viability of Varicam for Live Production?

[John Sharaf]

Jason,

Your query is neither weird nor backwards; for the purpose you describe the Varicam would be a worthy suggestion!

I’d also recommend you look into the Telecast Copperhead Cine fiber cable system with SMPTE Hybrid cable to simplify the necessary cable run which would include HD-SDI, Genlock, Remote Control, Power, Intercomm, timecode and audio in both directions.

Obviously you know you’d need to provide tri-level sync to the cameras and purchase a HD waveform monitor to set the cameras. For monitoring, I’d suggest one 14″ HD for engineering and a larger one (maybe 23″ Apple Cinema Display plus HD-SDI to DVI box like eCinema) for Director’s program viewing. For the four camera monitors you might consider using standard def monitors and the Evertz Downconverting DA’s (as you’ll most likely need DA’s anyway to route to monitors, switchers and ??? Their frameset also houses the sync generator and audio DA’s and their 4×1 router would be a good choice for the engineering switcher.

Needless to say this will not be an inexpensive system, plus the screens for in-house viewing. I’d estimate about $500000, but it will make a great show!

JS

[Avipro]

Awesome!!!

I’m so glad to hear this response as this would allow for a three camera tape shoot or live switch all with the same cameras. I do understand the set up of the cameras with a waveform monitor, but what exactly is ‘tri-level sync’? That is the only thing I am confused on. I’m new to the high end market, but know a lot already.

Do you estimate that price to include a switcher or not? That is the figure we were going for, or lower of course. 🙂

Thanks.

Jason Wietholter
(918) 381.6350
http://www.aviproductions.com

[Avipro]

OK, sorry, one other question… is that estimated price for 4 cameras and the extra equipment or 3 cameras? If the switcher is included in that price, what is the estimated cost of the switcher?

Sorry, 2 questions.

Again, thanks for the help.

Jason Wietholter
(918) 381.6350
http://www.aviproductions.com

[John Sharaf]

Jason,

You’ll need to “sync” the cameras for seamless, glitch-free switching. For HD cameras sync is slightly different from SD and known as “tri-level”. One would also need to sync cameras to accurately slave time code.

Price estimate is for four cameras, but no switcher. You’ll have to investigate switchers based on the type of functionality (meaning how many effects) you need. I suspect the switcher alone will add another $75-100K, unless you’re content to have “cuts-only” in which case a 12×1 Evertz router is about $6000.

A good source for all this is Bill Meurer at Birns & Sawyer in Los Angeles, their webpage is:

http://www.birnsandsawyer.com

JS

[Avipro]

Thanks again John. You’ve been a great help!

I’m looking forward to all this and want to make sure I get it right.

Thank you!!!

Jason Wietholter
(918) 381.6350
http://www.aviproductions.com

[Tony]

For a permanent installation multicamera switched production a camcorder is not the most ideal solution. One major question you need to address is if the 24P mode is needed at all for your scenario. If not you should be considering 1080i or 720P studio style cameras which work with a base station. One fiber cable or even triax would carry video,PL,intercom,return video,tally,genlock etc between the camera head and base station. You could feed HD to the IMAG projectors but feed SD to the recorders in the event you don’t need to record in HD.

At the base station you could downconvert to feed NTSC monitors or recorders as well as outputting HD.

If you go the 720P route one camera could be a varicam for location shoots as well as the multicamera production.

You should consider renting a flypak with the gear you are considering prior to buying all the gear to verify if the entire package fits your needs.

I recommend contacting a rental house such as Bexel to discuss HD flypaks.

Good luck,

Tony Salgado

[Kelly]

You say “or less”. Depending on your requirements, consider the newly announced JVC HD100 camera when it comes out shortly. It has higher resolution ccd’s than the Varicam (even though they are physically smaller), and the ability to change lenses like the Varicam (although one suspects the 2/3″ imagers on the Varicam would gather more light and provide access to higher quality glass). The JVC camera has component outputs that send out 60 progressive frames per second (but be careful, the 60p is only for the LIVE component outputs, otherwise, the most the camera itself can RECORD is 30 highly compressed progressive frames per second). I’m sure you can find a convertor that changes the 60P analogue output to HD-SDI if that would work better with whatever switcher you end up getting. It’s kind of a “loop-hole” solution, but I see know reason why it couldn’t work given your requirements. And you could buy about 8 JVC’s for the price of one Varicam!

TV is called a medium, because it is neither rare, nor well done (He..he…)