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.

LOS ANGELES—Sony and Picture Shop have released a set of LUTs designed with the Sony VENICE 2 digital cinema camera. 

The LUTS were designed with color scientists Chris Kutcha, whose credits include “Kill Bill” and “Pirates of the Caribbean,” and Josh Pines, chief color scientists at Picture Shop whose credits include “Saving Private Ryan,” “Forrest Gump” and “The Revenant.” Pines has worked on color grading on dozens of Academy Award-winning movies.

Among the new LUTs is a low-contrast base LUT that is intended to be modified and graded. It offers a low-contrast starting point and has a built-in S-curve. It is designed for DITs and DPs who want to create their own LUT or look development for each project. 

"Compared to a LUT supplied by a camera manufacturer, the Sony Lo Con Base LUT is a kinder, gentler viewing transform that has knowledge of the camera's codec and color space. It is low contrast and doesn't severely limit the color gamut. It's like a block of clay that gives colorists a starting point, and they can decide which way to push it – whether that's to create a film noir look, a rom-com, or space opera," says Pines.

Pines also developed two other versions of the base LUT for those desiring a finished look. These LUTs offer more contrast and saturation while remaining color accurate.

The new LUTs include:

• Hi Con LUT: This is the high-contrast version of the Lo Con Base LUT.
• 50-50 LUT: This is the Goldilocks version of the LUT trio with more contrast and saturation than the Lo Con Base LUT.
• Look 1: Developed by Picture Shop senior colorist Jason Fabbro, this look was created using the Lo Con Base LUT. It offers slightly more contrast and saturation, while the reds and highlights have been pulled down to look less digital.
• Look 2: Also developed by Fabbro, this look was created using the Lo Con Base LUT. It offers more warmth to skin tones and added contrast and saturation. Like Look 1, the reds and highlights have been pulled down to look less digital.

Picture Shop Senior Colorist and Director of Creative Workflow Tony D’Amore also has developed three additional LUTs designed specifically for the VENICE series.  

The new family of LUTs can be used with any Sony camera that supports S-Log3/S-Gamut3.Cine. The Josh Pines family of LUTs are available in Rec.709 and HDR color spaces, while the D’Amore LUTs are available in Rec.709. The entire collection of LUTs offer a gentler alternative to the stylized LUTs that Sony and Picture Shop have released in the past. They are now available to download exclusively on the Sony Cine website at no cost.

The new LUTS are available online.

HUDSON, N.H.—Game Creek Video is a leading media production services and facilities provider that offers technical and logistical expertise behind the biggest events in sports and entertainment. Game Creek’s live events customers are constantly seeking new ways to engage with their audience and enhance the story. 

The most recent result of that pursuit is the look of the shallow depth-of-field camera.  Commonly referred to as “the cinematic look,” this style of capture has increased in popularity and helps an audience know where to direct the eyes. Shallow depth-of-field has been adopted in television and movies, where productions rely on cameras like Sony’s full-frame VENICE to achieve this new form of expression.  

Game Creek’s entertainment and corporate events clients demand a similarly functional tool that balances creative needs with the ease of setup and quick teardown that they are accustomed to in an integrated broadcast camera system. 

Multicamera Production
As long-standing Sony customers, Game Creek is excited about the HDC-F5500 system camera, with a Super 35mm 4K CMOS global shutter image sensor. Game Creek currently manages 10 of these camera chains not only because clients are requesting them, but because the company believes that this is the future of larger sensor multicamera production.

One of the key benefits of the F5500 is the ability to do a true larger-sensor, streamlined multicamera production with the efficiency of a traditional broadcast camera system.  The Super 35mm sensor look also gives a shallower depth-of-field than a typical 2/3-inch broadcast camera.  Additionally, it uses native PL-mount lenses, giving creators lots of options for optics—there is really nothing else on the market like it.

Another important consideration when purchasing these cameras is their ability to move between various trucks in the Game Creek fleet in a “plug and play” fashion, using existing CCUs, SMPTE fiber and infrastructure. This allows greater flexibility to find the right solution for a project and provides a great deal of versatility. Game Creek also appreciates the fully integrated tally, intercom and return video for multicam feeds; and the motorized ND and filter wheel control—borrowed from VENICE—is a big hit. 

Native RCP Control
Additionally, the F5500 offers native Sony RCP control with full color matrix and the ability to match cameras perfectly in a multicamera environment. Game Creek has worked closely with Sony for years and owns more than 600 Sony cameras, which means the controls and menus are familiar and there’s virtually no learning curve.  

Knowing that the F5500 intermixes seamlessly with the HDC-5500 inventory is a critical advantage because both can operate with the S-LOG3 Cine gamut and offer a consistent look for post-production. The ability to plug the F5500 into mobile unit CCUs and immediately have a fully integrated system with the existing video shading architecture in all mobile units adds great value to the overall fleet.

In live entertainment productions which often include various lighting conditions and frequently incorporate LED walls, the F5500 shines. Due to the global shutter sensor, the moire effect on LED walls was minimized or eliminated, which is a great benefit.  The cameras have performed consistently during outdoor keynote speeches, as well as dimly lit environments with strobe lights.

Overall, the cameras work phenomenally and are a popular request. Game Creek values the ability to simultaneously be in the HDR and SDR worlds, as many clients move toward an HDR environment or look to secure the future of their content through archive. As requests continue to grow for 1080P, 4K and HDR productions, Sony’s HDC-F5500 is a powerful tool to provide Game Creek’s customers with the latest creative technology. 

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

LONDON—Mo-Sys Engineering has announced a pairing of its Mo-Sys VP Pro virtual production software with the Sony Venice camera. The integration is meant to capture dynamic camera settings data to help with virtual production workflows.

The Mo-Sys VP Pro links directly to the Sony Venice camera software, monitoring each take and shot to highlight potential mismatch settings, while also capturing camera data to assist in down-stream post-production compositing.

With the integration, Mo-Sys VP Pro goes into record mode whenever the Sony Venice camera starts recording. The Mo-Sys software captures the file naming format the camera uses to name media files and uses the same name for the metadata file containing the camera settings data for easy matching in post-production.

Mo-Sys VP Pro, integrated with Unreal Engine, supports live or recorded virtual production workflows, the use of green/blue screen studios or LED volumes and provides additional lens data—F-stop, T-stop and shutter angle—for VFX compositing. 

The Sony Venice integration is now available. For more information, visit www.mo-sys.com.  

Seven of Sony’s flagship cameras have joined Netflix’s Post Technology Alliance, an initiative that seeks to meet the streamer’s technical and workflow requirements.

Four digital motion picture cameras from Sony’s CineAlta range join the program including the manufacturer’s next generation full frame motion picture camera system Venice, which director James Cameron is using to shoot the Avatar sequels.

Other CineAlta models to join the initiative, which launched in September, include the F55, the F65 and the PMW-F5.

[Read: Netflix Announces Post Technology Alliance Logo Program]

Sony’s Super 35mm professional camcorder FS7II and its live production camera HDC-4300 have also joined the program along with its 4K HDR shoulder camera, the PXW-Z450.

According to Netflix manufacturers of products bearing the Post Technology Alliance logo have early access to the SVoD’s technical roadmap and will be able to collaborate on technical support, training and updates.

LOS ANGELES—I recently used Sony’s Venice camera on a new TV series pilot, “Chiefs.” Obviously, coming to a new show, a pilot, with a brand-new camera was a bit of a risk, but the preliminary testing that I did with the camera showed me it was the right tool for the job.

The newer technology of Sony’s full-frame Venice camera has made working onset easier for me. I’m able to rely on it more to accomplish all of my photographic needs.

The production for the Pilot had us shooting in various locations, from Los Angeles to Atlanta, with many different shooting conditions.

I’ve been extremely pleased with everything that we asked of the Venice. We put it through its paces—it’s been in the rain, humidity and the heat, as well as some VFX work, and the camera performed flawlessly. The Sony Venice renders its images closer to what I see with my eye, more accurately capturing the colors that I want, and more accurately representing the exposure values that I’m looking for.

Sony designed Venice specifically for cinematography, in close collaboration and careful research with the creative community to meet the various requirements from filmmakers and production professionals.

What has impressed me so far about Venice is its filmic image quality, camera design, ergonomics and workflow.

The colors that I am photographing are actually being captured the same way that I am seeing them. Color rendition, tonality, exposure value is spot-on to what I’m looking for. I could not be happier with the advancements that Sony has made with Venice. If given the opportunity, I’d be happy to use the Venice camera again.

Sony’s Venice full-frame motion picture camera began shipping in February and already is in heavy use shooting high-budget commercials, music videos, television productions, and features.

Sidney Sidell has worked behind the camera for over 36 years and is a member of the American Society of Cinematographers (ASC). He can be reached atsidside@me.com.

For more information on Sony, visithttps://prosony.com.