What do you want your audience to see?
This will dictate the gear you’ll want to shoot with. If you want your audience to see striking images on a big film festival screen, you’ll want a cinema-style camcorder or one with great color.
The AW-UE150 provides images with a smooth and natural look thanks to its 50p sensor, making it well suited to scenes featuring fast movements and high-end applications in broadcast, corporate, education, rental and staging.
Are you about to be on camera? Perhaps it’s a company promotional video, marketing video, sales presentation or even a webinar. Most people get nervous at the thought of being on camera.
Are you about to be on camera? Perhaps it’s a company promotional
video, marketing video, sales presentation or even a webinar. Most
people get nervous at the thought of being on camera.
7 tips on how to not be camera shy in your next video
Want to read more about this? See our accompanying article,
Or, would you rather listen to audio on this same topic, then check out, “7 Tips on How to Overcome Being Camera Shy on Video”
There are many camcorders on the market, and they all
share a lot of similarities. However, if you factor in what you want
your footage to look like and how you’ll work with it and use it for
your productions, the decision making process gets much easier.
What do you want your audience to see? This will dictate the gear
you’ll want to shoot with. If you want your audience to see striking
images on a big film festival screen, you’ll want a cinema-style
camcorder or one with great color. If you need to stream your video
live, there are cameras built for just that. If you want a camcorder
that can give you a cinematic look but is still good for run-and-gun
shooting, there are also models that are very versatile.
Lenses: The Difference in Glass
For years, cinematographers have used certain lenses to reproduce
color and contrast, and to create the specific look of a TV show,
commercial or film. Lens makers have caught on; they strive to have the
look of the lenses they produce remain consistent from cinema lenses to
still camera lenses to camcorder lenses. If you like the look or are
trying to match the look of footage shot with lenses by makers like
Canon, Zeiss or Leica, then finding a camcorder with their glass is a
good start.
Why You Should Care About Chroma
Chroma is the color information in a video file. Chroma sub-sampling
is used by many codecs to decrease file size by eliminating color data.
In codecs that use 4:4:4 color, all the color of an image is retained.
With 4:2:2 chroma sub-sampling (4:2:2 color), half of your video’s color
information is discarded. In most cases, viewers can’t see the
difference between 4:2:2 and 4:4:4 color; however, 4:2:0 color only
retains around an eighth of the original color information of an image.
The loss of color data from 4:2:0 chroma sub-sampling almost always
results in a noticeable loss in image quality when compared to 4:2:2 or
4:4:4 color. It’s not just overall image quality that is affected by
chroma sub-sampling. If you need to do visual effects work like chroma
keys or a lot of color correction, you’ll want to stick to shooting in
4:4:4 or 4:2:2 color. The files may be larger, but it can save you a lot
of time in post. If you’re shooting projects like a company’s product
where color accuracy is critical, you’ll also want to avoid 4:2:0 color,
as it averages color values between pixels, often causing the original
color that your camera image sensor sees to be lost.
It has to look better than an iPhone.
The last thing you want is to be on a shoot and have someone next to
you take better looking videos with their phone. In September of 2015,
Apple released the iPhone 6S,
which was capable of recording 4K video with its 1/3 inch CMOS image
sensor built by Sony. Sony has continued to supply companies like Apple
and Samsung with 1/3 inch and larger sensors for smartphones. These
sensors are around the same size and pixel count as many of those found
in pro camcorders. So how do you ensure that your camera can
consistently record better looking videos than a smartphone? You can
increase image quality by using larger sensors, better optics and higher
quality recording.
Smaller image sensors tend to have more noise in the
images they produce. A 1-inch or a Four Thirds (4/3) inch sensor will
typically produce an image with less noise than a much smaller 1/3-inch
sensor, although image processing comes into play here as well.
Smartphone cameras have image processors that reduce image noise, but
this can also adversely affect the color and contrast of the image. The
more powerful image processors of higher-end cameras provide more
accurate and consistent image quality.
Camcorders do have phones beat hands down in the ability to zoom
optically. When you zoom in digitally, like you do with your phone,
you’re only looking at part of what the sensor sees, so your image can
lose detail. With an optical zoom, you’re still looking at the whole
image sensor, so your detail remains more stable.
Camcorders have phones beat hands down in the ability to zoom optically. With and optical zoom, your detail remains more stable.
To save on storage space, many codecs use compression that tosses out
data from your video files. This process often degrades image quality.
Generally, the higher the bitrate a codec uses, the less effect it will
have on your images. Some smartphones can record 4K at bitrates of
approximately 50 megabits per second (Mbps), which may result in good
enough image quality for some applications but not for all. Smartphones
don’t tend to allow you to adjusting bitrate. In contrast, professional
camcorders give you an option for bitrates and often file formats as
well.
As resolution increases, codecs also become more efficient. It’s not
uncommon to see less compression issues in a UHD (4K) video recorded at
150Mbps than a HD video recorded at 50Mbps; even though 3840 x 2160 is
four times as many pixels as 1920 x 1080, 150Mbps is only three times
the bitrate as 50Mbps.
The chroma sub-sampling a codec uses also greatly affects the outcome
of a recorded clip’s image quality. Smartphones and most camcorders use
4:2:0 color for 4K and HD; however, many pro camcorders allow you to
record HD in 4:2:2, giving you color accuracy and depth not possible
with the camera on a phone.
Media cards are cheap. Use them!
In the dark ages, footage could only be recorded to film or tape. It
was a costly endeavor. Now SD cards are cheap. Even more expensive media
like CFast cards are economical compared to what they used to cost.
This media can be overwritten hundreds or thousands of times before
wearing out. This gives you the ability for lots of practicing and test
shooting with your camera. In the end, the best way to ensure image
quality in a camera system, is with a skilled and experienced hand
operating it.
What the Market has to Offer
These are examples of some professional camcorders on the market now
and what they are well suited for. Please note that manufacturer prices
are listed, but you can usually find a retailer who will sell one to you
for a bit less.
The Web Shooter: JVC GY-HM170, $1,725
If you’re looking for a low-cost, pro camcorder for shooting online content, the JVC GY-HM170
may be just the thing for you. You can record video at resolutions as
low as 480 x 270 at 1.2Mbps, which is great for small video clips for
websites as well as conversion to animated GIFs. The HM170 lets you
record UHD in 4:2:0 color at up to 150Mbps or HD in 4:2:2 color at
50Mbps if you need more flexibility in post.
The camera’s dual SD card slots allow for multiple recording options.
You can record to both cards in the same format so you have a back up.
The HM170 can also record in HD to one card and a low resolution proxy
to the other. For live events or other situations where you need maximum
record time, you can set the camera to record to one card until it’s
full and then switch to the other without missing any of the action.
Overall, the HM170 has a lot of versatility at an affordable price.
The Bitrate Beast: Canon XC15, $2,400
Most pro camcorders recording bitrates max out at 150Mbps and only offer 4:2:0 color sampling for 4K, but with the Canon XC15
you can record UHD at 305Mbps with 4:2:2 color. The camera can also
record HD in 4:2:2 color at 50Mbps. HD video and 12 MegaPixel still
images are recorded to SD cards in the camera, but 4K video requires the
speed of CFast cards.
The XC15 looks more like a DSLR than a camcorder with its manual zoom
and focus rings, although it packs many pro camcorder features like XLR
inputs with phantom power, an internal ND filter, adjustable gain (0 –
42 dB) and a waveform monitor.
Many of the features of Canon’s C300 Mark II have been brought over
to the XC15, making it easier to match footage between the two cameras.
They both share the same movie looks for adjusting color, as well as the
same 305Mbps, 4:2:2 color capture at 24p in 4K. The XC15 also lets you
adjust shutter in 24th of a second increments, which makes it easier to
match shutter speeds when shooting in 24p. The XC15 uses a 1-inch
sensor and the same DIGIC DV 5 image processor used on many of their
other cameras. The camera has a wider angle lens than most pro
camcorders with the 35mm equivalent of 27.3mm (8.9mm actual) when fully
wide. JVC GY-HM170 and Canon XC15
A Price Point for All: Sony HXR-NX80, $3,000
The Sony HXR-NX80 is one of three new cameras from Sony. It sits in
the middle of their new product line that includes the more affordable,
yet fewer optioned FDR-AX700 at 1,900 dollars and the PXW-Z90 at 2,800
dollars — the broadcast version of the NX80. All three cameras shoot up
to 960 frames per second in high frame rate mode, shoot 120 fps without a
record limit, shoot UHD 4K and offer S-log3. What type of output you
require will determine if you need the NX80 or the Z90. If you need SDI
output and 5GHz Wi-Fi then choose the Z90; if you only need HDMI out,
choose the X80. If you don’t need XLR inputs and want the best price
tag, choose the X700.
All three cameras have Fast Hybrid AF that achieves three times
faster response than continuous AF. They shoot on SD cards and have two
card slots, so you can shoot proxies at the same time.
The Documentarian’s Companion: Canon XF400, $3,000
Brand new from Canon, the Canon XF400 4K UHD
camcorder is a flexible option for those shooting interviews, events
and documentaries. With a 15x optical zoom lens with the equivalent to a
25.5mm-382.5 zoom range and a compact body design, the XF400 is ready
to venture into unpredictable shooting environments. A 1-inch CMOS
sensor paired with a Dual DIGIC DV 6 image processor produces
high-quality 4K video at up to 60 frames per second, and the Dual Pixel
CMOS AF system provides reliable autofocus with tracking. Like with the
Sony models above, Canon offers three very similar models in this line.
Add SDI to the XF400’s HDMI connectivity and you’ll have the XF405 for
3,500 dollars, or trade connectivity for cost with the Vixia HF GX10 for
2,500 dollars. Sony HXR-NX80 and Canon XF400
The Cinema Camcorder: Panasonic DVX200, $4,195
The ability to capture DCI 4K (4096 x 2160) combined with the Leica zoom lens makes the DVX200
stand out as a cinema camera. The biggest advantage, however, is that
the camera also lets you record in V-Log color just like Panasonic’s
Varicam, GH4 and GH5, giving the images captured greater dynamic range (12 Stops) and a more cinematic color tone.
The Panasonic DVX200
can also shoot in frame rates from 2 to 120 frames per second. For
example, if you want to shoot action at 22fps and play it back, sped up
to 24fps like they did for the car stunt scenes in “The Road Warrior,”
the DVX200
can do it. The 4/3 image sensor is larger than 16mm film; this makes
getting shots for a cinematic feel with a shallow depth of field much
easier than with other cameras with smaller image sensors.
In addition to shooting in DCI 4K, this Panasonic also supports UHD
and HD resolutions. It has both HDMI and SDI outs as well as timecode in
and out, allowing the camera to work well with many accessories and in
many production setups. The DVX200 also has stereo XLR inputs with phantom power for connecting to professional microphones.
The Streaming Demon: JVC GY-HM200SP, $2,795
There are a lot of professional camcorders that offer web streaming
direct from the camera, but the JVC GY-HM200SP also allows you to
overlay custom graphics over your live video stream. You can save the
graphics in a JPEG fromat or as a PNG to preserve opacity values, then
load the graphics from an SD card. The camera has a USB port dedicated
to connecting to network adapters that supports wired LAN, Wi-Fi and
mobile adapters. The HM200SP is built for sports production and has
lower thirds options for game scores. JVC also offers the HM200HW which
has graphics designed for use by houses of worship. On both models, the
control of the graphic overlay is achieved with a JVC app from a mobile
device. Panasonic DVX200 and JVC GY-HM200SP
Conclusion
The first step in choosing a camera is to decide how you plan to use
it. Do you need a camera that is well-suited for creating YouTube
videos, indie films, web streaming or a little of everything? Once
you’ve figured out your needs, it shouldn’t be too hard to find a
camcorder that will work for you. And after purchasing, you’ll enjoy the
cost savings of not having to buy dedicated lenses for your camera, as
well as not having to worry about leaving home without the lens you
need.
Manufacturer List
Canon www.canon.com
JVC www.jvc.com
Panasonic www.panasonic.com
Sony www.sony.com Odin Lindblom is an award winning filmmaker who shoots, edits, and produces commercials, corporate videos, and documentaries.
AW-UE150 supports a variety of 4K interfaces, including 12G-SDI,
HDMI, Optical Fibre and IP which supports HDR mode; simultaneous output
of 4K and HD
(Amsterdam, The Netherlands--September 17, 2018) Panasonic has showcased its industry first 4K 50p, HDR integrated PTZ camera for the first time in Europe, at IBC 2018 in Amsterdam.
The AW-UE150
provides images with a smooth and natural look thanks to its 50p
sensor, making it well suited to scenes featuring fast movements and
high-end applications in broadcast, corporate, education, rental and
staging.
Integration is provided across a variety of 4K interfaces, including
12G-SDI, HDMI, Optical Fibre and IP which supports HDR mode. In
addition, the camera can simultaneously output both 4K and Full HD.
This new flag ship model is the first in its class to feature 4K 50p and
a wide viewing angle of 75.1 degrees horizontally along with 20x
optical zoom and 32x intelligent zoom(in HD mode). The camera allows up
to three Full HD crops from the single 4K image canvas, this offers
greater flexibility and, alongside its compact size, makes it ideal for
more challenging camera locations.
Other features include a 1-type MOS sensor, large size tally, various optical stabilizers and New Web UI support.
In addition to the release of the camera, the brand new AW-RP150 remote
control unit was also on show offering a large LCD screen for monitoring
and menu settings. The controller offers great usability and is single
hand operable with a joystick in addition to traditional two hand
operation that manages all control operations.
The controller is compatible with the UE150 as well as Panasonic’s
previous camera models. The RP150 also adds an SDI input to the LCD
panel for control monitoring, and is capable of supporting up to 200
cameras in 20 groups.
“The UE150 is really the reference model within high-end PTZ products.
It is quite unique and cutting edge. Its usability is the best on the
market and it can control both the cameras and the crop feature,
allowing users to manage several video feeds out of each camera,” said
Sivashankar Kuppusamy, Marketing Manager EMEA for Panasonic. “When
combined with the new camera control unit we feel sure that operators
will have a remote camera solution that gives them the best quality
achievable in remote camera systems for all kind of markets from
corporate installations to very demanding reality TV use.”
The AW-UE150 and AW-RP150 are set for release in December 2018 at a price of €11,000 for AW-UE150 and €4,500 for AW-RP150.
About Panasonic System Communications Company Europe (PSCEU)
Our quest is to make technology work invisibly together and free
businesses to succeed. We believe technology should just work. That
businesses will succeed if they can simply focus on their customers, in
the knowledge that all the technologies delivering their capabilities
work together. That is why we are dedicated to developing products and
solutions that are so integrated with our customer’s way of working,
that they are almost invisible – the workhorse in the background that
powers business success.
PSCEU is made up of six product categories:
• Broadcast & ProAV gives you the freedom to tell the story
with its high quality products and solutions, which ensure smooth
operation and excellent cost-performance across a range of remote
cameras, switchers, studio cameras and ENG P2HD. The cinema camera range
of VariCam models and the EVA1 are capable of true 4K and High Dynamic
Range (HDR) making them the ideal solution for cinema, television,
documentary and live event production.
• Communication Solutions offers world leading telephony systems,
SIP terminal devices and professional ‘network’ scanners giving you the
freedom to focus on the communication and not the connection.
• Computer Product Solutions help mobile workers improve
productivity with its range of Toughbook rugged notebooks, business
tablets, handhelds and electronic point of sales (EPOS) systems. As
European market leaders, Panasonic had a 57% revenue share of sales of
rugged and durable notebooks and tablets in 2017 (VDC Research, March
2018).
• Industrial Medical Vision manufactures applications for various
segments such as medical, life science, ProAV or industrial. The
product portfolio includes complete and OEM camera systems, providing
the freedom to see what can’t be seen.
• Security Solutions, built on a heritage of providing evidential
quality CCTV footage. Delivering the highest image quality in all
environmental conditions using our highly reliable, advanced technology
cameras and image recording systems, giving you the freedom to feel
secure.
• Visual System Solutions offers the widest range of professional
displays and projectors and allows Audio Visual professionals the
freedom to create. It leads the European high brightness projector
market with a 39% market revenue share (Futuresource >5klm FY17 Q3,
excl. 4K & digital cinema).
About Panasonic
Panasonic Corporation is a worldwide leader in the development of
diverse electronics technologies and solutions for customers in the
consumer electronics, housing, automotive, and B2B businesses.
Celebrating its 100th anniversary in 2018, the company has expanded
globally and now operates 591 subsidiaries and 88 associated companies
worldwide, recording consolidated net sales of Euro 61.4 billion for the
year ended March 31, 2018. Committed to pursuing new value through
innovation across divisional lines, the company uses its technologies to
create a better life and a better world for its customers. To learn
more about Panasonic: http://www.panasonic.com/global
AJ-PX5100 P2HD camera-recorder upgrades the PX5000 series targeted at
network news, documentary, high-end corporate and sports production
(Amsterdam, The Netherlands--September 17, 2018) Panasonic has used IBC
2018 in Amsterdam, to introduce a new ENG camera offering greater
connectivity, operability and clarity.
The AJ-PX5100 is a B4 shoulder mounted P2HD camera-recorder which
upgrades the company’s successful PX5000 series. With its breadth of
recording options and exceptional image quality the PX5100 is targeted
at network news, documentary, high-end corporate and sports production,
as well as the rental market.
Maintaining the same Full HD 2/3 type 3 MOS sensor in a lightweight 3.4kg body, the new camera also offers HDR(HLG)
content and 1080/50p recording for the first time in a Panasonic ENG camera.
In addition, Panasonic has improved the connectivity of the new camera
with RTMP low-latency communication as a standard. It means the camera
can deliver smooth streams and transmit information between the camera
and news room more quickly than before, speeding up news workflows. The
AJ-PX5100 also features wireless and wired connectivity with Wi-Fi, USB
and Gigabit Ethernet, as well as bonding with both the LiveU and TVU
networks. The AJ-PX5100 also supports P2 Cast, Panasonic`s cloud based
news editing system.
The camera features a Quad HD LCD monitor for improved visibility and
four times the number of pixels of standard definition monitors.
Stefan Hofmann, Sales Engineering Manager for the Professional Video
Systems Business at Panasonic said, “Panasonic has a culture of kaizen
engineering, which means relentless incremental improvement. For the
AJ-PX5100, we have taken a very successful product and made it better,
better usability, better images and better workflows.”
About Panasonic System Communications Company Europe (PSCEU)
Our quest is to make technology work invisibly together and free
businesses to succeed. We believe technology should just work. That
businesses will succeed if they can simply focus on their customers, in
the knowledge that all the technologies delivering their capabilities
work together. That is why we are dedicated to developing products and
solutions that are so integrated with our customer’s way of working,
that they are almost invisible – the workhorse in the background that
powers business success.
PSCEU is made up of six product categories:
• Broadcast & ProAV gives you the freedom to tell the story
with its high quality products and solutions, which ensure smooth
operation and excellent cost-performance across a range of remote
cameras, switchers, studio cameras and ENG P2HD. The cinema camera range
of VariCam models and the EVA1 are capable of true 4K and High Dynamic
Range (HDR) making them the ideal solution for cinema, television,
documentary and live event production.
• Communication Solutions offers world leading telephony systems,
SIP terminal devices and professional ‘network’ scanners giving you the
freedom to focus on the communication and not the connection.
• Computer Product Solutions help mobile workers improve
productivity with its range of Toughbook rugged notebooks, business
tablets, handhelds and electronic point of sales (EPOS) systems. As
European market leaders, Panasonic had a 57% revenue share of sales of
rugged and durable notebooks and tablets in 2017 (VDC Research, March
2018).
• Industrial Medical Vision manufactures applications for various
segments such as medical, life science, ProAV or industrial. The
product portfolio includes complete and OEM camera systems, providing
the freedom to see what can’t be seen.
• Security Solutions, built on a heritage of providing evidential
quality CCTV footage. Delivering the highest image quality in all
environmental conditions using our highly reliable, advanced technology
cameras and image recording systems, giving you the freedom to feel
secure.
• Visual System Solutions offers the widest range of professional
displays and projectors and allows Audio Visual professionals the
freedom to create. It leads the European high brightness projector
market with a 39% market revenue share (Futuresource >5klm FY17 Q3,
excl. 4K & digital cinema).
About Panasonic
Panasonic Corporation is a worldwide leader in the development of
diverse electronics technologies and solutions for customers in the
consumer electronics, housing, automotive, and B2B businesses.
Celebrating its 100th anniversary in 2018, the company has expanded
globally and now operates 591 subsidiaries and 88 associated companies
worldwide, recording consolidated net sales of Euro 61.4 billion for the
year ended March 31, 2018. Committed to pursuing new value through
innovation across divisional lines, the company uses its technologies to
create a better life and a better world for its customers. To learn
more about Panasonic: http://www.panasonic.com/global
(Amsterdam, The Netherlands--September 18, 2018) Panasonic Business has
showcased its range of innovative products and technologies suited to
broadcast, live events, and corporate users at IBC 2018. Under the
slogan of ‘Live. Sports. Entertainment.’ the Japanese manufacturer
demonstrated the latest line up of studio, ENG and remote camera systems
alongside an expanded network of complementary 3rd party solutions,
ranging from robotic and transmission to tracking systems.
Panasonic AK-UC4000
Andre Meterian, Director Professional Video Systems Business Unit EMEA
at Panasonic said, “At Panasonic we aim to provide continuous innovation
in live broadcasting, improving workflows and reducing costs for our
customers. By strengthening relationships with third party
organisations, we have also presented solutions for those looking for
out of the box integration for a variety of robotic systems. This
innovation is impacting the whole industry, from studio, to live events
and corporate.”
In the remote camera range, Panasonic introduced the newest addition to
its comprehensive, professional PTZ camera line-up - the AW-UE150. This
new flagship model is the first in its class to feature 4K 50p and a
wide viewing angle of 75.1 degrees along with 20x optical zoom and 32x
intelligent zoom. It also comes with a large 1-type MOS sensor, 12G-SDI,
HDMI, optical fibre, IP connectivity and a new crop feature allowing
several Full HD shots to be taken simultaneously from a single 4K image.
The camera was on display in Europe for the first time alongside a new
touchscreen remote controller (AW-RP150). Offering a large LCD screen
for monitoring and menu settings, the controller offers great usability
and is single hand operable with a joystick that manages all control
operations.
At the top of its switcher range, Panasonic introduced the AV-HS7300, a
powerful and flexible switcher designed for both 4K and HD production
needs. This provides up to 72 inputs and 42 outputs to support large
scale programs. With its operability enhanced by ergonomically designed
panels, the switcher balances ease of handling within a powerful system,
while offering class leading, internal 4K processing.
Panasonic also announced a growing market share for its studio camera
range, thanks to adoption by key European broadcasters and production
companies such as France Televisions, Mediapro and Streamteam. Since
re-launching its studio range in 2012, Panasonic has achieved a 17 per
cent share of the total European market and 40 per cent of its targeted
live and mid-range studio market1.
To maintain its momentum, Panasonic announced a selectable high speed
(2x, 3x and 4x) firmware update to its AK-UC4000. The studio camera,
launched in March 2018, now has the capability for 4K output via the
12G-SDI outputs from the camera head and from the camera control unit.
It operates in both HDR and SDR modes simultaneously, with the 4.4K
sensor and 2/3 type B4 lens mount enabling true 4K resolution and high
sensitivity images.
For the ENG sector, Panasonic unveiled a brand new P2 B4 Shoulder
Camera, the AJ-PX5100. Featuring a 2/3 type 2.2M 3MOS sensor, high
sensitivity and HDR (HLG) support, the AJ-PX5100 offers outstanding
image quality. It’s equipped with a choice of codecs including
AVC-Intra200/100/50, AVC-LongG25/50, and offers dual codec recording
with AVC-Proxy. For storage, the camera offers double P2 and micro P2
slots making it an efficient and reliable recorder. Multiple interfaces,
streaming capabilities, P2 Cast work flow with a dedicated ROP app and
integration with the AK-HRP200 controller ensures the camera meets the
industry’s need for high speed network workflows.
Panasonic also announced the latest from its growing number of third
party integrations, an agreement with Quicklink to distribute its
‘Studio-in-a-box’ solution. The portable box solution comes with an
in-built Panasonic remote camera and is targeted at the ENG sector. It
provides instant provision of broadcasting resources from various
locations, all fully remote controlled and managed by the central
studio.
At its stand, Panasonic demonstrated its new cutting-edge 8K Region Of
Interest (ROI) technology. It uses a single 8K camera to provide an
image canvas from which up to four separate Full HD images can be taken
simultaneously. The system greatly reduces operational costs and
complexity within live events. It also increases revenue by converting
camera spaces to additional seats and reducing the number of cameras
needed on site.
Another technology on show is the 8K MoIP (Media over IP), the next
generation IP based operating system, that enables system integration
based on IP broadcast standards (ST2110). The technology supports
scalability, remote operation and resource sharing with standard IP
protocols. Panasonic introduced a brand new IP media processor,
demonstrated at IBC as both as an IP/SDI Gateway and as a scalable
switcher mainframe, that allows 2ME switcher operation along with more
conventional switcher control panel operation too.
Finally, Panasonic updated the industry on its large sensor cinema look
for live entertainment production, so called ‘CineLive’ configuration.
The EVA1 now features wired remote control using the CyanView RCP, while
the 4K DTS transmission and control system for the VariCam LT was also
on stand.
In addition, the Japanese manufacturer also announced that the EVA1 is
now capable of shooting infrared colour images by unlocking the IR cut
filter with a single touch, replacing it with a clear filter. The
technique was showcased using a short film called ‘palette’ a fantasy
piece produced by Japanese cinematographer Yuji Nukui, who said, “I use
the Panasonic AU-EVA1, because the menu allows the IR Cut filter to be
turned on/off at the push of a button. It is the only camera on the
market with this feature, and it helped reduce production costs as a
consequence.”
About Panasonic System Communications Company Europe (PSCEU)
Our quest is to make technology work invisibly together and free
businesses to succeed. We believe technology should just work. That
businesses will succeed if they can simply focus on their customers, in
the knowledge that all the technologies delivering their capabilities
work together. That is why we are dedicated to developing products and
solutions that are so integrated with our customer’s way of working,
that they are almost invisible – the workhorse in the background that
powers business success.
PSCEU is made up of six product categories:
• Broadcast & ProAV gives you the freedom to tell the story
with its high quality products and solutions, which ensure smooth
operation and excellent cost-performance across a range of remote
cameras, switchers, studio cameras and ENG P2HD. The cinema camera range
of VariCam models and the EVA1 are capable of true 4K and High Dynamic
Range (HDR) making them the ideal solution for cinema, television,
documentary and live event production.
• Communication Solutions offers world leading telephony systems,
SIP terminal devices and professional ‘network’ scanners giving you the
freedom to focus on the communication and not the connection.
• Computer Product Solutions help mobile workers improve
productivity with its range of Toughbook rugged notebooks, business
tablets, handhelds and electronic point of sales (EPOS) systems. As
European market leaders, Panasonic had a 57% revenue share of sales of
rugged and durable notebooks and tablets in 2017 (VDC Research, March
2018).
• Industrial Medical Vision manufactures applications for various
segments such as medical, life science, ProAV or industrial. The
product portfolio includes complete and OEM camera systems, providing
the freedom to see what can’t be seen.
• Security Solutions, built on a heritage of providing evidential
quality CCTV footage. Delivering the highest image quality in all
environmental conditions using our highly reliable, advanced technology
cameras and image recording systems, giving you the freedom to feel
secure.
• Visual System Solutions offers the widest range of professional
displays and projectors and allows Audio Visual professionals the
freedom to create. It leads the European high brightness projector
market with a 39% market revenue share (Futuresource >5klm FY17 Q3,
excl. 4K & digital cinema).
About Panasonic
Panasonic Corporation is a worldwide leader in the development of
diverse electronics technologies and solutions for customers in the
consumer electronics, housing, automotive, and B2B businesses.
Celebrating its 100th anniversary in 2018, the company has expanded
globally and now operates 591 subsidiaries and 88 associated companies
worldwide, recording consolidated net sales of Euro 61.4 billion for the
year ended March 31, 2018. Committed to pursuing new value through
innovation across divisional lines, the company uses its technologies to
create a better life and a better world for its customers. To learn
more about Panasonic: http://www.panasonic.com/global
(Emeryville, CA--September 18, 2018) When NetApp, one of the world’s leading companies for data management and enterprise storage solutions, agreed to sell several of its buildings and reduce the size of its Sunnyvale, Calif., headquarters, it invested $14 million to upgrade the entire AV/media ecosystem across the campus. Advanced Systems Group (ASG), a leading media technology integration, engineering, and managed services firm, was named the single-source provider for the multi-year project, and updated all conference rooms, training rooms, and video production facilities, as well as the security operations center and executive briefing center.
(Emeryville, CA--September 18, 2018) When NetApp, one of the world’s leading companies for data management and enterprise storage solutions, agreed to sell several of its buildings and reduce the size of its Sunnyvale, Calif., headquarters, it invested $14 million to upgrade the entire AV/media ecosystem across the campus. Advanced Systems Group (ASG), a leading media technology integration, engineering, and managed services firm, was named the single-source provider for the multi-year project, and updated all conference rooms, training rooms, and video production facilities, as well as the security operations center and executive briefing center.
officer asked for something bold, something that could be seen from the parking lot, and that’s exactly what we provided.”
Other features of the DVC include a Planar Mosaic video wall, built with 32 individual panels set at varying depths, and an interactive Flip-Disc, dot matrix digital art wall by Breakfast, LLC, which uses a hidden camera to produce a high-contrast image of people walking past the display through a multitude of individual metal black-and-white pixels.
Inside the DVC, ASG also built five conference rooms with Planar touchscreens, which feature Bluescape collaborative virtual workspace software, as well as non-touch displays in four of the rooms for videoconferencing and desktop sharing. “Our executives felt that we needed to change the way we presented information to our customers,” Tyler said. “We had to get away from the traditional ‘death by PowerPoint.’ It’s the fundamental reason why, partnering with our clients on the DVC team, we chose Bluescape.”
In addition to the five conference rooms, NetApp’s DVC also includes an open, more relaxed collaborative space called the Mini Theater.
The main AV feature of the space is a large Planar Clarity Matrix G3 interactive LCD video wall that utilizes twelve 55-inch LCDs. The touch-driven video wall also features the Bluescape collaborative virtual workspace software.
A Crestron touch panel in each room allows intuitive control of lighting, shades, and AV equipment, while a Crestron panel outside each room displays daily schedules and meeting agendas. While available resources differ between various rooms throughout the campus, the Crestron touch panel interface consistently presents each room’s options for ease of use. The outside panels are managed through BriefingSource, a cloud-based event management and scheduling resource.
Control Rooms and Connectivity
NetApp has five control rooms across its campus, and four of them were updated by ASG with identical equipment. The fifth control room, which supports the gymnasium space that seats 1,200 people and is used for quarterly company-wide meetings, will be updated later this year with the same components.
“NetApp is very, very big on video communications,” Tyler explained. “It’s really about the efficiency of the space and enabling the staff to easily move between control rooms throughout the day without having to relearn each room.”
All the control rooms had to be able to share AV resources between them, since NetApp often hosts very large events that utilize multiple event spaces. Fiber optic lines tie the four buildings together, and Tyler’s team created a separate virtual LAN and DANTE audio network throughout the campus for AV use. As a result, Tyler said it was critical to connect all the control rooms.
For NetApp, the keys to connectivity are two NVision 248x248 routing switchers. Housed in different buildings, the routers receive signals from cameras in any event space and time all sources to one master clock, so any source can be used in any control room for any project. Because all video and audio sources throughout the campus are connected through the routers, ASG developed customized programming that enables the AV team to control specific areas of the routers through Crestron interface panels installed in each room.
Tyler praised ASG’s inside sales team, which helped the project engineers remain flexible throughout the process. “We were updating our designs as new technology became available,” Tyler said. “ASG’s continual research throughout the course of the project allowed them to save us money and keep up with advances in technology.”
Hello, my name is Jack Sparrow. I'm a 50 year old self-employed Pirate from the Caribbean. 