As studios evolve to cater to both traditional and digital audiences, broadcast camera systems remain a cornerstone of the production process. In a recent industry discussion, prominent manufacturers shared their insights on how contemporary studio cameras are designed for adaptability, encompassing native IP integration, HDR/SDR workflows, compact designs, and sophisticated color science. The discussion highlighted the adaptation of these systems to LED-heavy environments, virtual production setups, and hybrid infrastructures that blend SDI and ST 2110.
The result is a comprehensive examination of how camera technology is influencing studio operations and image quality, along with future innovations. Bob Caniglia, director of sales operations, Americas, Blackmagic Design, noted: "Broadcasters are looking for cameras that can easily adapt to a range of studio setups, from traditional control room workflows to virtual production environments, while maintaining the highest possible image quality." He emphasized the importance of robust color science and at least 4K resolution for delivering a premium viewing experience, along with seamless integration, including cloud connectivity and compatibility with IP-based infrastructure.
Klaus Weber, director product marketing, Grass Valley, pointed out a key challenge: "One of the key challenges for cameras in live productions is the increasing use of LED walls and AR/VR applications. To achieve moiré-free image reproduction, it is essential to use cameras equipped with global shutter imagers, combined with specially designed optical low-pass filters optimized for the pixel structure of LED walls." Weber added that AR/VR applications often require flexible control over exposure timing, necessitating an image store for variable delay between the imager output and signal processing.
Caniglia also emphasized the increasing demand for bandwidth and storage due to the shift to 4K or higher resolutions. This necessitates infrastructure upgrades, including higher resolution switchers, routers, and improved network connectivity. Michael Bergeron, senior product manager, live video production ecosystems, Americas, Panasonic, highlighted that "New cameras are ST 2110 IP native, simplifying integration since the camera base station can be connected to multiple IP networks at once." Bergeron also noted the increasing support for other network protocols like Dante Audio, NDI, and SRT, potentially eliminating the need for a camera base station entirely.
Regarding IP connectivity, Caniglia stated: "Studios are prioritizing cameras that either have native IP connectivity or that have other seamless SDI-to-IP bridge options. Interoperability is key. Studios want gear that works well with existing routing, control and monitoring systems without adding complexity." Weber added that fully uncompressed ST 2110 IP connections can replace traditional SDI interfaces, while compressed options like NDI, SRT, or ST 2110 with JPEG XS offer greater flexibility. NativeIP technology, which connects camera heads directly to IP networks, provides the deepest level of IP integration.
Bergeron addressed the need to support both HDR and SDR screens, stating that "Even with an HDR workflow, operators still need to support SDR screens which remain widely used. HDR devices must also provide an SDR image, requiring offset adjustments as conversions vary." Simultaneous HDR/SDR workflows are often used with conversion tools to ensure consistent image quality. Weber added that a "closed-loop shading" workflow is essential for optimal image quality in both formats. Internal HDR-to-SDR LUT processing within the camera system, with the capability to load custom LUTs, minimizes the need for additional down-conversion hardware.
Hiroto Kato, VP, imaging products and solutions, business planning and strategy, Canon, emphasized the importance of reliability and flexibility in lens selection. Lenses need to resolve for both 4K and 8K and be versatile enough for various environments. He suggested a mix of medium-range broadcast lenses, such as the CJ27ex7.3B, and studio box lenses, such as the UJ27x6.5B.
Caniglia concluded by highlighting the growing interest in all-in-one solutions that simplify production without compromising quality, emphasizing efficiency, smaller size, and intuitive operation, even for smaller crews. Recent advancements have made excellent image quality possible with more compact and affordable studio cameras.