NAB 2018: Panasonic To Exhibit All-In-One Live Streaming System, New Codecs As Part Of Its 100-Year Anniversary
Panasonic is marking its 100th anniversary with a wide-ranging display of products, technologies and solutions for production and broadcast professionals here at NAB 2018.
Under the theme, “Welcome to our next 100 years of Innovation,” Panasonic debuts the AK-UC4000 4K/HDR/high-speed studio camera with 4.4K native resolution and high-speed 240fps capability; EVA 2.0 free firmware upgrade for the 5.7K AU-EVA1 cinema camera that greatly enhances its recording capabilities with ALL-Intra frame formats and RAW data output. Panasonic also announced the EVA1 and VariCam LT will take full advantage of the new ProRes RAW software for a faster and more efficient RAW workflow, AV-HLC100 Live Production Center with Network Device Interface (NDI) that combines a 1 ME switcher, remote camera controller, graphics overlays, streaming/recording and audio mixer functions to enable easy live streaming with one-person operation; VariCam LT V. 6.0 CineLive firmware that sets the cinema camera up for live and near live multi-cam use for events, concerts, television shows and corporate productions; a new line-up of PTZ cameras with built-in Network Device Interface (NDI|HX) support–the AW-HN38, AW-HN40, AW-UN70 and AW-HN130.
Visitors to Panasonic’s NAB booth C3607 can view an array of technology demonstrations and content presentations, including:
- 8K Region of Interest (ROI) system for sports and live event HD applications. Accessing the 8K camera’s super-wide field of view and HD windows with full pan/tilt/zoom control, one camera operator can follow the action from multiple virtual camera angles, saving space over multiple manned cameras.
- Broadcast- grade, 360-degree/VR end-to-end live streaming system that combines Panasonic’s low latency 360-degree Live Camera with Haivision’s KB 4K encoder and LiveScale’s distribution platform
- LinkRay visible light communication technology to enable smartphones with a dedicated app to access information emitted in signals from LED transmitters. The dedicated application software enables customizable content to be sent and received between LED transmitters (e.g., displays for digital signage use).
The Live Production Center facilitates audio and video creation where a limited number of operators are available, such as college sports, webcasting, live streaming and live video production. The Center makes one-person operation possible for remote camera shooting to streaming transmission.
NDI, or Network Device Interface, a technology of NewTek, is an advanced video over IP production workflow, allowing distribution of video across network infrastructure rather than specialized video hardware. The AV-HLC100 acts as a hybrid device, bridging baseband (SDI and HDMI) inputs and outputs, with NDI inputs and outputs allowing users to easily transition to the world of IP.
The HLC100 supports a wide range of both NTSC and PAL video formats including 3G-SDI video in1080/59.94p and 1080/50p, and enables cross-conversation on inputs. Eight total inputs are available with the choice of SDI or HDMI for input 1, SDI for inputs 2-4, and NDI for input 5-8. Alternatively, one can utilize NDI for up to all eight inputs so that a system can be configured to match the production environment. There are two SDI outputs, with associated NDI outputs; Output 1 is the program output. Output 2 can be assigned to program, preview or to an AUX bus. The AUX bus is useful as an independent secondary output for clean recording or alternate feed.
The HLC100 Center works directly with Panasonic PTZ and systems cameras, discovering and deploying them automatically using IP video transport. It will work with all NDI and NDI|HX capable video sources. Compatible cameras include: the new AW-HN38, AW-HN40, AW-UN70, and AW-HN130 integrated PTZs with NDI|HX, and the AW-HE38, AW-HE40, AW-UE70, AW-HE130 PTZ cameras with available upgrade to NDI|HX. Fully integrated support of NDI|HX, NDI High Efficiency Mode, allows for built-in support of NDI by Panasonic professional PTZ cameras, linking them directly to an NDI network, with automatic detection by the AV-HLC100 Live Production Center, as well as integrating them with the hundreds of other NDI-capable products in the marketplace.
“With the HLC100, high-performance professional operation can be realized even in production environments with few operators, limited space and gear, and no expert staff,” says Delix Alex, product manager, PSSNA. “As part of Panasonic’s NDI family of products, the HLC100 contributes to an end-to-end IP workflow with single cable connectivity to NDI|HX-capable PTZ camera models, with ultra low latency video, power, audio/video and tally all over one cable. Users can significantly cut install and setup time and yet continue to deliver high quality production.”
For remote camera operation, the HLC100’s connection and settings can be easily executed using the Easy IP connection function (fully automatic if the connection is to an NDI-enabled camera), and pan, tilt, zoom, and focus operations can be performed with one hand using the large joystick or two hands in combination with dedicated zoom lever and focus/iris knobs. Up to 100 camera presets can be executed from the hardware panel or on the user interface. Commonly accessed camera control functions such as white balance are available for quick access. For advanced settings, a quick short-cut to the camera web interface is provided, allowing access of almost any setting in a Panasonic PTZ camera.
The HLC100 also supports RTMP (Real-Time Messaging Protocol), enabling footage to be directly uploaded simultaneously to multiple live streaming services like YouTube Live and Facebook Live. Most common streaming destinations are pre-configured in a simple menu, with many customization options. Streamed footage can be streamed and recorded at the same time for easy archiving.
A wide range of video effects is available for quick and easy live production work, including a title function with a design template, a clip player in which video and still image data can be used as materials, still image storage, PinP, and more than 190 transition patterns including 3D-DVE patterns. The built-in titling/CG includes the ability to load built-in preset looks and styles, the easy manipulation of title components, and eight preset slots to quickly move between looks. Skype TX, a specialized video production version of Skype, can be used for remote interviews, providing an effective technique for live events, webinars, lectures and presentations.
The audio mixer functionality is characterized by a maximum of nine inputs, which can be assigned as a combination of embedded audio on SDI or NDI and mic/line inputs. Each input features a seven-band equalizer, compressor and delay control. The visual mixer interface provides the ability to mix and monitor audio levels and adjust quickly and precisely.
The user-friendly panel includes buttons for various functions including camera control and switching, along with audio mixing. Up to eight video systems can be freely assigned to the crosspoint buttons, enabling them to be selected easily. With the capability to handle IP input and output, the HLC100 also allows for live streaming and recording, all over IP. This hardware panel for camera control and switching is complemented with a newly-designed software user interface that enables multi-view monitoring, graphics overlay insertions, media players, audio mixers and much more. This user interface focuses on simplicity and quick and easy operation of advanced settings.
Panasonic To Show New ProRes RAW Recording Codecs For AU-EVA1, VariCam LT Cameras
At NAB 2018, Panasonic will show new codecs for its AU-EVA1 Compact S35 and VariCam LT cinema cameras that will support for their RAW data outputs in the new ProRes RAW recording codecs. Native support for ProRes RAW has been introduced in the latest edition of Final Cut Pro X, and Atomos has announced that its Shogun Inferno and Sumo monitor/recorders will record in the new format. In addition to internal recording formats, the EVA1 and VariCam LT can output RAW data for the greatest flexibility in post image adjustment.
“ProRes RAW unleashes the potential of our VariCam LT and AU-EVA1 cinema cameras,” says Mitch Gross, cinema product manager, Panasonic System Solutions Company of North America (PSSNA). “Panasonic likes to provide choices to video professionals. Both the EVA1 and the VariCam LT shoot at multiple resolutions and variable frame rates, and now our RAW output can be captured in a format that’s easy to use. Whether it’s 5.7K resolution or 240fps, our RAW is rich in data but has required a commitment of time and memory space for filmmakers to process and store. Working closely with Panasonic, Atomos enabled ProRes RAW in its recorders, allowing an easy, high quality and complete RAW workflow so professionals can enjoy the powerful capabilities our cameras have to offer.”
With the new EVA2.0 firmware, the EVA1 can output 10-bit Log-encoded RAW data in 5.7K up to 30fps, 4K up to 60fps, and 2K up to 240fps. From the VariCam LT, the Atomos recorders can capture RAW data in 4K up to 60fps and 2K up to 240fps. There are two variable bitrate levels of ProRes RAW being introduced. ProRes RAW HQ and ProRes RAW record at similar data rates as their ProRes video counterparts. This efficiency allows RAW data to be stored in similar memory space as common video files, and Final Cut Pro X can edit and color natively in RAW on a MacBook Pro. ProRes RAW files will also output from Final Cut Pro X to video finishing formats faster than other RAW formats. And Final Cut Pro X now includes increased color correction controls plus support for 3D-LUTs such as Panasonic’s V-Log-to-709 image transform, included in the program.
“Panasonic, Atomos and Apple have combined to deliver an astonishing set of features for end-to-end RAW production – 5.7K30p, 4K60p, 2K240p in 10-bit V-Log recorded on SATA SSDs in ProRes RAW on our Shogun Inferno or Sumo 19,” says Jeromy Young, CEO of Atomos. “We primarily used the EVA1 for ProRes RAW launch testing – it’s the best RAW solution for the price point on the market today.”
Today, Atomos has released the firmware to support EVA1 RAW and VariCam LT RAW to ProRes RAW recording in 4K and 2K resolutions, with 5.7K support scheduled for a May release. Final Cut Pro X with ProRes RAW support is slated to be available for download on April 9. The EVA 2.0 firmware with RAW output and VariCam LT v6.0 firmware are available for download now.