SAN DIEGO—Sony Electronics today introduced the Alpha 7 V (ILCE-7M5), the fifth generation of its Alpha 7 full-frame mirrorless lineup, powered by the newly developed, partially stacked Exmor RS CMOS image sensor with approximately 33.0 effective megapixels.

The new BIONZ XR2 image processing engine incorporates the AI processing unit functions of the latest Alpha series. These innovations allow the Alpha 7 V to deliver a significant performance boost across every aspect of imaging from Real-Time Recognition AF (Auto-Focus) to Real-Time Tracking, speed, stable color accuracy, still capture and video versatility.

The company has also launched the FE 28-70mm f/3.5-5.6 OSS II (SEL28702), a Full-Frame compatible, compact and lightweight standard zoom lens that supports the Alpha 7 V’s high-speed continuous shooting.

“The Alpha 7 V resets expectations on what an all-around Full-Frame camera can achieve,” said Yang Cheng, vice president of imaging solutions at Sony Electronics. “By evolving autofocus intelligence, color science and system responsiveness, we’re enriching our expanding lineup with a powerful new option that provides creators with an advanced tool capable of keeping up with their creativity and bringing them one step closer to achieving their dreams.”

The Alpha 7 V integrates an AI processing unit into the BIONZ XR2 engine, delivering a substantial leap in autofocus speed, accuracy and reliability. The Alpha 7 V has up to 30% improvement in Real-Time Recognition AF that instantly recognizes targeted subjects and captures them with high precision. With 759 phase-detection points and up to 94% frame coverage, the camera ensures precise subject tracking across nearly the entire image area, even in challenging low-light conditions down to EV -4.0.

High-resolution RAW processing is now supported through Imaging Edge Desktop application.

The combination of a partially stacked Exmor RS CMOS image sensor with about 4.5 times faster readout speed increased and the BIONZ XR2 processor results in delivering high image quality with minimal distortion.

High-precision tracking with up to 60 times AF/AE calculations per second and blackout-free continuous shooting up to 30 fps with AF/AE tracking ensures no missed opportunities even with fast-moving subjects moving in complex patterns, such as in wildlife and sports photography. Even during 14-bit RAW shooting, it achieves high-speed continuous shooting at up to 30 fps with AF/AE tracking.

The Pre-Capture function, which can record up to 1 second before the shutter is pressed, captures decisive moments even for subjects whose movements are difficult to predict, such as pets and sports.

Expanding creative possibilities for hybrid creators, the Alpha 7 V introduces additional 4K recording modes, including 7K oversampled 4K 60p recording available in full-frame mode and 4K 120p recording in APS-C /Super 35mm mode.

Full-pixel readout without pixel binning enables highly detailed video recording down to the finest details.

The image stabilization features Dynamic Active Mode, enabling smooth and stable video expression even when handheld.

The camera also has an Auto Framing function that automatically maintains optimal subject composition during recording via AI-powered subject recognition. This enables stable composition video recording in various scenes.

New in-camera noise reduction and improved internal mic functionality ensure high-quality audio recording by reducing steady background noises, minimizing interference and maintaining natural sound.

The Alpha 7 V offers Wi-Fi 6E GHz compatibility for high-speed, stable wireless transmission, along with dual USB Type-C ports for improved workflow and flexibility.

Vertical format support and an adjustable electronic shutter sound make shooting adaptable across diverse environments.

The 4-axis multiangle monitor combines tilt and vari-angle design, offering unrestricted horizontal and vertical adjustment for greater shooting freedom.

A better finger fit on the grip provides improved comfort, stability and control during extended sessions.

The FE 28-70mm f/3.5-5.6 OSS II is a compact, lightweight lens that is engineered for speed. It fully leverages the continuous shooting capabilities of the Alpha 7 V sensor. When combined with compatible cameras, it offers up to 120 fps AF/AE tracking, continuous shooting, seamless body-lens coordinated image stabilization, AF available even during zooming and built-in breathing compensation support. From dynamic action shots to fast-paced events or high-quality video capture, the lens delivers smooth, dependable responsiveness and flexibility.

The Alpha 7 V body will be available by the end of December for $2,899. The Alpha 7 V with SEL2870-kit will be available in February 2026 for about $3,099. The FE 28-70mm f/3.5-5.6 OSS II will be available in February 2026 for about $449. Sony and at a variety of Sony's authorized dealers throughout North America will offer the products.

More information on the Alpha 7 V and FE 28-70mm f/3.5-5.6 OSS II is available online.

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.

SAN DIEGO—Sony Electronics has launched the 400-800mm F6.3-8 G OSS (SEL400800G), its longest-range full-frame E-Mount lens to date, setting a new benchmark in focal length reach for the Sony mirrorless system, the company said. The Sony E-Mount lens lineup previously peaked at 600mm, but the 400-800mm F6.3-8 G OSS extends the focal length to 800mm for specialty shooting. The additional reach is especially beneficial for birding, wildlife, aerial, and sports photographers seeking long-range lens capabilities.

Sony will showcase the lens at booth N439 in the North Hall during the 2025 NAB Show in Las Vegas, April 6-9.

The 400-800mm F6.3-8 G OSS is designed to provide exceptional image quality and lens control across the entire ultra telephoto zoom range. Its internal zoom mechanism ensures stable handling, while its advanced optical design delivers creamy bokeh and sharp, detailed images. With a fast and accurate autofocus system combined with a durable, versatile build, this lens is a powerful tool ideal for both photographers and videographers documenting far away subjects.

"At Sony, we are dedicated to equipping photographers and videographers with the tools they need to push creative boundaries. The 400-800mm F6.3-8 G OSS is a testament to this commitment, delivering unparalleled reach and reliability as a super telephoto within the G Series lens line-up,” said Yang Cheng, Vice President of Imaging Solutions, Sony Electronics Inc. “By continually expanding our lens offerings, we ensure that Sony mirrorless users have the specialized gear to capture stunning imagery in even the most challenging environments."

As the newest addition to the Sony’s G lens lineup, the 400-800mm F6.3-8 G OSS is the first Alpha lens to offer a super-telephoto range of 400mm to 800mm, delivering unparalleled reach for the Sony Alpha full-frame system. For applications such as birding photography, the 400mm to 800mm zoom range allows photographers to locate subjects at the wide 400mm end before zooming in up to 800mm for tight, detailed shots. For those who need even more reach, the 400-800mm F6.3-8 G OSS is compatible with the 1.4x and 2x teleconverters2, extending its range up to a staggering 1600mm.

An internal zoom mechanism maintains a balanced length and weight distribution while adjusting focal lengths—enhancing stability and handling. A smooth, responsive zoom ring allows for precise adjustments, while a carefully designed structure helps prevent accidental focal length shifts. In addition, this lens’ zoom ring features a short rotation throw which enables quick zoom adjustments essential for tracking fast-moving subjects in birding, wildlife, and sports photography.

The 400-800mm F6.3-8 G OSS is designed for exceptional optical performance, featuring an 11-blade circular aperture that produces beautifully smooth, creamy backgrounds with stunning bokeh when shooting at a narrow depth of field. Six ED (Extra-low Dispersion) glass elements effectively minimize chromatic aberration, while advanced coatings suppress flare and ghosting, ensuring crisp, high-contrast images even in backlit conditions.

For fast, precise focusing, the lens is equipped with two precision linear motors, enabling seamless tracking that keeps up with the Alpha 9 III’s 120 fps3 maximum burst speed and up to 240 fps in video4. Its quiet operation, focus range switch, and suppressed focus breathing allow for enhanced control and make this lens an excellent choice for both photo and video use.

The 400-800mm F6.3-8 G OSS delivers solid support for both handheld and tripod-mounted shooting. Its built-in Optical SteadyShot (OSS) image stabilization minimizes shake-induced blur, and when paired with an Alpha camera body featuring in-body stabilization, stability is further enhanced. Durable construction, optimized balance, and a non-removable foot maximize reliability and performance. For tripod use, the tripod mount foot allows quick rotation between horizontal and vertical orientations, offering versatility for various shooting scenarios.

Designed for high-level control and reliability, the lens features three customizable focus hold buttons positioned at 90° increments for easy access in any orientation. Full-time Direct Manual Focus (DMF) automatically engages manual focus when the focus ring is adjusted, allowing for seamless fine-tuning. The redesigned lens hood includes a lock button and filter opening, ensuring effortless operation in any environment.

Additionally, the dust- and moisture-resistant design enhances durability, while a fluorine-coated front element repels contaminants for easier cleaning.

SAN DIEGO—Sony Electronics has introduced the 28-70mm F2 G Master, its first zoom lens with a constant F2 aperture and the 77th lens in the Sony E-Mount lineup. This full-frame lens offers a versatile focal range from 28 to 70 millimeters while delivering prime-like bokeh with its constant F2 aperture.

Despite its wide aperture and zoom range, the 28-70 mm F2 G Master remains compact, lightweight and well-balanced, Sony said, making it well-suited for both photography and video applications. This combination of zoom range, large aperture and compact design makes this an innovative and versatile lens for portrait, sports, wedding, event and video professionals, it said.

“Our goal with the 28-70 mm F2 G Master was to create a high-performing zoom lens that could be a strong single lens alternative to multiple primes,” Yang Cheng, vice president of imaging solutions at Sony, said.

The new lens produces extremely sharp corner-to-corner results throughout the entire zoom range, even while shooting wide open at F2. The high-resolution output is made possible by the three XA (extreme aspherical) elements and three aspherical elements built within the lens to minimize aberrations. The lens also features a floating focusing system that helps maintain internal stability. This focusing mechanism enables a minimum focusing distance of up to 14.8 inches (0.38 meters) throughout the entire zoom range, the company said.

The lens’ aperture up to F2 produces extraordinary bokeh, well-suited to creating images that showcase a shallow depth of field. The 28-70 mm F2 amplifies the G Master bokeh standards through a newly designed 11-blade circular aperture unit. Chromatic aberrations, which cause color fringing within photos, are effectively minimized with three Super ED (extra low dispersion) elements and one ED element built within the lens. Additionally, Sony’s Nano AR Coating II reduces flare and internal reflections, ensuring clear images, even when strong light sources are present in the frame, the company said.

The advanced mirrorless camera lens relies on 20 different lens elements arranged within 14 internal groups. Despite the advanced optical design, it remains compact at 3.6 inches by 5.5 inches (92.9 millimeters by 139.8 mm) and lightweight at about 32.3 ounces (918 grams), it said.

Reliable and responsive autofocus is delivered through the lens’ four XD (extreme dynamic) linear motors powered by advanced control algorithms. This smooth performance system provides accurate and quick focus tracking, often essential in many professional use cases. This lens is fully compatible with Sony’s Alpha 9 III‘s high-speed continuous shooting capabilities of up to 120 frames per second with AF/AE (autofocus/autoexposure) tracking, even while zooming.

Along with its F2 aperture, the zoom range of the 28-70 mm G Master provides a versatile video option that can cover standard field-of-view shots and tighter compositions up to 70 mm. This lens minimizes focus breathing through its build and compatibility with the Breathing Compensation feature on various Alpha bodies. Its high autofocus performance ensures reliable focus even when recording in high frame rates up to 4K 120p/FHD 240p.^. Additionally, the XD linear motors and newly developed aperture unit operate silently, preventing any lens noise from being captured during filming, Sony said.

The lens is well-suited for gimbal use with a minimal zoom extension of about .68 inches. The compact form factor and short external zoom helps maintain gimbal balance, even at varying focal lengths, it said.

The 28-70mm F2 G Master will be available next month and is priced at $2,899.99 (U.S.) and $3,999.99 (Canadian).

More information is available on the company’s website.

PARAMUS, N.J.—Sony Electronics has expanded its DWX Series of true digital wireless technology with the DWM-30 professional handheld microphone.

The new model is compatible with the entire DWX family and can use three different Sony mic capsules with different pickup patterns. It also accepts third-party mic capsules, the company said.

The DWM-30 digital wireless microphone transmitter is the successor to DWX Series model DWM-02N. The new model combines a user-friendly design, reduced weight and an approximately six-hour battery life with support for the latest codec modes, it said.

The DWM-30 is compatible with current DWX series models and operates within the frequency guidelines adopted as a result of the FCC spectrum reallocation. This model features a wideband operation (up to 148MHz) and allows tuning to frequencies as mandated by the FCC spectrum guidelines UHF-TV Ch 14-36 (470.125-607.875MHz) and 38 UHF-TV (614.125-615.875MHz).

The DWM-30 offers:

• Improved transmission performance for stable operation.
• Faithful sound reproduction with revised electrical circuits and mechanical structure and support for CODEC MODE 4, which balances high-quality transmission and low latency.
• User-friendly design, reduced weight—about 10% less than its predecessor—and approximately six hours of battery life.
• Support for CODEC MODE 2 supporting low latency of 1.2m/sec and newly added support for CODEC MODE 4. It also supports a wide band of up to 148MHz in the TV white space band with a 375-KHz channel plan, allowing for up to 16 channels per TV band for multi-channel simultaneous connections.
• High Gain Mode that allows for three-stage amplification (+6/+12/+18dB) when normal settings are insufficient.

The release of the Sony DWM-30/UC is planned for spring 2025.

For more information, visit the company’s website.

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 of 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.

In this November 2024 Webcast, TV Tech Contributing Editor Phil Kurz is joined by panelists 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, for an insightful look at the latest developments.

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.

The broadcast industry’s accelerating transition to cloud-based production of sports, news and other live programming is proving far more disruptive to the evolution of video services than seemed likely not so long ago.

The impact came into dramatic focus at the NAB Show, where the paradigm shift was revealed as the inevitable result of industry-wide adoption of SMPTE 2110 in support of the SDI-IP transition. “The whole explosion around cloud production wouldn’t have happened without 2110,” noted Steve Reynolds, president of Imagine Communications.

Widespread adoption has driven costs down to where “2110 has become cheaper than SDI on a per port basis,” leading to experiences with on-premises IP-based news, sports and other live productions that have made workflows “a lot better,” he said. As a result, producers are now comfortable with exploiting the cost savings and collaborative flexibility that comes with moving production to the cloud.

Remote Production
NAB Show exhibit halls teamed with cloud production-related solutions aimed at enabling a streamlined, cost-saving approach to launching linear TV channels combining any mix of live and file-based content for any distribution model, whether it be free-to-air broadcast, pay TV, SVOD, AVOD, or FAST. Now, as Reynolds put it, “FAST is just TV.”

An unavoidable testament to the significance of the cloud-to-live broadcast production was the expanded show floor presence of AWS. The superscalar has been benefiting from broadcast industry demand for cloud support for many years, including in the live production arena, but the pace and scale of developments now are unprecedented, said Chris Blandy, director of strategic business development for M&E, games, and sports at AWS.

“There are now more than 4,000 linear channels originated over AWS around the world,” Blandy noted. Much of this activity revolves around collaborations in linear channel development involving combinations of live and file-based content. These AWS customers’ workflows “are bringing in editors, graphic artists, colorists wherever they happen to be while relying on us to maintain tight security in their operating environments,” he said.

AWS demonstrated live news production from the show floor as a way to call attention to what’s happening in the rapidly evolving broadcast news arena. “We’ve seen a lot of innovation in this space, and now we’re seeing it mature into stable production workflows,” Blandy said.

Indeed, as Imagine’s Reynolds noted, cloud production is a big boon to TV stations looking to leverage their unique opportunities to build audiences by streaming local news and other live content. “Station owners can take advantage of remote production using their subchannels to deliver local live content,” Reynolds said. “It gives them new capabilities to differentiate their programming.”

Hybrid Transition for Sports
In the sports world, the shift to cloud production has been slower than in other M&E segments, but now producers are increasingly implementing hybrid transitions that are pushing ever more processes to the cloud while retaining a significant on-prem production presence, noted Deon LeCointe, director of networked solutions at Sony Electronics. With a focus on SE’s Networked Live product portfolio, LeConte has a bird’s eye view of how the company’s preparations for this phase in live sports production is paying off.

SE’s Networked Live solutions come into play with transitions to cloud production anchored by the Nevion VideoIPath media orchestration platform, which Sony acquired in 2020 and has since enhanced to work with SE’s broadcast control solutions. The result, LeCointe said, is a highly scalable, ultra low-latency platform that uniquely combines broadcast operations, orchestration, and monitoring capabilities in hybrid workflows across SDI and IP LAN, WAN. cloud, and 5G networks.

At the NAB Show, SE demonstrated seamless hybrid production through a control panel managing the firm’s software-based M2L-X switcher for cloud operations and the modular MLS-X1 switching appliance for premises-based operations. “We think this is the best approach for sports operations that are pushing the envelope toward the cloud,” LeCointe said.

The National Hockey League made news at the NAB Show as the first big pro league to take the plunge into full cloud production mode. This is enabling the league to deliver personalized experiences to connected devices in and beyond game arenas along with traditional TV broadcasts while substantially reducing costs, said Grant Nodine, senior vice president of technology for the NHL. “With the ability to spin up and rent resources as needed, it doesn’t make a lot of sense to be putting big production trucks in venue,” Nodine said.

The transformation in user experiences across all locations is enabled by a partnership with Verizon as provider of 5G connectivity to in-venue audiences and between the game arenas and the AWS cloud, where productions for in-venue audiences are returned for viewing in sync with live action and productions for external distribution are sent out over the usual channels. “We’re using the cloud as the router of the future,” Nodine said.

FAST Goes Live
The implications of cloud production as the center of gravity for streamlining the supply of linear content across all business models and distribution outlets were top of mind across the playout ecosystem in Las Vegas. “FAST and broadcast used to be separate,” said Dan Marshall, executive vice president for worldwide sales at Amagi. “Now we’re seeing the integration of live content into FAST channels.”

Amagi, like many suppliers, is reconstituting itself to take advantage of the transformation. Traditionally positioned as a provider of playout services, Amagi for some time has been responding to the FAST phenomenon by helping customers with insertions of ads, graphics, QR codes and other elements in live production, according to Marshall. Now the company has gone all the way into support for live production with acquisition of the Polish cloud production supplier Tellyo.

Amagi, in response to the emergence of high-value live programming in the FAST channel mix, has teamed with digital rights management platform supplier Intertrust to enable implementation of license-mandated security in its playout workflows. 

With the success of FAST, which now accounts for 25% of TV ad views in the U.S., according to Comcast’s Freewheel unit, Marshall and others said it’s just a matter of time before major sports become part of the FAST lineup, and, sure enough, just before press time, Roku announced that, in a new deal with Major League Baseball, it was becoming the first FAST channel producer to be carrying games from a major pro sports league.

Disrupting Norms
The move of live production to the cloud has realigned the interplay between production and playout in new workflow configurations that rely on ultralow latency connectivity for synchronized execution of tasks wherever they occur. The disruption to past norms is pushing some vendors in new directions and playing right into where others have been from the start. 

As a leading player in the latter category, LTN benefitted at the NAB Show from its ability to tout a multi-pronged set of turnkey FAST, addressable advertising, production, and playout solutions, all of which are closely linked to the global B2B LTN Network serving as a multicast playout alternative to satellite distribution. 

“We’ve been hearing about the shift to IP and cloud production for well over a decade, and even two years ago we were saying it’s no longer a matter of if, but when,” said LTN CTO Brad Wall. “Now it’s here with a focus on what tools and workflows are out there ready to use with low latency and high reliability.”

The company offers LTN ARC as a fully managed production/versioning system, which Wall said sports producers are leveraging to “manage and customize premier sports at global scale.” He cited a tier one producer delivering soccer games in multiple versions matched to licensing and language requirements as an example of how sports producers are overcoming the market-specific production limitations of the past. 

Whether they use ARC or the self-managed LTN Lift playout technology, producers can leverage the new IP production paradigm whether on premises or in the cloud to “empower these types of workflows with all kinds of new branding and marketing opportunities,” he said.

Another company capitalizing on a solution set built from the ground up for this moment is Mediagenix, which offers a software-as-a-service (SaaS) platform enabling broadcast networks and streamers to manage monetization and scheduling of live and stored content across broadcast and OTT footprints. “True transformation is finally happening,” said Mediagenix Chief Product and Marketing Officer Ivan Verbesselt. 

“FAST is an example of the business growing up,” he added. “We shouldn’t be building platforms to accommodate business models. We should build business models first using platforms that enable business agility.”

Toward that end Mediagenix has developed tools that allow media companies to manage the complete content life cycle with seamless organization-wide collaboration, Verbesselt said. Platform intelligence, often with AI assistance, enables highly efficient approaches to formulating and budgeting value management strategies, leveraging audience data in the use of metadata, orchestrating dubbing, subtitling, and graphics, scheduling placement in FAST and other channels based on AI predictive ratings, and much else, he explained. 

One of the more arresting innovations supporting cloud production comes from Matrox Video, a company best known as a leading decades-old supplier of line cards, encoders, extenders, switches, and other production hardware to OEMs. But in Las Vegas, its focus was on tools that add efficiencies to SDI-to-IP points of conversion and that support connectivity enabling synchronized collaboration across cloud production workflows.

Matrox describes its ORIGIN ultralow latency framework as a “groundbreaking approach” to linking workstations. According to Francesco Scartozzi, vice president of sales and business development for the Matrox Broadcast and Media Group, ORIGIN tailors high-end IT operations to broadcast TV requirements so that each set of tasks in the production process is executed with frame-accurate synchronization across all relevant points of collaboration on the workflow, whether hardware related to the task at hand is positioned on premises on in the cloud.

“ORIGIN is built on a media-aware content transfer fabric,” Scartozzi explained. It treats production applications as completely independent stateless media services sharing a common storage infrastructure with reliance on a mode of low-latency transport that he described without elaboration as “our secret sauce.”

By all appearances, there’s nothing left standing in the way of the transition to live programming production in the cloud other than the remaining life spans of premises-based equipment. 

And once those who haven’t yet moved to the cloud start feeling the impact of service innovations introduced by those who have, it wouldn’t be surprising to see a good bit of cost/benefit analysis justifying reductions in those life spans. 

TV TECH: What do you anticipate will be the most significant technology trends at the 2022 NAB Show?

JOHN STUDDERT: The most significant technology trends that I’m expecting to permeate the 2022 NAB Show are: the increased adoption of IP, the evolution of cloud workflows, the rise of virtual production and the incorporation of AI technologies. We’ve also heard from our customers, and these are the subjects they want to learn more about and explore further. They’re also looking to find solutions to dispatch or facilitate these new workflows from an operational standpoint. At Sony, we’re addressing each of these trends in a very deliberate way and are excited to spotlight our latest innovations and expertise while also seeing how the overall market is tackling these same topics.

TVT: What will be your most important product news?

STUDDERT: This year, Sony is primarily focused on showcasing our overall business evolution and how we’re strategically addressing the needs of the community. Of course, we’ll have news, updates and wins to share with the market. It wouldn’t be an NAB Show if we didn’t introduce you to some new pieces of technology, including enhancements to our camera line up! But our most important takeaway will be how we’re using our state-of-the-art technology to work innovatively alongside not only customers and influencers, but the future of the broadcast and production industry, to streamline and add value to their efforts in a very targeted manner. As a diverse company, Sony is uniquely suited to offer a full ecosystem of end-to-end products and solutions to outfit nearly any project.

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

STUDDERT: Sony’s legacy in electronics is unmatched and our philosophy has always been to provide solutions that are synonymous with quality. We understand that technology is an investment, which is why we continue to build out our portfolio so that customers can select options based on their specific needs and budget. Additionally, we continue to update these models with new capabilities via firmware to ensure their longevity and usability. Sony is committed to helping our customers solve their pain points through the use of our technology, which is why their input helps drive our development pipeline and enables us to create solutions that directly address common challenges. We are focused on creating solutions that add value. We’re building out our imaging lineup to provide more options. We’re adding more innovative capabilities and enhancing media workflows in the cloud. We’re connecting and managing networks through the implementation of IP systems. And we’re bringing audiences to new worlds while changing the future of production through our capture and display solutions for virtual production environments.

TVT: How has the pandemic affected your company's business over the past two years and how will it impact how you exhibit at this year's show?

STUDDERT: We’re looking forward to being at NAB Show and recognize the value of trade shows for our business and community. As trade shows continue to evolve, we’re using this as an opportunity to bolster our digital efforts to ensure a dynamic hybrid presence that accommodates attendees on-site and virtually. In doing so, we’re helping make the NAB Show even more meaningful and accessible to a broader range of participants. As many businesses can attest to, we’ve also helped our customers make that same pivot to the remote and hybrid realm through new solutions and workflows that address the current environment. While we’re focused on providing an engaging 360-degree experience, we remain eager to safely reconnect and network with our valued customers in a trade show setting that allows us to interactively showcase our latest solutions and meet new prospective integrators and clients.

SAN DIEGO—Sony Electronics and the Associated Press are teaming up, with the two sides announcing that Sony will now serve as the exclusive imaging products and support provider for AP News photographers and video journalists globally.

Sony products that will be provided to the AP’s roster of journalists include the full-frame mirrorless Alpha cameras, 4K XDCAM video cameras and an assortment of Sony’s 57 E-mount lenses, including G Master models.

This will mark the first time that AP’s video journalists and photographers will be equipped with the same brand of cameras, according to the official announcement. This is meant to enable collaboration among the news agency’s journalists.

“Sony’s history of innovation aligns well with the AP’s, and with our vision for the future of video journalism,” said Derl McCrudden, AP deputy managing editor for visual and digital journalism. “AP is committed to providing the best imagery to our member news organizations and customers across the globe. Adopting Sony’s cutting-edge equipment and technology allows us to do that, by enabling our photographers and video journalists to be faster and more flexible, ultimately creating better visual journalism.”

In addition to the products, Sony and AP plan to collaborate on improving workflow and efficiency of field operations, including testing 5G capabilities.

For more information, visit www.sony.com. 

Sony Electronics unveiled a prototype of its new 24-inch 4K LCD professional picture monitor for the first time at the International Broadcast Equipment Exhibition 2019 (Inter BEE 2019) in Japan. The portable monitor offers high grade picture quality and accurate color reproduction and is ideal for 4K HDR productions - giving professional content creators a reliable tool for versatile applications such as on-set monitoring, non-linear video editing, studio wall monitoring, rack-mount monitoring in OB trucks or machine rooms.

The professional monitor prototype has been developed to offer the industry a solution with unrivaled 4K HDR picture quality, accuracy and consistency.

Boasting an ultra-high definition resolution (3840 x 2160 pixels) and an all-white luminance of 1000 cd/m2, the monitor reproduces images in exceptional detail. For optimum color verification, its wide color gamut offers consistent and faithful color reproduction. Additionally, the monitor’s wide viewing angle, 12G-SDI input and HDMI connection provide even greater flexibility and efficiency for creatives out in the field and for live production needs, as well as for cinema and commercial content creation.

Additional details and specifications of the new monitor will be released at a later date. Sony is showcasing a prototype of the monitor at the International Broadcast Equipment Exhibition 2019 (Inter BEE 2019) in Japan from November 13-15, 2019.

For more information about Sony’s professional business, please visit http://pro.sony.

The studios at CTV Vancouver Island in Victoria, British Columbia recently went through a complete 16:9 SD to full HD upgrade which included re-wiring the entire station and replacing the control room switcher and studio cameras. The systems integration was performed internally by the Bell Media integration group (CTV Vancouver Island is owned by Bell Media).

After broadcasting in SD for 18 years, the equipment overhaul brought about a sudden and noticeable change to the station’s staff as well as viewers.

HXC-FB80 HD studio cameras, along with HXCU-FB80 CCU units and HZC-RCP5 camera remote control software were selected as the main studio pedestal cameras. Two cameras sit on Vinten pedestals and are equipped with Canon wide angle lenses. The cameras are used for CTV’s 5:00pm, 6:00pm, and 11:00pm newscasts.

The Sony FB80’s were brought in for testing after cameras from another vendor never properly white balanced during testing in the studio. “We contacted Sony after that, and they quickly brought in one of the HXC-FB80s for us to look at,” said Kyle Lancaster, director and multi-skilled journalist, CTV Vancouver Island. “We set it all up, had the cameras rigged up the same way, fired them up, white balanced them all, and it looked amazing – right out of the box without any tweaks. We put our new camera on TV that night and purchased three as part of our HD upgrade. Even before we upgraded, we could see the difference in color reproduction when we were just broadcasting SD.”

CTV mentioned that the true-to-life color reproduction was the first thing they noticed about the cameras’ performance. “It just pops on screen. The difference was immediate, and everyone was extremely excited about the change. We even got a few phone calls from viewers congratulating us on our new HD changeover,” said Lancaster.

“The color matching was excellent,” reported Kirk Duncan, multi-skilled journalist, CTV Vancouver. “There was barely any difference between the two camera settings and looks. Out of the box, they looked the same. That was my favorite thing about our new cameras – the ease with which they were set up and ready to go. The menus were easy to navigate. We went through and adjusted what we needed to change without additional assistance. We could figure it out, and everything really did look great right out of the box.”

As a small station without dedicated studio camera operators, ease of use is critical. “We don’t have the people to sit there and doctor the cameras with every shot,” explained Lancaster. We need cameras that you can white balance and are ready to go. Or add a couple of pre-sets and go. These cameras have been that for us and more. You’re able to pull them out, do your pre-sets and rest assured they’ll perform reliably every night.”

Thanks to the HZC-RCP5 software, the HXC-FB80’s can be controlled from remote locales as well as the local control room, which means the video supervisor for CTV nationally can digitally shade and color the cameras from CTV headquarters in Toronto. Optical filter wheels for neutral density and color correction can also be controlled using the application. Gamma functions enable the user to fine-tune tonal values as well as control contrast and detail.

When the cameras first arrived, the CTV video supervisor in Toronto tweaked the settings so that the new cameras were consistent with national CTV standards. He remotely adjusted one camera’s pre-sets for each newscast, and Duncan and Lancaster copied those presets to the other -FB80s. “We've got about four different recalls on each of the cameras. As we move the cameras around the studio over the course of each newscast, we can just recall the different settings that we need for each position,” said Lancaster.

The cameras at CTV Vancouver Island can also be controlled using the HZC-RCP5 camera control software running on a computer at the station. This enables the on-site technical director to control various camera pre-sets based on a specific set or shot and have access to all the shading and recalls. The TD switches and keys in graphics for the nightly newscasts from the Victoria-based control room.

“That's been a huge thing for us to be able to have our TD shade the cameras from his position,” said Lancaster. “On the virtual panel we see the shaders as they would appear if they were physical remote controls.”

The settings that CTV Vancouver Island employs are also affected by the facility’s giant row of windows. “At our studios, we’re shooting basically into a window,” explained Lancaster. “Our studio environment changes depending on the time of day or the weather. We needed a camera set up that could be easily adjusted to accommodate whatever changes nature may throw at us like cloud cover or a setting sun. The cameras can compensate for that and not make it as apparent that there’s a window behind our talent.”

Sony was awarded top honors from the publishers of AV Technology magazine and Sound & Video Contractor magazine following the InfoComm 2019 show in Orlando last week. Sony’s AI-based Edge Analytics Appliance, the REA-C1000 took home a “Best of Show” honor from AV Technology, while the VPL-FHZ75 3LCD laser projector received a “Best of Show” win from Sound & Video Contractor magazine.

AV Technology magazine is a publication for audiovisual and information technology managers responsible for procuring and maintaining of AV and IT systems. Sound & Video Contractor is a technical resource for integrators, contractors, dealers, and consultants.

Sony’s REA-C1000 allows users to create video content in real time, without the need for specialized training, additional staff or equipment. The compact and lightweight REA-C1000, uses its advanced AI-based video analytics technology to analyze the input it receives from connected cameras and automatically extract the object in focus to combine it with other images in real time. This unique technology uses motion/face detection and color/shape recognition, enabling the REA-C1000 to be the powerful brain of any connected camera and AV setup. The technology allows various organizations to cost-effectively create professional, engaging content.

The new VPL-FHZ75 (6500lm) and VPL-FHZ70 (5500lm) cater to the increased market demand for high brightness projection in midsize environments such as universities, corporations, churches, museums and entertainment installations. Offering WUXGA resolution, both use a newly developed 0.76-inch LCD panel with an incorporated optical compensator to deliver bright and vibrant images with stunning contrast, providing true blacks and accurate-to-life color reproduction. Both models come with an ‘intelligent setting’ feature that simplifies the installation process by automatically selecting the best configuration based on the projectors’ environment.

The VPL-FHZ75 and VPL-GTZ240 4K SXRD laser projector also won a Best of Show award from Projector Central. Projector Central is a review and information site for projectors, screens and related equipment.

For more information about all of Sony’s latest professional technologies, please go to pro.sony.

NEW YORK–At NAB Show New York this week, executives from Fox Television Stations; NBC and Telemundo Owned Stations Group; Univision; TEGNA, Inc. (for Pearl TV), and Nexstar Media Group (for SpectrumCo) announced their collaborative effort and support for the introduction of ATSC 3.0 (aka Next Gen TV).

The new standard, which was approved by the FCC a year ago, combines broadcast with IP and will introduce a far more robust and flexible UHD video service designed to compete against the increasing penetration of OTT-streaming services; however, the standard is not backward-compatible with current TV sets. The announcement this week is designed to confirm stations’ commitment to collaborating on launching ATSC 3.0 in anticipation of the market introduction of ATSC 3.0-enabled sets in 2020.

It doesn’t mean every station in these groups will be deploying the standard, but instead will collaborate with each other to provide a large enough national footprint so that a majority of American consumers will be able to receive some form of ATSC 3.0 service by the time sets appear in stores by the end of 2020. Anne Schelle, director of the Pearl TV Group--which is testing the standard via the Phoenix Model Market pilot project--said the lab provides a good example of this type of collaboration, where multiple stations are using a Univision stick to transmit test signals, while maintaining the legacy ATSC 1.0 signal, referred to as the “lighthouse” approach.

“I think the Phoenix test is a great example of how stations are collaborating on a market to market basis,” she said. “In Phoenix, we’re working of a Univision stick and we are looking to enable a second stick in the market and that allows us to start to introduce these basic services across the country.”

As far as financial commitments, Schelle said it’s too early to tell, but that “the cost to upgrade to an ATSC 3.0 lighthouse is fairly small compared to the existing infrastructure that’s already in place,” she said. But “none of the companies are prepared to provide that level of detail at this point.”

This new effort is not exclusive and will include other broadcasters with interests in next-gen TV services, including both other commercial and public TV broadcasters.

CONSUMER ELECTRONICS COMPANIES ALSO COMMITTED

In addition to the station groups, consumer electronics giants LG, Samsung and Sony also expressed their commitment to the standard. All three companies have been involved in the development of the standard.

“LG looks forward to working with these and other broadcasters and stakeholders in the Next Gen TV ecosystem to help bring the benefits of ATSC 3.0 to American consumers,” said Dr. Jong Kim, senior vice president in the office of the CTO at LG Electronics as well as president of Zenith Electronics, LG’s U.S. R&D subsidiary contributing to Next Gen TV standards.

Building on its support of the Phoenix Model Market pilot project, LG plans to provide receiver technology and expertise to support various markets from coast to coast launching Next Gen TV, Dr. Kim explained. LG already has launched 4K Ultra HD TVs with ATSC 3.0 receiver chips in South Korea.

Sony Electronics will supply televisions, demodulators and application development tools for ATSC 3.0 and is collaborating with broadcasters and other industry players in testing both technical solutions and service models. Current collaborations include the Phoenix Model Market and Test Bed, as well as launches by individual broadcast groups.

Station group CEOs expressed their enthusiasm for the standard’s deployment.

“One big challenge was whether the big owners of valuable spectrum could work together, commit resources, and stick to the game plan. Done, done and done," said Jack Abernethy, Chief Executive Officer at FOX Television Stations.

“ATSC 3.0 is something that as an industry we have to do. The new standard will transform the way we deliver content to our audiences - including viewers who are consuming information in multiple languages and screens. ATSC 3.0 will also help us to better connect advertisers with the audiences they want to reach on any platform. We are pleased to be working with Pearl TV and our broadcast partners to ensure the new technology is set in place for both viewers and broadcasters when we are ready to roll-out the new standard,” said Valari Staab, President, NBCUniversal Owned Television Stations.

“Univision is excited to continue playing a leadership role in the market transition from ATSC 1.0 to ATSC 3.0. As one of the largest TV spectrum holders in the US, we are eager to bring an enhanced audio and video experience to our audience, as well as new services and capabilities to our advertising partners,” said Vince Sadusky, Chief Executive Officer at Univision.

“Pearl TV’s 300 local broadcasters, along with our network partners, are working together to deliver a national Next-Gen TV service by the end of 2020. ATSC 3.0 offers new ways for local broadcasters to tell stories, interact with viewers, make an impact in our communities and innovate across screens and devices. The new standard will allow for clear, ultra HD signals, personalized advertising and the potential for exciting new adjacencies such as smart city infrastructure and connected vehicles,” said Dave Lougee, President and CEO of TEGNA, Inc., one of the Pearl TV broadcast group members.

"SpectrumCo and Pearl TV consortium members are aligned in our commitment to the voluntary scaled adoption of the ATSC 3.0 broadcast standard across the U.S.," said Perry Sook, President & CEO of Nexstar Media Group, representing SpectrumCo. “Advancing the ATSC 3.0 standard is critical to facilitating future innovation in the local broadcast television industry. With more than 350 SpectrumCo stations participating and additional new members in the pipeline, SpectrumCo broadcasters will add immense scale and depth to the collaborative industry wide rollout of ATSC 3.0. With this new technology broadcasters will be able to bring consumers more localized programming content and a host of other innovative NextGen TV services, while creating new revenue opportunities for our respective businesses in growing areas of the digital economy."

The Phoenix Model Market pilot project launched nearly one year ago and the pilot project has offered testing for broadcast equipment implementation, new services, and technology offerings to show how the ATSC 3.0 standard could be deployed by broadcasters while maintaining existing digital service for viewers. The Phoenix DMA is home to more than 1.8 million households with more than one in five viewers relying on over-the-air reception. Participating TV groups and stations in the Phoenix Model Market include: Arizona State University's Arizona PBS (KAET) , Arizona Television’s KAZT Channel 7 (Independent), E.W. Scripps’ KNXV (ABC), Fox Television Stations' KSAZ (Fox) and KUTP (MyTV), Meredith’s KPHO (CBS) and KTVK (Independent), Nexstar Media Group’s KASW (CW); Telemundo Station Group’s KTAZ (Telemundo), TEGNA’s KPNX (NBC), and Univision’s KFPH-CD (UniMas) and KTVW (Univision).

CONSUMER INTEREST IN NEXT GEN TV IS HIGH, ACCORDING TO MAGID

Pearl TV's initial activities in Phoenix provide an open test bed and a proving ground for technology, implementations, and new services. A September 2018 consumer survey conducted by Magid for Pearl TV and the Consumer Technology Association (CTA) shows exceptionally strong consumer interest in a Next Gen TV service that will offer all the programming of live over-the-air TV (such as local news, live sports, programming from ABC, CBS, NBC, Fox and other broadcast networks) and adds improved features that can enhance the viewing experience for consumers.

In the Phoenix Model Market partners /CTA survey of more than 1,500 U.S. consumers ages 18-74, Magid registered “solid overall interest in and high likelihood to use” the next-gen ATSC 3.0 concept. The research also shows that the Next Gen TV concept is most appealing with younger consumers and those who are defined as “Early Adopters” because of their positive attitude toward technology.

Magid’s research shows 42 percent of those interested in ATSC 3.0 say they anticipate buying a new TV to enable and enjoy next-gen TV services. Overwhelmingly, 96 percent of the Core Target (those who rated the concept Very Appealing and Very Likely to use next-gen TV) said they were likely to buy a new TV set to experience Next Gen TV.

For a comprehensive list of TV Technology’s ATSC 3.0 coverage, see our ATSC3 silo.