Everything for PTZ Live Production
PTZ cameras, controllers, and accessories from various brands, featuring SDI and HDMI interfaces, as well as NDI and Dante AV compatibility (depending on the model); worldwide shipping, with pre- and post-sales support available via WhatsApp.
Cmos 1/1.8
Cmos 4/3″
Cmos 1/1.8
How to Choose a PTZ Camera
The sensor is the part that captures the image, and its size has a direct effect on image quality. These are the sizes you will find in PTZ cameras:
- 1/2.8″: common in entry-level and mid-range cameras. It works well in bright, well-lit rooms.
1/1.8″: a step up in low-light performance and image detail. A good balance for churches, classrooms and studios with mixed lighting.
1″: a large sensor with better low-light performance, less noise and more dynamic range. It suits dim venues, stages and productions where image quality matters most.
4/3″ (Micro Four Thirds): the largest of the four. It gives the most cinematic look, with the best low-light results and a shallower depth of field, and it is also the most expensive option.
Larger sensors generally mean better image quality in low light, but they also mean a higher price and a bigger camera and lens, and some models offer less optical zoom. If your venue is bright, a smaller sensor can be enough. If your lighting is limited or you want a more professional look, invest in a larger one.
1/1.8″: a step up in low-light performance and image detail. A good balance for churches, classrooms and studios with mixed lighting.
1″: a large sensor with better low-light performance, less noise and more dynamic range. It suits dim venues, stages and productions where image quality matters most.
4/3″ (Micro Four Thirds): the largest of the four. It gives the most cinematic look, with the best low-light results and a shallower depth of field, and it is also the most expensive option.
Zoom depends on the room and the distance to your subject. Small rooms and studios: about 12x,Mid-size venues and churches: about 20x,Large halls, auditoriums and stages: 30x or more.
Check the power draw of each camera first, then of every other device
that will draw power from the same switch. That total decides which PoE
standard you need and which switch to buy:
PoE (802.3af): up to 15.4 W per port.
PoE+ (802.3at): up to 30 W per port.
PoE++ (802.3bt): up to 60 W or 90 W per port.
Also check the switch’s total PoE budget, not only the per-port limit.
Leave a safety margin of about 20 to 30 percent so you can add cameras or
devices later without replacing the switch. For NDI, use gigabit ports.
SDI: reliable over long cable runs and common in
professional setups.
HDMI: best for short runs and simple setups.
NDI: sends video and control over your network,
and you also need to choose the type:
- NDI|HX2:
lowest bandwidth, so it is easy on the network, but it has more latency
and compression.
- NDI|HX3:
low latency with quality close to full NDI, and it uses more bandwidth
than HX2.
- Full NDI:
best quality and lowest latency, but it needs a gigabit network and uses
the most bandwidth.
Before you buy, confirm that your switcher or software accepts the NDI
type your camera sends, or plan for a converter.
The three most common options are:
VISCA over IP: the most widely supported protocol for PTZ control over a network.
NDI control: NDI cameras can be controlled through the same NDI connection, with no
extra control cable.
Serial control
(RS-422/RS-232 VISCA): used when you control
cameras over dedicated cables.
Some brands, such as Panasonic and Canon, also use their own protocols.
Always check that your control panel supports the exact brand and model of your
camera, especially with Sony, Panasonic and Canon. If you are not sure, send us
your camera and controller models and we will confirm before you order.
The camera’s output (SDI, HDMI or NDI) must be compatible with your
switcher’s inputs. Then match these three things:
Resolution: for example 1080p or 4K.
Frame rate: keep the same family across the whole production (for example 59.94 or
60 fps, or 50 fps).
Scan type: progressive (p) or interlaced (i).
When all three match, there should be no compatibility problems.
For a basic production, plan for at least three cameras: one wide shot and two close-ups. Extra cameras depend on your production design, such as side angles, a presenter close-up or a stage camera. If you will use PoE or NDI, count every camera when you choose your network switch (ports, PoE budget and bandwidth), so you do not have to replace it later. And remember that each camera needs a channel in your controller.
Not sure which one fits? Message us on WhatsApp and we will recommend a setup.