WOODCLIFF LAKE, NJ—Shotoku USA, Shotoku Broadcast Systems’ North American operation, will mark the worldwide debut of its new TR-XT3 studio control system at the 2023 NAB Show, April 15-19 in Las Vegas. 

Also, the company will demo Shotoku’s TI-11X elevator pedestal paired with its advanced TG-18i pan/tilt head for the first time at a major North American industry event, the company said. Other show highlights will include the recently introduced TG-47 pan/tilt head, and the latest Orchestra CMS control system designed to address the growing demands of today’s televised legislature proceedings. Shotoku, an international manufacturer of high-quality, easy-to-use, robust and reliable robotic and manual camera support systems, will also have its SmartPed fully robotic pedestal front and center along with its extended family of pan/tilt heads and control panels. 

Shotoku says the TR-XT3 incorporates all the proven capabilities of Shotoku’s flagship TR-XT control system with a fresh user interface and several new capabilities, including built-in functionality that simplifies the design and configuration of SmartPed studio environment maps.  TR-XT3 is compatible with all new and existing Shotoku systems making upgrades and migrations easily managed.

The TI-11X elevator pedestal will be shown paired with the TG-18i pan/tilt head to offer a highly capable robotic camera channel that includes elevation, according to the company. The TI-11X is based on Shotoku’s new X-Height elevator column and offers a longer range of travel and increased speed over the TI-11 i-height pedestal. Like the TI-11 the TI-11X is aimed at studios where full manual override is not a priority. The new design of the pedestal’s base makes cable management simpler too with the self-contained power and network connectivity within the unit, Shotoku said. Although ideally suited for the TG-18i PT head, the TI-11X is also available for use with TG-27 and TG-47 heads when lighter payloads are required, according to the company.

Shotoku will also showcase the TG-47 compact, mid-level payload pan/tilt head, which combines the size of Shotoku’s TG-27 with the capabilities of the TG-18 and is aimed at mid-sized payloads of up to 45 pounds, which can easily support a typical box camera/ENG lens with mid-sized teleprompter.

Shotoku’s latest version of its Orchestra CMS control system software will be available for hands-on demonstrations. Ideally suited for use in legislative, conference and corporate facilities of any size and type, Orchestra CMS features an enhanced user interface that makes operation simpler and more intuitive, the company said. Fully automated and with live video touch-screen operation, Orchestra CMS can rapidly position multiple cameras to precisely defined positions in response to either an operator command or an external automated trigger. Advanced setup features increase operational flexibility and include a live video spotter camera, floor plan graphic, and/or automated microphone selection triggers.

Shotoku will be in Booth C5320 of the Central Hall at the LVCC.

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.

SUNBURY-ON-THAMES, U.K.—Shotoku’s SmartPed robotic XY pedestal is adding a new trick to its arsenal, the Orbit functionality that will allow it to travel in clockwise and counterclockwise movements around a circular set.

Users can select the Orbit function on Shotoku’s TR-XT Control Panel, which will translate the usual X-axis movement into a perfect arc around an orbital center point, Shotoku says. The operator can move the pedestal clockwise or counterclockwise without having to manually drive the pedestal base in an arc.

Orbit is complementary to SmartPed’s Sequence mode, which allows operators to complete complex curve motions by moving through a series of key frames.

Orbit will be a standard feature on Shotoku’s TR-XT Control Panel, per James Eddershaw, Shotoku managing director.

For more information, visit www.shotoku.tv.  

LAS VEGAS—At this year’s NAB Show, Shotoku USA is set to launch a new wave technical and operational developments for its robotic control system, including a new IP interface, updates to its TR-XT control system and new pan/tilt head options.

One of the products on display will be the SmartPed fully robotic pedestal. The unit features what Shotoku calls Absolute Navigation that now has two additional options depending on the environment—AN-I and AN-S. AN-I is an IP interface within SmartPed that allows it to interface to existing external optical tracking systems using absolute tracking information to reference and adjust the pedestal’s own internal navigation systems. AN-S, meanwhile, is a fully integrated option, including the optical tracking system for situations without already installed optical tracking.

Shotoku has developed a number of enhancements to its TR-XT control system that will be shown during the show. The new LiveView option uses a secondary IP video camera to provide a wide-angle scene view for each camera and allows operators to command heads to new positions by touching one of these views. The Studio Zones feature defines areas within a studio that cameras may or may not travel to avoid potential collisions. There are also enhanced automation interfaces that enable full camera adjustments on-the-fly from external systems, including face-recognition and tracking systems.

Other products from Shotoku that will get some attention at the NAB Show include the TG-18i, the latest version of the company’s TG-18 studio pan/tilt head that is fully integrated with high payload and simple connectivity. Another pan/tilt head is the TG-27/MicroPDU, which can be used for legislature or conference system in conjunction with Shotoku’s TR-S control panel. There will also be the TI-12 elevator unit, with height drive, that can be used with virtually any studio pedestal, according to Shotoku.

Shotoku also has a series of manual camera support products that it will demonstrate during the show.

This includes the SX200 and SX260 pan and tilt heads with Shotoku’s “Truebalane” design for counterbalance that can be adjusted throughout the range. The drag system is based on the company’s Viscam design, but adds a new actuation system, with fine tuning and on-shot adjustment capabilities. The heads come standard with two stage ENG carbon fibre legs. They can also be used with the new TTH1002C 100mm carbon fibre EFP tripod.

There is also the SD & SE pan/tilt and tripod series. The SD comes in two variants—the SD20 with support for 6.5 pounds, and SD40 with support for 11 pounds. Fixed counterbalance and drag systems are tailored to the payload of the head and come with two-stage tripod mid-level spreader and soft carry case. The SE series features the SE80 and SE150 (supporting 22 and 35 pounds, respectively), a drag system, multiple level counterbalance system, two-stage tripods with ground and mid-level spreader and a soft carry case.

Then, Shotoku has partnered its TP500 entry level broadcast pedestal unit with the SX300 head, which can support 88 pounds when combined; the TP500 can support 121 pounds independently.

Shotoku USA will be located at booth C9108 during the 2020 NAB Show, which runs from April 18-22 in Las Vegas.

For more information, visit www.shotoku.co.uk. 

LAS VEGAS—There’s a new lineup of products set to be part of Shotoku USA’s demonstration at the 2019 NAB Show that have gone smart. SmartRail, a new generation of Shotoku’s rail-based camera systems, and the SmartPedVR robotic XY pedestal are two of the featured examples of what’s new at Shotoku.

The SmartRail is designed for floor or ceiling operation through a range of height column configurations. Combining Shotoku’s control systems with a rail-based dolly system and elevator column system, the configuration offers unique perspectives for productions.

Then there is the SmartPedVR Robotic Pedestal, which operates as a fully robotic XY pedestal. The three-wheel, smooth-steer pedestal features a new height column, multi-zone collision avoidance and detection systems and an electro-mechanical steer/drive system. It also can handle instant switchover between local/remote operation. Shotoku will demonstrate the SmartPedVR within an AR environment, fully integrated with real-time graphics systems.

In addition to its “Smart” tech, Shotoku will also display the LiveView, a live video control option for the TR-XT control system. With a miniature HD camera mounted on the robotic-controlled-full broadcast camera, the operator can access more information than from a broadcast camera. By selecting any LiveView-enabled cameras, operators can manually control the camera as usual via a joystick or use LiveView control via the on-screen live video.

A set of manual and ENG tripods are also among Shotoku’s offerings. The SD (SD20 and SD40) and SE (SE80 and SE150) are the manual tripods, with the SD featuring fixed counterbalance and drag systems tailored to the payload of the head, a two-stage tripod mid-level spreader and soft carry case, while the SE offer a high-quality drag system and a multiple level counterbalance system.

The ENG tripods are the SX200 and SX260, which can carry 44 and 55 pounds respectively, and have easily adjustable counterbalance systems and a speedy drag system.

Shotoku will display all of these products at its booth, C9511, during the 2019 NAB Show.

To register for the NAB Show, visit www.nabshow.com.

SEATTLE—When a news photographer jumps out of a vehicle to cover a breaking news story, the last thing they need is a science project when putting together the video gear. Makers of camera support, portable lighting and battery packs go to great lengths to make their gear on the go quick and easy to deploy.

CAMERA SUPPORT

Tripods have always been important for steadying the camera shot, but they’re even more important now to support the camera while the video journalist also reports the liveshot.

Miller Camera Support addressed the need for one-handed tripod deployment with its Sprinter tripod. “We have a dual, independent locking system with two levers that are side-by-side at the top,” said Miller Regional Manager Gus Harilaou. “That allows opening the tripod with one flip of the lever, and it deploys both the bottom and the top stages of the tripod. The tripod is opened in a few seconds.”

The Sprinter tripod is paired with Miller’s Compass X18 fluid head. “This is basically for any newsgathering where guys have little cameras, whether that would be handheld or full-blown shoulder-mount cameras,” Harilaou said. “CX18 has a capacity range to take any payload from zero to 35 pounds.”

Vitec brands Vinten and Sachtler co-developed the flowtech tripod family designed for fast moving news coverage. “What makes it so appealing to the news folks is the speed of deployment, which can determine whether you get a shot or not on a breaking news story,” said Tobias Keuthen, director of global product marketing management.

Keuthen noted that the flowtech’s unique clamping mechanism was placed on top of the tripod where the head fits, helping news photogs deploy more quickly. “You don’t have to bend over; you can open the braking clamps for all three legs from the top of the tripod and extend the legs easily,” he said. “You can close the clamps also without bending over, and you can adjust the legs for working on stairs or uneven ground.” The company just added a 100mm bowl version of the flowtech for larger payloads.

Several years ago, Libec launched its Hands Free Monopod (HFMP) designed for free stand operation, according to Jose Larios, manager of sales and marketing for the company. “Our monopod is different by the fact that the base is wide, and it allows the user to put it into a vertical position just by simply stepping on the base,” he said.

The HFMP can stand on its own on the wide base to allow a oneman- band photojournalist to securely position the monopod then step in front of the camera for a liveshot standup. Libec conducted some focus groups to determine what users wanted from a monopod, Larios said. “And when we found out what were the best features, applications and benefits that are going to our product, we put that into place when designing the Hands Free Monopod.” This included placing a fluid head on the top.

Shotoku found that stringers and news departments at smaller stations were turning to lower cost camcorders and even DSLRs to capture video, which opened its market to lower cost, simpler tripod systems. “Our tripods for these customers vary from the SD 20 with really basic level features like fixed drag and counterbalance,” said Graham Ramsey sales director, manual and robotic products for Shotoku.

Two slightly higher level versions—SD 80 and SD 150—can handle higher payloads of 8 kilos and 15 kilos, respectively, and feature a step counterbalance system, and step drag system. To keep things simple for working faster, “with the SD 20 you can leave the balance and drag settings exactly where they are,” Ramsey added. “You don’t have to change anything, take off tensions or lower drag settings, or anything like that.”

LIGHTING

Lighting equipment has come a long way since the introduction of LED fixtures, with time-saving features like dimming without color shifts and the ability to dial in a desired color temperature.

Video journalists are not necessarily lighting experts, according to Kevin Crawford, vice president of engineering at Frezzi in Hawthorne, N.J. “A lot of these people don’t really know about how to light up a scene, so our Skylight product provides a wide, flat, optical field,” he said. “This thing is brain-dead simple to use, and throws a lot of light.”

For working fast in the field, the Skylight can be powered by a broadcast brick battery pack or off AC. It provides high CRI single source 5600K daylight light without pixelation or color fringing.

Fluotec’s StarMaker color-tunable panel fixture has found a home in ENG vans for a number of years, and the company’s upgrade to the StarMaker HP model will make it even more desirable to news crews said Fluotec Chief Marketing Officer Jose Maria Noriega.

“The StarMaker HP now has the same technology as our Cine Light, so it has a much better CRI of 97.7, and it now delivers an output of 37 percent more light than the previous version,” he said. “Incorporating our NEBULA Diffusion Chamber Technology makes a 70 degree throw and softer light than when it’s used without this attachment. And this allows you to use barn doors. Although most panel manufacturers put the barn doors on the light, but they throw a multi-shadow on the background. Our diffusor attachment behaves as a single source point of light, which is very controllable by barn doors.”

With the built-in battery attachment, there’s no need to run cables.

Litepanel’s most popular ENG light is its Astra Bi-Color, according to Byron Brown, program product manager for parent company Vitec Videocom. “It can be easily hand held or put on a stand, it can be installed with a battery adapter, you slip the battery on it and you’re ready to go.”

The color agility of the Astra Bi-Color is another feature that allows for working fast, Brown added. “What we find oftentimes is that guys out in the field will start off with the light dialed in to daylight, and then warm it up to taste,” he said. “The color temperature dial on the Astra also has color temperature readings, so if you know your favorite reading is 4500K, you just dial it to that number and you’re there.”

For situations where a photographer needs a longer throw of light, Litepanels also has the Astra Bi-Focus, with lenses to narrow and intensify the light.

Tama Berkeljon, managing director at Outsight in Australia, said its most popular light for ENG shooters is the bicolor Creamsource Micro. “It’s punchier, and you’ve got more options for diffusing it or softening it back,” he said. “It’s extremely flexible and can be deployed in seconds with a battery attached.”

Accessories include diffusion and lensing, Berkeljon added. “Dropping in lenses changes the beam angle from 30 to 60 to 100 degrees,” he said. “Unlike most bi-color fixtures, the Micro maintains constant power output across the whole CCT range, so users always get the unit’s full potential. There is no reason to have to choose between a bi-color or daylight system. And because of the Micro’s wide 10-32V operating voltage, users can power the fixture from a single 90WH battery, or directly from a car.”

Zylight spotlights its F8 200 LED Fresnel as its most popular with ENG camera crews for its durability and outdoor IP protection. Charlie Collias, director of fixture sales for the Cypress, Calif.-based company.

It’s also very quick to deploy when breaking news is happening. “Its 5 inches thick and packs into a milk crate, pelican case or in padded travel cases we sell,” Collias said. “In other words, the F8 200 is easy to find space for in a van to bring it along, and doesn’t take up much room. The camera person can pull it right out of the bag, place it on a stand and throw a camera battery on the rear and it’s good to go.”

BB&S Lighting recommends a pair of fixtures for speedy ENG work, one for closer work and a second when some throw is needed. “Our Reflect 1-foot or 2-foot wedge-shaped LED fixtures feature an internal reflector system that spreads a 160 degree beam angle,” said Toby Sali, partner in BB&S. “They can be used singly or ganged up in banks. They give you instant and soft lighting.”

Where the subject is some distance away, he points to their Compact Beam Light. “the front is 6 inches, and it’s 5 inches across. It is a 40W draw, like the other one, and it is a 7 degree, 11 degree, 14 degree or 17 degree beam light. So it isn’t a hard light. It doesn’t give you a ridge like a LEKO ellipsoidal profile light. It’s got 15 percent roll-off on the edges.”

During the fluorescent lighting era, Kino Flo sold a lot of its Diva lighting fixtures to news shooters who liked the soft modeling light it produced. “As LEDs took over, we developed a fixture called the Diva Light 21, which is the latest version of our LED Diva Light,” said Scott Stueckle, who handles sales and public relations for the Burbank, Calif.-based company. “It’s lighter weight from any other Diva Light we’ve had. It still has all the functionality. You can pull it out of the case and you can run full daylight and tungsten.”

One high-end feature of the latest firmware for the Diva 21 is the ability to color match the light to a particular camera. “Cameras have different sensors, different spectral curves that they use to see light—they don’t all see light the same way,” Stueckle said. “We’ve pulled out all those spectral sensitivity curves of those cameras, and we’ve downloaded them onto our software profiles. You can also go in and pull up a Panavision or Panasonic or Sony or Canon camera, and lock those color profiles in.” If a news shooter has to change cameras, it’s easy to change the Kino Flo fixture’s color properties to match, Stueckle added.

POWER SUPPLIES

A news shooter can have everything else going fine, and when the power runs out the shoot rudely and quickly comes to an end. Battery makers have gone to great lengths to provide high-capacity battery packs that are also feature rich.

Anton/Bauer unveiled its Dionic XT battery family last year and it’s found a quick market for news photographers, according to Chris Gaughan, product manager for Vitec Videocom’s Anton/ Bauer brand, who said Dionic battery packs are designed to live on the back of a camcorder “and you’re ready to go at a moment’s notice. You pick up your camera, push a button, and it’s running.”

Another feature that assures the shooter isn’t chasing a news story with a nearly empty battery pack is a fuel gauge display. “When the battery’s not under load it tells you how much battery is left, gives you a percentage,” Gaughan said. “When the camera’s running, it gives you the run time you have left, based on the load. And by touching the back of the battery you can cycle through and see what kind of current you’re drawing and temperature of the cell pack.”

Jet-hopping news crews were the focus of IDX System Technology when it designed its Dual C 98 battery packs. “Because it’s at 98W—under 100W—you could carry 15, 20, 25 on the plane,” said Jun lshizekai, associate manager of marketing & regional west sales. “It features two D-taps and one for USB, so it has enough accessory ports to fill all of a camera guy’s needs.”

Dual Cs have a five LED fuel gauge on the side, and because the individual LED is either fully lit, blinking or dark, it actually indicates battery power remaining in 10 percent increments, lshizekai added. “There’s also an LED on the Vmount side, and if you’re in total dark and it’s hard to see to change batteries, you can turn this LED on. It stays on for 30 seconds to let you maneuver around when remounting a battery pack on the camera.”

PAG’s PAGlink batteries provide the ability to gang several battery packs together on the back of a camcorder, creating a number of advantages, according to John O’Keefe, marketing consultant for PAG. “Unlike the conventional Gold Mount batteries, a single battery with a single capacity, PAG makes 90Wh and 150Wh battery packs that can be linked together,” he said. “For most guys who are shooting news, they would probably want just two, and that would let them shoot for eight hours without having to change batteries.”

PAG’s Power Hub sandwiches between two battery packs, and will let the shooter power a light, wireless microphone, small monitor and similar accessories off the camera when both batteries are linked. “The battery closest to the camera acts as your hot swap and the camera drains from the rear battery,” O’Keefe added. “That power hub is in the middle, and you can remove the rear battery without interrupting power to the camera and accessories.”

Frezzi’s FLD 100 battery packs are 100 Wh capacity, the company’s largest legally transportable battery. “It’s got a push to test fuel gauge, so it doesn’t drain the battery when it’s not being used,” said Crawford.

“It’s weatherproof, fully sealed. It can be charged with our existing desktop chargers; and it has a small port that’s used with a portable power supply to charge it, like a small desktop charger, a single channel. So if you have a little go bag and you don’t want to bring a desktop charger, like a four position station, you could use this little power supply to charge it that way.”

WOODCLIFF LAKE, N.J.— For attendees of the NAB Show New York, Shotoku USA will demonstrate some of the its pan and tilt heads from the company’s range of robotically controlled configurations. Shotoku’s robotic pan/tilt head series will be represented by the TG-18, which is fitted with electronic clutches to instantly decouple the motors for manual operation. High-quality adjustable fluid dampers provide the smooth, variable resistance required for precise manual control.

The TG-18 will be joined by the small, lightweight TG-27head, suitable for parliaments, legislatures and small TV studios. Supporting up to 17 kilograms (38 pounds), the company says the TG-27 can support almost any typical SD or HD ENG camera and lens configuration. The head also works well with the minimal payloads encountered when using some of today’s miniature box cameras.

The company will also show its height drive capabilities via the cost-effective Ti-11 fully integrated elevating column for robotic applications such as weather studios, news desks and other open-area camera positions where manual operation is not a primary requirement.

Shotoku will be on the show floor in booth N743.

[Want more information like this? Subscribe to our newsletter and get it delivered right to your inbox.]

LAS VEGAS—Shotoku USA will demo an enhanced External Control Automation Interface, among other robotic camera solutions for live studio and VR/AR applications, at the 2018 NAB Show. Building on the Shotoku TR-XT robotic camera control system, this upgrade enables full joystick trim control to adjust and restore pre-sets from the switcher or automation system. By interfacing with Facility Management and Control Systems (FMCS), the TR-XT can now be remotely reconfigured.

TR-XT

Designed for live studio production, Shotoku USA’s fully robotic X-Y SmartPed Robotic Pedestal will also be on hand. The unit features three-wheel smooth-steer capability, multi-zone collision avoidance and detection, a new height column without need for pneumatic balancing and an electro-mechanical steer/drive system. It instantly switches between local/remote operation with no need for re-reference or calibration and has a pan-bar mounted joystick for easier control.

Shotoku’s SmartTrack rail camera system supports floor or ceiling operation, with a range of height column configurations in upright and inverted modes. SmartTrack combines Shotoku precision control systems with a rail-based dolly and elevator column system to provide varied studio perspectives.

The 2018 NAB Show takes place in Las Vegas, April 9-12. Shotoku USAwill be in boothC9015. For more information, visit www.nabshow.com. 

Read up on all of TVT's NAB Show Sneak Peeks and other 2018 NAB Show news here.

BUFFALO, N.Y. –Shotoku Broadcast Systems has named Matt Servis its robotics support specialist — North America. The announcement was made by James Eddershaw, managing director of Shotoku U.K.

According to Eddershaw, Servis will be responsible for providing technical and sales support to the company’s current customer base and further expanding its presence in North America, a region where Shotoku has enjoyed long-term success in numerous broadcast, cable and network operations, and government facilities.

Servis brings more than 25 years of engineering and sales experience to Shotoku, the camera-support vendor said. Most recently he served as sales engineer and account manager for Audio-Video Corp. where he designed product specific solutions, including camera support systems, based on customers needs and budgets. Servis also held the position of chief engineer for WVNY-ABC22 / WFFF-Fox44/CW, and was responsible for the first HD newscast in the Burlington/Plattsburgh market, and the build out of DTV facilities for two stations. Additionally, he was project manager and engineer for Beers Associates as well as the Empire Sports Network.

Servis will be based in the New York region.

Ashish Srivastava

KAWASKI, JAPAN—Shotoku Broadcast System, in an effort to expand its presence in India, has named Ashish Srivastava as its new regional sales manager. Srivastava has more than 16 years of experience in the broadcast industry, according to the company’s announcement.

Shotoku is a provider of manual and robotic camera support and virtual reality tracking.

Srivastava will be based in New Delhi.

BUENOS AIRES, ARGENTINA—Torneos y Competencias S.A. and HD Services S.A—also known as Torneos—is an Argentine mobile sports production company headquartered in Buenos Aires that also transmits satellite and CATV signals. As chief of the Technical Department, I coordinate all technical activities, including support, but I also evaluate and recommend the equipment purchases and technologies that have kept Torneos a premiere and quality organization for more than 30 years.

Studio/OB TT-64 tripod

Due to the recent purchase of two 55x lenses, we needed reliable and robust support gear to accommodate the large units as well as their cameras. Our first reaction was to remain with the same brand that we were already using, but after careful consideration we decided to consider alternatives.

We normally purchase equipment through manufacturers’ local representatives and Isikawa Electrónica is one such company that has always been very professional, efficient and provides excellent support. Isikawa Electrónica suggested we evaluate a tripod/head system from Shotoku Broadcast Systems, a well-known manufacturer of camera support equipment. Since we principally produce soccer matches and other sporting events such as tennis, our equipment is constantly travelling from location to location and absolutely must be easily and quickly assembled and disassembled. We found Shotoku’s Studio/OB TT-64 tripod with their TE-12HF pan/tilt head combination to be robust and exceptionally stable.

SINGLE COAXIAL TUBE
Shotoku’s TT-64 is formed with a unique single coaxial tube structure, to create a lightweight yet highly rigid unit with an ergonomically designed and simple-to-use leg extension lock system with a robust built-in mid-level spreader. The tripod pairs ideally with Shotoku’s TE-12 HF pan and tilt head that can support a payload up to 198 pounds (90kg) although it only weighs 26.2 pounds (11.9 kg). The head’s built-in vibration dampening mechanism stabilizes the picture even at high telescopic range and features Shotoku’s continuous variable fluid drag system.

Proper positioning and use is very critical because the camera operators must follow the game as close as possible. Accuracy and stability are also key so that images are captured at precisely the right time and angle. We were so pleased with the combo’s performance and price point that we purchased two systems that are now working in the field. Our camera operators have found the combo extremely easy to use; we didn’t even need training, reading the manual was enough. And the camera assistants are happy because set-up and tear down in the field is so simple.

We have already put the equipment to good use during the Copa Sudamericana final match where the system was positioned on the field behind the goal. In addition we used it at the Boca Juniors vs. River Plate match, one of the most popular soccer events in the world, where the system was situated at the end of the field.

Shotoku and Isikawa did a great job importing the equipment as quickly as possible, even with our complicated customs procedures.

Although this was our first purchase of Shotoku equipment, we will certainly consider its products for our future projects.

Guillermo Romano has been working in the broadcast industry for more than 30 years, the last 15 at Torneos y Competencias S.A. and HD Services S.A as chief engineer in the technical department.

For more information on Shotoku Broadcast Systems, visitwww.shotoku.tv.

OSLO, NORWAY—Camera support manufacturer Shotoku Broadcast Systems recently installed its SmartTrack rail system and a nationwide remote camera system to NRK, Norway’s national public broadcaster.

SmartTrack rail system in NRK studio

The SmartTrack systems are able to support both rapid camera moves and slow on-air crawls. Four SmartTrack systems were installed in multiple NRK studios, all of which are now using Shotoku’s TR-XT touchscreen control system. Each TR-XT can access any of the studio’s cameras to define camera movements in advance. TR-XT can also control cameras in other studios over WAN connection or third-party integrated PTZ cameras.

Shotoku also installed a nationwide camera system to NRK’s 11 regional studios with PT&H systems. Cameras at all 11 studios can be controlled either locally with the TR-HP Hot-Panel, with the Viz Mosart automation system, or the TR-XT systems at the Olso headquarters.

Shotoku Broadcast Systems is a provider of camera support products. The company is based out of Japan.