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FORUMS Cameras, Lenses & Accessories Canon Lenses 
Thread started 24 Feb 2011 (Thursday) 16:18
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Canon at the Superbowl

 
tonylong
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Feb 24, 2011 16:18 |  #1

I don't know if anyone's posted about this, but here's a Canon press release describing how they provided some new super-telephoto HDTV lenses to cover the Super Bowl, both for the "fixed" cameras and the portable ones:

http://www.usa.canon.c​om …802999ae&WT.mc_​id=C126149 (external link)


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FlyingPhotog
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Feb 24, 2011 16:38 |  #2

Not so much that they're "new" but more about the fact that every hard camera (the type mounted on sticks and a pan head) were 100X lenses.

Most broadcast mobile units do not carry 100x's for every camera they have on board. Some still carry lenses that are only 40x and / or 80x which means the Director has to be aware that some cameras won't have the reach required to isolate single players on demand. This is especially true when the cameras are way up in the stands behind the end zones or up near the rafters in a corner of the stadium (generally referred to as a "Slash" angle.)

Giving all 18 cameras 100x's meant that any camera could shoot one player head to toe from anywhere they were located and some could probably grab waist up or even head shots.

Consider this diagram from Daytona:

IMAGE: http://crosswindimages.com/img/s3/v23/p767051605.jpg

The main race coverage cameras are on the roof of the main grandstand (A) and can frame about two car lengths in the middle of the backstretch (B) without the need for an extender!

Now that's some reach!

Jay
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tonylong
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Feb 24, 2011 16:56 |  #3

Jay gots the goods:)!

I just get amazed when I watch pro HD sports these days with the coverage of those "hard" cams -- able to get such close, crisp shots is like "wowser! I wish I had one!"...


Tony
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FlyingPhotog
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Feb 24, 2011 17:22 |  #4

tonylong wrote in post #11907511 (external link)
Jay gots the goods:)!

I just get amazed when I watch pro HD sports these days with the coverage of those "hard" cams -- able to get such close, crisp shots is like "wowser! I wish I had one!"...

It was my world for many years...

This is the location marked at "A" above:

IMAGE NOT FOUND
HTTP response: NOT FOUND | MIME changed to 'image/gif'


And the cameras in question look like this one (more or less):
IMAGE NOT FOUND
HTTP response: NOT FOUND | MIME changed to 'image/gif'


The cardboard VF shade is a common sight because the ones that Sony makes come in only two lengths. The short is too short and the long is too long so the guys/gals like to often make their own.

This particular camera is what is known as a "build up" because while the lens is a large 100X, the camera body itself could just as easily be a hand-held if you pull it from the cradle and slap a smaller lens on it.

One other tidbit: The pan head in use here is one of the instrumented versions used as part of the live GPS overlay showing car position, speed, etc... The system uses basic geometry with the pan head being one point, the car being the second and several known, fixed positions around the track that they plot on a computer. The numbers get crunched in real-time so that as information changes, that can be shown superimposed over the cars.

Lots of little behind the scenes stuff over on my long-lost PBase account: "Scenes From The Road" (external link)

I was a member of the NASCAR broadcast crew for FOX, TNT and NBC from 2001 until 2009 and worked in the industry for nearly 25 years garnering eight Emmy awards for my efforts.

Jay
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tonylong
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Feb 24, 2011 17:28 |  #5

Yeah, I remember when you and I got to "know" each other back then:)!


Tony
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Feb 24, 2011 17:38 |  #6

Sweet custom viewfinder hoods! =P




  
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themadman
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Feb 24, 2011 17:55 |  #7

You have 8 Emmy's? Jesus!


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FlyingPhotog
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Feb 24, 2011 17:59 |  #8

themadman wrote in post #11907897 (external link)
You have 8 Emmy's? Jesus!

I do indeed. However, I'm considered a "lightweight" as I didn't spend anywhere near as much time at the "network level" as some of the folks I worked with. I worked primarily for FOX from 1994 to 2009 with some "day hire" things for CBS, NBC and ABC in the preceding 7-8 years.

The senior audio mixer for FOX Sports (whose career stretches back to his earliest days as an assistant in the late 70s / early 80s) has somewhere on the order of 25-20 Emmys.

I've been to the home of the gentleman who directed the "Thrilla in Manilla" between Ali and Frazier and his office looks like an Emmy warehouse. Probably has north of 100 of them.


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themadman
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Feb 24, 2011 18:56 |  #9

OMG, you are like a celebrity! Can I have your autograph?! :) :) :)


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FlyingPhotog
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Feb 24, 2011 18:57 |  #10

For a price, sure... ;)

Being anonymous was one of the great benefits of that line of work. Nobody ever stopped to consider what it took to bring their Saturday or Sunday entertainment to them while they lounged at home watching sports.


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themadman
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Feb 24, 2011 18:58 |  #11

A price? :( I though we were internet buddies!


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FlyingPhotog
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Feb 24, 2011 19:00 |  #12

That's my price to pay. Yours is in cash...  :p

<j/k>

My work (slo-mo replay / video editor) was as far from celebrity as I could get. In some ways, I'm actually better known now (after only about 1.5 years of "professional aviation photography") then I ever was in TV...


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Feb 24, 2011 22:18 |  #13

What does something like that cost? I'm sure the lens alone must be at least $80,000 and the camera must be at least $100,000?

Take Care,
Cheers, Patrick


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Feb 24, 2011 22:49 |  #14

Saint728 wrote in post #11909528 (external link)
What does something like that cost? I'm sure the lens alone must be at least $80,000 and the camera must be at least $100,000?

Take Care,
Cheers, Patrick

You're very much in the ballpark...


Jay
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Feb 25, 2011 02:19 as a reply to  @ FlyingPhotog's post |  #15

Jay,so can us folks here at POTN nominate you for an Emmy as a professional aviation photog?;)


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Canon at the Superbowl
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