Ikegami HDK-77EC

Little article on the cameras that we chose for the CONSOL.

If you’ve been to a game, you might notice that the “game wide” shot on the scoreboard is a lot tighter than what you see on TV.  That’s by design.  Great move by Rod Murray (Sr. Director Production & Entertainment) to do this.  Why go for a big wide shot when that action is right in front of you?  So we’re using our own cameras for the main scoreboard feed, and we’re shooting much tighter than you’ll see on the nets.

The Ikegami cameras have been great for us.  As I said in the article I was completely blown away when I saw it during the shootout.

Have to say I’m most impressed with the model we’re using on the center scoreboard robotic.  Every time you see this shot picked up on any network game from CONSOL, it’s coming from our camera.  It was part of the initiative to deliver more feeds to the broadcast trucks to ensure we were getting A-game coverage and allow them to put their resources to other enhancements.

Dead sexy

Speaking of cameras, as I predicted the network have gravitated to the center positions (twice as many as Mellon) and have done less of the “slash” cameras.  The slash cameras are located near the corners on the main and and upper concourse.  At Mellon, those positions were full every game due to the lack of overall positions in the building.  While these cameras are decent enough angles, many times you end up with the netting obstructing the shot.  So we’re seeing more of the isolation cameras clear and unobstructed for the tight follow shots.

Oh, and there’s no auto-focus on these. You think for the money…