Creating a cinematic look for multicam, live and near-live productions.
In education, sports, corporate communication, press conferences and seminars, House of Worship, and new content delivery over Facebook, YouTube and other streaming providers, live multi-camera production is on the rise. CINELIVE with the VariCam LT and the AU-EVA1 brings a high-quality finished look to your multicam or live production at a lower cost in a versatile system that will grow with you over time.
CINELIVE solutions refer to the use of cinema cameras for multi-camera live or near-live productions. A cinema camera is defined by its large sensor, usually 35mm, which captures high-quality images and enables excellent recording characteristics.
Multi-camera live production consists of shooting with several cameras at once with applications including TV programs, concerts, theater performances, sporting events, stand-up comedy, fashion shows, and other events that take place in front of an audience. It involves the use of a control area (OB vehicle or control room) where captured images can be controlled and dispatched to projectors, displays, recorders, or transmitters.
Near-live refers to productions where there is no direct live broadcast. Images are recorded live, corrected, and edited in post-production before they are aired.
Live production is usually achieved with studio cameras. These camera systems are specifically designed for multi-camera live shooting: they include optical-fiber output, large viewfinders, remote control, CCU, and special functions such as tally and video-return management, call function, and more. These cameras have been improved over many years, but due to their small sensor (⅔˝) and the use of broadcast lenses, they produce a “video look” with limited dynamic range and poor flexibility when post-production is required.
For this reason, and because digital cinema cameras are becoming so popular, demand for the cinematic look on multi-camera shoots continues to grow.
The VariCam LT supports integration with the AK-HRP1000 remote control panel, which allows remote shading of the camera image, along with separate control of the internally recorded signal. Output a shaded image while recording either a shaded or V-Log signal internally for later use. Output HD live while recording internally in 4K or HD. The VariCam LT has two SDI outputs for HD broadcast, allowing one for a clean signal to the switcher, as well as a second for monitoring camera status and menu navigation. A third output is utilized for viewfinder use at the camera. CINELIVE is compatible with fiber transport systems from DTS, Multidyne, ERECA, Telecast, and more.
Near Live productions include live shows (theater, concerts, stand-up comedy), fashion shows, and corporate events that are not broadcast live. Multi-cam television sitcoms that are shot live in front of a studio audience, but broadcast later, also fit into this category.
VariCam LT’s exceptional wide dynamic range, low light performance, and accurate colors can now be seamlessly brought to live and near-live multi camera applications such as episodic TV, concerts, corporate events, and studio installations.
Key CINELIVE VariCam LT Features
The EVA1 is designed to integrate with a variety of accessories to perform well in a live environment. EF lenses can be powered and controlled through the camera, and multiple outputs allow an operator view with focus aides and other tools displayed while a clean output is fed to your switcher. These outputs can be independently configured for 4K or HD. HLG is also available for HDR delivery.
CINELIVE EVA1 Remote Camera Control
A key feature of the EVA1 is the ability to control all of the camera settings remotely. The EVA1’s USB port works with several inexpensive Ethernet adapters to communicate between the camera and outside devices. The camera can be hardwired to an iOS or Android tablet running the free EVA ROP app or connected to a 3rd party remote control panel (RCP). While the EVA ROP app allows control of primary settings on the camera, Panasonic has worked with RCP manufacturers CyanView and SKAARHOJ to enable direct control of all of the EVA1’s matrix and other image controls, providing the ability to remotely paint and match EVA1s for live or near live production. It is also possible for the camera to communicate with these devices over WiFi to a LAN using the Panasonic AJ-WM50P WiFi Adapter.
While both systems offer Super 35 sensor cameras and remote control and paint functions, there are a number of significant differences between them. In general the more expensive CINELIVE system offers greater performance at a higher price, but the budget-friendly version may provide all the functions needed for a given application. As the images between the two systems can be closely matched through V-Log, some choose to use a combination of the two. The key differences between the systems are highlighted below.
|CINELIVE FEATURES||VARICAM LT||EVA1|
|Internal LUT & CDL Application||★||☆|
|Color Shading Adjustment||12-point||6-point|
|Video Outputs||3 x SDI||1 x SDI, 1 x HDMI|
|Dynamic Range||14.7 stops||14 stops|
|Dual Native ISO||800 / 5000||800 / 2500|
|EF & PL Interchangeable Lens Mounts||★||☆2|
|EF mount focus & zoom control to RCP||☆||★|
|Zoom servo power through camera||★||☆3|
|Camera Control Options||AK-HRP1000||
1 Tally is sent to the EVA indicator but is not output to a monitor.
2 PL mount available as a 3rd party retrofit with no lens communication. 3 Available only on Canon Compact Servo 18-80 and 70-200.
All product specifications, availability, and pricing are subject to change without notice. Images may be simulated for demonstration purposes.