NG
Ah - never heard that distinction used before. Must be a US thing. Here an HDC-2000 would be called a 'full size' and and HDC-2500 would be called a 'lightweight'. In the early days of lightweights they were often described as 'handhelds' because they were often only used when handheld working was required, as they sometimes had compromised picture quality.
However once we switched to CCDs that distinction had pretty much gone, as they delivered identical picture quality, and many broadcasters and facilities stopped buying 'full size' cameras and ran entirely with 'lightweights', using box lens conversion cradles for big lenses if needed. This was particularly the case for outside broadcasts where running an entirely light-weight fleet of cameras allows you greater flexibility of deployment. The same was also true of some, but not all, studio operations. The BBC moved to be entirely lightweight, whereas some facilities houses, like TLS, still run a mix of full-size and lightweight.
'Box' in the UK is used to describe lenses. 'Brick' is the univeral term for cameras like the P1 here. In fact the P1 is at the larger end of the scale for those kind of cameras.
There is also a special class of lightweight - called a 'splittable', where the optical block and CCD+basic processing is removable from the camera, and connected via a multi-way cable, to allow for operation in confined spaces etc. Sony brand this as a T-variant, http://cvp.com/index.php?t=product/sony_hkc-t1500 It's a good alternative to the P1 when you need a full facility camera (triax/fibre connectivity, reverse vision, talkback etc.) but have limited space. The SD version - the T70 - was used a lot for sport and music by the BBC (providing the whip pans on the Bob/Luge coverage that the BBC were host broadcasters for in the 1994 Winter Olympics in Lillehammer for instance)
Suspect the P1 HAS replaced the T-series in a lot of situations though - particularly as running HD-SDI over fibre is now quite trivial, so the benefits of a SMPTE or Triax connection are less important..
I'm not sure how the Panasonic camera would shoot in a standard studio operation but the PQ at the brightly lit NYSE looks comparable to the studio.
Suspect if all the cameras are Panasonic you have fewer issues of camera matching between brands, and if the lighting is favourable they should do an OK job. It's difficult to buy a dreadful camera these days, but Sony and GrassValley are the mainstays here (with a little bit of Ikegami and Hitachi on the margins and at the lower end)
noggin
Founding member
Ah - never heard that distinction used before. Must be a US thing. Here an HDC-2000 would be called a 'full size' and and HDC-2500 would be called a 'lightweight'. In the early days of lightweights they were often described as 'handhelds' because they were often only used when handheld working was required, as they sometimes had compromised picture quality.
However once we switched to CCDs that distinction had pretty much gone, as they delivered identical picture quality, and many broadcasters and facilities stopped buying 'full size' cameras and ran entirely with 'lightweights', using box lens conversion cradles for big lenses if needed. This was particularly the case for outside broadcasts where running an entirely light-weight fleet of cameras allows you greater flexibility of deployment. The same was also true of some, but not all, studio operations. The BBC moved to be entirely lightweight, whereas some facilities houses, like TLS, still run a mix of full-size and lightweight.
'Box' in the UK is used to describe lenses. 'Brick' is the univeral term for cameras like the P1 here. In fact the P1 is at the larger end of the scale for those kind of cameras.
There is also a special class of lightweight - called a 'splittable', where the optical block and CCD+basic processing is removable from the camera, and connected via a multi-way cable, to allow for operation in confined spaces etc. Sony brand this as a T-variant, http://cvp.com/index.php?t=product/sony_hkc-t1500 It's a good alternative to the P1 when you need a full facility camera (triax/fibre connectivity, reverse vision, talkback etc.) but have limited space. The SD version - the T70 - was used a lot for sport and music by the BBC (providing the whip pans on the Bob/Luge coverage that the BBC were host broadcasters for in the 1994 Winter Olympics in Lillehammer for instance)
Suspect the P1 HAS replaced the T-series in a lot of situations though - particularly as running HD-SDI over fibre is now quite trivial, so the benefits of a SMPTE or Triax connection are less important..
Quote:
I'm not sure how the Panasonic camera would shoot in a standard studio operation but the PQ at the brightly lit NYSE looks comparable to the studio.
Suspect if all the cameras are Panasonic you have fewer issues of camera matching between brands, and if the lighting is favourable they should do an OK job. It's difficult to buy a dreadful camera these days, but Sony and GrassValley are the mainstays here (with a little bit of Ikegami and Hitachi on the margins and at the lower end)
