Seeing as the Broadcast Video Expo (BVE2013) had rolled into town, it would seem logical that as a TV News Cameraman i should haul myself into our nations fine capital city to feast my eyes on the latest and shiniest of broadcasting gadgetry. Cutting edge, up to the minute and all digital. As the blurb might have said:
'The all new SonyCaniKon F-22ex-K... Real time, digital matrix iChip at 5 times Hi-Res optical performance with incorporated light to sharpness ratios, IPTV interpolation boards for superior streaming capabilities...'
Crikey, that's a new one. Or how about...
'The link provides an HD-SDI feed, reverse composite video plus bi-directional RS874 and TD-X199 data for full control of the bidirectional linear control, audio and video signals into packet based IP protocols.'
'4K Super fast X-RXChips with i-can superior digital interface (With Inter-lockable PXV-Ipr499 compatability) solid state storage solution (SSSS-iP5001 Workflow Systems) for the next broadcast generation...'
Err... Whatty-What-What..? Fuck me... that's me up to speed on the newest of technology in the broadcasting sector then. I began to wonder, whatever happened to a camera, a lens and a tape on a shelf..?
Ice blue LED's flickered on the newest of solid state cameras with no moving parts. Buttons flashed on shiny black boxes with Terra-Bytes of storage. A myriad of solutions tempted me to utilise this software or that hardware, with the promise of a faster, leaner and sharper digital workflow.
Super thin monitors as light as a feather, batteries with enough oomph to power an Apollo Mission, lights with controls to illuminate a small box or the Albert Hall, and microphones that can pick up a gnats fart at 30 paces. Impressive stuff.
I admit that as a News Cameraman, i felt a little lost. I updated a lot of kit last year to High Definition, which i expect to last me for around 8 to 10 years. From what i saw and from what i see in the industry from day to day, my kit may not last me another 8 to 10 weeks before becoming the equivalent of a box brownie. That's not to say that i didn't like what i saw. If money were no object, i would have spent a great deal, and my wife would have left me.
I quite fancied the humungous camera crane that was the size of a small house, or the brilliantly addictive heli-cams with eight rotors. So, with no money to spend i did what most TV News Cameramen the world over do best...
I interfaced and ingested a Hop infused liquid via a Hi-Res, solid state glass hardware solution system into my organic analog matrix with a view to doubling my 3D pixel count.**
**Warning: May cause audio and mainframe control chip problems.
Paul Martin is @ukcameraman on Twitter
www.media-attention.co.uk
'The all new SonyCaniKon F-22ex-K... Real time, digital matrix iChip at 5 times Hi-Res optical performance with incorporated light to sharpness ratios, IPTV interpolation boards for superior streaming capabilities...'
 |
| Cutting edge cameras... Boxy and buttony. |
Crikey, that's a new one. Or how about...
'The link provides an HD-SDI feed, reverse composite video plus bi-directional RS874 and TD-X199 data for full control of the bidirectional linear control, audio and video signals into packet based IP protocols.'
'4K Super fast X-RXChips with i-can superior digital interface (With Inter-lockable PXV-Ipr499 compatability) solid state storage solution (SSSS-iP5001 Workflow Systems) for the next broadcast generation...'
Err... Whatty-What-What..? Fuck me... that's me up to speed on the newest of technology in the broadcasting sector then. I began to wonder, whatever happened to a camera, a lens and a tape on a shelf..?
Ice blue LED's flickered on the newest of solid state cameras with no moving parts. Buttons flashed on shiny black boxes with Terra-Bytes of storage. A myriad of solutions tempted me to utilise this software or that hardware, with the promise of a faster, leaner and sharper digital workflow.
Super thin monitors as light as a feather, batteries with enough oomph to power an Apollo Mission, lights with controls to illuminate a small box or the Albert Hall, and microphones that can pick up a gnats fart at 30 paces. Impressive stuff.
 |
| Digital Matrix Storage Solutions... What could be simpler..? |
I admit that as a News Cameraman, i felt a little lost. I updated a lot of kit last year to High Definition, which i expect to last me for around 8 to 10 years. From what i saw and from what i see in the industry from day to day, my kit may not last me another 8 to 10 weeks before becoming the equivalent of a box brownie. That's not to say that i didn't like what i saw. If money were no object, i would have spent a great deal, and my wife would have left me.
I quite fancied the humungous camera crane that was the size of a small house, or the brilliantly addictive heli-cams with eight rotors. So, with no money to spend i did what most TV News Cameramen the world over do best...
I interfaced and ingested a Hop infused liquid via a Hi-Res, solid state glass hardware solution system into my organic analog matrix with a view to doubling my 3D pixel count.**
**Warning: May cause audio and mainframe control chip problems.
Paul Martin is @ukcameraman on Twitter
www.media-attention.co.uk
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