Videosys Broadcast Shows Epsilon Camera Control Upgrades At IBC 2022
At IBC 2022, Videosys Broadcast will be exhibiting the latest upgrade to its wireless 4K video and camera control system, Epsilon.
Already popular with broadcast operators and vision mixers because it is so easy to use, the Epsilon wireless camera system now features a useful 12G output.
Compatible with major manufacturers such as Sony, Panasonic, ARRI, Hitachi and Ikegami, Epsilon is an integrated solution that is designed to simplify the installation and operation of regular radio camera systems in all areas of outside broadcast and studio-based production. It is conceptually similar to regular CCU systems supplied by the main camera manufactures, meaning operators tasked with matching multiple camera set ups can do so quickly and effectively because they are already familiar with the connection nomenclature.
Videosys Broadcast will be showcasing the latest Epsilon system now with 12G output, giving operators the option of simplified 12G single cable connectivity. This useful addition can significantly improve workflow, especially when projects are being shot in 4K.
Epsilon comprises up to two, dual channel fibre receive slot in modules, RF receiver and decoder options either HD – H264 or H265 up to 4K. Epsilon can operate either single or dual pedestal, improving the data rate while retaining robust RF performance. This is especially important for high quality Light Entertainment productions where there is a requirement for very high picture quality with no increase in latency.
In addition to the 12G SDI upgrade, Videosys Broadcast has also added TSL TallyMan capabilities. This means that operators can utilise the full power of TallyMan’s control system with both tally and UMD data available.
You might also like...
HDR & WCG For Broadcast: Part 3 - Achieving Simultaneous HDR-SDR Workflows
Welcome to Part 3 of ‘HDR & WCG For Broadcast’ - a major 10 article exploration of the science and practical applications of all aspects of High Dynamic Range and Wide Color Gamut for broadcast production. Part 3 discusses the creative challenges of HDR…
The Resolution Revolution
We can now capture video in much higher resolutions than we can transmit, distribute and display. But should we?
Microphones: Part 3 - Human Auditory System
To get the best out of a microphone it is important to understand how it differs from the human ear.
HDR Picture Fundamentals: Camera Technology
Understanding the terminology and technical theory of camera sensors & lenses is a key element of specifying systems to meet the consumer desire for High Dynamic Range.
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.