AV News Roundup: Products, Projects and People in New Places

Published: April 1, 2022

New Products

Hitachi Kokusai Adds New SK-UHD7000 Camera System to Portfolio

HItachi Kokusai SK UHD7000 camera on tripod.Massachusetts-based Hitachi Kokusai Electric America, Ltd. (Hitachi Kokusai) announced its second-generation 4K Ultra HD broadcast and live production camera system, the SK-UHD7000. The new product is the successor to the SK-UHD4000 4K studio and field production camera. Per the company, it continues the tradition of delivering visual quality and price/performance value for professional, live production applications. The company will showcase the new camera at the 2022 NAB Show in Las Vegas.

“Hitachi has a rich history of designing products that make advances in technology both practical and affordable,” says Sean Moran, COO, Hitachi Kokusai.

Expressing his excitement on the SK-UHD7000’s performance and extensive feature set, Moran adds, “…It is ideal for a wide range of applications, from television broadcasters future-proofing their production workflows, to live production companies striving to offer the utmost quality to their clients, to houses of worship linking multiple satellite locations with life-like video.”

Impeccable Images

According to Hitachi, the SK-UHD7000 incorporates three 2/3 inch, global shutter CMOS image sensors with native 4K resolution. This enables pristine capture of 3840×2160 Ultra HD (UHD) video. A new prism design with expanded spectral range fully complies with all international colorimetry specifications and enables superior color reproduction. The high-performance sensors and new prism also combine to enable full-range BT 2020 UHD Wide Color Gamut (WCG) capture. Additionally, a dual 4K and HDTV workflow supports separate controls for Hybrid Log Gamma (HLG) High Dynamic Range (HDR) and standard dynamic range (SDR).

The SK-UHD7000 continues the SK-UHD4000’s hallmarks of delivering sensitivity and quality for Ultra HD production. Sensitivity of F11 at 59.94 frames per second enables high-quality acquisition in limited lighting. Meanwhile, a signal-to-noise ratio (SNR) of 62 dB provides ultra-quiet images. Advanced digital processing technology and a wide array of image refinement tools enable precise tailoring of the accuracy and look of productions. It also has other operational features. These include focus assist and viewfinder zoom which make it easier for users to perform critical focus at 4K resolution. The SK-UHD7000’s powerful new processor also provides plenty of headroom for additional functionality in the future.

Comfort and Connectivity

The SK-UHD7000’s streamlined, one-piece camera chassis has a low center of gravity. It also presents a light load on the camera person’s shoulder for easy handheld video acquisition. As a full-featured, broadcast-class system camera, the SK-UHD7000 provides integrated prompter power, video monitoring, and intercom connectivity at the camera body; a motorized, optical ND filter turret; and a lens mount that does not require a mechanical or optical adapter for standard B4 interchangeable lenses.

Full-bandwidth, uncompressed, native 4K signals are transported from the SK-UHD7000 camera head to the new CU-UHD7000 camera control unit (CCU) via SMPTE 311M hybrid fiber optic cable over distances up to two kilometers. Single-link, 12G-SDI connectivity also provides 4K output directly from the camera head. Meanwhile, the integrated HD down-conversion offers 1080p, 1080i, or 720p output for multi-format production applications. Embedded audio is also available on all SDI outputs and as listen-channels on the intercom connections.

A trunk data interface supports video transport and control of TCP/IP-capable devices connected directly to the SK-UHD7000 camera head, enabling applications ranging from robotic movement and IP-based prompting to VR/AR 3D space positioning. The new camera also retains compatibility with existing Hitachi control panels and third-party control systems.

Audio Visual Projects

DPA Microphones Delivers Ultimate Film Experience for “Joker Live In Concert”

Joker Live In Concert PosterReleased in 2019, the movie “Joker” became one of the top-rated films of the year. The flick’s pop culture relevance made it an ideal fit for London-based concert promotion and production company Senbla Live Events’ “film in concert” series. The team at Senbla knew that translating the film into a live show would require an audio solution with pristine clarity level.

With 25 years’ experience using DPA Microphones, Phil Wright, sound designer and front of house engineer for “Joker Live in Concert,” trusted the brand to deliver on the experience. Working with AV production supplier SFL, Wright chose to make it a fully DPA spec.

“I’ve always had DPA on strings, but it has been my dream to do a solely DPA show,” says Wright. He also highlights the initial hesitancy but notes that the entire audience praised the show. Wright adds, “The DPAs have made ‘Joker Live in Concert’ a next level experience.”

The Setup

The show features a 48-piece orchestra comprised of conventional strings, brass and woodwinds sections, with DPA mics utilized throughout. The brand’s 4099 CORE Instrument Microphones feature on nearly the entire strings section. There is one exception of the principal solo cello, which has a 4011-ES Compact Cardioid microphone.

The woodwind section has 4011 Cardioid Microphones on every instrument. Meanwhile, the percussion section comprises 2011 Twin Diaphragm Cardioid microphones. The two outliers are the timpani which utilizes a pair of 4011 Cardioid microphones, and the orchestral big brass drum which features a shock-mounted 4011 mic.

“When it comes to mics on strings, DPA is an industry standard, the world over,” remarks Wright. “The inception of the CORE by DPA technology for the 4099 series has been amazing. Even when I had the original 4099s [and 4061s] on strings in the past, I always thought they were great. But then you put CORE 4099s on a string section and you’re aware that the distortion is that much lower, and they are sonically much purer.”

The Collaboration

The tour also incorporates unconventional instruments, sound effects and dialogue that are electronically stemmed for performance. The show also came together with the help of orchestrator, Jeff Atmajian, and composer, Hildur Guðnadóttir.

The trio collaborated to re-create musical scores to fit the final edit of the film. They also composed the interlude and outro musical pieces, and put the entire project together for a groundbreaking film experience. Here, Wright built stems and worked alongside Atmajian and Guðnadóttir to create the soundscape to match the film. He also produced all the midi files, punches and streamers. In doing so, he created a visual guide for Atmajian to keep himself and the orchestra in time with the film.

Wright has an extensive background as a performer and his early career in live sound and concert production for companies like National Youth Theatre and Royal Albert Hall.When not working with Senbla, Wright resides in West London, producing immersive audio for Sonosphere, at the Dolby Atmos room in Metropolis Studios. There, Wright continues to rely on his DPAs. He recently used the 4006 Omnidirectional, 4015 Wide Cardioid and 4040 Capsule Microphones for an Atmos recording of Jack Savoretti’s cover of The Weeknd’s Blinding Lights.

“I’m often asked to play back Savoretti’s recording in the studio for demos,” explains Wright. “The sense of space created by the DPAs is so linear and natural that it feels like you are right there with him in the room.”

Per a statement, the “Joker, Live in Concert” tour has been nothing short of a success. Senbla plans to continue the tour and complete a full run through Europe. This tour will likely include shows in Germany, France, the Netherlands, Luxembourg, Belgium and more.

People in New Places

Fulcrum Acoustic Appoints Audio Geer as Sales Representative for Western Coast

Fulcrum Acoustic LogoFulcrum Acoustic appointed Audio Geer as its sales representative for southern California and southern Nevada territories. Audio Geer, based in Huntington Beach, Calif. will thus be responsible for the product sales and support in its territory. Fulcrum Acoustic is of course, the N.Y.-based creators of innovative professional loudspeaker technologies.

“I’ve been a big fan of Fulcrum Acoustic and what they bring into the market for years now,” says Audio Geer president, Alan Geer. He adds that he looks forward to representing them to customers as they introduce new products and technologies.

Fulcrum Acoustic U.S. national sales manager, Scott Pizzo, also expresses his excitement on the new appointment. “At Fulcrum Acoustic we are honored to join Audio Geer’s list of the premier brands in the Pro AV industry,” Pizzo states. “Audio Geer has an impressive sales team. [We] know they will be invaluable as we expand our reach into the west coast.”

Riedel Partners With FIA as Official Supplier of Motor Sports Telecommunications

Fia Riedel logoGermany-based Riedel Communications announced that it is the official supplier of motor sports telecommunications for the Fédération Internationale de l’Automobile (FIA). The two companies have shared a two-decade relationship. Now, Riedel will supply the FIA with leading-edge hardware and software technologies. Together, they will take safety, sustainability, and innovation across all global FIA championship series to the next level.

Peter Bayer, FIA secretary general for sport and FIA F1 executive director, states, “The FIA’s decision to name Riedel as an official supplier of its motor sports communication is a result of a trusted relationship over two decades. It illustrates our shared commitment to use the most advanced technologies, with the safety and sustainability requirements that we have for all our championships.”

Riedel will provide communications and signal distribution solutions for several FIA motor sports events. These include the pioneering MediorNet distributed video infrastructures, which combine signal transport, routing, processing, and conversion in a redundant real-time network; the scalable Artist digital intercom network; the award-winning Bolero wireless intercom system; and a variety of specialized headsets and handheld radios.

“This partnership has been a long time in the making. Over the past 20 years, FIA and Riedel have been constantly inspiring one another to push the envelope of innovation even further,” says Thomas Riedel, CEO and founder of Riedel Group. He also expresses his excitement on officially joining FIA’s efforts. These include promoting higher safety standards and the latest technology in the world of motor sports. It also involves making the lives of pilots, teams, officials, and the entire racing community both easier and safer.

Lutz Rathmann, CEO of managed technology at Riedel, also proclaims, “Our intelligent systems are engineered to work seamlessly with one another, so a unified Riedel infrastructure will bring significant added value for both drivers and officials.”

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