Umbilical: Difference between revisions
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* One, although more often two, BNC cables for sending video back from the camera. They should have colour-coded strain relief boots on both ends, two are included to have a spare in case of an all too common failure. | * One, although more often two, BNC cables for sending video back from the camera. They should have colour-coded strain relief boots on both ends, two are included to have a spare in case of an all too common failure. | ||
* A 4-pin XLR cable, used to send power to a camera. Note that these aren't the same on both ends, the power goes in the side with the pins (so you can't poke your fingers and get a shock) so the female end goes to the camera | * A 4-pin XLR cable, used to send [[power standards|power]] to a camera. Note that these aren't the same on both ends, the power goes in the side with the pins (so you can't poke your fingers and get a shock) so the female end goes to the camera | ||
* A 3-pin XLR cable, for camera comms. This should be connected to a [[Studio_Comms|comms]] beltpack at the camera-operator's end and a squid at the other, which should connect all the camera comms together. | * A 3-pin XLR cable, for camera comms. This should be connected to a [[Studio_Comms|comms]] beltpack at the camera-operator's end and a squid at the other, which should connect all the camera comms together. | ||
* A Cat-5 cable (network cable) for [[Tally_(Roxanne)|Tally]]. This should be connected to a tally block on the camera end, and the tally splitter (menorah) at the other end, which then links to the tally line back to the control room | * A Cat-5 cable (network cable) for [[Tally_(Roxanne)|Tally]]. This should be connected to a tally block on the camera end, and the tally splitter (menorah) at the other end, which then links to the tally line back to the control room | ||
Umbilicals come in a selection of lengths, from shorter for studio use to a couple of extremely long ones for on-stage use at Woodstock | Umbilicals come in a selection of lengths, from shorter for studio use to a couple of extremely long ones for on-stage use at Woodstock. Most umbilicals have a carabiner, allowing them to be attached to the camera without putting strain on the cables and connectors. It's also an easy way of identifying which end of an umbilical should go where. | ||
[[Category:Technical]] | [[Category:Technical]] | ||
[[Category:Equipment]] | [[Category:Equipment]] | ||
Revision as of 09:17, 8 May 2014
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An umbilical contains all the cables to connect a camera through to the control room for a live show. These are run in parallel inside a flexible plastic sheath, so they should be dead easy to connect up and move around with, without risking tangling everything.
A typical umbilical should contain:
- One, although more often two, BNC cables for sending video back from the camera. They should have colour-coded strain relief boots on both ends, two are included to have a spare in case of an all too common failure.
- A 4-pin XLR cable, used to send power to a camera. Note that these aren't the same on both ends, the power goes in the side with the pins (so you can't poke your fingers and get a shock) so the female end goes to the camera
- A 3-pin XLR cable, for camera comms. This should be connected to a comms beltpack at the camera-operator's end and a squid at the other, which should connect all the camera comms together.
- A Cat-5 cable (network cable) for Tally. This should be connected to a tally block on the camera end, and the tally splitter (menorah) at the other end, which then links to the tally line back to the control room
Umbilicals come in a selection of lengths, from shorter for studio use to a couple of extremely long ones for on-stage use at Woodstock. Most umbilicals have a carabiner, allowing them to be attached to the camera without putting strain on the cables and connectors. It's also an easy way of identifying which end of an umbilical should go where.
