CINEMATIC SPORTS TECH
THE MARKET DEFINITELY REQUIRES a filmic look, BUT RESULTS are mixed ”
DIFFERENT BALL GAME The demands of live broadcast differ from filmmaking, requiring simpler controls and streaming capabilities
processing, colour science and control requirements of a live outside broadcast using 20 to 30 cameras. Sony’s flagship VENICE camera can also be configured for live broadcast by adding a MultiDyne SilverBack V fibre optic adapter. The system puts all the signals needed for UHDTV production onto a single tactical or SMPTE hybrid fibre cable, ‘ensuring robust, trouble- free connectivity’ on any studio or remote production. RCP paint control is supported too, using the serial data connection, while genlock, intercom and tally are also provided.
In 2022, Sony went further and released the HDC-F5500, designed with live sports in mind. It has a Super 35 4K CMOS global shutter image sensor for shallow depth-of-field and high-frame- rate capability. It was used for the first time in Europe during the live broadcast of a Tyson Fury vs Dillian Whyte fight at Wembley by EMG UK and TNT Sports. The chief difference being its use of a single chip, Super 35 and PL mount rather than a three chip, 2/3in B4 mount. This year, RED debuted a Cine- Broadcast Module for its V-RAPTOR cameras that supports live broadcast
of 4K/60p signals, which CBS Sports has integrated into some of its productions. A broadcast colour pipeline enables live painting of RED cameras using traditional broadcast controls. The module is also compatible with EVS’s XT-VIA live production server, allowing broadcasters to enhance their workflows with 4x super slow-motion at 4K or 8x in HD. According to EVS product manager Ignacio Revuelto: “This paves the way for cinematic-quality cameras to elevate sports productions.” Separately, EVS has updated its XtraMotion platform to create a cinematic effect by simulating
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DEFINITIONMAGS
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