SUNBURY-ON-THAMES, U.K.—Shotoku Broadcast Systems will showcase its SmartPed fully robotic pedestal working in concert with an enhanced version of SoftRail, the company’s system that merges the path-following capabilities of a physical rail system with the total freedom of a free-roaming pedestal, during IBC2025, Sept. 12-15, at the RAI Amsterdam Convention Center.

Together, SmartPed and SmartRail offer the benefits of a rail system with the ability to switch instantly to full X/Y roaming.

The company will also demonstrate its TR-XT control system and AutoFrame presenter tracking with upgraded functions designed to streamline day‑to‑day workflows. A full lineup of Shotoku’s pan and tilt heads, including the TG‑27, TG‑47, TG‑18i and TI-12, TI-11 height drives, together with control systems designed for broadcast, legislative and pro AV applications, will be on display.

“Our customers are at the heart of everything we do,” Shotoku managing director James Eddershaw said. “Every new feature we bring to market starts with feedback from the people using our systems day in, day out. That same dialogue drives the development of our future products, too, ensuring we’re not just meeting today’s needs but shaping tomorrow’s workflows.”

At the center of the stand, Shotoku’s SmartPed will be shown working seamlessly with SoftRail. The combination delivers the smooth, predictable movement of a rail system when a fixed path is needed while retaining the freedom to roam anywhere in the studio on-demand.

SoftRail has been enhanced with Branch Lines, a new feature that gives operators unprecedented flexibility in addition to advanced rail design and editing tools. Operators can switch instantly between guided rail operation and unrestricted X/Y movement.

The latest TR‑XT touchscreen control system with its StudioView interface gives operators a live map of the studio with safety zones, live status of all robotics and direct access to key features like AutoFrame.

Shotoku’s AutoFrame face‑tracking system now advances precision and flexibility with Framing Presets, which allow operators to recall a perfectly composed shot at the press of a single button.

See Shotoku Broadcast Systems at IBC2025 Stand 12.F47.

More information is available on the company’s website.

Local newscasts don’t exist in a vacuum. News directors and station management constantly evaluate what’s working, what isn’t and perhaps most importantly, what’s working for the competition.

Many are starting to take note of competitors that have introduced striking camera movements into their news programming—something that more closely resembles what viewers see at the movies, not traditionally on their TV screens.

A good case in point is ABC News’ “Good Morning America,” the morning news staple that’s using more cameras and cuts than ever as well as cinematic camera movement to create drama—even when stories seem run of the mill and not particularly dramatic—and engage viewers more deeply in stories.

Many local news directors have noticed what GMA is doing and are getting serious about adopting similar techniques with the help of next-generation camera robotics from MRMC to help replace the typical lean-back news viewing experience with one that pull viewers into their stories..

Midwestern Mid-Market Station
One mid-sized station group recently deployed three MRMC robotic systems with lift, pan and tilt capability, including one in a studio some 60 miles from the station under centralized remote control to make the most efficient use of station personnel.

The units, which almost always are moving, enable the broadcaster to integrate a wide range of shots into its productions, including those typically associated with studio camera robotics as well as a more dynamic wide shot that emulates one from a traditional jib that is much slower and drifts.

The never-ending stream of shots from this robotic unit as the camera slowly ping-pongs up and down to capture video from different elevations and angles is frequently switched into news programming to hold the attention of viewers. A long-time producer of the show estimates the addition of this setup has enabled 40% to 50% more cuts to heighten viewer engagement than were typically used in the same show 15 years ago.

Large-Market East Coast Station
One large-market station on the East Coast has deployed an MRMC StudioBot XL robotic arm in its news studio to replace a Steadicam rig and operator with a fully automated alternative that can reliably and repeatedly capture interesting moving shots designed to attract and hold the attention of news viewers.

The broadcaster now relies on the robotic arm to integrate camera movements around physical objects, news anchors and reporters and virtual objects into its newscasts, effectively bringing camera movement to its production that were only available in top tier productions a few years ago.

Knowing the camera moves it wanted, the station pre-programmed the StudioBot XL to automate desired movements when launched by an operator who also attends to other duties. At present, the station is at work on integrating the robotic arm into its MOS-driven news automation system and control.

The news studio where the StudioBot is deployed is three studios in one. As multiple StudioBot robotic arms are deployed, the station will have the ability to do so-called “down-the-line” shots from different studios and make it look to viewers as if the talent in the shots are in the same studio.

Large-Market Southwest Station
Attracting attention and engaging viewers doesn’t simply have to be confined to newscasts. A large-market station in the Southwest has deployed an MRMC StudioBot to do double duty. During newscasts, the StudioBot XL robotic arm is used to add striking camera movements to stories to drive viewer engagement.

When sweeps occur, the station pairs the same robotic arm with a high-frame-rate camera to create high-speed whip pans around anchors and other presenters that are used in interstitials and promos.

The station has setup two software profiles for StudioBot XL—one a broadcast profile for everyday work and the other for the high-speed moves—making it fast and easy to modify operation of the robotic arm to match the task at hand.

Cashing in on Robotics
Another call letter station has deployed MRMC robotics and motion control to drive production and commercial revenue. By integrating cinematic camera moves into its production services portfolio, the station is now able to offer local and regional advertisers production techniques typically associated with national spots.

The station has combined its StudioBot robotic arm with an LED stage, making it possible for clients to unleash their creativity. Not only does this mean more billable hours for production services, but it also has given the station a powerful way to incentivize clients to book commercial time and drive higher revenue.

Regardless of a station’s size, local newsrooms face a similar challenge. How can they hold onto existing viewers and encourage those who have left to return?

Adding cinematic camera movement into the mix of shots making up a newscast can set a station apart from its competitors and give viewers a new way to experience the news. MRMC is helping many stations to realize these goals with the addition of the company’s next-generation robotic pedestals, arms and lift systems.

Each delivers the repeatability, workflow integration and performance stations can rely upon to achieve the dramatic visual flair they require to capture the audience without disrupting ongoing operations.

With the help of these next-gen camera robotics and the fluid motion control they deliver, call letter stations are attracting audience, building viewer loyalty and opening up new opportunities to enhance their standing in the highly competitive news marketplace and grow commercial revenue.

MRMC Broadcast is a leading provider of camera robotics systems built on intelligent automation for virtual production and remote acquisition. As the industry shifts toward more agile workflows, MRMC Broadcast continues to deliver solutions aligned with emerging trends to enable greater flexibility, scalability, and creative freedom across studios, live productions, and hybrid environments. Learn more here.

Local television news has a serious problem. Average audience size is declining, which threatens ad revenue of news-producing stations and ultimately their long-term prospects.

The decline has occurred across dayparts. Pew Research Center’s Local TV News Fact Sheet, released in September 2023, shows falling audience numbers for local morning, evening and late night local news. For instance, the average number of TVs tuning into the local evening news of ABC, CBS, NBC and Fox affiliates in 2016 was 4.1 million. In 2022 it was 3 million.

Local stations must find a method to transform typical lean-back news viewing in a way that allows viewers to experience stories as they unfold.

Doing so will stem the viewership slide, bring back former viewers and attract new ones, especially a young demographic that grew up immersed in their Xbox and PlayStation games. With more news viewers, stations will then more easily be able to stave off digital competitors and preserve ad revenue.

Look Alikes
TV newscasts tend to look alike from station to station. Local stations frequently rely on the same, or very similar, camera placements and moves. While there may be slight differences in the number and types of cameras used, shot composition varies little among competitors. For viewers at home, this makes it difficult to distinguish one newscast from the next and offers little reason for them to change the channel.

Over the years, broadcast consultants have made small fortunes on their recommendations about how to set their clients apart from the competition—whether that’s branding, promotions or even a new news set.

News directors, too, take their best shots at setting themselves apart from local competitors with tools like investigative and hyperlocal reporting, the latest weather radar and traffic and tower cameras. The problem is, given enough time and budget, all of the stations in the market adopt similar measures, perpetuating the look alike problem.

A New Approach
There is another way to stand out from the crowd and attract a bigger audience, however. Integrating striking cinematic camera movements with new and advanced broadcast workflows for the right stories can distinguish the look of a station’s newscasts from its competitors.

For example, a medical reporter or guest doctor reporting on a condition like myocarditis might be captured walking around an animated AR representation of a human heart pointing out abnormalities as the camera follows. Similarly, a reporter in studio reporting on a jet crash could walk behind an AR 3-D model of the plane’s engine with the camera following as she points out where investigators are looking for clues for the cause of the accident. These cinematic camera moves, the functional equivalent of shots captured with a Steadicam rig, simply cannot be achieved with traditional studio camera robotic pedestals.

Used appropriately to engage viewers more deeply in a story and give them the feeling of experiencing news rather than simply leaning back and watching, these types of cinematic camera moves are an effective way to stand out from the competition and give viewers a reason to tune in.

They offer a couple of other advantages from an editorial perspective, as well. Not only can cinematic camera movement help journalists tell better stories, but they also offer greater creative freedom, which means that even if a competitor adopts a similar strategy, the creative differences in the ways they are used will still create a noticeable visual difference.

Winning Against Digital Competitors
It would be a mistake to think the other stations in town are the sole competitive concern of news directors and station managers. The Pew Research News Platform Fact Sheet reveals a far from rosy picture for broadcasters in the contest for eyeballs. Pew found in the summer of 2024 that 58% of U.S. adults preferred digital devices while only 32% favored TV for getting their news.

Cinematic camera moves, however, offer broadcasters an advantage over digital competitors simply because of the typical size of a TV screen compared to those on smartphones and tablets. With so much more real estate, television is the perfect medium for dramatic camera movement, giving broadcasters a leg up against digital platforms when it comes to engaging audiences more fully and enabling them to experience—not simply consume—the news.

Beyond Typical Robotics
Robotic pedestals and jibs are nothing new to local newscasts. Local stations have deployed them for years to automate camera movement, reduce expenses and ensure consistent performance.

However, there’s so much more the right camera robotics can do, particularly in terms of creating the cinematic camera movement needed to transform local newscasts. For instance, combining a robotic arm with a robotic pedestal can create the freedom in camera movement typically found in movies but rarely on TV news.

For years, local broadcasters have thanked viewers for allowing them into their homes. Using robotic arms to capture cinematic motion, those broadcasters can now give viewers experiences with their anchors, reporters and stories that more closely resemble the ones they have with invited guests.

MRMC Broadcast is a leading provider of camera robotics systems built on intelligent automation for virtual production and remote acquisition. As the industry shifts toward more agile workflows, MRMC Broadcast continues to deliver solutions aligned with emerging trends to enable greater flexibility, scalability, and creative freedom across studios, live productions, and hybrid environments. Learn more here.

SYDNEY—Fujinon has announced that the Seven Network has selected its 4K lenses as part of Seven’s Sydney-based news operations planned relocation to a high-definition television production facility at the Australian Technology Park in Eveleigh.

The Seven Network is one of five main free-to-air television networks in Australia and the largest commercial network in terms of population reach. 

“Many of Seven’s lenses used in the field have provided over twenty years’ excellent service. The initial aim of the new lens purchase was to ensure the same extended life of reliability with the same excellent results,” explained Seven Network head of broadcast engineering and development, John Albiston. “The new lenses also had to be 4K, extremely high quality and work seamlessly under robotic control.”

After a comprehensive assessment and evaluation Albiston and the Seven team chose multiple Fujinon UA14x4.5BERD-S10, UA18x5.5BERD-S10 and UA23x7.6BERD-S10 4K lenses.

“We purchased Fujinon 4K models with an S-10 drive specifically designed for these lenses to be used with robotics,” Albiston continued. “The S-10s have well and truly fulfilled our requirements and worked seamlessly both in the field and in our metropolitan studios under robotic control.”

The new S-10 drive unit and Fujinon 4K lenses used by Seven offer perfect compatibility with major robotics systems such as Shotoku, MRMC, Ross Video, Vinten/Radamec, Telemetrics and KXWELL, the companies said. 

They provide improved focus and zoom operability and include breathing compensation technology (BCT) as standard. This compensation mechanism synchronizes the zoom movement with the focus movement to automatically correct for changes in the angle of view, thereby minimizing breathing and keeping the image size constant. This function also eliminates the need to reset the angle of view after focusing, providing a high level of operability.

The S-10 also enables the user to change a 2x extender remotely by using an ECU-2C Extender Change Unit and thus, is ideally suited for crane use in a studio, Fujinon said. 

Seven’s new S-10 drive units and Fujinon lenses are also effective for CG synthesis and come with a 16-bit encoder, capable of making a high-resolution output of lens data including zoom and focal position information. They can be linked with various other systems such as a virtual studio system for combining CG images with live action footage.

“Our Fujinon 4K S-10 capable lens field application involves general news acquisition where they give us robust service and superb operational features including great zoom range and speed,” Albiston concluded. “The Fujinon 4K glass is, notwithstanding the many HD applications in which they are used. These new lenses also excel in the studio under Mosart control room automation where high accuracy digital servos eliminate any discernible dither when zooming. These lenses are a major step forward for our crews. All in all, the Fujinon UA14x4.5BERD-S10, UA18x5.5BERD-S10 and UA23x7.6BERD-S10 4K lenses with S-10 drives are excellent and the best lenses in the market for our requirements.”

TOKYO—The Associated Press is relying on a unique, remotely controlled robotic camera system designed and built by Telemetrics to capture images of the Opening Ceremony of the 2021 Tokyo Olympics from high atop Olympic Stadium here. 

However, the primary use of the new system will be to capture still images of swimmers and divers as they hit the water and swim up from the depths of the pool for diving and swimming events, including synchronized swimming. AP will once again use the system on the stadium to capture the Closing Ceremony, the company said.

In all, AP will use six of the robotic camera control systems. Some will be equipped with a Sony Alpha 9 II mirrorless camera; others with the Sony Alpha 1. A Telemetrics PT-CP-S5 remote-control pan/tilt head inside a Telemetrics PT-WP-S5 weatherproof camera housing, which is placed inside a waterproof housing, called the PL-HOUL-S5 pool housing, will keep the system dry and give AP full control over the cameras, Telemetrics said.

The pan and tilt motion supported offers the news agency full coverage of the pool, and the zoom control makes it possible to capture extreme close-up shots of the action, it said.

The system was designed and built for Olympic-sized pools and watersport events. Easy to deploy and using a single Cat7 cable interface, the system enables AP to take full control of camera functions, including shutter, zoom and focus, as well as monitor live feeds using the Telemetrics RCCP-M remote camera control panel. Powering the system is done via the Cat7 cable using Power over Ethernet (PoE) connectivity, it said.

A single operator will have control over multiple cameras at the same time with full live preview of their images via the control panel, the company said.

Captured images will be transferred immediately to a poolside technician operating the RCCP-M panel. Once edited, toned and captioned, images will be sent to AP members and clients worldwide in real time via FTP.

“This easy to use, remotely controlled system provides a fully integrated package that is ideal for a number of hard-to-reach camera positions, like underwater applications,” said Telemetrics vice president Michael Cuomo.

Telemetrics has assigned PT-CP-S5 A9 as the product designation of the complete robotic camera package. It includes a compact pan/tilt head and weatherproof camera housing. The system’s robotic servo employs motors that deliver ultra-high position and velocity accuracy, it said.

AP also used the new system for Super Bowl LV in Tampa Bay, Fla.—its first such use in a live sports setting.

More information is available on the company’s website.  

PORTLAND, Ore.—Sinclair Broadcast’s KATU, the ABC affiliate in Portland, Ore., and sister station KUNP, a Univision affiliate, serve not only the Portland market, but much of the northern half of Oregon and Southwest Washington state as well.

As chief engineer for KATU and KUNP for the last six years, I’ve been responsible for station operations and evaluating and purchasing equipment. Ultimately, it’s my job to bring the best viewer experience to our audience via high-quality programming delivered on the most cost-effective advanced, reliable broadcast systems available.

We recently built a new production control room, starting off with a blank slate. The project involved demolishing a storage room, adding walls, electrical, furniture, pre-wiring for all the systems and purchasing an automation system and robotics, all while staying on the air with 10 hours of live and taped programming a day—and staying within budget. We served as our own integrators and began searching for the right equipment.

BUILDING THE RIGHT SYSTEM

The fixed cost was the automation system. Since we replaced our automation platform with a current model, it was imperative that whatever robotically controlled camera system we chose was compatible. The variable was the robots. We concluded that we might be able to build and purchase everything we needed if we used two moving pedestals and one stationary one, rather than the three moving ones we previously used.

Our engineering team researched to find the best system at the best price. We looked at tracked, roller ball, wired and wheeled systems—just about every type available. We contacted every company that made robotic camera systems, and after much deliberation, we settled on Shotoku USA.

After discussions with Matt Servis, robotics support specialist with Shotoku USA, and the rest of my team here at KATU, with extra collaboration and input from our lead project engineer Justin Gurrad and KATU maintenance engineer Cody King, we came up with a plan.

The core of our system includes two SmartPed X/Y robotic pedestals, perfect for our current and future productions, with plenty of features that will allow us to extend operations as needed. The robots are fully integrated with TG-18 Pan/Tilt heads and feature a high payload capacity, ideal for our current setup.

We also installed a fixed position camera on the TG-18i Pan/Tilt head with TI-11 elevator pedestal, which was a cost-effective solution for the third camera. The entire system is managed by the TR-XT control system, which has extensive high-end features. A fully configured database server syncs our control room and studio computer together, eliminating back-up concerns.

We are also using a Shotoku controller for two other Panasonic PTZ cameras, so we now have one control panel for all cameras. They also built a lens drive system compatible with our stations’ legacy studio lenses. That one feature saved us a significant amount of money that we were able to put towards the control room upgrades.

Our production and engineering crews, here at KATU and KUNP, were all impressed with the simplicity and ease-of-operation of this new Shotoku system.

Tim Ondracek is the chief engineer for KATU and KUNP in Portland, Ore. He can be contacted at tondracek@sbgtv.com.

For more information, contact Shotoku USA at 800-762-8319 or visit www.shotokuUSA.com.

CLIFTON, N.J.—RailCam Robotic Systems had its Super Bowl moment recently, announcing that five of its stabilized tower-rail camera systems were used as part of the live broadcast production of the Super Bowl LV Halftime Show featuring singer The Weeknd.

RailCam provided one Mini-C and four Newton stabilized heads mounted on telescopic towers and rail systems, which were placed around the stage to capture the performance. The moving camera systems are operated live by a cameraman, controlling the towers and rail systems with their feet and the camera pan/tilt/roll with one hand and the zoom/focus with the other.

Brian Sheid, a RailCam Robotic Systems technician, explained why having human operators for these robotic cameras was preferred to pre-programmed camera movement:

“Many people think programmed moves is a great idea until the artist walks faster or stops for a second and the camera keeps on going right past them. Also, the magic behind a robotic camera not looking too robotic, is to have a human operating it.”

Four RailCam technicians installed the robotic camera systems and served as stand bys for the Halftime Show. This was the first Super Bowl assignment for RailCam.

BOSTON—The Boston Red Sox have installed a state-of-the-art robotic pod camera system in partnership with Nikon at Fenway Park to capture still images and full-HD video.

The remote system, from MRMC, a Nikon group company, enables operators and photographers to control the cameras from a distance, thereby minimizing the risk of exposure to the COVID-19 pandemic, Nikon said.

“In these times, we have had to adapt at a far faster pace than ever before when it comes to the way we operate, and that includes producing content for our fans, sponsors and partners,” said Billie Weiss, senior manager, Photography, Boston Red Sox. 

“We are extremely pleased with the image quality and capabilities from the MRMC Robotic Pods and are already discussing new opportunities to use the technology at all Fenway Park events in 2021.”

The Red Sox organization worked with Nikon Professional Service to install five Robotic Pods, a modular camera system housing that can be remotely controlled by an operator from a custom software interface, the company said.

Photographers/operators can capture high-quality photos and video for broadcast, social media and marketing with the Robotic Pod systems. The system makes it possible to cover an entire game without ever leaving the booth, Nikon said.

Cameras are positioned on the roof of the press box, on the third and first baselines, overlooking centerfield and the bullpen and directly behind home plate to provide a low-angle shot; however, the Robotic Pods can be repositioned to meet the changing needs of the team, it said. 

The Robotic Pods enable 360-degree camera movement and zooming, which makes it possible for the systems to deliver shots not available from fixed remote cameras. The photographer can remotely control zoom, focus and exposure, and the system can save preset capture points to repeat shots easily with precise consistency, Nikon said.

The pods provide a constant FTP stream of images delivered in real time that are ready to be used by authorized photographers, press agencies and on social media to promote fan engagement, it said. 

The system can also capture imagery to create GIFs and time-lapses. Cameras can be equipped with a variety of lenses to capture action on the field or the ambience of the ballpark. A single operator can control multiple pods, the company said.

More information about the Robotic Pod System is available on the MRMC website.

More information on Nikon imaging products is available on the company’s website. 

ALLENDALE, N.J.—Of the thousands of cameras on hand to capture Super Bowl LIV between the Kansas City Chiefs and San Francisco 49ers, a pair of cameras used the latest Telemetrics robotic camera control system technology to capture and share still images of the game with numerous news outlets.

In what Telemetrics said is the first such use of its new system for a live sporting event, the two robotic cameras were mounted high in Miami’s Hard Rock Stadium. The setup included Telemetrics’ WP-HOU-A9 Weatherproof Camera Housings and a Sony Alpha a9 full-frame mirrorless camera installed on a Telemetrics PT-CP-S5 compact pan/tilt head, all of which was controlled through a Telemetrics RCCP-MJ robotic camera control panel. The setup also featured a network interface the users to control the camera and access the images online.

The PT-CP-S5 A9 unit is fully integrated and includes a compact pan/tilt head and weatherproof camera housing. It has robotic servo controls that use motors of ultra-high position and velocity accuracy.

Telemetrics said the system was a collaboration with Sony and a major news service.

The NAB Show exhibit halls were chockablock full of acquisition tools for studio and location production. A group of new 4K cameras were introduced on the show floor, along with a few 8K models. Matching the work of their camera making brethren, the lens makers have duplicated their HD lenses with higher spec 4K models. Battery and power supply makers rolled out high continuous output battery packs to serve power hungry high resolution cameras. And lighting equipment makers debuted fixtures that can put out both RGB and color temperature agile white light.

CAMERAS

ARRI rolled out its ALEXA LF large format 4K camera, which utilizes a 36.7mm x 25.54mm sensor, slightly larger than full frame sensor. This allows the company to achieve 4.5K resolution using the same pixel size as other ALEXA cameras. Because of that larger sensor size, a different lens mount, LPL, is required. To use existing LP lenses, an LP to LPL adapter is required.

BLACKMAGIC DESIGN debuted its Blackmagic Pocket Cinema Camera 4K, a handheld digital camera with full 4/3 HDR sensor. Its form-factor is an HDSLR, providing 13 stops of dynamic range and dual native ISO up to 25,600. This makes possible good HDR output and deep low light performance. Images are recorded onto standard SD/UHS-II or CFast 2.0 cards in RAW and ProRes at up to 120 frames per second.

CANON showcased its full frame EOS C700 FF digital cinema camera, designed to meet a large range of production needs. It offers ProRes and XF-AVC internal recording up to 4K to CFast cards. With the optional Codex CDX-36150 recorder, the EOS C700 FF can record 5.9K RAW up to 60 frames per second.

GRASS VALLEY introduced the LDX 86N native 4K UHD (3840x2160) and native 3G/HD (1920x1080) camera, using three 4K XensiumHAWK CMOS imagers. Customers have the option of upgrading the camera to LDX 86N Universe functionality with 6X HD and 3X HD/3G high frame rate capture. (The upgrade license is available on a one day, seven day or perpetual basis.)

HITACHI KOKUSAI debuted the CUHD1300F-S1 HDTV camera control unit with 4K, 12G-SDI output. The CU-HD1300F-S1 combines SMPTE fiber transport and multi-format HDTV support with intercom, teleprompter return, and additional signal connectivity in a space-efficient 2RU unit. The company also announced an optional firmware upgrade for its SK-UHD4000 4K Ultra HD camera system to enhance simultaneous HDR and Standard Dynamic Range acquisition. New optional 12Gbps SDI output capabilities for the accompanying CU-HD4000 CCU have also been added to its existing quad-link SDI interface.

IKEGAMI rolled out its UHK-435 2/3-inch 3-CMOS sensor 4K/HD full studio camera, the studio companion of the previously introduced UHK-430 portable 4K camera. Both cameras utilize 4K (3840x2160) CMOS sensors with RGB prism optics, delivering resolution from 24 million pixels (8 million per sensor). The 2/3-inch sensor format permits use of the full range of B4 studio and field box lenses.

JVCKENWOOD demonstrated its GY-HC900 CONNECTED CAM broadcast camcorder, a complete news-over-IP workflow solution in the field. It utilizes three 2/3-inch CMOS image sensors for high sensitivity (F12 @ 60 Hz in extended mode), HDR with hybrid log gamma, with an Industry standard B4 lens mount.

MARSHALL ELECTRONICS debuted the CV502-WP Weatherproof Miniature Camera, which captures video footage in 702p and 1080i and 1080p. The POV camera can be easily affixed to any kind of structure or terrain.

PANASONIC demonstrated its AK-UC4000 4K/HDR/high-speed studio camera with 4.4K native resolution. The UC4000 utilizes Large Single Sensor Internal Expansion Lens (LSSIEL) optics with Panasonic’s new, larger, advanced super 35mm imager, which maintains B4 broadcast lens capability and high-speed 240fps capability. The company also introduced EVA 2.0 free firmware upgrade for the 5.7K AU-EVA1 cinema camera that greatly enhances its recording capabilities with ALL-Intra frame formats and RAW data output. Panasonic also announced the EVA1 and VariCam LT will take full advantage of the new ProRes RAW software for a faster and more efficient RAW workflow, as well as 6.0 CineLive firmware that sets the cinema camera up for live and near live multi-cam use for events, concerts, television shows and corporate productions.

SONY debuted its PXW-Z280, a 4K camcorder featuring three 1/2-type Exmor R CMOS sensors. The camera integrates a 17x optical zoom lens and an electronic variable ND filter. The camera supports XAVC, MPEG HD and DVCAM codecs, which allow use of one camera to shoot 4K, HD or SD video. Recording is to SxS or SD cards, and can simultaneously record 4K and HD. The company also introduced the FS5 II, with a new ergonomic modular frame and Support for four seconds of 120fps in 4K and continuous 240fps in 2K RAW output, when used with a compatible external recorder.

LENSES & FILTERS

ANGENIEUX added the Optimo 42-420 A2S, a second Long Range Anamorphic zoom lens to its lens offerings. It features Interchangeable Rear Optics (IRO) technology. It provides a constant T4.5 across zoom range, with no ramping. With a close focus spec of 4 feet 1 inch, extreme close-up shots are possible. It features precise and ergonomic focus ring with scale rotation of 320 degrees and over 40 focus marks.

CANON introduced a bevy of new lenses, including the CJ45ex9.7B and CJ45ex13.6B 4K lenses, the largest barrel-type B-4 lenses available. For arena sports production, Canon debuted a mid-range UHD-DIGISUPER 66X box lens for 2/3” chip cameras. And for price-sensitive customers moving into 4K production, the company has developed a second tier of UHD portable zoom lenses, and the UHDgc lens line.

FUJIFILM introduced a pair of new 4K UHD lenses, the Premier UA Series of UHD 2/3-inch lenses. The UA46x9.5B has a 46x zoom ratio and a wide angle from 9.5~437mm with an F2.0 aperture. The UA46x13.5B sports a zoom range from 13.5~621mm with an F2.8 aperture. These two new lenses complete an expansion of Fujinon UHD lenses that now mirrors the company’s HD lens lineup.

SCHNEIDER-KREUZNACH demonstrated its True-Net filters. Hollywood directors of photography have long used a nylon stocking stretched over the lens barrel as a diffusion filter. The problem with that technique is that the effect varies with each application. Schneider’s True-Net filters, with the nylon sandwiched between two pieces of water white glass, allow the effect to be repeated exactly.

BATTERIES & POWER SUPPLIES

ANTON BAUER demonstrated its CINE Battery Series, lightweight and long lasting that deliver 12 Amps of continuous power. It is designed for ENG, accessorized digital cinema cameras and camera stabilizer systems. The CINE battery series includes a PowerTap to power auxiliary 14V accessories, and incorporates Fuse Link technology to provide protection to surrounding battery cells.

BHV BROADCAST launched an enhanced next-generation version of its Video Ghost power solution that enhances its data link capacities. The system now provides simultaneous transmission of digital SDI video, DC power and bidirectional data over a single coaxial cable. The data link is compatible with numerous protocols.

FREZZI showed its 150WH Power Packages, designed to provide ample power to run power hungry HD cameras. They connect to any camera with an Anton/Bauer or equivalent mounting bracket, and charge on FREZZI chargers.

IDX showcased its DUO Compact Series batteries, which are lightweight high-capacity V-Mount batteries with multiple power outputs. They feature a gold-plated 8-Pin connector to maximize power output and minimize damage caused by heat. Each battery houses two D-Taps and one USB to power devices such as lights and video transmitters.

PAG rolled out an array of new accessories to complement its PAGlink battery products, including the PAGlink Micro Charger, a small form-factor single-position charging kit that can charge multiple PAG batteries. The PAGlink PowerHub mounts between battery and camera, and eliminates the need to build D-Taps into a battery pack itself.

LIGHTING

AADYNTECH unveiled a panel version of its JAB and PUNCH fixtures. These Quad fixtures are available in both daylight as well as variable white versions. The Quad JAB and Quad PUNCH will be available in both daylight as well as variable white versions, which feature a color temperature range from 2950°K to 5750°K.

BB&S LIGHTING showcased its Force 7, single source LED technology, utilizing an externally mounted 48-volt power supply that provides smooth dimming from 100 to zero percent. The Force 7 provides precise focus, crisp gobo projection and clean straight cuts with shutters. This is achieved by using a high quality condenser optical system in conjunction with a single point LED light source.

CINEO featured its new Standard 410, combining white-light quality with its saturated-color technology. It provides accurate, smooth dimming through the entire range of 100 percent to zero, is flicker free and silent. The color temperature range is 2700K to 6500K, with five presets. The fixtures support wireless control through the onboard LumenRadio bi-directional wireless DMX/RDM.

FLUOTEC demonstrated its StarMaker UDH 80W, 6,000 lumen tuneable panel light that is IP65 water-and dustproofed. It is all-metal construction for ruggedness and its Halodim Technology provides stepless dimming through the entire range. It can be battery operated or run off AC.

LITEPANELS introduced a new, free firmware upgrade for its Gemini 2×1, RGB-WW soft panel, which combines daylight, tungsten, and red-green-blue LEDs. The new firmware enables eleven new customizable cinema effects and other features. And a new battery plate for the Gemini allows powering from either Gold Mount or V-mount battery packs.

TRIPODS/FLUID HEADS/CAMERA RIGS

LIBEC SALES OF AMERICA demonstrated its Hands Free Monopod (HFMP) featuring lock/release foot pedals for quickly deploying and retracting the base. It includes Libec’s TH-X pan-and-tilt video head and bowl clamp, which offers a +90°/-80° tilt angle, a 360° pan angle, a fixed counterbalance and drag mode. Both the pan and tilt movements can each be locked into place.

MILLER rolled out five models in its new Compass X range, three with 75mm ball bases and two with 100mm ball bases. New features include side-loading camera plates, spare screws in the head, eight positions of counterbalance, a revision in control labeling, and a new design of pan handle rosettes that allows them to be easily replaced should they begin to wear.

RED ROCK unveiled DigiBoom, an affordable gimbal-stabilized camera rig that makes it simple for a single camera operator in the field to execute smooth camera moves with controls that make sense to an ENG camera operator.

SACHTLER and VINTEN showed their co-developed Flowtech 75 MS Carbon Fiber Tripod with Mid-Level Spreader, designed based on all-new camera tripod technology. It features new quick-release brakes and easy-adjust levers that enable camera operators to set up and begin using the tripod in seconds. It has a payload capacity of 44 pounds.

TELEPROMPTERS

AUTOSCRIPT showcased its new Intelligent Prompting family featuring the EPIC-IP19XL teleprompter and WinPlus-IP prompting software. The Intelligent Prompting devices offer the flexibility to integrate simply via an IP network, pooling resources anywhere in the world, and implement fail-safe redundancy measures for live broadcast.

CUESCRIPT rolled out a third generation of its CueiT Software, which includes support for an OpenGear card that allows putting up to 10 CueiT softwares into one frame. The new software also enables using widgets that allow multiple messaging to the talent on the prompting screen. CueScript alsoannounced that all scroll controls for its professional teleprompting systems offer a choice of connectivity, including IP.

ROBOTICS

PANASONIC launched the AW-HN38, AWHN40, AW-UN70 and AW-HN130, a new line-up of PTZ cameras with built-in Network Device Interface (NDI|HX) support.

RUSHWORKS demonstrated its three-in-one dual-camera HD-SDI unit combining a 20x or 30x PTZ camera and a wide-angle panoramic camera in the same module. The PTZ camera has full pan, tilt and zoom functions, while the panoramic camera provides a cover shot that cannot be trimmed.

SHOTOKU USA showed its SmartPedVR, the virtual reality (VR)/augmented reality (AR)-enabled version of its SmartPed that combines built-in VR tracking capabilities with its robotic pedestal. Addition of VR tracking provides 3D position information, including orientation, and is provided in remote or local operations with seamless switching between modes.

TELEMETRICS introduced a more fully featured Advanced Control Panel, the RCCP-1A, designed for larger studios. The panel, with optional STS studio software, includes Telemetrics’ reFrame Automatic Shot Correction technology that locks cameras onto the talent and automatically trims the shot, without operator intervention.

VINTEN demonstrated its Robotic Ceiling Track system, designed for productions where floor space is at a premium. The Ceiling Track is fully integrated with the Vinten control system so that it can join the company’s pedestals, heads and elevation units in the same production.

CHARLOTTE, N.C.—Fox Sports is deploying a Mega Trax 500 robotic "Rail Cam" to provide a unique POV for viewers tuning into NASCAR’s iconic Coca-Cola 600-mile race at Charlotte Motor Speedway on Sunday, May 27, 2018. 

Following a successful test earlier this season at the Auto Club Speedway, in Fontana, Calif., the robotic camera can accelerate from zero to 60 MPH in three seconds, topping out at speeds over 90 MPH, with near-silent operation.

Instead of using it for pit coverage, as the network had done at the Auto Club Speedway, Fox Sports and Mega Trax will construct roughly 850 feet of rail behind the inside wall on the backstretch at Charlotte Motor Speedway to enable more interesting race coverage.

“The Mega Trax ‘Rail Cam’ fits perfectly into our long history of NASCAR coverage innovations, including Gopher Cam, Gyro Cam, and most recently, Visor Cam,” said Michael Davies, Fox Sports senior vice president, Field & Technical Operations. “We hope this will add yet another reason to watch the most compelling race of the Memorial Day weekend.”

LONDON—Mark Roberts Motion Control, a Nikon subsidiary and supplier of robotic camera systems and ChyronHego have partnered to develop automated, robotic camera-based player and ball tracking systems for sports.

The partnership brings together key technologies, including ChyronHego’s TRACAB optical sports tracking system, which identifies and follows players as they move, while providing live game-play metrics. Also key is MRMC’s new Polycam System for synchronized movement of multiple robotic cameras, and new Robotic Pod camera system that captures video and stills of game action from multiple angles around the field.

[Read: ChyronHego To Debut Latest Broadcast Graphics Tools at 2018 NAB Show]

“ChyronHego’s graphics solutions and installed tracking systems expand the possibilities for our automated remote camera systems,” said MRMC CEO Assaff Rawner. The Robotic Pod incorporates a Nikon D5 Digital SLR camera that captures high-quality imagery, even in challenging lighting conditions, as well as live color-control technology for matching the color output of multiple cameras.

MRMC can capitalize on ChyronHego’s broad sports industry connections to market their new products, and ChyronHego can sell and distribute MRMC’s automated solutions to its own customer base. Initially, distribution will be through Nikon Inc. (USA), Nikon France S.A.S. (France), and Nikon GmbH (Germany), while MRMC will handle UK distribution directly.

TRACAB camera-based player and ball tracking systems are now installed at over 300 stadiums and “capture live tracking data for over 4,500 games every year,” said Sören Kjellin, CTO, ChyronHego. “[This] partnership is the latest example of how data-driven, innovative solutions are accelerating professional sports teams, leagues, and broadcasters around the world.”

MAHWAH, N.J.—The students at the University of Southern California Annenberg School for Communication and Journalism have some new gear to learn from, as Telemetrics has announced that it has supplied the school with its camera robotic system. Telemetrics has installed the system into three of the school’s TV studios and two large event spaces in its Wallis Annenberg Hall.

USC's Wallis Annenberg Hall

The camera robotic system is integrated with USC Annenberg’s Ross OverDrive production control to create an automated news broadcasting center. The system also gives the school the ability to manually control remote pan/tilt camera heads, though since the installation the school says that it often uses the systems full automation over manual controls.

Advanced Broadcast Solutions installed the three Telemetrics PT-RM-1 pan/tilt heads, three RCCP-1 remote camera control panels and Telepod elevating tripod system.

According to Chuck Boyles, director of multimedia technologies at USC Annenberg, the goal of these systems is to provide students with training experiences that will ready them for the professional world.