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MRMC has announced the launch of the SR-1, a new pan-tilt head designed for use in locations that are inaccessible or hazardous for camera operators. The system is designed as a next-generation, remote production tool that will enhance the creativity of shots, help capture new angles and easily achieve shots that would be “impossible” by hand.
BURANO combines outstanding cinematic images and exceptional mobility for single camera operators and small crews.
One of the highlights of Vislink’s showcase at IBC 2023 will be its Hybrid IP/COFDM applications. This cutting-edge technology, expressed in key products like the Cliq ultracompact mobile transmitter, blends the strengths of Internet Protocol (IP) and Coded Orthogonal Frequency Division Multiplexing (COFDM) to create optimal transmission capabilities. This technology is designed to provide broadcasters with a more robust and flexible transmission solution, especially in challenging environments where signal stability is crucial.
From capture, through production and onwards to delivery, handling multiple formats simultaneously is a core challenge for broadcast workflows. Thankfully there will be plenty of technology options on show at IBC to facilitate even the most complex requirements.
Featuring an array of the brand’s esteemed condenser microphones, along with more than 20 accessories, this kit was built to provide the most crucial solutions for any TV/film recording application. Each microphone has been chosen based on input from professional sound engineers working within the film and broadcast industries to create the most comprehensive solution possible. Designed with durability and versatility at the top of its requirements, the DLS4000 Location Sound Kit fills a vital role for sound professionals.
Broadcast audio is going through a renaissance and in the battle for viewers every content provider is looking at how to increase output and improve content. While the headlines might look familiar, IBC’s audio exhibitors are responding to these needs in a variety of different ways.
When conventional VFX are produced, there’s often a real-world lighting reference available. That approach can be used in virtual production, but increasingly, the director of photography might want or need to have some pre-production involvement in the development of a virtual world. The job may be familiar, but the tools are likely to be new.
While most broadcasters today are capturing live events in 1080p/50-60 HD, 4K UHD is increasingly in demand for many high-profile sporting and entertainment telecasts. Due to this, customers want cameras that can work in multiple formats for versatility and provide the best return on investment.
