Last week, Anthony Corcoran from Jigsaw24 welcomed award-winning director of photography Jeremy Humphries, Chilean rose tarantula Sharon and red milk snake Stripey to our Soho digs for our Sony FS7 II Masterclass. Between them, they taught us a little about extreme shooting and how to get the best out of the new FS7 II…
Jeremy is a BBC-trained director of photography with over 35 years of experience, and has filmed documentaries in extreme and diverse locations, from South Africa and Zanzibar to the Pacific Rim and North Pole. He also trained contestants of The Island with Bear Grylls on how to use camcorders in extreme conditions. As well as getting hands-on with the FS7 II, guests were able ask Jeremy for his expert tips and tricks.
Jeremy discussed his experiences using the FS7 and FS7 II, and on how to get the best results. These included the optimum way to set up the camera, how to make the most out of the customisable pre-set buttons, configuring the LCD with colour bars, creating HDR content, tips for shooting in S-Log3, and using LUTs. He discussed the future benefits of REC2020 and manipulating depth of field whilst compensating for exposure fluctuation with the electronic variable ND filter on the FS7 II.
He also shared his expertise on shooting in extreme environments, including discussion and clips on how he recently shot Hunted and Escape to the Wild. Jeremy was full of tips that he’s developed from his extensive experience, like acclimatising your camera as soon as possible, and pointed out issues many might not have thought of, such as changing lenses in sub-zero temperatures, and condensation collecting on your LCD monitor.
In these extreme conditions, Jeremy also recommended shooting handheld as opposed to on a tripod wherever possible, to really get involved in the action. To demonstrate the benefits of this, and other tips he shared, Jeremy showed us some clips from his past work Hunted and Escape to the Wild.
To recreate the kind of environments Jeremy is familiar with, and to give our guests a taste of the ‘extreme’, we brought in a couple of friends as part of a mini tropical set for guests to test the FS7 II out on.
We let Sharon and Stripey loose on guests, so they could get hands-on with the animals while waiting to check out the Sony FS7 II.
Guests were able to have a play with the new camcorder with our in-house Jigsaw24 experts, and compare it to the previous FS7 model. There was also quite a queue to chat with Jeremy and get some more expert tips and tricks!
When discussing the great new features of the FS7 II, Jeremy talked about how he began his career as a focus puller way back when you needed to judge if your shots were in focus by eye. The digital and technological developments demonstrated in the new Sony camcorder really put into perspective just how far we’ve come during the span of his career.
While we can’t quite get hold of a Sony Video 8 or KODAVISION Series 2000 any more, we can help out with all the latest kit from camcorders to cables. Our expert team can take you through consultancy, to implementation, to support and repairs, and we even provide accredited training courses for technical teams and end users.
HDR has taken the industry by storm, and makes such a difference to the quality of your images that soon we’ll be wondering how we got by without it. To get the latest tips on getting the most out of your HDR-capable technology, we brought in the experts and laid out the kit for our drop-in session on utilising your Atomos monitor and recorder to create HDR content.
Why is HDR so important?
HDR is arguably the biggest step forward for moving pictures in a generation. New standards set in REC.2100 take advantage of the luminance and colour reproduction capabilities of modern displays to produce high levels of brightness, contrast and colour volume, leading to images that closely resemble what our eyes naturally see.
Content producers have long been working with high dynamic range source material through Log and RAW captured images. But output and delivery standards haven’t progressed much for decades, meaning we’ve spent years compromising. HDR is a new way forward as it is a resolution independent technology, with the new standards outlined in REC.2100 being applicable to both 1080p (HD), UltraHD and 4K – even 8K come 2020.
Unlike previous technological progression that required significant hardware overhauls, HDR doesn’t require lots of new hardware. The most significant piece of new kit is the display we monitor HDR material on, and how we process the signal to see the images we are creating appropriately. This is where Atomos, one of the fastest growing companies in pro video, are pushing the envelope in the field, on set and in the studio.
Our HDR portfolio
Up your game with Atomos recorders and monitors
We featured a great range of HDR-capable products, and much more at our recent Production Drop in event. We were excited to demo the Sumo On-Set and Studio monitor/recorder, the first production monitor that also records 4K 12-bit Raw, 10-bit ProRes/DNxHR and 1080p60 live switching and recording. With the Sumo, for the first time your on-set production monitors can be HDR capable as well as having recording capabilities.
We also had the Atomos Shogun Inferno monitor/recorder on show, a combination of the most advanced monitor technologies, the latest recording capability, and playback and editing functionality that encourages on set collaboration. Rounding off our Atomos offering was the Ninja Flame monitor/recorder, with its true-to-life vibrant colors, 7″ 10-bit 1500nit panel, AtomHDR engine and HDMI connections to record and play back video to 4K/HD 10-bit ProRes/DNxHR.
Camera-wise, we had some of the newest models to be announced, plus some of our old favourites. The new Canon Cinema EOS C200 camcorder is the latest in the EOS range, big brother to the very popular C100 MK II and following in the footsteps of the C300 MK II. With this camcorder, you can easily capture and record UHD/50P footage to internal SD cards in MP4 format, and use the new Cinema RAW Light codec to film moments in stunning 4K to internal CFast 2.0TM card.
We also showcased the Sony FS5 and FS7 camcorders, both firm favourites with Jigsaw24. The FS7 is a must-have run and gun camera equipped with a Super 35mm CMOS image sensor, while the FS5 is an amazing small form factor, large sensor 4K camera that’s great in terms of weight, balance and ergonomics.
Also on show was the long-awaited Panasonic Lumix GH5, which gives you the highest picture quality in the history of Lumix G compact systems cameras. With its compact design, high frame rate and intuitive controls, the GH5 has been described as a great fit for creative agencies, photographers and videographers. And let’s not forget the Blackmagic Design Ursa Mini Pro 4.6K, a professional digital film camera that combines the incredible image quality of URSA Mini 4.6K with the features and controls of a traditional broadcast camera.
If you missed out on our exclusive Atomos and HDR drop-in, we’ve got plenty of upcoming events where you can check out the latest kit. You can have a look at our past events and register for upcoming ones on our Jigsaw24 events page.
Still not sure whether you’re ready to commit to purchasing, or have any questions about products that could help you create HDR content? Give us a call on03332 409 284 or email broadcast@Jigsaw24.com
Sony have recently announced price drops and free RAW upgrades on some of our favourite camcorders, and we’ve rounded up everything you need to know to get the best deal!
The Sony PXW-FS7 4K 35mm camcorder is now priced at £6799 (£8158.80 inc VAT), with an additional £300 cashback when purchased with a lens adaptor until the 30th September.
Since its release, the FS7 has been a firm favourite with Jigsaw24 and a must-have run and gun camera. The PXW-FS7 is equipped with a Super 35mm CMOS image sensor with approximately 11.6 million total pixels (4352×2662) and 8.9 million effective pixels. The high image readout speed of the image sensor allows the FS7 to support 4K motion-picture shooting and Super Slow Motion, and realises a high sensitivity of ISO2000 and a wide dynamic range of 14 stops. Its ergonomic design includes a grip designed for easy handling and operability, an angled grip that can be easily adjusted with the press of a button, and a shape that supports long periods of use and flexibly accommodates differences among users’ physique and shooting position.
If you’re looking for an upgrade, we’ve also got the Sony PXW-FS7 Mark II now down to £8350 (£10,020 inc VAT) and comes with £300 cashback when purchased with a lens adaptor until 30th September.
If you have a little extra to spend, we’d recommend going for the newest version, the FS7 Mk II. It builds on the great reputation of the original FS7, and includes new features such as an all-new lever lock design on the E mount, meaning you can use bulkier lenses with added stability. Another new addition is the electronic variable ND filter (the same one as seen on the FS5). Finally, the FS7 Mk II can record in BT2020 colour space, making it ideal for future-proofing your purchase.
We’ve also got the kit version of the Sony PXW-FS7K Mark II, including the Sony SELP18110G 18-110MM servo zoom lens, at £10,239 (£12,286.80 inc VAT). This also comes with £300 cashback when purchased with a lens adaptor until 30th September.
The SELP18110G 18-110MM included is a powered zoom lens that delivers optimum performance in Super 35/APS-C moviemaking applications, starting at 18 mm wide-angle and extending through an impressive 6.1x zoom range with a constant F4 maximum aperture.
Until the 30th September, you can get the RAW upgrade free of charge when you purchase an FS5 or FS5K with a lens
The Sony PXW-FS5 is currently at £4875 (£5850 inc VAT), with £300 cashback when purchased with a lens adaptor until 30th September.
With the FS5, Sony have produced an amazing small form factor, large sensor 4K camera. It’s designed to be modular, so you strip it down to just a functioning body (weighing just 830g!) and a lens. Similar to the FS7, the handgrip can rotate 180 degrees and lock into nine specific places within that arc, so it’s so good in terms of weight, balance and ergonomics. The ND filter is digitally controlled, anywhere from 1/4 ND through to 1/28. The FS5 can shoot up to 240fps at full HD – but only in eight second bursts (like the FS7000), on a reliable 100MBp/s
We’ve also got the Sony PXW-FS5K at £5399 (£6478 inc VAT) with £300 cashback when purchased with a lens adaptor until 30th September.
The E PZ 18-105mm F4 G OSS lens included in this bundle delivers stunning still or movie imagery with the flexibility of 6x power zoom. Maximum aperture is a constant F4 from 18mm wide angle to 105mm medium telephoto, with excellent resolution and contrast throughout. A lever and ring on the lens barrel allow zoom speed to be freely adjusted as required while maintaining a sure, stable grip.
With the Sony PXW-X70, users will get the CBKZ-X70FX upgrade licence free of charge – an offer that’s running indefinitely! (The licence is not pre-installed, but it’s very easy to install yourself). This camcorder is priced at £1999 (£2398.80 inc VAT) with £130 cashback when you buy.
The super compact X70 features a 1.0 type ExmorT R CMOS Sensor with a resolution of 20 megapixels. The sensor, which is even larger than the Super 16mm film frame, delivers high resolution and fantastic low light performance, as well as offering more depth of field control as demanded by today’s diverse shooting requirements. The camcorder has the ability to record High Definition in XAVC Long GOP, enabling 422 10-bit sampling at 50 Mbit/s. This in turn supports a broadcast-quality workflow, and is used increasingly by professionals across the industry.
MCX-500 and 2x PXW-Z150 – new live production bundle option!
Instead of the NX5, you can now get two PXW-Z150s with the MCX-500 mixer and RM-30BP remote controller at the special bundle price of £7499 (£8998.80 inc VAT).
Sony’s MCX-500 is a uniquely user-friendly and flexible production switcher makes it simple for a single operator or small team to produce a broadcast quality live event. Multiple video inputs include professional 3G-SDI, HDMI, Composite Video plus dedicated DSK mean you can mix and match kit as needed for each production. To minimise your workload, the MCX-500 offers hassle-free integration with camcorders such as the PXW-Z150. The lightweight RM-30BP remote controller allows you to control all the key features of suitable camcorders while sitting at your control desk. It also allows tally signals to be sent to connected camcorders, so a camera operator knows when each camcorder is on air, allowing you to work faster and more efficiently with MCX-500’s advanced workflow.
At NAB 2017, Sony is highlighting innovations in imaging, High Dynamic Range (HDR), IP and media solutions that enable the creation of dynamic content and increase workflow efficiencies for a range of applications and productions.
“In addition to driving the latest technological trends and innovations, Sony is honing our focus on the customer experience to become a long-term, strategic partner for our customers,” said Richard Scott, Head of Media Solutions, Sony Professional Solutions Europe. “At NAB we will be displaying new products, updates to current products and a range of workflow solutions that meet the ever-changing needs of customers – from 4K live to HDR to IP live production, media solutions, asset management and everything in between – allowing them to be in control of their future.”
At NAB, Sony will show products and technologies covering image capture including system cameras, handheld acquisition, ENG camcorders, motion picture cameras, interchangeable lens cameras, event production and compact production; HDR including select professional cameras and monitors: IP Live Production including live, high frame rate production servers and production switchers; and media solutions including storage, cloud and media asset management.
At NAB this year, Sony further evolves its 4K live solution adding metadata workflow to provide efficient content management over a Share Play-enabled network, allowing users to save significant time from production to on-air.
For HDR, Sony offers systems, workflows and choices of recording formats that deliver unprecedented flexibility in every HDR production. Sony has already established its SR Live for HDR workflow, a straightforward system enabling an efficient workflow for simultaneous production of 4K HDR and HD SDR.
Sony is highlighting its IP Live Production workflow. Broadcasters around the world are increasingly embracing IP for its proven ability to deliver quality live 4K video, audio, synchronisation signals and control data through a single network cable. At NAB, Sony is highlighting its IP end-to-end capabilities, as well as its compatibility with industry standards such as SMPTE ST2110, ST2059 and NMOS IS-04.
For NAB 2017, Sony will introduce a range of new workflow solutions including:
– XDCAM Air – Cloud-based ENG subscription service. This comprehensive ENG workflow platform bridges the field assets with the station infrastructure enabling speed to air. From shooting to post-production, XDCAM Air harnesses the power of cloud computing and XDCAM.
With XDCAM Air, camera operators and news crews now have the ability to work more quickly and efficiently, concentrating on the story at hand, with the camera directly integrated into the workflow.
Version 1.0, releasing in June, will provide intelligent functions such as live streaming, XDCAM mobile compatibility, and metadata workflow. XDCAM Pocket is XDCAM Air’s mobile application which can turn a smartphone into a small ENG camera by transmitting a quality live stream through the mobile device’s LTE network using QoS stream mode.
XDCAM Air will be interoperable with most of major systems, both from Sony and 3rd parties. Sony will continue to develop new features and workflow for XDCAM Air, with further versions planned to support content management, enhanced device control as well as edit integration with NLEs.
– Media Backbone Hive orchestrates all phases of the familiar, tried and trusted news workflow that thousands of broadcasters depend on. Powerful yet intuitive applications are provided for planning, ingest, browsing, editing, publishing, playout, archive and management functions. Its outstanding technical achievement won the prestigious IABM Peter Wayne Award for Design and Innovation.
RTV Oost, a regional broadcaster in the Netherlands has selected Media Backbone Hive to streamline and future-proof its news operations, becoming the first European regional broadcaster to introduce the end-to-end media production solution from Sony.
– Media Backbone NavigatorX delivers easier, quicker and more efficient asset and workflow management. Designed to suit multiple modern workflow environments, it allows users to manage assets in a range of formats, with flexible options for production, archiving and workflow automation.
– Optical Disc Archive Generation 2 provides a secure long term archive based on Sony’s proven optical disc format, rated with a 100 year shelf life, and designed to achieve 3.3TB capacity on a single cartridge.
Acceptance of Optical Disc Archive has been steadily growing with the following new customers including Christian Broadcasting Network, Embassy Row, Golf Channel, National Film Board of Canada, The Voice, and Wells Fargo. Developers and vendors can incorporate Optical Disc Archive Generation 2 into their own compatible products, with Sony ready to provide technical support to facilitate product development. The latest partner products for Optical Disc Archive include: NLTek for Avid Interplay, QStar Archive Manager, SGL FlashNet, StorageDNA DNAfusion, Object Matrix, XenData.
Other new Sony products at NAB include:
– Monitors – Sony is highlighting a range of new and upgraded OLED and LCD HD monitors.
Version 2 firmware update allows new enhancements for on-set, Cinematography, Broadcast and graphics application, such as the new ITU-R BT.2020 and Adobe RGB colour spaces, and more. Applicable models are:
– TRIMASTER EL OLED HD picture monitors: The PVM-A250/A170
– LCD HD production monitors: LMD-A240/A220/A170
The new LMD-B240 is an affordable LCD basic grade full HD production monitor, with a lightweight and slim body for easy installation with natural ventilation (no cooling fan). The monitor is equipped with two HD-SDI, one composite and one HDMI inputs, as well as HD, SD formats, different frame rates, interlace, PsF, and progressive modes. The monitor uses the same video processing as the PVM-A series providing similar accuracy and low video latency. It also shares the same user interface with a unique Sync-Free Side by Side function.
– AXS-AR1 – AXS memory and SxS memory card reader using a Thunderbolt 2 interface. The Thunderbolt 2 connector also enables daisy-chain operation. This new reader is Sony’s first card reader to have a card slot which can be used for both AXS Memory A-series and SxS Memory card slots. The versatile reader supports simultaneous recording workflow, i.e., RAW (or X-OCN) and XAVC (or MPEG50) files recorded by F55/F5 and AXS-R7. The new AXS-AR1 offers ultra-fast transfer speeds to reduce time on set or during Ingest of the recorded material.
– DVF-EL200 – The DVF-EL200 is a high quality full HD (1920×1080) OLED viewfinder for the F55 and F5 that offers easy focusing and framing. With nearly twice the brightness of Sony’s DVF-EL100 and enhanced usability, the viewfinder is durable and resistant and can be quickly and easily attached to the CBK-55AT viewfinder stay for use with the F5 and F55 cameras. It features an improved eye sensor for increased sensitivity and better positioning, along with enhanced brightness, contrast and peaking level settings.
– UMC-S3CA – This new model is an Ultra high sensitivity 4K interchangeable lens video camera with a full frame sensor. Its Genlock support enables users to operate multiple cameras in synchronisation and widens the camera’s range of applications, such as shooting from multiple points or Virtual Reality use. Its small and light weight size make the camera easy to install on cranes and sliders ideal for crash cam use to capture exciting images from different angles and height.
– Ruggedised HDDs – PSZ-HC1T (1TB), PSZ-HC2T (2TB) – Improving on Sony’s previous HDDs, the redesigned 1TB and 2TB shuttle drives feature an extremely durable USB Type-A tethered cable and Type-C port, ideal for memory card backup in the field. The new bus powered HDDs, come pre-formatted in exFAT, are highly shock, splash and dust resistant and come packaged with a sturdy library box for additional content protection during shipping or storage. High speed data transfer has also been increased to up to 138MB/s (read/write) making any backup or storage operations even more efficient.
Sony’s free Memory Media Utility software download available at www.sony.net/mmu extends the value proposition by providing a record / rewrite life indicator, simultaneous content backup to multiple destinations, a re-formatting tool and much more.
At NAB, Sony Professional Services announced it is delivering a 4K Outside Broadcast (OB) Van for media centre HDResources (HDR). The partnership cements Sony’s position as a trusted business partner and its commitment to delivering innovative technology and solutions for turnkey projects in the industry.
The latest truck delivered to HDR is the tenth to be provided by Sony and was turned around in record time, with initial contract to delivery completed in less than 3 months. Sony offered the customer a one-stop shop for the strategic project, working together with external System Integrators to provide a full solution and ensure total confidence and peace of mind for HDR.
Sony has previously developed hundreds of OB trucks for important turnkey projects, in addition to equipping on premise studios. These include developing the world’s first purpose-built 4K/IP OB truck for TV Globo, and providing a custom design Enhanced Live Production Control System for Netherlands broadcaster RTL. Flexibility, long standing expertise, and the ability to provide full 360 degree project management made Sony the ideal partner for HDResource’s project.
The 4K truck supplied for HDR is the latest in an ongoing relationship between the media centre and Sony. The truck is an evolution of the HD trucks provided last year, future proofing the company by allowing for 4K OB capability. Technology included in the truck includes an XVS-7000 Switcher and a number of Sony monitors, as well as third party technology.
Mats Dahlström, CEO at HDResources, commented: “We see Sony as a reliable and responsible project partner, which is why we have now partnered with Sony in the delivery of 10 trucks to date. They were our first point of call for developing this 4K OB truck, which will be the most technologically advanced truck in our fleet. We’ve been particularly impressed by the speed with which Sony turned around this project, as well as how Sony dealt with all the system integrators themselves to provide us with a single, full solution. We look forward to continuing to develop our relationship with Sony in the future.”
Richard Scott, Head of Media Solutions, Sony Professional Solutions Europe, added: “We are proud to act as the prime contractor for turnkey projects such as with HDR’s latest 4K OB truck. With over 30 years’ experience in the broadcasting industry, Sony prides itself in being open and flexible to work as the prime supplier of technology for our trusted industry partners.”
Sony Professional Services employees over 70 people, from solutions architects, bid managers, project managers to support engineer’s right across Europe. Able to act as a prime contractor based on customer preference or due to a particular ground breaking technical innovation, Sony continues to deploy its long standing expertise and ability to work alongside independent systems integrators to equip and mobilise OB units for production partners globally.
From products, to workflow and format, Sony offers users end-to-end HDR production capabilities from acquisition to display, for cinema, live production, online video and event production. These solutions meet the industry’s growing demand for a wider colour gamut and increased dynamic range that creates more realistic viewing experiences with enhanced levels of detail.
As previously announced, Sony’s expansion of HDR production includes the addition of HD HDR Live broadcasting and instant HDR workflow in products ranging from live camera systems, servers, monitors and camcorders, via updates to software or firmware.
Along with the accelerated trend of HDR content, series of Sony 4K/HD live cameras, including the HDC-4800, HDC-4300 and HDC-P43 with HDR capability, are widely adopted by broadcasters world-wide. To enhance its Live HDR production offering further, Sony added a new XAVC recording mode to optimise encoding for HDR into its PWS-4500 4K/HD live server, available to users through a software upgrade. This new recording mode improves HDR image quality in XAVC with detailed complexity, bright skin tone, colour reproduction and more. It enables the PWS-4500 to record and replay superior HDR images at the same time maintaining the smooth XAVC file workflow that is already well known in the production industry.
Furthermore, Sony offers RAW and X-OCN recording formats. RAW is recommended for premium productions and high-end cinema, where large volumes of data can be managed and supported. X-OCN (eXtended Tonal Range Original Camera Negative) is an optimised format with a fine balance between the picture quality and data size. It can be recorded using the AXS-R7 portable memory recorder, together with PMW-F55 and F5 motion picture cameras. The X-OCN format retains everything the sensor sees, delivering tonal gradation with 16-bit precision ideal for HDR image grading. To help extend the use of X-OCN beyond Sony solutions, Sony is working with other companies to develop X-OCN supporting products.
The X-OCN supporting companies have risen to 10, as of April, 2017: ASSIMILATE, Inc. , Autodesk , Avid Technology, Inc., Blackmagic Design , Colorfront , Filmlight Ltd. , Grass Valley , nablet , Pomfort , SGO.
Sony offers systems, workflows and flexible recording formats that deliver unprecedented flexibility in every HDR production, bringing added-value to broadcasters.
*PWS-4500 version 2.3 software is planned for release in June, 2017.
New solutions enable the addition of metadata management for streamlined, searchable, transferable content that saves users time.
Basingstoke, 23rd April 2017: Sony is expanding the capabilities of its 4K/HD live production workflows, with the addition of a new Content Management Station and enhanced feature set for its PWS-4500 live production server system.
With the launch of the new PWS-110CM1 Content Management Station, Sony has added a metadata-enabled workflow that lets users efficiently and easily search for content that can be seamlessly transferred for delivery.
“Sony continues to enhance its solution for 4K/HD Live Production around the PWS-4500” said Norbert Paquet, Sony Professional Solutions Europe. “We’re improving the overall ecosystem around this 4K/HD Server, to enable faster and more dynamic live productions, whether those are HD, 4K or HDR. In doing so, we’re responding to the demands of the media industry and to the consumers of Live content.”
Metadata-based workflows benefit large-scale live productions, especially for major sporting events that use numerous cameras and servers operated from OB trucks. The PWS-110CM1 and the updated PWS-4500 system, (using software version 2.3), when used together, allow a server operator to enter metadata, indicate the server’s content on a network, categorise and indicate the metadata of the clips, search the clips by metadata, keywords or star ratings and transfer clips between servers, as well as external devices. The new software for the PWS-4500 system will also enhance HDR capabilities by optimising XAVC encoding for HD S-Log3, HD HLG and 4K/HD PQ. Version 2.2 already supports 4K S-Log3 and 4K HLG.
Sony’s latest 4K/HD camera systems, the HDC-4300, HDC-4800 and HDC-P43 support 4K/HD SDR/HDR live production alongside the series of BPU, baseband processor unit and PWS-4500 server system to create a comprehensive, connected tool that is increasingly embraced by live productions worldwide.
In addition to image quality, Sony provides workflow efficiency through its Share Play operation where up to 10 servers can be linked together, allowing the operator to easily create playlists and access to any clip or record train from the network. This speeds up the editing and the output of slow-motion highlights, by using real time content sharing over a dedicated 10Gbps network that links the BPU-4800 with the PWS-4500 server systems.
The PWS-110CM1 Content Management Station is planned to be available in July 2017, while PWS-4500 Version 2.3 software is planned to be available in June 2017.
Sony is introducing a series of new IP Live functions, interoperability milestones and customer success stories on the first day of NAB 2017. Broadcasters around the world are increasingly embracing IP for its proven ability to deliver quality live 4K video, audio, synchronisation signals and control data through a single network cable. At NAB, taking place in Las Vegas from today until April 27th, Sony is joining with customers, partners and competitors alike to demonstrate how its IP Live solution is truly ‘ready today, open for tomorrow’.
Throughout NAB Sony is appearing in the “IP Showcase” booth, hosted jointly by AES, AIMS, AMWA, EBU, IABM, MNA, SMPTE and VSF, and located in the North Hall. Visitors to the stand will be able to discuss details of the successful interoperability tests Sony has undertaken alongside leading vendors such as Grass Valley, Snell Advanced Media, and Evertz. Sony is also committing its intention to develop capabilities for complying with new technologies such as SMPTE ST2110, which governs Media transport over IP, and NMOS (IS-04), which ensures device discovery and registration. Sony is committed to providing SMPTE ST2110 compliance in the near future. Attendees will also be able to view a SMPTE ST2110 based system camera prototype on the IP showcase booth at the show.
Sony is also announcing several new capabilities within its IP Live Production System which further expand the entire IP-based ecosystem:
– New functionality has also been added to the IP Live System Manager capable of integrating with an Ember+ protocol based system such as VSM (Virtual Studio Manager) from LAWO, one of the industry’s leading control and monitoring systems, giving broadcasters greater flexibility to configure the IP system how they want it
– The new version 2.3 of Sony’s XVS-8000 multi-format production switcher introduces resource sharing capabilities as standard. This means that one processor can run dual switcher functions enabling for example 4K/HD simultaneous production
– The new NXLK-IP45F AV Multiplexer/Demultiplexer Board, available later this month, adds the ability to multiplex and de-multiplex video and audio over IP signals, ensuring both systems can be managed across the IP network
– The new NXL-IP4F SDI-IP Converter Unit, also available later this month, makes it easy to integrate any 4K or HD standalone source or destination with an IP-based production system
Live broadcasters of all sizes are implementing Live Production over IP to enjoy increased efficiency, reliability and scalability, with reduced system costs. At NAB Sony is sharing details of how it is delivering 4K over IP for a range of customers including:
– BBC Studioworks (UK): Sony is delivering 4K over IP in the BBC’s refurbished Television Centre studios in London
-TV Globo (Brazil): broadcasted live “Carnival in Rio” with Sony 4K IP OB truck. 4K HDR and HD SDR simultaneous production was successfully operated by “SR Live for HDR” solution.
– Sky Perfect JSAT Corporation (Japan): 4K IP routing system is at work to transmit and monitor 4K videos for broadcast in IP
– China Central Television (CCTV)(China): Sony will deliver CCTV’s first 4K IP OB truck in June , 2017 with all core components of IP live system for its technological researches and gaining experiences of UHD TV production.
– Zhejiang Radio & TV Group (China): has selected Sony to build a 4K IP OB truck for live broadcast in 4K and HDR. The signing ceremony is to be held in March 2018.
– China Digital Culture Group (China): has purchased a Sony 4K IP OB Truck that will hit the road in August, 2017 and it is used for live theatrical play and entertainment event broadcast.
– 4K Garden (China): the major 4K content services platform has purchased 4K IP OB Truck in China from Sony to deliver exciting live contents in 4K. The truck will be ready before Aug. 2017.
Visitors to Sony’s stand C11001 will be able to witness an operational IP-enabled remote production setup first hand networked with a Broadcast Data Centre. The demonstration system connects a remote live production team at Sony Pictures’ studio in Los Angeles with the team in Las Vegas, highlighting the way that IP Live can connect control rooms within broadcast facilities to live event venues hundreds of miles away, without compromising on latency, switching or reliability.
“The past year since NAB 2016 has been hallmarked by three things: cooperation and open innovation between vendors across the Live over IP; an industry-wide push to undertake training and adopt skills readiness for IP; and the commitment of major broadcasters to invest in IP as they look to the next generation of live content experiences,” says Norbert Paquet, Strategic Marketing Manager at Sony Professional Solutions Europe. “We’re proud to be an active party within a number of standards bodies all working to ensure a range of compatible cameras, switchers, servers, computer graphics, display devices and backbones are ready for broadcasters today as they invest in the open, innovative production facilities of tomorrow.”
Want to get the most our of your Sony PXW-FS7? This video takes you step by step through how to set up an Atomos Flame series recorder with the FS7, and how connecting with Atomos dramatically adds value with more professional monitoring and recording functionality.
Most of Sony’s entry level professional camcorders come with two years’ Sony Prime Support Pro, but you can now extend that for up to five years, or swap it for the even better Elite Support.
Your professional Sony cameras come with two years of Prime Support Pro, entitling you to a multilingual helpdesk from 9am-6pm, an average 14 day turnaround on repairs, and help with all the logistics of your returns and repairs.
Now, you can extend your Prime Support Pro for up to five years total. There is one simple way to do this: give us a call and let us figure it out for you. But your three options are basically:
– Buy an extended warranty of one to three years at the same time as you buy your camera, and this time will be added on to the two years’ support you receive for free.
– At the end of your two free years, you can buy three years’ additional support all at once.
– At the end of your two free years, you can extend your warranty one year at a time for up to five years total.
Prime Support Elite
If you want extended support hours, guaranteed fast-track repairs, loan units, advance swaps and help with any setup that needs to be done, you can upgrade to Prime Support Elite. When you buy your camera, simply let us know that you’d like to upgrade your support, and we’ll exchange your two years’ free Prime Support Pro for two years’ paid Prime Support Elite.
After your initial two years, your Elite support can be extended in one or three year increments for up to five years total, the same as Prime Support Pro.
Pricing and availability
Prime Support Pro and Prime Support Elite are available on all professional Sony camcorders. The price varies depending on which model of camera you’ve bought; our full list of prices is available here. Both options are available now, so get in touch with our team on the deals below.