SAN DIEGO—Sony Electronics today introduced the FX5 full-frame camera, the latest in its Cinema Line series.

The camera relies on a new fully stacked CMOS image sensor that raises sensitivity performance with 15+ stops of dynamic range, three base ISO settings and a Dual Gain shooting mode.

For the first time in the Cinema Line FX series, the FX5 supports Open Gate shooting and in-camera recording in X-OCN, Sony’s proprietary RAW format. It shoots 5K at up to 60 fps, 4K at up to 120 fps, and FHD at up to 240 fps.

Sony has also released two optional accessories: a detachable OLED viewfinder and an XLR handle unit that records in-camera at up to 96 kHz, 32-bit float.

“We wanted to build on the FX3, taking it one step further with the inclusion of some VENICE 2 features, like internal RAW recording and Open Gate,” said Yang Cheng, vice president of Imaging Solutions at Sony Electronics. “Features like these have been highly requested and will allow creators more creative freedom with an easier workflow.”

The ILME-FX5 with XLR Handle Unit will be available in mid-August for a suggested retail price of $5,499.99. The ILME-FX5B body will be available in mid-August for a suggested retail price of $4,899.99.

Key features include:

• A full-frame, fully stacked Exmor RS CMOS image sensor and the latest BIONZ XR2 high-speed image processing engine with a dedicated AI processing unit.
• In S-Log3, captures 15+ stops of dynamic range.
• Three base ISOs of ISO 800, ISO 4000 and ISO 12800 keep noise low across a wide range of conditions. The Dual Gain Shooting function, a first for the FX series, draws more from the sensor for smoother gradation and wider latitude while reducing noise and preserving shadow detail.
• A first for the FX series, the camera supports 3:2 full-pixel readout across the entire sensor, or Open Gate shooting, plus 17:9, 16:9 and Super 35mm scan modes. In-camera recording in X-OCN, Sony’s proprietary 16-bit scene-linear RAW format, captures high quality without an external recorder. Alongside X-OCN LT, the new X-OCN C1 and X-OCN C2 codecs cut data size to speed transfer and streamline post-production.

More information is available on the company’s website.

SAN FRANCISCO—The non-profit media organization CatchLight has announced a new equipment initiative with Sony Electronics (Sony) that will put powerful professional camera and video tools directly in the hands of local visual journalists.

The effort aims to help local newsrooms facing limited staffing and shrinking resources as they attempt to grapple with the growing demand for visual reporting.

Through the initiative, Sony will provide 24 professional Alpha camera and video kits to select CatchLight Local member newsrooms, including 16 CatchLight Local Fellows and Report for America Corps Members.

Each kit includes professional equipment, including full-frame cameras, telephoto zoom lenses, digital shotgun microphones, and external flash with wireless radio control.

“Access to high-quality camera equipment is one of the greatest barriers to entry for visual journalists who help us better understand the world around us,” said Elodie Mailliet, CEO of CatchLight. “This partnership with Sony helps close that gap by equipping visual journalists with the resources they need to document the people, issues, and events shaping their communities.”

In addition to equipment kits, Sony will also provide access to Sony Pro Support memberships, technical support representatives, and online training sessions that can be accessed through CatchLight’s learning library.

“Sony looks to collaborate with organizations with similar goals and CatchLight’s mission couldn’t be better aligned with our joint purpose to help empower emerging visual journalists,” said Theresa Alesso, president, Imaging Products and Solutions Americas, Sony Electronics. “By providing access to in-demand professional imaging technology, as well as industry connections and placements, we’re proud to help support an initiative that is elevating careers and enhancing storytelling while fulfilling a need in local newsrooms – for the benefit of all.”

CatchLight seeks to establish the long-term sustainability of visual journalism by working with partner newsrooms and community-based visual journalists to provide information to the public. Annually, CatchLight provides three fellowships and field grants to develop long-form storytelling projects and engage audiences.

CatchLight is supported by a number of philanthropic funders and partners, including: Arnold Ventures, Draper Richards Kaplan Foundation, Enlight Foundation, The John S and James L Knight Foundation, Kresge Foundation, MacArthur Foundation, Press Forward, Report for America, Silicon Valley Community Foundation, and their education partner PhotoWings.

BARCELONA—Sony is reporting that around twenty cameras from Sony`s Cinema Line including the Venice 2, ILME-FR7 and ILME-FX6, were selected to cover the historic visit of Pope Leo XIV’s visit to the Basilica of the Sagrada Familia in Barcelona on June 10th. ​

The live HDR production, led by 3Cat (TV3), which is the National Catalan Broadcaster, covered Pope Leo XIV’s visit to the basilica as part of the centenary of the death of architect Antoni Gaudí. It coincided with the official inauguration of the Tower of Jesus Christ, the cathedral's main tower.

Paulí Subirà Claramunt, director of photography at 3Cat said that “Catalonia’s national television broadcaster has always been at the forefront of audiovisual technology and, as such, on such a special occasion—the completion of a monument as iconic as the Sagrada Familia—we had to rise to the challenge. We had previously produced the musical Mar i Cel in the Broadcast Cinematography format, gaining experience with the tools and workflows; the big difference is that, with the Sagrada Familia, the live broadcast adds an extra layer of complexity. When we began to bring the creative narrative to the screen, we saw clearly that the technology used had to be adapted to tell the story properly. Transporting the viewer to this very special moment, with an emphasis on aesthetics, using hybrid tools and workflows that blend television and cinema, and defining working standards at both national and European levels, has been a priority for the team and for the 3Cat group.”

The unique architecture of the Sagrada Familia – with its variable natural lighting, hard-to-access spaces and the colossal scale of the site – also placed exceptional demands on the team.

For the event 3Cat deployed ten Sony Venice 2 units, seven Sony ILME-FR7s and three Sony ILME-FX6s with Fujinon Duvo lenses and Sony E-mount lenses.

The Venice 2 deliverd the highest quality image for the main shots, with exceptional low light response during the night artistic show, where the light is the main protagonist.

As remote-controlled cameras, the Sony ILME-FR7s allowed for coverage of hard-to-reach angles without interfering with the proceedings.

The compact and lightweight Sony ILME-FX6s provide the mobility required for the most dynamic shots. All three models share Sony’s colour science, ensuring total colour consistency in the final result and simplifying the live production workflow.

The event holds dual historical significance. On one hand, Pope Leo XIV’s visit to the Sagrada Familia, the first papal visit to Barcelona since Benedict XVI consecrated the basilica in 2010. On the other, the official inauguration of the Tower of Jesus Christ, the central tower of the basilica, which, at 172.5 meters (566 feet), makes the Sagrada Familia the tallest church in the world. June 10 2026 marks exactly a century since the death of Antoni Gaudí.

The live television production of the show was handled by 3Cat, Catalonia's national television channel, with Pauli Subira at the helm.

The technical deployment of Sony Cinema Line equipment was combined with PhotoCine's OB3 mobile unit, integrated with the Sony XVS mixer and Sony PVM-X and BVM-HX reference monitors. The technical direction of the project was led by British broadcast consultant Hector Sole-Bradshaw Beltran,​ with a team from the 3Cat (TV3) Technical Department (IDT). ​

Hector Sole-Bradshaw Beltran, project manager / production technical manager, 3Cat Cine Live added that “with its Cinema Line range of products, Sony is able to provide solutions for all the necessary segments of a project of this scale. For the main cameras, the cinematic heritage of the Venice and the 4000 ISO sensitivity of the Venice 2’s sensor makes these cameras the perfect choice for a night-time spectacle where light takes centre stage. The FR7 and FX6 complete the line-up in roles where compact size is essential, yet image quality and consistency are of the utmost importance. For quality control of the international UHD-HDR HLG signal, having the technology of the 4000 cd/m² Grade 1 mastering monitor, the BVM-HX3110, allows us to work in HLG1000ETX and 2000EXT, guaranteeing the quality of the image distributed worldwide.”

‘We were looking for a cinematic image, rich and profound, capable of conveying the essence and narrative sensitivity inherent in this story,” explained Igor Cortadellas, creative director, Igor Studios. “We wanted the audiovisual language used to transmit a timeless message that blends immersion in the traditions of an ancient spiritual culture with its integration into the present. Ultimately, we found ourselves with a visual poem in which light is much more than a technical resource: it is the soul of the story. It is not simply about capturing reality, but about revealing the emotion that lives within it.”

SYDNEY, Australia—Sony Electronics has introduced the SRG-AS10 4K 60p-compatible PTZ auto-framing camera using the company’s proprietary AI, which automatically recognizes, tracks and captures subjects with a natural composition, as well as the SRG-XS10, a basic 4K PTZ camera. The company will show both at InfoComm 2026, set for June 17-19 at the Las Vegas Convention Center.

The new cameras use a 1/2.8-type 4K image sensor featuring STARVIS, Sony’s proprietary image sensor technology. STARVIS enables clear video capture even in low-light environments. The PTZ cameras are enhanced with smooth, natural pan-and-tilt operation, delivering fluid camera movement from start to stop without abrupt acceleration or deceleration, Sony said.

Both cameras can be used for a wide range of shooting distances in concert halls, theaters, gymnasiums and similar venues and for a variety of shots ranging from close-ups to the back of the hall. Their compact, lightweight design allows for installation in diverse settings and can capture high-resolution video that clearly expresses subjects’ facial expressions, Sony said.

Key SRG-AS10 features include:

• PTZ auto-framing leveraging Sony’s proprietary AI analytics algorithms, supporting capture in diverse applications, including online classes and lectures, corporate content creation, streaming and sports capture.
• Ball Sports (basketball) Mode² supporting automated capture of indoor full-court basketball games from a wide shot.
• Automatic multi-person framing of up to eight people within the frame at the same time.
• STARVIS technology to ensue clear video even in low light with a ½.8-type 4K image sensor.
• Lightweight, compact design to support flexible installation and image capture.

“With the announcement of the SRG-AS10 and SRG-XS10, Sony continues to enable professional and reliable 4K capture across real-world AV environments,” said Tom Garvan, product manager at Sony Australia. “By combining intelligent automation, smooth PTZ performance, flexible integration and support for common routing and control protocols, these compact cameras remove technical barriers, allowing education, corporate and live environments to focus on what matter most – their message and presentation.”

The SRG-AS10 and SRG-XS10 are expected to be available near the end of 2026.

See Sony at InfoComm booth C8301.

More information about the SRG-AS10 and SRG-XS10 is available on the company’s website.

LAS VEGAS—Sony Electronics has announced its lineup of new and returning products and services that it will be showing at the 2026 NAB Show, April 19-22 in Las Vegas, demonstrating the latest technologies designed to address emerging challenges and needs in broadcast and production.

“At this year’s NAB Show, Sony’s theme is ‘The Power Behind Your Story’ which demonstrates how our technologies are the driving force behind various forms of storytelling,” said Anthony Kable, CCS Group Manager, Sony Australia. “From products to workflows, and acquisition to delivery, Sony has the right people, tools and expertise to enable creators to capture their vision and communicate their truth with quality and authenticity.”

Sony says its new solutions address the entire production workflow, providing authenticity and provenance, creating more personalized and emotional viewing experiences, and supporting XR and spatial content creation.

At the Sony booth, the company will showcase its live production solutions including the evolution of Sony’s “Networked Live” ecosystem, as well as new system cameras, enhanced workflows for news production, the latest in virtual production tools and processes, and a comprehensive lineup of imaging solutions.

Cameras and Production Workflow
Sony will present its new “R Series” system camera range, which join the company’s existing HDC-5000 and HDC-3000 series camera lineup. The “R Series” significantly enhances image performance, allows system expansion through additional transmission pathways and infrastructure options, and usability that enables consistent color matching across models.

Additionally, the new series features an expanded dynamic range for enhanced details, and operation modes to address different lighting environments. Models include HDC-5500R, HDC-5500RV, HDC-3500R, HDC-3500RV, and HDC-3200R, along with related products such as the HDCU-3500R Camera Control Unit and the HKCU-LUT35 3D LUT option board. The models are expected to be available in mid-2026.

Sony will also demonstrate newly released firmware updates for the PTZ auto-framing cameras BRC-AM7 (Ver. 3.0), SRG-A40, and SRG-A12 (Ver. 4.0). Leveraging Sony’s latest AI technologies, these updates expand functionality to support increasingly diverse production needs, including sports broadcasting, education, and corporate content creation.

For the first time at NAB Show, Sony’s recently launched PXW-Z300 XDCAM handheld AI-powered camcorder—the world’s first to support the C2PA standard for video authenticity—will demonstrate the growing demand for trustworthy news reporting through authenticity and provenance.

Sony will also present an end-to-end workflow that leverages camera-originated authenticity files and metadata from the field through immediate production and editing. This workflow is achieved with the LiveU TX1, a compact IP bonding-capable data transmitter (announced in September 2025), the PDT-FP1 portable data transmitter, and the newly announced PWA-RXS Network RX Station.

In addition, LiveU has announced a further expansion of its integration with Sony’s PWA-RXS through an optional license. A reference demo will showcase a new workflow powered by Sony’s cellular connectivity management system, featuring real-time carrier optimization and seamless global connectivity for creators.

Sony will also show an expanded lineup of Alpha cameras and lenses, including the Alpha 7 V capable of 4K 60p capture without crop. The 33 MP (approx.) full-frame hybrid model incorporates a BIONZ XR2 processor with an integrated AI processing engine to facilitate subject recognition and Auto Framing. Additionally, the latest version (Ver. 2.6) of the Monitor & Control app, which enables video monitoring and remote control from smartphones, tablets, and Macs, will be showcased.

Sony’s diverse Cinema Line cameras will enhance their functionality. The FR7 cinematic PTZ camera recently added AI-based Auto Framing and support for OpenTrackIO protocol through a Ver. 4.0 firmware update, while the FX6 full-frame Cinema Line camera rolled out BIG 6 home screen display support for easy access to top functions.

Additionally, experience spatial content creation brought to life through the VENICE Extension System Mini (Rialto) combined with the glasses-free 3D Spatial Reality Display.

Media Processing
Sony will also demo MOXELA, a new software-based media processing platform running on COTS (commercial off the shelf) servers or in the cloud, designed to transform how broadcasters, production companies, and media organizations transport, process, and monitor live video, audio, and data.

Additionally, attendees will see demonstrations of new features for the MLS-X1 multi-format switcher, enabling efficient production by sharing input and output signals across multiple studios. Sony will also debut the ICP-X7000A, a control panel featuring a newly developed XPT operation panel that significantly improves visibility and operability and is planned to be available in late 2026.

Virtual Production and Spatial Content Creation
To manage its ecosystem of virtual production solutions that include cameras, camera tracking and LED walls, Sony will showcase firmware updates to its Virtual Production Tool Set Ver. 3.0.

Sony will also launch the XYN Spatial Capture Solution, which generates photorealistic 3DCG (3D Computer Graphics) assets from photographs taken with mirrorless cameras. This professional solution, which will be shown at NAB Show and is expected to be available mid-2026, is comprised of three tools designed for use across virtual production and a wide range of 3DCG content creation workflows. XYN Spatial Scan Navi is a smartphone app[5] that guides efficient image capture. XYN Spatial Scan is a web application that delivers studio-grade generation quality. Finally, the XYN Renderer Plugin, enables highly realistic rendering for virtual production studios.

Additionally, Sony will host many engaging presentations and talks on trending topics throughout the show featuring notable industry voices. For more details about the company’s presence, visit Sony’s NAB Show website.

Sony will be in Booth C8401 in the Central Hall of the LVCC.

SAN DIEGO—Sony Electronics is releasing a new spatial capture solution that creates high-quality 3DCG (3D Computer Graphics) assets based on its “XYN” (/zin/) spatial capture suite of hardware and software solutions. The solution will be exhibited in Sony’s booth, C8401, at the 2026 NAB Show, April 19-22, in Las Vegas.

Due to be available to professional customers in the United States starting summer 2026, the first release of this solution comprises three software tools: a smartphone application "XYN Spatial Scan Navi" to assist with shooting spatial content; cloud application "XYN Spatial Scan" for generating real-world spaces as high-quality 3DCG assets; and a rendering plugin "XYN Spatial Renderer Plugin" for achieving high-quality, stable image display.

XYN, an integrated suite of software and hardware solutions supporting spatial content creation, was announced in January 2025.

The spatial capture solution supports capturing, generating, and utilizing 3DCG assets optimized for virtual production in film, drama, and commercial production. It enables the efficient use of production-quality photorealistic 3DCG assets designed for use with large LED walls and real-time rendering environments in virtual production.

Future plans include expanding multi functions and applications beyond virtual production, aiming for broader adoption in fields like gaming, animation, architecture, manufacturing, digital twins, and cultural heritage archiving. Furthermore, it will roll out plugins and services designed to integrate with standard 3DCG production tools and game engines across industries, contributing to the creation of seamless workflows.

Key Features of XYN Spatial Scan Navi

• The AR navigation functionality assists real-time shooting
  By connecting to a Sony Alpha camera and a smartphone, it visualizes the required shooting position and angle using AR (Augmented Reality), guiding users to the optimal shooting position. It enables capturing the necessary photos to generate a complete, high-quality 3DCG asset.
  
• The Real-time preview feature visualizes the shooting status to minimize missed shots
  Features that allow users to view and confirm shooting locations from a bird’s-eye view, as well as clearly highlight completed sections, enable real-time monitoring of shooting progress. By preventing missed shots, this helps reduce overall production time.
  
• Automatic integration with cameras streamlines the shooting and generation workflow
  The application controls the optimal camera settings and capturing parameters based on the subject. This enables consistent, high-quality photography even without specialized knowledge of spatial content creation. Additionally, by automatically recording shooting information, lens data, and camera metadata, it contributes to improving the quality and accelerating the subsequent 3DCG generation process.

Details here

Key Features of XYN Spatial Scan

• Sony’s proprietary algorithms generate production-quality 3DCG assets optimized for virtual production.
  Even when 3DCG assets are displayed on the large LED screens—typically several inches in size—commonly used in virtual production, Sony’s proprietary generation algorithm faithfully reproduces details such as reflections, gloss, and the atmospheric quality of distant scenes in high resolution. By generating data compatible with the color management workflows required for HDR (High dynamic range) display, the system achieves rich tonal expression with minimal clipping in highlights and shadows.
  
• Deployment and operation independent of production environments
  Since rendering is performed in the cloud, the system can be deployed without the need for a dedicated production environment, and high-quality data can be generated and reviewed in the cloud even while on the go. Additionally, it enables the creation of high-quality 3DCG assets required for virtual production through simple operations.
  
• Flexibly adapts to creators’ existing workflows
  It supports input from standard mirrorless camera footage, and the generated data can be integrated into standard workflows using tools such as Unreal Engine. Furthermore, by combining the Alpha camera with the XYN Spatial Scan Navi and the XYN Spatial Renderer Plugin, you can achieve a higher-quality and more efficient workflow.

Details here:

Key Features of the XYN Spatial Renderer Plugin

• Production-quality real-time rendering achieves flexible virtual production shooting
  A Sony-developed rendering plug-in that enables production-quality playback of 3DCG assets generated with XYN Spatial Scan. Maintains high image quality on LED backgrounds regardless of distance or angle, increasing flexibility in virtual production shooting. It also supports HDR display, enabling more realistic virtual production shooting.
  
• Usability that realizes the creator’s creativity
  During virtual productions, XYN Spatial Render Plugin enables adjustments to depth of field, matching lighting between live subjects and LED backgrounds, color correction of any area on the LED background, and CG overlay, supporting the execution of the creator's creativity.
  
• Compatible with industry-standard media servers for seamless integration into existing workflows
  Compatible with Unreal Engine, widely used in virtual production, as well as media servers and software such as Disguise for integrating, outputting, and controlling video playback data, enabling seamless integration into existing production environments. Furthermore, by integrating with Sony’s “Virtual Production Tool Set”— which enables pre-shoot simulations and color calibration for both the actual footage displayed on LED screens and the footage captured by cameras — a more efficient workflow is achieved.

Details here

As concerns about fake AI generated news content continue to mount, Sony Electronics has made some significant updates to Camera Verify (beta), a feature of its Camera Authenticity Solution which enables news organizations to share content authenticity information via a dedicated URL.

The solution now supports video, as well as still images. Additionally, the Image Verification Pre-Check Software Development Kit (SDK), which can be integrated into news organizations' own systems, also supports video.

As part of its expanded services for still and video content authenticity verification and dissemination, Sony supports select news organizations in delivering information with verified provenance and authenticity. These solutions are planned to accommodate additional users and applications in the future.

As part of the new upgrades, Sony said that news organizations and photojournalists can use Camera Verify’s URL to validate the authenticity of videos and still photography. Key verification results available via Camera Verify include:

• Verification that still images and videos were captured by a camera, using digital signatures including C2PA (Coalition for Content Provenance and Authenticity) standard compliance
• Display of video or image capture time and authenticity verification results
• Verification that a real-world subject was photographed, using 3D depth detection
• Image Verification Pre-check Software Development Kit (SDK) Now Supports Video

The Image Verification Pre-Check SDK is a software development kit that allows users to check whether content contains a camera signature in an on-premises environment. By integrating this SDK into their own systems, news organizations can verify whether image and video content includes a camera signature, without changing existing workflows. This helps streamline content sorting and supports efficient processing flows.

Sony camera compatibility for supporting recording of authenticity information for video is as follows:

• Interchangeable-Lens Cameras: Alpha 1 II, Alpha 1, Alpha 9 III, Alpha 7R V, Alpha 7S III, Alpha 7 IV. ​*Alpha 7 V: Support planned from May 2026 or later.
• Cinema Line Cameras: FX3, FX30
• XDCAM Memory Camcorder: PXW-Z300

For more details on Sony's Camera Authenticity Solution, please visit: ​Camera Authenticity Solution | Sony.

Industry pundit Pete Putman weighed on the recent OEM agreement between TCL and Sony:

Well, I predicted this would happen...over 15 years ago. As the Japanese TV market slowly collapsed, egged on by the Great Recession, once-famous brands like Panasonic, Pioneer, Mitsubishi, Toshiba, and JVC either (a) stopped manufacturing TVs altogether and left the business, (b) OEM'ed televisions from Korean manufacturers (Samsung, LG) and Chinese manufacturers (TCL, Hisense, et al) and "private labeled" them, or (c) Washed their hands of the manufacturing end, but licensed their brands to Korean and Chinese manufacturers.

Profit margins on televisions plummeted over the past decade.

Both Samsung and LG were getting ready to shut down their LCD panel manufacturing facilities before the pandemic, but a surge in demand for everything from TVs to laptops and tablets kept those fabs open. Now, even the Korean giants shop in China for wholesale LCD panels and even finished TVs, with only LG's WRGB OLED fabs and Samsung's RGB OLED materials manufacturing still in operation.

Sony bragged for decades that they manufactured everything in the television chain, from cameras to TV screens. But even Sony was shopping for panels in the Chinese wholesale marketplace like everyone else. And their market share continues to slide year-over-year, with Samsung, TCL, Hisense, and LG together commanding over 90% of worldwide TV shipments.

Considering that 65-inch LCD panels for televisions can be bought for about $100 apiece (or less!) on the wholesale market (and TCL is one of the largest LCD panel manufacturers)—and you can buy an 4K 85-inch LCD TV for about $700 at BJ's and Costco—this deal was probably inevitable. Sony is slowly getting out of a lot of hardware businesses like laptops and audio gear. (They still are, by far, the world's biggest manufacturer of camera sensors, a very profitable business.)

The Bravia TV business was losing money 15 years ago and was spun off into a separate company from Sony Corporation because of that. I would not be surprised to see Sony eventually exit the TV manufacturing biz entirely, along with consumer audio, and just license their brand to a OEM company, like Hitachi, Toshiba, and JVC have done.

It's hard for some Japanese companies to admit when they've lost, but that's just the brutal economics of the TV biz nowadays. (And to think that 45+ years ago, we were still building and selling televisions in the U.S.!)

SAN DIEGO—Sony, an official technology partner of the NFL, has provided details about how its technologies will play an expanded role in Super Bowl LX, which will mark the company’s most advanced presence at the NFL’s championship game to date.

The upcoming Super Bowl will be the first that is played utilizing Sony’s NFL Coach’s Headsets, which debuted at the start of the 2025 season.

Inspired by Sony's industry-leading 1000X headphone series and designed to optimize sound quality and maximize durability, comfort and clarity, the headsets have supported coaches and staff across all 32 teams with consistent reliability in high-noise, high-pressure environments in all types of weather conditions. At Super Bowl LX, they will carry the strategic communication that guides the game’s most critical moments.

Like previous years, Sony’s imaging technology will play a major role in capturing and sharing all the action from Super Bowl LX across both video and still photography. In total, more than 175 Sony cameras will be on and around the field on game day including a number of HDC cameras for broadcast and high-frame rate capture plus many AlphaTM camera bodies such as the acclaimed Alpha 1 II and Alpha 9 III models, and E-mount lenses including G Master™.

Sony’s Hawk-Eye technology, the NFL Virtual Measurement system, will also be used for the first time in a Super Bowl. The system provides a consistent and efficient Line to Gain measurement result once the ball is spotted on the field. Sony’s Hawk-Eye video and replay technology will also be used to support officiating and video reviews on all eligible plays.

“Technology plays a central role in how the NFL continues to evolve the game,” said Aaron Amendolia, deputy CIO of the NFL. “Sony’s integrated systems, whether officiating data or sideline communication, help us deliver a faster, clearer, and more consistent experience on our biggest stage.”

“Our partnership with the NFL is built on a shared commitment to innovation,” said Theresa Alesso, president, Imaging Products and Solutions Americas, Sony Electronics. “This year’s Super Bowl reflects how Sony technologies work together through data, communication, and imaging to support every moment of the game, from the field to the broadcast to the fan experience.”

“As the biggest game and the most-watched show of the year, the Super Bowl production requires tools we can trust,” said Ken Goss, NBC Sports executive vice president of Studio and Remote Operations. “Working with Sony allows us to flawlessly deliver every angle, replay and on-field moment to viewers watching around the world.”

NBC Sports will deploy Sony’s cameras and lenses across its Super Bowl LX broadcast footprint, supporting everything from primary game coverage to specialty capture, Skycam solutions, and on‑field features. Sony’s imaging systems will help provide NBC the clarity, speed, and reliability required to deliver the most‑watched live broadcast in the United States.

Sony’s imaging technology will also play a major role supporting in-venue production teams, and sideline photographers including The Associated Press and the NFL’s in-house photography and media teams. From the shallow cinematic depth of field looks to high frame rate capture and wireless mobility, Sony’s cameras and lenses will support the visual storytelling that ensures Super Bowl LX lives far beyond game day.

In addition to Virtual Measurement and officiating replay and video support mentioned above, this year’s Super Bowl will feature the first fully integrated optical player and ball tracking environment powered by Sony’s Hawk-Eye Innovations. Sony’s Hawk-Eye SkeleTRACK system tracks 29-points on each player and 3D ball tracking. The SkeleTRACK system, in combination with Zebra Technologies’ RFID wearables, together provides a player tracking system that enhances the league’s ability to analyze on-field movement and ball position with greater clarity and consistency.

Below is a cumulative, high-level outline of all the Sony cameras and related technologies that are being used to cover Super Bowl LX.

NBC:

• 37 Sony HDC-Series System Cameras:
• 35x Sony HDC-5500
• 2x Sony HDC-4300
• 18 Sony HDC-Series POV Cameras:
• 6x Sony HDC-P50A (4x 4K)
• 11x Sony HDC-P50
• 1x Sony HDC-P31
• 5 Cinema Cameras:
• 3x Sony PXW-FX9
• 2x Sony PMW-F55
• 2 Sony PTZ Cameras:
• 1x Sony ILME-FR7
• 1x Sony BRC-AM7
• 3 Aerial/ Specialty Cameras
• 2x Sony ILX-LR1
• 1x Sony HDC-P50

Funicular Goats Halftime Show Production:

• 11 Sony VENICE 2 Digital Cinema Cameras
• 3 Sony BURANO Digital Cinema Cameras
• 1 Sony FR7 Cinema Line PTZ Camera

In‑Venue Imaging at Levi’s Stadium:

• 10 Sony UHD cameras, including the HDC-3500 (hard positions), HDC-5500 (HFR), HDC-3500 (RF wireless) and ILME-FX3A (RF shallow depth of field) with Sony’s E-mount lenses sideline & photography Support
• The Associated Press: 55 Sony camera bodies, 80 lenses, 15 PDT-FP1 Portable data transmitters
• NFL Focus Photography Team: 8 Sony’s cameras, 20 lenses
• Sony Imaging PRO Support:
• 45 Sony full frame mirrorless cameras
• 90 E-mount lenses
• 12 PDT-FP1 Portable data transmitters
• PXW-Z200 camcorders
• Pre‑Loan Program: Estimated 10 bodies and 15 lenses shipped in advance

STAMFORD, Conn.—NBC Sports has selected Sony Electronics to provide technology, including more than 100 cameras and nearly 500 monitors, as well as lenses, accessories, and on-site support for its production of the 2026 Milan Cortina Winter Olympics and Paralympics.

NBC Sports will utilize Sony Electronics to deliver imaging, monitoring, and technical support for its production of the 2026 Winter Olympics and Paralympics.

At this year’s events, a range of Sony’s cameras featuring various form factors and capabilities will take center stage, including the HDC-series system cameras which will enable high frame rate capture and offer options with newly developed Variable Neutral Density filters, while the company’s pan-tilt-zoom and cinematic cameras will provide depth of field, and the use of Sony’s CNA-2 camera control network adapter will centralize multi-camera control, helping NBC Sports route the excitement in Italy back to viewers watching coverage of the Games in the United States.

“Like the Paris Olympics, NBC plans to use technology to both enhance storytelling, and give viewers at home deeper analysis; this time from thousands of miles away,” said Darryl Jefferson, senior vice president, engineering & technology, NBC Sports & Olympics. “This includes specific use of 2110 transport, teams of color experts shading Sony’s HDR cameras from a distance, enhanced PTZ robotic cameras, and support for our end-to-end BT-2020 HDR Workflow through production and our facility in Stamford. To make a finer point, converting the NBC Sports headquarters wholly to a mezzanine HDR format has been built on the continued partnership with Sony on high quality monitoring, color grading tools, and highly customizable remote production workflows.”

Sony Electronics has worked with NBC Sports for 24 years, assisting production efforts at previous Olympics and other major international sports events in Europe, Asia, and throughout the US.

“We are proud to once again partner with NBC Sports on their production of the Olympics and Paralympics, using Sony’s latest imaging technology to continue to push boundaries and elevate engagement in front of the camera and behind the scenes, together supporting the most innovative and entertaining presentation of the Games and helping to accurately capture the action, emotion, and competition for passionate fans,” said Neal Manowitz, president and COO, Sony Electronics.

Click here for more on NBCUniversal’s Milan Cortina 2026 programming.

TV Tech’s overall coverage of NBC Sports' overall tech plans for the 2026 Winter Games can be found here, here and here.

NEW YORK—The live sports broadcasting industry is grappling with a significant technological shift. Productions are becoming larger and more complex, and the demand for wireless cameras has outpaced the capabilities of traditional microwave RF systems that operate on increasingly crowded and limited frequency spectrums.

There’s a constant challenge to efficiently broadcast content wirelessly, which has created a strong industry-wide push to find viable next-generation solutions like 5G. All the traditional solutions still perform well, but when Sony demoed for us its 5G-powered live remote-production offering, comprised of a CBK-RPU7 encoder paired with the PDT-FP1 portable data transmitter and the NXL-ME80 media-edge processor to achieve ultra-low latency, our reaction was, “Why wouldn’t we look at it?”

Low Latency, High Quality
Sony’s solution presented an option offering ultra-low latency and high video quality, plus the ability to send back return video and control the camera and tally.

We’re always limited on the amount of RF cameras we can run on a large-scale event—at a golf major, we typically have around 120 cameras. Over the last four or five years, we’ve been creating one giant camera-control network. If we have six different trucks, the person physically shading cameras can be there, or we can extend the network to New York and have somebody paint it from there.

Our teams have also started virtualizing RF camera control with Sony Camera Control Network Adapters (CNAs), which show up as just another CCU on the network. Now, even if we have 25 video operators, they can be anywhere, in any truck, controlling anything. Having another Sony device on the system allows us to add control to the network more easily.

It’s important we continue to look for ways to transmit more content using the same number of frequencies available. Spectrum is in short supply, so being able to leverage new transmission technology is certainly an advantage, and 5G is obviously, for now, the next solution.

Typically, public networks are specified at about 80% allocation for download and 20% for upload, making it difficult to stream higher bit rates—we need much higher upload bandwidth to transmit live video reliably and smoothly. The video quality and low latency achieved through Sony’s 5G encoder are production-ready and comparable to wired fiber, making it a viable option for primary broadcast cameras.

We’ve even done side-by-side tests of the 5G feed against hard-wired fiber feeds, revealing minimal differences in quality and latency. The video quality from Sony’s 5G encoder was so high when compared to a wired fiber camera that we often could not tell the difference, even when using a high-grade broadcast monitor.

Public 5G Slicing
Production always wants more RF—that’s one of the biggest requests at major events. While private 5G networks provide excellent, dedicated bandwidth, deployment is still challenging enough to warrant further simplification for broader adoption. The potential for carriers to offer guaranteed bandwidth (slicing) on public 5G networks could be the next necessary step towards simplified deployment. Plus, the availability of a public 5G slicing option means you don’t always have to deploy a completely separate 5G system.

Even if there is some trade-off between robustness, latency and quality, it’s worth it for the ability to get more coverage easily and over a large area. The future of wireless broadcasting, at least for the near term, is likely a hybrid model with traditional RF cameras supplemented by 5G cameras placed in strategic locations or in areas difficult to reach with other technologies.

We’re definitely rounding the corner, and as we do, it will be this 5G-powered remote production technology’s time to shine.

More information is available on Sony’s professional products website.

PARAMUS, N.J.—Sony Electronics Inc. has launched 16 improved BRAVIA Professional Displays in the BZ-P Series.

Pro BRAVIA BZ-P Series will be on display at Integrate Systems Europe (ISE) in Barcelona, Feb. 3-6.

The new BZ-P Series complements Sony's existing lineup of BRAVIA Professional Displays, highlighted by the 98-inch BZ53L Series, 32-inch BZ30J Series, and EZ20L Series.

Comprised of the BZ40P flagship models, BZ35P enhanced options, and BZ30P core offerings, the new displays range in size from 43-inches to 85-inches and featuring a Deep Black Non-Glare technology, the 4K HDR portfolio is suited for a range of uses in corporate, higher education, retail, and transportation spaces.

The thinner options offer crisp imagery and exceptional visibility – even in bright environments. With a newly updated design, improved installation flexibility, enhanced operability, mindful sustainability, and lower power consumption, the new lineup incorporates a combination of powerful hardware and software capabilities.

The BRAVIA Professional Displays BZ-P Series is expected to be available in summer 2026. Collectively, Sony's expanded and enhanced professional display lineup – including the new Crystal LED S Series – provides end users with various tailored options for their diverse needs and use cases.

"The encouraging feedback to our BRAVIA Professional Displays featuring Sony's unique Deep Black Non-Glare technology inspired us to innovate further to expand our customers' creative vision and potential," said Rich Ventura, vice president, Professional Display Solutions, Sony Electronics. "We're proud to provide the pro A/V industry with a choice between 16 revamped displays that strengthen our overall portfolio and combine the most valuable traits inherent to Sony integrated display technology – including pristine image quality, strong visibility, robust integration abilities, and longevity – with an added focus on incorporating the benefits of both hardware and software."

The BZ40P, BZ35P, and BZ30P BRAVIA Professional Displays all feature Sony's impressive AI-powered XR signal processing for accurately depicting images, text, and details with realism and vibrancy and offer brightness between 400-700 cd/m2.

The full BZ-P Series lineup features a standout Deep Black Non-Glare technology, offering a premium 47%1 or standard 25% anti-glare, which combined with a wide viewing angle, mitigates glare and reflection, and provides high contrast for a true-to-life picture, even in bright, direct light-filled spaces.The BZ-P Series of displays are thoughtfully redesigned with installation and integration in mind.

The lightweight new lineup's decreased 1.8-inch depth can support Americans with Disabilities Act (ADA) compliance (only BZ-P series models sized from 43 to 65-inches) and features a universal chassis and even, narrow, and uniform bezels with an imbued logo for flawless portrait orientation and videowall setup options.

Additionally, new to the BZ-P Series are center Video Electronics Standards Association (VESA) mounting holes that allow for easy installation. The lineup's 75 and 85-inch models also include in-chassis handles for assistance in transport. Furthermore, when used with Sony's Device Management Platform (DMP), display provisioning can be done quickly and at scale.Sony's latest displays have been enhanced to ensure more operational efficiency and compatibility optimized for professional users.

The lineup uses a System on a Chip (SoC) architecture that removes the need for an additional set-top box for digital signage and features a new user interface and setup program. Additionally, native integration between the new BZ Series and Sony's powerful and intuitive Remote Management System (RMS) solutions2 gives users total control over cloud-based provisioning, control, monitoring and maintenance. Sony also collaborates and conducts compatibility testing with major CMS solution providers worldwide, making it easier than ever to integrate preferred solutions.

Sony also reported that the BZ-P Series offers a substantial reduction in power consumption. The displays' new high efficiency optical system and XR processor–based AI backlight control deliver up to about 31% lower power consumption than the BZ‑L series (when comparing the FW‑55BZ40L and FW‑55BZ40P).

BZ40P – Flagship: Four models ranging in size from 55 to 85-inches, featuring Deep Black Non-Glare Premium technology that accommodates 47% anti-glare and supports 700 nits of brightness, along with an IP5X-compliant dust resistance.

• FW-85BZ40P
• FW-75BZ40P
• FW-65BZ40P
• FW-55BZ40P

BZ35P– Enhanced: Six models sized from 43 to 85-inches, featuring Deep Black Non-Glare Standard technology and offering 500 nits, as well as IP5X dust resistance.

• FW-85BZ35P
• FW-75BZ35P
• FW-65BZ35P
• FW-55BZ35P
• FW-50BZ35P
• FW-43BZ35P

BZ30P–Core: Six models in 43 to 85-inch sizes, incorporating Deep Black Non-Glare Standard technology and providing 400 nits of brightness.

• FW-85BZ30P
• FW-75BZ30P
• FW-65BZ30P
• FW-55BZ30P
• FW-50BZ30P
• FW-43BZ30P

The Pro BRAVIA BZ-P Series is expected to be on display at Integrate Systems Europe (ISE) in Barcelona, Feb. 3-6; Sony's AV Tech Expo in San Diego, March 3-4, 2026; and InfoComm in Las Vegas, June 17-19, 2026. For more information, please visit https://pro.sony/ue_US/products/pro-displays/.

PARAMUS, N.J.—Sony Electronics has launched its latest direct-view LED (dvLED) displays, the Crystal LED S Series, a mid-market option providing high visibility even in bright environments thanks to its brightness, accurate natural color reproduction and low reflection optimized for a diverse range of uses in corporate settings, educational institutions, and commercial facilities.

The two thin new models, the ZRD-S12G and ZRD-S15G, feature 800 cd/m2 of maximum brightness and a 1.25 and 1.56 mm pixel pitch, respectively. These scalable displays, planned to be available in late spring 2026, serve as a high-quality, cost-conscious option that addresses the growing needs of customers.

“The S Series furthers Sony’s longstanding commitment to offering advanced technology with high image quality, exceptional visibility, flexible integration capabilities, and long-term reliability – all of which provide our customers with inspiring visual experiences that offer value, while enabling creativity,” said Rich Ventura, vice president, professional display solutions, Sony Electronics. “With these new models, Sony is strategically expanding our display lineup to ensure we have the right choices to address common requests, support varying budgets, provide a range of options, and ensure consistency that bridges the gap between our BRAVIA professional displays and dvLED products.”

Featuring an impressive 800 cd/m2 brightness, the Crystal LED S Series also offers the same Anti-Reflection Surface Technology in Sony’s BH Series of Crystal LED displays. Together, this enables rich image expression and accurate color reproduction, even in ambient light environments or spaces featuring large windows.

Sony also reported that The S Series’ thin design promotes ease and flexibility in installation. Boasting a slim cabinet with a thickness of approximately 45mm/1.8 inches, representing a 35% reduction in depth, the models streamline installations, and are able to meet Americans with Disabilities Act (ADA) compliance when combined with appropriate wall mount frames. Additionally, the S Series offers smooth, seamless integration with NovaStar’s flagship high-end COEX series, MX30 and MX40 Pro controllers. By using the NovaStar controller, the distance between cabinets and the controller can be extended up to 100m which will contribute to installation flexibility.

In addition, the new displays offer a reduction in ownership costs, resulting from energy-efficient operation – including a cool surface temperature – and low power consumption. Pre-calibrated modules enable precise installation, and ease of service for simplified maintenance add durability and flexibility. Additionally, the Crystal LED S Series is equipped with surface protection that helps prevent accidental contact and promote longevity and it is a scalable and modular solution that features a bezel-free design to enable the construction of seamless video walls of various sizes and configurations. 　

The Crystal LED S Series is expected to be on display at Integrate Systems Europe (ISE) in Barcelona, Feb. 3-6, 2026, and InfoComm in Las Vegas, June 17-19, 2026.

For more information, view the video below or visit: https://pro.sony/ue_US/products/led-video-walls/s-series.

AUSTIN, Texas—Texas Attorney General Ken Paxton today announced lawsuits against Sony, Samsung, LG, Hisense and TCL Technology Group Corp., accusing them of secretly recording what Texans watch in their homes.

Hisense and TCL are both based in China, which Paxton’s office says raises serious concerns about consumer data harvesting. The situation is exacerbated by China’s National Security Law, which allows its government to collect data on U.S. consumers.

At issue is the use of Automated Content Recognition (ACR) technology, which Paxton alleges unlawfully collects personal data. ACR software can capture screenshots of a user’s TV display every 500 milliseconds, monitor viewing in real time and transmit that information to the company without the knowledge or consent of viewers, the AG’s office said.

Consumer electronics companies can then sell the consumer data ACR collects to target ads across platforms for a profit. The attorney general alleges that the practice puts sensitive consumer information, such as passwords and bank information, at risk.

“Companies, especially those connected to the Chinese Communist Party, have no business illegally recording Americans’ devices inside their own homes,” said Paxton. “This conduct is invasive, deceptive and unlawful. The fundamental right to privacy will be protected in Texas because owning a television does not mean surrendering your personal information to Big Tech or foreign adversaries.”

The lawsuits against Sony, Samsung, LG, Hisense and TCL are available online.

Many industries have seen big-ticket hardware turn into software. Switchers, though, demand a combination of real-time performance and sheer bandwidth that has only recently become achievable in software, and has taken a while to begin affecting the high end.

Greg Huttie, vice president of production switchers for Grass Valley, said the company’s designs have long relied on both silicon and code. “Every production switcher we’ve ever put out has software involved in it one way or the other,” Huttie said. “Across the board, I’ve got hardware engineers and software engineers. The world is becoming hybrid.”

Level of Trust
That world, though, interfaces with working practices which change slowly.

“When you talk to a vision mixer or technical director, they’re basically piano players,” Huttie said. “They have a tactile feel. I sat in director’s chairs for many years, and there’s a trust level—even though I’m calling something, my technical director is in my head, lingering on shots he needs to linger on but also knowing the rhythm of the show I’m putting out. They don’t look at the keys.”

That kind of experience, Huttie continued, is increasingly in demand on shows at every scale.

“There is a growing trend where you place yourself further downmarket—not in finished features or functions, but as a smaller piece of that Grass Valley hardware,” he added. “We just delivered 48x24 in a K-Frame XP and won awards at IBC and NAB. We saw that a lot of folks want the power of a production switcher, but they wanted to reduce headcount…going for that single seat.”

Increasingly, software-defined implementations more easily fulfill the demand for a wider range of options, as Huttie explained by reference to Grass Valley’s cloud-integrated Event Producer X with its Maverik X switcher.

“I think a better place for that single seat isn’t really for sports but events, news, corporate,” Huttie said. “Event Producer X couples things together and makes it less burdensome on body count, though we’re not advocating that you reduce your body count.”

A Connected World
Software definition has implications that reach further than feature set or scalability, according to Deon LeCointe, director of networked solutions at Sony.

“Everything we build now has to have some connectivity involved,” he said. “They have to be not only hardware for on-prem, they have to be software for cloud, SDI and IP.”

Even the comparatively recent move toward IP, though, faces unexpected pressures. “The prevailing logic is that if you’re building a new facility, or renovating, you have to take a hard look at implementing IP,” LeCointe said. “Three years ago, I would have said that the question still comes to mind.”

That idea, though, might no longer quite be universal. “When the pandemic happened, REMI became required for day-to-day operations, and it accelerated the conversation around IP tech moving toward cloud tech,” LeCointe said. “People were saying, ‘Can we skip IP and go to the cloud?’”

The answer, he said, was often no, not least because of the media industry’s uneasy relationship with metered-data exit fees. “Cost was a pretty big roadblock,” he said. “Then, the challenge of not having all your live production elements in the cloud—replay, graphics switcher elements, video shading—that just hadn’t gotten there yet.”

Given the interaction of so many complex technological considerations, LeCointe emphasized, Sony has kept things flexible.

“We opt for more of a customer choice philosophy,” he said. “M2L-X is our software-based switching platform, which can be deployed on the public cloud or on a COTS [commercial off-the-shelf] server. We’re not trying to delve into the minefield about where customers want to deploy.”

Back to Prem
A combined interest in quick, flexible scalability and cloud as a choice rather than a requirement, then, seems like the mood of the moment, according to Satoshi Kanemura, president and chief operating officer of For-A America.

“Everyone likes a 100-input big switcher, and that’s driven mostly by the technical director’s opinion,” Kanemura said. “Nowadays, what they’ve found is that sort of big event is once or twice in a year, but most operations need 20 to 30 inputs with 2 ME.”

Doing that the old way takes effort, Kanemura said. “When they increase or reduce the system, adding hardware, rewiring, recabling…they have to manage such a change,” he said. “So, software-defined is becoming a very big buzzword. One or two years ago, many people jumped into the cloud: ‘Cloud’s going to solve everything, it’s easy to increase or decrease the operation.’ What they found was that…even if they shrink the application, still using the cloud, that charge is coming every month.

“Now they’re coming back to the on-premise solutions,” Kanemura continued. “People who can’t afford a big switcher with 100 inputs can go toward software-defined. For-A Impulse can do anything a customer wants—switcher, multiview, frame sync or you can put only multiview into the server and that can be shared into the three rooms. Then, the next day, you can change it to all HDR-SDR conversion parts.”

For-A’s market position in Japan has granted it a unique position with regard to AI and the vexed issue of training data. “Now [that] cable revenue is down, most broadcasters are looking for new revenue from streaming,” Kanemura said. “They do the production in a 16:9 format, then want to trim down to 9:16 for cellphones. You can crop using AI to track the main player into the center of that 9:16…it’s that kind of AI engine.”

Making that happen has allowed For-A to leverage its relationship with NTV. “Their engineers and For-A’s got together to collaborate to build the AI,” Kanemura said. “To make a good AI, you have to give more and more data, but most AI in the market is not specified to the broadcast market; it’s more generic data they put in. [But] NTV has 70 years of archives—that AI knows how to cut, zoom, and understands the sort of scene. It’s a more broadcast-friendly AI engine.”

‘Keys to the Kingdom’
With or without AI, running a switcher on a workstation or server raises issues around the sort of real-time responsiveness that users expect. Les O’Reilly, director, switcher product management at Ross Video, described how the company has accommodated that change within an existing product line.

“The Carbonite family has shipped over 12,000 switchers,” O’Reilly said. “Carbonite as an operator user base was massive… and Carbonite Code launched at NAB 2024. It’s a Carbonite switcher, but instead of on an FPGA [field-programmable gate array], it’s running it on a GPU [graphics processing unit], a software-based switcher that can do some things that are different, but it still operates like a Carbonite.”

The bounds of the underlying hardware are necessarily imposed in a rather different way than the input and bus counts of a conventional switcher—though Ross’s experience in graphics has influence here.

“You have processing headroom you will run into in a software switcher,” O’Reilly explained. “In our XPression world, we have a software 3D renderer, all done in the GPU, which has a load meter. It’s showing you that you’re still rendering faster than your frame rate.”

Implementing that in a switcher running on COTS hardware, O’Reilly continued, gives users an easily-understood performance metric. “If you’re at 90%, you’re rendering 10% faster than real time,” he said. “If I see 103%, 104%, it’s telling me I’m not rendering 60 frames per second any more, I’m rendering 57. We give them the keys to the kingdom, let them build their shows and figure out what they can and cannot do.”

O’Reilly’s approach to AI’s role in the future of production switchers is pragmatic.

“I want our industry to introduce practical uses, otherwise the joke is that when a company does its keynote, the Discord group takes a drink every time they mention AI,” O’Reilly joked.

Ross’s approach leans toward making the switcher a directable part of the show itself. “We have a speech analysis tool that allows you to direct your show while talking,” O’Reilly said. “We had it on the floor—you could come up and direct it—ready one, take one, put one on the left split, two on the right—and since then we’ve refined and applied that to other products.”

Despite all this advancement, O’Reilly cautioned, the exigencies of live television have maintained the demand for traditional hardware. However, making changes acceptable to highly experienced users is, as always, a consideration.

“FPGAs keep getting bigger, badder and faster,” he said. “We’re constantly adding features and functionality, and we have to get the operator and the user to come along on the journey. So, yes, we absolutely can’t stay locked in the past, but we have to bridge to the future.”

SAN DIEGO—In a major development in the effort to combat the spread of fake-AI generated images and video, Sony Electronics has unveiled what it is calling “the industry's first camera authenticity solution compatible with video (C2PA standard-compliant).”

The launch is part of an ongoing effort by Sony to provide verification technology to address growing concerns about the impact of tampered and fake images.

Through initiatives and verification experiments, Sony reported that it has validated the authenticity of video content in collaboration with the Research & Development Department of the UK's public broadcaster BBC.

In addition, the company works closely with the C2PA (The Coalition for Content Provenance and Authenticity), a standards organization that develops open standards and technical specifications for the provenance and authenticity of digital content, serving as a Steering Committee Member since March 2022.

Sony said that its camera authenticity solution verification site enables authenticity verification for both still images and videos, confirming that content was captured by a Sony camera rather than AI-generated, the company reported.

The system can also detect 3D depth information in video content, enabling highly accurate verification that videos were captured of actual, existing subjects. In addition, a trim function that allows extraction and verification of only necessary portions while maintaining signatures enables rapid authenticity verification even for large-capacity video files.

Sony cameras supporting recording of authenticity information for video include:

• Interchangeable-lens cameras: Alpha 1 II, Alpha 9 III
• Cinema line cameras: FX3, FX30
• The newly launched XDCAM Memory Camcorder: PXW-Z300iv

More information is available at https://authenticity.sony.net/camera/en-gb/

ESPN said it will produce animated telecasts for NFL, NHL, NBA and WNBA games across The Walt Disney Co. and ESPN platforms during the 2025-26 season under an agreement it signed with Sony’s Beyond Sports and Hawk-Eye Innovations.

The telecasts will use Disney’s intellectual property portfolio in game presentations that transform live play into real-time animations, an innovation ESPN first introduced in 2023. More alternate telecasts are planned for the 2026-27 sports calendar, the broadcaster said.

“At ESPN, innovation has always been a driver in serving sports fans, including reaching new audiences,” said Kevin Lopes, vice president of sports business development and innovation at ESPN. “The Beyond Sports team has helped fuel our animated alternate casts, along with our league partners, creating an entirely new way for fans to consume our content. We look forward to continuing to produce these unique experiences for fans both this year and in the years ahead.”

ESPN, Disney, Sony’s Beyond Sports, and multiple league partners have collaborated on several previous animated alternate presentations, beginning with the NHL Big City Greens Classic in 2023 and a second the following year. Since then, the NFL has partnered on multiple Funday Football presentations, powered by the NFL’s Next Gen Stats and featuring characters from “Toy Story” and “The Simpsons.” The NBA has also joined in with “Dunk the Halls,” featuring Mickey Mouse and other Disney characters.

“The addition of four new telecasts this season will bring our total with ESPN to nine, a reflection of how this partnership continues to grow year on year,” Sander Schouten, managing director and co-founder of Beyond Sports, said. “Enabled by our technology, together we’re driving the evolution of fan engagement, creating new ways for fans to experience the game and redefining live sports storytelling.”

Expanding audiences is the primary motivation driving the animated alternate casts. They are intended to promote co-viewing and attract casual fans. ESPN research reveals that more children watch these telecasts with an adult, the broadcaster said.

More information is available online.

ALAMEDA, Calif.—Northern Michigan broadcaster WWTV recently completed a major IP-based upgrade that connects its new Traverse City studio with its control room nearly fifty miles away in Cadillac.

Spearheaded by systems integrator Key Code Media, the ambitious project included the installation of a new Clear-Com Arcadia Central Station to enable fully distributed communications across the two sites.

WWTV has served the region as both a CBS and FOX affiliate since 1954. It moved into a new, compact Traverse City studio to consolidate operations and modernize its broadcast capabilities. The station faced a unique challenge: operating a live, on-air studio with no on-site engineers while keeping all technical staff based at its Cadillac control room.

To solve that problem, Key Code Media delivered an end-to-end IP infrastructure, integrating networked cameras, audio, video routing, and control systems between the two facilities. At the heart of the communications upgrade was the Clear-Com Arcadia Central Station, which replaced WWTV’s decades-old party-line system.

“The old building was too big, too costly, and no longer served our needs,” said Ben Scripps, assistant operations manager at WWTV. “Our team made the decision to consolidate and move our studio closer to our offices in Traverse City but we had to keep the Master Control in Cadillac. That’s 50 miles apart. How do you make that work?”

Arcadia’s scalability and Dante integration were instrumental in Key Code Media’s design, helping WWTV to route intercom audio alongside video and control signals with minimal latency. This modernized intercom backbone ensures that talent and production staff remain in sync across geographically separated facilities.

“The whole setup had to be intuitive. We don’t have engineers on site,” added Scripps. “Key Code made sure we could walk in, touch a screen, and the studio would be lit for our show.”

“Clear-Com’s Arcadia was a critical part of making this distributed IP workflow possible,” added Jon Rutherford, director of broadcast solutions at Key Code Media. “It provided the flexibility, reliability, and ease of integration we needed to unify communications for a team working across nearly 50 miles of distance.”

The project also included robotic Sony PTZ cameras, Autoscript prompters, Sennheiser wireless audio, Planar LED displays, and a Ross Ultrix router, all tied together through a robust IP network architecture.

With Arcadia at its core, WWTV now operates with streamlined communications, enhanced production efficiency, and the flexibility to scale for future needs, the station reported.

MELVILLE, N.Y.—Newsday has evolved from its roots in print journalism into a multiplatform digital media organization, producing content for print, online, social and live programming. However, with that growth has come significant media-management challenges; more content means more files to be shared and accessed. We needed a faster, more collaborative way to work, improving our file organization and streamlining access to media content across all our departments.

Newsday started using Sony’s Ci Media Cloud platform in 2021, when remote collaboration capabilities were becoming particularly vital to our operations, especially coming out of the pandemic. Almost immediately, the benefits were clear: centralized organization, cross-departmental accessibility and increased speed, all crucial for covering both breaking news and long-term projects.

Efficiency in the Cloud
Ci accelerates the entire news production cycle from initial capture in the field to final delivery. Anyone in our organization can easily find and use media assets through a single, well-organized hub.

We had been using an on-premise server and FTP client; essentially a giant hard drive with folders, which meant metadata was limited and organization was always a challenge. Before any file could be shared, it had to be uploaded, downloaded locally, exported and then reuploaded, with every step taking valuable time away from our teams. Ci replaces that entire chain of steps with one streamlined process—it’s notably faster.

Organization has improved dramatically. We generate about 20 file requests daily and gather more than 600 files from the field. Ci’s metadata tools keep everything structured and searchable, and we can tag, label and organize massive volumes of video clips with precision. That helps us find what we need quickly, a critical capability when covering breaking news. Using the File Request feature, photographers in the field can preload content with all the right labels, which saves us enormous time once it hits the system.

Ci supports our direct field-to-cloud workflows, making it a central part of our modern breaking news strategy. We commonly feed live video directly from camera backpacks in the field into the cloud platform. This ability proved invaluable during coverage of a high-profile courtroom case, when Ci broke down workflow silos between field and studio crews.

We streamed two live camera feeds directly into Ci, giving TV and print teams real-time access to footage. Newsroom staffers who weren’t on site could watch press conferences as they happened and update their stories on the spot. In another instance, a video editor cutting a story in the field needed a clip from the original arrest of a suspect. With Ci, they instantly located and downloaded the footage, with metadata. That task would have been nearly impossible using our old system.

Ci also makes for seamless collaboration across long-term projects. Some of our stories unfold over months, even up to a year. With Ci, we can build shared folders and group assets in a way that makes it simple for different reporters, editors or producers to step in at any stage. The handoffs are smooth and no one wastes time trying to track down files.

Multiplatform Workflows
Over the past four years, Ci has grown with us as our newsroom has evolved into a multiplatform digital media house. Ci isn’t just a tool we use; it’s part of how we work every single day.

Ci bridges the gap between every part of our newsroom: print, TV, web, social and marketing. It provides universal access to our media and enables a unified, collaborative workflow. Sony’s Ci functions as more than a media management system; it supports nearly everything we do as a modern digital newsroom.

More information is available at cimediacloud.com.

HACKENSACK, N.J.—LiveU today shared details about its new collaboration with Sony that it said will create new possibilities for broadcasters by expanding adoption of the LiveU Resilient Transport (LRT).

At IBC2025, Sony introduced the LiveU TX1, a compact field-transmission unit designed specifically for Sony’s professional camera range and workflow. The unit provides broadcast professionals with easy access to resilient, ultra-fast file transfer from the camera to the unit, with stored files transmitted via LiveU's LRT protocol. It uses multiple bonded connections for superior video performance and reliability.

TX1 was developed by LiveU in collaboration with Sony to provide seamless integration into Sony's ecosystem.

A mobile file-transfer and transmission unit, LiveU TX1 is designed specifically to deliver fast file transfer and reliable bonded connectivity for Sony’s professional cameras, including the newly launched Sony PXW-Z300. With its small form factor, LiveU TX1 is easily mounted on Sony’s camera, shortening production workflows. This development marks the initial milestone in a partnership between Sony and LiveU, featuring LiveU’s first fully native, dedicated integration gateway, LiveU said.

“Our customers want to be able to deliver files shot on camcorders from wherever the story takes them, back to their galleries, easily, swiftly and reliably,” said Masakazu Murata, head of Sony’s Media Solutions Business.

“Through our collaboration with LiveU, the leading company in video-over-bonded-IP transmission, we are now able to offer customers a workflow integrated with Sony’s ecosystem even for mission-critical operations that require bonding,” Murata said. “We look forward to working with LiveU to further streamline workflows and make a significant contribution to the broadcast industry.”

Noting Sony’s decision to collaborate with LiveU “represents a strong vote of confidence in LiveU’s cutting-edge technology and the innovation,” company CEO and co-founder Samuel Wasserman expressed thanks to Sony and “wish[ed] us all great success on our shared journey.”

The LiveU TX1 will be available through accredited Sony distributors and resellers, with availability details to be announced in 2026.

More information is available on the LiveU website.

SYRACUSE, N.Y.—Sony Electronics has announced that it is partnering with the Newhouse School at Syracuse University to provide state-of-the-art equipment, hands-on training and world-class industry expertise that will prepare students for careers in media, entertainment and visual communications.

As part of the effort, Sony leaders will take part in workshops, seminars and other events, providing mentorship, thought leadership and experiential learning opportunities for students, both in Syracuse and beyond campus.

Sony and the University also announced that they will celebrate the collaboration Sept. 17 during Sony Signature Innovation Day at Newhouse, featuring demonstrations of Sony’s latest imaging and broadcast technology with students, faculty and staff.

The day will culminate with a conversation between Sony Imaging Products and Solutions Americas president Theresa Alesso, and Newhouse Dean Mark J. Lodato.

“Sony is pleased to expand its relationship with Syracuse through the renowned Newhouse School’s investment in our latest innovative tools and technologies, which are advancing the art, technique and proficiency of tomorrow’s communications professionals,” Alesso said.

“Sony shares in Syracuse’s dedication to elevate and enrich teaching and learning experiences through pioneering solutions that support a practical and hands-on curriculum, and continue to produce the best and brightest communications students who are redefining journalism, broadcast, content creation and visual storytelling,” Alesso added.

More specifically, Sony reported that its will be integrated into Newhouse’s learning environments, including the Dick Clark Studios, a top-tier venue for broadcast journalism, television and film education.

Besides student-produced news broadcasts, TV shows and film projects, the Dick Clark Studios host nationally-televised broadcasts of sporting events on the ACC Network. As a result of the partnership, students honing their craft producing coverage of ACC games will be working with top-of-the line Sony technology, Sony and the school reported.

The collaboration will also benefit visual communications students pursuing careers in photography or cinematography. Innovation Day will showcase Sony’s flagship VENICE digital cinema camera, as well as the BURANO compact cinema camera, along with the company’s pan-tilt-zoom (PTZ), Alpha and FX2 camera lines.

The school noted that these tools represent the next generation of broadcast, cinema and visual technology and their adoption is part of Newhouse’s commitment to Society of Motion Picture and Television Engineers (SMPTE) 2110 standards for future studio upgrades.

“This exciting partnership with Sony is more than an enhancement in technology—it’s a strategic investment in our students’ futures,” Lodato said. “This reflects a shared commitment with Sony to excellence in broadcasting, multimedia journalism and content creation.”

In addition, Sony reported that its imaging color science will provide students with high-quality image rendition across the entire production process—from camera to display. Sony’s Alpha imaging products and LED wall technology will enhance the quality of student work in still, cinema and broadcast formats.

Additionally, Sony’s Ci Media Cloud cloud-based collaboration solution will introduce students to professional media asset workflows used across the motion picture and broadcast industries.

The school and Sony also reported that the collaboration also opens doors for deeper engagement with Sony’s professional network, offering exposure to real-world learning experiences and potential career pathways.

RENO, Nev.—As technical director for Minor League Baseball’s Reno Aces, the Arizona Diamondbacks’ Triple-A affiliate, I’m charged with overseeing, managing and maintaining our broadcast technology for nearly 75 home games. I support the direction and production of the baseball broadcast for the Bally Sports Live feed, local sports channel Nevada Sports Net (NSN) and the MiLB.TV feed, as well as the feed syndicated to the video board.

To achieve the look the Reno Aces wanted, we needed a durable, versatile and reliable camera that provided great images, offered lens flexibility, could be used by operators with all levels of experience and had a lower cost of operation.

HXC-FZ90 Deployment
We selected four of Sony’s HXC-FZ90 camera-system chains with the compatible camera control units (CCUs), which are used at center field, high home, low first and low third. I am familiar with Sony—we were replacing older Sony models—and the FZ90 offered us a good bang for our buck. With Sony’s cameras, if you treat the equipment right, it will last a long time.

The HXC-FZ90s are well-suited for the demands of live sports—they have a small footprint and are unobtrusive. They’re lightweight, easy to move and handle, and ergonomic enough for shoulder-mount use. Our camera operators range from novice to entry-level to experienced, and there was a short learning curve for everyone to get the most out of the camera. They are smooth, easy to use and have a nice layout. I even handled the integration of these units, and they were very plug-and-play, so setup was nice and simple out of the box.

Additionally, the camera’s ²⁄₃-inch type 4K CMOS image sensor has a dynamic range that enables us to effortlessly capture pretty sunsets over the Sierra Nevada mountain range, as well as springtime thunderstorms and majestic clouds that are full of rich, vibrant colors, with minimal painting.

Our games see their fair share of sun and shade, but the FZ90s allow us to adjust the iris and find a sweet spot that seamlessly handles shadows and bright light, especially when both are in frame simultaneously. The auto iris was a big selling point for us, especially when we don’t have a dedicated camera shader.

Full Control
On a minor league budget, we also valued the HXC-FZ90’s B4 lens-mount system, which supports the ²⁄₃-inch glass we already had in-house and allows us to swap out lenses. One of my favorite FZ90 functions is being able to maintain full ND (neutral density) control from the CCU and the ability to control different scene files. Additionally, the scene settings allow us to paint and repaint the cameras easily, without the need for a good scope. We go through the touch-panel menu settings to get into engineer mode to achieve everything quickly and simply.

Another notable feature is the XLR audio inputs which allow us to adjust the gain and run natural sound, from the crack of the bat to the coaches interacting, which adds more reality and engagement.

The cameras also offer 4K upgradability, which allows the cameras to grow as our needs do. Once MiLB or our RSN move over to 4K, we won’t be required to buy new cameras—we can just purchase an upgrade license to shoot in 4K, and the image is going to look even sharper. Finally, the compatibility with other Sony cameras is beneficial; they all match and offer integration, requiring only small tweaks, which makes our jobs easier.

For more information, visit https://pro.sony/ue_US/.

PARAMUS, N.J.—Sony Electronics has launched the PXW-Z300, a flagship handheld XDCAM camcorder featuring 1/2-inch 4K 3-CMOS Exmor R sensors, the latest BIONZ XR image processing engine, and a dedicated AI-processing unit. The camcorder is equipped with a professional lens system that includes three independent manual control rings. The new camcorder is ideal for a wide range of applications including news, sports, corporate, faith, events, documentary, live programming, and reality and is planned to be available by fall.

The PXW-Z300 combines exceptional image quality, a 17x optical zoom lens, and Electronic Variable ND filter with versatile operational capabilities. In addition to high-quality 4K 60p recording, it features AI-powered subject recognition for precise autofocus performance. The camera introduces a new articulating Flexible LCD Arm for adaptable capturing styles and a Side V-Mount that allows smartphones or data transmitters to be securely attached.

Sony says the PXW-Z300 is the world's first camcorder to embed digital signatures directly into video files, addressing the evolving needs of the content creation industry, including the growing demand for content authenticity.

The PXW-Z300's network functionality has been enhanced through improved communication device integration, which supports modern production workflows that utilize 5G and cloud technologies. This enables live streaming from shooting locations and efficient file transfer over networks.

“This latest camcorder has new enhancements, including content authenticity capabilities, that will be very beneficial for those in the news and production industry, whether they’re capturing action-packed content, breaking stories, or producing educational documentaries,” said Kento Sayama, deputy head, media segment, imaging solutions at Sony Electronics.

Imaging Capabilities
The camcorder features 1/2-inch back-illuminated 4K 3-CMOS Exmor R sensors and the BIONZ XR image processing engine, enabling excellent color separation, F12 sensitivity, and 4K 60p recording. It incorporates a 17x optical zoom lens with F1.9 constant maximum aperture and three independent manual control rings for traditional camera operation.

By utilizing the digital extender function, individuals can achieve 1.5x zoom in 4K mode and up to 4x zoom in HD mode with minimal resolution degradation, making the camera suitable for a wide range of capturing scenarios, including news gathering and event documentation.

Additionally, the camera is equipped with an Electronic Variable ND filter that seamlessly adjusts transmission from 1/4 to 1/128, along with optical image stabilization. This allows for smooth brightness adjustment and stable capture when moving between locations with varying light conditions, such as from bright outdoor areas to dim interior spaces.

AI Processing
The PXW-Z300 incorporates a dedicated AI-processing unit in addition to its image processing engine. This enables high-precision subject (human) recognition based on face, eye, skeletal structure, and posture information. The system can maintain autofocus on subjects even when they are facing away from the camera or wearing facial coverings. It also features an auto-framing function that automatically adjusts composition to keep human subjects centered in the frame.

The camera also features a 3.5-inch high-brightness LCD monitor with approximately 2.76 million dots. It provides excellent visibility even in bright conditions and is significantly brighter than its predecessor, the PXW-Z280. It incorporates the newly developed Flexible LCD Arm with three-axis movement, which allows flexibility in adjusting the monitor's position and angle. This enables the camera to accommodate various shooting styles. Operators can adjust the viewing distance when capturing content with the camera on their shoulder, position the LCD monitor at the camera's optical center for stable waist-level capture, or flip it forward for self-recording.

Additionally, this camcorder will be offered as an all-in-one solution (VTK-Z300) that also includes wireless digital audio and accessories, such as a tripod and transport bag for capturing great video and audio on the go.

Enhanced Network Functions
The camera supports new workflows utilizing 5G and cloud technologies, allowing immediate transfer of recorded material from shooting locations and live streaming through smartphone or Wi-Fi/wired LAN connections. Recorded content can be transferred via network to cloud-based media sharing services or on-premises storage in high-quality, efficient formats.

For proxy material transmission at lower bit rates, the camera newly supports the HEVC codec, enabling higher quality and compression rates. Additionally, it can transfer clips in chunk format (segmented recording) during shooting. This eliminates the need to remove media and transfer material after shooting, allowing editing to begin as material arrives, according to Sony.

The camera supports common video streaming protocols including RTMP/RTMPS and SRT, enabling live broadcasting from remote locations. By attaching Sony’s PDT-FP1 Portable Data Transmitter (sold separately) to the Side V-Mount and connecting it to the camera, users can simplify integration and achieve a more stable transmission of video material.

Furthermore, the PXW-Z300 utilizes cloud services such as Ci Media Cloud, a cloud-based solution for media collaboration. This allows the camera to support more immediate and efficient video production workflows with material sharing and collaboration among project members, and live streaming with multiple cameras when combined with Sony’s M2 Live Cloud Switcher.

Support for Various Recording Formats and Looks
The PXW-Z300 supports various recording formats designed for a wide range of video production applications, including news footage and documentaries. It offers standard support for MXF file recording in formats adopted by the XDCAM series, such as MPEG HD422, XAVC Intra (4K/HD 4:2:2 10bit), and XAVC Long (4K 4:2:0 8bit/HD 4:2:2 10bit), as well as MP4 proxy recording in HEVC.

The camera also accommodates diverse looks. In addition to S-Cinetone, ITU709, and 709tone available in Sony’s Cinema Line series, XDCAM, and HDC series, it supports HLG Live, HLG Mild, HLG Natural, and user 3D LUTs. Users can import custom 3D LUTs (.cube files) from memory cards.

The camera is compatible with Sony’s mobile application Monitor & Control, which supports multicamera shooting by allowing angle confirmation, camera settings adjustment, and remote operation from smartphones or tablet devices.

Additionally, the camcorder enables the recording of up to four channels of audio—including shotgun microphones and Sony’s UWP series of wireless microphones—via XLR inputs and the Multi Interface shoe. Future support will provide proxy 4-channel audio recording.

First Camcorder to Support Recording of Authenticity Information in Video
The camera supports the C2PA standard for recording authenticity information and is the world's first camcorder capable of recording video with embedded digital signatures. Expanding authenticity initiatives from still images to video helps fill the growing need for improved content reliability demanded by news organizations in recent years, Sony said.

The PXW-Z300 is scheduled to be exhibited at the Beijing International Radio, TV & Film Exhibition 2025 (BIRTV), in Beijing, China, starting Tuesday, July 22, 2025. It will also be shown at the IBC Show, Sept. 12-15 at the RAI Amsterdam.

MADISON, Wis.—The Wisconsin Educational Communications Board (ECB), the public media hub in Wisconsin, partners with the University of Wisconsin to deliver television and radio content statewide through six TV stations, six TV translators and 39 radio stations, reaching audiences through PBS Wisconsin, Wisconsin Public Radio and our most recent partner, Milwaukee PBS.

We manage TV master control operations with the primary goal of ensuring that content is delivered to all stations with uninterrupted service. Automation plays a key role in making that happen, and we rely on Crispin’s RapidPlayX 2000 and CORE master control automation systems with the webRPX playlist tool to keep us on the air.

Out With the Old
Our previous aging automation was no longer supported by its manufacturer, prompting our search for a new, reliable system. Crispin’s technology stood out from the field.

We started running the Crispin automation in shadowcasting mode alongside our existing software to let the system prove itself, and within a few weeks, we were confident about cutting over to Crispin exclusively. Maybe an hour after that cutover, I remember our executive director walking down to see how things were going. I said, “Great, we’re all going out to lunch!”

The new system has increased our broadcast reliability and reduced user errors significantly. We’re comfortable knowing that the system is running and just works.

The Crispin system’s scalability is a benefit as we add more coverage for viewers statewide. In 2023, Milwaukee PBS approached ECB about expanding our Crispin system to include managing their master-control needs. We started by running similar shadow-casting tests and even before we cut over, we got our first big test.

Wisconsin’s governor was delivering a speech to be broadcast statewide. Milwaukee PBS was planning to use their previous master control, but soon realized they were more comfortable with ECB’s service. Even though it was still early in the test phase, they asked if they could take our Crispin playout on-air for the speech, and the broadcast was seamless with no issues. That was the historic day we went on the air in Milwaukee for the first time.

Disaster Recovery
Like all stations, we are always preparing for a natural disaster or event that takes us off the air. With Crispin’s support, we’ve established an off-site disaster recovery (DR) location on the University of Wisconsin campus.

Our initial DR goals were to just survive and stay on air with whatever we could pass through, starting from scratch and building up. We soon decided we’d rather immediately continue broadcasting media previously scheduled for air from our DR facility.

Crispin developed a new application for its AssetBase peer synchronization technology to create a separate, fully synced off-site database that ensures we can continue media acquisition and playout of our full programming schedule in a seamless cutover. Other than sending data from A to B, our primary and DR Crispin systems operate separately and really don’t know about each other.

It doesn’t need to be a full-blown emergency for this DR system to serve our broadcasting needs—if our primary location is doing maintenance work or there’s any situation where we would otherwise need to shut down, we can easily switch over to our alternate site and maintain on-air continuity.

Most broadcast errors are user-related and Crispin’s intuitive software interfaces have significantly reduced those instances. If we ever do experience any issue—system or user-related—we know Crispin’s support will provide the peace of mind and reliability essential for public media.

More information is available at crispincorp.com.

PARAMUS, N.J.—Sony Electronics will show its new Crystal LED CAPRI display featuring 1,500 candelas per square meter (cd/m²) of maximum brightness with a 2.50-millimeter LED pitch size during InfoComm 2025, June 11-13, at the Orange County Convention Center in Orlando, Florida.

The new display supports high refresh rates and brightness, a wide color gamut and antireflection, according to Sony. It also offers installation flexibility, a familiar structure, streamlined maintenance and compatibility with the company’s ecosystem of virtual production technologies, the company said.

The new ZRD-VS25FB and ZRD-VS25FM models are compatible with Brompton and Megapixel controllers, respectively, it said.

Targeted at a broad range of users looking for a cost-effective approach to virtual production applications for TV, feature films, commercials, broadcast and rental and staging, the CAPRI LED displays complement Sony’s premium Crystal LED VERONA displays, use the same controllers and offer the same luminance, enabling both lines of displays to be used together within the same LED wall, Sony said.

“With the announcement of CAPRI, Sony is furthering our commitment to the creation of Spatial Content, such as virtual production, by giving a wider range of users opportunities for flexibly showcasing images in high fidelity,” Rich Ventura, vice president of Professional Display Solutions at Sony Electronics, said. “We’ve broadened our lineup to offer more cost-conscious choices, which expand the market in support of high-quality virtual production at every level and ensure the growth of Sony’s distinctive virtual production ecosystem.”

The CAPRI series offers high refresh rates up to 7,680 Hz to reduce scanline artifacts and ensure smooth, fluid motion. With a high brightness of 1,500 cd/m², complemented by coverage of more than 98% of the DCI-P3 color gamut, the displays accurately reproduce lifelike images.

Antireflection capabilities mitigate the effect of reflection from lighting equipment, it said.

The series takes advantage of recent installation advancements to ensure fast and efficient setup, Sony said. Offering a 1:1 cabinet optimized for temporary installations such as virtual production stages, the models can quickly and easily be assembled and dismantled using locating pins for simple alignment and a tool-free lever locking mechanism.

To streamline maintenance, the CAPRI enables module blocks to be changed from the rear. A status indicator light makes identifying blocks that need to be serviced.

Sony expects to begin shipping CAPRI sometime in the winter, it said.

See Sony at InfoComm 2025 booth 2001.

More information is available on the company’s website.

NEW YORK and SAN DIEGO—The National Hockey League and Sony today announced a new multiyear global technology partnership, naming Sony an Official NHL Technology Partner.

The league and Sony will work together to evolve the NHL experience for fans, as well as coaches, officials, players and broadcaster, by increasing production of NHL animated data visualizations by Sony’s Beyond Sports unit; broadening use of Sony’s Hawk-Eye measuring and tracking technologies; and investing in various Sony products and technologies to bring NHL fans closer to the game, the announcement said.

“Partnering with Sony, a best-in-class industry leader, will help further the goals of our technology efforts to engage passionate NHL fans around the globe,” NHL Executive Vice President for Business Development and Innovation David Lehanski said.

“Advancing the development and implementation of technology on and off the ice is a key priority for the league, and this partnership will highlight the impact of Sony’s groundbreaking work in several of our key initiatives, such as NHL EDGE Puck & Player Tracking and animated programming, to bring fans closer to our great game and showcase the NHL as a worldwide technology leader,” he continued.

The NHL has used Sony’s Hawk-Eye technology since 2015 with Synchronized Multi-Angle Replay Technology (SMART) services installed in all 32 NHL arenas to help provide the speed and accuracy the NHL requires for its replay reviews and coaches’ challenges.

Later enhancements have supported team medical and player health and safety reviews. Data collected via optical tracking cameras is also integral to the creation of live NHL animated data visualizations, post-production content and replay technology. That data will be featured in future experiences in development involving mobile apps and XR. Sony’s Hawk-Eye will continue to expand technology innovation and support the creation and delivery of more immersive NHL content, the announcement said.

“Our partnership with the NHL is more than a collaboration — it’s a shared commitment to innovation, creativity, and cutting-edge technology,” Beyond Sports Managing Director Sander Schouten said. “We’ve pushed the boundaries of what’s possible in sport tech, delivering exciting, data-driven innovations that are not only redefining how sport is consumed but together, with the wider Sony’s sports businesses, are establishing new benchmarks for the entire industry.”

The NHL and Sony’s Beyond Sports first collaborated in 2018 on multiple projects to explore opportunities built on NHL EDGE positional data. Sony’s Beyond Sports’ animated data visualization expertise has played a key role for the NHL in transforming its data into a fan engagement driver, delivering new IP-driven content, from the “NHL Big City Greens Classic,” an animated broadcast presentation, and “Tommy Hawk’s Birthday Party,” a regional real-time sports animated broadcast presentation, to more serialized animated programming, such as the “NHL HOCKEYVERSE Matchup of the Week.”

The work of Beyond Sportsalso led to immersive digital activations such as “NHL Blast on Roblox,” which drew more than 1 million unique users in its first month in April 2023. These initiatives have expanded the league’s reach among younger audiences and set new standards for sports data integration, it said.

“From imaging and broadcast to some of the world’s most advanced data visualization and tracking innovations, Sony remains committed to helping create the future of sports through technology,” Theresa Alesso, president of Imaging Products & Solutions Americas, Sony Electronics, said. “This partnership builds upon a successful history of collaborations between the NHL and Sony, and we are excited to reinforce our commitment to the game, fans, and players.”

Sony cameras and production equipment are a fixture in the NHL through broadcast and sports photography. NHL clubs and broadcast partners regularly use this technology, it said.

More information is available on the company’s website.

The subtle art of aiming cameras at live events is perhaps the part of film and television practice which has been most resistant to new technologies. While sheer specifications have skyrocketed, outside broadcast camerawork is marked by nothing more than a determination to maintain a consistent operator experience.

Recently, though, the drive for sheer gloss—driven, perhaps, by the ascendancy of single-camera drama from OTT distributors—has imposed change on this most change-resistant of fields.

Adapting to Live
Guilhem Krier, based in France, is Panasonic Connect’s Head of New Business & Market Development, and traces the origins of the trend to “concerts, mostly, where you want to have a very nice cinematic feel for the singer, and the background is blurry so the person is detached. I think it was 10 years ago.”

Larger-sensored options, Krier recalls, already existed, “but they were mostly designed for production work, with a full camera crew. There was a clear request for this kind of picture, but there was no product really designed in this way—a real studio camera, a broadcast camera with a cinematographic look to it. This is where the idea of products like the PLV100 came from.”

The AK-PLV100GSJ is Panasonic’s answer to the problem, a system camera with Super 35mm sensor announced in October 2022. Big chips, though, were already popular in adjacent fields, according to Krier.

“It’s not only broadcast sports,” Krier says, “but also integration. Corporate things, meeting rooms, theatres where we’re selling tons of PTZ cameras. The tendency is to go for bigger and bigger sensors, to get more sensitivity and also to get this kind of picture with a short depth of field.”

While the technological direction was straightforward, Krier describes the early big-chip broadcast experience, which often repurposed cinema cameras, as “an absolute nightmare in terms of blurry pictures and [poor] workflows.

“At the time I was mostly focused on the French market but we had big organizations like [industrial training organization] INA, and they had started tons of training and courses on how to manage focus not only with HD but with 4k and large sensors,” he said.

Time has allowed technique to mostly catch up with technology, Krier added.

“Today we don’t really have people coming up saying it’s too difficult to keep the pictures sharp, but for a long time it was a big topic, especially for people switching to full frame. Super 35 is a bit in the middle, but still you have super sharp sensors with 20, 30, 40 million pixels. It’s still a challenge.”

Super Sensor at the Super Bowl
Masakazu Murata is Senior General Manager, Head of Media Solutions Business Unit at Sony, and relates a somewhat comparable trajectory. “Particularly in sports broadcasting, where there’s a growing demand for cinematic visual expression, we're seeing cinema cameras like the Venice 2 being used more frequently. At this year's Super Bowl in February, in addition to a lot of Sony system cameras, Venice 2 and FX series cameras were also used.”

Perhaps mindful of the ergonomic concerns associated with repurposing cinema cameras for live work, Sony announced its own Super 35mm system camera, the HDC-F5500V, at NAB this year. The new design, Murata confirms, “features a Super 35mm CMOS image sensor delivering impressive bokeh effects while maintaining system camera operability.

“There’s talkback and remote control, and a variable ND filter,” he added. “We've received very positive feedback from broadcasting professionals who appreciate the expanded range of visual expression options. They can mix traditional system cameras, with deep depth of field, and cinema cameras, with shallow depth of field, and select the appropriate visual style for each scene.”

Grass Valley’s Klaus Weber recognizes that mix-and-match option as key. Responsible for product management of camera solutions and technology, Weber reinforcinges the need for proper workflow integration of large-sensor cameras. “Yes, you can adapt UCPs to a camera and yes, you can add a tally light and yes, you can attach an intercom solution. But then it’s building a camera with external blocks to act like a live camera.”

Even then, Weber goes on, many cinema cameras remain compromised. “The time between light hitting the imager and the image being ready for distribution is one frame, perhaps,” Weber said. “It needs to be instant. And the camera does not have multiple live outputs—in live you need a UHD HDR signal but [also] a 1080p feed for shading or iso feeds. You need cameras with a global shutter because… high end sport productions often need to shoot LED walls with a virtual ad replacement system. Sometimes you can set it up so it works, but in a live environment, where you have to react to situations it simply doesn’t work.”

Grass Valley’s response is the LDX 180, launched at this year’s NAB. Weber describes the camera as expanding on a much-loved existing product.

“It’s taking one of our LDX 100 camera bodies and replacing the three-chip block with a newly-developed Super 35 optical block,” Weber said. “Since both imagers are developed with the same technology, the same development team even, they provide the same characteristics, global shutter and dynamic range. Because the imager is more than six times larger, we have more than six times more pixels which gives you a heavily oversampled image.”

Not For Everyone
Even so, Krier suggests that even the smoothest pictures are unlikely to persuade the industry to universal adoption (and the industry seems to concur).

“A big soccer match for the Champions League in Europe is typically 20, 30 cameras; the soccer field is more than a hundred meters long, so a camera high up, shooting down to a player on the ground, has a distance of at least 100 meters to the subject,” Krier said. “You need a focal length of 400-500mm and your depth of field is already close to zero.”

Crucially, the practical performance envelope of larger-sensor cameras is increasingly constrained by optics more than electronics. Joshua Stoner is Senior Technical Specialist at Canon, with responsibility for lenses, and describes the convergence of cinema and broadcast simply. “As the two industries have been on a collision course, they’ve had some crossover,” Stoner said. “Some of our cinema lenses and cameras have been getting broadcast-style operability, the ability to use a third-party control panel to shade our cameras.”

As regards broadcast-specific lens designs, though, Stoner is clear that Canon has no intention of following in the footsteps of Fujifilm and its upscale 25-1000mm PL-mount box zoom.

“I don’t think the market is enough to support the R&D,” Stoner said. “We looked into it when Fujifilm released theirs and went a different way—the cine-servo line of lenses. We have also started releasing the USM Z line, which are RF mount and have external zoom and focus controls. There’s an add-on module that gives you handheld zoom. It has a 20-pin connector, and with a Y-connector you can put on rear controls.”

This sort of hybrid lens technology, with the option to involve electronics in what was once an almost purely opto-mechanical device, seems like the most promising avenue for fundamental advancement in what can be done. “It’s a more video-focused lens,” Stoner says, “but it’s still an RF-mount photo lens, and it has that performance benefit [of a short flange focus distance]. It’s our advancement into that lower cost video kind of lens that people are screaming for.”

Stoner reports one other popular option among people looking for a broadcast operating experience, albeit one which may not extract the best performance from camera or lens: “to put a B4 lens on a cinema camera. That’s popping up more and more. Not very much in live, but a team might have a features group that shoots interviews or team footage and they’re trying to leverage the new cameras.”

Box-lens enthusiasts seem more likely to be entranced by an upgrade option for Canon’s Digisuper 122 and 111 lenses which occupies a previously-disused aperture on the extender.

“You can install this new optical block into the Digisuper 122 and 111 which helps mimic the shallow depth of field look—but you get the broadcast operability,” Stoner says. “And you’re not giving up a camera position. It’s not a true shallow depth of field, [but] the operators are operating the lens like they normally would, they’re not chasing focus and it gives the director the hero shot they want.”

That hybrid try for a best-of-both-worlds solution was announced at NAB 2025 and, Stoner says, was well-received. “The demand for it in the U.S. has been through the roof,” he said. “We’re ready to deploy this this summer in time for the NFL season.” Overall, it seems plausible that the desire for a large-sensor look might well take a third route of this kind, ideally skirting the practicality shortfalls of Super 35mm sensors.

Either way, Stoner concludes by echoing what seems to be the prevailing view. “I don’t see Super 35 overtaking ⅔-inch any time soon. I see it as an add-on inside the industry.”

Sony announced the latest addition to its Cinema Line family, the FX2. The camera, designed as an entry-level product in the broader Cinema Line range, will be available for preorders on May 29 priced at $2,699 for the body only.

“The FX2 was created based on user feedback and is engineered with unique features to support filmmaking, a new eyepiece and improved usability for versatile production needs,“ Jun Yoon, head of digital imaging at Sony Australia and New Zealand, said. “The FX2 is intended to continue the Cinema Line’s goal of preserving authentic emotion in every shot and empower creators across all areas of content production.”

Like other Cinema Line cameras, the FX2 comes with a full-frame sensor that delivers stunning imagery and bokeh effects. The new camera is equipped with a 33.0 effective megapixel back-illuminated Exmor R sensor and up to 15-plus stops of wide latitude using S-Log3, capturing impressive detail in both highlights and shadows, Sony said.

The camera is equipped with Dual Base ISO for S-Log 3 of 800 and 4,000, enabling optimal image quality across varied lighting conditions. The FX2 ISO sensitivity for video can be expanded up to 102,400, making it ideal for low-light environments. The camera also supports multiple recording formats for flexible post-production workflows and records in 4:2:2 10-bit All-Intra and supports formats like XAVC S-I DCI 4K at 24.00 p, among others, Sony said.

The FX2 benefits from an extended shooting capability, with up to 13 hours of continuous recording in 4K 60p[2], due to its internal cooling fan and effective heat dissipation structure. The FX2 also offers variable frame rate settings, allowing up to 60 fps in 4K (for a maximum 2.5 times slow-motion effect) and up to 120 fps in Full HD (for up to 5 times slow motion). It supports Log shooting in Cine EI, Cine EI Quick, and Flexible ISO modes, offering versatile workflows for different production needs. To further the cinematic expression of the camera, creatives can import up to 16 user LUTs for on-camera preview for video, enabling precise color monitoring on set.

Sony noted that filmmakers can also easily and quickly create in-camera cinematic looks, with S-Cinetone set as the default, along with a range of Picture Profile and Creative Look presets. A desqueeze display function is available, supporting both 1.3 times and 2.0 times anamorphic lenses for accurate framing.

The FX2 features the same compact, flat-top design as Sony’s Cinema Line FX3 and FX30 cameras, ensuring familiarity and compatibility across setups. Built-in mounting points (UNC 1/4-20 x3) support a cageless configuration and ability to mount on a tripod, offering greater flexibility for rigging, Sony said.

A top handle (model XLR-H1) enhances mobility and control, especially during handheld or dynamic shooting. Its lightweight, portable build—measuring 129.7 x 77.8 x 103.7 millimeters and weighing around 679 grams—makes it ideal for solo operators or small crew productions.

The camera also offers advanced focus features designed for precision and creativity. Its new Real-time Recognition AF delivers fast and reliable performance, with improved accuracy for human subjects, although its intelligent subject recognition extends to animals, birds, vehicles and insects, with an Auto mode available for effortless detection, Sony rsaid.

The Sony FX2 is available for pre-order in two configurations. There is a body-only option for $2,699.99 and a second SKU that includes the XLR handle for $3,099.99.

For more information about Cinema Line visit here.

A YouTube video on the camera is available below.

SAN DIEGO—Sony Electronics has commercialized its AS-DT1 LiDAR depth sensor, a 1.14-inch wide by 1.14-inch high by 1.22-inch deep unit, excluding protrusions, that leverages miniaturization and optical lens technologies from Sony’s machine vision industrial cameras for applications where space and weight constraints are paramount.

The 1.76-ounce LiDAR depth sensor uses Direct Time of Flight (dToF) LiDAR technology, which delivers fast and accurate measurement, distance resolution and measuring range. The proprietary dToF ranging module, equipped with a Single Photon Avalanche Diode (SPAD) sensor, uses multiple ranging points for distance measurement and can accurately measure distances in three dimensions: length, width and depth, the company said.

The AS-DT1 can measure distances to low-contrast subjects and objects with low reflectivity, which are more difficult to detect with other ranging methods. This enables accurate measurement of distances in diverse environments, it said.

The sensor's compact, lightweight design and rigid aluminum housing allow for integration into a wide range of devices, Sony said.

Sony’s proprietary dToF ranging module, equipped with a SPAD sensor, achieves highly accurate measurements and distance resolution. It can measure at various distances. For example, at about 32.8 feet, it delivers with a margin of about two inches, both indoors and outdoors, it said.

The company expects to make the AS-DT1 available in spring 2026. A prototype will be exhibited first in the United States at Xponential in Houston, May 20-22.

More information is available on the company’s website.

Sony is using NAB Show as a launchpad for a variety of new products across several different production sectors, most prominently live production solutions, news and production workflows, imaging solutions and virtual production. 

Kicking off the show with a packed press event Sunday morning, the company highlighted a variety of offerings, including its new HDC-F5500V Super 35mm 4K CMOS system camera for live production; the VENICE Extension System Mini, allowing a VENICE 2 sensor to be extended from the camera body via a cable; and the OCELLUS camera tracking system, a marker-free tracking system for virtual production.

Brand new at the show, the HDC-F5500V is a Super 35-mm 4K global shutter CMOS system camera for live production features a global shutter imager, PL lens mount, viewfinder slide mechanism and common color­imetry with 2/3-inch 5500 and 3500 cameras. Additionally, an optional software license adds virtual iris capabilities for brightness control and VND capabilities for increased depth of field control.

Causing a big stir at the press event was a small unit—the VENICE Extension System Mini, expected to be available this summer. Roughly 70 smaller than the previous extension system, the Mini allows a VENICE 2’s sensor to be separated and extended from the camera body via a detachable cable. Further, stereoscopic clips can be captured for Spatial Content Creation and VFX background capture by using two Minis side-by-side. 

Virtual production pros involved in spatial content creation will want to learn more about the OCELLUS camera tracking system. Expected to ship in the fall, the marker-free solution, designed for both indoor and outdoor use, is intended for broadcast and cinema applications, and uses four sensors on a sensor unit to track feature points on video signals. 

Of course, there’s plenty more to see at the Sony booth, including the new HDC-P50A compact and lightweight POV box camera; new 16.5-inch BVM-HX1710 and BVM-HX1710N 4K professional monitors; HawkREPLAY, an instant replay broadcast solution for on-premise, hybrid and remote production workflows; software updates from Nevion; and lots more.

© NAB

LONDON—Sony One, a new video-on-demand service offering a wide selection of content from Sony Pictures Entertainment (SPE) library, has selected an integrated solution from Simplestream to power its expansion into Latin America.

Simplestream reported that Sony One selected a comprehensive end-to-end service from Simplestream to increase the distribution of its premium content across multiple devices, including Android, iOS, LG, Samsung and web platforms.

Simplestream’s service for Sony One also includes integration with Bitmovin’s Player which includes support for Digital Rights Management (DRM) feature, along with third-party authentication, payment gateways, video streaming workflows and real-time analytics.

Using Simplestream’s Media Manager and App Platform products, the Sony One platform has broadened its reach to Argentina, giving viewers access to the extensive SPE catalogue of family favorites, such as “Men in Black”, the Spider Man movies, “Peter Rabbit” and “Jumanji”.

The Simplestream platform supports multilingual content, allowing Sony One to ingest and display content in English, Spanish and Portuguese simultaneously. DRM is handled via the common encryption CENC scheme.

This latest project for Sony One expands Simplestream’s growing customer base in the Americas. The announcement follows similar projects that the company has recently undertaken across multiple broadcast verticals and regions for the likes of Virgin Media Television, News UK, GB News, Hearst Ventures, AMC Networks, GAA, URC, Telus, and TVSN among others.

“This was another fantastic project to work on with the Sony team, which we delivered on budget and on time,” Dan Finch, Simplestream’s co-founder and chief commercial officer stated: The telco authentication workflow and support for multi-lingual content, with functionality such as progressive downloads, enhances our capabilities as a leading OTT provider in the market.”

“This is our first collaboration with Simplestream in Latin America, and we’re super excited to work together to simplify Sony’s One’s live and on-demand media workflows and provide secure, high-quality streams to audiences across Argentina and help meet the growing appetite for digital content in the region,” added Stefan Lederer, CEO and co-founder at Bitmovin.

Bitmovin is exhibiting at the 2025 NAB Show in the West Hall at W3221.

PARAMUS, NJ—Sony Electronics has announced its agenda for the 2025 NAB Show, April 6-9 in Las Vegas. With its Central Hall home in the LVCC under construction, the company has temporarily set up shop in the North Hall, N439.

Sony says its booth and production introductions support four key areas: live production solutions, news and production workflows, imaging solutions, and virtual production. New highlights include a Super35mm camera system with Variable Neutral Density (VND), an ultra-compact Full-frame camera extension system, and a camera tracking solution for enriching content creation.

Sony’s enhancements and technologies support the latest industry needs and capabilities by enabling new forms of expression and productivity through cloud and IP protocols, cinematic capture, and Spatial Content creation, as well as augmented extended reality (XR) and virtual effects (VFX) workflows. The company is empowering broadcasters, cinematographers, production teams and content creators at all levels to bring their vision to life with more flexibility and efficiency.

“We are excited to connect with and empower the industry at NAB Show and debut innovations and advancements that address the unique and evolving needs of our customers,” said Theresa Alesso, President, Imaging Products and Solutions Americas, Sony Electronics. “We’ve taken a very intentional approach, by providing enhancements to our lineup. Through easy to download firmware updates, we’re adding more value, providing longevity, reflecting the requests of our users and offering a return on their initial investment. With our expansive network of solutions and expertise, we’re creating a more efficient and seamless workflow that enables creativity and meets our broadcast and production customers where they are.”

Cameras
Sony’s newest camera, the HDC-F5500V, is a Super 35mm 4K CMOS system camera for live production, features a global shutter imager and PL lens mount. A new optional software license adds VND capabilities for increased depth of field control and a wide range of brightness control through virtual iris capabilities.

Designed for the demands of today’s live productions, the camera provides beautifully detailed imagery and ND control during on-tally. It also offers workflow advantages including a wealth of features for HDR and SDR production, and the same infrastructure as its HDC-5500V 2/3-inch counterpart, including IP networking, remote multi-camera operation and an in-CCU (camera control unit) record option. It is planned to be available in summer 2025.

The BRC-AM7 4K PTZ (pan-tilt-zoom) camera with AI-enabled Auto Framing and Tracking, which was announced at NAB 2024, is now available. New Version 2 firmware, planned for summer 2025, adds multi-person framing, face registration, enhanced tracking range, lead room effect, and it adds compatibility with the CNA-2 for remote productions.

The addition of the v2 software will ensure a common feature set and operational style with the ILME-FR7 Full frame camera. Planned for early summer 2025, both the BRC-AM7 and FR7 will add compatibility with Sony’s latest Camera Remote Toolkit for remote camera operation and settings adjustments.

The recently announced VENICE Extension System Mini adds flexibility to Sony’s flagship VENICE 2 full-frame digital cinema camera, enabling the camera’s sensor to be separated and extended from the camera body via a thin, detachable cable. It is approximately 70% smaller than the previous extension system, for use in small and challenging locations. When using two units side-by-side, stereoscopic clips can be captured naturally for Spatial Content Creation and VFX background capture. The system is planned to be available in summer 2025.

A v2 firmware update for the BURANO full-frame cinema camera will include new recording formats for faster sensor performance, led by a 3.8K Full Frame crop up to 120 fps and a 1.9K Super 35 mode that can capture up to 240 fps. Further additions include standardized SDI video output for monitoring across X-OCN and XAVC, as well as an improved on-screen display, enhanced image output, additional exposure tools, broader auto focus capabilities, and live event and multi-camera functionality.

Also on display will be the compact PXW-Z200 XDCAM and HXR-NX800 NXCAM 4K HDR handheld camcorders with network connectivity, AI-powered subject recognition, precise auto focus and the option to add MPEG HD422. The PXW-Z200 supports SDI output and timecode, and with firmware expected in summer 2025, will add XAVC MXF recording.

For the first time at NAB Show, the new HDC-P50A compact and lightweight POV box camera will be on display. Now shipping, the multi-purpose camera features a 2/3-inch 3-chip 4K global shutter image sensor, installation flexibility, up to 8x HD and 4x 4K output, direct IP connectivity, and full CCU integration while offering the same image quality and operational features as the Sony HDC Global Shutter family. The camera can be paired with an optional HKC-VND50 variable ND filter unit, as well as the CNA-2 camera control network adapter, for centralized monitoring and remote operations.

Sony will demo a v1.1 firmware update for its CNA-2 Camera Control Network Adapter, now with support for integrated management of multiple sites through Sony's Global Multi Camera System (GMCS), enabling remote operation of numerous cameras for large-scale sporting events and other applications. Furthermore, through the optional HZC-MSUCN2 license, simultaneous configuration changes and color adjustments for multiple cameras can be enabled via a web browser.

Monitors
Sony’s latest 4K professional monitors, the 16.5-inch BVM-HX1710 and BVM-HX1710N (with IP interface), offer a peak luminance of 3,000 nits, excellent contrast and deep blacks, and will come equipped with new operational tools including a side-by-side display feature enabling direct comparison between two 4K signals or between 4K and HD video.

In addition, closed captioning over 3G-SD1 1920x1080/59.94P and flexible control over the maximum brightness settings allows for adjustment in eight steps – from 4000 nits to 400 nits. Settings created on the BVM-HX1710(N) can be shared with the flagship BVM-HX3110 color-grading monitor. The BVM-HX3110 will also receive new capabilities through a free v2.0 upgrade that mirrors the BVM-HX1710(N)’s features. The BVM-HX1710(N) and v2 firmware for the BVM-HX3110 are scheduled for summer 2025.

Networked Transport
Key enhancements to Sony’s Networked Live portfolio include updates to the Live Production switcher lineup. Newly released v2.3 firmware for the MLS-X1, highlighted by the Conditional Action Macros feature, allows operators to pre-build actions that can be executed based on the status of the switcher, enhancing the efficiency of the production and reducing the burden on the technical director. Additionally, the M2L-X software-based production switcher is being demonstrated on Commercial Off the Shelf (COTS) equipment, as well as the cloud while the M2 Live cloud-based production platform will show new integration with third-party audio mixing boards.

Nevion, a Sony Group Company focused on real-time media transport processing and orchestration, will showcase recent updates. The software-defined media node, Nevion Virtuoso, expands with a new high-density AES/Analog/MADI converter and add-on that provides more audio sources. Virtuoso’s HEVC low-latency and low-bitrate technologies will also be highlighted. The Nevion VideoIPath Media Orchestration Platform, which can now orchestrate 5G and cloud environments, will be on display, giving customers greater flexibility for their contribution or production environments.

The PDT-FP1 portable data transmitter is updated with new features including support for external camera recording, in addition to high-quality live streaming from a connected camera and streaming app. Immediate workflow for delivering photos and videos from the field has been improved with the Transfer & Tagging app (T&T), as well as direct upload from camera-to-the-cloud services.

Together with the PDT-FP1 and NXL-ME80 media edge processor, Sony's CBK-RPU7 remote production unit transforms into a remote production solution. New enhancements to the solution add remote camera control, tally, capture with return video monitoring, and connection management via Nevion's VideoIPath, enhancing multi-camera operations and monitoring. Recent v1.2 firmware for the NXL-ME80 achieves more stable video transmission with even lower bitrate transmission, enhanced jitter resistance for increased stability, and newly equipped encryption functionality (AES256). It also provides virtually lossless ultra-low latency H.265/HEVC codec. Integration with Nevion Virtuoso is planned for a future update.

Sony’s Hawk-Eye Innovations, which provides sports organizations with leading broadcast production, officiating, and performance solutions, is showcasing HawkREPLAY—an instant replay broadcast solution for flexible on-premise, hybrid, and remote production workflows. It can be used alongside Sony’s HDC-5500 4x 4K camera or HDC-P50A POV camera and CCU for enabling 4K HFR and UHD pan and scan capabilities along with a cloud technology showcase. Within the Broadcast Solutions ecosystem, HawkNEST, an asset management and ISO record system, will also be on display with new Control Console and Channel Navigator tool features.

The DWX series expands with the DWM-30 digital wireless transmitter. For use in a range of professional audio applications including broadcast and live music, the updated model supports a wider range of frequencies and codecs, as well as multichannel simultaneous operation.

News and Production Workflow
Ci Media Cloud, a media asset management and collaboration service available as part of Sony’s Creators’ Cloud suite, has added new format support and exciting integrations to simplify and automate post-production workflows. Ci Workflow now supports nearly all camera RAW formats, making its self-service VFX pull solution even more powerful. Ci also added a DaVinci Resolve Studio extension which allows editors to seamlessly access Ci files, edit, relink, render, and share cuts without having to leave their NLE (non-linear editing).

Additionally, Sony has added direct camera-to-the-cloud support for FX3, FX30 and Alpha 7S III (sequentially) with additional model compatibility to come, allowing camera owners to automatically upload to Ci without the need for additional hardware.

Crispin, a Sony Group Company providing leading master control and asset management solutions, has rolled out new services, including CORE Dashboard, which provides customers with the ability to monitor all critical system components, playlist alerts or discrepancies, and a high-level supervisory view all within the CORE ecosystem, which empowers users with flexible browser-based user interfaces.

Record & Prep Manager (RPM) now includes Quality Control (QC) and prep functionality to accompany the scheduled recording, allowing for complete management of all resources available for prep and records. A new addition to the portfolio is List Assist, an innovative approach to playlist management using intelligent analysis for easy review and response to changes. FAST Wheel automatically creates a News rundown based on content available on a station’s website.

Sony’s Creators’ Cloud suite of software, services and apps includes Monitor & Control (M&C), a mobile app for video creators that enables wired or wireless video monitoring and precise remote-control for single or multi-camera operations. M&C is expanding functionality in the latest v2.3 update and will support additional features such as electronic crop framing functions for the PXW-Z200 and HXR-NX800 and improved focus maps resolution on mobile devices.

Virtual Production
Sony will showcase a suite of virtual production offerings that support Spatial Content Creation. New this year is the OCELLUS (ASR-CT1) camera tracking system, a marker-free tracking system that can be used both indoors and outdoors. The system is camera agnostic and uses four out of five image sensors on a sensor unit to track feature points on video signals. The OCELLUS is ideal for use in both broadcast applications such as news, sports and weather, as well as cinematic applications. The camera tracking system is expected to be available in fall 2025.

Additionally, Sony’s Virtual Production Tool Set, a series of resources that streamlines pre-production and on-set workflows, is gaining new features which will be previewed to bring pre-visualization to life, before a production takes place. Updated software addresses viewing angle correction, and adds Crystal LED off-axis color compensations. In addition, it provides rendering of high picture quality CG backgrounds at high frames per second by ray-tracing acceleration, and also supports real-time moiré alerts for VENICE 2 operation.

For more information about Sony’s presence at NAB Show, please visit https://pro.sony/nab.

TV Tech: What do you anticipate will be the most significant technology trends at the 2025 NAB Show?

Hiroto Kato: Significant technology trends we expect to see at NAB Show this year include new remote production solutions and a need to uplevel and differentiate broadcast content for audiences — making it more captivating, immersive and surprising. Sports broadcasts are major cultural events and are only growing in influence, and we’re happy to provide customers with tools and solutions that allow them to capture world-stopping images and video.

We expect to see an influx of virtual production products and solutions on display at NAB Show this year. The growing use of virtual production tech in a variety of use cases, from cinema, broadcast, commercial and more, will make it a focal point for many exhibitors and attendees at the show. Another trend that NAB Show has smartly picked up on is the continued growth of professional creators, many of whom are essentially running their own media companies and networks with professional-grade gear. Lastly, there is a blending of gear and solutions across verticals, such as cinema bleeding into sports broadcasters and league content, pro A/V gear and solutions being leveraged by broadcasters and vice versa, and more. Lines are becoming more blurred, and we see a lot of opportunity and innovation in these cross sections.

TVT: What will be your most important product news?

HK: The demand for captivating shots that really make the subject pop with a shallow depth of field is on the rise in sports and live production. To meet this growing demand, we’re excited to introduce a new solution that helps fulfill this demand.

At NAB Show, Canon will showcase its new optical unit designed to help create stunning footage with shallow depth of field in sports broadcasts and other live productions. The new optical unit can be integrated into UHD-DIGISUPER 122 and UHD-DIGISUPER 111 field box lenses by Canon Service. These lenses, in combination with the new optical unit, provide high-magnification zoom and video expression to ease the focus and enhance the subject even in fast aperture.

Whether working in a fast-paced sports stadium or capturing special moments, the optical unit adds more flexibility and helps create unforgettable visuals. We think shooters and audiences alike will love the results of this solution.

TVT: How is your new product different from what’s available on the market?

HK: Our new optical unit stands out by offering a solution that’s been tested and proven in the sports and live production fields, delivering the impressive, story-driven content that broadcasters and viewers are craving. It recently made its mark at major marquee sporting events and concerts including major football, baseball, basketball, hockey and auto racing.

What makes it truly unique is the combination of high-magnification zoom and enhanced video expression, with easy focusing capabilities even in fast-paced environments. This optical unit integrates seamlessly into Canon’s existing UHD-DIGISUPER 122 and UHD-DIGISUPER 111 field zoom lenses, meaning there is no need to invest in new cameras or equipment to leverage this solution. It also maintains consistent color tones, allowing easy switching between traditional and enhanced imaging styles and 2x extender, all from one lens. The optical unit is the perfect balance of performance, flexibility and ease of use for anyone looking to capture high-quality, breathtaking visuals.

TVT: What is it about the NAB Show that brings you back every year?

HK: We look forward to NAB Show every year — it’s an invaluable destination for us to meet face-to-face with Canon customers and industry professionals and learn more about their work, ideas and needs. This year, NAB Show attendees can expect to see exciting new products that continue our legacy of marrying efficiency, best-in-class imaging and ease of use. Beyond showcasing our broadcast and cinema solutions, offering opportunities for education and learning is fundamental to our mission at NAB Show. We look forward to seeing you at our new booth location, N2103.

SYDNEY—Sony Electronics will showcase its newly announced VENICE Extension System Mini (CBK-3621XS), the latest addition to its CineAlta lineup, during the 2025 NAB Show, April 5-9, at the Las Vegas Convention Center.

The latest accessory for the VENICE 2 digital cinema camera, the solution makes use of the VENICE 2 8K sensor at a substantially smaller size than the existing VENICE Extension System 2, the company said.

With a footprint the size of an average smartphone and approximately 70% smaller than the current system, the VENICE Extension System Mini is designed to provide additional creative freedom for filmmakers. Its size and durable design makes the VENICE Extension System Mini well-suited for handheld shots and extreme action, it said.

Building on the success of the current Extension System, the new VENICE Extension System Mini allows greater flexibility with no compromise to image quality. It features a custom drop-in ND cartridge system with nine (9) glass Neutral Density (ND) filters, ranging from 0.3 – 2.4 and a clear ND specially developed to match Sony VENICE 2 systems while maintaining a compact size, it said.

The VENICE Extension System Mini also offers design improvements for easy mounting and rigging. For example, the connection cable between the VENICE Extension System Mini and the VENICE 2 camera body features a thinner, flexible cable that can be detached when rigging. It also features mounting points to attach accessories easily, the company said.

Multiple VENICE Extension System Mini units can be used side by side for stereoscopic imaging that recreates the way the human eye sees with a 64mm inter-axial distance that matches the distance between eyes (average human interpupillary distance). The VENICE Extension System Mini can also be used to create VR content and VFX plates in arrays, it said.

The VENICE Extension System Mini (CBK-3621XS) will be showcased at NAB (National Association of Broadcasters) Show 2025 in Las Vegas, opening April 6, 2025.

The VENICE Extension System Mini (CBK-3621XS) will be available in Australia beginning in October for $44,000 AUD RRP.

See Sony at 2025 NAB Show booth N439.

For more information, visit https://pro.sony/en_AU/home

TV Tech: What do you anticipate will be the most significant technology trends at the 2025 NAB Show?

Kento Sayama: AI has been at the forefront of so many industries and media and entertainment is no exception. It holds a lot of promise in providing smart automation, creating efficiencies, transforming workflows, providing analysis and offering a tailored solution that continues to evolve and learn. Time-consuming and laborious manual tasks can now be addressed by AI freeing up talent for more meaningful work. AI is also helping create beneficial optimization. It is definitely a buzzword but also something that is coming into its own and I expect to see AI-enabled solutions on display in many booths during NAB Show, supporting a range of industries. Sony will be highlighting several camera models—from the PTZ BRC-AM7 to handheld options like the PXW-Z200 and HXR-NX800—that employ AI for Auto Framing, tracking and subject recognition.

TVT: What will be your most important product news?

KS: We’re excited to show new products that support the media and entertainment industry, including solutions for live production, news and production workflows, imaging solutions and virtual production. Some highlights at the show will be the HDC-P50A POV camera which features a 2/3-inch, three-chip 4K image sensor with global shutter, SMPTE ST 2110 support and CCU connection options for enabling high frame rate of up to four times in 4K or eight times in HD. Another standout is the BRC-AM7 4K PTZ camera with AI-enabled Auto Framing and Tracking. New to NAB Show are Sony’s 16.5-inch 4K professional monitors, BVM-HX1710 and BVM-HX1710N (with support for SMPTE 2110), which offer a peak luminance of 3,000 nits, and SDI and HDMI interfaces.

TVT: How is your new product different from what’s available on the market?

KS: Sony is proud to offer comprehensive solutions that cover nearly every professional need, form factor, feature set and price point. We seek to empower creators through this robust ecosystem of tools that can be used independently or connected seamlessly together for increased potential.

This year, we’re invested in making powerful enhancements to many of our most popular products through firmware upgrades. These beneficial updates come as a result of voice of customer feedback, as we seek to implement the most requested features and capabilities from our community and provide a longer shelf-life for our technologies. This allows our solutions to grow with users and makes their initial investment go further.

TVT: What is it about the NAB Show that brings you back every year?

KS: Each year I’m inspired, encouraged and reinvigorated by the important conversations I have with the media and entertainment community. We work in such an exciting and dynamic business. I look forward to seeing our friends, users, colleagues and even competitors as we all work toward a common goal — elevating storytelling in broadcast and production through advanced technologies and streamlined workflows. NAB Show gives us the opportunity to connect with the industry in a central location, and provides our users with a showcase of all of our offerings, in one place. It is also a great event for highlighting innovation, starting conversations and closing deals. Personally, I enjoy seeing all of the groundbreaking new technologies that are poised to transform our future. In addition, I am looking forward to Sony’s stage presentations, which cover trending topics and feature insight and expertise from a range of engaging panelists, end users and industry leaders.

NEW ORLEANS—Each broadcast network responsible for the production personnel, technologies and distribution deployed to present the Super Bowl takes the opportunity to tell the game’s story in its own unique way.

Job one for this year’s steward, Fox Sports, is to bring its personalities, such as former New England Patriots and Tampa Bay Buccaneers quarterback Tom Brady, to the table with the best tools available to tell that story, Fox Sports Executive Vice President of Technical and Field Operations Michael Davies said.

(Kickoff coverage of the Feb. 9 Super Bowl between the Kansas City Chiefs and the Philadelphia Eagles begins at 6:30 p.m. EST. Fox Sports’ pregame starts at 1 p.m. EST. The game will air on Fox Television Stations and affiliates, as well as Fox Deportes and Telemundo. Streamers can watch the game via Tubi or FuboTV, with a free trial.)

Brady, who will be calling his first Super Bowl as an analyst, will have at his disposal an elaborate high SkyCam setup based on the new Sony HDC-P50A, a 4K box camera running at 240 frames per second. Equipped with both optical and digital zooms, the camera becomes what Davies describes as “a variety of cameras all in one.”

“One is an aerial All 22 [referring to a camera that captures all offensive and defensive players in the same shot],” Davies said. “You’ll see Tom [Brady] Telestrate on this thing all of the time because it’s what analysts want to see. They want to see everything in terms of how the plays are unfolding so they can explain what’s happening from an X’s and O’s point of view.”

“High SkyCams have been done for years,” Davies said. “Frankly, I don’t really know if we even knew why we were using them. But the one thing that the high SkyCam did was it sometimes really got in the way of how we use the low SkyCam.”

To avoid that, Fox Sports will position its high SkyCam between 55 feet and 90 feet above the field and its low SkyCam, a Sony HDC-P50, 12 feet to 35 feet off the surface. Equipped with both optical and high-resolution digital zoom, the high SkyCam can be zoomed into areas of interest and prevent “everything from looking like ants,” he said.

“Putting that [zoom capability] on the high SkyCam has been immeasurably valuable, and we tested this all the way back in the pre-season in Santa Clara with a prototype from Sony,” said Davies, adding the broadcaster brought it back for the end of the season.

Fox Sports will complement the SkyCam setup with the Sony Hawk-Eye system to do zoom-cropping. Hawk-Eye will give the Fox Sports analysts the visuals needed to discuss and explain what’s happened on the field, he added.

Camera Totals and More
Fox Sports will cover the pregame and game with 149 cameras, including 27 super slow-motion cameras, 24 robotic cameras, 23 high-resolution cameras, 12 wireless cameras and others. But that number can be a bit misleading, Davies said.

“When you get to these crazy camera totals, there are some cameras that just won’t get a tally. It just won’t happen,” he said. “They’re there just in case. Just in case that specific play—that specific little occurrence like whether the ball hit the ground or a toe crossed the line—happens.”

Fox Sports will produce the game in 1080p high dynamic range (HDR) and broadcast it in 4K HDR. Several Fox Sports distributors such as Charter Communications’ Spectrum, Comcast’s Xfinity TV, Sling TV, Verizon FiOS, YouTube TV and others, will carry the entire broadcast, including pregame, halftime and postgame, in 4K.

As with other live events, Fox Sports will produce in HDR using Hybrid Log Gamma (HLG). “That’s basically what’s available now,” Davies said. “Somewhere downstream there is a conversion to PQ [Perceptual Quantizer].”

Dolby and Comcast issued a joint press release earlier this week saying that Xfinity TV customers and Xfinity Stream App users will be able to watch in both Dolby Vision HDR and Dolby Atmos audio as part of Comcast’s new Enhanced 4K offering on X1.

Regardless of what happens downstream, Davies said the important thing HDR production must account for is that most viewers continue to watch in standard dynamic range. “It’s a matter of being able to shade in HDR but also make sure the SDR is preserved,” he said.

Fox Sports is also working with panamorphic cameras from COSM, a company specializing in immersive fan viewing experiences at its Dallas and Los Angeles venues. (COSM Los Angeles will present the Super Bowl.)

“What we do with these cameras is region of interest,” he said. Two COSM cameras will be placed on carts for shots of the sidelines and benches—a great application for the specialty cameras.

“Increasingly there are things you might want to see on the benches, but you don’t have dedicated cameras, because the cameras are all interested in what’s happening on the field,” he said.

Fox Sports will de-warp the fish-eye lens effect from the COSM cameras and pan around the video to find 16x9 areas of interest for air.

COSM cameras will also be used in all of the pylons that mark off the corners of both end zones. While the resolution of those cameras is not quite high enough for use at the COSM dome venues, the 60 fps cameras have the ability to interpolate frames to make replays smooth enough to be used, he said

“It’s really bleeding-edge stuff that we’re doing with these COSM cameras,” he said. “But the result is there’s not one square inch of the field that isn’t covered with a camera—not only that but covered well.”

Augmented Reality Graphics and Drones
For the Super Bowl, Fox Sports will use a newly developed solution for Augmented Reality graphics.

Combining a LIDAR (Light Detection and Ranging) system from Kudan, SkyTrax graphics tracking and some Fox Sports-developed software, the solution solves a problem that has plagued AR graphics that are smaller than full screen, Davies said.

“The LIDAR informs a system that is engaged with the [low] SkyCam telemetry system,” said Davies, adding that doing so increases the accuracy of positioning data—a crucial element to rock-solid augmented graphics.

“The problems in the past with reduced tracking accuracy gave rise to the possibility of shaking or mistracking,“ he said. ”The illusion of having a three-dimensional graphic on the field was completely broken when it starts not tracking accurately with the camera.”

As a result, the only safe use of augmented reality graphics was to go full-screen. “What this translates into is more confidence in being able to pop these graphics on and getting away from the full-screen graphics that take viewers out of the game,“ Davies said. “This allows us to put three-dimensional graphics in the game so viewers never actually leave the stadium and, in that way, stay more engaged.”

The broadcaster will also deploy drones as part of its coverage of the event. Given the close proximity of landmarks like Bourbon Street and the French Quarter to the stadium, drone footage will be used to give viewers the feeling of being in New Orleans.

Fox Sports is tapping the airborne expertise of Beverly Hills Aerials as it has in the past for the Daytona 500, the World Series and its last Super Bowl, to fly the drones and ensure their operation complies with league rules and local law enforcement, he said.

Shots from the drones will be used “for everything from features to added color in support of interviews and events,” Davies said.

While broadcasters have often deployed the television production equivalent of a secret weapon to cover the Super Bowl, Davies said that approach doesn’t fit in with his orientation to covering the game.

“If you bring some esoteric thing out there and that is only used once for the Super Bowl and the production team has never had a chance to use it, it’s difficult to wedge it in,” he said. “Frankly, it’s unfair to give that to a production team and just say, ‘OK, now you’ve got this thing, and you’ve got to use it and make it part of the story.’ ”

Davies is confident that whether it’s the addition of the new LIDAR technology, the COSM cameras, the high SkyCam or any of the other tech that will go into game coverage, the production team is familiar with it and ready to make it a part of the Fox Sports telling of the Super Bowl story.

BOSTON—In a first for regional sports, the Boston Bruins, NESN, and National Hockey League have announced that they will produce “Best Snow Day Ever,” which feature an animated version of a NHL game between the Bruins and the Panthers. It will air on March 11 at 7 p.m. ET locally on NESN+ and the NESN 360 app, alongside the main broadcast of the Bruins-Panthers game on NESN.

“Best Snow Day Ever” is one of several NHL animated data visualizations that are being produced in association with NHL innovation partner Sony’s Beyond Sports for the 2024-25 season. It marks the first time one of these games has been done regionally.

This program represents a continuation of the NHL’s innovative efforts to further engage young fans and families and to demonstrate applications of NHL technology initiatives like NHL EDGE Positional Data.

In addition to an animated version of the game, “Best Snow Day Ever” will bring kids on an imaginary snow day with no school where they follow Blades, the Bruins’ mascot, on an adventure as he’s transported into a snow globe of an imaginary Boston.

The story incorporates a mix of STEM-focused lessons, using hockey as a vehicle to make math, physics and science concepts come together in a way that is both fun and educational. NESN reporter Adam Pellerin will lead the animated play-by-play, with former Bruin and 2011 Stanley Cup Champion Andrew Ference providing analysis.

“The Boston Bruins are thrilled and grateful for the opportunity to work with the National Hockey League and our regional broadcast partner NESN to bring to life the first regional animated data visualization in our market,” said Andrea Mazzarelli, Bruins vice president of marketing. “‘Best Snow Day Ever’ is more than just bringing hockey into a fantasy environment; our program is designed to educate and engage younger audiences and families with integrated STEM lessons throughout the program, which can live on in classrooms well beyond March 11.”

“We’re constantly searching for innovative ways to bring sports to new audiences. This animated data visualization provides us the opportunity to reach kids in a fun, relevant and educational way – because while fans may not consider it, sports are all grounded in STEM – from the speed of the puck to the angle of the shot,” added Josh Jun, vice president of content for NESN. “Working with the Bruins and NHL to develop this project has been such an incredible experience and we can’t wait for young hockey fans to tune in.”

In addition to the STEM lessons, the animated data visualization will feature appearances from Bruins players during intermissions, where they will participate in interactive segments designed to make learning even more fun. Viewers will also experience a Boston-centric narrative, showcasing local landmarks, history, and culture, all while highlighting STEM lessons that tie back to the on-ice action between the Bruins and Panthers.

The animated program builds upon the Bruins’ and NESN’s ongoing commitment to engage with and educate kids through sports. Through the Bruins Academy, the Bruins offer youth hockey programs and free curriculum materials that integrate the sport of hockey with STEM-focused lesson plans, while NESN’s weekly show, NESN Clubhouse, gives kids a backstage look at the skills, technology and fitness necessary to be a professional athlete.

Boston Bruins corporate partners TD Bank, Rapid7 and JetBlue are supporting the initiative with integrations throughout the animated broadcast.

SAN DIEGO—Sony said a record number of its cameras will be trained on the Super Bowl Feb. 9, when the Kansas City Chiefs meet the Philadelphia Eagles in New Orleans.

Sony, an official technology partner of the NFL, said that more than 240 Sony cameras will be in and around the Caesars Superdome covering plays, replays, interviews and celebrations.

These cameras range from Sony’s professional broadcast models used by Fox Sports, the official broadcaster, to the various Alpha interchangeable lens cameras and E-mount lenses including G Master that the Associated Press and other sideline photographers will use to create Super Bowl imagery.

“The Super Bowl is not just the biggest game of the year, it is also the biggest production,” Michael Davies, Fox Sports executive vice president of field operations, said. “Our job is to tell the story of the game, capturing the energy within the stadium and keeping billions of viewers engaged, and Sony is a key tool in reaching that goal.”

This year Fox Sports and production company Game Creek Video will deploy more than 100 cameras on-site for pregame, in-game and postgame action, as well as additional studio shows. Fox will also have Sony BVM reference level monitors on-site for color grading to bring the most accurate imagery to fans around the world.

More specifically, Sony’s cameras will be positioned in each end zone, along both sidelines and in multiple positions throughout the stadium, including the “SkyCam” over the field. There will be 14 Sony cameras dedicated to handling content for streaming.

In addition to all the broadcast and production cameras, Fox Sports will use Sony’s HawkREPLAY systems, a remote production and instant replay broadcast solution, to support the overall broadcast experience. Additional Hawk-Eye technology will also support in-game officiating and replay services, as well as the overall production.

“The Super Bowl is the most watched event of the year, and delivering an authentic and immersive experience for coaches, players, and fans requires a wide array of advanced technologies,” NFL Chief Information Officer Gary Brantley said. “Sony has been instrumental in enhancing the game day experience with its innovative solutions, and we are proud to have Sony play a key role in making Super Bowl LIX in New Orleans unforgettable.”

Added Neal Manowitz, president and chief operating officer of Sony Electronics North America: “We are proud to play a critical role in Super Bowl LIX, drawing on our decades-long record of imaging innovation and production expertise to ensure that every fan watching on-site or at home has the best seat in the house.”

On the photography side, Sony is the exclusive imaging products and support provider for the Associated Press. In total, AP will have 14 photographers and 9 editors on-site at the Super Bowl using Sony equipment to capture and share imagery. The NFL’s in-house photography team, NFL Focus, will use a variety of Sony Alpha cameras and lenses to cover the game as well. Sony’s Pro Support team will offer a pro photographer depot on-site to help service and support the professionals working the game, including offering loans of the brand-new flagship Alpha 1 II camera.

Both the Associated Press and the NFL’s in-house photography are also planning to utilize Sony’s PDT-FP1 transmitter device on-site to deliver photos and videos directly from camera to editors in real time, streamlining their workflow and resulting in the fastest possible distribution to the public.

Each year, the size and scope of the Super Bowl Halftime Show gets larger, including its production elements. For the fifth year in a row, the Funicular Goats will handle technical production of the Halftime Show and for the fourth straight year, the Goats are choosing the Sony Venice 2 as their main camera alongside the Sony Venice Extension System and the Sony Burano for a total of 14 cameras.

“The Super Bowl Halftime Show is a challenge unlike any other project we’ve been a part of,” explains James Coker, head of engineering and technical management at Funicular Goats. “There are less than five minutes to set up and deliver a cinematic concert to millions of people, and the Sony Cinema Line cameras provide the perfect combination of full-frame sensor with broadcast compatibility to work seamlessly within the show’s structure and achieve this challenge.”

Sony provided this breakdown of equipment by user:

• Fox Sports: 97 Sony HDC Series Broadcast System Cameras; 1 Sony FR7 Cinematic PTZ Camera; 3 Sony FX6 Full-Frame Cinema Cameras; 1 Sony Alpha 7 III Mirrorless Camera; 1 Sony VENICE 2 Digital Cinema Camera.
• AP: More than 55 Sony cameras and a variety of lenses.
• NFL Focus Photography Team: Eight Sony cameras and a variety of lenses.
• Funicular Goats—Super Bowl Halftime Show: 13 Sony Venice 2 Digital Cinema Cameras; 1 Sony Venice Extension System; 1 Sony Burano Digital Cinema Camera (for ASL camera).
• Sony Pro Support: 65 Sony Full Frame Mirrorless Cameras; 140 Professional Lenses including 14x 600mm, 10x 400mm, 6x 300mm super telephoto lenses.

STUTTGART, Germany & CULVER CITY, Calif.—As CES opens in Las Vegas, Sony Pictures Entertainment (SPE), IMAX , Mercedes-Benz and Xperi’s DTS subsidiary have announced that SPE’s in-car entertainment service, RIDEVU, will make IMAX Enhanced content from the studio’s library readily available in vehicles, starting this summer in Mercedes-Benz models with the latest generation of the car maker’s MBUX media entertainment system.

The launch promises to offer a major boost to the visual and audio quality of in-auto viewing of feature films.

IMAX Enhanced is designed to deliver IMAX’s signature picture and sound outside of a theatre. With this agreement, RIDEVU will deliver select IMAX Enhanced films featuring IMAX’s expanded aspect ratio (EAR), its proprietary DMR process and DTS:X sound, available in multiple dubbed languages.

[Also Read: More TV Tech Coverage of News From CES]

The IMAX Enhanced movies from Sony Pictures’ library include such features as “Venom: The Last Dance,” “Spider-Man: No Way Home” and “Uncharted.”

SPE’s RIDEVU service is available in the U.S., Canada, Japan, the United Kingdom, Ireland and Germany. The service is fully integrated with select original equipment manufacturers, including Mercedes-Benz as the first global automotive OEM. It offers access to thousands of movies to buy, rent or stream.

Designed for the car, RIDEVU connects Sony Pictures films with its advanced streaming technology, allowing consumers to enjoy hours of entertainment on built-in screens or on iOS and Android devices being used in the car.

Using Screen Manager, users can easily control playback across all screens from the center screen and entertain passengers with individual or shared viewing experiences on up to six screens. Content can be accessed by the driver (while parked) and front- and rear-seat passengers.

“By deepening our collaboration with IMAX, we’re demonstrating our unwavering commitment to providing discerning consumers with immersive experiences that transform every journey,” Pete Wood, senior vice president of digital sales, distribution, SPE, said. “By delivering IMAX Enhanced content through RIDEVU, we are showcasing what is possible as we push the boundaries of content and audio delivery in the car starting in Mercedes-Benz models later this year.”

Vikram Arumilli, senior vice president and GM, streaming and consumer technology at IMAX added that “we are bringing our most immersive sound experience directly to the vehicle in a way that hasn’t happened before. With this collaboration, we’re not just providing a quality audio experience, we’re helping bridge the gap between home and vehicle, delivering personalised entertainment where consumers want it.”

The service is being demoed in a Mercedes-Benz E-Class vehicle at CES from Jan. 7-10 at Xperi’s booth 5840 in the West Hall of the Las Vegas Convention Center.

SAN DIEGO—The trend towards creating animated alternative live presentations of professional sports continues with news that ESPN will air the first-ever real-time, animated alternate presentation of an NBA game this year on Christmas.

For the event, Sony’s Beyond Sports is collaborating with ESPN, Disney, and the NBA for “Dunk the Halls,” a special Christmas Day alternate presentation of the San Antonio Spurs-New York Knicks game at noon ET, Wednesday, Dec. 25.

The animated production will use data processing and real-time visualization technology from Beyond Sports, as well as optical tracking technology from Hawk-Eye Innovations, to insert iconic Disney characters into the game action using 3D animation, while the two teams play in real time.

Dunk the Halls will be presented on ESPN2, ESPN+, and on Disney+. ESPN will air the live game.

Dunk the Halls is the third major sports telecast in 2024 to use Sony’s Beyond Sports’ real-time visualization engine, including the “NHL Big City Greens Classic 2” on Mar. 9 and the NFL ”The Simpsons Funday Football” on Dec. 9. The technology was also used for the three-time Sports Emmy Award-winning Toy Story Funday Football, featuring the Atlanta Falcons vs. Jacksonville Jaguars game in London in October 2023.

“Real-time visualization and virtual alternate productions have clearly emerged from being a novelty into an established tentpole of broadcast and streaming programming,” Sander J. Schouten, managing director and co-founder at Beyond Sports, said. “Every time, we’re ready to deliver an innovative, immersive, and interactive altcast that puts viewers right in the heart of the action. This isn’t just the future of sports consumption—it’s the trend reshaping the industry today. With our latest telecast, fans can expect all of that, plus an added touch of Christmas magic.”

ESPN reported that fans watching Dunk the Halls will see animated versions of every play from the real-life Spurs vs. Knicks game at Madison Square Garden in New York, with iconic Disney characters including Mickey Mouse, Minnie Mouse, Donald Duck, Goofy, Pluto, Chip and Dale will be inserted into the telecast.

Fans can also expect to see them participate in a halftime slam dunk contest; delivering pregame and halftime speeches to the players; and decorating a large Christmas tree during the game. Elves will operate cameras, with Santa Claus operating ESPN’s “SkyCam” during the game.

The Christmas Day production will combine Beyond Sports’ data processing and real-time visualization technology Sony’s optical tracking from Sony’s Hawk-Eye Innovations, allowing each Spurs and Knicks player to appear as a motion-enabled, animated player.

Beyond Sports developed a unique data processing engine to optimize basketball optical tracking data from Sony's Hawk-Eye Innovations. By validating and enriching the data with advanced enhancement technology, they create more precise and lifelike animations. This process ensures the animations achieve a heightened level of realism and fluidity, making the content not only more visually compelling, but also more engaging and immersive for viewers.

“Adapting our data enhancement system to these new sports formats was essential,” Nicolaas Westerhof, chief technology officer and co-founder at Beyond Sports, said. “For example, the original ankle and toe data points can result in unnatural movements. By adding details like foot roll dynamics, we ensure smoother, more realistic visuals, significantly improving the viewer’s experience.”

In addition to planned visual elements and creative features like gingerbread referees, Beyond Sports’ virtual commentator technology will insert the ESPN announcers calling the game into the animated production. The virtual commentator technology uses a virtual reality headset to capture the real commentators’ upper body movements and facial expressions and create 3D animations. The technology brings the commentators closer to the action, enabling them to engage with the gameplay and audience like never before.

BRYAN-COLLEGE STATION, Texas—The College of Performance, Visualization and Fine Arts at Texas A&M University has selected Sony Electronics and its equipment and technology for the school’s new Virtual Production Institute.

The virtual production setup includes Sony’s Crystal LED panels, BURANO and VENICE 2 digital cinema cameras and professional monitors and will offer students and industry partners the opportunity to use the cutting-edge technology, Tim McLaughlin, dean of the College of Performance, Visualization and Fine Arts, said.

“Our partnership with Sony provides the immediate benefit of the top-quality LED panels and cameras for our virtual production volumes plus the capacity to address the scope of the college’s long-term goals through its range of different tools and technologies for imaging, audio and internet-connected devices.,” he said.

As part of the deployment, the institute will leverage the latest technology from Sony’s virtual production ecosystem along with its unique software—the Virtual Production Tool Set—which allows hardware to work together for improved performance and workflow.

“Exposing students to our latest technology through Texas A&M’s Virtual Production Institute will ensure future generations in the virtual production industry are trained and proficient in the technologies of tomorrow,” Theresa Alesso, president of Imaging Products and Solutions Americas, Sony Electronics, said. “Our technologies will help the institute stand apart and create new forms of engagement and immersion.”

The Virtual Production Institute is located on Texas A&M’s main campus in Bryan-College Station, with an extension at Texas A&M-Fort Worth. With funding support from the 88th Texas Legislature for faculty, staff and equipment, the institute will reach beyond entertainment uses to offer workforce training and simulation for first responders, health care, the military, manufacturing, product and architectural design, digital twin environments and live performances.

Students will have access to four virtual production stages composed of large LED walls that display computer-generated imagery to create immersive worlds where subjects can see and react to what is happening around them. Real-time game engines will process photorealistic imagery and live-action scenes to create in-camera visual effects, Texas A&M said.

Two of the virtual production stages will be in Fort Worth and two in Bryan-College Station. A temporary wall was recently installed in the Starlab facility at the Texas A&M-RELLIS campus in Bryan for course instruction in the visualization program’s new minor in virtual production.

Synapse Virtual Production was announced in August as the integrator for the institute. The Los Angeles-based company is designing, procuring and building the four stages, along with providing curriculum assistance and training faculty and staff to use the technology.

The institute will employ Sony technology including the BURANO and VENICE 2 digital cinema cameras and the latest generation VERONA Crystal LED, a modular display designed for demanding virtual production applications. The VERONA offers extraordinary black levels, low reflection, high brightness, wide color gamut and high refresh rate, which allows content creators to compose immersive and realistic visual experiences on any scale, Sony said.

This technology will be featured in a Fort Worth event Nov. 22 for the university, industry and the community. “Arts in Motion” at the Omni Hotel includes guest speakers and collaboration discussions among the college’s performance and visualization industry partners.

The event closes with a virtual production demonstration on a Sony Crystal LED wall at Red Productions’ Backlot Studios. As part of the institute, a permanent virtual production stage will be compmeted in January. SISU Cinema Robotics is providing a robotic camera arm for the demonstration.

David Parrish, director of the College of Performance, Visualization and Fine Arts at Texas A&M-Fort Worth, said working with Sony Electronics will expose Texas A&M students to innovation within virtual production through top-of-the-line technology. The “Arts in Motion” demonstration will be a showcase for this, and for extending that innovation to industry partners, he said.

“I hope people take away that Texas A&M is at the forefront of this technology and at the forefront of collaboration with industry to prepare the workforce of tomorrow,” he said. “We are building on our established relationships with a variety of industries. And we are here to establish and nurture additional relationships, to offer the capability for them to collaborate with us, to research with us, to innovate with us. And to explore what we’re building and find new ways to put it to good use.”

’Twas the month before Christmas, and all through the Mouse House—also known as the Magic Kingdom at Walt Disney World in Orlando, Florida—there were a lot of creatures stirring. It was time to shoot portions of “Disney Parks Magical Christmas Day Parade,” a special that will air on Dec. 25 on ABC and Disney+ (and Hulu the next day).

My family happened to be in the park on Nov. 9, so I skipped Space Mountain and went into reporter mode on Main Street. And while many park guests were enamored with what co-host Julianne Hough was wearing, I was talking to members of the crew about their gear.

According to the crew members who spoke with me briefly (they were in the middle of production, after all), it was a 10-camera shoot. The cameras were a mix of Sony VENICE and VENICE 2 digital cinema cameras equipped with Fujinon and Canon lenses. I was also seeing Sachtler tripods and some OConnor heads. The crew was also a blend of employees and freelancers.

One camera was mounted on a crane to provide a bird’s-eye view of the parade. Others were positioned on the route to provide coverage of the parade as well as Hough and co-host Alfonso Ribeiro, who were positioned below a large Christmas tree in the Town Square area of Main Street (a popular spot for photographs). While the duo was shot in the early afternoon, two large ARRI lots were positioned to provide more consistent lighting throughout their segments.

By the way, the parade itself included appearances by Mickey and Minnie Mouse, plus a variety of other well-known Disney animated and live-action characters. Yes, that included several Disney Princesses. The parade concluded with an appearance by Santa Claus and his wife. Check out a short segment of the hosts in action below.

This article originally appeared on TV Tech sister brand Systems Contractor News.

PARAMUS, N.J.—Sony Electronics has released the software development kit (SDK) version 2.4.0 for its Spatial Reality Displays (SRD), designed for 3D content creation.

With added multidisplay support, viewer log functionality, and extended development platform compatibility, this update allows content creators to produce even more immersive and high-impact 3D content, Sony said.

SDK version 2.4.0 introduces the ability to combine multiple Spatial Reality Displays for larger and more engaging visual setups. This new functionality offers:

• Vertical Array: Stack up to four displays for life-sized, full-body figures or tall content that brings a lifelike presence to immersive installations.
• Horizontal Array: Align up to three displays for wide-screen, panoramic 3D content, ideal for large-scale presentations and events.
• Grid Array: Create a 2-by-2 grid of four displays, producing the equivalent of a 55-inch screen, perfect for displaying large objects or creating impactful viewing experiences.

Another key feature of SDK 2.4.0 is its new viewer log capability. This tool allows content creators to gather quantitative data on viewer engagement, including the number of viewers and viewing duration, providing valuable insights into the performance of 3D content at exhibitions, events, and installations. This data can help optimize content and improve visitor engagement.

In addition, SDK 2.4.0 offers expanded support for leading development platforms. Those include: Unreal Engine 5.4; Unity Plugin DX12; and extended OpenXR compatibility

These advancements make it easier for developers to integrate the Spatial Reality Display into existing workflows, enabling the creation of highly realistic 3D content with more intuitive, efficient development processes, Sony said.

Alongside the SDK release, Sony will introduce firmware version 1.30.00 for the ELF-SR2 model at the end of November.

This firmware update builds on the display's capabilities by improving facial recognition performance, making the 3D viewing experience even smoother and more seamless. It also expands color gamut support with DCI-P3 and Rec.2020 compatibility, allowing for more vibrant and accurate color reproduction. The firmware also introduces side-by-side stereoscopic 3D viewing, which can be activated through the function (Fn) button, further enhancing the depth and realism of 3D content, Sony reported.

For more details and to download the latest SDK, visit the Spatial Reality Display developer site here.

Simply sending an OB vehicle to a remote venue to produce coverage of live sports or entertainment is no longer the only game in town.

Developments over the past several years have helped to drive a rethink about how best to implement technologies and supporting workflows to maintain production excellence, adopt advancements in resolution and High Dynamic Range and work more efficiently--all while controlling costs.

On Thursday, Nov. 7, at 12 noon ET, join our panel of remote production experts, Stephen Repass, vice president at Ross Production Services; Deon LeCointe, director of networked solutions at Sony Electronics; and Laurent Masia, director of product line management, managed switches at NETGEAR.

You’ll learn:

• Where REMI, virtualized production and other workflow advances stand.
• How more efficient compression schemes are opening up new contribution possibilities
• Whether or not private and public 5G networks will prove to be real production game changers.
• How cloud-based alternatives to on-prem OB trucks are transforming workflows.
• The latest workflow developments including distributed production.

Register for this free webinar here.

SAN DIEGO—Sony Electronics has released firmware updates for its Camera Remote Toolkit used with its professional handheld, digital cinema and alpha interchangeable-lens cameras.

Sony’s Camera Remote Toolkit takes complete control over the company’s range of cameras and lenses in any environment with the Camera Remote SDK and Camera Remote Command. Users can develop software allowing them to change camera settings remotely and perform live-view monitoring, such as shutter release, framing and focus, Sony said. The toolkit can also be used for content creation, inspections and surveys.

The Camera Remote SDK Version 1.13 firmware update, planned for release this month, offers:

• Compatibility with additional cameras, including: ZV-E10 II, PXW-Z200, HXR-NX800 (the SDK is also compatible with Sony’s ILX-LR1, ILCE-1, ILCE-9M3, ILCE-9M2, ILCE-7RM5, ILCE-7RM4A, ILCE-7RM4, ILCE-7CR, ILCE-7SM3, ILCE-7M4, ILCE-7CM2, ILCE-7C, ILCE-6700); BURANO (MPC-2610), ILME-FX6V/ILME-FX6T (Ver. 3.00 or later), ILME-FX3 (version 2.00 or later), ILME-FX30, ZV-E1, DSC-RX0M2 (version 3.00 or later).
• Absolute position settings for optical zoom, allowing users to move the zoom to a desired position with a single command prompt for a substantive time gain.
• Remote emulation, enabling users to receive display information remotely from the camera, including on-screen display. This provides a level of remote control equivalent to a non-remote application. 
• Exposure notification timing adjustment, providing an exposure signal in advance of shooting still imagery, giving creators the opportunity for an advanced synchronization scenario with flash lighting. 
• Enhanced video recording workflows supporting simultaneous remote control and background file transfer and recorded video preview, enabling users to review any section of video remotely without transferring the entire file to a computer.

Sony also is making a remote firmware update available to users of the ILX-LR1 industrial camera. Users can now update the camera’s firmware remotely within the user application. When future firmware updates are released, they can be applied without disassembling the system. As of firmware version 1.13, this capability only applies to the Sony camera model ILX-LR1. 

The company also plans to release Camera Remote Command Version 2024.1.0 this month. It offers:

• Compatibility with additional models, including: FX6, BURANO, α9 III and ZV-E10 II.
• PTP-IT support, allowing users and developers to control their Sony camera via Ethernet cable or Wi-Fi.
• Support for more than 100 new commands, including enabling switching the memory card slot according to the situation and adjusting the upper and lower limits of ISO AUTO to the shooting environment requirements.

More information is available on the company’s website.

TOKYO and BASINGSTOKE, U.K.—Sony has acquired KinaTrax, a provider of markerless motion-capture technology for sports that collects in-game biomechanical performance data on athletes.

Financial terms were not disclosed.

KinaTrax camera systems are currently deployed in more 75 stadiums and labs across Major League Baseball, Minor League Baseball and NCAA member organizations, with expansion into other sports leagues.

The deal gives Sony’s sports-data business a presence in player performance metrics. KinaTrax will provide biomechanical and analytical expertise, as well as its markerless motion capture technology, to Sony’s sports-data offering.

Sony’s sports business, made up of Hawk-Eye, Beyond Sports and Pulselive, delivers officiating, broadcast and digital solutions around sports data technologies. The acquisition of KinaTrax bolsters Sony’s capability to offer sports data, such as analysis and biomechanics for coaching, scouting and athletes’ performance, the company said.

“By welcoming KinaTrax into the family, we are excited to further expand our offering, under our mission of unlocking the power and emotion of sport through data,” Rufus Hack, CEO of Hawk-Eye, Pulselive and Beyond Sports, said. “We are incredibly privileged to partner with an overwhelming majority of the top global sports leagues, and this acquisition allows us to broaden our proposition through new biomechanical insights in the critical and growing field of player performance.”

KinaTrax President Steven Cadavid said: "We’re excited to become part of Sony and its sports businesses, and to bring our know-how to complement the powerful tech Hawk-Eye, Pulselive and Beyond Sports have developed and are delivering today. The future of sports is in deeper data tracking and the creation of smarter insights through innovative technology.

“With Sony, by enhancing KinaTrax’s expertise in capturing and delivering biomechanical performance data, we aim to contribute to provide sports leagues, teams and players with the best insights to improve performance and pursue success,” he added.

Remote production has helped improve media companies’ bottom line ever since it went from being a “want to have” before 2020 to a “need to have” in this post-pandemic world. By now, many of us have become more aware of the advantages of producing live events remotely but they bear repeating: cost savings, flexibility and scalability, access to a wider pool of talent and improved collaboration that leads to more seamless productions that can, in turn lead to increased viewership.

In our latest Guide to Remote Production, we offer insight and case studies that will help you better understand the trends and management techniques that are making remote media production a reality for more broadcasters than ever before.

Click here to download your free copy.

BIRMINGHAM, Ala.—The Southeastern Conference is reporting that it will be using a multi-sport video review system supplied by Hawk-Eye Innovations, which is part of Sony’s Sports businesses, beginning with the 2024 SEC soccer and volleyball seasons.

Hawk-Eye Innovations’ Synchronized Multi-Angle Replay Technology (SMART) system works as the basis for video capture, replay, clipping and distribution capabilities. Already adopted by major sports properties all over the globe, the technology that allows SEC officials to independently review the action.

“We continue to seek ways to enhance our officiating programs by investing in technology to advance video review operations,” said SEC commissioner Greg Sankey.  “The addition of this technology in soccer and volleyball represents a continued commitment to the support of our officiating programs and reducing incorrect officiating outcomes during competition.”

“We are absolutely thrilled to partner with the Southeastern Conference and to bring our best technology and innovation in order to improve the precision and accuracy of their athletic competitions,” said Dan Cash, managing director of Hawk-Eye Innovations in North America. “The SEC have been exceptional partners to work with and we are incredibly excited to help evolve college athletics alongside such a powerhouse global sports federation.”

In all soccer contests at SEC home venues, Hawk-Eye Innovations’ SMART system consists of six dedicated high-speed cameras to complement the existing set of broadcast cameras. The additional cameras are located on each goal line, on each penalty box and one wide camera on each side of the pitch.

In the SEC soccer video review system, referees communicate with a dedicated Replay Operator in a designated replay room on campus to receive all the camera angles to make the most educated decision.

The Hawk-Eye system provides the referees the opportunity to review plays from multiple synchronized angles with enhanced capabilities of capture and playback allowing the referee to independently review the video.

In all volleyball contests at SEC home venues, 12 dedicated high-speed cameras have been added to existing broadcast cameras including six “pylon cameras” on the playing surface to capture in/out reviews.

In the SEC volleyball video review system, a designated Review Referee at the scorer’s table reviews the plays in question and has sole authority on all review outcomes. In non-conference matches, the R2 reviews the plays in question and has sole authority on all review outcomes, the company explained. 

SAN DIEGO—Sony Electronics has announced the latest version (Version 2.0) of its virtual production software, Virtual Production Tool Set, will be available winter 2024.

Sony's Virtual Production Tool Set is a pair of software applications, the Camera and Display Plugin and the Color Calibrator, that improve the virtual production workflow for broadcast and cinema – making it easier to get predictable, high-quality results. Both applications are free to download while some features will be available under a paid license.

The Camera and Display Plugin allows users to simulate a specific camera’s movement and settings on screen in a virtual space, prior to physical production with a LED wall. Version 2.0 of the Camera and Display Plugin expands the list of supported broadcast and cinema cameras to include BURANO, FR7, HDC-3500, HDC-5500, and HDC-F5500 adding to VENICE series. The Camera and Display Plugin allows productions to plan shots as well as leverage the tool’s improved custom Moire alert tool, Sony said. 

Version 2.0 also supports Epic Games' Unreal VCam, making it possible to intuitively control cameras in virtual space using an iPad. Additionally, Sony offers a paid license for Live Camera Sync, which can instantly read changes in the settings of VENICE cameras and lenses on set and reflect them in the Unreal Engine Sony virtual camera settings.

Color Calibrator is a Windows 10 application that creates correction LUTs iv to achieve high color reproduction in Virtual Production stages and performs color correction (color calibration) of the installed LED walls. The LUTs calibrates the LED wall to the Sony camera color space to ensure that the colors visualized before filming match the colors captured while filming. Color Calibrator Version 2.0 supports color calibration via the newly added camera models as well as a user guide function that makes it easier to perform relevant adjustments. The Color Calibration tool is free but creating and exporting calibration LUTs is available through a paid license v.

This latest version of the Virtual Tool Set will be on display at IBC 2024 at the Sony booth, in Hall 13.

For more information on the latest version of the Virtual Production Tool Set, please visit our website: https://sonycine.com/virtualproduction

SAN DIEGO—Sony Electronics has announced the ECM-L1, a professional-quality lavalier microphone with plug-in power and professional audio technology that ensures every word and nuance is captured with precision.  

The ECM-L1 will be available in October 2024 for approximately $279.99 USD and $399.99 CAD. It will be sold at a variety of Sony's authorized dealers throughout North America.

The 3.5mm mini plug providing plug-in power support is designed for an extensive range of uses, including direct connection to Sony’s Alpha series cameras equipped with aux audio inputs or wireless microphone transmitters. Featuring a compact pin design, it can be discreet without sacrificing sound performance, making it perfect for vlogging, interviews, documentaries, and livestreams.

“There has been increasing interest in higher-quality sound options to match the continued rise in video content creation,” says Yang Cheng, vice president, imaging solutions, Sony Electronics. “With the introduction of the ECM-L1, we’re able to leverage technology from our trusted ECM-77 professional audio line. This new addition brings a pro-grade audio lavalier solution to the gear kits of creators.” 

More specifically, Sony reported that the ECM-L1 is designed to meet top-tier reliability and quality demands. Its capsule is built with a fixed electrode plate made of a rigid ceramic. Its superior vibration properties deliver excellent sound quality with improved rise time and high resolution. Externally, the microphone capsule is covered with a machined brass exterior to suppress unnecessary external resonance, enabling clear, crisp sound pickup. In addition, the high-purity OFC (oxygen-free copper) cable reduces audio transmission loss without compromising high sound quality.

The durable brass housing protects the ECM-L1 microphone to hold up against wear and tear, even under rough usage at shooting sites. The 2.2 mm diameter cable is resistant to breakage and a locking ring2 is used at the connection point with the recording device to prevent the connector from accidentally coming loose, Sony said. 

Two types of windscreens are included to reduce wind and pop noise, including a discreet metal option and a faux fur option.

The ECM-L1 lavalier microphone has plug-in power, where power is supplied from the connected device. It can be connected to a wide range of devices equipped with a 3.5 mm microphone input terminal, such as cameras, smartphones, wireless microphones, IC recorders, and computers, enabling high-quality audio recording to suit the many types of use cases.

For detailed product information about ECM-L1, visit here.