In Broadcast - July/August 2011 - 66


66

Ultra-slow Motion: A New Tool For Live Broadcasters
By Laurent Renard, CEO at I-MOVIX
offer many of the features essential for the broadcast environment. This is why they are integrated into systems that provide all the required inputs and outputs, together with the kind of control surfaces and user interface that make them usable by any television crew. Apart from the camera itself, an I-MOVIX ultra-slow motion system typically comprises a Central Control Unit (CCU) connected to the camera by a SMPTE 311 hybrid cable. Attached to the CCU is an operational control panel and sometimes a jog/ shuttle panel. The CCU provides control of the slow-motion instant replay, camera control, and data interface between the camera and the slow-motion server – the next part of the system. The Operational Control Panel (OCP) provides a real broadcast-quality colour matrix and control of frame-rate choice, while a slow-motion remote allows the user to select a video sequence and instantly replay it with an HD-SDI output for live broadcast or storage on the slowmotion server. The system allows directors and camera operators to shoot at frame rates going from 25 to 2,700 fps in full HD (1080i) or up to 5,800 fps in 720p (200 times slower than live
Slow-motion’s natural home is action sport

I-movix

One of the recent additions to the creative toolkit for live broadcasters is ultra-slow motion. This is not to be confused with the traditional kind of slow motion that has been part of live coverage for decades, especially in sports. Today’s ultra-slow motion shots are produced using very high speed cameras from a lineage of devices originally developed for scientific and industrial use. While conventional broadcast cameras and slow motion systems have been limited to around 180 fps, the new breed of ultra-slow motion cameras and systems can shoot at thousands of frames per second, giving a completely different window onto the action, and the stresses and strains of competitors and their equipment during a sporting event. However, these cameras were not designed for broadcast use, and don’t

action) with instant replay at native HD resolution and image quality. Dual outputs allowing simultaneous shooting and recording, and other broadcast-integrated features include the segmentation of the camera memory, speed ramping within a replay, the dual output of live action and replay sequences, and integration of both live- and replay-view on the viewfinder. The system used in the replay mode is compatible with the industry standard servers, using one channel only on these servers. The CCU is connected to the camera via a long-distance SMPTE optical fibre transmission cable, and to the slow-motion remote control and the OCP with Ethernet cables. The CCU provides a live HD-SDI 1.5 Gb/s output, and sends an HD-SDI 1.5 Gb/s output to the industry standard slowmotion server, from which the replays are played. The image quality from the latest generation of ultra-slow motion cameras is now comparable with the best HD broadcast cameras, so the SprintCam system produces dual output, allowing the director to use real-time pictures from the system as well as ultra-slow replay sequences. Using the system in this dual role allows the crew to operate more

efficiently, without having to dedicate a camera solely to getting the ultraslow shots. Great flexibility is a major advantage of this kind of ultra-slow motion system, allowing directors and camera operators to adapt to different conditions and use the system for a wide range of applications. In practice the choice of frame rates to shoot at is determined by a number of factors including the speed of the action – there is no need to shoot 3000fps if 1500fps delivers results that are just as good, and some sports include much faster movements than others. That said, many directors take a creative view of ultra-slow motion as a tool and use it to shoot subjects that do not contain fast action, such as weightlifting or rowing, and there are surprisingly fresh views and insights to be gained this way. Another key factor is the available light levels; there is some latitude for compensation using the camera’s gain controls, but as a basic rule, higher frame rates require higher light levels. Using wide apertures for maximum light intake means that depth of field can be restricted, but this can be an advantage, helping to concentrate the viewer’s attention on the key action.

Launches With Unique ‘STORM’ Range of 3G Toshiba HD Camera Solution Integrated Multi-viewer TFTs
The company
New company SeeSense has launched, headed by Nigel Paine, specialising in the sale of C and CS mount lenses (SEE) and miniature camera systems (SENSE). The formation of SeeSense followed the birth of Jana and Nigel’s son Patrick. Wanting him to be brought up in a close family structure they decided to move to Jana’s home town in Slovakia. Toshiba I.C.S. in Switzerland offered to make SeeSense an official distributor to develop their camera sales in Central and Eastern Europe and beyond.

Why IK-HR1P?

The camera

Unique to SeeSense, the IK-HR1P has a CS lens mount in place of the standard C-mount. It is based on the Toshiba IK-HR1S HD-SDI single CMOS camera. This conversion, while difficult to achieve, has been accomplished maintaining the outstanding image quality of this miniature HD camera.

The HD Toshiba IK-HR1S, IKHR1D and IK-HR2D cameras are disadvantaged because there are only a limited number of wide angle C-mount lenses of correct optical quality to suit the camera. The conversion to CS-mount allows access to a wider range of lenses including new wide aperture megapixel varifocals. This improves low light performance, making it closer to that of the Toshiba IK-HD1 3-CCD HD camera. An adaptor is included to allow use of C-mount lenses. A camera CS upgrade service is available for owners of the standard camera. The SeeSense IK-HR1P is ideally suited to most broadcast POV miniature camera applications. SeeSense Toshiba
HR1P-euro

The new ‘STORM’ range of 3G in the market with pricing (which capable broadcast LCD monitors have includes the monitor) below external been launched to meet the high quality MV alternatives. demands of this HD format. Software for ‘user design layout’ of The 1920 x 1080P @ 50/60Hz HD the video tiles and ‘global control’ of format (3G) is now becoming popular gallery stack applications is included. within the broadcast/post production The products are ideal for displaying environment; however, 95% of left and right images from 3D work existing monitors cannot display this flow without the necessity of investing format. in two single monitors. This range of professional broadcast Zero pixel defect is guaranteed with LCD’s which includes integrated two-year warranty as standard with multi-viewer (MV) LCD’s brings further three years option. video quality to a new level by offering a complete package of the world’s highest quality video processing algorithms for deinterlacing, scaling, image enhancement and frame rate conversion. The integrated MV ‘STORM’ range offers a choice of 17” 24” 32” 42” 46” & 55” LCDs with optional 4, 8, 12 and 16, 3G inputs. Not only does the Integrated MV Range of LCD’s offer the highest video performance, they are the most cost effective MV solution Frontniche’s Storm range is 3G capable


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Table of Contents for the Digital Edition of In Broadcast - July/August 2011

In Broadcast - July/August 2011
Contents
Whats New in Our Global Village
iPad The Game Changer
Outside Broadcasters Feel the Pinch
Innovative Camera Supports - Beyond the Tripod
IP-Based Remote Television Studio Control
Trilogy's Gemini - Pioneering the Use of IP in Broadcast Intercom
The Ears Have It: The Drive for Better Sounding Mobile Content
IBC Sneak Peak
Monitoring Systems For Today's Digital, Multiplatform Era
New Developments in Broadcast Test and Measurement
In Broadcast - July/August 2011 - Intro
In Broadcast - July/August 2011 - In Broadcast - July/August 2011
In Broadcast - July/August 2011 - Cover2
In Broadcast - July/August 2011 - Contents
In Broadcast - July/August 2011 - Whats New in Our Global Village
In Broadcast - July/August 2011 - 5
In Broadcast - July/August 2011 - 6
In Broadcast - July/August 2011 - 7
In Broadcast - July/August 2011 - 8
In Broadcast - July/August 2011 - 9
In Broadcast - July/August 2011 - 10
In Broadcast - July/August 2011 - 11
In Broadcast - July/August 2011 - 12
In Broadcast - July/August 2011 - 13
In Broadcast - July/August 2011 - 14
In Broadcast - July/August 2011 - 15
In Broadcast - July/August 2011 - 16
In Broadcast - July/August 2011 - 17
In Broadcast - July/August 2011 - iPad The Game Changer
In Broadcast - July/August 2011 - 19
In Broadcast - July/August 2011 - 20
In Broadcast - July/August 2011 - 21
In Broadcast - July/August 2011 - Outside Broadcasters Feel the Pinch
In Broadcast - July/August 2011 - 23
In Broadcast - July/August 2011 - 24
In Broadcast - July/August 2011 - 25
In Broadcast - July/August 2011 - 26
In Broadcast - July/August 2011 - 27
In Broadcast - July/August 2011 - 28
In Broadcast - July/August 2011 - 29
In Broadcast - July/August 2011 - 30
In Broadcast - July/August 2011 - 31
In Broadcast - July/August 2011 - Innovative Camera Supports - Beyond the Tripod
In Broadcast - July/August 2011 - 33
In Broadcast - July/August 2011 - 34
In Broadcast - July/August 2011 - 35
In Broadcast - July/August 2011 - 36
In Broadcast - July/August 2011 - 37
In Broadcast - July/August 2011 - IP-Based Remote Television Studio Control
In Broadcast - July/August 2011 - 39
In Broadcast - July/August 2011 - Trilogy's Gemini - Pioneering the Use of IP in Broadcast Intercom
In Broadcast - July/August 2011 - 41
In Broadcast - July/August 2011 - 42
In Broadcast - July/August 2011 - 43
In Broadcast - July/August 2011 - The Ears Have It: The Drive for Better Sounding Mobile Content
In Broadcast - July/August 2011 - 45
In Broadcast - July/August 2011 - IBC Sneak Peak
In Broadcast - July/August 2011 - 47
In Broadcast - July/August 2011 - 48
In Broadcast - July/August 2011 - 49
In Broadcast - July/August 2011 - 50
In Broadcast - July/August 2011 - 51
In Broadcast - July/August 2011 - 52
In Broadcast - July/August 2011 - 53
In Broadcast - July/August 2011 - 54
In Broadcast - July/August 2011 - 55
In Broadcast - July/August 2011 - Monitoring Systems For Today's Digital, Multiplatform Era
In Broadcast - July/August 2011 - 57
In Broadcast - July/August 2011 - 58
In Broadcast - July/August 2011 - 59
In Broadcast - July/August 2011 - New Developments in Broadcast Test and Measurement
In Broadcast - July/August 2011 - 61
In Broadcast - July/August 2011 - 62
In Broadcast - July/August 2011 - 63
In Broadcast - July/August 2011 - 64
In Broadcast - July/August 2011 - 65
In Broadcast - July/August 2011 - 66
In Broadcast - July/August 2011 - 67
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In Broadcast - July/August 2011 - 74
In Broadcast - July/August 2011 - Cover4
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