FieldCast 2Core SM Heavy Duty 100m on Drum Fiber Cable

Power cable should come fully off its reel before it carries a heavy load, because copper left wound traps its own heat. Light in glass produces none, so the FieldCast 2Core SM Heavy Duty 100m can go to work with most of its length still on the barrel. Stand the drum at the foot of a camera tower or beside the truck, pay out only the metres the route asks for, and plug in the inner end where it leaves the Schill GT310 through its bend-protected infeed. The rest stays wound, off the ground.

Inside the tactical Heavy Duty jacket, the grade FieldCast specifies for outdoor runs across grass, tarmac and loading ramps, sit two protected 9/125 single mode cores. Two yellow rings on each connector flag it as single mode. Each end terminates in a FieldCast 2Core SM connector of the male type, identical on both sides and the one connector type this cable uses. A screw-on cap covers each unmated end, and the connector system carries an IP67 rating to EN 60529, so an end left in damp grass during the rig stays clean behind its cap.

Single mode is what FieldCast's camera adapters and Mux/Demux units are made to receive. At the camera, Adapter One shields the optical ports of a Blackmagic ATEM Camera Converter (One Plus adds four-pin XLR power), Adapter Two sits on a Blackmagic Studio Camera and reaches its SFP, and in the gallery Panel One gathers up to four drums at an ATEM Studio Converter. LC-port gear connects through separate parts: a two-metre adapter cable, or a panel-mount chassis connector in D-size format for 19-inch racks with a half-metre LC fanout behind. A 0.5 m coupler adds a second drum when 100 m falls short.

A scaffold camera tower at a beach volleyball centre court, a crowd-line position at an air show, the finish tower of a rowing regatta: the distance back to the truck changes with every site plan and rarely lands on a round number. Where the run stays under a hundred metres, one drum covers it and the surplus waits on the barrel rather than in a loose coil beside the camera. For a production house that is labour saved twice, with fewer metres to lay, tape down and ramp over on the way in, and fewer to recover once the event is off air.