Industry Insights: How broadcast studio cameras are evolving for IP, new workflows

We delve into broadcast studio cameras in this first installment of our two-part Industry Insights series on cameras.

Industry experts discuss the latest advancements in camera technology, exploring how these innovations enhance broadcast content’s quality and creativity. From improved sensors and IP connectivity to the integration of AI, our roundtable participants share their insights on current trends and future predictions.

Part two of our discussion is with vendors focused on PTZ cameras, providing a complete picture of the options available today for production. 

Industry Insights: Navigating the advantages and challenges of PTZ cameras

Key takeaways from the Industry Insights roundtable

• Advancements in camera control solutions have significantly improved the creative possibilities for broadcasters, leading to enhanced image quality.
• Global shutter sensors and other sensor advancements are reducing artifacts and improving the use of virtual sets in broadcast production.
• IP connectivity in cameras is increasing flexibility in workflows and enabling more efficient remote productions.
• Larger-sized CMOS image sensors are contributing to greater image immersion, allowing for more dynamic content creation.
• Smaller broadcasters can benefit from auto-tracking PTZ cameras, which provide additional production capabilities with minimal operational overhead.

How have advancements in camera technology enhanced quality and creativity of broadcast content?

Klaus Weber, director of product marketing, Grass Valley: A new generation of camera control solutions that have replaced the traditional solutions with a much more modern operating concept have been a big step forward in utilizing the creative possibilities of cameras more effectively. In combination with improved camera imagers and improved signal processing, a significantly improved image quality is achieved.

Rob Willox, director of live solutions, Sony Electronics: Global shutter sensors have allowed the use of LCD / LED boards to replace physical sets by minimizing moire artifacts, which is beneficial as virtual sets are becoming more popular on mid-high range productions and all award shows. Super motion has gone from an expensive niche system to mainstream, while viewfinder technology has improved in terms of resolution (full UHD) and the ability to work in HDR environments (Hi brightness mode). Furthermore, new filtration techniques like Variable ND are allowing more consistency in shooting and faster image manipulation.

How are broadcasters leveraging the latest camera technologies?

Klaus Weber: The ability to connect system cameras directly to the rest of the broadcast infrastructure via IP networks enables significantly greater flexibility in workflows. An option integrated into the cameras for data reduction of IP streams allows more efficient use, even across distributed networks. Remote productions, for example, which were previously very difficult and costly to realize, are now realized much more easily and efficiently.

What are the most significant advancements in camera sensor technology for broadcasting in recent years?

Klaus Weber: The availability of finer mask technology in imager manufacturing has brought light sensitivity and dynamic range in native UHD resolution, combined with global shutter operation, to almost the same level as even the best HD imagers with their four times larger pixels. As the latest UHD CMOS imagers also support 3x or even 6x refresh rates, it is now possible to use cameras with UHD imagers in almost all HD applications without restrictions, and the oversampling even achieves significantly better HD image quality.

Ken Kobayashi, business manager for remote cameras, Sony Electronics: Recent larger-sized CMOS image sensors evolved from conventional CCD or CMOS image sensors in resolution, the number of frames (high-speed), sensitivity, wide color gamut and dynamic range. These technologies provide a sense of immersion and reality and can help generate more excitement and a deeper connection for viewers.

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How have mirrorless and cinema-type cameras impacted products and roadmaps?

Klaus Weber: The first use of cameras with large-format imagers in live productions gave rise to the desire to achieve a film look, at least for certain camera positions. However, since existing cameras with large imagers are very difficult to integrate into a live workflow with existing cameras, a new generation of cameras with large imagers that is specifically optimized for live applications is required. Such products are currently being developed and will be available soon.

How can smaller broadcasters with limited budgets leverage advanced camera technologies effectively?

Ken Kobayashi: One approach for smart, effective, and cost-conscious broadcasting is to utilize auto-tracking PTZ cameras. They provide videos from additional positions without extra burdens on current operators and have the potential to make current operations more efficient with less human interaction.

What are the future trends and predictions for the use of camera technology in broadcasting?

Klaus Weber: The direct IP connection of cameras to the studio infrastructure will continue to gain popularity, and great flexibility to receive both uncompressed and compressed IP signals directly from the camera will become increasingly important. At cost-efficient cameras, the desire to be able to produce in native UHD resolution and/or in HDR and WCG will increase. In the most demanding applications, the desire to be able to integrate solutions with large imagers into production in addition to the well-known camera solutions based on 3-imager technology will increase.

Ken Kobayashi: For critical content creation, some broadcasters have avoided auto-focus functions to mitigate unexpected shooting conditions. As AI matures, it learns from current camera operators to improve its algorithms and can deliver optimized auto-focus, auto-tracking and auto-framing technologies that are more trustworthy and can be used more effectively in a wide variety of capture scenarios.

What formats / specs are broadcasters the most interested in today?

Klaus Weber: The video formats used vary depending on the application, region, and customer, but there is a clear trend towards 1080p and UHD in combination with HDR operation in the HLG standard. However, customers who do not yet use these formats would also like to have support or retrofitting options for these formats when purchasing new cameras.

Industry Insights: Navigating the advantages and challenges of PTZ cameras