Clients started asking for UHD and HDR as a standard, not an exception. We already had capable equipment in our fleet, but none of our mobile units were designed to operate natively in these formats. That started to limit how quickly and competitively we could respond.
Rather than building a new unit from scratch, we chose to upgrade one of our existing 8-camera trucks into a multi-format mobile unit, capable of handling UHD, HDR, and simulcast workflows. That gave us the foundation, but the key decision was the camera system.
We evaluated the market across performance and cost. The solution proposed by Crosspoint fully met our needs and challenges. What stood out with the Grass Valley LDX 110 was the balance. The licensing model allowed us to invest in a UHD and HDR-capable platform at a cost closer to HD, and activate those formats only when needed.
Since then, we have been able to respond more quickly and stay competitive on projects that require UHD and HDR. One example is the program Uniques for 3Cat, which focuses on capturing well-known Catalan festivals live while also building a high-quality archive. These productions take place in historic city centers where large trucks cannot access, so a compact unit capable of UHD and HDR is essential.
We have used this setup across events such as La Patum de Berga, the Carnival of Vilanova, and Las Santas de Mataró. These are demanding environments where both mobility and reliability matter.
The same camera chains have also been used on other types of productions, including music programs like Zénit and large-scale live events such as La Velada del Año with Ibai Llanos. In these contexts, image quality is critical, but so is consistency in operation. We have seen a clear improvement in sensitivity and dynamic range, which has a direct impact on the final output, especially in complex lighting conditions.
Tools like the Grass Valley Creative Grading (CCS1) have also simplified the work for our teams. They provide intuitive control for engineers and shader operators, which is important in live production environments.
Remote production is another area where this setup has proven effective. We have used it across several REMI workflows, including the FIM Ice Speedway Championship and the Spanish Formula 4 Championship. Operating the LDX 110 with a traditional XCU, which manages connectivity including integration into IP-based workflows, ensures reliable setup and simplifies integration with transmission systems.
Features such as intercom over SDI, return video directly in the camera, and remote control of parameters contribute to a more efficient setup. In practical terms, this allows us to deliver high-quality production with tighter budgets and less time on site.
This has changed how we evaluate our camera fleet. The same platform can be used across different types of productions, improving utilization and cost efficiency.
