The camera becomes a means to an end
Aug 1, 2006 12:00 PM, BY MICHAEL GROTTICELLI
These days, when looking to buy a broadcast ENG camera, the key purchasing issues for broadcasters revolve around how the images will be used once they leave the camera. That is, how they fit into a high efficiency, minimal labor, news production workflow.
On the list of desirable camera features, scanning method, digital signal processing and low-light sensitivity appear to have become secondary concerns to how the images are stored and output from the camera.
News is now shot for TV, Internet and cell phones. This demands a camera that is easy to integrate into the production workflow.
Photo courtesy AP Images.
This is true for both tapeless and tape-based acquisition systems, both of which rely on proprietary compression formats. Indeed, new technology developments in imagers (both traditional CCD- and CMOS-equipped models), data transfer rates (25Mb/s, 75Mb/s and 100Mb/s for HD alone) and removable recording media are getting a lot of press. But in the scheme of the news production chain, when it comes to making purchase decisions, stations often now look at the camera as simply a means to an end.
While many news departments are aggressively moving to tapeless operation in all aspects of the production process, videotape still plays a major role in electronic newsgathering, both in SD and HD. In tandem with this move away from tape, the emergence of the highly affordable HDV (25Mb/s) format has allowed stations to acquire local news in 1080i or 720p HD. They could never afford to do this otherwise, so the use of tape is still a practical alternative.
Every station has a different way it likes to work, based perhaps on multi-client browsing, the NLE system in use and the various steps the program goes through before being broadcast to air. Therefore, when buying a camera, the goal is to choose a model that allows the crew to move material through a station's news production infrastructure faster, while maintaining the highest possible image quality within the set limits.
The ideal camera, be it SD or HD, should somehow improve the existing production process and be compatible with the way your staff likes to operate (e.g., proxy files, Long GOP files, compression methods) and the NLE system they use. Some cameras require the user to transcode the IT-centric file captured with the camera to baseband video before you can begin editing. Others create a proxy (clone) of an MPEG-compressed file, allowing you to start working immediately.
This new way of looking at broadcast cameras is because the digital processing circuitry in general has gotten so good that users can count on most models to produce images that are crystal clear and can make any on-screen newscast shine — especially when compared to analog cameras of the past. (There are still some network divisions and local stations using Betacam SP and, gulp!, M-II.) Price and feature sets are the big differentiators, with new broadcast production-style models now costing from approximately $5000 to $65,000.
In introducing new, lighter models with smaller sized CCDs (going from 2/3in to 1/2in), camera vendors have strived to offer more features at lower costs. This year's NAB saw the emergence of the sub-$25,000 high-definition 2/3in and 1/2in camcorders for news, something unheard of even three years ago. There were also sub-$6000 HD 1/2in and 1/3in cameras that capture in SD as well.
As stations continue to control expenses, camera manufacturers are attempting to spread their R&D investments by simultaneously offering products that address the high and low ends of the production spectrum. Consumer divisions now help market and sell to broadcast customers.
Creatively, the lines are blurring as small-format HDV cameras are increasingly being used in tandem with larger format models on the same production. It's happening more often at both the network and local level.
The less expensive cameras may use smaller CCD imagers, operate at 25Mb/s or provide fewer operator features. Some news and technical directors say this limits the final HD image quality by providing less color space and image/lighting latitude.
However, it appears that many stations, even those doing their local newscasts in HD, are willing to accept these limitations in order to meet budget demands. Stations often use higher end cameras in the studio but still settle for unconverted 50Mb/s SD images from the field. This may not be a perfect HD solution, but it does improve a station's on-screen look and helps it stay competitive. And, we're still at the stage where most viewers won't notice the difference.
| Want to use this article? Click here for options! |  |
