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Broadcast Pix has expanded the robotic camera control in its integrated production switchers to support JVC’s new KY-PZ100 PTZ network video production cameras through serial and IP connections. Each system can control pan, tilt, zoom, focus, iris, gain, and preset recall for up to 12 cameras.

JVC cameras can be controlled using the joystick on any Broadcast Pix control panel. PixButtons, Broadcast Pix’s patented control buttons with dynamic LED displays, provide quick access to up to 100 preset positions, and can set the speed and range of PTZ camera movements. The cameras can also be controlled via touchscreen using BPview, Broadcast Pix’s customizable multi-view, as well as the Broadcast Pix Commander browser-based interface on a computer or mobile device. With PoE (Power over Ethernet) technology, a single cable powers the KY-PZ100 and delivers IP video and control to a Flint, Roadie, or new BPswitch system.

“The KY-PZ100’s 30x optical lens, excellent low-light performance, and unique IP connectivity make it an ideal PTZ camera for houses of worship and government meeting coverage, plus sports production and many other vertical markets,” said Craig Yanagi, product marketing manager, JVC Professional Products. “We’re excited to work with Broadcast Pix, which has systems installed around the world used for productions that rely on PTZ cameras.”

JVC PTZ camera control will be available on all current Broadcast Pix models and the new BPswitch family of integrated production switchers as part of a new system software release, which will be available in late 2017. The new software will be available as a free upgrade for systems currently under warranty or for $995 for systems out of warranty.

Canon U.S.A. Inc., a leader in digital imaging solutions, today announced three new additions to the company’s video camcorder lineup: the XF405 4K UHD Video Camcorder, the XF400 4K UHD Video Camcorder and the VIXIA GX10 4K UHD Video Camcorder, three lightweight and compact video camcorders that feature 4K/60p video recording.

Canon XF405, XF400 and VIXIA GX10 4K UHD Video Camcorders

The Canon XF405 and XF400 4K UHD Video Camcorders are both ideal for applications like broadcast interviews, documentaries and weddings. Designed with advanced amateurs and hobbyists in mind, the VIXIA GX10 4K UHD Video Camcorder provides the same high- image quality as the Canon XF405 and XF400.

All three models feature a newly developed 15x optical zoom lens (35 mm film equivalent: 25.5mm–382.5mm), to support 4K recording, alongside a 1.0-inch CMOS sensor and Dual DIGIC DV 6 image-processing platform, to produce stunning 4K/60p recording across the entire zoom range. In addition, the compact and lightweight body designs measure approximately 5.3in (l) x 3.8in(h) x 8.4in(d) and weigh approximately 40.5oz, 40.3oz and 40.2oz for the XF405, XF400 and VIXIA GX10, respectively. The compact and lightweight nature of all three 4K UHD models provide great mobility when shooting such scenes as news reports and events.

All three camcorders provide users with fast, highly accurate focusing through intuitive touch-panel operations and feature Dual Pixel CMOS AF—a technology that offers smooth Auto Focus(AF) operation with high-tracking capabilities, making it ideal for shooting video.

Pricing and Availability

The Canon XF405 4K UHD video camcorder, the XF400 4K UHD video camcorder and the VIXIA GX10 4K UHD video camcorder are scheduled to be available in November 2017 for estimated retail prices of $3499.001, $2999.001 and $2499.00.1 respectively.

Sony has announced that the company is in the process of developing a new full frame (36 x 24mm) that will use a new image sensor and will be compatible with existing Sony workflows.

The camera will feature a full frame 36 x 24mm sensor exclusively designed for this digital motion picture camera, aspect ratio-agnostic will include full frame, super 35 4K 4-perf 4:3 anamorphic, and 4K spherical 3-perf 17:9 and it will also feature a new image sensor enabling exceptional picture quality. Furthermore the camera maintains the workflow established with Sony’s 16-bit RAW/X-OCN and XAVC.

The camera will be compatible with current and upcoming hardware accessories for CineAlta cameras (DVF-EL200 Viewfinder, AXS-R7 recorder, AXS-CR1 and AR1 card reader, AXS and SxS memory cards).

At present, though we have 35 format dominating cinematography, we experience the requirement for larger sensors with large format cameras like the Panavision Millenium DXL 8K and the ARRI 65. Sony’s existing super 35 sensor measures 24 x 12.7mm and has a diagonal of 27.1mm. Most super 35 cameras use the PL mount with lens image circle exceeding 30mm.

The larger new sensors will create a need for glass with a wider image circle. The full frame of the still SLR cameras measures 36 x 24 mm, a diagonal of 43.3mm. There is of course a vast range of full-frame glass from Canon, Nikon, Zeiss and many more, with some designed for the different requirements of cinematography (T-stops, geared focus, para-focal, low breathing).

The two large format cameras have different mounts from the conventional PL. The ARRI 65 uses the LDS XPL mount, and is offered with ARRI Lenses based on medium-format Hasselblad glass.

The Millenial DXL has a 40.96mm x 21.60mm sensor (diagonal: 46.31mm) and uses Panavision 65 and 70mm glass with the Panavision 70 mount.

8K Production

The Super HiVision program is driving development for 8K sensors and lenses with the resolution to match. Through the demand for the 8k imagining for blockbuster movie production and special effects work is increasing day by day, we cannot ignore the fact that the ARRI Alexa with a sub-4K sensor is still the most popular choice of the video producers.

The new market for AR/VR is one driver for very high horizontal resolutions, but even for conventional production, higher resolutions allow for cropping and stabilisation in post, and the super-sampled capture produces sharper looking pictures.

Ikegami, the leading manufacturer of specialised cameras, image processing and transmission equipment, has launched the latest addition to its UNICAM XE series the UHK-435. Alongside this Ikegami will exhibit a range of updates to its existing product line at IBC2017.

The UHK-435 is the world’s first 2/3-inch 3-CMOS sensor 4K/HD studio camera. It captures the extended depth of field required for studio and outdoor production and can be used with B4 bayonet-mount large studio or OB lenses. The camera delivers wide dynamic range and wide colour gamut, fully supporting HLG (Hybrid Log-Gamma) conforming to HDR International Standard (ITU-R BT). UNICAM XE series peripherals such as the CCU-430 camera control unit, VFL701D 7-inch full HD LCD viewfinder and VFE741D 7.4-inch OLED viewfinder are fully compatible with the UHK-435. The viewfinder can be positioned close to the extended line of the optical axis. Interfaces are available for a wide range of signal protocols including Quad 3G-SDI, 12G SDI and IP.

With HDR taking centre stage, the latest addition to Ikegami’s Unicam HD camera series the HDK-73, which was launched at NAB 2017, will now boast HDR compatibility. The camera, which features F13 (1080i50) high sensitivity 2/3-inch CMOS sensors with exceptional picture quality in either 1080i or 720p, now features a HLG hybrid log gamma for HDR picture origination. This new feature means it is now possible to shoot a scene with high dynamic range without losing gradation in the highlights.

Other additions to Ikegami’s pipeline include a new 12G-SDI interface option for its CCU-430. The new 12G-SDI interface allows greater flexibility for content creators, with the CCU-430 also designed to support 3G-SDI, simultaneous-output and VoIP, allowing for greater resolution, frame rates, colour fidelity and future trends for 4K systems.

Avid announced that dozens of top National Collegiate Athletic Association (NCAA) colleges have deployed Avid’s comprehensive tools and workflow solutions to create and manage content for in-stadium display, broadcast TV and online outlets. Powered by the MediaCentral Platform, the industry’s most open, tightly integrated platform designed for media, Avid’s sports production solutions provide the speed and efficiency needed to create captivating and engaging content, while also preparing students for future success by giving them access to industry-standard tools.

At Auburn University’s Athletics video department, War Eagle Productions produces live content for video boards on campus as well as two football television shows, a basketball show, various features for ESPN and the SEC Network, and web content. With a full-time staff of 14 working alongside more than 80 students, War Eagle Productions produces more than 300 live shows each year. To quickly and efficiently produce high-quality content for fans, War Eagle relies on the industry’s preeminent editing solution, Avid Media Composer, as well as Interplay | Production for production asset management, and MediaCentral | UX, the cloud-based web front-end to MediaCentral.

“Avid is the backbone of our operations,” said Weston Carter, Director of Video Services at Auburn Athletics Department. “Our Avid workflow allows us to edit, search and archive seamlessly, and our students gain experience with the professional hardware and software standards in the industry. It’s mind-blowing to see how quickly our students and staff can produce high-quality videos using Avid solutions.”

This year, Colorado State University Athletics debuted its new on-campus football stadium featuring a 4,200-square foot video board and 1,290 feet of ribbon board around the stadium, which display rich content including in-game stats, sponsor ads, league scores and more. The new control room housed in nearby Moby Arena is connected to the stadium via fibre optic cabling, bringing video graphics to volleyball, basketball and football games. To facilitate collaboration between the two sites, RamVision, Colorado State’s video production department, has invested in three Avid NEXIS | PRO software-defined storage systems.

Avid works with more than 25 college sports programs across the U.S and Canada, including: The University of Oklahoma Athletics (Soonervision), Texas A&M (12th Man Productions), Atlantic Coast Conference Headquarters, University of Hartford, University of Arkansas (Razorbackvision), University of Iowa Hawkeyes Athletics, Binghamton University (SUNY), The University of Vermont Athletics, and more.

“Collegiate sports organizations want to create increasingly more content to captivate and satisfy fans and alumni everywhere they watch their teams—whether on a stadium jumbotron, or on TVs, computers or mobile devices,” said Jeff Rosica, President at Avid. “With the MediaCentral Platform and Avid’s powerful sports production tools, top colleges are staying well ahead of content demands, while giving students access to professional tools to build skills that prepare them for successful careers.”

Sigma Corporation of America, a leading still photo and cinema lens, camera, flash and accessory manufacturer, announced the availability of two brand new cine lenses: the Sigma 14mm T2 FF and 135mm T2 FF, which will both begin shipping late July 2017. Compatible with full-frame image sensors, these high-speed cine prime lenses are available for EF, E and PL mounts. They are available as individual lenses for a retail price of $4,999.00 USD each, or as part of two and seven lens sets for retail prices of $10,499.00 USD and $24,799.00 USD respectively.

The Sigma 14mm T2 FF Cine Prime lens is the world’s first and only to offer an incredibly fast T2 at this ultra-wide angle focal length for full frame sensors. Bringing remarkable optical performance to the art of capturing moving images, the Sigma 14mm T2 offers cinematographers the opportunity for robust cinematic expression.

The Sigma 135mm T2 FF Cine Prime offers astonishing rendering performance unmatched by almost any lens on the market. Retaining the optical performance of Sigma’s original Art lens for the still photographer, this exceptional lens enables cinematographers to enjoy the highest image quality for shooting movies.

Both lenses offer the following benefits and capabilities:

Bright, T2 full frame maximum aperture

Capable of resolving up to 8K

Available in Canon EF, Sony E & PL Mounts

180-degree focus rotation

The Sigma 14mm and 135mm lenses are fully compatible with full frame sensors. The addition of these lenses to the Sigma cine lineup expands the FF High Speed Prime Line to a total of seven lenses, from a super-wide 14mm to a brilliantly sharp telephoto 135mm.

Pricing for individual lenses and lens sets

The newest cine lens offerings from Sigma will be available individually as well as in sets for the following retail prices.

Individual lenses:

Sigma 14mm T2 FF - $4,999.00 USD

Sigma 135mm T2 FF - $4,999.00 USD

The Tsongas Center at the University of Massachusetts Lowell (“UMass Lowell”) has expanded its complement of Z-HD5000 cameras from Hitachi Kokusai Electric America Ltd. (Hitachi Kokusai) to boost its live production capabilities and take optimal advantage of expanding distribution opportunities.

Owned by the university and managed by Spectra Venue Management by Comcast Spectacor, the multi-purpose Tsongas Center facility is home to the NCAA Division I UMass Lowell River Hawks hockey and basketball teams. Seating up to 7,000 visitors, the venue also hosts a variety of non-sporting events including concerts, job fairs, graduations, and major university activities.

An agreement between the NCAA’s America East Conference and ESPN to bring live basketball games to multi-screen sports network ESPN3 created the need for the Tsongas Center to upgrade its video equipment roster. Previously using two HITACHI ZHD5000s alongside other vendors’ cameras for productions shown on the venue’s inhouse video boards, the university and Spectra’s on-site team chose to standardize on HITACHI cameras for their ESPN3 broadcasts, in-venue displays, and other distribution outlets.

“We were very pleased with the quality and reliability of the existing HITACHI cameras we’d been using to drive our scoreboard productions, so when we looked to increase our production flexibility and ensure visual consistency for our new ESPN3 streams, the Z-HD5000s were ideal for our upgrade,” said Ben Jewart, director of audio visual services at Tsongas Center. “We did our due diligence and evaluated all of the other major camera brands too, but everything led us right back to Hitachi Kokusai.”

Four HITACHI Z-HD5000s are now used for the university’s live hockey and basketball streaming broadcasts. Two of the cameras are stationed in fixed positions capturing high and tight shots, while the other two Z-HD5000s are operated handheld at ice or court level. While the school’s ESPN3 broadcasts typically use freelance crewmembers, other event productions often use current and former students as camera operators, making the Z-HD5000’s short learning curve valuable.

“The great usability of the Z-HD5000 makes it an excellent teaching platform,” said Nolan Mercer, AV manager at Tsongas Center. “It is a huge benefit to have cameras that we can quickly show students how to use, and to have the students jump right in and immediately understand their operation. The industry-standard nature of the HITACHI cameras has also been helpful in attracting volunteers, as the students know they are getting practical experience on equipment they may encounter professionally.”

Jewart also touts the video quality produced by the HITACHI cameras as a major boost for the center’s broadcasts. “The Z-HD5000’s low-noise, 2/3” chips and digital signal processing gave us a significant improvement in quality over the other camera models we had used,” he explained. “The colors really ‘pop’, and we get consistently high image quality even under dramatically changing lighting conditions, such as when we darken the arena for effect before games, or when we chase the lights when goals are scored.”

Sports from the Tsongas Center are now streamed live on ESPN3, the America East Conference website ( or the university’s own site. Beyond the streaming broadcasts, the shooting flexibility provided by the HITACHI cameras and accompanying Fujinon lenses has elevated the center’s in-venue productions and raised fan involvement. “Whether shooting all the way across the court or further into the crowd, we’re now able to get great-quality video at angles we couldn’t capture before,” said Jewart.

“This enables us to incorporate more interactivity with the crowd, which has increased fan engagement and excitement,” added Mercer. “Our mission is to create memorable fan experiences, and the HITACHI cameras play a key role in doing that.”

Sebouh Majarian, assistant director of new media at UMass Lowell, echoes the positive impact that the new cameras have had for both the Tsongas Center team and its audiences. “Our experience with HITACHI cameras has been tremendous,” he said.