Major events use it for all kind of soecialty cameras as they aready have the technology for the main studio cameras. So we had to develop solutions for everything that was not working. And major productions have budgets for all kind of new toys:mini-cams, drones, cable cams, now cinematic look from small mirrorless cameras, slow motion, etc. That opened up a whole lot of possibilities to be creative but you have to be as reliable as the main cameras and aim for the best image quality.
Now the same products are used for very small productions that don't have the budget for any studio camera (look typically at 50k+ for a camera without lens). In that case we try to provide a similar user experience and functions but with much more ffordable cameras.
Finaly more and more live productions are now handled using cine style cameras which don't have the standard broadcast remote panels and that's another area we cover, by combining camera control with control of many external boxes like external motors to drive manual lenses or 3D Lut video processors. Applications are on fashion shows, concerts, theater, Churches, studio shows, even corporate.
In the end Elixir is used for a lot of small processes which handle very low level control protocols. And then on top of that add a high-level of communication between devices either on local networks or over the cloud.
> Now the same products are used for very small productions that don't have the budget for any studio camera
Just out of curiosity, what would be examples of very small productions here? Would an independent YouTube channel with great production quality be using this?
Typically 4 cameras setups where a single remote can control all of their cameras. For classical concert, they would use 2 PTZ robotic cameras and 2 mini cams on some artists and instruments. There is no camera operator at the camera side (for costs reasons) so a single operator has to do it all.
One important point, if you are not live, then there's usually the possibility to adjust everyting manually on the camera and then finish in post production so our remotes are nearly never used outside the constraints of live productions.
One the opposite direction, I heard that they had around 250 cameras on Love Island but you can pretty much control everything from one or 2 remotes as there isn't a need for a lot of changes at a single time. The action only happens in front of a few of them. That said, we still have 250 processes running and controlling these cameras continuously.
The extreme upper range of YouTube channels sometimes use a RED camera. I've not seen a lot of ARRI for YouTuber behind-the-scenes. Usually they go with high-end prosumer full-frame mirrorless Sony, Canon or equivalent. Those are probably below what the Cyanview's stuff is intended for or just on the edge of what gets used.
I suppose FX30, FX3 and FX6 is in Sony's cinema line and may have all the color stuff that these systems want to tweak but I'm not sure. These cameras do get a fair bit of play on YouTube.
