mikkowilson
Steadi-Guru
Good stuff guys.
And no i'm definatly not sying that gear is cetegorized by price.. but I am saying that TODAY cameras designed for, and used by, broadcasters cost 20-60k plus glass.
There are so many things that go into a broadcast camera:
> Chipsize (whcih i actually consider a good (and normally true) rule of thumb:
2/3" - Broadcast
1/2" - Profesional / Industrial
1/3" - Prosumer
smaller than 1/3" - Consumer
> Lenses
> Recording format
> Colorspace - broadcast has long been defined as 4:2:2 - beacuse that's the techincal level of a broadcast signal, aka, what BetacamSP records.
> Connetions - a proper camera only has video outputs (why do you need a video input on a camera? the input on a camera is through the lens) - and those are for monitoring, many/most pro/broadcast cameras dont' have firewire, becuse it's an editign interface, editing is a deck's job.
A profesional or broadcast camera also has Genlock and Timecode inputs. it just has to, it's a 100% given. (this is one of the selling points of the [non broadcast] XL-H1)
> Form factor and controls. You can hand me ANY Broadcast camera, and I can sling it on my shoulder and shoot with it, without reading the manual or looking for the controls. I know where the white balance switch is, or the gain, or the power/cam/bars switch. They are standard. It's a level and way of operating.
Of course for multicamera then there is a whole other set of standards too.. namley: Must be Triax. - Multicore is basicaly dead, at least in the broadcast world, and even in the pro/industrial world if finacially possible.
And yeah, I'm far from beeing snobbish.. I can do some preaty dandy work with a 1/3" DV camera. I'll shoot with waht camera I'm given. But at the same time I wont' make myself look like a fool to other pros by claming a DVX to be a "Broadcast" camera.
..Of course for 'film' work it's a whole new deal as film has traditionaly not been about the gear but about the final artistic product.
- Mikko
And no i'm definatly not sying that gear is cetegorized by price.. but I am saying that TODAY cameras designed for, and used by, broadcasters cost 20-60k plus glass.
There are so many things that go into a broadcast camera:
> Chipsize (whcih i actually consider a good (and normally true) rule of thumb:
2/3" - Broadcast
1/2" - Profesional / Industrial
1/3" - Prosumer
smaller than 1/3" - Consumer
> Lenses
> Recording format
> Colorspace - broadcast has long been defined as 4:2:2 - beacuse that's the techincal level of a broadcast signal, aka, what BetacamSP records.
> Connetions - a proper camera only has video outputs (why do you need a video input on a camera? the input on a camera is through the lens) - and those are for monitoring, many/most pro/broadcast cameras dont' have firewire, becuse it's an editign interface, editing is a deck's job.
A profesional or broadcast camera also has Genlock and Timecode inputs. it just has to, it's a 100% given. (this is one of the selling points of the [non broadcast] XL-H1)
> Form factor and controls. You can hand me ANY Broadcast camera, and I can sling it on my shoulder and shoot with it, without reading the manual or looking for the controls. I know where the white balance switch is, or the gain, or the power/cam/bars switch. They are standard. It's a level and way of operating.
Of course for multicamera then there is a whole other set of standards too.. namley: Must be Triax. - Multicore is basicaly dead, at least in the broadcast world, and even in the pro/industrial world if finacially possible.
And yeah, I'm far from beeing snobbish.. I can do some preaty dandy work with a 1/3" DV camera. I'll shoot with waht camera I'm given. But at the same time I wont' make myself look like a fool to other pros by claming a DVX to be a "Broadcast" camera.
..Of course for 'film' work it's a whole new deal as film has traditionaly not been about the gear but about the final artistic product.
- Mikko
