Canare Proclaims Its Hybrid Fiber Optic Cable As Industry Standard
US Audio/Video (A/V) cable maker Canare has claimed that its SMPTE Hybrid Fiber Optic (HFO) SMPTE ST304 and ST311 cable assemblies have become de facto industry standards on the basis of their durability and ease of use.
The company has asserted that the HFO cables have become particularly popular with major news and sports networks.
Designed for broadcast and A/V professionals, the SMPTE HFO cables are also available as slim, lightweight, and durable tactical options, to withstand harsh environmental conditions.
9 mm (LF-2SM9N), with 7 mm patch cable (LF-2SM7N) and 7 mm or 9 mm tactical (LF-2SM7T and LF-2SM9T) options are also available. Canare designed the cable jacket of the tactical options for flexibility and mechanical competence for crush and impact resistance.
“Manufactured in Japan, Canare’s SMPTE HFO cables have become the industry standard across the global broadcast and live event industry,” said Shinichi Minowa, CEO for Americas, Canare Corporation of America. “The cables are a popular solution for operators of the industry’s leading camera brands. Further, the Canare SMPTE HFO cables offer users affordable pricing, reliable availability, complete cable and connector assemblies and custom-length options with quick turnarounds.”
Canare offers two types of tactical HFO SMPTE camera cables. Its 9.2 mm (LF-2SM9T) is an upgrade or replacement for standard camera cables, available in custom lengths of up to 300 meters. The 7.1 mm (LF-2SM7T) is a lightweight alternative, for patching or shorter cable runs of up to 100 meters.
Both cables offer a 1x OD (Outside Diameter) bend radius. Canare’s tactical cables also feature a crush and impact resistant outer jacket. Completed assemblies for both cables are available in standard and custom lengths, and are assembled in the United States. Canare also offers cable reels for easy deploying and storing of its cables.
You might also like...
Designing IP Broadcast Systems - The Book
Designing IP Broadcast Systems is another massive body of research driven work - with over 27,000 words in 18 articles, in a free 84 page eBook. It provides extensive insight into the technology and engineering methodology required to create practical IP based broadcast…
Demands On Production With HDR & WCG
The adoption of HDR requires adjustments in workflow that place different requirements on both people and technology, especially when multiple formats are required simultaneously.
If It Ain’t Broke Still Fix It: Part 2 - Security
The old broadcasting adage: ‘if it ain’t broke don’t fix it’ is no longer relevant and potentially highly dangerous, especially when we consider the security implications of not updating software and operating systems.
Standards: Part 21 - The MPEG, AES & Other Containers
Here we discuss how raw essence data needs to be serialized so it can be stored in media container files. We also describe the various media container file formats and their evolution.
NDI For Broadcast: Part 3 – Bridging The Gap
This third and for now, final part of our mini-series exploring NDI and its place in broadcast infrastructure moves on to a trio of tools released with NDI 5.0 which are all aimed at facilitating remote and collaborative workflows; NDI Audio,…