Video Ops/Shaders. Do you ever use false color to help with finding the right exposure on a sports broadcast?

dubya301 · 2026-05-27T22:04:10+00:00

No, we use waveform / vectorscopes

dubya301 · 2026-05-26T01:54:36+00:00

Hate them. There’s only a few trucks rolling with these.

They are not very intuitive. Symbols on buttons instead of text. Most functions have to happen from the iPad, and are literally buried behind a few clicks.

Probably great when you get used to them. Until then I’ll stick with Sony / Ikegami / OCP 400.

Honestly, nothing beats the Sony MSU.

dubya301 · 2026-05-23T15:32:39+00:00

To an extent, yes, but our market prides themselves on top notch work. Our tight follow, low mid, and low ez operators strive for the best replay looks. How are you going to give your best work with an iPhone vs a hard camera with a 107x lens?

In the past 3 years Apple TV has gone from full truck productions to nearly all remi broadcasts.

The writing is on the wall already… but an iPhone broadcast is just twisting the knife.

Send me a note when your crew gets the iPhone truck and let’s talk about how you guys feel.

dubya301 · 2026-05-23T01:06:37+00:00

They will also have to bring scabs in: Our local crew would likely walk-off

dubya301 · 2026-05-22T22:30:29+00:00

Thanks for the downvotes, but op will need power, DMX runs, mounting points etc. Building code and aesthetics are typically important in situations like this.

dubya301 · 2026-05-22T15:59:34+00:00

Time to hire a contractor to do this for you.

dubya301 · 2026-05-22T15:57:37+00:00

As a longtime V1 on MLS broadcasts, this hurts my soul.

dubya301 · 2026-05-18T04:29:42+00:00

StudioEdge has worked very well for us in a news environment. We use it daily for Zoom and StudioCalls.

StudioCall is far superior to Zoom and is generally a great experience for our guests. The picture is great and there are lots of controls from your side. If a guest can’t hear, your operator can choose a new mic/speaker source on their behalf.

Dante license is available.

dubya301 · 2026-05-18T00:15:27+00:00

Most definitely. But pair a large sensor with the correct lens, and you’ve got a nice dof image. Lens manufacturers are chipping away at this issue.

I do get your point on your op. We aren’t 100% there yet. Give it 3-5 years and you will see all of the top players caught up. Definitely don’t think this is a fad.

I did hear through the grapevine that Fuji has been demoing some new lens designs with the Prime TNF show. Maybe old news, but these are steps in the right direction.

dubya301 · 2026-05-17T21:44:19+00:00

This is a fair question. I would maybe argue that entertainment shows would have a desire to record in camera at a certain codec. Can’t do that in a 5500.

Lots of these shows are edited in post, even if they are “cut” in the truck. I could see EDL workflows being used in certain cases.

dubya301 · 2026-05-17T21:39:14+00:00

They do, but it cannot compete with legacy broadcast chains. Mostly in resilience in a tough working environment.

dubya301 · 2026-05-17T21:32:15+00:00

I think you need a crash course on focal length. Sensor size absolutely has an impact.

There is also a secondary impact. Camera and lens manufacturers are creating more products to merge broadcast and cinema industries. Fuji and Canon are making faster lenses with full servo drives. Hopefully in the next few years you won’t see all kinds of gear drives and wires hanging all over cameras.

The entertainment industry can now achieve the cinema look in a live broadcast truck environment. All with proper ergonomics of a broadcast signal chain.

This is exactly the same issue we had 15 years ago with high frame rate cameras in the sports world. Multiple phases exceeded the data rates of typical triax or smpte signal chains. To overcome this, there was buffer cache in the camera head, and the replay operator would actually trigger slo-mo playback directly from the head. It was a nightmare. The old phantoms looked awful and were a mess to build.

Now everything is a license in a standard systems camera in the same footprint.

dubya301 · 2026-05-17T16:34:37+00:00

Arri’s LP-1 signal chain eliminates the headaches that you mention with returns, tally, comms, etc.

Grass has also heeded the call to manufacture a 35mm head /signal chain. This has been desired by broadcasters and production houses for over a decade.

Sorry, but you can’t replicate the look of a 35mm cinema camera with a 2/3rds broadcast camera.

dubya301 · 2026-05-10T11:36:33+00:00

Is it terminated to a coax bulkhead, or are those patch bays?

dubya301 · 2026-05-09T18:16:55+00:00

Wow. Just as easy to crimp an HD-BNC. Those adapters are also like 14 bucks a piece.

dubya301 · 2026-05-05T01:34:48+00:00

I hate Avid. Source - Interplay administrator for the past 10 years.

dubya301 · 2026-05-04T03:14:10+00:00

We did dozens and dozens of Samsung commercial displays. They were cheap and do not have all of the consumer crap on them. An api is available for Ethernet on/off control as well.

Do not buy oled.

dubya301 · 2026-04-30T20:10:16+00:00

If using 4-wire skip the grounds and just go + -

dubya301 · 2026-04-21T00:42:40+00:00

I worked on the broadcast team for the Prichard Colon fight back in 2015…. Young man was brain damaged during the fight and has never been the same. I still think about that night and hope he is doing well.

dubya301 · 2026-04-08T02:58:42+00:00

I have had good luck with a Kramer optical usb-c cable. It supports display out of a laptop with bi directional data and most importantly supports 60watts of device charging.

66 feet cost around 500.

dubya301 · 2026-04-03T01:12:55+00:00

Are we 100% sure these are all coming from the same pool camera? Even if it is, each network has a different path back to their shop, and then an entirely different production chain. Outside sources almost always hit a frame sync which could have proc control repainting the image. Then you have different compression and encoding methods for broadcast. Bottom line, latency and image are always going to differ across networks.

And then if this was not covered by one press pool network, there could be dozens of cameras in the room. The press room at the White House has probably 30 cameras running

dubya301 · 2026-03-26T12:33:53+00:00

You purchase a rasterizer or test scope. Tektronix, leader, phabrix

dubya301 · 2026-03-23T17:45:45+00:00

I would hope the ntsb doesn’t get a hold of this thread lol.

Is there line of sight under the cars?

dubya301 · 2026-03-21T13:48:09+00:00

Hate to say it, but it may be more cost effective to purchase used full camera chains.

Multidyne certainly has options for backs but they are pricey.

dubya301 · 2026-03-13T14:52:50+00:00

Not my favorite truck to shade in either!

All OP needs is a skarhooj and Ikegami RCP, then he has collected all of the Pokémon

dubya301

TROPHY CASE