What do I think about the new Sony FX3. It’s certainly an interesting camera because it seems to be a bit confused about what it is. It’s isn’t a mirrorless stills camera like the A7SIII, but it’s very, very like the A7SIII. It isn’t a cut down FX6 or FX9, it’s very different to them.
So what is it and who is it for? Personally I see the FX3 as a great B camera option to pair with an FX6 or FX9. The FX3’s flat top and additional 1/4″ mounting points on the top and sides will making rigging it in more unusual situations much easier. It’s a camera I would use to rig in cars like a giant Go-Pro, perfect for any Top Gear or motoring shoots. It’s a camera I would use on a gimbal, it’s a camera you could sling from a drone.
In most cases it would not replace any camera I currently have, but instead compliment it. It could be a good option for FX9 owners in particular as it would give them 4K 120fps as well as a second camera when needed.
The FX3 is not much more than an A7SIII in a different housing, with the EVF removed, new mounting points added and an removable handle with XLR connectors. There are some changes to some of the button positions and these make it easier to use when shooting video providing direct access to ISO, IRIS and White Balance. The flat top makes it easier to mount in different ways and the built in 1/4″ mounting threads make it easier to mount accessories such as monitors.
Really the FX3 is an alternative version of the A7SIII biased more towards video than photos. It doesn’t replace the A7S, just gives potential owners the ability to choose between the two different form factors depending on individual preferences.
For more information why not watch this recording of my Facebook live stream on the FX3.
With the new FX6 making use of SD cards to record higher bit rate codecs the number of gigabytes of SD card media that many user will will be getting through is going to be pretty high. The more gigabytes of memory that you use, the more the chance of coming across a duff memory cell somewhere on your media.
Normally solid state media will avoid using any defective memory areas. As a card ages and is used more, more cells will become defective and the card will identify these and it should avoid them next time. This is all normal, until eventually the memory cell failure rate gets too high and the card becomes unusable – typically after hundreds or even thousands of cycles.
However – the card needs to discover where any less than perfect memory cells are and there is a chance that some of the these duff cells could remain undiscovered in a card that’s never been completely filled before. I very much doubt that every SD card sold is tested to its full capacity, the vast volume of cards made and time involved makes this unlikely.
For this reason I recommend that you consider testing any new SD cards using software such as H2Testw for windows machines or SDSpeed for Mac’s. However be warned to fully test a large card can take a very, very long time.
As an alternative you could simply place the card in the camera and record on it until its full. Use the highest frame rate and largest codec the card will support to fill the card as quickly as possible. I would break the recording up into a few chunks. Once the recording has finished check for corruption by playing the clips back using Catalyst Browse or your chosen edit software.
This may seem like a lot of extra work, but I think it’s worth it for piece of mind before you use your new media on an important job.
In some regards this is now already old news. I’m under NDA so there are limits as to what I can, or what I should write. Hopefully I won’t get into too much trouble if I point out that there are already a lot of rumours circulating right now that a new camera called the FX3 might be about to be launched. The official line is that there is going to be an announcement on the 23rd of February, just a week from now. So why not just chill out for a one week as then you will be able to get the full facts about whatever it is that’s going to be added to the Cinema Line.
If you were an alien on another planet and had access to nothing but all the latest camera demo or “film-maker” reels on YouTube or Vimeo you would quite possibly believe that much of planet Earth is in perpetual darkness.
All you see is clips shot at night or in blacked out studios. Often with very little dynamic range, often incredibly (excessively?) dark. I keep having to check that the brightness on my monitor is set correctly. Even daytime interiors always seem to be in rooms that are 90% dark with just a tiny, low contrast pool of daylight from a window filling one corner and even the light coming through the window is dim and dull.
I recently viewed a clip that was supposed to show the benefits of raw that contained nothing but low dynamic range shots where 70% of each frame was nothing but black. Sadly there were no deep shadow details, just blackness, some very dark faces and where there were highlights they were clipped. It was impossible to tell anything about the format being used.
The default showreel or demo shot is now a very dark space with a 3/4 profile person, very dimly lit, low key, by a large soft source. Throw in a shiny car with some specular highlights or a few dim practical lights into the background for extra brownie points.
Let me let you in to a little secret – it’s really, really easy to make black frames. Want a little pool of light – add a light to your mostly black frame. It’s really easy to shoot under exposed and then as a result not have any issues with dynamic range. It’s really easy to shoot a face so that it’s so dark you can barely see the persons eyes and then not have a problem with shiny skin.
But try shooting someone at a desk in a bright office and make that look really great. Try shooting a proper daytime living room scene and making that look flawless. A summer picnic on a beach with brilliant blue sky perhaps. These are all challenging to do very well for both the DoP and the camera.
We have these wonderful cameras with huge dynamic ranges that work really well in daylight too. But we seem to be losing the ability to shoot anything other than shots that have very low average brightness levels and low dynamic range. They depend on often coloured or tinted lighting to provide some interest in what would otherwise be a very, very boring images. Where are all the challenging shots in difficult lighting? Where are the bright, vibrant shots where we can see the dynamic range, resolution and natural colour palettes that separate a good camera from a great camera?
I know this is something A LOT of people have been asking for. For a long time it has always seemed odd that only the Shogun 7 was capable of recording raw from the FX9 and then the FX6 while the the little Ninja V could record almost exactly the same raw form the A7SIII.
Well the engineers at Atomos have finally figured out how to pass raw via the AtomX SDI adapter to the Ninja V. The big benefit of course being the compact size of the Ninja V.
There are a couple of ways of getting the kit you need to do this.
If you already have a Ninja V (they are GREAT little monitor recorders, I’ve taken mine all over the world, from the arctic to Arabian deserts) you simply need to buy an AtomX SDI adapter and once you have that buy a raw licence from the Atomos website for $99.00.
If you don’t have the Ninja V then you can buy a bundle called the “Pro Kit” that includes everything you need including a Ninja V with the raw licence pre-installed, The AtomX SDI adapter, a D-Tap power adapter cable, a mains power supply and a sun hood. The cost of this kit will be around $950 USD or £850 GBP + tax, which is a great price.
On top of that you will need to buy suitable fast SSD’s.
Like the Shogun 7 the Ninja V can’t record the 16 bit raw from the FX6 or FX9 directly, so Atomos take the 16 bit linear raw and convert it using a visually lossless process to 12 bit log raw. 12 bit log raw is a really nice raw format and the ProResRaw codec helps keep the files sizes nice and manageable.
This is a really great solution for recording raw from the FX6 and FX9. Plus if you already have an A7SIII you can use the Ninja V to record via HDMI from that too.
Here’s the press release from Atomos:
The Atomos Ninja V Pro Kit is here to equip you with increased professional I/O, functionality and accessories.
The Ninja V Pro Kit has been designed to bridge the gap between compact cinema and mirrorless cameras that can output RAW via HDMI or SDI. Pro Kit also pushes these cameras’ limits, recording up to 12-bit RAW externally on the Ninja’s onboard SSD. Additionally, Pro Kit provides the ability to cross covert signals providing a versatile solution for monitoring, play out and review.
What comes in the Pro Kit?
Ninja V Monitor-Recorder with pre-activated RAW over SDI
AtomX SDI Module
Locking DC to D-Tap cable to power from camera battery
AtomX 5″ Sunhood
DC/Mains power with international adaptor kit
Ninja V Pro Kit offers a monitor and recording package to cover a wide range of workflows.
Why choose Ninja V Pro Kit?
More powerful and versatile I/O for Ninja V – Expand your Ninja V’s capability with the Pro Kit with the ability to provide recordings in edit-ready codecs or as proxy files from RED or ARRI cameras.
Accurate and reliable daylight viewable HDR or SDR – To ensure image integrity, the AtomX 5″ Sunhood is included and increases perceived brightness under challenging conditions or can be used to dial out ambient light to increase the view in HDR
HDMI-to-SDI cross conversion – HDMI or SDI connections can be cross converted, 4K to HD down converts RAW to video signals to connect to other systems without the need for additional converters.
Record ProRes RAW via SDI to selected cameras*:
Three ways to power your Ninja: – DC power supply – perfect for in the studio. – DTap cable – perfect for on-set, meaning your rig can run from a single power source. – Optional NPF battery or any four-cell NPF you might have in your kit bag.
The ProRes RAW Advantage
ProRes RAW is now firmly established as the new standard for RAW video capture, with an ever-growing number of supported HDMI and SDI cameras. ProRes RAW combines the visual and workflow benefits of RAW video with the incredible real-time performance of ProRes. The format gives filmmakers enormous latitude when adjusting the look of their images and extending brightness and shadow detail, making it ideal for HDR workflows. Both ProRes RAW and the higher bandwidth, less compressed ProRes RAW HQ are supported. Manageable file sizes speed up and simplify file transfer, media management, and archiving. ProRes RAW is fully supported in Final Cut Pro, Adobe Premiere Pro, Avid Media Composer 2020.10 update, along with a collection of other apps including ASSIMILATE SCRATCH, Colorfront, FilmLight Baselight, and Grass Valley Edius.
Existing Ninja V and AtomX SDI module owners
While the Pro Kit offers a complete bundle, existing Ninja V owners can enhance their equipment to the same level by purchasing the AtomX SDI module for $199, and the New RAW over SDI and HDMI RAW to SDI video feature can also be added to the Ninja V via separate activation key from the Atomos website for $99.
Existing AtomX SDI module owners will receive the SDI < > HDMI cross conversion for 422 video inputs in the 10.61 firmware update for Ninja V update. You will also be able to benefit from RAW over SDI recording with the purchase of the SDI RAW activation key. This feature will be available from the Atomos website in February 2021.
Special Offer for Pro Kit buyers
The first batch of Ninja V Pro Kits will include a FREE Atomos CONNECT in the box. Connect allows you to start streaming at up to 1080p60 directly from your Ninja V!
Sony have today released version 4 firmware for the Z280 and Z190. This is a nice update for these cameras as it adds the ability to stream directly to platforms such as YouTube or Facebook using the RTMP or RTMPS protocol. There is no longer any need to go via an intermediate convertor such as OBS.
In addition the looks used in th HDR modes are adjusted to bring them into line with the latest cameras with HLG Natural and HDR Live.
So there are now quite a lot of these devices appearing on the market. I have a Hollyland Mars 400 kit and it works really well. But this one caught my eye because it includes the ability to stream to platforms such as YouTube using RTMP. In these days of remote production being able to stream the cameras output to a remote client or producer could prove very useful.
I haven’t seen one in person and I don’t know the company, so no idea if it’s actually any good. But certainly on paper it’s really interesting.
Here’s the info from the press release.
Accsoon releases Cineeye 2S super-affordable 5GHz wireless transmitter with SDI
Wireless multi-device iOS and Android monitoring for SDI cameras at an unbelievably low price point has arrived with the new Accsoon Cineeye 2S. The SDI and HDMI camera-top 5GHz transmitter is perfect for the new normal of socially distanced filmmaking at every level of production.
View a camera signal remotely on up to 4 iOS or Android devices at a range of up to 150m (approx. 500ft) – perfect for directors, producers, clients and anybody else that needs to see the image live on set. Once connected to your smartphone the Cineeye 2S can even stream to audiences or remote clients using Youtube and other content delivery networks via RTMP.
Strong, stable, low latency 5GHz transmission
The Cineeye 2S can accept and transmit a 1080P video signal at up to 60fps from practically any modern mirrorless, cinema or professional camera. Signal strength, stability, and an average latency of less than 60ms mark it out as superior to other similarly priced systems.
At startup it uses automatic frequency selection to select the cleanest channel from up to 20 available. By choosing the frequency with least resistance it will be less prone to signal interference. If the user wishes they can override this with their own selection.
The Cineeye 2S also streams the embedded audio accepting 44.1KHz/48KHz 16bit/24bit inputs which it then transports using a low compression codec for nearly lossless sound monitoring.
Transform your smart device into a monitor with LUTs
The Cineeye 2S uses the free Accsoon Go app for iOS and Android to turn almost any modern iOS or Android phone or tablet into a fully featured monitor. It has advanced features like pinch to zoom, user selectable LUTs, peaking, false color, waveform, histogram and blue only display. The interface allows users to rapidly switch between setup menus and a totally clean uncluttered view of the image.
A user’s own custom LUTs or CDL can be loaded to preview on the iOS or Android device screen. Alternatively there are multiple presets for popular camera Log types that can also be selected. Users can display masks so that different aspect ratios can be previewed. There is also support for anamorphic lenses with 1.25x, 1.33x, 1.5x, 1.78x and 2x de-squeeze options.
Control your camera
The app also allows users to send Rec/Stop commands to a range of popular cameras. Using the appropriate accessory cable you can trigger Sony A7/A9 series, Canon EOS R/5D IV, Panasonic GH5/GH5S/S1H, Nikon Z6/Z7, Fuji X-T3 and others.
Rugged fanless design
The Cineeye 2S has a striking modern industrial design with all metal construction. Importantly it is fanless and so runs completely silently. Integrated twin antennas fold into the body for easy transport and storage and it has compact dimensions of just 108mm×68.5mm×30mm. Weighing in at only 213g without battery it is easy to attach to cameras of any size. A 1/4 20 thread on the base of the unit features additional ARRI style anti-rotation holes that offer extra security when mounting using an appropriate arm or shoe mount.
Multiple power options and amazing battery life
The Cineeye 2S has a super long battery life with up to 14 hours of runtime off a single NP-F970 battery. Alternatively it can be powered via DC barrel connector with a wide ranging input of 7.4-16.8V which is perfect for use on rigs where a single battery is used to power all accessories. If the two options are used in combination the battery can even be hot swapped without having to power down the unit.
Setup is straightforward with easy menu-driven options for channel selection and transmission settings. A clear 1.3 inch OLED display shows the status of the Cineeye 2S at all times. Simple push buttons on the facia allow users to make rapid adjustments and settings can also be controlled with ease from the Accssoon Go app.
Leading the way in 5GHz wireless
The Cineeye 2S builds on the success of Accsoon’s previous HDMI-only Cineeye products and demonstrates the brand’s commitment to professional users by bringing them genuinely useful wireless features at a hitherto unthinkable price point.
As well as film and TV work the Cineeye 2S has many other uses. It will allow for the creation of simple wireless streaming setups in education, sports, house of worship and countless other applications where a high quality mobile camera feed is required.
The Cineeye 2S is available immediately from authorised dealers with a MSRP of $329 US/ 329 Euro (VAT included)/ 239 GBP (Tax not included).
Channel?Auto/Manual, 20 channels (dependent on local RF laws)
Range?150 meters?open sight, 1 transmitter to 1 phone?
Power Supply?Sony type NP-F550, NP-F750, NP-F970 or DC?7.4?16.8V) Input.
Power Consumption?4.0 Watt (Typical)
Mounting Hole?1/4‘’ with ARRI style locating hole pattern
Operating Temp?0?45 deg-C
Focus, Listening and Innovation are at Accsoon’s core. Founded by a group of passionate and innovative filmmakers, designers and engineers, the company is committed to designing and producing the most innovative high-performance video transmission products for broadcast, cinema and imaging applications.
I’ve added some updates to my guide to using the Cine EI Mode in the FX6 (towards the bottom) to cover the strange playback behavior where the EI levels are reversed. This can result in some very misleading brightness levels during playback that might make you think you exposed incorrectly. http://www.xdcam-user.com/2020/12/a-guide-the-the-fx6s-cineei-mode/
A dramatic headline perhaps, but once I start to look at what the Xperia Pro can do, I can’t help but say – I want one! The Xperia Pro is so much more than just a phone for making calls or watching YouTube videos.
The Xperia Pro shares many features of Sony’s flagship Xperia 1 II and adds an HDMI input.
HDMI IN. Yes, that’s right – it has a 4K/HD HDMI input. So you can plug your camera into it and use it as an HDMI monitor, plus its HDR so you have a small pocket sized HDMI monitor. When I travel (travel – hopefully that will happen again) to remote locations I often don’t take a monitor because of the extra bulk. But being able to use a phone as a monitor from time to time would be such a help. It supports HDR and Rec2020 and has pinch to zoom if you need to enlarge the image to check focus etc.
Streaming from the HDMI input.
Install a streaming app on the phone and you can use it to stream the HDMI feed from any connected camera direct to your favorite platforms. No need to use clumsy tethering, just plug in the HDMI and start your favorite app.
5G millimeter wave. Because the phone features 5G millimeter wave connectivity, where available you will have access to extremely fast data transfer speeds for streaming or ftp transfers. The phone also includes a Network Visualiser App that allows you to find the best network connectivity so you can be sure of the best possible connection wherever you are.
3x High Quality Cameras. The Xperia Pro has three 12mp cameras with Zeiss lenses that are the equivalent of 16mm f2.2, a particularly impressive 24mm f1.7 as well as a 70mm f2.4. The cameras have been co developed by engineers from the Alpha team and feature full manual control as well as raw stills. For video it can shoot at 4K HDR at 24, 30, 60 and 120fps with an optional wide screen 21:9 (2.370:1) aspect ratio mode that matches the 21:9 aspect ratio of the phone itself.
But all of this goodness comes at a price. Currently its priced at $2499 USD which is a huge amount of money for a phone. The very similar Xperia 1 II without the HDMI input can be found for less than half of that. But for someone that streams a lot, perhaps for TV news applications there is a lot to like. You could use the phone as your camera or use the phone to stream from a better camera, easily and simply. With 5G you can use it to upload finished packages quickly and easily. The cost of any high end phone plus an HDR 4K monitor would be close to that of the Xperia Pro, so while it is a lot of money it isn’t perhaps as outrageous as it first seems.
Much rumoured for some time here it is, the Sony Alpha 1.
Some of the headlines are impressive to say the least:
Full Frame 8K 30fps recording from over sampled 8.6K recording using 10 bit 4:2:0 XAVC-HS. 200-400Mb/s. This should be possible for 30 minutes of continuous shooting.
5.8K over sampled Super35mm 4K shooting mode. Wow!!
4K up to 120fps, codecs including 10 bit intraframe and long GoP 16 bit raw output. EDIT: Originally I thought this would be oversampled from 8K up to 30fps, but I’m now hearing that it’s pixel binned. If that is the case there may be a lot of aliasing and moire in this mode.
S-Log3 and SGamut3.cine and YES it has S-Cinetone, so should be a good match for the FX6 and FX9.
15+ Stops of dynamic range in both video mode and 15 stops in photo mode.
5 Axis internal stabilisation. Built in motion detection gyros and image stabilisation as well as the ability to stabilise in post production with Catalyst Browse.
Faster eye AF and improved AF – how the hell can it get any better?
Available March 2021 for $6,500 USD – A lot of money for a stills camera but not a lot for an 8K, 15+ stop video camera!
I think this is a camera that simply cannot be ignored, whether you shoot corporate videos or make Hollywood blockbusters. I have never been a fan of the ergonomics of a stills camera when shooting video. The Alpha 1 does not have ND filters and you will need to use an MI shoe adapter to get XLR audio in. Also the LCD screen on the back is quite small to use as an LCD finder for video. But it does have a very nice built in OLED EVF that looks to be of exceptionally high quality. There doesn’t appear to be any LUT options or dedicated log shooting mode.
But despite these missing or not quite right for video things, you cannot ignore 8K, the over sampled Full Frame 4K and oversampled Super 35mm 4K – plus 4K 120fps. All in all, this camera ticks a lot of boxes. It could be very nice for chroma key or green screen applications.
It won’t be the low light monster that either the A7SIII or FX6 are. But given recent improvements in sensor technology you can bet the low light performance won’t be terrible.
I also have to wonder what this sensor and processing could do if repackaged into a video camera body. Throw in an ND filter system, a couple of SDI outs and a proper viewfinder – as done with the A7SIII – FX6 – Could this be turned into the F55 replacement many are looking for? If it was it could end up better than a Venice. Could this become the Venice II?
With many parts of Sony now coming under the Alpha Group, for example Pro cameras in the US are now sold by the “Digital Imaging” arm of Sony, the same people behind the Alpha cameras. Could we be seeing the start of a new approach for large sensor video cameras sharing a lot more common DNA than in the past and all coming from just one part of Sony. It makes sense. If they do turn this into a video camera with all the right options and ergonomics it could be an awesome piece of kit.
But let’s just slow down for a minute. I haven’t seen any footage other than via YouTube yet, so maybe it’s not as good as the specs suggest. If the Full Frame 4K is pixel binned that particular mode might not be so good. I suspect this camera is going to be awesome! But at the same time for video shooters the FX9 and FX6 still make a lot of sense. The variable ND is a huge time saver, I’m not sure I ever want to go back to carrying a box of ND’s. Do I need 8K? Certainly no one except Sony have ever asked me for 8K – Sony use it for the CLED video walls. If I did lots and lots of green screen or other effects work it could be beneficial – we need to see how good the codec is first.
And for a lot of what I do the low light, low noise performance of the FX6 and FX9 are important. Exactly how the Alpha 1 stacks up against them remains to be seen. Plus I find LUTs and a dedicated CineEI mode makes shooting Log or Raw so much simpler than having to expose S-Log3 correctly when shooting run n gun.
So while the idea of the Alpha one excites me a lot. I really want to see what it’s like to actually work with before passing final judgement.
I’m not impressed by the video below. Lots of over exposed shots and some odd grading choices which is a bit disappointing. Hopefully these are issues with the video production rather than the camera.
What I don’t know:
It can read the sensor at Full Frame 8K and 30fps, so I assume there is a Full Frame downsampled 4K recording mode. But can it record Full Frame 4K without pixel binning/skipping faster than 30fps? Or does it have to go down to a lower sampling rate or crop to go above 30fps?
What will the quality of the 4K 120fps be like. Can the full 8K sensor be read at 120fps.
I assume the 16 bit 4.3K raw out will be a downsample from the 8.6K Full Frame readout. Again limited to 30fps perhaps, or a reduced scan mode for higher frame rates?
This is from Sony:
New 50.1-megapixel (approx., effective) full-frame stacked Exmor RS™ CMOS image sensor in combination with an upgraded BIONZ XR™ imaging processing engine with eight times more processing power[i]
Blackout- free continuous shooting at up to 30 frames per second[ii]
Fast sensor readout enables up to 120 AF/AE calculations per second[iii], double the speed of the Alpha 9 II, even during 30fps continuous shooting
Bright and large 0.64-type 9.44 million-dot (approx.) OLED Quad-XGA electronic viewfinder with the world’s first[iv] refresh rate of 240 fps
Silent, vibration-free electronic shutter
World’s first[v] anti-flicker shooting with both mechanical and electronic shutter
Electronic shutter flash sync[vi] up to 1/200 sec. for the first time in the Alpha™ series
World’s fastestv mechanical shutter flash sync up to 1/400 sec.
8K 30p[vii] 10-bit 4:2:0 XAVC HS video recording with 8.6K oversampling for extraordinary detail and resolution, in addition to 4K 120p[viii] 10-bit 4:2:2 movie shooting capabilities
Wide dynamic range of 15 stops for stills[ix] and 15+ stops for video[x]
Improved Real-time Eye AF (autofocus) for humans and animals, and new Real-time Eye AF for birds[xi], as well as Real-time Tracking that automatically maintains accurate focus
5-axis optical in-body image stabilization for a 5.5-step[xii] shutter speed advantage
S-Cinetone color matrix as seen in FX9 and FX6to deliver expressive cinematic look
Professional workflow support with the industry’s fastest[xiii] built-in Wi-Fi, SuperSpeed USB 10Gbps, 1000BASE-T Ethernet and more
SAN DIEGO, CA – January 26, 2021 – Sony Electronics, a global leader in imaging sensor technology and digital imaging, has announced the arrival of the groundbreaking new full-frame mirrorless Alpha 1 camera – asserting their commitment to leading the industry with a stunning combination of innovative new features.
The most technologically advanced, innovative camera that Sony has ever released, the Alpha 1 combines high-resolution and high-speed performance at a level that has never been accomplished in the world of digital cameras. With a brand new 50.1-megapixel full-frame stacked Exmor RS™ image sensor, up to 120 AF/AE calculations per second, 8K 30p 10-bit 4:2:0 video and much more, the Alpha 1 will allow creators to capture what they’ve never been able to before.
“We are always listening to our customers, challenging the industry to bring new innovation to the market that goes far beyond their expectations.” said Neal Manowitz, deputy president for Imaging Products and Solutions Americas at Sony Electronics. “Alpha 1 breaks through all existing boundaries, setting a new bar for what creators can accomplish with a single camera. What excites us the most – more than the extensive product feature – is Alpha 1’s ability to capture that which has never been captured before. This camera unlocks a new world of creative possibilities, making the previously impossible now possible.”
The newly developed image sensor is built with integral memory and paired with an upgraded BIONZ XR imaging processing engine, making it capable of shooting 50.1-megapixel images continuously at an astounding 30fps with up to 120 AF/AE calculations per second. The Alpha 1’s shooting capabilities are further enhanced by a 9.44 million dot OLED Quad-XGA electronic viewfinder, with a refresh rate of up to 240 fps[xiv], ensuring no black out. Additionally, for the first time in an Alpha series camera, 8K 30p 10-bit 4:2:0 video is available. The Alpha 1 is also capable of 4K 120p / 60p 10-bit 4:2:2 recording and includes S-Cinetone color. The Alpha 1 is also packed with features that support field professionals with faster workflow, including 3.5 times faster wireless FTP transfer speed[xv] and more.
Unprecedented Resolution and Speed
Continuous Shooting at Up to 30 Frames Per Second
The Alpha 1 captures moments that would otherwise be lost thanks to its high-speed performance, providing any photographer the speed they require to capture fast-moving objects. High speed readout from the 50.1-megapixel image sensor and a large buffer memory make it possible to shoot up to 155 full-frame compressed RAW images[xvi] or 165 full-frame JPEG images[xvii]at up to 30 frames per second with the electronic shutter while maintaining full AF and AE tracking performance[xviii].
At an astonishing calculation speed of up to 120 AF/AE per second, the Alpha 1 can maintain focus with high accuracy even for fast moving subjects. It can automatically adjust exposure, even with sudden changes in brightness, with an AE response latency as low as 0.033 secondsii.
Advanced Electronic Viewfinder with the World’s Firstiv Refresh Rate of 240 fps
Complimenting the camera’s ability to capture images at an unprecedented speed, the Alpha 1 viewfinder features the world’s firstiv240 fps refresh ratexiv, for a super-smooth display. The viewfinder does not black out when an exposure is made to offer an uninterrupted view and allow for seamless framing and tracking, even during continuous shooting. The 9.44 million-dot (approx.), 0.64 type Quad-XGA high-definition OLED display and refined optics deliver the highest resolution in its classiv. It also offers 0.90x[xix] viewfinder magnification, a 41° diagonal FOV, and a 25mm-high eyepoint for clear, low distortion viewing from corner to corner.
Sony continues to push the boundaries of autofocus technology with the introduction of the Alpha 1, which can easily track complex, fast-moving subjects with high precision. The camera features 759 phase detection points in a high-density focal plane phase-detection AF system cover approximately 92% of the image area – ensuring accuracy and unfailing focus in environments where focusing might otherwise be difficult.
Sony’s advanced Real-time Eye AF improves detection performance by 30% over the previous systemi, thanks to the powerful image processing engine, BIONZ XR. It ensures accurate, reliable detection, even when the subject’s face looks away. In addition to improved Real-time Eye AF for humans and animals, the Alpha 1 employs high-level subject recognition technology to provide Real-time Eye AF for birdsxi, a first in an Alpha series camera. Optimized algorithms ensure that tracking is maintained even if a sitting bird suddenly takes flight, or the framing suddenly changes[xx].
The Alpha 1 also features AI-based Real-time Tracking that automatically maintains accurate focus. A subject recognition algorithm uses color, pattern (brightness), and subject distance (depth) data to process spatial information in real time at high speed.
Silent, Vibration-free Electronic Shutter
High-speed readout from the new image sensor has made it possible to reduce rolling shutter by up to 1.5 times when shooting stills, compared to the Alpha 9 II. It also offers silent anti-flicker continuous shooting with an electronic shutter for the first timev in the world. The electronic shutter[xxi] operates silently, without mechanical noise, and is vibration-free. Stress-free continuous shooting is now possible even when shooting in challenging lighting situations with florescent or other flicker-prone types of artificial lighting. And for the first time in an Alpha camera, electronic shutter flash sync up to 1/200 sec[xxii] is possible. The advantages of the electronic shutter advantages can now come to life even when using flash for broadly expanded shooting versatility.
Dual Driven Shutter System for 1/400 Flash Sync
The Alpha 1 boasts the world’s fastest flash sync speedv of 1/400 sec. with mechanical shutter, making it even easier to capture dynamic action. In addition to a carbon fiber shutter curtain, the Alpha 1 features the newly developed dual driven shutter system utilizing spring and electromagnetic drive actuator, offering high durability and lightness at the same time.
High Resolution Shooting Enhancements
Even with this sensor’s high pixel count, the Alpha 1 offers high sensitivity with low noise, plus 15+ stops of dynamic range for video and 15 stops for stills, for smooth, natural gradations from shadows to highlights thanks to its cutting-edge processing system, throughout a wide ISO sensitivity range of 100-32,000 (expandable to 50-102,400, when shooting stills).
Additionally, the new camera features an evolved Pixel Shift Multi Shooting mode that composites up to 16 full-resolution images. In this mode, the camera precisely shifts the sensor in one pixel or half-pixel increments to capture 16 separate pixel-shifted images containing a total of 796.2 million pixels of data, which are then composited into a 199 million pixel (17,280 x 11,520 pixels) image using Sony’s Imaging Edge™ desktop application. With a flash sync of up to 1/200 sec. in this mode, it is ideal for photographing architecture, art or any other still life subject with a level of detail and color accuracy that is simply stunning.
Professional Video Quality
8K High-resolution Movie Shooting
For the first time in an Alpha camera, the Alpha 1 offers 8K 30p 10-bit 4:2:0 XAVC HS recording with 8.6K oversampling for extraordinary resolution. Combined with Sony’s acclaimed autofocus technology, gradation and color reproduction performance, the Alpha 1 will help the user realize their creative vision with the finest detail. It’s 8K footage can also be used for flexible 4K editing during post-production.
Supporting Various Video Formats for Professionals
The Alpha 1 offers in-camera 4K recording at up to 120 frames per secondviii which allows the user to shoot up to 5X slow-motion video[xxiii]. In addition to supporting 10-bit 4:2:2 recording, this feature can be used with efficient Long GOP inter-frame compression or high-quality Intra (All-I) intra-frame compression.
The Alpha 1 features S-Cinetone, the same color matrix that produces the highly regarded FX9 and FX6 color and skin tones. It delivers natural mid-tones, plus soft colors and gorgeous highlights to meet a growing need for more expressive depth. The S-Log3 gamma curve makes it possible to achieve 15+ stops of dynamic range, while the S-Gamut3 and S-Gamut3.Cine color gamut settings make it easy to match Alpha 1 footage with video shot on VENICE cinema camera, FX9 and other professional cinema cameras.
A unique heat dissipating structure keeps image sensor and image processing engine temperatures within their normal operating range, preventing overheating while maintaining compact body dimensions. This makes it possible to record 8K/30p video continuously for approximately 30 minutes[xxiv].
Supporting Hand-held Shooting
A high-precision stabilization unit and gyro sensors, plus optimized image stabilization algorithms, achieve up to a 5.5-step shutter speed advantage, maximizing the quality of the high-resolution images derived from the camera’s 50.1-megapixel sensor. The Alpha 1 also features an Active Mode[xxv] that offers outstanding stabilization for handheld movie shooting. When using Sony’s desktop applications Catalyst Browse or Catalyst Prepare[xxvi] for post-production, an accurate image stabilization function is available which utilizes metadata generated by camera’s built-in gyro.
Other features that the Alpha 1 offers include; 16-bit RAW output[xxvii] to an external recorder[xxviii] via HDMI for maximum post-production flexibility, a digital audio interface has been added to the camera’s Multi Interface (MI) Shoe for clearer audio recordings from a compatible Sony external microphone, 5.8K oversampled full pixel readout without pixel binning for high-resolution 4K movies in Super 35mm mode and more.
Enhanced Workflow withNetwork Technologies including Connectivity to 5G Compatible Devices
The Alpha 1 has been designed and configured to support photo and video journalists and sports shooters who need to deliver stills or movies as quickly as possible with advanced connectivity options. It offers several features for fast, reliable file transfers. Industry’s fastestxiii built-in wireless LAN allows communication on 2.4 GHz and 5 GHz[xxix]bands with dual antennas to ensure reliable communications. 5 GHz includes 2×2 MIMO support (IEEE 802.11a/b/g/n/ac) offering 3.5 times faster wireless FTP transfer speed than the Alpha 9 II – a notable advantage for news and sports shooters who need to deliver with reliable speed. There is also a provided USB Type-C® connector to support fast data transfer when connected to a 5G mmWave compatible device such as Sony’s Xperia PRO and makes high-speed PC Remote (tethered) data transfer available for smooth handling of large image files. The Alpha 1 also has a built-in 1000BASE-T LAN connector for high-speed, stable data transfers, including remote shooting. FTPS (File Transfer over SSL/TLS) is supported, allowing SSL or TLS encryption for increased data security.
In addition to compressed and uncompressed RAW, the Alpha 1 includes efficient lossless compression with no quality degradation, Lossless Compressed RAW. There is also a new “Light” JPEG/HEIF image quality setting that results in smaller files than the “Standard” setting, allowing faster deliver for news and sports photographers who depend on speed. Along with a versatile range of RAW and JPEG formats, the Alpha 1 includes the HEIF (High Efficiency Image File) format for smooth 10-bit gradations that provide more realistic reproduction of skies and portrait subjects where subtle, natural gradation is essential. Images shot on the Alpha 1 can be trimmed in-camera to a desired aspect ratio, size, or position for versatile usage.
The Alpha 1 is also compatible with a variety of apps, add-ons and tools. With Imaging Edge Mobile and Imaging Edge Desktop[xxx], professionals can easily transfer RAW files and files that use lossless compression and remotely control Touch Tracking and Touch Focus for convenient AF operation. The Transfer & Tagging add-on (Ver. 1.3 or later) can automatically covert voice memos attached to image files to text captions or transfer the files to an FTP server from a mobile device. Desktop applications Catalyst Browse/Catalyst Preparexxvi allow professionals to browse and manage video clips shot by Sony’s camera. In addition, the Remote Camera Tool[xxxi] can remotely change camera settings and shoot from a computer connected via LAN cable and feature a number of refinements for the Alpha 1: faster transfer, touch response, dual slot and HEIF support, and more.
Reliable and Easy Operability
Professional users need more than just refined features and performance. They also need the reliability and durability demanded of any professional tool. The Alpha 1 has two media slots that both support UHS-I and UHS-II SDXC/SDHC cards, as well as new CFexpress Type A cards for higher overall capacity and faster read/write speeds. It also features a durable magnesium alloy chassis, long battery life with the Z-battery which can be extended using the optional VG-C4EM Vertical Grip (sold separately), an improved dust removal feature, shutter close function on power-off? to protect image sensor, plus dust and moisture resistance[xxxii] that maximizes reliability in challenging environments. It includes a durable, reliable HDMI Type-A connector, and USB PD (Power Delivery) support, allowing higher power to be supplied from an external source so that users can record for extended periods with minimal internal battery usage.
A revised menu structure provides easier navigation, and touch-responsive menu operation offers fast, more intuitive control with Touch Focus and Touch Tracking on its 3.0 type 1.44 million-dot (approx.) LCD monitor. For easy customization, a subset of the camera’s shooting settings now changes according to the selected shooting mode, making it easier than ever to use different aperture, shutter speed and other settings for shooting stills and movies.
Pricing and Availability
The Alpha 1 Full-frame Interchangeable-Lens Camera will be available in March 2021 for approximately $6,500 USD and $8,500 CAD. It will be sold at a variety of Sony’s authorized dealers throughout North America.
Exclusive stories and exciting new content shot with the new camera and Sony’s other imaging products can be found at www.alphauniverse.com, a site created to educate and inspire all fans and customers of Sony ? – Alpha brand cameras.
For detailed coverage on the new product on Alpha Universe, please visit this LINK.
The new content will also be posted directly at the Sony Photo Gallery.
Additionally, a product launch video focused on the Alpha 1 can be found at this LINK.
[i] Compared to the BIONZ X imaging processing engine.
[ii] “Hi+” continuous shooting mode. In focus modes other than AF-C, effective at 1/125 sec. or higher shutter speed. In AF-C mode, effective at 1/250 sec. or higher shutter speed, and the maximum continuous frame rate will depend on the shooting mode and lens used. 20 fps max. when shooting Uncompressed or Lossless compressed RAW.
[iii] At shutter speeds of 1/125 sec. or higher. The number of AF calculations will depend on the lens used.
[iv] As of January 2021, Sony survey. Among full-frame mirrorless cameras.
[v] As of January 2021, Sony survey. Among full-frame interchangeable-lens digital still cameras.
[vi] Up to 1/200 sec. Synchronization via the sync terminal is not available for electronic shutter.
[vii] [APS-C S35 Shooting] is fixed [Off] when shooting 4K 120p and 8K movies.