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

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

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

Key SRG-AS10 features include:

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

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

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

See Sony at InfoComm booth C8301.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

BURY ST. EDMUNDS, U.K.—At the 2026 NAB Show, April 18-22 in Las Vegas, Autocue will highlight its latest prompting solutions, including its new PTZ prompter

Launched at the 2026 IBC Show and making its NAB Show debut, Autocue’s new PTZ prompter will be demonstrated with a Sony FR7, showing how the camera can calibrate seamlessly within the hood. This enables fast setup and startup, helping operators maintain efficient workflows in remote and automated productions.

Autocue will also demonstrate its Pioneer Studio Teleprompter, a high-performance, high brightness prompter designed to meet the demands of modern studio production. Shown with a clock and tally light, the complete Pioneer Studio package delivers a reliable, broadcast-standard prompting solution while remaining a cost-effective option for a wide-range of production studios.

“NAB is an important opportunity for us to demonstrate how our solutions are evolving alongside the industry,” said Aaron Brady, Technical Specialist. “From our award-winning PTZ prompter to accessible, high-performance studio systems like Pioneer, we’re focused on making professional prompting more flexible and efficient than ever.”

Autocue will be in booth C5816 in the Central Hall of the LVCC.

BURY ST. EDMUNDS, U.K.—Vinten will feature its latest manual and robotic cameras support solutions, showing how broadcasters can achieve precise, repeatable, creative camera movement, during the 2026 NAB Show, April 18-22, at the Las Vegas Convention Center.

The company will make its first NAB Show showing of the Versine 240 fluid head along with its Versine 350. Designed for live production and outside broadcast, the Versine 240 supports payloads of up to 55 pounds (25 kg), delivering the precision balance and control required for long-lens operation within a lightweight chassis suitable for roaming OB setups, live events and ENG positions.

Vinten will also demonstrate VEGA Lite at the show for the first time. The system underscores company’s focus on enabling efficient, repeatable camera movement in automated and hybrid production workflows, by offering a broadcast-ready PTZ control solution that delivers professional automation, consistent workflows and scalable control.

With adoption of PTZ cameras continuing to grow, Vinten will present a range of dedicated support options. These include cost-effective manual solutions. such as the Osprey Lite pedestal adapted for direct PTZ camera fixing, alongside dedicated robotic systems supported by VEGA Lite, including the Tecnopoint Starter Ceiling Track for smooth, space-saving overhead PTZ camera movement.

Vinten will also highlight the advanced studio floor navigation capabilities of its FP-188+ full XY robotic pedestal controlled by the VEGA Control System. Designed for dynamic studio environments, the system incorporates intelligent geofencing to define safe operating zones, alongside enhanced on-board sensing that supports confident operation around the studio floor.

“NAB is a key platform for us to demonstrate the breadth of our solutions,” said Ginny Grove, product marketing director. “From the debut of Versine 240 and VEGA Lite to our expanding PTZ ecosystem, we’re focused on giving customers the flexibility to choose how they work, whether manual, robotic or a combination of both.”

See Vinten at 2026 NAB Show booth C5816.

More information is available on the company’s website.

MONTVALE, N.J.—Shotoku will introduce new additions to its portfolio, including Aura, a suite of advanced PTZ solutions that brings the company’s high-end robotic camera control expertise to PTZ production during the 2026 NAB Show, April 18-22, at the Las Vegas Convention Center.

Shotoku will also make the North American debut of its Swoop robotic crane family and launch its Quick-red referencing system.

As PTZ image quality and performance improve, major broadcasters, legislatures and global corporations are integrating these heads into their broadcast-quality production environments. These deployments, however, have often suffered from lack of a sophisticated, scalable control system.

Shotoku fills this gap with the NAB launch of the Aura TR-XPTZ control system, a powerful yet streamlined platform purpose-built for professional PTZ productions. Derived from the core architecture of Shotoku’s TR-XT Control System, TR-XPTZ delivers the smoothness, reliability and multi-camera sophistication optimized specifically for PTZ environments.

Key Aura TR-XPTZ advantages include:

• A level of control and automation formerly only available to full-scale broadcast robotics in a powerful, easy-to-use system.
• A refined user experience that retains the powerful, intuitive multi-camera and multi-user operations of the TR-XT while stripping away elements unnecessary for PTZ-specific workflows.
• The capability to support both manual and automated workflows for any size production.

Shotoku’s Swoop was developed to replace manually operated cranes and jibs. It overcomes the typical challenges presented by traditional jibs and cranes, including the need for one or even two dedicated operators and the inability to be tightly integrated into robotic camera systems. Swoop removes these obstacles while combining creativity, control and safety in one system.

Swoop is available in two sizes: Swoop 140 and Swoop 220, representing a boom arm reach of 4'7” (140 cm) and 7’3” (220 cm). Both versions combine precision engineering with Shotoku’s reliability, enabling production directors to create and precisely repeat sweeping shots with confidence and ease.

Swoop offers two base options to match production needs and budgets. The SmartPed robotic base (Swoop SP) provides complete freedom of movement across the studio floor with remotely controlled X/Y positioning. Alternatively, a manual base delivers a cost-effective solution where manual relocating of the base between shots or shows is all that’s required.

Swoop integrates seamlessly with Shotoku’s TR-XT advanced control system for complete control. TR-XT’s StudioView display shows Swoop’s location relative to other cameras, while the SoftRail system allows Swoop SP to be controlled along tightly defined SoftRail paths.

Swoop systems are designed from the ground up with safety in mind. Multiple intelligent proximity detectors are mounted along the length of the arm and above and below the payload creating a dynamic protective “bubble” that detects obstacles, stops all movement and prevents collisions.

Shotoku will also feature the new Quick-Ref feature, an advancement in robotic pedestal navigation for Shotoku’s SmartPed and Swoop-SP. Quick-Ref uses a miniature QR-coded floor marker no larger than a postage stamp that contains positional data read automatically by the pedestal when it is over the marker. Reading the marker updates internal navigation frequently and corrects any errors without requiring operator intervention.

See Shotoku at 2026 NAB Show booth C3816.

More information is available on the company’s website.

MINNEAPOLIS—Stadium Sports Network chose Telycam Explore XE cameras for its coverage of the U.S. Curling Trials for the Winter Olympics in Italy.

Stadium Sports Network has its roots in the specialized systems-integration firm Curling Stadium, which focused on deploying streaming solutions in curling arenas. The success of those deployments led to requests for it to provide full production services for organizations such as USA Curling and the international governing body World Curling. Founder and CTO John Benton expanded the company into the full-service Stadium Sports Network to meet this growing demand.

Now serving an increasingly high-end clientele, Stadium Sports knew it would need to upgrade from its previous PTZ cameras. “World Curling and USA Curling distribute our feeds to premium buyers, such as [Canadian sports network] TSN and other international television channels, who then air it on linear TV,” Benton said. “We knew we needed to provide better quality for linear television, and that our existing PTZ cameras weren’t going to cut it.”

Benton wanted cameras with 1-inch sensors and the ability to handle the unique demands of capturing curling. This objective became even more important when Stadium Sports was contracted to produce the U.S. Curling Trials in South Dakota for NBC Sports in November 2025. The even—which would determine which teams would represent the United States at the Milan-Cortina Winter Olympics—was to be broadcast on USA Network and NBCUniversal’s Peacock streaming service.

“When we were working on the Olympic curling trials, it was crucial that the cameras could handle the lighting, exposure and focusing challenges of shooting on a 200-foot sheet of ice,” said Benton, a former Olympian himself. “There were cameras from the big broadcast brand names that could do it, but their high cost meant that purchasing them rather than renting them would make it difficult for us to offer our production services cost-competitively.”

Stadium Sports’ partner in Scotland, David Owen of Curling Stadium Europe, recommended Benton look at Telycam’s Explore series. Benton evaluated the Telycam Explore XE broadcast-class PTZ cameras. The cameras impressed him, and he purchased three Explore XE units for the upcoming production.

For the USA Curling event, Stadium Sports used the three Telycam Explore XE cameras as primary cameras. Two were positioned as overhead cameras hung on a truss above the ice, over scoring areas at each end known as “the house.” The third camera, referred to as the “slide camera,” was deployed on the field of play. All three cameras panned, tilted and zoomed throughout the matches.

The Telycam PTZ cameras output NDI HX3 streams, which were transported to the production room over a Ubiquiti network with 10 Gbps fiber connectivity. The production center housed four space-efficient operator stations: the main switcher system, running vMix software; two camera operator positions; and a graphics and audio station, featuring Singular Live HTML5 graphics and a Behringer X32 mixing console.

The upgrade to the new PTZ cameras delivered the quality gains Benton sought. “We couldn’t be happier with the Telycam Explore XE cameras,” he praised. “And more importantly, NBC Sports and Peacock were also very happy with the quality we produced.”

More information is available on the Telycam website.

KEIZER, Ore.—Municipal broadcaster Keizer City Television, K23 TV, has deployed four Telycam PTZ cameras to upgrade the visual quality of its live meeting coverage.

The government access broadcaster plays an important role in connecting Keizer officials with citizens. Broadcasting and streaming from council chambers in the Keizer City Hall, the channel, operated by Ambition Pictures, provides live coverage of city council and other municipal activities, including planning commission, transportation and parks advisory board sessions.

This past summer, the broadcaster set out to replace and improve its aging, first-generation NDI PTZ cameras.

“At KeizerTV, we do our best to maintain a high level of production for everything we do, to give our viewers an optimal experience,” KeizerTV Producer Phillip Wade said. “Our existing cameras were starting to have issues, such as focus drift, but we also wanted to improve our overall quality to meet our high standards.”

Wade’s quality goals included increasing the visual fidelity captured by the cameras. “The resolution of our existing cameras was 1920x1080 HD, but we wanted better color reproduction, exposure and sharpness,” he said. “Being able to get better color and exposure in our council chambers improves the overall production quality.”

The broadcaster also wanted to increase the number of cameras deployed to enable more comprehensive coverage and to have a greater optical zoom range to allow better close-ups across the council chamber space.

Systems integrator Mid-Valley Media recommended Wade evaluate Telycam’s Vision+ N3 cameras with 30x optical zoom. He found the camera delivered the performance K23 TV was seeking. The city purchased and deployed four of the cameras, which went live in August.

At the front of the city council chambers, up to seven meeting participants are seated at a forward-facing, curved dais. Smaller offshoots on each side seat additional participants. Two Telycam cameras at the back of the room capture close-up and wide shots of those on the main dais, while the other two cameras are positioned at the sides of the room to capture people seated on the offshoot wings. The side cameras also cover the area where members of the public present or speak during city meetings.

The cameras are connected to a Vizrt TriCaster TC1 Pro production switcher in an IP-based workflow using NDI HX3 connectivity. In addition to being broadcast on television via Comcast, the output of the TriCaster is also streamed live on the city’s Facebook and YouTube channels in both English and Spanish. The Spanish streams are created by sending the NDI feed of the TriCaster’s program output to another room where it is translated by interpreters. A Spanish audio translation is mixed in with a TriCaster Mini.

KeizerTV initially controlled the pan, tilt and zoom functions of the Telycam cameras through the TriCaster TC1, but found it cumbersome to do so with the same control surface used for switching.

“The TriCaster control surface has an integrated joystick, but it’s not positioned ergonomically for camera control,” said Wade. “You have to reach across all the other buttons on the panel to get to the joystick and press two buttons on the other side of the panel to activate which camera you want. It was awkward, which delayed getting the subject into frame.”

Wade added a Telycam V-Joy+ AT controller to the installation. “It’s important for us to be able to quickly select a camera and move it, and the Telycam controller lets us do that efficiently,” he said.

The Vision+ N3 cameras have met the broadcaster’s objectives and expectations. “We’re very happy with the quality of the video they produce,” Wade said. “I also appreciate being able to manually set the aperture of the camera. That gives us some control of the depth of field, which makes the footage look and feel higher-end.”

Wade also praised the speed and precision of the Telycam cameras’ autofocusing. “The cameras adjust very quickly,” he said. “When I move the camera position, it’s already in focus by the time I’m ready to cut to that camera.”

More information is available on the Telycam website.

SHENZHEN, China—Telycam has added control options for its portfolio of pan-tilt-zoom (PTZ) cameras with a new plug-in for Elgato’s Stream Deck family of controllers.

This integration simplifies live production workflows and enables users to make precise camera movements and adjustments, the company said.

Elgato’s Stream Deck controllers combine precise tactile control with drag-and-drop setup, numerous customization options, space-saving form factors and an extensive third-party ecosystem. Telycam's new Stream Deck plug-in supports a wide range of Elgato models, from the compact Stream Deck Mini to the expansive Stream Deck XL and the rack-mount Stream Deck Studio, it said.

Designed for simplicity and efficiency, the new Stream Deck plug-in for Telycam PTZ cameras lets users control pan, tilt, zoom, focus and image settings. Functions ranging from PTZ controls, presets and auto-tracking to exposure settings and white balance can be assigned to the customizable LCD buttons on Stream Deck controllers, it said.

“We’re thrilled to welcome Telycam to the Stream Deck ecosystem," said Julian Fest, general manager of Elgato and senior vice president of Creator Peripherals at Corsair. "Their commitment to innovation and R&D is evident in the quality and features of their cameras, and they share our vision of simplifying live production workflows and making premium capabilities affordable to a broader range of producers."

Telycam offers the Explore PTZ camera series, including the new Explore XE 4K PTZ camera with a one-inch sensor and phase detection auto-focus (PDAF). Explore series cameras deliver broadcast quality, features and connectivity. The company’s Vision+ PTZ camera family delivers high performance for Pro AV applications, it said.

“Our integration with Stream Deck controllers streamlines camera operation and lets producers ensure they get the perfect angle, focus and image characteristics in real time,” Jenny Liu, co-founder of Telycam, said. “The Stream Deck family is the preferred control option for many producers, and we're excited that these users can now manage and operate our PTZ cameras through their familiar hardware.”

The Stream Deck plug-in for Telycam PTZ cameras is available for free in the Elgato Stream Deck Marketplace. Telycam cameras are distributed in the United States and Canada by MVD (Mobile Video Devices).

More information is available on the company’s website.

TORRANCE, Calif.—Marshall Electronics has introduced the CV630-BI and CV630-WI IP-enabled PTZ cameras with 25 times Ultra HD HEVC capabilities.

Available with a black (CV630-BI) or white (CV630-WI) housing, the cameras use an 8-megapixel, 1.25-inch imaging sensor to capture up to Ultra-HD 3840-by-2160p video for use in live broadcast, newscasts, reality TV, concerts, corporate and government applications, courtrooms, houses of worship and schools. Other supported resolutions include 1920 by 1080p, 1280 by 720p and 1920 by 1080i, the company said.

Both cameras are equipped with synchronous pan, tilt and zoom motors for smooth and silent movements during operation. A 25 times optical zoom block provides flexibility from 4.6mm to 120.5mm, with a nearly 68-degree angle-of-view at its widest, it said.

“These new Marshall IP PTZ cameras capture a crisp UHD video combined with smooth PTZ camera positioning and 25 times optical zoom for a versatile networked video solution,” Robert Ramos, West Coast regional sales manager at Marshall Electronics, said. “These cameras represent a valuable enhancement to the Marshall IP PTZ camera portfolio, reinforcing our commitment to continuously expanding our product offerings to address a diverse range of client requirements.”

Multiple simultaneous video streams are available over HDMI, 3G-SDI and triple-stream IP (H.265/H.264) with stereo audio input embeddable on all available outputs. PoE+ (power-over-Ethernet) provides an economical and easy solution for integrators during installation, it said.

The cameras offer easy control over the iris, shutter, white balance, focus and pan/tilt speeds. They are controllable by IR remote, networked video management software (VMS) or RS-232/ RS-422 with support for Visca, Visca over IP, Pelco and ONVIF platforms. The CV630-BI and CV630-WI are also compatible with the Marshall VS-PTC-300 PTZ Camera Controller, providing intuitive adjustment of pan/tilt/zoom, pan/tilt speeds, white balance and more with one-button dials and rocker control, Marshall said.

More information is available on the company’s website.

AMSTERDAM—Marshall Electronics has announced that it will be featuring its newest auto-tracking camera, the CV612-TBI/TWI PTZ camera, at IBC 2024 (Stand 11.A17). 

The Marshall CV612, available in black (CV612-TBI) and white models (CV612-TWI), features the ability to automatically track, follow and frame presenters using AI facial learning for accurate and smooth self-adjusting maneuvers. With advanced AI tracking, the PTZ camera “learns” who is the prime subject and won’t “lose” the presenter when other persons or objects enter the shot, the company said. 

“As the broadcast and production landscape continues to evolve, having a high-quality track and follow camera as part of your inventory on set or on location is a great way to ensure that you get the right shot, every time,” says Robert Ramos, west coast regional sales manager, Marshall Electronics. “We look forward to showing the new CV612 to our international partners and customers at IBC 2024.”

Equipped with 12X optical and a 15X digital zoom, the CV612 offers a 4.1mm-49.2mm (6.6-70.3 degrees) field of view. It is built around a professional-grade 2-Megapixel 1/2.8-inch, high-quality HD CMOS sensor, which provides format resolutions from 1920x1080, 1280x720 down to 640x480, making this the ideal solution for smaller venues, interviews, web production, live presentations, classrooms and HOW, to name a few, as it has a maximum range of 18M (almost 60-feet), the company explained. 

The CV612 has a flexible interface with simultaneous 3GSDI, HDMI, RTSP streaming and USB 3.0 Type C outputs for ease of connection for various applications. It can stream HEVC directly from the camera over IP (RTSP) or USB C while simultaneously outputting via SDI and HDMI, making it an ideal solution to stream live to YouTube, Livestream, Facebook (Meta), or Twitch while capturing local HDMI content, it said. 

The system features 170 degrees, tilt rotation of -90-+90 degrees, and variable pan and tilt and preset speeds. All of this in a compact (6-1/3 inches high) package that is unobtrusive and easy to hide from other camera angles. Setup and manual control (if desired) is available via Ethernet Network, RS232 3-wire and USB C interfaces. One Ethernet (CAT) cable installation with PoE+ simplifies setup and operation. The control interface includes RS232, Visca, Pelco, Visca-over-IP and Onvif protocols as well as LAN control. Also included is a handheld IR remote control. 

For more information, visit www.marshall-usa.com. 

BREA, Calif.—Bolin Technology is integrating Network Device Interface (NDI) across its product line, bringing support for the latest NDI technologies to its PTZ cameras, the KBD-1020D PTZ controller and ED40N decoder.

The integration makes the most advanced and up-to-date features, tools and benefits of NDI, including the newly released NDI 6, available to users of Bolin’s products, the company said.

“We are pleased to offer our customers the option to experience the functionality, tool and local and remote capabilities of NDI, a standard for video connectivity, with Bolin products,” said Bolin CEO Kyle Lo. “We are eager for our broadcast customers to experience the capabilities of NDI 6 with our newest indoor and outdoor PTZ cameras.”

NDI is a video connectivity standard based on proprietary IP networking specifications. NDI 6 provides native high dynamic range (HDR) support and expands WAN connectivity for hardware. It is designed for broadcasters and content creators.

NDI 6 will embed WAN connectivity into Bolin’s product line, bringing greater flexibility to remote production applications and setups, the company said.

Regardless of device, platform or location, NDI offers seamless transport of video. NDI-enabled cameras with the Bridge utility can even join remote networks without depending on additional software or tools, it said.

Bolin PTZ cameras offering NDI HX3 support include the company’s N2-210X, N2-220X, N6-420X, N7-220X, R9-230NX and EXU-230NX.

Those offering support for NDI High Bandwidth include the R9-418N, R9-420N, EXU-248N and EXU-420N. The EG40N decoder supports NDI 6 and NDI HX3.

More information is available on the company’s website.

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/

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

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

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

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

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

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

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

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

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

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

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

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

SURREY, U.K.—Mark Roberts Motion Control (MRMC), a Nikon company, has announced that it will be showcasing a wide array of groundbreaking broadcast technology innovations at this year’s International Broadcasting Convention (IBC) held at the RAI Convention Center in Amsterdam. 

New innovations to be shown at the MRMC Broadcast booth, located on Stand 11.C26, include the latest in Virtual Studios and Virtual Teleportation workflows, PTZ enablement solutions, the latest range of Slidekamera by MRMC products as well as Nikon Z series cameras, the company said. 

In addition, the Motion Control booth, Stand 12.D20 will feature the debut of the highly anticipated Cinebot Mini camera robot and provide attendees with a chance to demo the robot for the first time.

In the area of virtual production, MRMC will showcase a range of studio focused robotic technologies, such as the Studiobot XL, AJS-2 (Advanced-Jib System), and TRH-1 (Track Robotic Head), and demonstrate how they interface with virtual production workflows, the company said. 

The IBC stand set design has been crafted to demonstrate how these solutions integrate with virtual graphics systems, specifically illustrating key controls such as mapping positional data and aligning camera perspectives. This will allow attendees to explore the cutting-edge technology that is transforming studio operations across the world. Visitors will also be offered a live demonstration of MRMC robotics used by iconic studios, such as ESPN's Catalyst Stage in Bristol, CT, featuring virtual production screens and ghost framing from Disguise.

At stand (11.C26), the LED screen will be powered by i5LED - a provider of direct-view LED display solutions that helps businesses transform creative visions into reality. Their screens offer superior technology like indoor ultra-fine pitch Chip-on-Board (COB) LED displays, fine-pitch outdoor displays, and all-in-one solutions. The screen itself that will be on display is an i5LED, ICON PerformancePlus XR LED display. A scalable and modular solution for broadcast and virtual production environments, featuring 100% DCI-P3 color gamut and HDR technology for rich dynamic colour details and lifelike picture quality, providing a vivid visual experience with a flicker-free 7,680Hz refresh rates. Its high brightness, high contrast, and 160-degree viewing angles ensure visual uniformity, and the 500mm x 500mm cabinets allow for easy installation and a seamless design, MRMC reported. 

In addition, MRMC will also demonstrate its Virtual Teleportation workflow solution, which allows for an unprecedented level of camera motion and synchronization. By using robotic heads in different locations and programming them to move in unison, it enables a smooth transition from a single-person shot to a dynamic two-person shot. This development means studios can effortlessly pan between separate locations or combine remote feeds with local feedback, creating the illusion that subjects are sharing the same physical space, compensating for delays between two locations and ensuring synchronized motion. The green screen feed is set against the real or second virtual set, making it appear as if all participants are in the same location, the company explained. 

At the booth, Nikon will exhibit its latest Z series range of cameras and lenses. The powerful and agile Z 8 will be on display – packed with innovative technology. The Z 8 brings a whole new level of agility to Nikon’s professional line-up. Offering striking image quality for both video and stills, its ability to shoot blazing fast 120 fps ensures that no decisive moment is ever missed. 

Its predecessor, the Z 9, will also be on display, showing off its versatile design, sharp screen, extensive autofocus system and fast frame rate. A variety of Nikon's Z series lenses will also be on display, which, when combined with the cameras, support incredible optical performance.

MRMC Broadcast will also be showcasing its PTZ enablement solutions, which give movement and creativity to PTZ content capture, the company said. 

Introducing camera motion and automated robotics into this workflow offers a different way to approach and manage growing productions. By integrating camera motion and automated robotics into the workflow, production teams can expand interest while delivering practical benefits. Central to any successful PTZ production solution is the ability to integrate any combination of PTZ cameras and rails/jib solutions. MRMC will demonstrate this with its QRS-1 (Quiet Rail System), a modular track designed for studio, event, and mixed production environments. The QRS-1 can be used to integrate a wide range of PTZ cameras, including the new ARC-UHD PTZ camera, which will be on display for the first time at IBC 2023. Giving movement to these PTZs will be the LLS-1 (Light Lift System) which gives vertical movement to a PTZ camera, while the RLS-1 (Rail Lift System) expands the range of motion by creating a dual lift system that comprises two LLS-1 lifts and a QRS-1 rail, MRMC reported. 

IBC attendees will also be able to see the company’s expanding Slidekamera by MRMC range of robotics offering, allowing more creative shots to be achieved with these simple and effective robotic heads and sliders.  New products on display this year will be the Slideye 2.0 software, which offers real-time control for all Slider systems and the PTZ Monohead Studio, the latest addition to MRMC’s line-up of remote heads which comes with an integrated AF-48 Quick Release Adapter for easy mounting. This is in addition to the main Atlas and Titan Slider kits with various head configurations.

Making its debut at IBC2023 on MRMC’s Motion Control booth (12. D20), the Cinebot Mini is a small, lightweight and versatile camera robot designed to enable operators to take charge of every shot. Engineered for simplicity, it offers a range of user-friendly, simple and portable features ideal for studio owners, content creators, grips, cinematographers and camera operators.

"We are delighted to showcase our latest innovations at IBC2023,” commented Assaff Rawner, CEO at MRMC. “The Virtual Studio and Virtual Teleportation workflow solutions represent a major step forward in broadcasting capabilities, allowing for a level of integration and synchronization previously unavailable. In addition, the debut of the Cinebot Mini shows we're not only introducing a versatile tool but also underlining our commitment to providing practical, state-of-the-art solutions for our clients across the industry.”

NORTH HOLLYWOOD, Calif.—Cartoni will be showing its entire line of premium camera support products, including tripods, fluid heads and pedestals used worldwide in broadcast, cinema and live event production, at the 2023 NAB Show.  

Cartoni also announced that during the show it will be debuting Lifto 25, an all-new motorized support for PTZ (pan-tilt-zoom) cameras with a unique remote-control elevation unit. Cartoni will also demonstrate E-Maxima 5.0 and E-Maxima 30, encoded versions of two of its most popular fluid heads. Additionally, Cartoni will highlight P40, a versatile, lightweight pedestal available at an attractive price.

“Media production continues to evolve and reinvent itself,” said Elisabetta Cartoni, president and CEO. “We are responding to our customers’ needs with support systems for the newest cameras, camera accessories and modes of production, including VFX. We look forward to sharing our latest innovations with cinematographers, camera operators, rentals, producers and other professionals at NAB in Las Vegas.

Lifto 25 is Cartoni’s response to the increasing use of PTZ cameras by smaller studios in news, talk, educational and religious programming. The head adds height control as a natural complement to the cameras’ point, tilt and zoom capabilities. Camera height can be adjusted remotely via wire or radio.

Extremely versatile, Lifto 25 offers a height range from 70 cm (2.3 ft) to 250 cm (8.2 ft). The motorized column performs a two stage, 70 cm stroke at 25 kg/50 lbs capacity. Its special SDS (Smart-Stop double stage) tripod structure ensures stability and torsional rigidity. Lifto 25 comes with a built-in spreader and rubber feet. It can also be mounted on a lightweight Cartoni dolly.

E-Maxima 5.0 and E-Maxima 30 are the latest results of Cartoni’s ongoing initiative to apply encoding to manually operated heads for visual effects, virtual production and similar applications, the company said. 

“The advent of VR and AR have made it imperative to accurately track movements and match them with the virtual backgrounds and characters,” observed Cartoni. “Virtual composition is now used in all segments of the industry, from studio cinema productions, to sports and newsgathering.”

Cartoni E-series heads incorporate high resolution encoders with 4 million counts on both axes, directly fixed on the rotation shafts for infinitely accurate readings of angles. Data is supplied in binary code to conform to the most widely-used virtual engines, including Real-Time VFX, Unreal Engine and FreeD Engine, or streamed to virtual boxes alongside other camera and lens metadata, the company explained. 

As the only company that designs and manufactures camera support products in Europe, Cartoni, offers support for all types of cameras from tiny DSLRs to the field cameras with boxed lenses, from sophisticated cine-style infinitely defined cameras to PTZ cameras. It also offers several specialty items including Lambda nodal and encoded heads.

For more information visit www.cartoni.com. 

TORRANCE, Calif.—Marshall Electronics will feature four new camera models with the latest NDI codecs at the 2023 NAB Show, April 15-19, in Las Vegas.

The CV570/CV574 Miniature Cameras and CV370/CV374 Compact Cameras all feature low-latency NDI|HX3 streaming as well as standard IP (HEVC) encoding with SRT. They also offer a simultaneous HDMI output for traditional workflows, the company said.

“Marshall looks forward to introducing four new POV cameras at this year’s NAB show,” said Tod Musgrave, director of cameras for Marshall Electronics. “NDI has been a great success for Marshall with a variety of options from which to choose, including zoom and full PTZ models. Adding NDI|HX3 and IP to our miniature POV camera line was inevitable and doing so with high-end UHD sensors is a very exciting development.”

The CV570-ND3 miniature and CV370-ND3 compact NDI|HX3 cameras both use a new Sony HD sensor. They support resolutions of up to 1920x1080 (progressive), 1920x1080i (interlaced) and 1280x720p. The cameras support interchangeable lenses, multiple broadcast framerates and remote adjustability. They have durable bodies made of lightweight aluminum alloy with rear I/O protection wings, it said.

The CV574-ND3 miniature and CV374-ND3 compact NDI|HX3 cameras both contain the same features but use a new Sony 4K (UHD) sensor. All four can be set to NDI|HX3, NDI|HX2 or standard IP relying on H.265 and SRT.

The CV570 (HD) and CV574 (UHD) use a miniature M12 lens mount. They are 2 inches x 2 inches x 3.5 inches. The CV370 (HD) and CV374 (UHD) use a slightly larger aluminum alloy body with CS/C lens mount, it said.

The new NDI|HX3 format requires slightly higher bandwidth than previous NDI|HX2 but much less than is required for full-NDI. NDI|HX3 delivers similar low latency as full-NDI at less than 100ms end-to-end and has video quality performance closer to premium full-NDI lossless video quality, it said.

The cameras are scheduled to ship after the NAB Show.

See Marshall Electronics in NAB Show booth C5520.

More information is available on the company’s website.

HSINCHU, Taiwan—Lumens Digital Optics has introduced the VC-A71P-HN UltraHD PTZ camera capable of transmitting 4K 60fps over SDI and HDMI.

Supporting a range of streaming protocols, including the Secure, Reliable Transport (SRT) protocol, high bandwidth NDI and NDI|HX3, the new camera, also supports the FreeD camera positioning data protocol for VR, AR and MR production, ITU-R BT.2020 and Rec. 709 color spaces and genlock, making the VC-A71P-HN a fully featured broadcast camera ready for years of service, the company said. 

Among the first NDI|HX3 products to become available, the VC-A71P-HN delivers low-latency video at reduced bandwidth while maintaining visually lossless 4K image quality, it said.

The camera is capable of simultaneous output of full-bandwidth NDI for master recording and display on in-venue screens, the company said.

With genlock support and dual SDI outputs (12G and 3G), the camera can be integrated into live, multi-camera productions. At the same time, its real-time positioning data support via FreeD enables the VC-A71P-HN to meet the demands of virtual production, it said.

“This new model is an outstanding performer and is designed for use in any kind of production,” said Steven Lang, Lumens head of product development. “Its large sensor, 30x zoom and huge array… [of] outputs means that it can be used in anything from documentary filmmaking and sports production to shooting conferences and ceremonies. The five-year warranty comes as standard, giving users the confidence to use the camera for mission critical tasks.” 

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.

WASHINGTON—Thanks in large part to advances in robotics, IP and image sensors, the PTZ (pan-tilt-zoom) camera market has expanded beyond its original use for surveillaince to being used inside studios and sports arenas, providing new and unique points of views.

In TV Technology’s latest eBook, “Guide to PTZ Cameras,” we take a look at PTZ cameras' potential uses on the set and in the concert venue, as well as take a look at how AI will enhance PTZ production.

“Guide to PTZ Cameras” is available for download. 

FLOWER MOUND, Texas—RUSHWORKS has introduced its latest product, the REMO NDI integrated PTZ production system. Designed for remote and studio operation, the REMO NDI incorporates a touchscreen computer to work with RUSHWORK’s production and camera control technology.

REMO NDI is powered by an All-in-One computer with a 24-inch touchscreen and an i9 processor operating on Windows 10 Pro, featuring 1TB SSD storage. As part of the setup it has RUSHWORKS’ custom shortcut keyboard, a six-button Hall-effect joystick, an eight-port PoE GigE switch and two NDI PTZ cameras with 30x optical zoom lenses.

The system software—the same software that powers RUSHWORKS VDesk and Ctrl+R systems—includes a video and audio mixer with transitions, PiP and double-box effects and Chroma-key. It also has a fully searchable File Browser for all media and can create multiple playlists for different events. The software supports up to four NDI inputs and one NDI output, records the program and can output NDI and stream to sites like Facebook Live and YouTube Live.

The camera control software can also interface with ATEM Production studio over IP for automatic input selection and preview/program transition from the touchscreen user interface.

RUSHWORKS is selling the REMO NDI for $12,995.

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.

Chelmsford, Mass. – April 4, 2019 – Broadcast Pix™ will introduce RCC, its new IP camera control panel, next month at the 2019 NAB Show (Booth SL4210) in Las Vegas, Nev. Ideal for remote productions, RCC can be used as a dedicated camera controller with any BPswitch™ integrated production switcher, Broadcast Pix Commander™ touchscreen control platform, or production switcher from another manufacturer.

With its software-defined open architecture, RCC can be customized to control different types of cameras and support gear – including PTZ cameras, broadcast cameras, and robotic heads – and mix IP protocols within the same production. An integrated seven-inch touchscreen provides intuitive menu navigation to cameras, shot presets, camera settings, and system setup. Users can also customize the number of cameras and camera presets as needed, as well as camera and preset shot names for easy recall.

The compact RCC has a durable, machined aluminum chassis. Its three-axis joystick with adjustable zoom speed and one-touch auto focus allows smooth, precise control for shots. Beyond PTZ controls, RCC adjusts focus, iris, white balance, and more.

"As IP-based PTZ cameras continue to get more and more use in live productions and government meetings, some organizations want the flexibility of a separate camera control unit,” explained Tony Mastantuono, product manager. “The interface for our RCC is very intuitive, so even non-technical personnel can easily setup shots and access presets, and the joystick lets you perform smooth on-air moves and adjustments.”

RCC features a high quality precision encoder, and includes native IP support for Panasonic and Sony PTZ cameras. Support for other cameras and robotic heads is available as a separate software option. RCC will be available in Q3 2019.

About Broadcast Pix
With a tightly coupled switcher and 3D motion graphics CG, Broadcast Pix provides the most fully integrated live video production systems with patented control and automation technology. From compact units to large-scale, multi-system solutions, every Broadcast Pix features an extensive toolset that makes it easy to optimize and customize your workflows locally and over IP. Plus, its BPNet ecosystem provides secure cloud services and asset management. Founded in 2002, Broadcast Pix has customers in more than 100 countries and is the leader in fully integrated production switchers for government, broadcast, streaming, live event, and visual radio applications. Learn more at www.broadcastpix.com.

Broadcast Pix, Broadcast Pix Commander, and BPswitch are trademarks of Broadcast Pix, Inc. Patented. Switchers are made in USA.

NEVADA CITY, Calif. — Telestream has updated the software to its Wirecast live streaming and production software for Mac and Windows to provide built-in pan, tilt and zoom control for robotic cameras, support for the X-keys Wirecast Control Surface, and paired encoding contribution with Facebook Live.

To enable more cost-effective multicamera production, Wirecast Pro is now optimized for the PTZOptics camera line using the VISCA-over-IP protocol. This capability adds flexibility and speed when generating alternative camera angles and framing from PTZ cameras without leaving the Wirecast interface.

Paired encoding to Facebook Live allows videographers to more easily target and stream content to Facebook pages for their clients, customers, and brands. Since this capability doesn’t require admin passwords or credentials for the main Facebook account, it’s particularly useful for pages with multiple contributors and cross-promotional streaming.

[Read: Telestream Wirecast Is MVP for Cornell Athletics]

Leveraging P.I. Engineering’s X-keys, Wirecast’s control surface now provides instant access to 12 sources on each of Wirecast’s five layers, as well as the status of each layer and source. Frequently used features, such as saved scenes, outputs, and transitions, are also at the operator’s fingertips, enabling faster, more responsive operation during live productions.

When users purchase upgrades or full licenses — the sale now includes a Standard Support subscription for one year from the date of purchase, making all of the company’s software updates available free of charge for that year. After that, users can renew the subscription annually for $99.

Telestream will also include the X-keys for Wirecast Controller for free with any new purchase of a Wirecast Gear 230 system through June 30, 2018. See details here.

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WAYNE, N.J.—The government access channel in Riverside, Calif., has a new slate of JVC Professional Video cameras according to a press release from the company. RiversideTV has purchased 10 JVC KY-PZ100 PTZ network video production cameras over the last year for multi-camera coverage of government meetings and local programming.

In addition to coverage of government meetings, RiversideTV is using its JVC KY-PZ100 PTZ production cameras for multi-camera local programming.

The original purchase in February 2017 was for three PTZ cameras and a RM-LP100 remote camera control to cover meetings outside the city council chambers and other multi-camera productions. RiversideTV then purchased two more PTZ cameras and remote control in September 2017 for studio use. The remaining five PTZs were purchased this past January and will be permanently installed in a conference room in City Hall.

In addition, RiversideTV has purchased additional JVC gear for other projects. This includes two GY-HM200SP sports production cameras with integrated graphics for producing sports coverage without a production truck; the cameras are also being used for press conferences. The station has also acquired two GY-LS300 4KCAM Super 35 cameras housed in Zacuto rigs for ENG shoots and other projects.

(The teleprompting section of this article has been updated)

SEATTLE—As someone with decades of television station experience, I have to admit that I never thought I’d see the day when a television studio would be populated by cameras that look like the ghosts Inky, Clyde, Blinky and Pinky from the Pac-Man video game.

LARGE MARKETS TAKING NOTICE

But PTZs, aka pan-tilt-zoom cameras, are finding more acceptance at call-letter stations and other applications. The reason is simple, according to Richie Murray, founder and CEO of Bridge Digital, a Nashville, Tenn.-based media systems integrator. “If you’re looking to automate, cut costs and bring good quality video to the organization, then they’re a godsend,” he said.

Vaddio RoboSHOT 20 UHD

Mark Siegel, president of systems integrator Advanced Broadcast Solutions in Seattle, agrees. “For the cost of a traditional HD camera and lens that’s in the $40,000 range, you can get five PTZ HD cameras that cost less than $8,000 each.”

His company first put PTZs in a small market station five years ago, partially because of the PTZ’s low capital cost and partially for the operational savings by eliminating camera operators. He said that large-market stations have taken notice.

“[Broadcast station group] Tegna pulled out robots that mounted ENG style cameras and started putting in PTZ-type cameras,” Siegel said, adding that they’re able to install more cameras in the facility, which reduces the need to move cameras across the studio. “You can create more different views and you don’t have robots ‘X, Y and Z-ing’ all over the studio, which are costly to maintain, costly to operate.��� They do use a televator system to raise and lower the PTZs.

LOW LIGHT

Peloton Cycling, a New York-based developer of exercise bicycles, approached Bridge Digital’s Murray for a non-news studio that nonetheless needed high-quality video for around-the-clock operation. The PTZ cameras are critical components for a state-of-the-industry fitness studio that live streams 14 classes daily. A user base of more than 180,000 cyclists mount their Peloton large flat screen-equipped exercise bikes to pedal to commands from world class spin class instructors.

The 8,000 square-foot studio—with room for a squad of riders pedaling along with the leader—is equipped with four PTZ cameras. Three of them are mounted in strategical positions with the fourth mounted on an overhead track system.

One of the reasons Peloton selected PTZ cameras for its livestreaming cycling video service is the cameras’ ability to work in low-light situations.

“One of the customer’s requirements was that the PTZ cameras needed low-light capability, because the spin classes that Peloton Cycle puts on are done in relatively low light.” Low light capability is part of a PTZ’s DNA because of their linage: their ancestors were security cameras.

“PTZ cameras don’t come out of traditional broadcast camera development,” said ABS’s Siegle. “They come out of the security divisions of various camera manufacturers. So they’ve taken security technology and brought them into broadcast.”

LENSE SHORTCOMINGS

Where PTZ cameras will be mixed in a studio with ENG or box-type cameras with broadcast lenses, there’s the issue of matching them up. “Believe it or not, in some environments a PTZ will outperform a traditional camera because they’ve got better low light sensitivity,” Siegel said.

He pointed to the difference in lenses as a weakness of PTZs. “You can’t compare a broadcast HD lens that costs $40,000 with a piece of three-element PTZ optical glass, which probably costs the manufacturer $75 or $100. The glass just isn’t there for an all-in-one PTZ.”

Siegel pointed to another issue with PTZ camera lenses. “The majority of PTZs manufactured have 20x lenses. Now for broadcast news studio purposes that’s okay, because you’ve only got 15 to 25-foot throws.

“When you start getting into houses of worship, sports and anything like them in a live event, you’ve got to be really conscious of the distance,” Siegel continued. “They can require longer throw lenses, optically 30x lenses. And along with the longer zoom range, image stabilization is necessary because when you get a lens throwing out that far, it’s got to be stable.”

TELEPROMPTER CONSIDERATIONS

A final component that might be taken for granted at first glance is the teleprompter. A manned camera, or ENG-style camera mounted on a substantial robotic pan and tilt head, can pivot and tilt the prompter along with the camera head. It’s not so simple with the PTZ.

There are several problems. One is that the panning motor and gearing is designed to smoothly operate with only the PTZ itself to move. A prompter fastened onto the PTZ housing could double that load, requiring larger, specially built motors and gearing.

A second problem is with the PTZ’s lens. Simply put, there’s not much of the lens to attach the prompter to. This means the prompter can’t tilt along with the lens. One workaround for this is a new teleprompting system from Cuescript that mounts the prompter below the PTZ camera, which is inverted. This provides for more camera panning and tilting.

Another solution is to supply a large enough prompter mirror and display assembly that allows limited panning and tilting before the prompter begins to vignette the PTZ’s shot. Telescript International designed a PTZ prompter that can be placed in an erected position when the news anchor is reading the script, but folds down and out of the way when a wide or panning shot is required. Expect to see more evolution in PTZ prompters in the days ahead.

Vaddio, a Minneapolis-based PTZ and robotic camera system builder, provides a helpful worksheet titled “Choose Your Camera” at www.vaddio.com. It helps guide a customer through questions about the environment where the PTZ will work, is it a large or small room, how much light is available, how long a lens is needed, what kind of video outputs are required, and so forth.

Ncam PTZ camera tracking system

LONDON – Ncam will use IBC 2015 as the launching pad for its new entry-level camera tracking product. This PTZ system is designed for broadcasters who want to use virtual graphics and augmented reality but only need pan, tilt and zoom functionality.

The new PTZ product provides similar functionality as Ncam’s Live 7D, which uses a lightweight sensor bar attached to the camera to track natural markers in the environment. The difference is the PTZ product only works on fixed position cameras. It works on any camera, tripod or pedestal and it can also use encoded lenses to add focus and zoom to the Ncam data stream. This new Ncam camera tracking system also is able to detect movements of the camera itself, not just the camera head.

Ncam will have its PTZ product on display, along with other broadcast and film products, at booth 11.E55 during IBC 2015, which runs from Sept. 11-15 in Amsterdam.