FEED Autumn 2022 Web

Engine virtual production software and the Panasonic AV-UHS500 4K Live Switcher as part of a wider system, to produce effective corporate and internal communications. “We were the first to have the FreeD protocol as standard, integrated at no cost. This allows you to interface our PTZ cameras with real-time graphics systems, such as Zero Density and Vizrt, and robotic systems for intricate camera movements,” explains Krier. “This means that people can easily – and without spending too much money – integrate PTZs into these environments.” Two other key advantages of PTZ cameras are their compact size and ability to be fully controlled remotely. “If you have shots that are impossible to get with normal studio cameras, you can use PTZ,” says Krier. “People are starting to do a lot of automation with PTZ cameras, going from one shot to the next without moving everything, just changing the settings, presets and so on. They cost a fraction of the price of a studio camera, so you can instal a dozen of them and then get enough sources for the director to choose from. It’s far less boring than having four high-end studio cameras always shooting on the same plane. Suddenly, it looks like a huge show, even though you haven’t spent a lot of money.” Of course, PTZs can be used in conjunction with other machines. “A director may want a super high- quality close-up on the presenter, for example. A studio camera is still good for that,” Krier notes.

Krier continues. “We were the first to support SRT on PTZ, the first to have NDI and NDI HX and we have all the ecosystem and workflows around supporting other necessary protocols – such as RTMP. This is all included as standard with the PTZ camera, so there’s usually no extra cost, or just the affordable price of the licence. “However, just having a great PTZ is not enough for the customer – they expect this from Panasonic because it’s what they have become

accustomed to. Ultimately, a lot of choices today are based on the workflow requirements and not only the quality of the camera itself,” he points out. “Most cameras on the market now produce usable features. But not all allow the customers to create the workflow or integrate the camera into the architecture they currently have, or plan to have.” VIRTUAL ARCHITECTURE Today, you’ll often find Panasonic PTZ cameras used in conjunction with green-screen backgrounds for virtual studios, or augmented reality applications. For example, energy supplier RWE commissioned its own virtual and augmented reality broadcast production studio – powered by Panasonic & ProAV equipment – at its campus in Essen, Germany. A KST-CamBot.system is used as the central automation unit, four Panasonic AW-UE150 4K PTZ cameras, the Zero Density Reality

PART OF THE TEAM Whether using PTZs alone, or integrating them with other units, they have the ability to add real dimension to productions



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