High Dynamic Range (HDR) has reimagined the sports fan experience, allowing broadcasters and OTT providers to deliver live sporting event coverage with truer to life colors. However, many production chains still leverage standard dynamic range (SDR) equipment, even for events captured in HDR, introducing workflow complexities. The ability to convert signals between SDR and HDR and maintain signal integrity are essential to addressing modern these challenges, as is being able to handle multiple LUTs with low latency and a high-quality output.  

In a recent interview with AJA, Camera Corps Technical Director Andy Sanders describes how his team achieves both using AJA ColorBox alongside a host of other gear, including AJA 12G-AMA and 12GM Mini-Converters for high-quality audio embedding and signal format conversion. Known for technical innovation and its continuous commitment to research and development (R&D), the UK-based camera specialist offered us a behind-the-scenes look at how it supported several major sporting events in 2024. Discover how the Camera Corps engineering team uses dependable media tools from technology partners like AJA to tailor solutions to address specific live sports production requirements by reading the full interview. 

Tell us more about Camera Corps.
Camera Corps, now part of Videndum, was founded in 1997 and provides specialty camera solutions, including robotic camera systems and minicams, for major broadcasters and production companies worldwide. Headquartered in the UK, we’ve worked on numerous high-profile sporting events globally and established a reputation for innovative camera solutions and expertise. Our offerings encompass camera equipment rental (fully managed and dry), camera customization, crew, connectivity products (wireless and cabled), and comprehensive support services for clients. This includes consultation to develop new ideas and plan for major events. We also take pride in delivering unique camera experiences that enhance live broadcasts, adapting to the specific needs of our clients while ensuring seamless integration into diverse production environments.

How’d you get started in the business?
My background is in electrical and electronic engineering, with initial experience as an audio R&D engineer at Decca Record Company, followed by roles at both BBC and SIS Outside Broadcasts as a senior engineer responsible for all their vision and embedded audio systems across their fleet of OB vehicles. I joined Camera Corps in 2014 to focus on specialty camera systems. Since then, I’ve led and developed many innovative product ideas for clients. Most notably, I’ve been involved in the launch of the Qx camera, Stumpcams, Basecam, Aquatics systems, Beautycams, and overseen the development of a range of SMPTE and fiber products for Camera Corps.

Describe an average day on the job and what you like most about your profession. 
A large bucket of coffee always starts my day! However, the beauty of my role is that every day is different. The diversity of tasks, short- and long-term, involves working with the entire Camera Corps team. They range from on-site work at major events with extensive camera systems, to in-office tasks like configuring RF links, designing IP networks, or developing software. The varied and demanding nature of the job keeps it interesting and challenging. Even though we regularly face challenges in having to adapt quickly to new situations and ensure everything runs smoothly under pressure, I enjoy the opportunity to be involved in innovative projects and collaborate with talented colleagues.

What do projects typically involve for your team?
Most projects start with detailed planning and scoping, often involving on-site surveys, followed by the design and build of custom camera mounts and equipment, setup, execution, and support. We collaborate closely with clients to meet their technical needs and implement advanced camera and connectivity solutions. We customize their setups and ensure seamless operation across broadcast environments.

Can you tell us more about some of your work? 
We supported many major global sporting events last year, including one that happens every four years, and the 2025 schedule is already filling up. For sporting events like the one I just mentioned, we deployed hundreds of cameras and adapted each to the unique broadcast requirements, ensuring seamless signal compatibility and quality across different formats and venues.

Planning for projects of this scale typically starts two years prior to the event. This past summer, we supplied approximately 450 equipment pallets and 150 crew across multiple sporting venues spread across Paris. The level of detail required to ensure that every item of equipment was seamlessly integrated into the broadcast infrastructure took an incredible amount of time and resources, from planning logistics to crew training, building, testing, and equipment packing, as well as on-site delivery and deployment.

Whatever the project, we take a unique approach at the production level, particularly using AJA equipment like ColorBox, which features a compact form factor that is essential for integrating with small specialty cameras. It allows for the addition of identified SMPTE payloads within the SDI signal, ensuring format consistency and compatibility for necessary video processing downstream—an advantage that competitors do not offer.

This past summer, ColorBox enabled HDR conversion of our existing high-speed cameras, which offer dual outputs for live and replay. Ideal for capturing dynamic sports shots, such as those you see in events like the pole vault and high jump, the setup delivered exceptionally smooth visuals for high-stakes sports production, including slow-motions. The lightweight design of the cameras and AJA gear facilitated seamless integration into the sporting apparatus without being intrusive.

We started with camera signal acquisition, employing a combination of AJA 12G-AMA and 12GM Mini-Converters for signal format conversion and our own custom-built fiber solution integration. Our goal was to capture the highest possible quality images and then ensure smooth transmission from the cameras to the vision mixer in the correct HDR format. We then relied on ColorBox and our converters to handle various technical requirements during production. The high-quality signal conversion and portable form factor that our AJA gear provided fit seamlessly into our workflow, enabling us to support a diverse array of specialty camera deployments across multiple vent venues. 

Why did you opt to use ColorBox?
ColorBox was essential due to the increased demand for HDR formats. We needed to be able to convert SDR signals from certain small-form cameras and maintain signal integrity with 10-bit processing and correct SMPTE 352 payloads. It also enabled our team to handle multiple 3D LUTs efficiently, with low latency and high-quality output, which was crucial for maintaining broadcast standards without technical disruptions. We were able to load multiple LUTs to the units before they even departed our UK base, so on-site, we could simply select the LUT we wanted in the ColorBox pipeline for each job. This capability significantly improved our workflow and contributions to the live event broadcasts. 

ColorBox also provides an exceptionally low latency of less than half a video line, and its technical output standards are incredible. The device’s RGB color correction and proc amp functionalities provide further flexibility for color matching cameras that are lacking data telemetry control. We can also use ColorBox to modify the output of our existing stock of high-speed cameras that do not natively support HDR and integrate them into modern workflows without the need to write off cameras, thus saving money and improving sustainability.

Overall, ColorBox and our other AJA gear ensure high-quality signal conversion and compatibility, which enhances the broadcast quality delivered to audiences. It streamlines our team's workflow by reducing setup complexity and signal management issues, saving time and resources that can lead to cost savings in operational efficiency.

Which industry trends are you following, and why?
We are closely monitoring UltraHD, 8K, SMPTE 2110, and HDR. There is significant interest in HDR, as it is being favored over UltraHD in some instances due to cost considerations with UltraHD storage and processing, while HDR enhances visual experiences significantly.

Describe the biggest challenges HDR presents for the industry. 
Managing signal integrity across diverse devices is a huge HDR hurdle ahead, as well as ensuring compatibility with various HDR formats. The industry has been struggling to maintain consistency in the way HDR camera shading is handled in live HDR broadcasts, as most workflows require the use of down-mapping to SDR for the vision engineering team to adjust the cameras in a familiar environment. 

However, I see AJA’s new OG-ColorBox being a useful device for OB vans in this situation. It could provide consistent HDR-SDR conversion across multiple video paths, rather than teams having to rely on SDR conversion built into cameras, which can introduce too many variables since each manufacturer implements this conversion differently. The differences between HDR formats are likely to be overcome through technological advancements and standardization, improving interoperability and reducing conversion complexities. 

What’s on Camera Corps’ future roadmap?
Camera Corps is gearing up for many of the world’s major sporting events, including a major winter event that begins in early 2026, with planning already underway. Our R&D focus remains on expanding our technological capabilities and service offerings while adapting to emerging broadcast trends. We strive to offer our clients the most professional equipment available that is optimized for the job and backed by a team of dedicated and experienced professionals who can help turn any production idea into reality.

About AJA ColorBox 
AJA ColorBox is a powerful video processing device designed to perform algorithmic and LUT-based color transformations and offers advanced-level color management with AJA Color Pipeline, as well as several color transform approaches including Colorfront, ORION-CONVERT, BBC HLG LUTs, NBCU LUTs, and ACES. Featuring 12G-SDI in/out and HDMI 2.0 out and ultra-low latency, ColorBox is capable of up to 4K/UltraHD 60p 10-bit YCbCr 4:2:2 and 30p 12-bit RGB 4:4:4 output, perfect for live production, on-set production, and post-production. ColorBox’s browser-based user interface makes it simple to adjust color processing settings, whether connecting directly via Ethernet or via a third-party Wi-Fi adapter. 

About AJA 12G-AMA and 12GM
AJA 12G-AMA is a four-channel analog audio embedder/disembedder with support for 12G-SDI input and output, up to 4K/Ultra HD. Fiber models offer single link fiber I/O, including LC and ST options. 12GM is a compact, muxer/demuxer that enables conversion between 12G-SDI and quad link 3G-SDI. It supports 4K, UltraHD, HD, and SD workflows, conversion from quad link SDI signals and vice versa at 12G, 6G, and 1.5G bit rates, as well as dual-link and dual-stream conversion. Square Division and Two Sample Interleave (2SI) input and output mappings are also supported on the Mini-Converter. For more information about the 12G-AMA, 12GM, and AJA’s full line of Mini-Converters, visit: www.aja.com/products-mini-converters.

About AJA Video Systems 
Since 1993, AJA Video Systems has been a leading manufacturer of cutting-edge technology for the broadcast, cinema, proAV, and post production markets. The company develops a range of powerful, flexible video interface and conversion technologies, digital video recording solutions, and color management, streaming, and remote production tools. All AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com. 

All trademarks and copyrights are the property of their respective owners. 

Media Contact:
Katie Weinberg
Raz Public Relations, LLC 
310-450-1482, aja@razpr.com