Texas-based live sports broadcast company LiveSports, has recently switched out its previous generation of Panasonic AJ-HPX370 P2 HD camcorders for the AK-UB300 4K multi-purpose cameras mounted on robotic motion control heads.The initial application is for coverage of pro tennis tours.
The University of Massachusetts Lowell (UMass Lowell) has expanded its complement of Z-HD5000 cameras from Hitachi Kokusai to boost its live production capabilities and take optimal advantage of expanding distribution opportunities.
If you read Devoncroft Industry reports you will notice that what is trending is rarely what people spend money on. Ever wondered why? In this latest Bruce’s Short, Bruce Devlin looks at why MAM doesn’t have a buzz like UHD, but forms an essential part of a modern media business.
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?”.
While Arena opted to invest in an IP core for its new fleet, Sky Sport’s other regular OB supplier, NEP UK has gone a different route out of necessity. This article, a follow up to the article ‘Making The Leap To 4K Live Over IP - Under The Hood At Arena’, explains its decision.
The past year in live event broadcasting has been as much about competition between OB suppliers as it has been between pay TV broadcasters BT Sport and Sky Sports. Making the leap to UHD is one matter but doing so with a forward-thinking path to IP is quite another. That’s the philosophy driving Arena which is putting three new OBs into action with an IP framework.
IP networks have been at the heart of many broadcast operations for two decades and more. Editing uses commodity workstations and IP networks, as do playout operations. But live production has, until recently, been the preserve of SDI. The advances in IT, driven by the data centers that power the cloud, and the general move to virtualization, brings benefits that now make live, real-time broadcast operations possible in an all-IP environment. There is gathering momentum to consider IP-connected broadcast equipment instead of the tried and tested SDI, which has served the industry well since the introduction of digital video.
There was a time when the use of fiber optic cable struck fear in hearts of live production crews because it was difficult to work with and there was a certain black magic associated with distributing optical signals that had to be done right in order for multiple paths of video and audio to cleanly pass through tiny strands of glass. Today, the technology has advanced to include military-grade tactical cable and fiber/copper hybrid cabling that is much more robust to work with. Along with better equipment, there is a better understanding across the industry of how to deploy fiber cable and hardware with the least amount of effort and on-site field problems.