Articles tagged #LENS
Articles tagged
#LENS

Canon EOS C70 new compact Cinema EOS camera

Canon Australia launched the new EOS C70, it combines the image quality of the Cinema EOS System with the compact size, portability and flexibility of its EOS R line-up of cameras, so you get to enjoy the RF-Series lens range. The EOS C70 comes complete with pro interfaces and input/output terminals and ports, which makes it a suitable choice for a broad range of uses including documentaries, productions of all sizes, newsgathering, and events such as weddings. Content Creators wanting to achieve higher production quality for social media content on channels such as Instagram Stories or Reels or especially for TikTok, the C70 makes it much easier to capture thanks to the EOS C70’s vertical shooting capability.

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Sony unveils new E-mount Cinema lens FE C 16-35mm T3.1 G

Sony introduced a new full-frame E-mount lens, 16-35mm (FE C 16-35mm T3.1 G) to accompany the newly announced PXW-FX9 full-frame format camcorder, offering high optical performance, reliable operability and intelligent shooting functions for professional video creation. Compatible with a wide range of E-mount cameras from VENICE to Alpha™ interchangeable lens cameras as well as the new flagship FX9, the addition of this new lens, optimised for professional video shooting, brings unprecedented creative flexibility for content creators. Sony will further enhance its Cinema Lens line-up going forward. "Our ongoing conversations with partners and customers have shown that there is a clear need for versatile tools which improve efficiencies and drive greater ROI (Return on Investment). Along with Sony’s “One Mount” solution based on its Alpha series, the flexibility of our new E-mount Cinema Lens series offers content creators greater creative freedom and helps them concentrate to their artistic vision," comments Anthony Kable, Group Manager Content Creation, Sony Australia. Lens for a new age of full-frame video shooting The new lens is compatible with intelligent shooting functions of E-mount system that support and improve Large Format Sensor (LFS) shooting. Paired with the new full-frame format camcorder FX9, the new lens supports fast and accurate auto focus, making it possible to track fast moving subjects while maintaining a shallow depth of field. Stunning bokeh and corner-to-corner resolution The two XA (Extreme Aspherical) elements with extreme surface precision of 0.01-micron, together with circular 11-blade apertures deliver beautifully smooth bokeh in every frame. The two XA elements and three aspheric lenses are positioned in a way that effectively reduces field curvature, astigmatism and, in combination with two ED (Extra-low Dispersion) glasses, reduces colour distortion. Additionally, floating focus provides outstanding resolution at every zoom position. Nano AR (Anti Reflection) coating drastically reduces flare and ghost phenomenon. Excellent operability with three independent rings, remote control from the camera, and a detachable servo zoom The new E-mount lens further offers accurate and precise operability thanks to three independent rings for focus, zoom and iris that content creators can manipulate so they get the exact results they desire. The linear response Manual Focus (MF) feature provides precise manual focusing action. The focus ring with a large rotation angle comes with a distance scale, which makes it possible to quickly and easily set the same focus position during scenes that need to be shot repeatedly. Used with compatible cameras such as FX9, remote controllers and supported smartphone applications, full-control of zoom/iris and focus can be operated from the camera. This drastically simplifies lens operation and give more opportunities to capture critical moments. The new range also supports numerous lens accessories to facilitate a variety of different shooting styles. The industry standard 0.8 mod. (32 pitch) gears on each lens ring provides the option to use standard follow focus. Equally, widely-available 115mm diameter matte box and lens support can be used to aid accurate, responsive and precise operability. Additional functions include a de-clickable iris ring, the option to reverse the rotation direction of the zoom ring to be fitted with user’s preference and detachable servo zoom that provides smooth zooming expression. The new 16-35mm (FE C 16-35mm T3.1 G) will be available from April 2020 onwards.

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Canon focuses on 4K UHD Broadcast Lenses at NAB2018 - oh! and the C700 FF

Canon launched of three new portable zoom 4K UHD broadcast lenses1: the CJ24ex7.5B, CJ18ex7.6B and CJ14ex4.3B. These new additions are compatible with 4K UHD broadcast cameras that have 2/3-inch sensors. Flanking the existing UHDxs series of 4K portable broadcast lenses that deliver excellent optical performance, these three lenses usher in the newly launched UHDgc series that will broaden 4K UHD shooting options. These new lenses provide 4K UHD imaging quality at a price point that is more accessible to the majority of the broadcast market. Additionally, the new lenses provide impressive UHD optical performance while maintaining a compact and lightweight design to meet a wide range of needs for video productions that include documentaries, sports, events and news coverage.

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New small and lightweight 4K Zoom lens from Fujifilm - UA24x7.8"

FUJIFILM announced the release of the new “FUJINON UA24x7.8BERD,” (“UA24x7.8”) achieving the world's smallest and lightest broadcast lens supporting 4K. The lens is scheduled for release in January 2018. Despite having a compact body, the “UA24x7.8” features a 24x high magnification zoom, covering a focal length from the wide angle of 7.8mm to 187mm. This portable zoom lens allows you to shoot high-definition, realistic videos for situations such as live sport broadcasting and press coverage. 4K video is spreading rapidly in countries such as Japan, Europe, and North America, with the introduction of the compact and lightweight “4K camcorder” camera, the need for compact and lightweight lenses continues to increase.

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Canon launches compact cine-servo lens

Canon has unveiled a new Cinema EOS lens with cine-servo style functionality - the CN-E18-80mm T4.4 L IS KASS. Designed for professional and advanced amateur videographers using large-format, single-sensor cameras, the lens strengthens Canon’s line of cine-servo lenses, following in the footsteps of the CN7x17 and CN20x50. The latest addition offers the perfect balance of operability with outstanding precision and quality, giving videographers the power to capture exceptional footage.Available out-of-the-box, the lens includes a servo engine which is powered via EF mount connectors, supporting hand-held shooting. For increased versatility, Canon is launching the ZSG-C10, an optional dedicated zoom grip, ideal for use with hand-held rigs. Free of charge, Canon is also announcing today a firmware upgrade to the CN7x17 cine-servo lens, adding Dual Pixel CMOS AF, Push Auto Iris and one shot or continuous AF when used with Canon Cinema EOS C100 and C300 cameras[ii].Outstanding 4K optical performanceBased on Canon’s heritage in optical design and performance, the CN-E18-80mm T4.4 L IS KAS S is equipped with a resolving power that matches 4K, producing exceptionally high quality images. The 18-80 mm focal length equates to 4.4x zoom ratio with stable T4.4 number maintained across the entire zoom range from the center to the edges. Thanks to three Canon Image Stabilization modes, the lens ensures complete stability even during hand-held shooting, perfect for wedding videographers. The CN-E18-80mm T4.4 L IS KAS S also features a nine blade diaphragm, to give the much loved ‘bokeh’ look and is colour balanced, matching other Cinema EOS lenses.The perfect companion for single-shootersWeighing in at just 1.2kg, the CN-E18-80mm T4.4 L IS KAS S is Canon’s smallest and lightest cine-servo lens to date, providing instant benefits for mobile videographers, such as those shooting news and interviews. Its compact size and weight also means it can be used for drone-style shooting or in discreet or restricted positions. It’s also incredibly easy to function, negating the need to switch between lenses, opening up a variety of shooting opportunities for single users.Undeniable performanceThe CN-E18-80mm T4.4 L IS KAS S has an incredible servo performance as the servo unit is incorporated on the body, enabling precise digital zoom operations. Users such as documentary and filmmakers are able to achieve maximum speed and responsiveness with seamless switching between auto and manual focusing and zoom. For those using a shoulder-style rig or shooting hand-held in challenging positions, the ZSG-C10 is a perfect accessory – the grip simply attaches to the side of the lens, offering simple integration and zoom management. The lens features minimal focus breathing, thanks to the 3-group inner focus system. Users are able to quickly change focus without losing viewing angles, perfect for those capturing fast moving activity such as in adverts or corporate film.AvailabilityThe CN-E18-80mm T4.4 L IS KAS S will be available November 2016.

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Fujifilm Announces Fujinon Cabrio XK6X20 Zoom Lens

FUJIFILM has announced that it will release the FUJINON XK6x20 as a new addition to its lineup of 4K-compatible digital cinema camera Cabrio zoom lenses in late June. Equipped with a PL mount*2, the most common format for cinema cameras, the XK6x20 is a standard zoom lens that delivers T3.5*1 brightness for the entire zoom range from 20mm to 120mm. The XK6x20 will be showcased for the first time at NAB 2016 to be held in Las Vegas at the LVCC from April 18 to 21, 2016. Designed for the video production and PL cine markets, this 20-120mm Cabrio features industry-proven Cabrio flexibility - at an affordable price. It is also equipped with a unique detachable servo drive unit, making it suitable for use as an ENG-style or standard PL lens. The 20-120mm Cabrio is also fitted with a nine-blade iris, to capture the most natural looking imagery possible. It comes equipped with all the lens data outputs that are required by today’s cine-style shooters. LDS and /i Tech metadata compatibility are very useful when users need to record the position information of zoom, iris, and focus for computer animation and similar postproduction operations. The digital servo on this new lens has 16-bit encoding, so operators can be assured that the lens data outputs are extremely accurate. The 20-120mm Cabrio XK can be controlled using cinema industry standard wireless controllers, as well as existing FUJINON wired units. Meanwhile, the zoom’s barrel markings are luminous for visibility in dark shooting situations - a nice-to-have touch that reflects the company’s deep understanding of real-life cinema shooting conditions. In recent years, the need for employing visual content that utilise mild bokeh created with high image quality and shallow depth-of-field lenses that are unique to cinema cameras has increased for shooting various scenes for commercials, concerts, documentaries and dramas. Fujifilm released FUJINON Cine Lenses compatible with digital cinema cameras in 2002. Since then, it has provided high-resolution, high-quality lenses for digital cinema camera customers in various production sites in the cinema and broadcasting industries. The XK6x20 digital cinema camera zoom lens offers high optical performance compatible with 4K cameras and covers a wide focal length range from 20mm to 120mm. It also realises T3.5 brightness throughout the entire zoom range. There is no T drop*3 and it offers comfortable operation enabling various scenes to be shot with this single lens. It also features 0.8mm gear pitch*4 for compatibility with standard cine accessories.

*1 T (T number) is index that indicates brightness of lens taking F value and transmittance into account. Smaller the number, brighter the lens. *2 16mm / 35mm cinema camera lens mount used by the world’s leading German cinema camera manufacturer Arnold and Richter Cine Technik *3 Full transmission aperture is fixed in any focal length, and T number does not change when operating zoom. *4 Distance between gear teeth

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Fujinon launches 4K Zooms for 2/3-Inch Broadcast Applications at NAB 2015

At the NAB2015 convention in Las Vegas, the Optical Devices Division of FUJIFILM North America will introduce its 4K Ultra HD Series of lenses for broadcast applications.Designed for a 2/3-inch sensor, the new UA80X9, the first field lens in the series, has an 80x zoom andoptical image stabilization, making it ideal for coverage of large-scale live events, such as concerts and sports. In addition to its advanced optical performance, the lens covers focal lengths ranging from 9mm in wide angle to 720mm in telephoto. The UA80x9 size and weight is similar to the popular XA99x7.4 field lens. The lens will be available by August of this year. “NAB is the perfect venue to unveil this new lens,” said Thom Calabro, director of Marketing and Product Development for the Optical Division of FUJIFILM. “Our Premier PL 4K+ cine lenses and Cabrio cine/ENG-Style lenses have experienced a significant boon in popularity. Given the projected growth of 4K production, we needed to extend that 4K optical performance to our customers working with 2/3-inch broadcast cameras for sports and entertainment productions. This lens delivers 4K video with the same focal lengths currently being used on those type of productions. 4K UltraHD productions can now be produced with equipment that has the same ‘look and feel’ capabilities of HD, but with a premium picture quality. We are thrilled to show this zoom off at NAB this year.” Designed using the latest proprietary optical simulation software, the UA80x9 offers exceptional optical performance in the center of the image through to the corners of the frame. The digital servo’s 16-bit encoding assures operators that all lens data output—including the position of the zoom, iris, and focus—is extremely accurate. It can be linked with other systems, such as a virtual studio system for combining CG images with live action. Fujifilm’s proprietary multi-layer coating processing “High Transmittance Electron Beam Coating” (HT-EBC) is applied to the lens for enhanced transmission and color reproduction. The lens also features the company’s unique “optical stabilization mechanism” as standard, which provides optimum adjustment to image shakes caused by vibration and wind. This makes the lens well suited for any application where the camera operator must maintain a rock-steady close up shot for long periods, such as sporting events, houses of worship, corporate presentations, or concerts. The entire range of FUJINON Premier PL 4K+ cine lenses and the Cabrio cine/ENG-Style lens series willalso be on hand and demonstrated within the Fujifilm booth at NAB.  

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Videocraft provides NSCC with Hybrid Broadcast Production Facility

With a broadcast facility entering its twelfth year, it was clear to the team at the North Shore Christian Centre (NSCC) that an upgrade was well overdue. With weekly services and a half-hour TV program on TVS Channel 41 to produce, the facility was rapidly coming to its end of life - something NSCC Operational Pastor Ross Stewart turned to Videocraft for help with.
Stewart explained, “Our facility was over twelve years old and some of the equipment was almost thirty years old. We needed a major upgrade that would give us higher quality pictures for our live services and broadcast TV programme. We also wanted to go 16:9. As Videocraft specialises in these types of broadcast facilities and solutions we put together a tender and asked them for their advice.” Stewart met with Videocraft NSW state manager Andy Liell to discuss requirements, options and critically, budget. He continued, “We had a budget but it was one that required Videocraft to be creative and I’m delighted to say there were. We simply didn’t have the money to purchase all new equipment, so Andy put together an amazing deal based on a hybrid solution consisting of their best high quality rental equipment and some brand new kit.” The Videocraft solution included four Sony BVP-E30 SD triax camera chains and a Panasonic AV-HS450 vision switcher with Venitex Aux Bus control panels providing the NSCC with simple switching for two stage side screens independent of the broadcast feed. Stewart added, “The solution was a good one and the way Videocraft installed the switching console so we could overlay song lyrics over live video was particularly clever. Andy also designed the system so we could independently switch the side screens from the broadcast cut using the flexibility and versatility of the Panasonic vision switcher. It was very clear that Videocraft understand how to utilise the full potential of the AV-HS450 and how, by using third party add-ons, we could achieve a very cost effective workflow.” The Videocraft installation also integrated AJA Ki Pro hard disk recorders that enabled a fully file based workflow for the NSCC’s post requirements, a Ross router, Sony monitoring, new Sony projectors, Fujinon ENG and box lenses and all back end glue, wiring and cabling. As the NSCC facility is staffed by volunteers, ease of use was something that had particular attention paid to it with Stewart commenting, “Our volunteers are not broadcast industry professionals so Videocraft had to take that into consideration. The broadcast facility we now have is simple to use and yet gives us very high quality results. It’s a great example of how Videocraft have created a full broadcast facility on a very tight budget. As a result we have all our bases covered as, by upconverting, we are able to produce HD content for all our in house requirements whilst delivering an SD master for broadcast. Our aim is to upgrade to HD cameras in the near future. The other points worth mentioning were around Videocraft’s expertise and professional approach. Nothing was too much trouble, we were able to test before we purchased and no question was ever left unanswered.”  

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Videocraft Review of the Sony LAFZB1 Adapter

by Michael Curwood

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#NAB2014 Products To Watch - Lenses

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Canon updates Cinema EOS cameras and unveils a new 35mm EF Cinema prime lens

Canon, announced a host of feature updates to its range of Cinema EOS cameras, as well as the launch of a new 35mm EF Cinema prime lens. “We‟ve developed these feature upgrades in response to market feedback, specifically to meet the evolving creative requirements of modern video professionals,” said Paul Stewart, Manager – Professional Motion Imaging, Canon Australia. “With the significant and rapidly growing footprint of Cinema EOS in Australia, the updates will offer greater creative flexibility and enhanced operability, and clearly demonstrate Canon‟s commitment to the needs of professional video community now and into the future.” Unrivalled low light flexibility with ISO 80000Canon‟s heritage in camera and sensor development led to the creation of a brand new Super 35mm sensor for the Cinema EOS system, offering outstanding performance in extremely challenging low light situations. Now Canon is further enhancing the maximum ISO setting on the EOS C500, EOS C300 and EOS C100, from the current maximum of ISO 20000, to ISO 80000. Unrivalled in the industry, the new maximum setting will allow creative content makers, such as documentary, news and feature crews, to shoot in even more extreme low light conditions, capturing detailed, colourful images. Users will be able to shoot in 1-stop or 1/3 stop increments from ISO 320 right through to ISO 80000, providing incredible creative freedom.Additional enhancements to the Canon EOS C500 A number of additional feature enhancements will be applied to the EOS C500 following user feedback, particularly with regard to cinematic and drama productions. The new firmware updates will offer professionals using the EOS C500 the ability to shoot using wider colour gamuts. In addition to the existing BT.709 gamut, new DCI-P3+ and Cinema Gamut options will be added. DCI-P3 is an established colour space for digital cinema projection, and DCI-P3+ will allow the EOS C500 to fit seamlessly into workflows designed for such a delivery system. DCI-P3+ captures a wider range of colours but cannot account for all of the colours that current sensor technology can capture, so the new Cinema Gamut will provide an even wider colour space. In addition, it will be possible to apply a BT.709, Wide DR or DCI-P3+ LUT to the outputs from the MON.1/2 terminals, increasing monitoring options on-set. High speed options in the EOS C500 will also be expanded, further increasing the flexibility of the camera. A new 4K1K RAW mode will be added, providing the option to shoot at up to 120fps. Unlike the existing 4K2K HRAW mode, in which additive processing is used to create a final image of 4096x2160 pixels when recording at frame rates above 60P, the new 4K1K mode will utilise a cropped portion of the image sensor. Capturing a more cinematic aspect ratio of 4096x1080 pixels, this new option will reduce the risk of aliasing, or „jaggies‟, in the recorded image. 4K2K HRAW will remain as a shooting option. The firmware updates will also provide further support for use of the EOS C500 in productions that utilise an ACES workflow. Aiding on-set monitoring, it will be possible to output a 2K signal from the MON.2 terminal which conforms to ACESProxy10 gamma and the ACES colour space. When combined with suitable monitoring equipment it will become possible to monitor an image in ACES colour on-set. To counter heat generated when filming for long periods of time, especially in 4K or 2K, the EOS C500 has an effective fan-based cooling system. To reduce the possibility of intrusive fan noise during shoots, the Automatic cooling mode has been updated so that the system will stop running during recording. It will automatically start to regulate the camera temperature whenever recording stops, providing more sustained, continuous cooling to reduce the chance of fan activation during a take. Automatic activation during recording may still occur if required to prevent a camera dangerously over-heating. Additional enhancements to the Canon EOS C300 Building on the ease-of-use upgrades announced earlier in 2013 for the EOS C300, Canon is introducing a range of further updates which will enhance camera functionality for solo shooters, including the addition of Wide DR gamma. First introduced in the EOS C100, Wide DR offers the 12 stops of dynamic range available when shooting in Canon Log gamma, but produces a less „flat‟ image which does not necessarily require post-processing or colour grading. This is particularly useful for film makers working on tight schedules or with limited financial resources. The updated EOS C300 will also offer support for the EF-S18-135mm f/3.5-5.6 IS STM lens, complete with continuous autofocus function, and enhanced AE options. Additional enhancements to the Canon EOS-1D CA self-contained 4K camera, the EOS-1D C will also benefit from feature upgrades in 2013, further enhancing the performance and versatility of this unique device. Utilising Canon‟s EF lens mount, it will become possible to display current aperture (f-number) when shooting with Canon EF Cinema lenses, and to store lens metadata. Furthermore, EF Cinema lenses will be supported by the Peripheral Illumination and Chromatic Aberration Correction functions, improving overall image quality. In response to user requests, audio has also been enhanced. Currently audio recording is limited to a mic input, but the forthcoming update will permit selection of Line or Mic, allowing use of an external audio source if required. Enhanced flexibility and operability across the rangeCanon will also improve the operability of the EOS C500, EOS C300 and EOS C100 in a variety of ways. For example, the Magnify function, designed to aid manual focusing, will be enhanced to enable magnified viewing of 25 different segments of the image in view, rather than just the centre portion. A new option will allow users to lock all camera functions, including the REC button, when the Power switch is in LOCK mode, and it will be possible to assign either ISO or IRIS control to the main body and hand grip control dials on the EOS C500 and EOS C300. Enhancements to the Wi-Fi remote control for the EOS C500 and EOS C300 will mean that two users can access a camera at the same time – allowing one to control the shot while the other inputs metadata, improving post production workflow. In addition, the EOS C300/C300 PL and XF300 and XF305 will gain GPS support via Canon‟s GPS Receiver GP-E1, allowing GPS information to be automatically recorded with video footage. Peripheral Illumination Correction will also be expanded in the EOS C500, EOS C300 and EOS C100, with a range of additional EF-mount lenses being supported. This function can help to ensure maximum image quality by reducing shading that may occur in the corners of images. An update to the XF300-series will also see the availability of a new lens hood with built-in lens barrier and the addition of a digital tele-converter function. Canon EF Cinema prime CN-E35mm T1.5 L F lensThe launch of the new EF CN-E35mm T1.5 L F lens enhances Canon‟s existing range of EF Cinema primes to a total of six lenses. The lens has been designed following strong demand from Cinema EOS users, and features a compact design that combines Canon‟s acclaimed optics with fast performance – making it ideal for shooting in challenging low-light conditions. Ensuring consistency when shooting across a number of different Cinema prime lenses, the new 35mm lens provides colour reproduction that matches others in the range, as well as featuring the same form factor and uniform markings, making it easy to switch between lenses when on a shoot.AvailabilityThe Canon EF Cinema prime CM-E35mm T1.5 L F lens is expected to be available from December 2013. The firmware updates for Cinema EOS cameras are expected to be available in Q4 2013, with XF-series updates arriving in Q1 2014.

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Videocraft Builds Full Production Facility For Hillsong Church

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Hillsong Church’s new state of the art full production facility in Alexandria designed and built by Videocraft[/caption] The title for one of the year’s more impressive studio builds currently belongs to Hillsong Church’s new state of the art full production facility in Alexandria, which Videocraft helped design and build. Hillsong TV Technical Manager Luke Irvine explained, “For years our Waterloo campus in Sydney has been growing and we've had a great need to expand our facilities to house the increasing numbers of people attending. As a church we have looked at many options to help relieve the pressure and time restraints that we faced with our current building in Waterloo. Before we embarked on this new project, we were running eight services on the weekend to try and accommodate everyone. Thus the decision was made to custom-build an additional venue so the campus could still grow and not be crippled by time and space.” The venue Hillsong chose was in the neighbouring suburb of Alexandria which was, before construction, an empty warehouse with shop fronts requiring a major construction effort to get it ready for use. Irvine continued, “The warehouse building was converted into a 950 seat auditorium so we knew we had to have a high quality production facility to cater for that many people. That’s why we turned to Videocraft to help us build it.” Hillsong and Videocraft have had a successful relationship with the church utilising many of the company’s rental services over the last few years. After a personal customer service call from Videocraft’s Shane Jones ignited the project, the church decided to put out an industry-wide RFQ which was particularly well responded to. Once the tenders had been submitted, due to the nature and importance of the project, Hillsong took a good deal of time to study each one with great care before deciding on Videocraft as their equipment partner and systems integrator. The RFQ, according to Irvine, had some very specific requirements that made it unique from a traditional broadcast facility, but with quality always the overarching feature that had to be factored in. In essence the system revolved around dual Ross Carbonite switchers chosen predominantly due to their flexibility, functionality and cost effectiveness. The Carbonite switchers particularly excel with their onboard format conversion capabilities, built-in high quality multi-viewer and integration with the Ross Dashboard, which also oversees control and diagnostics of all Ross components across the entire system. Irvine added, “In short our requirements were that the system must be HD, facilitate four cameras, three projection screens and multiple external rooms. The system also had to enable linking to and from all other campuses and keying of song words had to be achieved on five different feeds with different backgrounds and different overlays with ease of use for one volunteer operator. The system had to be cost effective but extremely reliable, easy for volunteers to use on a weekly basis and versatile enough to accommodate for future changes that will happen within the campus. Every source and destination needed to be easily monitored by the relevant volunteer operators and the system had to also be capable of a broadcast TV record for our television programme Hillsong Television – in other words yes, it was quite an extensive set of requirements.” Irvine said, “Videocraft worked closely with us to find really good solutions to achieve a great result. They where willing to look at all options to give us the best outcome and price. They also gave us pros and cons of equipment and allowed us to make changes as we went along to take advantage of cost savings and usability of the system. Videocraft also worked very hard to fully understand our requirements and workflow – this was key to the success of the system especially in tricky areas like the integration between the keyer cards and switcher. They also had a great attitude even through some of the really challenging construction problems of the building.” When complete Hillsong’s new production studio included two Ross Carbonite vision switchers, a Ross video router, Sony OLED and LCD monitoring, several TV One scan converters, Blackmagic design Teranex 2D converters and HyperDeck Studios, a GVG T2 Turbo server, Ross OpenGear and mini converters, Sony cameras, Canon lenses, Vinten and Miller tripods and fluid heads and live IP video links between campuses. There were also significant audio, comms, display, rigging and lighting components supplied by others that Videocraft worked with and integrated seamlessly. Irvine and the Hillsong team were particularly impressed with the quality level and attention to detail of Videocraft’s involvement. He commented, “The Videocraft team were extremely helpful and continually suggested ways of making the system better and more cost effective. They were always professional and impressively took total responsibility for the systems integration, equipment selection, system design and diagrams, installation and labeling all in-house. Videocraft's willingness to work with us, take our ideas and make them work was a major plus. Also the fact that they could work with very tight budgets and be totally honest about the real cost of things from the very beginning was excellent. Listening, thinking outside the box and working with tight budgets is classic Videocraft. To that end I must say a particular thank you to Andy Liell, Glenn Beaumont and the entire Videocraft team for their outstanding effort and commitment to this project.” When inspecting Hillsong’s new production facility it’s sometimes a little difficult to believe that only a few short months ago it was a deserted warehouse. Hillsong Project Manager Sebastian Heck said, “We have often had people from other part of the building install project come and admire the cabling work and the neatness of the racks in the Videocraft install. Many of our volunteers comment on the professional look and feel of the control room and how it looks like we are part of a TV broadcast station control room. The song words on screen setup is my personal favourite as it is so easy for the operator to control the five different feeds they need to without them really having to think much about it at all.”

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