PRO HD
room on the course and synchronised for so the cameras were really put through
a multicam edit session in Final Cut Pro. their paces.” “The camera operators
Supers, scorecards and segments were
really liked the flexibility of
also inserted in post.
One of the commentators for this year’s
ProHD cameras and the lens
championship was Djuro Sen who added,
is excellent - with the extra throw
Lachajczak added, “The JVC ProHD “The tournament was a lot of fun but also a
a ‘must have’ for golf”
cameras were chosen to be part of very high standard. Calling the action ‘live’

this unique workflow because of their on course was a great and challenging

affordability and portability. I have owned experience. Everywhere I go, I see these
JVC cameras covering tight, medium
a GY-HD251E for a while and am very JVC cameras and plenty more of the
and long shots but on the final day we
happy with its ability to handle longform GY-HD251E model in action. I believe they
had four on each hole that would follow
acquisition. On the day of the tournament, chose wisely with the JVC cameras due
the leading groups.”
we used nine ProHD cameras in the field to the simple nature of golf. Some of these
and they all performed very well. The shots are taken from a couple of hundred Nik Lachajczak concluded, “This is the
camera operators really liked the flexibility metres and have to follow a small object. largest course where we have used this
of ProHD cameras and the lens is excellent I saw some of the daily captures and the method of coverage and I’m pleased to say
- with the extra throw a ‘must have’ for golf. colours were great, as was the detail. the most successful yet. All the crew were
Our shots were a combination of handheld, The HD lenses made a big difference. outstanding in very tight conditions,
low angle, fixed and travelling from carts, On a typical hole we would have three as were the JVC ProHD cameras.”
n
at the National Indigenous Golf Championship
Project Fame was set up to be a live event, makes it possible for the signal to be split performances. The daily activities within
with six GY-HD251 cameras on the show in four ways. This was one of the reasons the faculty and their rehearsal sessions
floor, another on a crane, and one more for choosing these cameras; the SDI output with the musical professionals were all
on a steady-cam. The versatility of the abilities helped transport the video signal filmed using the GY-HD251 in ENG mode.
cameras, supplied by Nigerian distributors, with ease, allowing the use of the SDI DA The cameramen found the camera very
CEDAR Broadcast Warehouse, meant to send the signal to multiple places. Each comfortable to use, thanks to the shoulder
they were flexible enough to use as both of these signals was connected to JVC pad mount and its even weight distribution.
studio cameras and in ENG mode using monitors, via a broadcast mixer, with an
the shoulder-mount, making them very Avid system for ingest.
The digitised materials were then edited
cost-effective.
and prepared as inserts for the live show,
Although the live shows took place at allowing people to track the progress of
Project Fame was recorded in SD mode; the weekends, there was also plenty of their favourite budding star. Broadcast
the SDI port on the camera was connected opportunity to follow the students mid- at the end of 2008, Project Fame was
to an SDI Distribution Amplifier, which week as they trained towards their live a huge success.
n
15
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