KDKA, which is owned by CBS, and Cox’s WPXI have been sharing a helicopter for several years now as a way to share the cost of having an aircraft on standby for news stories. 

That agreement, however, is slated to end soon, and neither station plans on replacing the chopper with one of its own.

Instead, photojournalists licensed to operate drones equipped with cameras will be used to gather more aerial footage as needed.

The move means that Hearst’s WTAE will be the only station in the market left with its own helicopter, which is branded as Sky4.

Most local TV stations don’t actually own their news helicopters outright, instead paying a third-party to hold own and maintain the craft, but typically it’s only used for newsgathering purposes by the station or stations in question.

Going forward, it is possible that KDKA or WPXI could pay a daily or hourly fee to a local helicopter charter company if aerial footage is needed that can’t be achieved using a drone (this is common in markets where stations have gotten rid of helicopters as well).

Helicopters used to be more popular at TV stations, especially in larger markets and were often featured with much fanfare in station promos and would also sometimes touchdown at local events. 

However, as operating costs rose and drones emerged as an alternative to capturing aerial footage, including live views, many station management was left questioning if the expense was worth it. 

Some opted to share an aircraft as a way to cut down costs, but it now appears even that expense is becoming harder to justify.

News choppers are popular for allowing stations to patrol local interchanges and freeways for traffic snarl ups, capture video of fires, car accidents and, of course, infamous car chases.

Drones used for commercial purposes, including newsgathering, require an operator to obtain a license issued by the FCC, though one is relatively easy to obtain and does not require anything close to the training or skill to pilot a full size aircraft.

Drones do have some disadvantages over helicopters: They often can’t fly as high as most helicopters or for as long. Most drones use batteries while helicopters use fuel. 

When gathering news footage, drone operators are also required to maintain “line of sight” to the drone, meaning they must be able to see it (or have a second spotter in communication with them who is watching).

This could limit how far the drone could fly from the launch site, though in many cases the battery would drain if the drone flew that far away and likely end up losing power and ultimately crashing.

News helicopters, like many small aircraft, do have some significant safety issues. 

Back in December 2023, two staffers at WPVI in Philadelphia were killed when their helicopter crashed on its way back from an assignment. Unfortunately, the station is not alone in ones that have lost staffers to chopper crashes. 

The post Pittsburgh stations won’t continue to use shared news chopper appeared first on NewscastStudio.

By adding SRT support to its encoders and decoders, the company can now bridge SDI and ST-2110 environments on the ground, with cloud processing environments that use the SRT protocol. SRT support sits alongside the company’s support for Zixi and RIST, allowing customers to use a wide range of industry-supported formats.

The implementation has been extensively tested against numerous third-party products for interoperability.

“Many content providers are using the SRT protocol to send and receive video over the internet,” said Kieran Kunhya, Founder and CEO of Open Broadcast Systems. “By creating a highly sophisticated in-house implementation, we are able to provide the highest reliability possible for our customers”

The SRT implementation will be shipped to customers starting today.

Open Broadcast Systems is a leading-edge manufacturer of encoding and decoding for B2B video contribution and distribution. Its software-based solutions are deployed to deliver premium video content over any network, from satellite to IP. High-quality solutions developed by Open Broadcast Systems deliver services to millions of people every day, including many major sporting and breaking news events.

Encoding and decoding solutions from Open Broadcast Systems are high quality, cost-efficient and agile, able to be developed and installed in extremely short timeframes.

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Control Room Collaboration Over IP
In the Control Room Collaboration pod, attendees will see how Matrox Video’s encoders and decoders, IP KVM extension and switching solutions, and video wall controllers enable smooth and seamless collaboration over IP and increase operator efficiency and decision-making. To demonstrate, the pod will feature a video wall and an operator workspace driven by the following Matrox Video products:

Matrox Extio 3 IP KVM extenders and KMLync USB keyboard/mouse switches enhance operator efficiency by enabling remote monitoring and control of systems across a multimonitor workspace with up to four 4K or 16 full-HD displays. In this way, operators can visualize more data and seamlessly control — with one keyboard and mouse — multiple systems that have 4K/quad-FHD video ports, fast switching, and built-in multiview capability. A secure and scalable IP KVM matrix system, Extio 3 operates at very low bit rate over Gigabit Ethernet LAN, WAN, and the internet.
Matrox Maevex encoders/decoders for H.264/H.265 streaming and recording – Maevex 6100 Series and Maevex 7100 Series offer high-quality, high-density, ultra-low latency live streaming and recording to capture and share all AV sources and data points for all kinds of collaborative applications. Users can pair Maevex 6100 Series encoders and decoders to achieve full-frame synchronization from multiple sources. The Maevex-captured streams can be displayed on a Matrox LUMA Pro-powered video wall.

Matrox LUMA Pro graphics cards leverage Intel® Arc GPUs to create versatile baseband and IP-based video wall systems with robust H.264/H.265 decoding. LUMA Pro supports up to two 8Kp60, two 5Kp120, or four 5Kp60 DisplayPort 2.1 monitors, and users can combine cards for a high-density-output video wall of up to 16 synchronized 5Kp60 displays. Frame-locking up to four LUMA Pro cards facilitates easy addition and synchronization of displays. Featuring advanced GPU-based media codec engines and supported by Matrox Mura software libraries, these cards enable the decoding and display of over 40 full-HD streams per card. Also on display will be a new quad HDMI® capture PCI Express® card engineered for video wall use cases that require high-density HDMI streams up to 4Kp60.

Video Production, Routing, and Distribution
This pod will focus on live production in pro AV and the use of SMPTE ST 2110 in live event venues, such as theaters or corporate and government environments where the organization is working with live events, producing and mixing live content for distribution locally and beyond. The pod will demonstrate how easy and cost effective it is to distribute Panasonic Kairos live production content locally within the organization’s LAN with Matrox ConvertIP converters and ultra-low latency encoders/decoders. These compact appliances support both SMPTE ST 2110 and IPMX and preserve the quality and real-time nature of the live event content they are distributing, while also simplifying network requirements and working within the organization’s standard network infrastructure.

The ConvertIP demo will also show the new daisy-chain feature that reduces installation costs and increases network efficiency and resiliency. In environments like stadiums and arenas, airports and transportation hubs, and in various digital signage applications, ConvertIP daisy-chaining makes it possible to distribute multiple streams of content efficiently and cost-effectively throughout the physical environment. Facilities get more out of any active network port, use less network equipment, and reduce installation of network wiring runs. All of this equals lower cost and more efficient and effective installations.

Streaming and Recording
Pro AV users interested in streaming and recording H.264/H.265 content with ultra-low latency will see Matrox Maevex encoders and decoders in action. Matrox Maevex 6100 Series encoders/decoders and the new Maevex 7100 Series encoders enable multichannel, ultra-low latency, low bitrate, high-quality, simultaneous streaming and recording and zero-latency pass-through for real-time output of AV content in collaboration-focused environments. With these capabilities, operators can distribute critical content to any location to facilitate informed, accurate, real-time decision-making.

Besides the pod demonstrations, Matrox Video will showcase the Matrox ConvertIP Series at a few partner booths, including AIMS, AMD, Panasonic, and NETGEAR. On Feb. 1, Matrox Video will host a cocktail party in its booth (5D500). Attendees are invited to stop by for drinks and light appetizers from 4 to 6 p.m. and visit the Matrox Video booth throughout the show for other exciting opportunities.

More information about Matrox Video and its products is available at video.matrox.com.

The post Matrox Video will highlight AVoIP options at ISE 2024 appeared first on NewscastStudio.

The VS-PTC-300 IP POE PTZ controller allows users to control multiple cameras using the same or different protocols, which is beneficial while migrating to a larger set-up. It can control up to seven-RS232 cameras, fourteen-RS422 cameras and up to 255 NDI/IP cameras. It also allows easy NDI/IP set-up utilizing the NDI/IP discovery set-up.

“The VS-PTC-300’s layout provides 10 ‘instant access’ camera control buttons, which reduces fumbling when quick action is required,” says Greg Boren, Product Marketing Engineer at Marshall Electronics. “In addition, the information display screen doubles as a video monitor for NDI and RTSP streams. Also, there is no need to type in the camera number before operating the camera; just select the camera button and you’re in control. These small upgrades may seem like simple improvements, but camera operators will be thrilled with these changes.”

The VS-PTC-300 is designed to operate seamlessly across multiple camera protocols on a single network. Used in live event production and content creation, the VS-PTC-300 offers detailed operation through a high-quality PTZ joystick, professional zoom rocker and individual fine-tune adjustment knobs. Settings include iris, white balance, exposure, red/blue, shutter speed, focus, pan/tilt speed and zoom speed.

The VS-PTC-300 can store up to six selectable ASSIGN function keys and save up to 256 camera presets with memory of image setting parameters. Dedicated knobs and control buttons simplify direct access to frequently used functions without needing to use on-camera menus. The VS-PTC-300’s joystick allows “one hand” PTZ/Focus or use the convenient rocker for Zoom. Its solid construction ensures that the controller will not slide while operating the joystick. The built-in display also allows the crew to easily check framing/focus, the team can store presets and also practice camera moves.

The post Marshall releases VS-PTC-300 PTZ Camera IP/ NDI controller appeared first on NewscastStudio.

Clear-Com boasts the broadest range of intercom solutions, and attendees will experience a variety of products at the company’s stand, including the award-winning Arcadia® Central Station, the latest updates to the Eclipse® HX Digital Matrix,  the addition of Bluetooth support to the FreeSpeak II® 1.9 beltpack and the EQUIP® wireless intercom system. Adding to the showcase will be the debut of HCI Live, a control API for Eclipse. Clear-Com is saving its biggest new product announcement for just before the show, so stay tuned for that news. 

HCI Live for Eclipse enables simple and effective integration option between Eclipse systems to and third-party paging systems and AV controllers in theater and live performance installations. Iceland’s Harpa’s performing arts center was the first installation to use HCI Live, providing an interface between Clear-Com and Q-Sys, as well as Dante connectivity, to run paging messages and announcements straight from the intercom panels. 

At ISE, Arcadia takes the spotlight as a popular choice for the largest and most complex live events. The stand will showcase the newest features in Arcadia, including I.V. Direct and increased capacity for FreeSpeak® beltpacks, transceivers, and HelixNet® endpoints, making Arcadia the most powerful 1RU intercom device on the market. 

The latest update to the industry standard FreeSpeak II wireless system is Bluetooth support on 1.9 GHz beltpacks, a solution that opens up a world of possibilities for wireless communication and offers a cableless, hands-free experience to users, as well as a new mode of operation for training which will be a major enhancement for some. 

For applications requiring a broad range of point-to-point workflow options, Eclipse HX matrix is a standout choice at the Clear-Com stand. Released in October of this year EHX 13.1 is the latest version of configuration software for Eclipse. EHX 13.1 delivers an industry-first innovation with role management advancements for a streamlined configuration process and improved user experience, making it easier for users to stay connected. 

Director of Sales for the EMEA Region Richard Palmer states: “ISE 2024 marks an exciting chapter for Clear-Com, where innovation takes center stage. Our commitment to providing cutting-edge communication solutions remains unwavering. The unveiling of HCI Live and the anticipation of a new product announcement proves our dedication to shaping the future of intercom technology. Join us at ISE, where we invite you to experience firsthand the future of communication excellence.” 

The post Clear-Com set to unveil new intercom solutions at ISE 2024 appeared first on NewscastStudio.

The chopper was being operated for 6ABC’s Action News with a photographer and pilot on board around 8 p.m. local time.

The duo was returning from an assignment near Jersey Shore when it crashed in Washington Township, New Jersey.

The crash site is in a remote area of Wharton State Forest and preliminary data shows that the chopper lost elevation twice in the time leading up to the crash. Data also shows it struck trees as it dropped out of the air.

The victims of the crash have been identified as pilot Monroe Smith, 67, and the photographer Christopher Dougherty, 45. Both have been part of the Action News family for “years.”

Other staffers are mourning the loss.

“Our hearts are just broken for these men. They’re broken for their families,” reporter Katherine Scott said on air. “We just can’t believe this has happened.”

So far, both the FAA and NTSB have been dispatched to the scene. The cause of the accident is so far unknown. 

Once investigators complete an on-scene survey, the wreckage will be transported to a secure facility for further inspection and analysis. 

The craft, which is branded as Chopper 6, is an American Eurocopter AS-350A-STAR.

Like many newsgathering helicopters in the U.S., the station does not own the craft directly. Instead, it contracts with U.S. Helicopters Inc. to manage the operate the helicopter.

WPVI reporter that U.S. Helicopters has reached out to the victims’ families.

Unfortunately, crashes involving news helicopters are no stranger to TV newsrooms around the world, so much so that Wikipedia has a page dedicated to a list of them.

The post 2 killed in Philly station helicopter crash appeared first on NewscastStudio.

“The enhanced auto tracking functionality of our award-winning KY-PZ510 Series PTZ cameras is designed to follow one person and can be used to select one of multiple people within its field of view ― such as an instructor, pastor or a specific individual,” said Joseph D’Amico, Vice President, JVC Professional Video. “This latest firmware update aims to further enhance the creative possibilities set forth by these features, which are ideal for classrooms, corporate settings and houses of worship, among other applications. We look forward to seeing what our customers will now be able to achieve with the solution.”

With these latest features, users will be able to use the ‘Standard’ setting to set the designated position of the tracking system, adjust the headroom or indicate subject framing options, such as upper body or above the chest. The ‘vertical’ alignment setting will also enable users to adjust the amount of space above the presenter. Additionally, the new ‘Area’ setting is intended for users to designate an area from within the field of view in which the camera will stay stationary unless the speaker has left that space. Multiple spaces can be set for this function.

The ‘Stage’ setting establishes the left and right panning borders of the KY-PZ510 Series cameras, while ‘Wide Area’ sets stationary camera positioning concentrated towards the center of the stage. This provides minimal motion distraction while ‘Standard’ auto tracking is engaged, should the subject travel beyond the outer borders. The new firmware includes a ‘Fine Adjustment’ mode, in which the camera adjusts the framing of the subject to the preset position within a maximum six-second time span.

A free firmware update is also available for the JVC RM-LP100 Remote Camera Controller and web interface, which can now be used to send auto-tracking commands for the cameras via WEB API. Additionally, while in auto tracking mode, the controller can be used to select an individual or set tracking ON/OFF, using the simple left/right lever on the device.

The award-winning features of the KY-PZ510 Series include a super-wide horizontal angle of view (80 degrees) and focal length of 21.8 to 261.8 millimeters, along with incorporated Vertical Interval Time Code (VITC) with Network Time Protocol (NTP) for multi-camera synchronization. Using the latest HEVC technology, the cameras ensure higher quality video at lower bitrates for remote production over the internet (REMI). The KY-PZ510N can also simultaneously output NDI, SRT and RTMPS for hybrid local/remote workflows to deliver the highest quality distribution to the world’s most popular CDNs.

With the new firmware updates, JVC has also released new preset options for exposure, color, image and PTZ settings. These functions will also be available across all NDI-enabled JVC PTZ cameras, including the KY-PZ400N and KY-PZ200 Series, which have been upgraded to NDI Version 5 with their respective free firmware updates.

The post JVC adds five auto-tracking features for its 4K KY-PZ510 PTZ camera series appeared first on NewscastStudio.

“Customers at every level from freelance producers up to large scale media networks are demanding safeguards against what looks like a relentless transition to ever higher mastering and delivery standards,” says Alan Keil, Vice President and Director of Engineering at Ikegami Electronics (USA), Inc. “The license-key option provides the freedom to invest in solutions that most exactly match your current business model without risk of losing a production contract because your equipment is not future proof. 4K-UHD is the logical format for high-budget mastering especially in the USA where ATSC 3.0 offers a potential route for terrestrial and satellite-based 2160p direct-to-home transmission.”

“The license-key option adding high-frame-rate video capture is another big advantage when and where needed for slow-mo sports, wildlife documentaries and the like,” adds Gisbert Hochguertel, Ikegami Europe Product Specialist. “HDR is meanwhile becoming increasingly popular among video streaming services such as Apple TV Plus, Netflix and Prime Video. Given that almost every TV set sold today is UHD-HDR compatible, a growing number of terrestrial and satellite broadcasters now offer HDR content via their online channels. The UHK-X600 comes with Hybrid Log Gamma as standard including the ability to select between BT.2020 and BT.709 colour spaces. Global shutter imagers minimise artifacts when televising LED screen walls or flash/strobe illuminated stage environments.”

The latest extension to Ikegami’s Unicam XE product line up, the UHK-X600 is designed for use in studio or OB applications as well allowing battery-powered over-the-shoulder location production. Incorporating three 2/3-inch CMOS global shutter imagers, it delivers 1000 TVL resolution, minimal aliasing plus a high sensitivity of F11 @ 2000 lux (in 50p mode). Measuring a compact 34 x 24.5 x 15.5 cm (13.4 x 9.6 x 6 inches) and weighing only 5 kg (just over 11 pounds), the UHK-X600 accepts all B4 ENG/EFP-lenses and supports chromatic aberration correction, vignetting correction, ramping compensation and remote control of backfocus when the latter is also supported by the lens. When combined with Ikegami BSX-100 or CCU-X100 control units, the camera optionally supports simultaneous output in UHD and HD video formats.

Ikegami’s UHK-X700 includes the same features as the UHK-X600 plus UHD-frame rate (3840×2160@50p, 59.94p) operation as a standard feature. If required, the UHK-X700 can also operate in 4K/UHD 2x speed or in Full HD format at up to 8x speed.

Among UHK-X700 4K-UHD camera sales highlights during 2023 were system purchases by CERTV, State Radio & Television Corporation of the Dominican Republic, for use in a variety of production roles on the corporation’s Radio Televisión Dominicana channel, RTVD 4. Each UHK-X700 communicates via hybrid SMPTE fiber camera cable from the main RTVD 4 studio floor to an Ikegami BSX-100 UHD/HD multi-format base station located in the production control gallery. “UHK-X700 cameras were chosen based on the reputation of Ikegami equipment for high signal quality, durability and excellent post sale support,” comments Luis Aquino, CERTV’s Director of TV and Radio Technology. “This investment forms part of RTVD 4’s gradual transition to HD program production and digital transmission.”

RE:LIVE Productions, one of Singapore’s leading providers of creative video services, invested in Ikegami UHK-X700 systems. In addition to the cameras, the purchase includes BSX-100 base stations, OCP-300 operating control panels and full-HD VFL701D 7-inch LCD viewfinders plus a 2-inch monocular VFL201D. These are being used in RE-LIVE Productions’ studio projects as well as being made available as part of the rental fleet. “RE:LIVE Productions has operated Ikegami HDK-55 camera systems successfully for the past five years,” comments Yasunori Kanno, President of Ikegami APAC. “They were very pleased to find that we provided consistently strong support. They chose the UHK-X700 cameras as part of an upgrade to 1080p 50/60 high definition. The UHK-X700 systems also provide the resources to create content in multiple formats to match a wide range of customer requirements.”

The post Ikegami adds UHK-X600 multi-format camera appeared first on NewscastStudio.

“We’re not known to back down from a challenge,” says Gideon Ferber, Senior Vice President of Product at Pixotope. “The subject of adding zoom capabilities to markerless TTL camera tracking has long been thought to be impossible, until now. With the ability to zoom, users experience the creative freedom to capture more dynamic and engaging shots while still enjoying the same streamlined setup and operation that Pixotope is known for. With the introduction of this capability, we’re opening up new creative possibilities and delivering greater operational efficiencies in the process.”

With Pixotope Fly, broadcasters are given an accessible out-of-the-box tracking solution to incorporate AR graphics indoors, outdoors, or in studio environments with precision and flexibility. Thanks to its advanced computer vision technology, the TTL tracking solution uses visual feature points like geological formations, tree patterns, or architectural details to dynamically anchor the AR graphics and create a virtual point cloud reference system that adapts seamlessly to changing conditions. This effectively eliminates the need for tracking hardware, such as physical markers, camera and lens encoders, and the associated costs that come with them. As a result, there is a notable reduction in both complexity and cost, increasing overall efficiency and accessibility for broadcast operations of all sizes while providing unparalleled creative freedom with a level of accuracy and flexibility that was previously unattainable.

Zooming In on Unprecedented Benefits
The addition of dynamic zoom capabilities to Pixotope Fly is paving the way for virtual production adoption with benefits such as:

Enhanced Operator Experience: Marker-based systems limit the type of shots an operator can capture due to restrictions like close shots requiring physical proximity and tracking disruptions in confined settings. Pixotope Fly zoom capabilities streamline production by eliminating the need for marker placement, allowing for reduced resource costs, enhanced tracking stability, and a wider range of lens options for more captivating and diverse shots without the headache.

Expanded Creative Flexibility: Pixotope Fly’s dynamic zoom functionality eliminates constraints associated with fixed camera lenses. This update empowers creators to capture intricate shots while maintaining consistent tracking. This milestone lets audiences get closer than ever before and grants creators unprecedented flexibility and creativity in their productions.

Elevated Viewer Experience: Allowing for the capture of complex imagery with a broader range of lens options, viewers can now expect even more dynamic and visually stunning shots, elevating the overall quality of content. Providing an incomparable level of immersion to the audience, producers can ensure every frame is a captivating visual experience that exceeds expectations.

“As we continue to push the boundaries of what’s possible, the addition of dynamic zoom capabilities to Pixotope Fly marks a pivotal advancement; we’re empowering operators to explore new creative horizons while reducing costs and enhancing tracking stability. In the process, we’re setting a higher standard for audience attraction and engagement,” concludes Gideon.

The post Pixotope adds Fly, zoom capabilities for TTL camera tracking appeared first on NewscastStudio.

Encore Broadcast Solutions, with headquarters in Tampa, served as the systems integration firm on the project, which consisted of set design, a control room with a Broadcast Pix GX-Hybrid video production switcher, three Panasonic AW-UE160 4K PTZ cameras, and Brightline lighting.

“Lighting is often thought of last in set design,” said Tampa-based Lighting Director Earl Thomas. “Once the set is there, you have to work with what you got. With this project, the set was pushed back close to the walls. Thankfully, the Minnows are so small, you can rotate them. And with the color-changing capability, they provide gorgeous accent lighting. The compact size of the Minnows with the power of an LED gives off a whole lot of light in a small space. We could light every area we needed to without any limitations.” Thomas worked with freelance lighting board programmer, Alex Amyot, on the KERO lighting design.

The TV studio room’s dimensions are roughly 25’ x 28.’ A lighting grid was added to the room, which has 11-feet-high ceilings. The grid is installed 10-feet off the floor. Thomas added that the ability to daisy chain the power and DMX controls of the Brightline fixtures made it even easier to place the lights where he wanted. “That really helped us in such a tight space,” said Thomas.

Doug Tayler of Encore Broadcast Solutions reports that more government organizations are building their own studios for internal productions and broadcasts, and they typically want something they can operate with their own staff. “They want to be able to do everything themselves, from adjusting the lighting to operating the switcher. Thanks to technology like Brightline offers we can easily incorporate the ‘set it and forget it’ ethos into our design,” said Taylor. “One set uses a Planar 165” diagonal video wall. Lighting that set was a challenge, but Brightline and Earl handled it like a champ.”

“This was a great team effort for the Collier County Sheriff’s department,” said Kathy Katz, Brightline managing partner. “We’re thrilled the design of our fixtures enabled exactly the look and operation they wanted. We foresee many more projects of this type next year and beyond. Kudos to all our partners for their work on this new studio.”

The post Case Study: Naples Sheriff adds studio with Brightline fixtures appeared first on NewscastStudio.