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a shallow depth-of-field in images captured on a traditional live production system camera. XtraMotion takes less than three seconds to apply super slow- motion, even when combined with other effects such as deblurring. “There’s a definite requirement from the market for a filmic look, but we also know the results to date are mixed,” reports Klaus Weber, director of product marketing at Grass Valley. “In general, when the pictures look good, the workflow has been really cumbersome. It’s often difficult to incorporate digital cinematography cameras into existing production workflows.” The Megalodon moniker hints at the clunky workflow required to produce silky images from cameras designed for drama when they’ve been jury-rigged into the live environment. “Something our customers really don’t like is the lack of servo controls,” shares Weber. “They don’t want to fiddle around with additional attachments. And when paired with third-party universal control panels, existing systems often fall short of providing the necessary control, and in a live set-up, you simply don’t have time.” That’s why Grass Valley went back to the drawing board, coming up with the LDX 180 – which should begin shipping around IBC Show time. Equipped with a Super 35 global shutter and CMOS imager, the unit is designed specifically for live workflows, working over SDI to SMPTE ST 2110 and integrating with Grass Valley’s existing LDX Series cameras. “Achieving a filmic look in live production is a complex task that requires a careful balance of technical elements,” Weber explains. “The optimal camera for this purpose should feature a larger image sensor – preferably Super 35 – PL mount lenses, a global shutter and advanced real-time processing capabilities. Consistent colour science across different camera models within
NEW SHOOTS Displayed at NAB, Grass Valley’s LDX 180 is designed specifically for live workflows
the same production is also crucial to maintain a uniform visual appearance.” While most sports might benefit from a cine-style camera, the extent depends on the sport itself. In baseball, for example, the pitcher and batter will stand on the exact same position each time, so camera operators and producers know exactly how to frame and focus. Fox Sports even deployed Cooke Optics anamorphic lenses on Major League Baseball’s World Series to capture images that will be played out ahead of commercial breaks. In soccer, it’s trickier. “Take a Champions League match, covered by 25 to 35 camera positions,” says Weber. “At least half of those are on the sidelines and in the stands, using 100x or more zoom lenses. Operators actually want more depth-of-field from these positions, not less, so those cameras wouldn’t be replaced by cine cams.” The main A camera position is typically a 20-25x zoom, for which PL
mount Super 35 glass is available (from Canon or Fujifilm). Weber thinks there’s a case for this position to be replaced or augmented with a cine cam. Other than that, the main use of shallow depth-of-field is isolating fans in the background of stands or a coach cam, perhaps for pre-game team walk- ons (trialled by DAZN and FIFA during the Club World Cup). “It might be that a third of the cameras in a Tier 1 soccer plan would benefit from a shallow depth-of-field, whereas live coverage of music concerts could be covered by a higher 50:50 ratio. There might also be a few cases where a complete production, end to end, will use just Super 35 cameras. But when you need a long zoom range with a 100x box lens, 2/3in is the only way.” The integration of advanced signal processing features in live production cameras isn’t just a convenience, but a necessity. It ensures that all elements of the live broadcast – whether the main production feed, VAR system or camera shading – can operate efficiently, with minimal risk of error and without the burden of additional external equipment. Weber explains that “this capability is essential in high-stakes environments like live sports or large-scale events, where maintaining a flawless broadcast across multiple platforms and standards is paramount.”
WHEN YOU NEED a long zoom range , 2/3 in IS THE ONLY WAY”
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