he added.

“Of course, we had all the other construction going on at the same time—like building a new control room,” said Kendrick. “It was really something to do that much at one time.”

Despite the disruptions, dust and debris, the long-term rewards make any pain experienced during the renovation easy to accept.

“It was worth it,” said Long. “No one knows for certain where technology will lead us in the next 65 years, but I’m certain KNOE and Gray will remain on the forefront of the latest innovations, with a deep respect for where we started and those who made it possible.”

Panasonic has announced the European launch of its new 4K 50p, HDR integrated PTZ camera.

According to Panasonic, the AW-UE150 provides images with a smooth and natural look thanks to its 50p sensor, making it well suited to scenes featuring fast movements and high-end applications in broadcast.

Integration is provided across a variety of 4K interfaces, including 12G-SDI, HDMI, Optical Fibre and IP which supports HDR mode. In addition, the camera can simultaneously output both 4K and Full HD.

The camera is the first in its class to feature 4K 50p and a wide viewing angle of 75.1 degrees horizontally along with 20x optical zoom and 32x intelligent zoom (in HD mode). It allows up to three Full HD crops from the single 4K image canvas, which Panasonic says offers greater flexibility.

Other features include a 1-type MOS sensor, large size tally, various optical stabilisers and New Web UI support.

“The UE150 is really the reference model within high-end PTZ products. It is quite unique and cutting edge. Its usability is the best on the market and it can control both the cameras and the crop feature, allowing users to manage several video feeds out of each camera,” said Sivashankar Kuppusamy, marketing manager EMEA for Panasonic.

NEW YORK—Panasonic has combined the NewTek Autolink software with its PTZ camera, which will allow users to connect-IP ready Panasonic cameras to a network and detect their presence automatically from NewTek TriCaster and the IP Series Video Mix Engine. For the Panasonic PTZ, Panasonic IP cameras detected on a network become immediately available for use in NDI-based video production workflows without additional configuration.

AW-HE40

Cameras that are compatible with the new AutoLink software include AW-HE130, AW-HE40 and AW-UE70 PTZ cameras. The AK-UB300 4K Box camera is also compatible. Once a camera is recognized as a network video source, it becomes accessible to any TriCaster or Video Mix Engine on the network. Video translation and transmission is only initiated when the camera source is selected.

Also compatible with the PTZ control functionality integrated into the TriCaster and Video mix Engine, the Panasonic PTZ cameras with AutoLink can manage orientation, zoom, focus and iris of supported cameras, as well as store and recall camera presets directly from the user interface or a compatible controller.

NewTek AutoLink for Panasonic PTZ is now available.