Panasonic's AW-UE200 and AW-UER200 are billed as the first global shutter PTZs with a 1.2-inch 5K sensor and pan and tilt up to 400 degrees per second. Shipping next year in 2027. Who needs that in a PTZ?

4:46production questions every single week. If you've got any questions for the panel today, whether they be media and production production-related, general tech, AI, vibe coding, networking, whatever, even audio questions, we can answer that stuff. So make sure you get those questions in. We'll talk to you more a little bit about that later. Courtney, let's dive right in. What do we got? All right. First one

5:08comes in from Austin, Texas. Paul Valhus asks, Panasonic's AW-UE200 and AW-UER200 are billed as the first global shutter PTZs with a 1.2-inch 5K sensor and pan and tilt up to 400 degrees per second. Shipping next year in 2027. Who needs that in a PTZ? And here's a link to that place. 1.2, they didn't quite go all the way to 1.5-inch. That's interesting.

5:37Guy, or sorry, let's go to Courtney. Well, I'll tell you why they need a global shutter in a PTZ and that speed in a PTZ. how about covering the Olympics? Because the first letter in PTZ stands for pan. And one thing that's bad on a pan is a rolling shutter because it generates that jello effect. So if you're going to use these to cover sports, for example, and PTZs can now be programmed with intelligence to

6:05follow a certain quarterback or the ball or the hockey puck or whatever in sports, it's going to to pan very quickly it's going to need that pan and i foresee that they could be using these in you know a lot of sports broadcast with that high quality sensor and good ptz and no rolling shutter effect all right and let's go to ronnie um i think it's a really cool camera uh the price is also uh

6:37in the higher things. And I wonder if they are the only, maybe they are the only integrated full PTC, but of course you can have a global shutter camera mounted on a gimbal that is also giving you global shutter. But these are new cameras. I haven't had the time to kind of dive into them, but Panasonic as I know them, they are very, very good.

7:09They are, as Courtney said, these are probably made for sports productions to be able to do really, really fast tracking without having the jello effect. So I really would like to take a look at those if you were into those types of categories. For normal stage use or event or conferences, I don't think that is too much of a problem. We tend to be using PDSets for adjusting and then go to still.

7:41We don't move the cameras too much in conference settings. So different cameras with different specs for different cases. So choose wisely. If you need that camera for a specific case, I would like to know. And if we have comments in YouTube chat, leave a comment there, what you are going to be using it for. Guy? Yeah, I guess the question is who would need that in a PTZ?

8:10There's a lot of folks that would. So at Tenacious Ventures, we have six UE150s, which is the predecessor. And we were looking at going to UE160s and Keycode Media was kind enough. They're the local, well, actually they're pretty spread across the US now with I think six offices. If you ring them up, they'll let you borrow cameras, so they let us borrow one.

8:30And it was more for what Courtney was talking about. there's more a that we get in a little bit of shimmering it when we have you know a CEO or stage presenter and then they have an LED wall behind them and the 160 can cure that so we're like well we've already paid for these 150s we've done so many events with them so corporate these guys that are like local

8:52medical we've done stuff for the usual big suspects the big names that you would hear in the technology sector in the Northwest so I would love to get my hands on these when i look at the competition the sony am7 so we were looking at going the sony route so this is kind of their answer to the am7 and then there's also the fr7 which doesn't have