Enhancing Your Visuals with Full-Chrominance Broadcast Video Cameras with Gina Thompson

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The latest advances in broadcasting technology allow teams to create fully-virtual sets for their anchors. However, the biggest issue with virtual sets lay in their artificiality. But with the development of the ACID Camera, broadcasting teams can meld reality and virtual reality in novel and exciting ways.

On this episode of Ross’ Living Live podcast, Tyler Kern is joined by Gina Thompson, the business development manager at Ross Video.

Before coming to Ross Video, Thompson surrounded herself with studios and broadcast cameras quite a bit and even worked as a professor for AV and technical education in Florida. Today, she helps Ross “make their cameras look good.” Her background in cameras and shading make her an expert in this episode’s topic: the ACID Cam.

Originally designed for use on virtual sets (as evidenced by the camera’s bright green body), the ACID Cam gives broadcasting teams a full resolution picture without compressing it like a standard broadcasting camera would. The secret? The ACID Cam uses two separate outputs.

“You end up with all of the luminance coming out of one output and all of the chrominance coming out of the other, and it gives you a full resolution picture that you’re able to key with,” said Thompson.

She noted that people have a hard time suspending disbelief on virtual sets because you can tell it’s all virtual. But with the ACID Cam, broadcast teams now have the ability to “take a real image from a camera and place it into that virtual scene and still make it look like it’s meant to be there.”

Watch the full episode to discover a few other ways the ACID Cam can be used outside of the virtual set.

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