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CINEMATIC LIVE PRODUCTION GETS A CLOSE-UP Blackcam 4D BY DAVID FOX
Taking advantage of a large new stand at IBC this year, Blackcam 4D can show its full range of robotic equipment for the fi rst time, from its Arro 2 large-size arm to its automated remote systems for the biggest cameras and lenses, as used on Germany’s Bundesliga.
Jan Karabasz, Co-CEO, Blackcam 4D, said: “We’re showing how open we are to other control software and how we integrate into the whole broadcast and automation world.”
Supplying the mau5 house: Joint CEOs, Jan Karabasz and Thomas Janze
A good example of this is the eight-camera Arri Alexa 35 Live – Multicam System, fi tted to a
HYBRID TO THE CORE Harmonic
BY KIRSTY HAZLEWOOD
Promising to enable broadcasters and service providers to elevate viewer engagement, unlock new monetisation opportunities and improve operational effi ciency, Harmonic is showing its video streaming and broadcast delivery innovations at IBC2025. The company is spotlighting hybrid cloud and on-premise streaming tools, AI-driven workfl ows, ad insertion technologies and advancements
variety of Blackcam 4D kit. “Arri has the largest camera, so if it works with Arri cameras it will
work with any other camera,” said Co-CEO, Thomas Janze. As the live market moves to bigger sensor cameras, and people want to get closer to events, he believes this area has huge growth potential.
Blackcam is also working on world tours for the likes of Coldplay, Billie Eilish and Kendrick Lamar, where its robot systems get up close without being too personal. Indeed, its IBC stand takes on a music theme, with its systems surrounding a DJ booth, to celebrate the fact that DJ deadmau5 recently bought three Arro arms to upgrade his show. 12.G53
in live sports streaming. The intelligent management system at the heart of the company’s hybrid streaming solution enables operators to deploy and confi gure any video workfl ow, unlocking the full benefi ts and cost effi ciencies of hybrid streaming architecture. Eric Gallier, VP, Video Solutions,
Harmonic, said: “Hybrid streaming is rapidly becoming the standard. Our hybrid solution maximises fi nancial effi ciency by retaining static workloads such as 24/7 channels on-premise, and moving dynamic content into the
Gallier: ‘Hybrid streaming is rapidly becoming the standard’
cloud, which is optimised for data storage. The hybrid solution is both cost effective and fl exible
NEW LONG-THROW FIXTURES LIGHT THE WAY Robe Lighting BY DAVID FOX
New long-throw fi xtures from Robe Lighting can house different light engines: XP for long- distance work, HCF for high- quality colour, or an LED tuned to match a tungsten source. They can also be fi tted with a camera module for follow-spot operators. One system can handle 12 fi xtures with one operator. The new T-Series multi-spectral lights use fi ve-colour engines
and is simple to operate. It’s the best of both worlds.” 1.B20
1.5m it can light 9m high). It can also move or be separately adjusted for colour and intensity for creative effects. Also new is the T3 Profi le, a
Van Aalst with Robe’s latest long-throw lights
for high colour accuracy and suit studio use.
The T32 Cyc has a special
optical system for even coverage of a 6m high backdrop when positioned 1m from the cyc (at
fi ve-colour, high-luminance moving light with the ProFrost progressive frost system that smoothly softens, melts and dissolves projections from 0° to 15°. Jeroen van Aalst, Key Account Manager EMEA, Robe, said: “It can go from hard edge beam to frost very quickly, but gently.” 12.F59
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