No matter what type of gear they are purchasing, today’s broadcaster is looking for the best price and performance in order to do more with limited resources. Products like our CopperHead transceiver fully support this strategy by allowing broadcasters to use (less expensive) field camcorders—with their ever-increasing image quality optics and signal processing—in the studio, without compromising their on-air product.
With its extensive signal support, the CopperHead allows users to make the most of their ENG-style cameras by bringing all of the traditional functionality of a studio camera—camera control, intercom, Tally, etc—to a camcorder; at a lower cost. And because it is sending signals over fiber, the camera can be located much further away from the control room or news production truck on site in the field. This opens up a variety of possibilities.
Today, most camera manufactures sell “studio conversion kits,” but they all have limitations when compared to the CopperHead. Some use bundles of ungainly copper cable, not fiber, while others use fragile 26-pin multicore cable or custom cables made of coax and fiber shrink-wrapped together that are limited in distance, cost more, and, again, don’t give you as much functionality.
The CopperHead uses a single industry-standard fiber-optic cable to replace a bundle of up to 16 separate wires. This includes seven video coax cables, plus one CAT-5 (Ethernet) cable, a data (camera control) cable, five audio cables, and two Tally connections (red and green). Of those seven video signal paths, we use two to send HD video each way, one to send genlock information to the camera, one to send composite (program) video back from the camera to the control room (or mobile production truck on site) one for TelePrompTer information, and one for time code.
In addition, you can also “iso record” footage in the camcorder (for recording redundancy and post-production use later), which you can’t do with a studio-type camera without expensive iso recorders for each camera in the control room.
So you can see how easy it can be to set up a field camera in the studio (or as part of a multi-camera fly-pack system) and enjoy all of the “high-end” features you need to produce a first-class project using the CopperHead on the back.
Of course, not every production project needs all of this functionality, but with the CopperHead it’s nice to know you have the capability to do it if required. And making the investment in the CopperHead now future-proofs your field cameras for several years and lets you get the most use out of them.
In addition, most CopperHead systems are camera-agnostic, so if you upgrade to newer cameras at a later date, your existing CopperHeads will probably work with them, as well.
So I’m suggesting that, instead of using dedicated hard cameras for multicamera productions, save yourself a bit of money, buy a top-quality field camera and a CopperHead, and use it in as many ways as you can imagine. To do the same thing with coaxial cable, you’re faced with a huge bundle of cables and signals that can’t travel as far.
The key to fast return on investment with most technology is flexibility. Telecast Fiber Systems is offering that in the Copperhead, as well as the sensible option to purchase high-quality electronics for a lower cost. Leveraging fiber optics makes it a reality.
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