“Traditionally, you could not see exactly what happened, as the ball is coming off a kicker’s foot pretty quick. “Those have been some of our best shots,” Dean says. MNF director Chip Dean says the NAC cameras, which the program began using last season, have worked well at the 300 fps rate in a variety of lighting levels, and have allowed ESPN to show detailed looks of certain plays it had a hard time analyzing with more conventional slo-mo cameras, such as blocked field goals. The NAC cameras, which ESPN rents from Fletcher Chicago, are placed on a movable reverse cart and on the 50-yard line. According to ESPN Senior Operations Manager Steve Carter, the Grass Valley cameras fit better into the rest of ESPN’s workflow, which is based on conventional LDK units, and more closely match the pictures from those cameras. The sports giant had used Sony’s HDC-3300 3X camera last year, but switched to the Grass Valley 3x model when it became available from rental firm Bexel. The 2x cameras run on conventional triax cable connections, while the 3x and ultra-high-frame-rate cameras run on uncompressed fiber links. This is a way of making that flicker, which would normally be perceptible at 180 frames per second, go away.”ĮSPN is using three different speeds of slo-mo cameras for its Monday Night Football coverage, including four Grass Valley LDK 6200 2x cameras, two of Grass Valley’s new LDK 8300 3x units, and two NAC Hi-Motion ultra-high-frame-rate cameras to capture images at 300 frames per second (the camera is capable of up to 600 frames per second). “What you might not see at 2x becomes obvious to the human eye at 3x. “It's very fancy algorithms that eliminate flicker,” says Grass Valley Marketing Manager Ken Yas. AnyLight, which features five presets that allow the camera operator to adjust the amount of correction required for each setup, is designed to make the image quality from the slo-mo 8300 better match that from conventional LDK units.
Phantom slo mo camera price software#
The 8300 camera also processes images with specialized AnyLight software to cut down on image flickering, which is a common problem with slo-mo sports shots captured under artificial lighting. The camera uses LDK camera control systems and is compatible with LDK 8000 accessories like viewfinders and SuperXpander units. Based on the same camera head block as its normal-speed HD equivalent, the LDK 8000, the 8300 transmits video over a 3-gigabit-per-second fiber network. It will be employed on a full-time basis for Monday Night Football coverage this season.
Phantom slo mo camera price trial#
Grass Valley's new LDK 8300 HD 3x super-slo-mo camera had a trial run during ESPN's Monday Night Football coverage last fall and was used by ABC/ESPN for its coverage of the National Basketball Association Finals this past spring. “We'll move it around depending on what the storyline is,” Delaney says. If the Yankees are facing a knuckleball pitcher like Boston's Tim Wakefield, YES might also place the super-slo-mo in the “low home” (plate) position. YES has been using the HDC-3300 often in a left-field position with a long lens to produce replays of plays at second base, but will position it differently on the road. In 2007, YES moved to Sony's 2x high-definition slo-mos when they became available, and this year it shifted to Sony's latest model. Regional sports channel YES Network is one of the early adopters of Sony's HDC-3300, which YES VP of Operations Ed Delaney says gives “pretty tremendous resolution.” When YES began HD production of New York Yankees games in 2004, HD super-slo-mos weren't available, so it used standard-definition slo-mo cameras and upconverted their output. Sony employs a 10-gigabit-per-second fiber connection to send the equivalent of three separate 1.5-gigabit-per-second uncompressed HD streams from the camera back to the control unit. It operates on the same network as an HDC-1500 and can also be used in normal 1x mode with the flip of a switch the 1x pictures are derived from the 3x pictures that the cameras is always capturing. The HDC-3300 camera has improvements in its CCD imager based on technology originally developed for Sony's F23 digital cinema cameras, according to Willox. “The difficulty in HD is the amount of bandwidth that a super-slow-motion device takes and the transmission used for that, and getting EVS to get on board with the recorder, which they have.”
“It's part of an ongoing commitment to provide all the tools that everybody was used to in SD and make them available in HD,” says Rob Willox, Sony's director of marketing for content creation, of Sony's new HDC-3300 3x camera.
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