Cyanview 2022.12 expands cine-camera control for live multicam productions

Cyanview is positioning its RCP as the universal control layer for an increasingly fragmented live production camera ecosystem, where cine-style cameras from multiple manufacturers now coexist with traditional broadcast cameras on the same show. The 2022.12 release addresses the core workflow gaps — lens control, tally, color matching, and 3D LUT management — that have slowed adoption of large-sensor cameras in live environments. With Canon's XC protocol and Sony's expanding FX/FR range adding native remote control features, demand for a brand-agnostic shading panel is growing. Watch whether Cyanview's promised Q1 iris joystick and Arri/Red camera integrations materialize, as those would extend the platform's reach into higher-end drama and concert productions.

The trend toward cine-style cameras in live production accelerated significantly in 2022. At the FIFA World Cup Qatar, Host Broadcast Services deployed Sony FX3 cameras with RF connectivity at every match for fan and tunnel coverage, with HBS CEO Dan Miodownik calling cine-style cameras "the biggest differentiator" in coverage (per SVG Europe, December 2022). The tournament built on earlier trials including La Liga and Mediapro's use of Sony Venice on Steadicam and BT Sport's Champions League coverage with cinematic cameras.

Sony's September 2022 launch of the FR7 — the world's first full-frame interchangeable-lens PTZ camera at approximately $9,700 — reflected manufacturers' push to bring cinematic image quality into remotely controlled form factors (per Sony, September 2022). Sony VP Yang Cheng noted that "the cinematic look and feel is rapidly becoming the norm in broadcasting and live production." The FR7 entered Cyanview's supported camera list as part of the 2022.12 release.

The broader challenge remains integrating cine cameras into multi-camera broadcast environments. Per The Broadcast Bridge (July 2022), Mobile TV Group's Mark Chiolis described the difficulty of matching cinema cameras with traditional broadcast cameras in live settings, particularly around HDR/SDR delivery. Sony's Norbert Paquet told SVG Europe (June 2022) that matching cine cameras to broadcast cameras "is very difficult to get it 100%" because they are "primarily developed for film, drama and commercials." Per Televisual (January 2023), EMG's Martyn Edwards noted that "the live sport environment can be extremely fast-paced in terms of event turnaround, so any solution needs to be easily deployable." Sony responded with the HDC-F5500 system camera, a Super 35mm global-shutter model designed for broadcast-native cinematic workflows. Cyanview's approach — a brand-agnostic RCP with secondary color correction via its VP4 — targets the same matching problem from the control side rather than the camera side.