News Cameraman Explains His Camera Rig
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- Опубликовано: 14 окт 2024
- A news cameraman from SkyNews discusses his ENG field camera rig.
#VideoCamera #Professional #ENG
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That was a great interview. He knows his stuff.
Thank you sky news cameraman! Sir much appreciated. Thank you EEVBlog2 for the interview. Great questions with quality knowledgeable answers.
Cool of this guy to give a rundown. 8 4g SIM cards!? Woo!
LiveU lets folks see Live News from anywhere there are enough cells on a mobile 4G network & at a stretch 3G although by then its probably best the footage is pre-sent rather than live that risks video suddenly becoming degraded.
I wonder if it breaks the video down into pieces and sends them in parallel over the 8 connections or if it somehow combines the 8 connections into one larger pipeline
He said 6Mbps, so I assume is more for redundancy and lower latency then speed.
@@Sharklops Yep that's how it works, it leverages all of the available connections and then 'reassembles' it back at the server. They are pretty rock solid these days as long as you're somewhere with semi decent mobile coverage.
Live U uses cell bonding technology to get a big enough pipe to the studio. They have the ability to bond multiple SIM card bandwidth. Very powerful !
Haha. In a previous life I supported the in house media system for Parliament House and Prime7 (both of which have since abandoned the product). I do not miss the panic of my SQL cluster going down 5mins before the live 6pm news. Although helping to get headline murder footage transferred from the field, transcoded, ingested, scheduled etc had it's moments. 4G was only just on the market and Prime7 could not afford the 4G MIMO units especially as there were not enough 4G cells in rural areas. The camo (cameraman) was sitting in a pub in Moree, trying to FTP hit hastily edited exclusive footage with a 4G USB dongle. I had to pull some tricks to get it to air on schedule. Interesting times!
I was loading betacart machines in the early 90's for NQTV there is nothing like an imminent deadline to get your brain thinking.
The camera operator never gets credit. So happy someone interviewed him.
Nice interview. It's good to see a working ENG guy talk about what it takes to get the shot.
Glad I'm not the only one cramming lighting stands into tripod bags.
Great interview and video, that camera man knows his stuff.
The Live U is a great piece of equipment, it takes out the need of bringing out a microwave or sat truck.
Pretty cool. Camera operators are usually pretty busy so I've never had a chance to ask them about their gear.
Ooof, man, I worked one time on a live show with huge LCD panel arrays that used production cameras like those, close up on artists for the audience. 2 cameraman required, one outside in front of the stage, another one center stage for shots of the orchestra, plus an extra guy to handle the cables.
Way older and more simple than his camera there, but it was still around 25Kgs on your shoulder, and a bunch of cables connected to a master mixer behind the scenes.
People asking why these things are so big and heavy - it's probably reliability, industry standards and workflow. They have all sorts of deep customizations, integration with other TV standards (like someone being able to control most camera settings from a remote location with a master mixer - linear editing), industrial type connectors, redundancies, interchangeable parts, compatibility with all sorts of hardware and software standards and whatnot. And they can cost you anywhere from some 5 thousand bucks up to 50 thousand and up.
But it makes no sense in isolation... TV stations and networks will buy a bunch of those cameras plus their entire systems considering the workflow and all that.
So in other words they are SD cards with a new label, huge markup and some firmware protection to stop regular SD cards working.
sounds like RED
think of it more like usb 2 vs usb 3, or m.2 pcie nvme vs m.2 sata ssd.
They are basically enterprise UHS-II SD cards.
@@scampers6609 as if they are the only ones who does that...
They probably have more speed, smart wear levelling as well as enhanced durability and lifetime. An enterprise SSD in SD size
@@SuperStststststst If they Japanese likely one of the reasons, they'll charge more but actually do more not much honour profit gouging.
What a lad. He likes his job :)
That is so cool. I can't help but to think Max Headroom, predicted the almost instant feed back to the news room.
4:41 He meant to say "don't shoot on Betacam (DigiBeta) tapes any more", though of course those systems are still ENG too. VHS derived formats barely got a look-in for the professional market (MII being a typical VHS-derived failure), everything was Beta based for decades. Firstly low band Betacam which used domestic Betamax tapes, then BetacamSP, then Digital Betacam (DigiBeta) in several flavours, then HDCAM. Sony made more money from Beta formats than anyone ever did out of VHS. Only when broadcast went tapeless did JVC and Panasonic get a chance to move Sony aside.
DVCAM was quite popular for a while too - for the plebs who couldn't afford to spend 50 K on a DigiBeta camera. Although DVCAM was the same codec as DV, it used larger, better tapes with higher tape speed and actually looked pretty good. I'd say it was indistinguishable from DigiBeta unless your started to heavily color-grade the footage, then the DVCAM fell apart quickly because of the compression.
@@maximilianmustermann5763 I've done a video including some stuff on DVCAM and DVCPRO: ruclips.net/video/oLfKtXy8VeI/видео.html
I'm a fan of DV but I get people saying crazy stuff like DV shouldn't be used to capture low band Umatic, when it outperforms low band Umatic by a huge margin so is virtually transparent.
@@video99couk Can you fix DV or XD decks? Working parts are hard to find.
@@bytefix2603 Do you mean XDCAM? Laser failure is a big problem with those, expensive to resolve if not impossible. I do service my own DV decks but don't take on repairs.
@@video99couk Yeah lasers are the issue, I know a network with a couple of dozen useless xdcam decks
Here in the States, ENG stands for "Whatever we can make up"
Dave wants a new camera
Best we hold onto him... he's got that look in his eye again. :)-
I wouldn't swap my cam for that rig, it'd be next to useless.
"Mine is bigger than yours" :;-)
"no worries"
almost forgot I was in Australia
That was cool, reminds me of my times on the camera gear!
he said ENG like 10 times and I had to look it up to realize it stood for "Electronic News Gathering"
oh. halfway in he explained it.
Thanks for the great interview - always curious to know what the pro ENG stuff looks like!
Very interesting stuff - I always wondered did they have to have Satellite trucks anymore
Even with LiveU, you are still at the mercy of the cellular carriers. There are many, many places where there just isn't enough bandwidth available, period, even when you're bonding streams from multiple carriers. So there's still a place for sat trucks.
Not to boast but SteadyGum is meant mainly for ENG cameras. Heavy cameras like - Steadygum is a must-have. especially for weight and stability, balance, and stillness. If you guys want to check us out feel free.
Mono is great for increasing the clarity of your speech.
It is favoured for news as it gives a dedicated voice channel on the editing timeline which editors can easy manipulate, and the background being on the 2nd channel is handy in the same way, depends on the piece, VOSOT for example needs this especially if the person on sound is average.
Thanks Dave
Now we finally know what Ozzie Man Reviews does for a living :)
Nice interview. Thanks for sharing.
Beatiful camcorder❤❤❤
My employer (ATX) makes satellite ground and distribution equipment for SKY. Nice to see the gear the folks on sharp edge use!
Interesting video. Thanks for sharing. I cannot remember how long it is since i worked in ENG and news production but it was cool gear :)
So cool always wondered what the news guys use
Great stuff. Thank you for the information.
In the thumbnail I thought this was Clint of LazyGameReviews :D Then I thought it was Bam Margera.
The question I have is,, Why is the 2/3 inch sensor the broadcast standard?
Nice cranium accessory!
Model AJ-PX5000, not a bad camera.. basically a compact 3chip optical block and an FPGA That can shoot in HiDef AVC-Intra 50,100, or 200 or changed to old school Standard Def & run with DV.... His 'VTR" section LCD looks banged & scratched up because its still covered by the piece of delivery film all gloss parts have on this camera.... If he pealed it off it'd look perfect again... Shooter was saving batteries as the rig looks to be in standby, no monitoring LCD (forward the 'VTR" LCD) or backlight on the "VTR" LCD. Camera can also record onto older P2 (PCMCIA) footprint style media (operator intervention needed).
I'll try Dillion. The RED in it's various models is more adept for the Cinema or for productions where extreme quality of resolution is required as in shooting for example commercials that will be released across all kinds of outlets i.e. Video Billboards, Cinema, Internet, TV, etc etc. Today there are versions set to record imagery up to 8K while the PX5000 ENG unit here is topped out at good old 1920 x 1080 i.e. HiDef which is what your TV can do and is limited by the format of it's 3 sensors to a specific range of telephoto (zoomable) lenses, in this case 2/3"... This camera is not able give you those outrageous depth of field effects either that a RED can make for that critical scene in a movie. What the PX5000 offers is a machine to shoot TV News with, as they say run & gun, or to go live with in the field with plenty of professional-standard audio inputs (XLRs), plenty of connections for lights, two independent wireless mics & with the proper onboard wifi dongle installed and an adhoc connection on a device like iPad etc someone can view whatever sound & images are being made... perfect covering a Court trial when the camera needs to be left locked off and the days events shotlisted. All that said, there's no reason a good Corporate video can't be shot with it or a wedding for that matter & quite likely a RUclips upload job! So in a nutshell, the RED for extreme quality (recording often directly to HDDs rather than card media because of the vast amount of data needing to be stored in comparison) that has a huge option of lenses, the ENG for covering TV News.
@@peteb2 LTT are always on about their RED 8Ks, which seems overkill for RUclips. They say they can zoom in post and not lose quality, but everytime they zoom in post they blur the picture for comedic effect, so it seems like a waste of money getting REDs.
@@SidneyCritic Yep, complete overkill for RUclips.
@@peteb2 I'd gather as well that these things do run and gun so things aren't edited whereas everything from a RED camera is pretty much edited so having so much raw data allows for a wider range of 'manipulations' to get what you want out of it.
@@SidneyCritic It's no secret that 2 of the big reasons behind LTT getting red cameras was 1) so they could make videos about red cameras, and 2) 'cause Brandon (their main camera guy) really wanted them, for use on and off of LTT. I can imagine Brandon rarely gets told no when he asks for something because Linus would hate to lose him as staff.
I wonder if that all is necessary. The signal that ends up on TV screens or website clips is very low in image quality. But I guess it's the pipeline, redundancy as well as reliability
Shit in .. Shit out... If the source footage is uncompressed and broadcast quality will look better once its been compressed/low bitrate
They record in 4k and then it arrives in your home in shitty Standard definition.
The signal for broadcast news goes through so many stages of compression and re-compression until it reaches your tv, if you started with a consumer-grade picture in 15 Mbit/s, you wouldn't even get SD quality at home.
Where was this filmed?
Canberra ANU school of art and design?
What lens is that?
This is from 3 years ago. These 1080i cameras with big lenses (Fujinon or Canon) which do only 1920 x 1080 are still commonplace in ENG newsgathering and large conferences. Their footage can nowadays be effectively upscaled to 4K.
You can buy a 8-10 year old eng camera for less than a mid spec DSLR. It was really great engineering, they didn't build this kit with cheap components when they were charging £25,000 -£40,000 it is really substantial, reliable engineering almost aerospace grade. Very little goes wrong with this kit but when it does you really have to know someone like Dave here. Not me I mean Jonesey.
4K recording? Or do these pro cameras run higher?
Broadcast cameras most often run in 1080i to ensure compatibility of broadcasting live without extra conversions necessary. Most broadcast is still done at that resolution.
@@TheDuke00000Absolutly correct. I am pretty sure its a Panasonic AJ-PX5000, which only does 1920x1080.
It should be done with music videos by cole Bennett
Are there any TV stations that happen to still use tape at all for whatever reason?
North korea possibly? theres all sorts of sanctions, not many companies want to do business with them.
Every TV station has a Tape library/archive
we have old DV tape cams for apprentices where we are afraid to give them production cams.
i think we have some 90s high end night vision cameras that use dv tapes too
(german state tv "NDR")
Most archive footage is on DV or Beta. And getting a broadcast dv deck that still works is hard. Smart broadcasters converted file footage to digital. There are some XD cameras still floating around which is probably the closest you will find to tape. Although Sony no longer supports any XD deck repairs and in Australia there is only a few guys capable of fixing them but parts are impossible. Sony actually called my network once asking engineering what spare XD deck parts they had.
Magnetic tape is still one of the leading technologies for archival storage, some of them reaching 38TB! I'm sure some smaller local stations are still using antiquated tech as well
Nice video! But sort out your audio, Dave :)
Maybe you can ask him to explain on which aspects this is actually better than (and by how much) than your average smartphone.
I mean: he uses this for ENG in politics, so >90% of his footage will be talking heads of reporters and politicians, taking the daily quotes out of them.
When he would use a modern smartphone for this, would the difference be visible in any way once it appears on the local news (in 1080i HD), both for the experts and for the consumers?
And what would be the aspects in which the difference would be?
And the same comparison, for a modern "high-end consumer" type of dedicated digital camera? or a Go-Pro?
Consumer cameras share more with smartphones, but this camera is a little old; main differences? 4 channels (think 2 stereo mics or 4 mono mics) of studio-level audio with an internal mixer, a large sensor for low light performance, dedicated 12v DC out for light panels, professional/cinema lens support, a full suite of encoding and compression formats to encode footage on the fly, full 10-bit color reproduction, live video feed out for a production studio. There's a lot that this camera adds for pros to make their job easier, but at the end of the day if you don't have a professional production environment where they're paying everyone on the project and time is money you'd probably be better off looking at something like the bmpcc
@@davidburton79 Ok I can understand that there are a lot of features that can be useful on camera's used professionally.
However, in the case of ENG it would seem like small size and weight are desirable as well. "It is sturdy enough to be tossed around in overhead luggage compartments on planes" that sounds nice, but the whole reason it ends up there is that it is so bulky. It would not be an issue when he could transport it in his inner pocket.
That bmpcc looks very nice!
I am a camera operator like him.
these cameras are so bulky, but it's perfect balance, our company bought few Sony cameras couple years ago the PXW X500 and very similar in size and everything just comparable. for image quality, camera like this just on average between good and ordinary.
it produces video look footage and rather ordinary like if you watch with your own eyes, it produces very sharp image and the color reproduction is kind like real or simply normal, not graded or cinematic. but you get lot of clarity and you might not achieve something like this if you use cinema camera. let's say ARRI Alexa or others. you can easily distinguish this feeling of seeing video footage record with ENG camera versus video footage shoot with cinema grade camera.
DSLR, mirrorless are cinema camera, smarphone and GoPro are cinema camera too. i don't know why, i think it just a matter of sensor design, ENG cameras always do have 3 sensors and the recorded video is transmitted in interlaced format rather than progressive file format saved into the digital storage like cinema camera does. you still can make great movies using these ENG camera and just fine. you can color grade as you like too, but you will be fully satisfied if you are using right camera in your effort of film making.
ENG camera is all about record record and never miss the show. you can easily pass through audience in big concert, people will be so enthusiasm to express their feeling, their emotion when you caught them in front of camera and yo could talk to strangers in conflict zone if you have to.
security guard all around the world has been known to allow cameraman with genuine shoulder camera to pass the crowded, at least they will give you some leeway to do some quick recording. they will notice which are the real press or amateur media. you use smarphones or GoPros, security guard will kick your ass like punk. for performance, long recording scenario at any weather and consistency, camera like this cannot be replaced easily, even if you try to modify ARRI Alexa camera to perform like ENG camera. live broadcast is all about record the show or you missed even just one moment but important and you ruined the business and get fired, you could get fired too in broadcast studio if you ruined the live show.
Dave audio,hint
Not even 4k lol tv shows really should be doing 4k now a days
Likely also limited by the backhaul bandwidth over the cellular network. I wonder if they use multiple mobile operators for the link for diversity?
@@lmamakos you think? I don't really know how fast the 4g is out there.
At least where i live (Netherlands) you almost always have around 40mbit down and 13mbit upload AT MINIMUM.
The max is around 256mbit down and 150mbit up
@@lmamakos When I used a LiveU backpack about four years ago for sports, we were using four different carriers simultaneously.
@@MauriceNL1 "at least where I live..." The problem is that you can't count on it unless you're in the middle of a city. Once you get to the outskirts, it drops off rapidly. At least, that's how it is where I live in the USA.
Not really. To be honest 4k is quite a marketing thing, its only here to sell new tvs and consumer stuff. Take a look at steve yedlins resolution demo. Big Movies like Avatar where "only" shot at 1080p aswell and no one cared.