Next Generation Broadcast Camera Systems: User Profiles
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International Planning Guide
International Planning guide Indianapolis February 2012 Dear Super Bowl Broadcaster: With the NFL season about to get underway, preparations have begun for Super Bowl XLVI February 5, 2012 in Indianapolis, Indiana. If you plan to broadcast the game from the stadium, please note the following deadlines: 1. Sign and return the “Letter of Intent” AS SOON AS POSSIBLE. This is the only way to ensure your booth position is reserved. Requests received after September 9th are granted on a space-available basis. 2. Fill out and return the “Technical Requirements Form” and "General Services Form" by November 11, 2011. A cost estimate is generated for you by mid-December. Your assigned Unit Manager will be available to review details. If you withdraw after December 14, 2011 out-of-pocket costs will apply. 3. Fill out and return the "Accreditation and Hotel Request Forms" to the NY Office by November 18, 2011. 4. Sign and return a service contract from NFL Films by January 06, 2012. Your Unit Manager will review this with you and give you an opportunity to ask questions before signing the contract. At this time, you will be financially obligated to pay for the cost of your commentary position and any other services rendered. Additional requests and changes may be made until Game Day Thank you in advance for your cooperation this season. We look forward to working with you to assure your Super Bowl broadcast will be successful and rewarding. Best regards, Jeff Lombardi Director of International Production Operations LETTER of INTENT FOR ON-SITE BROADCAST SUPER BOWL XLVI ___________________________ intends to broadcast Super Bowl XLVI (Company Name) from Lucas Oil Stadium in Indianapolis on February 5, 2012. -
Broadcasting Department of Broadcasting and Journalism, College of Fine Arts and Communication
WESTERN ILLINOIS UNIVERSITY Broadcasting Department of Broadcasting and Journalism, College of Fine Arts and Communication Program of Study The Department of Broadcasting and Journalism offers a Bachelor of Arts in Broadcasting and Sports Broadcasting. The broadcasting curriculum is designed to meet the challenges of media convergence by providing multi-platform production skills to students. Students operate an FM broadcast station, WIUS and produce programming for wiutv3, using state-of-the-art, high-definition television facilities. Graduates of the program enter various careers in television, radio, cable, satellite and post-production operations, including directing, producing, reporting, on-air talent programming, sales, advertising, sports and post-production. News/Performance The news/performance track focuses on the preparation of students for careers in front of the camera and/or microphone. The wiutv3 station is the outlet for live, local television newscasts. Students learn to gather news, cover news events, edit news packages and produce and direct half-hour newscasts that reach Macomb and McDonough County viewers. There are opportunities to be reporters and anchors (news, weather and sports), as well as to produce and direct newscasts. WIUS-FM is the music, news and sports outlet on the radio side. On-air shifts are available to all majors every semester. WIUS-FM and wiutv3 are student-run, under the guidance of faculty and staff. Production The production track is designed for students interested in working in video, audio and/or film production and post-production. The program is hands-on and students work with faculty and peers in an interactive environment to learn production and editing skills. -
Course Syllabus
DMA 325 EFP Videography (TTh 9:30am-12:00pm) Dr. George Vinovich, Professor & Chair, Digital Media Arts Office Hours: TTh 12-3pm in LCH A215 (310) 243-3945 [email protected] Mario Congreve, Lecturer, Digital Media Arts Office Hours: TTh 12-1pm in LIB B108 (310) 243-2053 Cell (310) 704-7635 [email protected] COURSE OBJECTIVE : Technical and theoretical aspects of shooting professional video on location using electronic field production techniques and equipment. Technical emphasis on proper staging, lighting, framing, shot composition, miking, and camera movement. Producer/director emphasis on oral “project pitch” presentation, pre-interviewing, script writing, location scouting, production filming, and post production editing. Each student co-producer team is required to pitch, write, film and edit a 5-10 minute Documentary Production according to the Documentary Project requirements. MATERIALS: (2) SDHC cards for camera original source footage Sony SDXC 64GB and final edited sequence (1) Stereo Headphones with 1/8” Mini Plug and 20ft Extension (For monitoring boom audio) (1) Solid State Drive (no rotational drives) 500mbps USB 3 (For backup and finishing room) (*) Food and beverages for talent and crew on location shoots, rehearsals, and casting sessions. COURSE CONTENT 1. Camera Systems - setup and operation of cinema camcorder system; use of various prime lenses for master shot, OS, and CU; use of neutral density filters for achieving shallow depth of field; use of scene files and other related camera menu variables to achieve various effects. 2. System Peripherals - setup and operation of system peripherals such as fluid head tripod, gimbal, dolly, crane, slider, battery packs, and chargers. -
MASS COMMUNICATIONS and DESIGN FALL 2017 Chair’S Note Sports Broadcasting Grows by Melissa Sgroi, Ed.D
MCAD MASS COMMUNICATIONS AND DESIGN FALL 2017 Chair’s Note Sports Broadcasting Grows By Melissa Sgroi, Ed.D. By Dan Kimbrough, Assistant Professor Our students did New equipment purchases, with help from it yet again: Three Athletics and Alumni Relations, allows for students won media expanded coverage of MU events. We’ve awards. Each upgraded our state-of-the-art Tricaster student honed his system to allow for NDI capabilities, which or her skills through means we can send a video signal from work in class and different areas of campus back to our student media— TV studio in Lower Walsh Hall. We can MCN87 television, do multi-camera live production from Service by Design, Mangelsdorf Field, Anderson Sports Sean Lynch (2018) calls a game with Parker Cougar Radio and The Highlander—and Center, and the Lemmond Theater. These Abate (2019). they compete with students throughout events will be live streamed so off campus the state and the nation. fans will be able to view events. We also so that family, friends and alumni of MU have new cameras that will allow for single can stream the events. This will also help We are also celebrating our new Sports camera events to be live streamed as well. bolster our new Sport Communication Communications Specialization, which curriculum as students will get hands- is enrolling now. Cougar Radio and MCN 87 are working on training in shooting, producing and on covering all MU home athletic events directing live sports and events. Sport communication is a growing segment within the field, as it involves the robust integration of multiple media products and platforms. -
Efficient Camera Selection for Maximized Target Coverage In
. EFFICIENT CAMERA SELECTION FOR MAXIMIZED TARGET COVERAGE IN UNDERWATER ACOUSTIC SENSOR NETWORKS by Abdullah Albuali B.S., King Faisal University, 2009 A Thesis Submitted in Partial Fulfillment of the Requirements for the Master of Science Degree Department of Computer Science in the Graduate School Southern Illinois University Carbondale December 2014 THESIS APPROVAL EFFICIENT CAMERA SELECTION FOR MAXIMIZED TARGET COVERAGE IN UNDERWATER ACOUSTIC SENSOR NETWORKS By Abdullah Albuali A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Science in the field of Computer Science Approved by: Kemal Akkaya, Chair Henry Hexmoor Michael Wainer Graduate School Southern Illinois University Carbondale October 31st, 2014 AN ABSTRACT OF THE THESIS OF ABDULLAH ALBUALI, for the Master of Science degree in Computer Science, presented on 31 October 2014, at Southern Illinois University Carbondale. TITLE: EFFICIENT CAMERA SELECTION FOR MAXIMIZED TARGET COVERAGE IN UNDERWATER ACOUSTIC SENSOR NETWORKS MAJOR PROFESSOR: Dr. Kemal Akkaya In Underwater Acoustic Sensor Networks (UWASNs), cameras have recently been deployed for enhanced monitoring. However, their use has faced several obstacles. Since video capturing and processing consume significant amounts of camera battery power, they are kept in sleep mode and activated only when ultrasonic sensors detect a target. The present study proposes a camera relocation structure in UWASNs to maximize the coverage of detected targets with the least possible vertical camera movement. This approach determines the coverage of each acoustic sensor in advance by getting the most applicable cameras in terms of orientation and frustum of camera in 3-D that are covered by such sensors. Whenever a target is exposed, this information is then used and shared with other sensors that detected the same target. -
Top Ten Installation Challenges Table of Contents
ARTICLE Top ten installation challenges Table of contents 1. Cabling Infrastructure 4 2. Voltage transients 6 3. Power over Ethernet (PoE) 7 4. Environmental 10 5. Camera selection 12 6. Advanced Image Features 15 7. Camera placement 18 8. Tools 22 9. Documentation 23 10. End User Training 24 Introduction A successful camera installation requires careful consideration of several things. What cameras should you choose? What is the best way to install them? In this ten-step guide, we describe some of the challenges you can encounter during installation, and how to deal with them. We’ll guide you through areas such as cabling, network setup, environmental considerations, and camera selection and placement, as well as how you can make the most of Axis camera image features. 3 1. Cabling Infrastructure Poorly or incorrectly installed network cabling can cause numerous problems in your computer network. However small it may appear, a problem with network cabling can have a catastrophic effect on the operation of the network. Even a small kink in a cable can cause a camera to respond intermittently, and a poorly crimped connector may prevent Power over Ethernet (PoE) from functioning properly. If there is existing cabling in an installation, an adapter can be used: the AXIS T8640 Ethernet over Coax Adaptor PoE+ is an ideal choice for installation of network cameras where coax cables are already pres- ent and may be very long or inaccessible. AXIS T8640 Ethernet over coax Adaptor PoE+ enables IP- communication over existing coax video cabling and converts an analog system to digital. -
Educational Television Commission
Accountability Report Transmittal Form Organization Name: ETV Date of Submission: September 14, 2010 Organization Director: David Crouch Organization Contact Person: Mark Whittington Organization Contact’s Telephone Number: 803-737-3249 1 ETV 2009-2010 Accountability Report 2 Section I -- Executive Summary 1. Mission and Values “ETV enriches people’s lives through programs and services that educate our children, engage our citizens, celebrate our culture, and share the thrill of discovery and the joy of learning. Our values are South Carolina’s Uniqueness and Diversity, Educational Success, Public Service, A Great Place to Work, and Best Business Practices.” 2. Major achievements from the past year: • ETV television broadcast channels now include ETV-HD, South Carolina Channel/Create TV, and ETV World. ETV-HD showcases PBS and local programs. The SCChannel includes original South Carolina and regionally focused programs along with the best in how-to programs during the day on Create TV. ETV World hosts news and public affairs programming from a local, national and international perspective and State House coverage. • Carolina Stories was awarded a grant for local outreach and engagement in association with the Ken Burn's PBS National Park’s series. Two other Carolina Stories programs were awarded Southeast Emmys. The Connections series covered a variety of current topics that impact the minority communities in South Carolina including health care reform, the economy and green living. ETV’s news magazine program The Big Picture covered a number of diverse topics, including a rare one-on-one interview with Darla Moore, previews of the 2010 primary elections, and an exploration of the impact of health care reform on South Carolina. -
Audio PRODUCTION TRUCK SET up Audio Set up and Fax
PRODUCTION TRUCK SET UP Audio PRODUCTION TRUCK SET UP Audio Set up and Fax Announce Booth/Table set up Plug in XLR Cables according to cabling sheet. The back of the announce boxes are cabled as follows: Main Out = Microphone out from Multi-pair cable number 1 for play by play announcer , number 2, for color analyst or number 3 for the spare or Guest analyst IFB IN = from multi-pair cable number 10 for play by play announcer, number 11 for color announcer, or number 12 for the spare or Guest analyst. In most cases these cables will need to have a Y cord attached to duplicate the IFB signal for the Handheld stick microphone. TalkBack Out = multipair cable number 7. This cable requires a 3 way Y cord to enable one to connect all three accouncer boxes into the number 7 microphone line. Mic In = the XLR cable that is attached to the annoucer headphones Phones out = the ¼” plug that is attached to the annoucer headphones Please connect the 24VDC connector to power the annouce box. Not Not Not used used used Hand Held microphones In the Home TV Booth for football attach a microphone to the longer black cable on one of two 25 foot married pair XLR Cables. One end of the two married pair XLR cables the ends are close to being the same length, the other end the black cable will be significantly longer. Use the longer end of the married pair to plug into the IFB box, (blue cable), and the longer black cable for the microphone. -
S700 SNG Production Truck
S700 SNG HD MPEG4 SNG/PRODUCTION TRUCK Eutelsat Registration UKI 1870 General /Production Equipment (continued) Vehicle Model Mercedes Vario SWB Sound Mixer Yamaha DM1000 Length 6.2m Professional desk Width 2.4m IFB Equipment 2 Channel GSM system, Comrex IP Codec, 2 x ISDN Codecs, Height 3.4m 4 x Prospect IEM, RTS Zeus IFB Number (1) 07855 129821 Comms Duplex system with IFB Number (2) 07525 119251 various talk back panels Antenna Size 2.0m AVL Ku-band / Crew Comms 2 x Tait radio base station 1.0m AVL Ka Band IP with handsets TVRO Auto-pointing, roof mounted antenna Mics 2 x lapel, 2 x handheld, 1 x lip HPAs 2 x Xicom 750KHE Linearised Dolby Monitoring Full Genelec Dolby Surround monitor speaker system MPEG4/MPEG2 HD Encoders 3 x Ericsson AVP3000 HD Fibre System with 300m Cable On board – booking required HD/SD Vision & Sound Cabling 4 x 60m HD single video, Colour Depth 8 bit / 10 bit 1 x 60m audio multi (4 core) MPEG4 4:2:2 Yes Various XLR & BNC patch cables Modulation QPSK, DVBS, 8PSK, DVBS2, Power Cablin g/Requirement 50m - 63Amp single phase 16PSK Generator 15Kva BISS Yes UPS Yes Audio Inputs 4 pairs embedded Workspace MPEG4/MPEG2 HD IRD 3 x Ericsson RX8200 Sound Supervisor Comms-SNG Engineer MPEG4 4:2:2 Yes Vision Mixer/Director EVS Operator Modulation QPSK, DVBS, 8PSK, DVBS2 Racks Engineer BISS Yes Truck Infrastructure General /Production Equipment Snell-Vega 58 x 80 HD-SDI router IP /Internet 1.0m Ka AVL antenna on Tooway Axon Glue Newspotter platform with 4G backup plus WiFi access Tektronix Waveform monitor & rasteriser DEL Lines 2 x UK numbered VoiP lines TSL PAM2-3G audio monitor with Dolby options Vision Mixer FOR-A HVS-100 (8 input) Murraypro PPMs Trilogy TSG/SPG See reverse for interior layout plan Telephone +44 (0)1279 630555 Email [email protected] www.linksbroadcast.com S700 SNG HD MPEG4 SNG/PRODUCTION TRUCK Telephone +44 (0)1279 630555 Email [email protected] www.linksbroadcast.com. -
Mass Communication (MCOM) 1
Mass Communication (MCOM) 1 MASS COMMUNICATION (MCOM) MCOM 1130. Media Literacy. 1 Hour. [TCCN: COMM 2300] Students critically examine and analyze media found in the world around them, and explore existential issues within those media frameworks, particularly during times of cultural shifts. Through class discussions, interactive media demonstrations, and other experiences, this course helps students make sense of and control their media environments, as well as develop a critical approach to understanding and creating media. Prerequisite: None. MCOM 1300. Mass Communication. 3 Hours. MCOM 1330. Media, Culture and Society. 3 Hours. This course will survey the history and theory of mass media in American society with an emphasis on issues in broadcast television, cable television, and print journalism. Topics addressed include the impact of the printing press; evolution of print media, telegraph, film camera, and wireless technologies; structure of contemporary media industries; influence of advertisers, regulatory agencies, and ratings services; production, distribution, and syndication systems; social influence and personal use of mass media content. MCOM 1332. Writing For Mass Media. 3 Hours. [TCCN: COMM 2311] Designed to introduce writing for media across a wide spectrum of disciplines, this course will provide hands-on practice in basic writing skills for news, broadcast, the web, and public relations. Emphasis is placed on the enhancement of language and grammar skills. MCOM 1371. Audio Production & Performance. 3 Hours. [TCCN: COMM 2303] This course surveys the mechanics of audio production and the operation of studio equipment. Students study and practice the use of microphone techniques, music, sound effects, and performance. They are introduced to digital audio production and appropriate audio software. -
Lens Mount and Flange Focal Distance
This is a page of data on the lens flange distance and image coverage of various stills and movie lens systems. It aims to provide information on the viability of adapting lenses from one system to another. Video/Movie format-lens coverage: [caveat: While you might suppose lenses made for a particular camera or gate/sensor size might be optimised for that system (ie so the circle of cover fits the gate, maximising the effective aperture and sharpness, and minimising light spill and lack of contrast... however it seems to be seldom the case, as lots of other factors contribute to lens design (to the point when sometimes a lens for one system is simply sold as suitable for another (eg large format lenses with M42 mounts for SLR's! and SLR lenses for half frame). Specialist lenses (most movie and specifically professional movie lenses) however do seem to adhere to good design practice, but what is optimal at any point in time has varied with film stocks and aspect ratios! ] 1932: 8mm picture area is 4.8×3.5mm (approx 4.5x3.3mm useable), aspect ratio close to 1.33 and image circle of ø5.94mm. 1965: super8 picture area is 5.79×4.01mm, aspect ratio close to 1.44 and image circle of ø7.043mm. 2011: Ultra Pan8 picture area is 10.52×3.75mm, aspect ratio 2.8 and image circle of ø11.2mm (minimum). 1923: standard 16mm picture area is 10.26×7.49mm, aspect ratio close to 1.37 and image circle of ø12.7mm. -
1. Introduction 2. Size of Shot
Prepared by I. M. IRENEE [email protected] 0783271180/0728271180 1. Introduction Cinematographic techniques such as the choice of shot, and camera movement, can greatly influence the structure and meaning of a film. 2. Size of shot Examples of shot size (in one filmmaker's opinion) The use of different shot sizes can influence the meaning which an audience will interpret. The size of the subject in frame depends on two things: the distance the camera is away from the subject and the focal length of the camera lens. Common shot sizes: • Extreme close-up: Focuses on a single facial feature, such as lips and eyes. • Close-up: May be used to show tension. • Medium shot: Often used, but considered bad practice by many directors, as it often denies setting establishment and is generally less effective than the Close-up. • Long shot • Establishing shot: Mainly used at a new location to give the audience a sense of locality. Choice of shot size is also directly related to the size of the final display screen the audience will see. A Long shot has much more dramatic power on a large theater screen, whereas the same shot would be powerless on a small TV or computer screen. Wednesday, January 18, 2012 Prepared by I. M. IRENEE [email protected] 0783271180/0728271180 3. Mise en scène Mise en scène" refers to what is colloquially known as "the Set," but is applied more generally to refer to everything that is presented before the camera. With various techniques, film makers can use the mise en scène to produce intended effects.