Recent News / Live Content

Are Older, Less Perfect Lenses Better?November 21st 2018 - 01:00 PM

As accomplished DoPs striving to do our best work, we can all achieve a lot more creatively if we insist less on perfect lenses. Veteran cinematographers have long understood that lenses have distinct personalities, with a very specific look and feel. In the same way an actor imparts his or her own interpretation on a film’s story, the camera lens contributes its own unique character and flare towards the most compelling visual story possible.

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The VariCam LT used for live eSports broadcast at Fremont Studios.

Fremont Studios Buys VariCam LT 4K Camcorders with CineLive for Mobile/Studio ProductionAugust 21st 2018 - 01:00 PM

Fremont Studios, Seattle, has purchased four VariCam LT 4K camcorders for diverse mobile and studio projects. Offering an upgraded shading mode, as well as tally and return video management, the VariCam LT with CineLive is set up for live and “near live” multi-cam use for events, television shows, corporate productions and concerts.

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Broadcast For IT - Part 12 - LensesJune 25th 2018 - 12:05 PM

In this series of articles, we will explain broadcasting for IT engineers. Television is an illusion, there are no moving pictures and todays broadcast formats are heavily dependent on decisions engineers made in the 1930’s and 1940’s, and in this article, we look at camera lenses, why, and how we use them.

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Broadcast For IT - Part 11 - SensorsJune 18th 2018 - 12:05 PM

In this series of articles, we will explain broadcasting for IT engineers. Television is an illusion, there are no moving pictures and todays broadcast formats are heavily dependent on decisions engineers made in the 1930’s and 1940’s, and in this article, we look at the most fundamental element of video – sensors.

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The proposed single master workflow reduces costs by enabling a single crew to produce SDR and HDR content simultaneously.

Build A Single Master Workflow For Cost-Effective Live HDR ProductionMay 10th 2018 - 09:00 AM

Despite all the fuss about 4K UHD television, producers of live sports and entertainment productions in the U.S. are finding that a 1080p at 59.94 fps HD signal delivered with high dynamic range (HDR) is more pleasing to the consumer’s eye. When compared to a 4K SDR picture, HD HDR images consume less bandwidth, are less expensive to produce and generally include darker blacks, brighter highlights, and richer, more vivid color. What’s not to like?

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GSU media center, CMII, to use Panasonic EVA1 (image) and Varicam LT cinema cameras.

Georgia State U Equipped with VariCam LT and AU-EVA1 Cameras and MoreOctober 30th 2017 - 12:00 PM

Georgia State University (GSU) opened the school’s $22.5 million, world-class media center, the Creative Media Industries Institute (CMII) on October 19. Panasonic will play an integral role in CMII through the provision of a broad array of professional video and display equipment, and through the company’s sponsorship of a marquee seminar series, “Bursts of Excellence,” featuring the filmmaking industry’s top above-and-below-the-line talent.

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Game Creek’s new Yogi is an IP-capable 4K UHD/IP truck with all fiber-optic inputs and outputs and a central IP switch.

Insatiable Need For More Sources Drives IP Demand In Live ProductionSeptember 7th 2017 - 11:00 AM

With each new technology transition—from SD to HD to 4K— remote production truck companies in the U.S. have been at the forefront, providing clients with the latest production tools to expand their production capabilities and make live sports and entertainment telecasts the best they can be.

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What is image resolution?

Bruce’s Shorts | 4.12 - How Many Pixels in Your Resolution?March 29th 2017 - 12:00 PM

In this episode of Bruce’s Shorts, Bruce Devlin raises the question “What does the word resolution actually mean and why do people get confused?”.

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