NAB 2017: JVC to demo ProHD Bridge workflow in Vegas

NAB 2017: JVC to demo ProHD Bridge workflow in Vegas

JVC will showcase its end-to-end live production workflow, as well as a number of product enhancements and technology demonstrations, at the 2017 NAB Show (Booth C4315).

With the ProHD Mobile Bridge and the new ProHD Portable Bridge, JVC has created robust bonded cellular solutions for ENG and multi-camera live productions. The technology has been successfully deployed in several challenging frequency environments, from the PGA National Resort during the Honda Classic to the streets of Philadelphia during the Hot Chocolate 15k/5k race earlier this month.

At NAB, JVC will demonstrate the JVC Command Center, a command and control workstation, which can access all the active “Bridge” cameras in an organization and superimpose their locations over a street map with live image previews. The workstation will also allow the operator to access each Bridge camera on the network, take control, or manage settings.

JVC is also unveiling the ProHD Studio, a portable, four-channel live production and streaming system. Designed to support HD-SDI, HDMI, or IP cameras, the ProHD Studio offers integrated camera control and ISO recording for each camera, full PTZ control of JVC KY-PZ100 cameras, and HD program recording and simultaneous RTMP and MPEG-TS output. The ProHD Studio also supports external signals with keying for PowerPoint and other sources.

Other features include an integrated audio mixer, CG, four key layers, dual-monitor support with PIP and split-screen layouts, built-in encoder for live streaming, and direct streaming integration for JVC VIDEOCLOUD and Facebook Live. When combined with the optional SCOREPLUS real-time sports CG software, the ProHD Studio becomes a complete multi-camera sports production system with professional overlays, scores, and slow-motion replays.

“The ProHD Studio is the component that completes JVC’s complete end-to-end news and multi-camera live production workflow,” said Craig Yanagi, product marketing manager, JVCKENWOOD. “Our ProHD and 4KCAM cameras deliver the industry’s best acquisition options for ENG and multimedia journalists, while our ProHD Bridge products transmit the signals back to the studio. The ProHD Studio can handle the production and stream live programming, while our ProHD Broadcaster can deliver live, time-shifting, or on-demand playout. Our JVCVIDEOCLOUD delivers the final program to any number of viewers around the world using the robust Akamai network. ”

Camera and control upgrades

New upgrades to JVC’s GY-HM850 and GY-HM890 cameras include integrated IFB channels. Introduced last year for the 600 Series of ProHD mobile news camcorders, the IFB upgrade allows field reporters and camera operators to communicate with the studio while streaming live HD reports. Other improvements include support for JVC VIDEOCLOUD, JVC’s new online video and live streaming platform, as well as additional live streaming formats. The free firmware upgrade for all GY-HM850 and GY-HM890 customers is available now.

The Version 4.0 firmware upgrade for the popular GY-LS300CH 4KCAM Super 35 handheld camcorder will bring significant improvements. The free upgrade, which will be available in late May, increases color resolution to 4:2:2 in 4K mode recording and expands Ultra HD (3840×2160) output to include 60/50p. The upgrade also provides 4:2:2 (8-bit) 4K recording at 24/25/30p onboard to SDXC media cards. Plus, the GY-LS300CH can output Ultra HD at 60/50p via its HDMI 2.0b port. It will operate seamlessly with the new Atomos Ninja Inferno and Shogun Inferno monitor recorders, triggering recording from the camera’s start/stop operation.

With a free firmware update available in September, JVC is upgrading its RM-LP100 remote camera controller to act as a virtual CCU for any JVC ProHD or 4KCAM camera with integrated IP technology. The upgrade creates a CCU for several camera models that do not have a CCU option. With support for up to 100 cameras, the RM-LP100 will perform white balance and painting adjustments, plus provide color bars, tally control, and more. The RM-LP100 upgrade can save thousands of dollars for studios, particularly for installations where PTZ cameras and studio cameras are used together.

JVC is also expanding its on-board customized titling solutions, which are helpful for single-camera productions. In late 2015, the company introduced the GY-HM200SP 4KCAM camcorder with embedded score panel graphics for sports coverage, and last fall added the GY-HM200HW, which features integrated graphics and congregation-specific text for houses of worship. In response to customer recommendations, both cameras will be upgraded through a free firmware upgrade in July to allow full-screen graphic overlays.

Users can add graphics (.JPG and .PNG formats) via an SD card and store them in the camera for future use. As a result, live events can open and close with full-screen graphics, which creates a more polished production, and GY-HM200SP users can create graphic loops that present advertising during halftime or other extended breaks in the action. The firmware upgrade will also include hockey-specific scoring for the GY-HM200SP. JVC will also have a technology demonstration that combines its sports overlay technology with a KY-PZ100, potentially for use in gymnasiums and other permanent installations.

Technology Demonstrations

A new partnership with IBM is central to a unique technology demonstration of real-time multilingual captioning within a single camera. During NAB, JVC will show how the integration of JVC PTZ cameras and IBM’s “cognitive-over-IP” cloud computing can revolutionize real-time captioning.

Audio from the KY-PZ100 PTZ network video production camera is transmitted via IP to the IBM supercomputer in the cloud, which automatically provides speech-to-text conversion and sends the data back to the camera (translated in multiple languages, if requested). Users can create a text overlay in the camera for recorded footage or for live captioning during streaming of lectures, worship services, or government meetings.

NAB attendees will also have a technology demo of JVC’s virtual reality (VR) glasses and its 360-degree camera. The camera outputs live, distortion-free 360-degree panoramic video, and detects and tracks objects and motion.

If you want to know more on the biggest and best NAB Show releases, give us a call on 03332 409 306 or email For all the latest news, follow @WeAreJigsaw24 on Twitter‘Like’ us on Facebook or take a look at our roundup post.

JVC GY-LS300 goes slow mo with new free firmware update

JVC GY-LS300 goes slow mo with new free firmware update

Just before Christmas, JVC released a firmware update for their GY-HM170 and GY-HM200 that included slow motion recording. And now, they’re slowly rolling it out to the GY-LS300 4KCAM handheld Super 35 camcorder too, with a firmware update slated for April.

The slo-mo upgrade will allow the GY-LS300 to record HD footage at up to 120 frames per second, and also drives the Prime Zoom feature, which enables fixed-focal (prime) lenses to zoom in and out without losing resolution or depth of field.

Other features in the firmware include the J-Log gamma setting, which expands dynamic range by 800 percent with film-like latitude and a built-in HD streaming engine with WiFi and 4G connectivity for live transmission to hardware decoders or content delivery networks (CDNs). The camera records 4K, HD and SD footage in a variety of formats to dual SDHC/SDXC card slots.

JVC GY-LS300 on Jigsaw24

About the JVC GY-LS300

With its small form factor, 4K capabilities, live streaming functionality, pro audio and, above all, small price tag compared to equivalent cameras with similar features, the GY-LS300 is ideal for event and corporate videography.

– The new JVC GY-LS300 firmware update will be released in April 2016, and you can download it then from JVC’s Pro Firmware Update page.

Buy the JVC GY-LS300 at Jigsaw24

Want to know more about the JVC GY-LS300? Give us a call on 03332 409 306 or email For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook

4K Shootout: Your guide to the current 4K camera crop

4K Shootout: Your guide to the current 4K camera crop

With our 4K shootout due to mosey into town any day now (well, on 23rd July), we thought it was time to take a closer look at four of the cameras you’ll be able to get hands-on with on the day. Take notes, prepare questions, mentally pick out lenses: anything to ensure you’re not overwhelmed when you get the chance to shoot with all four of them side by side. 

Sony PXW-FS7

First up, the Sony PXW-FS7. As we’ve said before, this Super 35mm 4K handheld takes everything we loved about the FS700, ratchets it up to 11 and then marries it to one of the most ergonomic designs we’ve seen in a long time.

The FS7 is the most flexible workhorse of the bunch, well built enough to function as an excellent ENG and documentary camera. The built-in hand grip serves the dual function of making the camera lighter and easier to balance during long shoots, and means that you don’t have to rig the camera to the extent that you expect in order to get the shots that you want – both big pluses for run and gun shooting.

However, that’s not to discount the quality of images you can get from this camera – it’s capable of shooting beautiful footage, and its support for S-Log3 effectively gives you 1.5 extra stops of dynamic range compared to its predecessor, the FS700, and, as S-Log3 is pretty close to Cineon log, the footage you get is easier to grade and you’ve got more chance of achieving a classic ‘filmic’ look.

Sensor-wise, the PXW-FS7 boasts a Super 35mm CMOS image sensor with 11.6 million pixels in a 4352 x 2662 configuration, including 8.9 million effective pixels. The sensor’s high readout speed means the FS7 can support super slow motion 4K shooting, and its full pixel readout capability and lack of pixel binning mean that jaggies and noir are minimised.

While it’s natively E-mount, an A-mount adaptor is available if you want access to a wider pool of lenses. Plus, Sony are so confident about the quality of their hardware that they’re offering an extended warranty on it, which is always reassuring.


AJA are known for their sturdy, unfussy designs, and the CION follows that pattern exactly: its traditional form factor and lightweight body make it an ergonomic choice for longer shoots. There’s also the usual (but highly practical) fact that it can be stored away while fully rigged, so if you need to shoot with no notice, you can just take it out of its case and go.

Design considerations aside, the CION is able to output 4K raw data at up to 120fps via 4x 3G-SDI outputs (you can shoot directly to edit-ready Apple ProRes 4444 at up to 4K 30fps over Thunderbolt, ProRes 422 at up to 4K 60fps, or output AJA Raw at up to 4K 120fps), and records directly to AJA Pak SSD media at up to 60 frames per second. Its APS-C sized CMOS sensor is backed by great internal processing, meaning your end image is noise-free under most conditions, and it packs in an electronic global shutter and 12 stops of dynamic range.

Given the range of codecs and lens options available to you, the CION is a great choice for anyone who’s looking to achieve a cinematic look under a range of circumstances and workflows. AJA’s hardware is typically built like a tank and rarely goes EOL, so we’re willing to bet the CION will be kept current for a good few years – it’s already had some interesting firmware upgrades – making it a safe investment for anyone who needs their camera to last far longer than it should at its price point.

Blackmagic Design URSA

As we’ve said before, of all this group, the URSA is most suited to multiple operators; you can even split the on-camera controls so that one side of the camera controls audio while the other handles image settings, and can check separate scopes on all three of the URSA’s on-board monitors.

The corollary to this is that the URSA really needs to be rigged on a tripod, being, as it is, one of the heaviest cameras we’ve ever encountered. You’ll also need a good stock of V-lock batteries, as the URSA’s massive internal processing power translates to a constant thirst for power, so grab some batteries and a VTC plate along with the camera body if you’re thinking of buying.

However, it can shoot incredibly flexibly, supports high frame rate and delivers what are team our calling “pretty hardcore” image quality, so if you want 180fps ProRes now, no questions asked, this is the camera to set your sights on.


Not often mentioned in the same breath as the other three, but we think the LS300 has a lot more to offer than most people assume. First off, this is a Super 35mm 4K camera for under £3K ex VAT, which is extremely good value. And the fact that it supports a wide range of interchangeable lenses means that you can probably save again by reusing your existing still camera lenses to shoot video. Then of course there’s the fact that it shoots 4K Ultra HD, full HD with 4:2:2 sampling, SD and web-friendly proxy files, so you’re not going to need to replace or add to it for some time, meaning you’ll get great ROI.

It also has some very nifty hidden features and, because it has a full frame sensor and lets you scale down the crop factor by percentage, offers you ultimate lens flexibility. If you want to capture a micro 4/3″ or 2/3″ size image, you simply need to scale to the correct size, then carry on shooting as if you were on a smaller sensor camera. And even if you’re attaching the smallest lenses in your collection, you’ll still be able to pull HD images off the camera – in some cases, even 4K.

It also has XLR inputs, so you have plenty of high quality micing options, and will support auto-focus and zoom rocker use on any lenses that have those features enabled, meaning that with the right accessories the LS300 can become a really interesting run and gun camera, perfect for live events and ENG-style shooting – especially given its live streaming and FTP capabilities.

Register for our 4K Shootout

Drop by our Soho office on 23rd July to get hands on with these guys and put your questions to the team – we’ll also have Varicam, DSLRs like the A7S and GH4, the URSA Mini and the XC-10, as well as Zeiss glass, a 4K lighting setup from Cirrolight (and a tutorial on lighting for 4K with cinematographer John Harrison).

Want to know more? Give us a call on 03332 409 306 or email For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook.