IBC 2018: Panasonic showcase new 8K ROI multi-camera and live production elements

At IBC 2018, Panasonic (stand C45) has showcased a new 8K ROI (Region of Interest) multi-camera system. Also, Panasonic has showcased its range of innovative products and technologies suited to broadcast, live events, and corporate users.

Panasonic 8K ROI Technology
Available from the summer of 2019, the system improves operational efficiency, by allowing four separate crops from an 8K image canvas, reducing operating costs on a multitude of potential production applications.

Featuring automated picture correction technology, the camera system also ensures that any distorted images are corrected and cropped with a natural, cut out, Full HD image from within the main 8K image.

Multiple cameras can be integrated across the system, with a main operator controlled camera linked to further sub-cameras, which can also be pre-programmed prior to the event. As a result, a single operator can control multiple cameras each with several pre-set crops for versatile, yet cost-effective multi-camera operation.

The system is able to reduce operational costs dramatically on many common events, making it well suited to sports broadcasting, staging and studio applications. In addition, it helps increase revenue within live events because less space is required to house cameras within venues.

Panasonic also introduced an 8K Media over IP (MoIP) processor. Based on IP broadcast standards (ST2110), the system supports scalability, remote operation, and resource sharing with the potential to expand across IP routing connectivity. The media processor is demonstrated both as a IP/SDI gateway and as a scalable switcher mainframe, that allows 2ME switcher operation along with more conventional switcher control panel operation too.

“By changing from multiple 4K or Full HD cameras to Panasonic’s newly launched 8K region of interest camera, production companies are able to significantly reduce costs without impacting on the immersive experience they are looking to create,” says Sivashankar Kuppusamy, Marketing Manager EMEA at Panasonic. “To date, 8K has been reserved for only niche usage. These developments bring it down to earth, to a level than can benefit the entire industry.”

Panasonic Presents Its Pathways to Live Production
Under the slogan of ‘Live. Sports. Entertainment,’ the Japanese manufacturer demonstrated the latest line up of studio, ENG and remote camera systems alongside an expanded network of complementary 3rd party solutions, ranging from robotic and transmission to tracking systems.

Andre Meterian, Director Professional Video Systems Business Unit EMEA at Panasonic says, “At Panasonic we aim to provide continuous innovation in live broadcasting, improving workflows and reducing costs for our customers. By strengthening relationships witthird-partyty organisations, we have also presented solutions for those looking for out of the box integration for a variety of robotic systems. This innovation is impacting the whole industry, from studio, to live events, and corporate.”

In the remote camera range, Panasonic introduced the newest addition to its comprehensive, professional PTZ camera line-up — the AW-UE150. This new flagship model is the first in its class to feature 4K 50p and a wide viewing angle of 75.1 degrees horizontally along with 20x optical zoom and 32x intelligent zoom(in HD mode). It also comes with a large 1-type MOS sensor, 12G-SDI, HDMI, optical fibre, IP connectivity, and a new crop feature allowing several Full HD shots to be taken simultaneously from a single 4K image. The camera was on display in Europe for the first time alongside a new touchscreen remote controller (AW-RP150). Offering a large LCD screen for monitoring and menu settings, the controller offers great usability and is single hand operable with a joystick in addition to traditional two hand operation that manages all control operations.

At the top of its switcher range, Panasonic introduced the AV-HS7300, a powerful and flexible switcher designed for both 4K and HD production needs. This provides up to 72 inputs and 42 outputs to support large scale programs. With its operability enhanced by ergonomically designed panels, the switcher balances ease of handling within a powerful system, while offering class leading, internal 4K processing.

Panasonic also announced a growing market share for its studio camera range, thanks to adoption by key European broadcasters and production companies such as France Televisions, Mediapro, and Streamteam. Since re-launching its studio range in 2012, Panasonic has achieved a 17% share of the total European market and 40 per cent of its targeted live and mid-range studio market. To maintain its momentum, Panasonic announced a selectable high speed (2x, 3x and 4x in HD mode) firmware update to its AK-UC4000. The studio camera, launched in March 2018, now has the capability for 4K output via the 12G-SDI outputs from the camera head and from the camera control unit. It operates in both HDR and SDR modes simultaneously, with the 4.4K sensor and 2/3 type B4 lens mount enabling true 4K resolution and high sensitivity images. In addition, the newly launched AK-MSU1200 master control unit provides a compact controller allowing users to match and operate all cameras from a single centralised point.

For the ENG sector, Panasonic unveiled a brand new P2 B4 Shoulder Camera, the AJ-PX5100. Featuring a 2/3 type 2.2M 3MOS sensor, high sensitivity and HDR (HLG) support, the AJ-PX5100 offers outstanding image quality. It’s equipped with a choice of codecs including AVC-Intra200/100/50, AVC-LongG25/50, and offers dual codec recording with AVC-Proxy. For storage, the camera offers double P2 and micro P2 slots making it an efficient and reliable recorder. Multiple interfaces, streaming capabilities, P2 Cast work flow with a dedicated ROP app and integration with the AK-HRP200 controller ensures the camera meets the industry’s need for high speed network workflows.

Panasonic also announced the latest from its growing number of third party integrations, an agreement with Quicklink to distribute its ‘Studio-in-a-box’ solution. The portable box solution comes with an in-built Panasonic remote camera and is targeted at the ENG sector. It provides instant provision of broadcasting resources from various locations, all fully remote controlled and managed by the central studio.

At its stand, Panasonic demonstrated its new cutting-edge 8K Region Of Interest (ROI) technology. It uses a single 8K camera to provide an image canvas from which up to four separate Full HD images can be taken simultaneously. The system greatly reduces operational costs and complexity within live events. It also increases revenue by converting camera spaces to additional seats and reducing the number of cameras needed on site.

Another technology on show is the MoIP (Media over IP), the next generation IP based operating system, that enables system integration based on IP broadcast standards (ST2110). The technology supports scalability, remote operation and resource sharing with standard IP protocols. Panasonic introduced a brand new IP media processor, demonstrated at IBC as both as an IP/SDI Gateway and as a scalable switcher mainframe, that allows 2ME switcher operation along with more conventional switcher control panel operation too.

Finally, Panasonic updated the industry on its large sensor cinema look for live entertainment production, so called ‘CineLive’ configuration. The EVA1 now features wired remote control using the CyanView RCP, while the 4K DTS transmission and control system for the Varicam LT was also on stand.

In addition, the Japanese manufacturer also announced that the EVA1 is now capable of shooting infrared colour images by unlocking the IR cut filter with a single touch, replacing it with a clear filter. The technique was showcased using a short film called ‘palette’ a fantasy piece currently produced by Japanese cinematographer Yuji Nukui, saying, “I use the Panasonic AU-EVA1, because the menu allows the IR Cut filter to be turned on/off at the push of a button. It is the only camera on the market with this feature, and it helped reduce production costs as a consequence.”

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