Showing posts with label miniature cameras. Show all posts
Showing posts with label miniature cameras. Show all posts

April 13, 2015

Blackmagic Micro Cinema Camera


Blackmagic Design has announced what it claims is “the world’s smallest digital film action camera.” It also boasts an “innovative remote control”. The Blackmagic Micro Cinema Camera has a Super 16mm-size sensor (12.48mm x 7.02mm) with 13 stops of dynamic range plus a new expansion port that provides access to many of the camera’s functions via widely-used wireless remote control systems, such as those for model aircraft. It will be available in July for $995/£709/€1179.

The expansion port features PWM and S.Bus connections that are used on model aircraft remote control gear for connecting to servos to control the aircraft. Such systems cost little as they are consumer hobby products and feature multiple “channels” that can be connected direct to the camera itself. These channels can be mapped to any camera or lens setting (such as iris, focus, audio levels, and start and stop recording) and then remote controlled via the radio controller. Because a standard, easy-to-solder DB-HD15 connector is used, even simple wire cables and switches can be created for controlling the cameras.

April 09, 2014

Panasonic HX-A500 4K action cam


The world’s first 4K 25p/30p wearable camcorder has been launched by Panasonic, as part of a growing Ultra HD ecosystem that encompasses home cinema, professional monitors, a new prosumer 4K DSLR (the GH4), and its 4K VariCam 35broadcast camera launched at NAB.

The new, lightweight HX-A500 UHD action cam can also record HD at 50p, and is waterproof (to 3m for 30 minutes) and dustproof.

April 08, 2013

Blackmagic Pocket Cinema Camera


Blackmagic Design keeps on keeps on disrupting the market with broadcast equipment at lower prices than the competition, and has done it again with two new cameras: The £665/$995 Blackmagic Pocket Cinema Camera and the £2,675/$3,995 4K Production Camera.

Both offer high quality lossless 12-bit CinemaDNG RAW and Apple ProRes recording, and lots of interesting features that should keep prospective buyers salivating until they ship in July.

March 25, 2013

Bradley Eybe mini remote camera


Bradley Engineering is introducing a new integrated mini camera, The Eybe, at NAB that should ship in May, with orders already in from broadcasters in the US and Britain who were involved in its development.

March 11, 2013

New slomo PoV with Polecam + Pico


High-speed cameras are small enough now to be usable on a hand-holdable jib arm, such as the lightweight Polecam, for use in places and ways they couldn’t have been previously.

The LMC Antelope Pico Point-of-View camera is particularly suitable for live sports production, and has been used for the German Bundesliga and Winter sports – a Pico was used on a white Polecam (to disappear into the background) at the start gates at the Alpine Skiing World Championship in Schladming. Polecam’s Founder, Steffan Hewitt (pictured above at BVE), also recently used the Pico in China, to cover the Rory McIlroy/Tiger Woods Duel at the Jinsha Lake Golf Club in Hengzhou.

“We had a full-size Polecam, with the Pico, and a Telecast Fiber PoV system – because the distance between the holes and the truck was kilometres, so we had to use fibre,” he explained.

The camera was primarily used above the players as they tee’d off, for slow-motion shots showing how their swings differed, for replay analysis. Because the system was so light, Hewitt, who was on his own, was able to just jump in a golf buggy between holes.

The Pico, which can deliver up to 340 frames per second from its 2/3-inch sensor, “worked great. It looked really good,” said Hewitt. “It’s the only really small high-speed camera that I know of.”

As it was on the Polecam, he could drop it right to the level of the green, where it was possible to see all the undulations that aren’t evident at normal camera height.

The current version of the Pico works with a pair of cables, but the next one will just require a single coax cable between the camera head and the CCU. “This will allow us to have much greater distances between the two, and use a longer Polecam,” he explained.

It will also be able to do live broadcast HD as well as slo-mo at the same time, so you can continue shooting HD while the high-speed shots are being cached for replay (which the current version can’t do), making it a much more practical proposition. “The new Pico will genuinely be live friendly.”

Given these developments, which should emerge at NAB in April, “I’m really excited about doing the high-speed stuff,” he added.

The slightly larger Phantom Miro slo-mo camera, from Vision Research, can also work on the Polecam (Vision Research were showing just such a package at BVE - pictured above), but it can’t be used as a direct feed for live production, although it does go up to 1,500fps.

Using the Polecam, operators can position the camera in places it wouldn’t normally be easy to go, such as over water, into a bird’s nest or in dangerous areas, to get close to the action.

One Polecam, being used with a Pico to cover a Bundesliga match, got closer to the action than it should have. During the warm up, the operator was rehearsing a shot above the goal, when one of the players used it for target practice, hitting it straight at the camera in beautiful slow motion.

“It completely bent the head in half. It cost £2,500 to completely rebuild the head, mainly with new parts,” said Hewitt.

By David Fox

February 22, 2013

Antelope slows down skiing + golf


LMC LiveMotionConcept supplied multiple Antelope UltraSlowMotion systems plus various analysis tools for the Austrian broadcaster ORF for the Alpine Skiing World Championships in Schladming. It also supplied a wireless slo-mo system for the recent Ladies Masters European golf.

In Austria, it supplied the host broadcaster with two mobile production vehicles, one of which had two Antelope MkIIs UltraSlowMotion systems and one Pico PoV UltraSlowMotion on board.

The MkIIs systems were moved between the men’s and women’s slopes every day with the help of helicopters. During the event they recorded at up to 2,500 frames per second. Thanks to the new enhanced detail function, which is implemented in the latest version of the MkIIs CCU, it was possible to show even little details of the action during each skier’s run.

The Antelope Pico (pictured above) was mounted in the middle of the main grandstand to record crowd reaction at up to 340fps. This was the first time at a major FIS skiing event that this sort of emotional replay was shot at high speed.

A brand new version of the Pico will be available just before NAB. It’s based on an improved 2K high-speed chip and supplies live video output in all HD formats plus a de-flickered replay channel with up to 340fps.

LMC also supplied a special Antelope replay feed, which was delivered to the “ORF House” in Schladming using Riedel Communications’ MediorNet real-time fibre network. A huge LED Cinemascope display was used to show this impressive replay feed to spectators at the championships throughout the day.

The second LMC vehicle was in charge of the analytical content for the world feed and ORF’s national programme.

LMC supplied a Dartfish system to record the clean world feed, plus feeds of three isolated analysis cameras, to produce analysis clips as either Simulcam (where the races of two individual competitors are composited together to compare them side by side) or Stromotion (where a skier’s progress is seen as a sequence of stills composited together). The isolated camera feeds were pre-cut on a LGZ Replay System.

The finished analysis sequences were clipped on an EVS XT2HD system and played out both into the national ORF outside broadcast truck and into the two international OB trucks for the women’s and the men’s world feed signals.

LMC also installed a Paint Touchscreen in the ORF studio. Its switchable input gave the studio experts an opportunity to graphically enhance their in-depth analysis and actively step in and show where a split of a second might make a difference.

Ladies Masters on AIR

LMC also recently deployed an Antelope AIR for the second time at the Ladies European Tour golf finals in Dubai. The Omega Ladies Masters is the grand finale of the busy LET season.

LMC's CEO Felix Marggraff, who is also the Ladies European Tour TV director, used the Antelope AIR not just as a live replay camera but also to record graphic backgrounds or even to shoot features with the players.

“The Antelope AIR is a great camera to show not just technical aspects but also the beauty of the sports” said Dirk Glittenberg, CEO of U.COM Media, the production company in charge of all LET media coverage.

The Antelope AIR is the wireless version of the MkIIs and fully remote-controllable. Both HD-SDI video and full telemetry are received and operated from the TV compound. The camera operator has full freedom on the golf course and can concentrate on the images.

“It’s great that our cameraman does not have to fiddle around with triggering, shading or any other technical stuff,” said Marggraff, who has directed the live and highlight coverage for LET since 2009.

The Antelope AIR includes all the functions of the MkIIs, such as enhanced detail, multi matrix, de-flickering and intuitive remote and operating controllers.

The World Feed Live Production of the 2013 season will start at the South African Woman’s Open on 19April.

Related posts: Fan riot destroys 1st Antelope cameraTiny HD camera blends in and World first ultra-slowmo PoV camera

By David Fox

January 24, 2013

Sky tries out rugby RefCam


Sky Sports has whistled up trials of a miniature RefCam for rugby union, to give a new angle on the action. It has already broadcast one trial, with an SD camera, but will test an HD version in a live English Championship match from Nottingham on Sunday (27 January).

The set up involves “a lot of bespoke kit, because the aim was always to make it as light as possible, because we had to get the referees to agree to it,” explained Sky Sport’s Senior Director of Rugby Union, Sam Foskett.

The very first trial of the chest-mounted RefCam wasn’t for broadcast, and was just an ad hoc game played at Harrow School to see if the system worked and get feedback from the referee wearing the system. A picture of the director's monitor showing the shot from the RefCam in that game is shown above.

The experiment was a success, but when the standard definition camera was used as part of a full HD outside broadcast for the RFU Championship match (the level beneath England’s Premiership) the difference in picture quality between the images from the small SD camera and the main HD cameras was noticeable.

For next Sunday’s match, it will use a miniature HD camera that was previously used for snooker broadcasts, where it was placed in the pockets of the snooker table.

The camera links system is a pared down version of a standard communication link Sky would typically use on a bigger broadcast camera, but with its bulk considerably reduced to “about the size of a wallet and weighing the same as two iPhones.”

The difficulty is in reducing weight while maintaining robustness. The broadcast trial revealed that the vest built to contain the camera and links “was a bit flimsy.” So, they have used pieces of plastic usually used to reinforce the collars of newly bought shirts to help stabilise the camera mount.

Otherwise, the broadcast trial was a success. “The referees were really excited about it, because they want to use it for training purposes, and from our point of view it proved we could get closer to the action,” said Foskett (pictured above at Twickenham). Some leading referees, such as Nigel Owens, have commented that if it is used it could help reduce criticism of the referee as it will show that from their angle they couldn’t have seen an incident that viewers feel they should have dealt with.

Foskett thought it worked particularly well for the scrum and lineout, and when the referee was talking to players. “When the ref is on the run it can be a bit disconcerting, so we can’t use it live, but if it is of interest we can use it as a replay.” Perhaps a wider angle lens would help, as it would not only make the running shots appear less jarring, but would help when talking to players, where the heads of some of the taller forwards were out of shot.

Matt Carley (pictured above getting fitted with the RefCam vest), the referee for the Newcastle Falcons v London Scottish match (the first broadcast trial) commented afterwards: “I forgot it was on me,” which Foskett feels proves that it won’t affect the referee’s game.

If the HD trial is successful, and the referees and rugby authorities agree to it, Sky hopes to use it on higher level matches, from the Premiership and, particularly the Heineken Cup, “but the referee is there to referee the game, not to create images for us, but hopefully the benefits to viewers and referees for their own training will mean it can go further.”

Similar miniature systems are starting to be used elsewhere. Sky is currently transmitting cricket matches from Australia’s Big Bash tournament that features umpire cameras for the first time, while in America HBO used a tiny camera sewn into a boxing referee’s bow tie in another experiment.

“As cameras get lighter and links get lighter, we can get it to places we never could before, but where it won’t affect the people involved,” said Foskett. “If you can get a lens one metre from the scrum it will give you something different from a lens 50m away.”

By David Fox

November 18, 2012

Bradley Bonds with Skyfall + Skytrac


Bradley Engineering’s new U4-F remote pan and tilt head for digital cinema cameras was developed for the new Bond movie, Skyfall, primarily for use in cars (notably M's Jaguar) with the Alexa M split-head camera, but it could also have applications in sports production.

It has ten gears for very precise slow or fast movement, and uses a traditional style wheeled controller. What excited some visitors who tried it at IBC was how smooth it is, thanks to in-built processors, which would make it perfect for an object tracking system.

For sports applications, “our head could be used to automatically have a camera smoothly follow a player around a pitch,” said the company’s founder, David Bradley. “This hasn’t really been possible [before], because in order to make it smooth you have to have a very high data rate, but our head takes care of it. It works out the positions in between and gives a very smooth move.”

Also new is Bradley’s high-speed Skytrac Lite, which was originally designed for possible use on a natural history production, as it is small and can be battery powered.

However, the first one has been sold to Remote CameraSolutions (which also commissioned the original Skytrac HD used for Sky Sports golf coverage), and has been used for ITV and Sky Sports, including the Speedway World Championships, where its top speed of 75mph (120kph) enabled it to keep up with action.

The dolly alone weighs about 4kg. Add a GY236 gyroscopic remote head and it weighs about 9kg (plus batteries and downlink). But it would be possible to order a lighter, more basic version.

“It is simple, lightweight and easily portable,” said Rory Watson, head of special projects, Bradley Engineering (pictured with the Skytrac Lite).

At IBC, Bradley also showed two of the Torchcams it developed for the BBC to cover the Olympic Torch Relay for some 8,000 miles (almost 13,000km) around the UK - which were used in and on a converted horsebox (pictured above). 

It made four of Torchcams: a Gimball 2 (self-levelling) that was mounted on top of the OB trailer for wide shots; a smaller GY236 head, used for long-range shots of the runners; and two HD10 fixed cameras.

By David Fox

December 06, 2010

Tiny HD camera blends in

LMC (LiveMotionConcept) has introduced what it claims is "the smallest HD CCD camera on the market" – the new Camaeleon.

It uses a 2/3-inch CCD interline transfer progressive scan sensor, and measures just 44x44x53mm, which means it "can be installed at locations where no other camera has gone before."

It is claimed to be extremely light sensitive, offering native HD 1080p pictures (25 or 30p – 8-bit or 10-bit YUV 4:2:2 via HD-SDI). It also boasts 64dB dynamic range, 14-bit signal processing, exposure times of up to 1/100,000 sec, and consumes about 5W of power. It is remote controllable, via RS485 and RS232.

LMC also supplies a box that converts all of the Camaeleon's signals to fibre-optics, houses an integrated HD monitor plus an intelligent battery system and which can optionally transmit all signals via a wireless connection to the OB truck.

Camaeleon should be available in the next few weeks and will be usable with different housings that can adapt to the environment (using a variety of colours and shapes - such as that pictured left), including waterproof and underwater housings for applications like diving, rowing or sailing. Camaeleon can also be used for 3D on a mini-rig. It takes C-mount lenses, or can optionally be fitted with PL or B4 mounts.

LMC's Antelope UltraSlowMotion system was used last week at the Barclays ATP World tour tennis finals, in London. ATP Media apparently chose the system due to its high light sensitivity and its De-Flickering technology.

By David Fox