Raycom Media Improves News Efficiency with JVC Cameras

“The GY-HM660 is a one-size-fits-all option for Raycom Media,” explained Clint Moore, corporate news operations manager for Raycom Media. “For us, the GY-HM660 is not just about streaming live ENG reports. The vast majority of our stations use the camera to send raw clips back to the station via FTP.”

Rather than wait for an MMJ to return to the station, in-house personnel can access files sent from a JVC camera immediately and edit them for broadcast or online use. Not every Raycom station has the decoders needed to use the GY-HM660s for live ENG reports from the field, but all stations use the Bitcentral Oasis asset management system as a landing platform for raw content.

Between JVC cameras, satellite trucks, microwave trucks, and backpacks, Raycom employs multiple technologies for reporters to go live. For Raycom stations that use the GY-HM660 for live news-over-IP, the results have been very positive.

“Field reporters love it because it doesn’t slow them down,” Moore said. “A lot of our stations are very aggressive with using their JVC cameras for live ENG reports.”

Vincent Parker of WBRC in Birmingham, Ala., is one of hundreds of Raycom Media photographers and MMJs using the JVC GY-HM660 ProHD mobile news camera for ENG in the field.

Beyond the live ENG and FTP capabilities, Moore said the company’s JVC cameras have been dependable in the field.

“We get a lot of good, positive feedback from everybody. As someone who had to use proprietary recording formats in the past, I think recording to dual SD cards is great,” he added. “That kind of workflow has really proven its worth.”

Headquartered in Montgomery, Ala., Raycom owns and/or provides services for 65 television stations in 44 markets across 20 states, with about 40 of those stations producing local news. The company has been relying on JVC cameras for local ENG since 2013.

The GY-HM660 is the industry’s first camera with an integrated IFB audio channels and video-over-IP capabilities. When paired with a 4G LTE modem or hotspot, it delivers reliable broadcast-quality streaming without a backpack transmission system or external encoder. Integrated RTMP support allows a direct connection to YouTube, Facebook Live, and other CDNs. The camera also features three 12-bit CMOS image sensors for superior low-light performance, integrated FUJINON 23x auto focus zoom lens, dual XLR inputs with phantom power, and HD-SDI and HDMI outputs.

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Cinematographer William Wages Talks Lens Choices in the Digital Camera Era

For William Wages, ASC, filmmaking is first and foremost about storytelling. His role, as a premier cinematographer, is to capture the best performances with the least intrusion.

“It’s less about the technology, and more about the story,” he relates in the latest video by Fujifilm, “Conversation with William Wages, ASC.”

The winner of three ASC Awards, including ASC Career in Television honors in 2012, and two Emmy nominations, Wages is known for his sumptuous landscape and intimate photography in features such as Maya Angelou’s “Down in the Delta,” Roland Joffe’s “The Forgiven,” and Steven Spielberg’s TV mini-series “Into the West,” as well as his development of filmmaking tools that create more efficiency and transparency on set.

His primary lens choice is the FUJINON 19-90mm Cabrio zoom lens. Weighing only 5.6 lbs/2.54kg, Wages describes how he was first attracted to the lens’ size and weight and secondly, its optical quality calling it a “surprise.” Wages conducted a blind test between the 19-90mm and other lenses and said it “holds up against anything on the market.”


“The most important thing to me is for a lens to be completely transparent,” Wages explains, “meaning it doesn’t impart color. It doesn’t impart anything artificial. I want it to be as clean a palate as possible so that I can change those things with lighting, filtration or color.”


He notes the ability to change focal length without changing lenses as another point in the Cabrio’s favor: “Since the 19-90 came out and I’ve started using it, I’ve not used any other zoom. It’s changed the way I shoot because of the ease of operation, the ease of not having to change lenses all the time. I just reach down and change a focal length. That’s made things go a lot faster, not only in feature films, but also in commercials and in TV series.”

Not having to endure lens change breaks while filming “The Forgiven” was something the film’s stars told Wages they appreciated.

“When the actors are doing an intense scene, being able to reach down and zoom in 5mm to reframe and do another take can keep them in the performance,” says Wages. “Therefore, when you cut it together, you see it. There’s no fluctuation from shot to shot or angle to angle, and that’s significant because ultimately, it’s about the actors. It’s about the story. That’s the reason I want to make movies. I want to tell stories, and this is a great lens for doing that.”

With subtitles available in Portuguese, Spanish and Chinese, the 3:10 version of Fujifilm’s “Conversation with William Wages” was created for not only cinematographers but producers and directors throughout the world.