Produce » Real-Time Production » Video Production » Newsroom production management and automation systems »

Mo-Sys bMR is for sports, news, or current affairs broadcasters who want to deploy (or transition to) a unified Unreal-based graphics solution for driving an LED virtual studio with integrated 2D/3D on-air graphics under MOS/NRCS control.

bMR has been designed to address multiple deployment scenarios

New studio build - where both on-air graphics system and a LED virtual studio are installed at the same time. Upgrade transition plan - where either the on-air graphics system or the LED content server are installed first, and used with the existing on-air graphics system or green screen studio until these are upgraded.

bMR LED content server system

bMR can drive any size/shape/pixel pitch LED virtual studio (equipped with sufficient render nodes), with the base system able to drive an LED studio with up to 8million pixels.

Create expansive virtual studios

Set extensions with simultaneous augmented reality (AR) are also possible, with the delay between the Unreal graphics perspective displayed on the LED wall, and the camera’s actual position, the lowest on the market today.

Multi-camera switching

The system offers multi-camera switching capability, up to UHD4K resolution, enabling multiple cameras to be used with an LED volume, where switching between cameras is orchestrated with the LED wall updating correctly.

Flexible upgrade path

bMR contains 2 Mo-Sys VP VFX virtual studio compositing licences (more can be added), for an upgrade transition scenario where a broadcaster needs to deploy bMR as initially an on-air graphics replacement to work with an existing green screen virtual studio, before upgrading this to an LED virtual studio.

bMR on-air graphics system

bMR’s on-air graphics system offers three ways of displaying templated data-fed graphics; standard 2D keyed graphics, keyed 3D graphics, or 3D ‘in-scene’ Unreal element graphics. The system conforms to MOS protocol and can be controlled by commonly available newsroom computer systems (NRCS) such as Octopus, ENPS, or other popular NRCS.

Intuitive interface with full system redundancy

bMR is based on web browser technology and uses a fully redundant server/client architecture. Importantly, it is an on-premise solution and is not cloud-based.

Local and remote preview

bMR offers local and remote preview, where remote preview is enabled via temporary agents to avoid copying, which in turn reduces remote preview latency.

Absolute control

The system uses a browser-based Mediahub to manage graphics assets, offering streamlined control of multiple graphic elements on a single production, as well as multi-studio capability. bMR offers users the ability to create simple custom interfaces for populating graphic templates, for attaching real-time data sources to graphic templates, or for manual control of graphic elements.

Produce » Real-Time Production » Video Production » Production automation systems »

The next generation in gyro-stabilized remote heads, the heavy-duty G30 delivers precision in movement as well as superior image stabilization.

Novel 45 Degree Frame Geometry

The G30’s unique oversized frame geometry provides easy access to all the camera connections and accessories, making camera loading fast and simple. Its shorter and stiffer frame delivers better extended crane performance, ensuring the smoothest looking images. The unique frame geometry combined with a re-ordered axis priority (pan, roll, tilt) means that even when the mounted camera is pointing directly down, there is no gimbal lock and all 3 axis of movement and stability are active.

Oversize Direct Drive Motors

The G30’s high torque output oversize motors makes for crisp and precise camera movement, with optimum stabilization. Its built-in axis encoders are designed for virtual production and green screen use, meaning the G30 can be used for VFX shots without the need for re-rigging or additional external encoders.

Designed for Large Camera/Lens Packages

The oversized frame of the G30 means there's no need to use counterweights with large camera payloads to compensate for a gyro frame that is too short. The unique frame design, combined with powerful motors and semi-automatic balancing system, helps to balance a heavy payload.

High Payload

With a weight of 24kg (27.3Kg with wire isolator) and a 30kg/66lbs optimum rated payload, the G30 provides the fastest stabilized acceleration of camera payload in its class. The oversize motors and stub-frame design ensure that the G30 can provide stabilized movement for any camera and lens package chosen by the DP.

Smart Cable Management

The G30’s drive motors all contain ‘through holes’, eliminating the need for slip rings and specialized cables. As a result, standard cables and connectors can be used to connect camera and lens packages, giving the DP a wide choice of equipment.

Assisted balancing

On the back of the G30 are controls for Pan, Tilt, Roll. Pressing each button in turn enables the operator to adjust the axis chosen whilst the G30 holds the camera package in the other two axes. This dramatically reduces the time taken to balance the camera package across all three axes.

New Touch/Dial console

The Touch/Dial console for the G30 takes its design from the automotive industry. It comprises a shallow menu structure, a display showing the operator current parameter settings, and physical controls for direct, tactile, intuitive operation. This is the optimum interface for stressed production environments, where changes need to be fast and delays minimised.

Simple Tuning

Using a combination of the G30’s assisted balancing, simple cage adjustment, and touch/dial console, tuning a camera package for optimum performance is simple and fast compared to traditional gyro-stabilised heads. This process is further accelerated by smart features available through the Touch/Dial console: Auto inertia measurement – auto-sensing of camera payloads; Factory pre-sets – a library of camera/lens weight presets; Console pre-set buttons – recall of previously used camera settings.

Create » Content Acquisition and Capture » Cameras » Broadcast System cameras »

Our precise, robust and lightweight 2-axis head for high-end digital cinematography is ideal for medium-sized camera packages, for example, ARRI Alexa with a large zoom lens. At the core of the L40 is our highly robust and precise motor drive with zero backlash, providing lag-free operation.

Extremely strong drive unit

Extremely strong and backlash-free drive units gives the operator instant and delay-free control. The precise gear drive enables flawless operation even with the biggest zoom lenses, unlike worm gear drives which can cause judder. The hole through the center of the gear boxes for cable pass-through removes the need for slip-rings and makes it future proof for high bandwidth digital video. This also allows for tangle free direct cabling.

Back-pan option

The L40 sets a new standard with the digital back-pan gyro option, making it a preferred choice for telescopic and standard crane work. It allows the operator to concentrate on the framing while the head takes care of the compensation of the crane movement.

Incredible payload

The L40 boasts a payload of incredible 40kg while only weighing 18kg. It is one of the lightest heads on the market with that strength.

Fast set-up

The L40, like all Mo-Sys heads, is lightning quick to set up utilising a daisy-chain system of identical “Mo-Sys bus” cables, providing simplicity and redundancy of spares. The head features a quick release camera plate to enable fast camera installation. All head frame size adjustments are by quick release levers for quickness and ease of balancing and nodal point positioning.

Intuitive control

The L40 can be operated with a variety of input devices such as hand-wheels, pan-bar or joystick. The Button-Console interface provides controls for pan/tilt velocity adjustment, input smoothing and direction, user defined position limits with feathering and axes zeroing. It simplifies the operation of the head in remote-mode making it ideal for tech-less operation. Our intuitive touch screen console gives access to the extended extra features like back-pan.

Data for post production

With built in high-resolution encoders the L40 is ready for a full VFX workflow, outputting accurate pan and tilt data and also connects to Mo-Sys VR modules to track cranes, dollies and cameras. The data can be recorded for post-production with the Mo-Sys MotionLogger or in Unreal using our Tracking Plugin. The L40 also interfaces to most virtual set softwares using our own protocol.

Roll-axis

A two-axis head can be effortlessly upgraded to a three-axis model with a 360˚ roll axis.

 

Produce » Real-Time Production » Video Production » Production automation systems »

With a cleaner finish and upgraded internal drive chain, the revamped Mo-Sys Lambda 2.0 is set to disrupt the remote head market once more, being one of the only remote heads to feature programmable motion control.

High precision

The Lambda 2.0 is pre-equipped with telescopic camera plates, which provide quick and easy adjustment for any size of camera packages. The slip-ring technology allows continuous multi-turn 360˚ rotation on all axes without the worry of cable wraps. Since it was originally designed for motion control, the Lambda 2.0 offers and enhanced high-precision operation, accurate to a millionth of a full rotation, or a 3000th of a degree.

Incredible payload

The gears are also strong enough to cope with out-of-balance cameras that weigh up to 50kg. The head is capable of moving the heaviest cameras with a feather-like touch and can even handle 3D-stereoscopic mirror rigs.

Strong gears

Unlike some of its competitors, Lambda 2.0 has zero backlash. As a result, there is no ramping-up to overcome the backlash and, therefore, no latency. Now, integrated with the specially-designed gears from our L-40, it is reliable and robust, and can be used in extreme temperatures, enduring both in Siberia and the Sahara.

Intuitive controls

Another reason why the head is so popular is its ease of use. It comes with an operator friendly touchscreen control with an intuitive user interface that makes changing the settings, recording a move and playing it back a quick and painless task. The motion data can be recorded and used for post-production VFX.

Modularity

Another strong point of the Lambda 2.0 is its modularity. A two-axis head can be effortlessly upgraded to a three-axis model with a 360˚ roll axis, allowing operators to perform quick and smooth start and stop shots, allowing very subtle slow dutch moves, all with lightning fast precision. The additional roll-axis is controlled by a 3rd hand wheel or joystick remotely located at the operating desk for ease of use.

Console features

With the modularity come three stages of operational sophistication. The touchscreen operator can set the level with a password we provide. Some rental houses have been using the first level head as a tech-less system. The second level is for motion control with a simple, tech-less operation.

Produce » Real-Time Production » Video Production » Newsroom production management and automation systems »

Mo-Sys VP Pro is the complete solution for creating virtual production content for live broadcast, film, game cinematics and architectural visualization. With a full range of creative tools directly in the engine, enhance your productions using augmented graphics and virtual sets with real-time camera tracking.

What is Mo-Sys VP Pro?

Currently utilised by a growing pool of filmmakers, high-end broadcasters and developers, Mo-Sys VP Pro streams live tracking data from all Mo-Sys robotic and tracking hardware such as StarTracker and RoboJib. Mo-Sys VP Pro features a creative AR mode, an internal keyer and data recording with timecode stamp for FBX export, as well as many more virtual production features that empower your creative processes in the Unreal Engine.

High-quality camera tracking

Developed from our patented broadcast camera tracking system, StarTracker comes the film-orientated StartTracker VP. This optical tracking system looks at “stars”; which are small, identical retro-reflective stickers which are randomly applied to the studio ceiling or on the floor. A small LED sensor, mounted on the studio camera, shines light on the stars and remembers the constellation. This then reports the position and orientation of the studio camera in real time to the rendering engine.

Unrestricted Unreal Plugin

StarTracker VP comes with a plugin for Unreal and as such is not limiting you in your workflow. It allows you to tap into the raw power of Unreal, giving full flexibility and creative freedom. StarTracker VP was specifically tailored for virtual productions and VFX heavy filming – with many features that simplify VFX shots.

Post-production

Whilst allowing on-set visualization in real-time, as well as scene blocking in virtual worlds, StarTracker neatly provides timecode synchronization and an FBX export allowing you to efficiently drop the recorded data and footage into Maya and other post-production software.

• Mo-Sys tracking data over LiveLink - Supports StarTracker, StarTracker MoCap, StarTrackerVR headsets, StarTracker ViewFinder, Handwheels, and extends to all future robotics and tracking hardware.


• Raw Mo-Sys tracking data - Blueprint nodes for use within a 'built game'


• Data transmitter - Send data out of Unreal Engine to control Mo-sys robotics


• Mo-Cap drift correction - Positional correction for use with StarTracker MoCap hardware


• nDisplay for LED Wall -Receive data via VRPN for off-axis projection


• Live video I/O - Automatic configuration of compositing pipeline


• Drag-and-drop virtual camera -  Pre-fabricated components for a variety of compositing modes


• Data recording with timecode - Synchronous multi-source tracking and lens data recording


• Video management tool - Simple interface to configure and monitor video I/O


• VP system status - See at a glance the state of the virtual production system


• VP layouts  - Custom layouts for different stages of virtual production


• FBX data export - Virtual camera export to traditional pipelines


• Internal keyer - Color difference keyer for pre-visualisation


• External hardware keyer integration - Switch presets on Blackmagic Ultimatte from Unreal blueprints


• Switcher integration - Cut cameras on Blackmagic ATEM from Unreal blueprints


• External SDI recorder integration - Fire record on Blackmagic Hyperdeck recorders automatically with timecode and metadata


• Lens distortion - Entirely automated distortion for calibrated fixed and zoom lenses


• Depth of field - Automatic focal distance from StarTracker for depth of field handling


• StarTracker configuration - Detect and configure StarTrackers from inside Unreal editor

Produce » Real-Time Production » Video Production » Production automation systems »

MoRail enables creative moves using PTZ / ENG cameras in a cost-effective, high performance package. The perspective change achieved dramatically improves on the existing static only movement of PTZ cameras, immersing viewers into the studio without the cost and complication of track based dolly systems.

Cost-effective motorized camera rail

Designed for popular pan-tilt-zoom (PTZ) / ENG cameras weighing up to 15kg, MoRail transforms regular static shots into repeatable creative shots with controlled parallax movement. With MoRail, producers can achieve accurate movements during a show without the need to invest in expensive and complex robotics systems.

Controlled movement for creative shots

MoRail delivers a simple yet elegant solution that has the power to transform regular newsroom shots with programmable and live controlled movement. A powerful Mo-Sys controller is used to set rail height and camera position in addition to pan, tilt, zoom, focus and iris.

A new life for PTZ cameras

MoRail gives the PTZ a new creative life by transforming the usefulness of this popular camera format. Production teams can now program accurate and repeatable PTZ movement to traverse, loop and orbit presenters to achieve beautifully smooth and immersive parallax movement.

Flexible design and quick set up

MoRail is available in 3m lengths, either straight or with a 30-degree curve (4m fixed radius). Up to two lengths can be joined together offering production teams maximum creative freedom. Motorized, height adjustable legs ensure fast studio set up, moving the camera plane quickly between 1025 – 1725mm.

Produce » Real-Time Production » Video Production » Production automation systems »

StarTracker is an absolute system that always knows where it is that is suitable for both AR and VR. With no technician required, StarTracker could be the perfect tracking technology for your next project.

Features and capabilities

The system looks at “stars”; which are small, identical retro-reflective stickers – the same reflective material that could be found on emergency vehicles. These stickers are randomly applied to the studio ceiling or the lighting grid. No additional structure is required. They do not have to conform to any pattern and can vary in height. The “stars” are hardly visible to the naked eye. A small LED sensor, mounted on the studio camera, shines light on the stars. This defines the star map, which allows the StarTracker to report the position and orientation of the studio camera in real time to the rendering engine.

Freedom of movement

StarTracker offers unlimited freedom of movement and gives accurate position, rotation and lens data in real-time - this makes it ideal for Steadicam and handheld. You can rotate the studio camera 360 degrees, and move it to any position in the studio, even right to the edge, as long as enough “stars” are in sight of the tracking camera. Other systems are often restricted in their tracking volume. StarTracker can track in 3m to 20m high studios. Since the tracking sensor points up rather than looking into the scene, the tracking is unaffected by studio conditions, such as moving objects, set changes, lighting configurations, reflections and plain green screen environments.

No lighting restriction

As the “stars” can be applied randomly, in no certain pattern, above the lighting grid, they do not restrict the studio lights in any way. Despite being optical, StarTracker is unaffected by studio lighting, giving you complete freedom to install and adjust lights as needed. This is unique to StarTracker.

Ease of use

The initial set-up and calibration is quick and simple. Once you have applied the "stars" to the ceiling, a major part of the installation is done. A brief mapping and calibration process only need to be performed once for each studio. Multiple cameras in the studio can track off the star map. Once calibrated, the system is fully automatic and starts tracking after being powered on. No extra technician is required for day-to-day operation.

Absolute tracking

StarTracker does not drift, unlike mechanical encoded pedestals that work on dead-reckoning and accumulate error with distance travelled. This excludes them from almost all AR applications. Because StarTracker is always referencing itself to its star map, its position is absolute and drift-free.

Cost-effective solution

StarTracker is the most cost-effective choice for tracking of free moving cameras. In fact, it is often the only viable option to track cameras in large areas. Having just one tracking sensor camera and lots of inexpensive “stars”, instead of having an array of expensive tracking cameras, makes it cost-efficient. By adding more stars to the ceiling, the tracking volume can be easily extended at a very low extra cost. You can even employ a single StarTracker system in several studios.

Support and maintenance

StarTracker does not require a tracking operator. Once it is set up, it just tracks, and maintenance is minimal. In case of a problem we can offer fast support, remote or on-site, and training.

 

Produce » Real-Time Production » Video Production » Production automation systems »

Next generation high-resolution tracking

Mo-Sys invented 'simple-to-use' marker-based optical camera tracking for Virtual Production. The resulting product, StarTracker, became the world's best-selling absolute tracking solution for broadcast and cinematic. Utilising its unrivalled knowledge of Virtual Production Mo-Sys has continued to develop. StarTracker Max features redesigned and miniaturised hardware which leverages Mo-Sys improved algorithm to produce Mo-Sys' most accurate tacking solution to date.

Set-and-forget professional tracking

StarTracker Max auto alignment technology simplifies set-up and ensures ultra-precise studio calibration. Once set-up, StarTracker Max is fully autonomous with no need for costly, time-consuming daily re-calibration. With rapid star map discovery, a new user-friendly interface (iOS and Android) and simple D-Tap power inlet, StarTracker Max sets a new standard for set-and-forget professional tracking.

Maximum versatility

StarTracker Max is optimized for use in studio spaces up to 100 x 100m with no explicit upper limit, and ceiling heights >16m with appropriately sized and spaced stars. Immune from occlusion and blind spotting often experienced by 'outside-in' tracking systems, StarTracker Max provides absolute 'inside-out' tracking.

Superior tracking capabilities

StarTracker Max delivers 6-axis tracking with lens zoom and focus for precision blending of photo realistic 3D virtual graphics with the real-world scenes and objects. Its 120-degree field of view sensor enables tracking even on a camera pointing straight down, with zero drift accumulation and ultra-fast star map discovery.

Unrivalled pedigree

Its a StarTracker! Designed and manufactured in the UK to the same exacting standards as all of our world-leading Virtual Production solutions, StarTracker Max marks the beginning of an exciting new platform, building on the trusted current StarTracker technology and delivering even greater tracking accuracy coupled with new unique capabilities to be announced in due course.

Produce » Real-Time Production » Video Production » Newsroom production management and automation systems »

The world’s first pre-configured complete virtual studio system. All the flexibility and creativity virtual sets offer without the complexity or cost.

This state-of-the-art virtual studio system provides unlimited creative freedom to generate visually impactful digital studios for every video type.

Create all your video content with a single studio

• 3-camera 4K virtual studio system – expandable to 16 cameras.


•  Pre-confi gured system with pre-calibrated lenses.


•  1 vendor for supply, installation, training, and support.


• 1 day installation.


• No additional virtual studio compositing software required.


• Works with LED wall studios or green studios.


• 4K recorders included – shoot live to air, or record for post-production.


• Includes Mo-Sys Beam In technology – include remote guests in a virtual studio.


• Uses Unreal Engine 4 (UE4) - the market leader in photo-realistic graphics engines.


• Suitable for live broadcast/streaming, real-time film workflows, and rapid reaction social media video

Produce » Real-Time Production » Video Production » Newsroom production management and automation systems »

Break free of the restrictions and compromises generally incurred by XR stages - VP Pro XR enables the use of traditional shooting techniques within virtual productions.

Unreal Engine editor interface

VP Pro XR further builds upon Mo-Sys’ trusted VP Pro software, which integrates directly into the Unreal Engine Editor interface. The complete suite of real-time compositing tools can also record data for camera tracking, lens focus and zoom plus camera setting data for Arri Alexa and Sony Venice cameras.

nDisplay-enabled

VP Pro XR contains the full VP Pro feature set with additional XR tools, new unique capabilities and it is also nDisplay-enabled for large LED screens. Designed to have the minimum system delay possible, typically 6-7 frames, it ensures that XR shoots requiring real talent to interact with mocap AR avatars, are possible.

The Cinematic XR Initiative

Mo-Sys will deliver Cinematic XR capabilities on VP Pro XR. The Cinematic XR initiative focusses on four key aspects of XR: to improve pixel and composite image fidelity, introduce established cinematic shooting techniques to XR, provide seamless interaction between virtual and real elements, and enable hybrid workflows combining final pixel and non-real-time compositing.

Cinematic XR Focus

The first unique capability released for VP Pro XR is the recently announced Cinematic XR Focus, a collaboration with Preston Cinema Systems, the first product to enable seamless interaction between virtual and real worlds. Mo-Sys will release additional unique features aimed at Cinematographers and Focus Pullers over the coming months.

Multi-Cam

Multi-Cam for VP Pro XR orchestrates the 5-6 frame delay between switching two or more cameras and updating the LED volume with the new camera’s correct perspective graphics. Importantly, it allows switching at full resolution up to UHD4K.

VP Pro XR feature set

The Cinematic XR Focus feature is a taste of the kind of developments from Mo-Sys’ Cinematic XR initiative, with two key software releases due in the coming months. Mo-Sys is also working alongside LED tile and processor experts, developing unique Cinematic capabilities, as well as offering a single supplier solution.

Produce » Real-Time Production » Video Production » Newsroom production management and automation systems »

Break free of the restrictions and compromises generally incurred by XR stages - VP Pro XR enables the use of traditional shooting techniques within virtual productions.

Unreal Engine editor interface

VP Pro XR further builds upon Mo-Sys’ trusted VP Pro software, which integrates directly into the Unreal Engine Editor interface. The complete suite of real-time compositing tools can also record data for camera tracking, lens focus and zoom plus camera setting data for Arri Alexa and Sony Venice cameras.

nDisplay-enabled

VP Pro XR contains the full VP Pro feature set with additional XR tools, new unique capabilities and it is also nDisplay-enabled for large LED screens. Designed to have the minimum system delay possible, typically 6-7 frames, it ensures that XR shoots requiring real talent to interact with mocap AR avatars, are possible.

The Cinematic XR Initiative

Mo-Sys will deliver Cinematic XR capabilities on VP Pro XR. The Cinematic XR initiative focusses on four key aspects of XR: to improve pixel and composite image fidelity, introduce established cinematic shooting techniques to XR, provide seamless interaction between virtual and real elements, and enable hybrid workflows combining final pixel and non-real-time compositing.

Cinematic XR Focus

The first unique capability released for VP Pro XR is the recently announced Cinematic XR Focus, a collaboration with Preston Cinema Systems, the first product to enable seamless interaction between virtual and real worlds. Mo-Sys will release additional unique features aimed at Cinematographers and Focus Pullers over the coming months.

Multi-Cam

Multi-Cam for VP Pro XR orchestrates the 5-6 frame delay between switching two or more cameras and updating the LED volume with the new camera’s correct perspective graphics. Importantly, it allows switching at full resolution up to UHD4K.

VP Pro XR feature set

The Cinematic XR Focus feature is a taste of the kind of developments from Mo-Sys’ Cinematic XR initiative, with two key software releases due in the coming months. Mo-Sys is also working alongside LED tile and processor experts, developing unique Cinematic capabilities, as well as offering a single supplier solution.

Create » Content Acquisition and Capture » Cameras » Broadcast System cameras »

The LDX 86N Series cameras takes the LDX 86 Series to a new level with native 4K UHD (3840x2160) and native 3G/HD (1920x1080) image capture, using three unique 3840x2160p 4K XensiumHAWK CMOS imagers with DPMUltra (dynamic pixel management) functionality. In addition, the LDX 86N gives you the same familiar GV-eLicense upgrade path so that you can always have the camera that you need, with the ability to use standard B4 2/3-inch HD lenses or the new B4 2/3-inch 4K UHD lenses becoming available.

Create » Content Acquisition and Capture » Cameras » Broadcast System cameras »

VistaCam™ is a complete, end-to-end solution for creating real-time panoramic video content suitable for large video walls in broadcast studio applications.

VistaCam is designed and built with live broadcasting in mind. Everything from design, construction to software functionality was conceived to stream live or recorded panoramic video over IP from the arena or stadium back to the studio.

Since video walls vary in terms of size and resolution, VistaCam offers flexible one-to-four HD-SDI outputs. In addition, each output can be color adjusted and, if needed, shifted to compensate for mis¬aligned frames in the video wall.

The VistaCam array consists of four stacked 1080P cameras. Each cam¬era is focused on a specific view of the field. Each camera view is then “stitched” into a cohesive, seamless wide-angle panorama.

VistaCam’s custom-designed camera array is weather proof and the all-aluminum housing is designed for easy mounting and adjustment within the arena. The camera array connects to VistaCam’s Presentation Engine or the on-venue streaming server through a single fiber connection.

The VistaCam Presentation Engine ingests the 4 camera streams, creating a high resolution video panorama in real-time. Remote access for settings and calibration is as easy as a push of a button with the patented CogEye™ Panoramic technology. The VistaCam Presentation Engine also features a built in disc-recorder for playback of pre-recorded panoramic video. The disc-recorder also serves as a fail-over device, should the connection to the camera array disengage.

Create » Content Acquisition and Capture » Cameras » Broadcast System cameras »

"The BC-50 is a cost-effective block camera with 20x optical and 16x digital zoom.

 

The video output is 3G/HD-SDI, it also supports VISCA/Pelco-D/Pelco-P protocols for control via RS-485. The BC-50 can deliver the compressed video signal H.264/H.265/MJPEG, and also RTMP streaming to facebook and youtube.

 

The BC-50 Block Camera is a small HD camera with sturdy and durable metal case can be used in different types of environments."

Create » Content Acquisition and Capture » Cameras » Broadcast System cameras »

"The BC-80 Block Camera is a small HD camera with an infra-red remote control.

 

It can be used for HD high quality shooting within a limited space and supports resolutions up to 1080p60. And provides 30x optical zoom and the image output interfaces are SDI and HDMI.

 

The BC-80 supports SONY VISCA protocol enabling the camera to be controlled via RS-422 or DVIP interface and the built-in tally light indicates when it is active."

 

Create » Content Acquisition and Capture » Cameras » Broadcast System cameras »

"The BC-100 uses cutting-edge technology to capture stunning image quality. BC-100 uses Real Time HDR and 3D noise reduction to capture amazing details, even in a lower light environment.

 

BC-100 has been developed with stunning image quality in mind. With a 4/3 CMOS large-size sensor and real-time HDR function, the noise in darker areas can be reduced to a very low level and a rich high-quality picture can be produced in a backlight environment. BC-100 uses 1080P 12-bit image processing for optimum image quality. The interchangeable lens mount is compatible with standard MFT lenses, ensuring the user of a large array of available accessories. "

 

Create » Content Acquisition and Capture » Cameras » Broadcast System cameras »

"The BC-200 Block Camera is a 4K (3840 x 2160, QFHD) 30P camera with an infrared remote control.

 

It's perfect for use in video and web studios, venues, conference rooms and theatres providing 12x optical zoom and two HDMI video output interfaces.

 

The BC-200 supports SONY VISCA protocol enabling the camera to be controlled via RS-422 or DVIP interface and the built-in tally light indicates when it is active."

 

Create » Content Acquisition and Capture » Cameras » Broadcast System cameras »

Introducing a stabilizer with quick responsiveness, brand new touch screen and advanced operation logic. WEEBILL 2 - A stabilizer strives to create a better experience for users in filmmaking with its classic structure, powerful Infineon chip, upgraded algorithm and new image transmission experience. Buy WEEBILL 2 from UBMS Dubai.

Unique Robust Build

WEEBILL 2 combines well-crafted lines with artistic structure to bring the new stabilizer into life. A creative rotatable flip-out touch screen to make every feature and operation easier.

Classic & Effort-saving Design

With the classic structure and sling grip design in WEEBILL series, An effort-saving sling mode is within reach with no extensions added and structure altering. Easy to switch modes and works great when shooting low angles. UBMS can offer best price and fast delivery for WEEBILL 2 .

Powerful Chip

"Powerful chip with dynamic stabilization. Two-filter interruption vector-splitting sensor"

Introducing the revolutionary Infineon two-filter interruption vector-splitting sensor in WEEBILL 2. The sensor will analyze the complex interruptions, improve stability with its core algorithm and precisely compensate any micro-jittery, providing a smoother follow and a quicker response for the stabilizer.

Screen and control

"2.88"" Full-color Touch Screen. Various features and footage monitoring in a few taps"

Integrated 2.88" touch screen with the retractable & flip-out design. Parameter adjustment and monitoring in all shooting angles with just a few taps. All-new UI design, Tap to adjust parameters and other settings at any time. Use with TransMount Video Transmission Transmitter (AI) for high-quality monitoring and image transmission.

Timelapse & motionlapse - Set and done via the touch screen without using the app.

"A bigger screen for a high-quality wide vision and easier control. Activate SmartFollow with a single press.

*This feature needs to be used with TransMount Video Transmission Transmitter (AI)."

Compatibility

Flexible Compatibility

Compatible with DSLR and mirrorless cameras (Check camera compatibility list for details)

Strong structure with upgraded motor torque and performance. Compatible with lens combos of mirrorless cameras and DSLR cameras. Supports extensions of professional accessories. Buy WEEBIL 2 from UBMS Dubai.

Create » Content Acquisition and Capture » Cameras » Broadcast System cameras »

Add live streaming to the internet to your video production setup using the Web Presenter 4K from Blackmagic Design. The Web Presenter 4K is a compact desktop device that allows you to connect any SDI video input and stream it live onto the Internet, using Ethernet or tethering via USB to your smartphone using a 5G or 4G connection. The SDI and HDMI monitor outputs allow you to see a wide range of live status information along with your broadcast.

The USB Type-C port allows you to connect any USB video source such as a webcam or computer, so it's capable of broadcasting 4K video and audio on any webcam-compatible platform and software such as Skype, YouTube Live, Facebook Live, Twitch, Periscope, Teams, and more on Mac, Windows, Linux, and Chrome OS systems. It supports the H.264 codec and streams via RTMP and can stream in resolutions up to UHD 4K.

The SDI and HDMI monitor ports provide detailed status information on your feed, so you can monitor whether you are ON AIR as well as input status such as bit depth and stream quality, embedded audio input status, video and audio history, trend graphs, and video and audio meters. You can also see basic status information on the bright LCD screen on the front of the unit. There is also an SDI loop output for monitoring the original feed and sending it to a switcher or router.

The compact form factor allows you to fit it right into your broadcast setup, and it is compatible with optional rack shelfs in case you want to install it in a 1 RU rack. Its dual AC/DC redundant power input is handy in case you lose mains power and you can utilize the 4-pin XLR input for DC power. The Web Presenter 4K is also compatible with the Blackmagic ATEM Streaming Bridge to decode the streams back into HDMI or SDI signals for additional routing options.

Key Features

Input any SDI Signal

The Web Presenter allows you to input any 12G/6G/3G/HD-SDI video source up to UHD 4K.

4K Output

The program and USB Type-C outputs supports UHD 4K video. The unit will downconvert 4K video if you are streaming in HD. When streaming 4K, it will pass 4K video as well as upscale HD to 4K video.

Live Streaming Options

You can stream H.264 video via RTMP streaming protocols to the internet via Ethernet or tether a 5G or 4G phone to use mobile data.

USB Source as Webcam

The built-in USB Type-C input works like a webcam, so you can connect a computer and use any streaming software, or even Skype or Zoom. Stream in 4K over the USB Type-C connector, if your software supports 4K).

Monitor Outputs

SDI and HDMI monitor outputs allow you to see the input video as well as display accurate audio levels, on air status, data rate, and cache levels.

Built-In Technical Monitoring

Feature-Rich Program Status

The graphics-based monitoring output includes a video view, audio meters with accurate ballistics, trend graphs for codec data rates, and cache fill, plus a summary of the streaming settings and detailed SDI technical information.

Streaming Status

There's a very-large ON AIR indicator on the top left of the monitor output, so it's always clear when you are online and streaming. Plus all your current streaming settings are displayed clearly.

Video Input Status

The SDI input technical details are displayed, such as video standard and ancillary data. The bit activity indicators let you see the quality and bit depth of video before H.264 encoding.

Audio Input Status

Audio is de-embedded from the SDI input and the channel status is displayed. The bit activity indicator lets you check for 16-, 20-, or 24-bit audio. You can even see which audio channels are present.

Video and Audio History

The audio and video technical displays also include a 6-second history display, so you can see the recent video input history. This ensures you can instantly see what's been happening.

Trend Graphs

The trend graphs below the video display let you see the last 60 seconds of codec data rate and cache fill. Plus, codec data rate is critical for ensuring you have enough internet speed from your ISP.

Video and Audio Meters

A large area is dedicated to the video input display, and the large multi-segment audio meter with accurate ballistics. You can even change the type of audio meter from VU, PPM, and more.

Buy Blackmagic Design Web Presenter 4K from UBMS Dubai.

Create » Content Acquisition and Capture » Cameras » Broadcast System cameras »

TICO-RAW is the new RAW

​TICO-RAW delivers the most beautiful pixels and most perfect colors, with the most brillant brights and the deepest darks ...with the world\'s best efficiency. Designed by intoPIX, it unleashes image sensor and traditional RAW data-flows thanks to an innovative processing and coding. The full power of the image sensor is preserved while reducing the bandwidth and storage needs. It offers high image quality and the capability to manage high resolution, high frame rate and high dynamic range workflows. TICO-RAW is the world’s first RAW codec that can offer compression efficiency with such low complexity on Bayer or Bayer-like Color Filter Arrays (CFA) patterns.

 

Gain in Efficiency, improve your imaging workflows

• Reduce bandwidth and power consumption to process more pixels from the sensor.


• Handle higher resolution, high frame rate and high dynamic range easily : to capture  to record, to transmit, to edit, to analyze.


• Reduce the bandwidth of memory during the ISP process and RAW data analysis.


• Get the lowest latency (\"pixel-line\")  to transmit RAW data over your network, infrastructures, interfaces.


• Efficiently decrease the stored RAW image data on the storage media (TICO-RAW is the new RAW at the size of a regular JPEG file).


• Increase the editing, rendering, analytics speed and while retaining the sensor data needed for a complete control of the RAW processing pipeline.

Create » Content Acquisition and Capture » Cameras » Broadcast System cameras »

Our precise, robust and lightweight 2-axis head for high-end digital cinematography is ideal for medium-sized camera packages, for example, ARRI Alexa with a large zoom lens. At the core of the L40 is our highly robust and precise motor drive with zero backlash, providing lag-free operation.

Extremely strong drive unit

Extremely strong and backlash-free drive units gives the operator instant and delay-free control. The precise gear drive enables flawless operation even with the biggest zoom lenses, unlike worm gear drives which can cause judder. The hole through the center of the gear boxes for cable pass-through removes the need for slip-rings and makes it future proof for high bandwidth digital video. This also allows for tangle free direct cabling.

Back-pan option

The L40 sets a new standard with the digital back-pan gyro option, making it a preferred choice for telescopic and standard crane work. It allows the operator to concentrate on the framing while the head takes care of the compensation of the crane movement.

Incredible payload

The L40 boasts a payload of incredible 40kg while only weighing 18kg. It is one of the lightest heads on the market with that strength.

Fast set-up

The L40, like all Mo-Sys heads, is lightning quick to set up utilising a daisy-chain system of identical “Mo-Sys bus” cables, providing simplicity and redundancy of spares. The head features a quick release camera plate to enable fast camera installation. All head frame size adjustments are by quick release levers for quickness and ease of balancing and nodal point positioning.

Intuitive control

The L40 can be operated with a variety of input devices such as hand-wheels, pan-bar or joystick. The Button-Console interface provides controls for pan/tilt velocity adjustment, input smoothing and direction, user defined position limits with feathering and axes zeroing. It simplifies the operation of the head in remote-mode making it ideal for tech-less operation. Our intuitive touch screen console gives access to the extended extra features like back-pan.

Data for post production

With built in high-resolution encoders the L40 is ready for a full VFX workflow, outputting accurate pan and tilt data and also connects to Mo-Sys VR modules to track cranes, dollies and cameras. The data can be recorded for post-production with the Mo-Sys MotionLogger or in Unreal using our Tracking Plugin. The L40 also interfaces to most virtual set softwares using our own protocol.

Roll-axis

A two-axis head can be effortlessly upgraded to a three-axis model with a 360˚ roll axis.

 

Create » Content Acquisition and Capture » Cameras » Broadcast System cameras »

6K Full-Frame “Exmor R” sensor for stunning picture quality. FX9 is the world's first professional camcorder with Sony's world-leading eye-tracking technology. High-speed, high-precision image processing maintains a pin-sharp focus. The PXW-FX9 features a full-frame, oversampled 6K Exmor R CMOS sensor that allows you to capture 4K images with cinematic depth of field. The camera's E-mount is machined from stainless steel and allows you to use E-mount lenses. Sony Fx9 Price is very good in UBMS Dubai Showroom. Come and experience the Sony FX9 camera at UBMS showroom and get the best price. We can ship Sony Fx9 to all GCC countries (Bahrain, Kuwait, Oman, Qatar, Saudi Arabia ) & African Countries

The fx9 full-frame 6K sensor provides superb recording in DCI 4K*, Ultra HD and HD resolutions. Powerful image processing with debayering and oversampling ensures image quality beyond the limits of conventional Super 35mm sensors. The back-illuminated CMOS image sensor also uses Sony’s Exmor R technology for improved sensitivity and noise reduction. Compared to a 4K Super 35mm sensor, the FX9’s 6K sensor has over twice the surface area while providing a wider angle of view and shallower depth of field.*DCI 4K (4096 x 2160 at 17:9 recording) will be available with future firmware release.

With the release of the FX9, a new video look “S-Cinetone” is introduced. Installed in the FX9 “S-Cinetone” expresses the cinematic look cultivated from the Color Science in VENICE but tailored for the video world. Whereas VENICE and s709 provides images close to the film color found in movie and drama productions, “S-Cinetone” provides images with a more cinematic look in tone and color for the video world. As a result, you can create richer content compared to conventional processing.

Full-frame creativity

Realize beautiful 4K imagery with the creative freedom made possible by oversampling a huge high resolution full-frame sensor. Capture every detail from the scene with shallow depth of field and stunning bokeh for a truly cinematic look. 15+ stops of dynamic range and Dual Base ISO enable you to capture every nuance, from subtle shadow detail to specular highlights, with an immaculate color palette. To know more about sony FX9 camera contact UBMS.

Capturing the impossible

Using the FX9 you can make sure your story’s always clear with enhanced Fast Hybrid AF that tracks your subject with unprecedented speed, smoothness, and precision. Its impact is transformative for premium documentary, commercial, and event applications. Your ability to precisely capture your subject’s expression is further enhanced with Sony’s unique Eye AF.**Ver2.0 is required.

Shoot in comfort, expand your horizons

The FX9 revolutionizes full-frame cinematography with peerless ergonomics and advanced technology for on-the-go shooting. The world’s first full-frame electronic variable ND filter* transforms possibilities for shooting in variable lighting conditions. Built-in Wi-Fi and 12G-SDI support advanced workflows while the optional XDCA-FX9 extension unit further expands the operational possibilities of the PXW-FX9. Ver.2.0 firmware adds HLG, User 3D LUTs, and more with yet more advanced features still to come. Shop sony FX9 camera from UBMS Dubai.

6K Full-Frame "Exmor R" sensor for stunning picture quality

The FX9camera’s full-frame 6K sensor provides superb recording in DCI 4K*, Ultra HD, and HD resolutions. Powerful image processing with debayering and oversampling ensures image quality beyond the limits of conventional Super 35-mm sensors. The back-illuminated CMOS image sensor also uses Sony’s Exmor R technology for improved sensitivity and noise reduction. Compared to a 4K Super 35-mm sensor, the FX9’s 6K sensor has over twice the surface area while providing a wider angle of view and shallower depth of field.*DCI 4K (4096 x 2160 at 17:9 recording) requires Ver.2.0 or higher firmware.

Phenomenal 15+ stops dynamic range for limitless expression

The FX9 offers an exceptional 15+ stops of dynamic range—beyond the normal range of human perception—allowing for unprecedented creative freedom in color grading and post. Camera operators can concentrate on framing the scene they want while relying upon the FX9 to capture every nuance and detail using either 4K 4:2:2 10-bit internal recording or 16-bit RAW external recording.* In grading, colorists can find color and detail beyond the normal viewing abilities of the camera operator to create a final image that exactly portrays the mood of the scene. To know more about the FX9 please contact UBMS Dubai.

Dual Base ISO for stunning images in any light

The FX9 features a base sensitivity of ISO 800, providing the optimal dynamic range for typical documentary applications such as shooting outside or in brightly lit interiors. A secondary High Base sensitivity of ISO 4000 excels in low-light conditions such as early morning and evening shoots while maintaining superb image quality. ISO 4000 is also ideal when using slow lenses. Combining Dual Base ISO with the camera’s electronic variable ND Filter provides superb creative control in almost any shooting environment, with truly next-generation responsiveness to changing conditions. The FX9 can be purchased from UBMS Dubai Showroom .

Cinematic color science with S-Cinetone™

S-Cinetone is the default look of FX9 that’s tuned to meet the requirements of today’s content creators with rich mid-range colors, alluring facial tones and a softer tonal look—developed with the same expertise as Sony’s world-leading VENICE digital cinematography camera. S-Cinetone means your content looks fresh and vivid straight out of the camera, with subjects that really stand out while retaining plenty of latitude in post-production thanks to the high-performance full-frame image sensor.

Accelerate your workflow with User 3D Luts and HLG*

User Created 3D LUTs make it easy to customize FX9’s look to your preferences. It is possible to import LUTs files from an SD card and store up to 16 files on the FX9’s internal memory and switch between them as needed. This is particularly useful for shooting in S-Log3, allowing you to preview on camera whatever custom look you create.FX9 can record HDR using S-Log3 or Hybrid Log Gamma (HLG)*.•S-Log3 is optimized for premium applications, capturing the maximum dynamic range from a sensor and providing ultimate creative freedom when color grading.•HLG* delivers content quickly without additional color grading making it an ideal choice for day-to-day shooting, viewing, and editing workflows.

Selectable Frame Rates in Both Full-Frame & Super 35

Choose your desired frame rate from 1fps up to 180fps* for impressive quick- and slow-motion footage. FX9 creates an immersive image with a wide-angle look and shallower depth of field provided by its full-frame sensor in combination with quick and slow motion. Engage your audience with this new creative look. FX9 also offers a Quality priority setting** that maximizes full HD image quality using full-frame 6K scan mode or Super 35 4K scan mode with advanced oversampling technology.

Super 35 2K imager scan mode prioritizes frame rates, so image quality may be reduced depending on the shooting environment. In this instance, the settings below are recommended.

Capture the action with enhanced Fast Hybrid AF

Effortlessly track fast-moving subjects with pin-sharp focus, even when using wide-lens aperture settings to maintain a shallow depth of field with the camera’s full-frame sensor. Developed by Sony’s α camera engineers, enhanced Fast Hybrid AF combines phase detection AF for fast, accurate subject tracking with contrast AF for exceptional focus accuracy. In addition, Face Detection intelligently recognizes and locks on to human faces.

The dedicated 561-point phase detection AF sensor covers approximately 94% of the whole image area width and 96% of height, allowing consistently accurate, responsive AF tracking, even with fast-moving subjects.

Eye AF & Focus Touch Control*

FX9 is the world’s first professional camcorder with Sony’s world-leading eye-tracking technology**. High-speed, high-precision image processing maintains a pin-sharp focus. During an interview or portraiture shoot, you can rely upon Eye AF to capture your subject’s most subtle expressions while you concentrate on the interview and framing.

Focus Touch Control allows you to precisely set the camera’s specific focus area by simply touching the LCD viewfinder. It’s fast and intuitive—ensuring your full creative control of FX9’s powerful AF technology. Buy Sony PXW-FX9 FULL-FRAME CAMERA From UBMS

Create » Content Acquisition and Capture » Cameras » Broadcast System cameras »

QDCAM is a $7,000 High-Speed Box Camera developed by MEDIAEDGE
MEDIAEDGE was established in 2012 being separated from Grass Valley’s video distribution division.
We MEDIAEDGE develop reliable and affordable video products for broadcasters and public institutions in Japan.

With QDCAM, customers will be able to configure high-speed camera systems at an affordable price.

The features of QDCAM
・High-Speed shooting : 1920×1080/239.8p, 200p
・High resolution shooting : 4096×2160/24p, 3840×2160/60p,50p
・Micro four thirds lens mount
・Global shutter CMOS image sensor
・A new synchronization system
・Fan-less quiet camera.
・Optical transmission option using SMTPE opt-camera cable


We have also developed QDVS, which is a low-cost recording / playback switching slow server.
QDVS also helps customers to build high speed camera systems at an affordable price.


We have developed the system according to the needs of our customers.
If you have anything you would like to achieve with a high-speed camera, please feel free to contact us.

Here is the contact information.
Mail : osinfo@mediaedge.co.jp
URL：https://www.mediaedge-corp.com/products-list/
URL( in Japanese)：https://www.mediaedge.co.jp/

Create » Content Acquisition and Capture » Camera Accessories » Bags, cases, protection »

The AS-1 series is a zoom remote controller designed to make high-quality video production by making comfortable zoom operations essential for camera shooting work at events and studios.The zoom lever is designed with a smooth operation and a thorough pursuit of a comfortable operating feel in all other mechanisms.AS-1 / 1P supports not only shoulder-mounted cameras but also small commercial camcorders, and is equipped with a REC operation button for camcorders.

Two cameras can be adjusted with one AS-1 remote control

In combination with the Protech HDF viewfinder,the return video confirmation function is very convenient for multi-camera recording.This function can be realized without relying on the functions of the camera body.For example, even in one-man multi-camera recording with two professional camcorders,you can operate the other camera while checking and controlling the fixed-point camera image. It becomes possible to do.

Create » Content Acquisition and Capture » Cameras » Broadcast System cameras »

The new Blackmagic URSA Broadcast G2 is an incredibly powerful camera designed for both traditional and online broadcasters. The 3 cameras in 1 design allows it to work as a 4K production camera, a 4K studio camera or a 6K digital film camera! It's a perfect solution for broadcasters because it uses the lenses and batteries you already own! You can record to common SD cards, UHS-II cards, CFast 2.0 cards or external USB disks, using common file formats such as H.265, ProRes and Blackmagic RAW. This means it's compatible with all video software and broadcast media management systems. You can even change the lens mount! No other broadcast camera is so flexible! Buy Blackmagic Design URSA Broadcast G2 Camera from UBMS Dubai.

Blackmagic URSA Broadcast G2 (CINEURSAMWC6KG2), a next generation professional broadcast camera with 6K digital film sensor that brings digital film quality to both traditional and online broadcasters. The advanced 6144 x 3456 digital film sensor provides exceptional low light performance with dual gain ISO of up to +36dB as well as 13 stops of dynamic range. Blackmagic URSA Broadcast G2 also includes H.265 and Blackmagic RAW file formats, Blackmagic generation 5 color science, as well as a USB-C expansion port for external disk recording, and more! Looking for price of URSA Broadcast G2, UBMS can provide best price and fast delivery for Blackmagic URSA Broadcast G2.

Broadcast Production Camera

The perfect solution for broadcasters, URSA Broadcast G2 includes ENG camera controls positioned around the camera so you can locate them by feel. It also features a low light sensor so you get amazing images using natural light. That's the perfect combination for broadcast news and programming.

Live Studio Camera

URSA Broadcast includes an advanced YRGB color corrector built in and full remote camera control. You can use B4 ENG lenses, large studio box lenses, or even change the lens mount and use any lens! Plus the optional Blackmagic focus and zoom demands let you control the lens from the tripod handles.

Digital Cinema Camera

URSA Broadcast G2 includes an advanced 6K digital film sensor, and you can change the lens mount! Use a PL mount for digital film lenses or EF for photo lenses. Plus the high dynamic range, great low light performance and Blackmagic RAW means you get a true "Hollywood" quality digital film camera. Buy CINEURSAMWC6KG from UBMS Dubai.

Digital Film Quality for Broadcast

The large 6K sensor combined with Blackmagic generation 5 color science gives you the same imaging technology used in digital film cameras. This means broadcasters can now use digital cinema quality in broadcast! The 6K sensor features a resolution of 6144 x 3456 so it's flexible enough for broadcast and digital film work. When using B4 lenses, you get a 4K window of the sensor for Ultra HD broadcast use. Then if you change to a PL or EF lens mount, you can use the full 6K resolution of the sensor for digital film! With 13 stops of dynamic range, you get darker blacks and brighter whites, so it's perfect for color correction. Using digital film in broadcast is a revolution in image quality!

Low-Light Performance

The new URSA Broadcast features incredible low-light performance, so you can shoot using ambient light or even under moonlight. In advanced cameras, ISO is a measurement of the image sensor's sensitivity to light. The Blackmagic URSA Broadcast G2 features gain from -12dB (100 ISO) up to +36dB (25,600 ISO), so it's optimized to reduce grain and noise in images while maintaining the full dynamic range of the sensor. The primary native ISO is 400, which is ideal for use under studio lighting. Then the secondary high base ISO of 3200 is perfect when shooting in dimly lit environments. The gain can be set via a camera switch, the LCD menu, or remotely using the SDI remote camera control protocol.

Compatible with B4 Broadcast Lenses

The URSA Broadcast G2 features a B4 broadcast lens mount that includes optics specifically designed to match the camera's sensor. The B4 lens mount lets you use modern UHD lenses or lower-cost HD lenses. Older HD lenses often feature resolutions well beyond HD, so you get great quality at a low cost. B4 lenses are fantastic because they are par-focal, so the image stays in focus as you zoom in and out, so you don't need to constantly chase focus as you shoot. That lets you work much faster. You also get full electronic lens control to adjust focus, iris, and zoom using the camera's controls or remotely. Plus, if you want to use alternative lenses, you can change the mount to PL, EF, and more.

Built-In Optical ND Filters

URSA Broadcast G2 features high-quality neutral density (ND) filters that let you quickly reduce the amount of light entering the camera. The 1/4, 1/16th and 1/64th stop filters have been specifically designed to match the image sensor and color science of URSA Broadcast G2, providing you with additional latitude and better colorimetry. This lets you use different combinations of aperture and shutter angles in a wider range of situations. The IR filters have been designed to evenly filter both optical and IR wavelengths, eliminating IR contamination. Plus, the filter status on the LCD can be displayed as a fraction, number, or stop reduction.

Common Media and File Formats

URSA Broadcast is designed to work with standard file formats used by all broadcast systems and editing software. You can record in ProRes 422 HQ and ProRes 422 into QuickTime files. The new Blackmagic URSA Broadcast G2 model can even record into H.265 for incredibly small files at 60:1 to 285:1 compression ratios, in 10-bit broadcast quality. Plus. you can record to Blackmagic RAW files, a revolutionary new format designed to capture and preserve the quality of the sensor data from the camera. That means you get the perfect range of file formats designed for all types of workflows.

Dual Media Slots for Nonstop Recording

With dual CFast 2.0 recorders and dual SD/UHS-II card recorders, you can choose the media that's best for you. Both types of media are standard, inexpensive, and readily available at computer and camera stores. Plus, with dual media slots, URSA Broadcast gives you nonstop recording. When a card is full, recording automatically continues onto the next card, so you can swap a full card while recording continues. You get enough speed to record high-quality ProRes and H.265 video file formats, even when working in Ultra HD at high frame rates. That means URSA Broadcast G2 is easy to integrate into your existing broadcast systems. You can even record 12-bit Blackmagic RAW cinema files.

USB Type-C for Recording Direct to External Media Disks

The Blackmagic URSA Broadcast G2 features a high-speed USB Type-C expansion port on the rear of the camera that allows you to record to external disks or connect to a wide range of accessories. If you plug in a large and low-cost external USB flash disk, you can record ProRes, H.265, or even high-quality 12-bit Blackmagic RAW files for later editing and color correction. That means you can just move the disk to a computer to work, and you don't need to waste time with file copying. Plus, the USB port will power the disk that's plugged in. You can even plug in optional focus and zoom demands to allow full lens control.

Strong and Lightweight Magnesium Design

URSA Broadcast G2 features a super-strong, lightweight magnesium alloy body that's perfectly balanced and designed to be comfortable to use all day. It features familiar, externally mounted switches and controls that give you direct access to the most important camera settings. The controls are laid out logically, making them easy to locate by feel, so you can adjust settings without having to look at the buttons. You also get a foldout touchscreen for monitoring, viewing camera status, and changing settings using on-screen menus. URSA Broadcast G2 also includes standard 12G-SDI connections, XLR audio inputs, USB Type-C, and an industry-standard 4-pin XLR broadcast 12 VDC connection.

Built-In LCD with Touch Controls

With a built-in LCD that folds out, you can both monitor and control the camera. While URSA Broadcast G2 features lots of physical buttons and knobs, using the LCD, you also get on-screen status and touchscreen controls. The built-in touchscreen also includes a heads-up display with the most important shooting information, as well as menus for all camera settings, LUTs, and custom presets. Behind the LCD, there are extra buttons, as well as knobs for audio levels. There are even programmable function buttons that can have functions assigned to them, such as zebra, false color, focus peaking, LUTs, and more. Plus, you can change the function assigned to each button in the on-screen menus.

External Status Display

The status display is a high-visibility LCD screen designed to be easily seen, even in bright light. The status display shows record, locked, and reference timecodes, along with the current shooting frame rate, shutter angle, aperture, white balance, gain, and iris. It also features a battery indicator, card recording status, and audio meters for monitoring levels. The screen's backlight can be turned on when you are shooting in dimly lit locations and off when you are shooting outdoors and in bright light to increase contrast, making it easy to read under any condition.

Program Video Monitoring

If you're doing live production, sometimes you need to monitor program video back from the switcher. Simply press the camera's PGM button and the viewfinder will switch from the camera display to the program return feed from the switcher. A built-in speaker also lets you monitor the switcher audio as well. Program return is a fantastic feature, as sometimes on large live shows, camera operators can be left waiting a long time for their camera to be used, so program return lets them watch the show while they wait. This means that even if the camera operator is a large distance away from the switcher, they can still keep up with what is happening and remain alert.

Load Custom 3D LUTs to Recreate Film Looks

Digital film cameras shoot logarithmic color space to preserve the dynamic range, which is great for later post-production. However, when these files are viewed on a monitor, they can look flat and washed out. 3D LUTs solve this problem as they allow you to apply a "look" to the monitor so you get an idea of how the finished images will look when editing. LUTs can be applied temporarily for monitoring only, or they can be recorded into the Blackmagic RAW files for use in post-production. The URSA Broadcast G2 works with industry-standard 17- and 33-point 3D LUT files or you can work with the built-in LUTs such as Extended Video, Film to Video, Film to Rec.2020, and more. Visit Our UBMS Dubai showroom, and Get bestprice For Blackmagic URSA Broadcast G2

Create » Content Acquisition and Capture » Cameras » Broadcast System cameras »

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Create » Content Acquisition and Capture » Cameras » Broadcast System cameras »

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Create » Content Acquisition and Capture » Cameras » Broadcast System cameras »

The Sony HXC-FB75 is a high-performance, yet affordable, HD camera system that inherits Sony’s proven field-proven operability from the highly regarded DXC-D Series of system cameras. The camera is equipped with three 2/3-inch Full HD Exmor CMOS sensors to provide excellent sensitivity (F12 at 1080i/60) with a low noise ratio for clear images. Those sensors are common to the HXC-P70, HXC-D70 and PXW-X400, and enable perfect integration with those cameras which gives you more flexibility. In addition, a wide range of output formats are available, including 1080i/59.94,50, 1080PsF/29.97,25, 720p/59.94,50, 480i/59.94 and 576i/50.

Key Features:

• Full HDExmor CMOS sensors


• Captures a variety of HD images


• SD down-converter


• Hybrid-type optical fibre cable connection to CCU extends signal transmission with power supply to 350m


• Long-distance transmission up to 10km with single-mode fibre cable


• HDVF interface for connecting a variety of viewfinders


• Wide range of image control functions


• HXC-FB75KC variant of this model includes a digital HD viewfinder, HD lens and Monaural microphone

Create » Content Acquisition and Capture » Cameras » Broadcast System cameras »

HD Studio Camera System with 4K Upscale and HD HDR Capability The HXC-FB80* is a cost-effective high-performance HD portable camera with three Sony 2/3-inch Exmor™ CMOS sensors and a 3G-SDI platform capable of 1080/50p and 59.94p signal processing while achieving low power consumption.In combination with the HXCU-FB80* 4K/HD Camera Control Unit, it offers user-beneficial expandability including 4K upscale and HD HDR support (HLG, Hybrid Log-Gamma)** for a future-proof solution. The optional PC-based HZC-RCP5 Remote Control Panel is available for a simpler application system.*HXC-FB80L camera model equipped with Lemo connector interface. (Works with HXCU-FB80L CCU model).

Create » Content Acquisition and Capture » Cameras » Broadcast System cameras »

The HSC-100R incorporates digital triax technology and is equipped with sophisticated 16-bit A/D conversion circuitry as well as superb three 2/3-inch CCDs to bring out a high level of picture quality over conventional digital triax infrastructures. The camera also has a built-in high-quality down-convertor for superior SD images, as standard.

Create » Content Acquisition and Capture » Cameras » Broadcast System cameras »

The Sony HXC-P70 is a point-of-view “POV” camera developed for a wide range of more affordable applications than the HDC-P1, thanks to a longer cable distance extension and a higher sensitivity, in addition to its compact size, light weight and lower power consumption.

It allows direct connection to the HXCU-FB70 camera control unit by optical fibre cable, in addition to two HD/SD-SDI outputs. The hybrid type fibre cable can extend the distance from the CCU up to 500 m, while supplying the required power. If a single-mode fibre cable is connected, the distance can extend up to 10 km with a local power supply.

Key Features:

 

• 2/3" 3 CMOS HD Imagers, "Exmor"


• Optical Fiber Transmission with Direct Cable Connection


• Up to 500m by the Sony CCFN hybrid type optical fiber cableincluding power supply from CCU.


• Up to 10km by the single-mode fiber cable with local power supply


• Connect to the current CCU, HXCU-FB70


• Integrated Motorized ND Filter and Electrical CC filter


• Slow Shutter with 64 Frame Accumulation, and +48dB Gain Up >> very bright even with dark condition


• Total Level Control System


• For Auto Gain, Auto Iris, and Auto Shutter


• 2x/4x Digital Extender


• Low Power Consumption, 17W

Create » Content Acquisition and Capture » Cameras » Broadcast System cameras »

The HSC-300RT incorporates digital triax technology and is equipped with sophisticated 16-bit A/D conversion circuitry as well as superb three 2/3-inch CCDs to bring out a high level of picture quality over conventional digital triax infrastructures. The camera also has a built-in high-quality down-convertor for superior SD images, as standard. It also incorporates Neutral Density (ND) and Colour Correction (CC) optical servo filter units.

Create » Content Acquisition and Capture » Cameras » Broadcast System cameras »

There is increasing demand for small "Box"-type or "Point-Of -View" cameras with the flexibility to shoot from almost anywhere while still delivering highest quality full-HD pictures for use standalone or in seamless integration with content from full-size cameras. The HDC-P1 delivers unprecedented picture quality thanks to its full use of the technologies from Sony's flagship HDC Series studio cameras.

Key Features:

• 2/3" full HD "Power HAD FX" CCDs


• Compact and Lightweight Design


• Two remote control optical filters


• Equivalent picture quality and control system as standard Sony HD camera system

Create » Content Acquisition and Capture » Cameras » Broadcast System cameras »

Capture the dynamic excitement of live sports in 4K ultra slo-mo with the HDC-4800 4K/HD Ultra High Frame Rate Camera System, together with its dedicated 4K Baseband Processor BPU-4800. Shoot full-resolution 4K Ultra HD images at up to 400P (8x) or Full HD at 800P (16x) to reveal split-second action. This all-in-one solution for UHFR recording and playback makes it easier for broadcast production personnel to deliver superb slo-mo coverage of sports and other live events that TV viewing audiences love.

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Polymotion Stage is the world’s first multi-solution mobile volumetric capture studio. For the very first time, content creators can easily capture volumetric assets at any location. The unique mobile studio environment that Polymotion Stage provides allows the creation of volumetric video, volumetric stills and avatars in any given surroundings, and in effect can be transported to where it’s needed, such as a broadcast studio or movie set. It has been developed by world leaders in camera robotics and automated broadcast solutions, MRMC, a Nikon Group company, in partnership with Dimension, leaders in volumetric capture and advanced virtual humans.

Our capture solutions can be deployed quickly to wherever the talent is on location. Our flight-ready Dome can be flat-packed and sent to any location with crew to allow volumetric capturing in remote locations or on set. The Truck, available from Autumn 2019, transforms and expands into a secure and private capture space in a matter of hours.

The state-of-the-art capture stage is comprised of 106 video cameras, capturing video at either 2k or 4k resolution. The cameras are positioned with 96 around the capture volume facing inwards, and 10 above pointing down. With multi-directional microphones, we can capture spatial audio or reference tracks to be sent to sound design.

When you shoot in the Polymotion Stage, the clients project is being managed and created by a specialist team who have worked with some of the biggest companies and names in the world. The resulting output are MP4 (which are small and flexible) and OBJ files meaning they can be used in a variety of traditional media, including broadcast, or 2D video, or in augmented, and virtual reality applications without unnecessary strain on your devices.

VOLUMETRIC IMAGES

For an efficient way to produce exciting 2D and 3D renders from the same capture, our circular array of high-resolution cameras provide incredible detail at the press of a button. You can take the raw data and work with your preferred post-production team, or we can polish the assets to have them ready to go.

VOLUMETRIC VIDEOS

Volumetric video allows you to pause, rotate and get closer to the talent. This exciting format provides you with a 3D video of the performance that can be used augmented into live broadcast, immersive, and traditional media formats.

For sports broadcasts, this could create new ways to provide analysis and commentary on performance. For live entertainment, this opens up new creative camera angles to delight your audience. The possibilities are endless.

AVATARS

Our multi-purpose Polymotion stages allow you to quickly capture your talent in static poses. Once captured, their digital models are taken through our avatar pipeline, making them ready to be animated or driven by mocap data.

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Create beautiful, clean, true high-resolution keys using the patented 0:4:4 UltrachromeHR output, a signal that contains full bandwidth color information for complete 4:4:4 data into the UltrachromeHR Chroma Keying System.

Create » Content Acquisition and Capture » Cameras » Broadcast System cameras »

Newly developed 1/3-inch 3CMOS HDTV Camera HC-HD300 with the concept of “The Broadcast quality” following the highest picture quality, functionality and reliability of Ikegami’s superb broadcasting top end camera UnicamHD HDK Series. HC-HD300 will be suitable for the usage at CATV/satellite broadcasting, educational and video production in enterprises.

• 1/3-inch 2.5 Megapixel 3CMOS Sensor


• Sophisticated Picture Quality


• Supports 1080i & 720p 4:2:2 HDTV Formats


• Compact Docking Style Camera Body


• Full Compatibility with all Unicam HD Systems


• Flexible Integration: Neutrik optical CON DUO Connector for hybrid Cables

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High performance image capture with quiet and accurate PTZ functionality, at a fantastic price-point.
PIVOTCam is the perfect companion for assembly, education, corporate and house of worship applications, along with events and broadcast POV productions.

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Broadcast Cameras

High End HD, 4K & 8K Cameras, DHR

4K Box Cameras

Helicopter Gimbal Cameras

Grade 1 Monitors

PHASE - Serving the Brazilian TV Market Successfully since 1980

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RouteMaster uses Rascular’s proven router control and emulation technology to form a powerful yet flexible router control system. Built on tried and tested software modules, RouteMaster can be used with a wide range of video and audio routers  from all major manufacturers.

It’s equally suitable for new router installations or increasing the capabilities – and lifetime – of existing systems. You can add third-party hardware panels to existing systems, add IP connectivity to older serial routers, or simply increase the number of control ports available.

The integrated web server means operators can control routers from any web browser, using custom control panels built with Helm Designer. And because it’s built on HTML5 standards, there’s no need for browser plugins.

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We are a reseller for Cameras and all camera accessories

Create » Content Acquisition and Capture » Cameras » Broadcast System cameras »

RouteMaster Lite brings familiar video routing capabilities to Newtek’s NDI® video. Based on our proven RouteMaster system, it gives operators a range of familiar control interfaces for controlling video switching.

Switching is suitable for all live, on-air applications, making RouteMaster Lite ideal for fast manual intervention.

No video streams are passed through the router system, instead traffic is redirected at the network level.  This means only minimal bandwidth and processor requirements are needed, regardless of the number of video streams and resolution. There’s also no additional video delay through the system. Additionally, RouteMaster Lite does not become a central point of failure: If the router system fails for any reason, video continues to flow from sources to destinations uninterrupted.

RouteMaster Lite is ideal for OB and production environments, supporting up to 20 sources and 20 destinations. For larger systems with more complex requirements, the same NDI switching technology is available in the full-featured RouteMaster system.

The built-in GUI is ideal for preset and take switching, showing resizeable video previews and audio metering  of the current video and the chosen source.

External Control

While control from the built-in GUI is fast and easy, it’s not ideal for all situations. Therefore RouteMaster lite supports external control from:

• Web Panels served by the integrated web server


• Familiar hardware panels like Blackmagic Design Smart Control


• Or, third-party software which uses the Blackmagic VideoHub protocol

You can use all these control methods simultaneously, with router status immediately visible to all users.

Video Player00:0000:15

 

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The Lumens™ VC-A50PN HD Pan/Tilt/Zoom (PTZ) IP camera is equipped with a professional 1/2.8 inch image sensor with Full HD 1080p output at 60 fps. It's powered by Power over Ethernet (PoE), an economical and easy integration solution. The superior 20x optical zoom lens, excellent white balance, and exposure mode deliver a clear image, even in low light or the extreme contrast of brightness and darkness in a lecture hall.

The VC-A50PN has Ethernet, HDMI, and 3G-SDI outputs that are simultaneously active. It supports live broadcasting with MJPEG, H.264 / SVC format with latency of less than 120ms. The camera covers wide shooting angles and achieves high-speed, quiet, and precise positioning with smooth PTZ operations.

The VC-A50PN is an applicable solution for lecture recording, videoconferencing, and live broadcasting applications. Available in black and white.

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London, ON, September 3rd 2019 - IO Industries Inc. announces the new VictoremTM 262G41-CX camera based on GPixel's new GMAX0505 CMOS 26.2MP global shutter CMOS image sensor. This model offers a new level of performance in a mini-CoaXPress industrial video camera, at a surprisingly low price.

With a maximum image resolution of 5120 x 5120, this model has the highest resolution in the VictoremTM family. The camera's dual CXP-6 interface delivers a maximum frame rate of 41fps at full resolution.

The GMAX0505 sensor is designed with the world's smallest 2.5μm charge domain global shutter pixel, offering the highest resolution square imaging format possible within a 1.1" optical size. Using the latest light-pipe technology, more than 65% peak QE is achieved, and with optimized tungsten light shielding applied to the memory node, the sensor's shutter efficiency is more than 80dB. Low noise of <3e- allows for dynamic range of >65dB.

The Victorem™ CoaXPress series is a broad range of compact industrial video cameras featuring high performance CMOS image sensors. The small size of the Victorem cameras, used with compact C-mount optics, enables high-resolution imaging within a smaller footprint, as well as lower weight and lower power consumption.

The VictoremTM 262G41-CX supports single or dual-link CoaXPress video output for high-speed video transmission at up to 12.5Gbps. High-resolution video can be rapidly sent to real-time image processing systems or uncompressed video recorders such as the DVR Express® Core 2 series from IO Industries. Low-cost and flexible coaxial video cabling is used with long cable lengths possible (up to 40m for full-speed applications, over 100m in reduced-speed cases). A single coaxial cable can, in addition to transmitting video from the camera, supply power and synchronization triggers and allow configuration of all camera parameters.

Highlights of the VictoremTM 262G41-CX camera include:

• 1.1" format CMOS sensor w. 5120 x 5120 resolution



• 2.5µm square pixels with charge domain global shutter technology



• Up to 41 fps output at full resolution with 8/10/12-bit format



• Monochrome and color models available



• CoaXPress 1.1 video interface with single/dual -link configurations up to 2x 6.25Gbps



• C-mount or optional Active EF-mount with remote focus and iris control



• Compact size: 33.0 x 44.0 x 53.7 mm (WxHxD), 140g (without lens



• Fanless design with <4W power consumption

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The starter pack is particularly convenient for advanced video applications: handling multiple video codecs, interfacing and processing video streams up to 8K UHD-2 in uncompressed & TICO and up to 4K UHD-1 in uncompressed, TICO, JPEG 2000, HEVC IP, AVC and MPEG 2.
Using a modular approach, the starter pack gathers all required modules to split the electronics into pre-validated subsystems:
1/ An IM-B20 processing module: groups FPGA, memory, security chip, local power supply and other essential components to run the FPGA in a credit card size module
2/ A connector: high-density board-to-board connector with serial transceivers able for 12G-SDI, 10G/40G/100G Ethernet, U-SDI.
3/ A IM-B21 carrier: application layer easily adapted to all required interfaces. Featuring a PCIe GEN3 x8/x16 bus, the IM-B21 can reach throughput supporting up to 8K-60p uncompressed video streams simultaneously as input and output.
The FPGA module can be seamlessly transferred from feasibility tests to mass production offering development teams much faster time to markets, empowering teams to focus on core business while leveraging market’s experts.

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Sony's PXW-Z280 4K 3-CMOS 1/2" Sensor XDCAM Camcorder continues the fine tradition of the XDCAM series of cameras. It captures 4K at up to 60p relying on three 1/2" Exmor R sensors that provide improved low-light capability when compared to standard sensors. The camera integrates a 17x optical zoom lens and an electronic. Features include: Three 1/2" Exmor R CMOS Sensors, 4K 60p Recording, Integrated 17x Optical Zoom Lens, Electronic Variable ND Filter, Supports XAVC Intra/Long, MPEG HD, DVCAM, Supports S-Log 3, Supports HLG for an HDR Workflow, Simultaneous 4K/HD Recording, 12G-SDI Output Supports 4K 60p, and Built-In 2.4/5 GHz Wi-Fi

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World’s first 4K HDR shoulder camcorder

Sony’s ground-breaking PXW-Z450 combines 4K resolution (3840 x 2160) with superbly balanced shoulder-mount ergonomics and a versatile 2/3-inch B4 lens mount. It’s a robust, high performance acquisition tool for 4K and HD news, documentaries, live events and general field production.

The PXW-Z450 records 4K QFHD (3840x2160) at 50p/59.94p, with 4K Slow and Quick motion up to 59.94p*, as well as a variety of HD formats including XAVC Intra, XAVC Long GOP, MPEG HD 422 and MPEG HD 420. The Z450 can record and output not only SDR but also HDR pictures as Hybrid Log Gamma (HLG) and S-Log3 with BT.2020 colour space

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Discover our line-up of live broadcast and studio cameras. Ideal for shooting at live events or in the studio, the wide range of cameras is built on Sony’s record of innovation and reliability. With options for 4K, 2K, High Frame Rate (HFR), High Dynamic Range (HDR) and ultra-slow motion ideal for sports and other broadcasts, these cameras combine cutting edge technology with a familiar operating system across the range.

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Panasonic Studio Camera range provides cost effective solutions for HD & 4K live production. Versatile camera systems support simultaneous SDR/HDR outputs, high speed shooting as well as includes long distance fibre optical transmission for broadcast.

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Inside a compact body that's ready for grab-and-shoot action, the FX6 packs a highly sensitive, full-frame image sensor with the power to expand your moviemaking creativity.

The FX6 includes; expanded ISO sensitivity, stunning bokeh and full-frame, cinematic colour science with S-Cinetone™, large pixels that deliver high sensitivity and low noise, a powerful BIONZ XRTM image processor, an impressive dynamic range for limitless expression, fast hybrid AF for accuracy and tenacity, real-time eye AF and face detection support, 4K6 120fps with every frame in focus, built-in electronic variable ND filter, architecture to prevent thermal shut down, 10-bit 4:2:2 recording, all-intra encoding available, 16-bit RAW SDI output, shooting modes that match creator workflows, and scene file function that allows easy look changes on-site.

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FX9, Sony’s full-frame 6K sensor camera with Fast Hybrid AF, Dual Base ISO and S-Cinetone™ color science.

The FX9 includes main features consist of: “Exmor R” sensor for stunning picture quality, 15+ stops of dynamic range and Dual Base ISO for an immaculate colour palette, enhanced fast hybrid AF eye & focus touch control that tracks your subject, electronic variable ND filter* and 16-bit RAW capability*. Along with it’s built-in Wi-Fi and 12G-SDI support accelerates your workflow with User 3D Luts and HLG*.

Cinematic colour science and HD image quality is achieved by S-Cinetone™ and using full-frame 6K scan mode or Super 35 4K scan mode with advanced oversampling technology.

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At the cutting edge of broadcast technology, Globecam is the world leader in live, point-of-view miniature camera technology. Globecam uses the very latest in low latency digital link technology to create the smallest and lightest devices. There’s a lot packed into this small frame – everything from mechanical stabilisation and overheat prevention to remote colour correction to help you keep your footage sharp, clear and vibrant. Globecam is currently being used at major events including Cricket on multiple continents, Rugby League, Union and Grand Slam Tennis. Premium global brands used our award-winning technology to wow their audience and deepen fan engagement. Globecam devices are provided as a managed service and are not available for sale.