In Broadcast - November 2019 - 30

30

www.inbroadcast.com | Vol: 9 - Issue 10 | November 2019

InStudio

Hitachi Z-HD5500s Boost Mobile
CTM Productions

Hitachi Kokusai Z-HD5500s
in play at CTM

C

helmsford
TeleMedia
(CTM)
upgraded its cameras late last
year to improve its mobile productions,
it selected Hitachi Kokusai Z-HD5500s
to deliver the pristine quality and rich
features it sought.
"We wanted to get the best bang
for our buck, while future-proofing
ourselves to get a long lifecycle out
of the cameras," said Tom Peterson,
Production Engineer at Chelmsford
TeleMedia. "Going with a well-known
industry standard like Hitachi Kokusai
also helps our ability to earn revenue
by renting the truck to external clients.
"We love the quality of the image the
Z-HD5500 produces, and as a true
studio camera, its rich feature set
offers us a lot of flexibility."
CTM chose the Z-HD5500 model
because of its native 1080p support.
While the truck's current Broadcast Pix
switcher is only 1080i, CTM has plans to
replace it, and they are already feeding
1080p60 video into their Ross Mira
instant replay system.

The Z-HD5500's compatibility with
standard 2/3-inch lenses was also a
significant benefit over the 1/3-inch
limitation of their previous cameras,
allowing them to rent or borrow
additional lenses as projects require
without needing adapters.
"The picture quality we get from
the Z-HD5500s is incredible," said
Peterson. "The colour reproduction is
far better than our old cameras, and
the skin tones are amazing. Ironically,
the first time we shot a basketball
game with the new cameras, the flaws
in the gym - such as peeling paint really stood out. Even though our old
cameras were HD, they couldn't see
that level of detail. The difference is
night and day."
The Z-HD5500s have also enabled
CTM to overcome lighting challenges
at both ends of the spectrum from
brightly lit concerts to dimly lit theatre
productions.
Operated typically by students
and volunteers, the cameras are

significantly easier to set up and work
with. The large, high-quality studio
viewfinder has been particularly
advantageous for sports production.
"We always tell students that the
most important piece of equipment
is the camera, as that's where it all
starts," said Peterson. "Bringing in
the Hitachi cameras has drastically
improved the quality of our
productions. We believe the best result
is when people react to a change,

and viewers have commented on the
difference. The Z-HD5500s have been
really great for us, and I look forward
to the future of our productions with
them."
In addition to serving its own
government and educational channels,
CTM's 35-foot, Gerling-built OB truck
is also used for external productions
including Minor League Baseball games
for the Lowell Spinners, an affiliate of
the Boston Red Sox.

France Médias Monde Selects
Eolementhe Solution
F

rance Médias Monde has chosen
Eolementhe, the collaborative
media workflow platform, from
Videomenthe as its multilingual
subtitling solution.
The France Médias Monde group
incorporates trilingual rolling news
channel FRANCE 24, RFI international
radio station, and Arabic-language
radio station Monte Carlo Doualiya. The
three stations broadcast from Paris to
five continents in 14 languages.
France Médias Monde held a process
of consultation to equip itself with a
simple, modern video-subtitling cloud
solution. The group publishes on its
web sites brief videos (interviews,
reports, etc.) that have been made inhouse and its aim is to make its teams'
subtitling work easier and faster.
Eolementhe was chosen by France
Médias Monde for its transcription,
translation and multilingual subtitling
features, but also for its modularity, its
user-friendliness and its cost.
"We're able to publish our videos

File Lib - editing of subtitles and preview, following RFI graphic layout

- subtitled in several languages - on
the internet very rapidly, without
any compromise in quality of
translation, thanks to Eolementhe
and its automated tools. The option of
human validation at every stage in the
process, as part of the collaborative
method of working, is a real advantage.
Another aspect is the availability of
Videomenthe's teams, which has

enabled us, in particular, to work
together on customising the solution,"
said RFI's Clément Bisset.
Videomenthe collaborated with
France Médias Monde to create a
sequential workflow that adapts to
the working methods of teams right
across the production chain. Steps
providing for manual correction and
validation enable the different users

(journalists, technical staff, editor in
chief and others) to intervene after
each automated stage (transcription
and translation into several languages),
which guarantees seamlessness, speed
and efficiency.
The Eolementhe solution has also
been customised; work spaces adapted
to each profile have been created
and a subtitles display, in line with
France Médias Monde's web graphics
specifications, has been incorporated.
"We are obviously delighted that
France Médias Monde has entrusted
us with this project, which has several
exciting
features.
The "mobile
video" context first of all, with the
collaboration between international
technical and editorial teams, which
is implemented seamlessly via
Eolementhe. Then there is the delivery
of video content for web platforms
and social media, which demonstrates
the flexibility of the solution in terms
of formats. Finally, the involvement
of all our colleagues at France Médias
Monde, who help develop the solution
in a very constructive way," said Muriel
Le Bellac, CEO, Videomenthe.


http://www.inbroadcast.com http://www.hitachi-kokusai.co.jp/global/en/ https://www.videomenthe.fr/

In Broadcast - November 2019

Table of Contents for the Digital Edition of In Broadcast - November 2019

Contents
In Broadcast - November 2019 - Intro
In Broadcast - November 2019 - Cover1
In Broadcast - November 2019 - Cover2
In Broadcast - November 2019 - Contents
In Broadcast - November 2019 - 4
In Broadcast - November 2019 - 5
In Broadcast - November 2019 - 6
In Broadcast - November 2019 - 7
In Broadcast - November 2019 - 8
In Broadcast - November 2019 - 9
In Broadcast - November 2019 - 10
In Broadcast - November 2019 - 11
In Broadcast - November 2019 - 12
In Broadcast - November 2019 - 13
In Broadcast - November 2019 - 14
In Broadcast - November 2019 - 15
In Broadcast - November 2019 - 16
In Broadcast - November 2019 - 17
In Broadcast - November 2019 - 18
In Broadcast - November 2019 - 19
In Broadcast - November 2019 - 20
In Broadcast - November 2019 - 21
In Broadcast - November 2019 - 22
In Broadcast - November 2019 - 23
In Broadcast - November 2019 - 24
In Broadcast - November 2019 - 25
In Broadcast - November 2019 - 26
In Broadcast - November 2019 - 27
In Broadcast - November 2019 - 28
In Broadcast - November 2019 - 29
In Broadcast - November 2019 - 30
In Broadcast - November 2019 - 31
In Broadcast - November 2019 - 32
In Broadcast - November 2019 - 33
In Broadcast - November 2019 - 34
In Broadcast - November 2019 - 35
In Broadcast - November 2019 - 36
In Broadcast - November 2019 - 37
In Broadcast - November 2019 - 38
In Broadcast - November 2019 - 39
In Broadcast - November 2019 - 40
In Broadcast - November 2019 - 41
In Broadcast - November 2019 - 42
In Broadcast - November 2019 - 43
In Broadcast - November 2019 - 44
In Broadcast - November 2019 - 45
In Broadcast - November 2019 - 46
In Broadcast - November 2019 - 47
In Broadcast - November 2019 - 48
In Broadcast - November 2019 - 49
In Broadcast - November 2019 - 50
In Broadcast - November 2019 - 51
In Broadcast - November 2019 - 52
In Broadcast - November 2019 - 53
In Broadcast - November 2019 - 54
In Broadcast - November 2019 - 55
In Broadcast - November 2019 - 56
In Broadcast - November 2019 - 57
In Broadcast - November 2019 - 58
In Broadcast - November 2019 - 59
In Broadcast - November 2019 - 60
In Broadcast - November 2019 - 61
In Broadcast - November 2019 - 62
In Broadcast - November 2019 - 63
In Broadcast - November 2019 - Cover3
In Broadcast - November 2019 - Cover4
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