JVC's Robotic PTZ Video-Over-IP Production Camera

The first PTZ camera in JVC's line-up, the KY-PZ100 PTZ is popular for live production, events and sports.

When connected to a Wi-Fi adapter or 3G/4G modem via USB or directly connected to a LAN, the KY-PZ100 streams up to 1080p/50/60 video with two-channel audio using SMPTE 2022 forward error correction (FEC).

The camera offers low latency streaming at various bit rates and its integrated Zixi technology delivers reliable streaming performance with FEC and automatic repeat request (ARQ) as well as adaptive bit rate control.

Designed as a standalone remote camera or as part of a multi-camera system, the KY-PZ100 can also be used as a conventional PTZ camera. It includes a 1/2.8-inch CMOS sensor (2.2 million pixels) and a 30x optical zoom lens.

Its f/1.6-4.7 maximum aperture delivers excellent low-light performance, while its LoLux mode delivers images in darkness as low as 0.01 lux.

The camera also supports on-board HD recording at up to 50Mbps to a MicroSDHC/SDXC media card and recorded files can be uploaded to an external server.

"There are many PTZ cameras on the market but none have a direct host USB connection to a 3G/4G modem or Wi-Fi adapter," explained John Kelly, General Manager, JVC Professional. "This unique capability allows our PTZ camera to be placed anywhere there's a power source and stream broadcast quality HD video. This exciting new technology will appeal to a number of vertical markets including broadcast, events, government, production and sports."

Users can control the PTZ unit using JVC's new RM-IP100 remote control panel, a web browser, or a variety of remote units that support VISCA protocol.

The RM-IP100 can memorize more than 100 preset settings and positions.

For installation versatility, the camera is available in black (KY-PZ100B) or white (KY-PZ100W) housings and can be mounted upside-down, if necessary.

Further information on the KY-PZ100, and JVC's full range of professional video solutions, is available at www.jvcpro.co.uk.

This article also features in the December edition of Broadcast Film & Video.

(JP/LM)