Connect with us

Camera

Analysis: New Sony a1 sensor offers class-leading dynamic range, along with high-speed and high-resolution

Published

on

Analysis: New Sony a1 sensor offers class-leading dynamic range, along with high-speed and high-resolution
Photo by Dan Bracaglia

The Sony Alpha 1 introduces the next generation of full-frame stacked CMOS from Sony Semiconductor. It’s the second chip of its type following the one in the a9, and with it comes improved readout speeds on the order of 5ms or faster, enabling flash sync speeds of 1/200s with electronic shutter as well as decreased rolling shutter and risk of banding under artificial light, and focus and exposure calculations at 120 times per second. This silent electronic shutter underpins the camera’s 20 and 30 frames-per-second (fps) burst modes.

With our in-depth review ongoing, we wanted to take a look at whether these sensor capabilities came at the cost of other imaging attributes of the a1’s sensor; particularly, its dynamic range capabilities.

Class-leading dynamic range

With the launch of the a9, we found a slightly unexpected decrease in dynamic range. We say ‘unexpected’ because we’ve grown accustomed to cameras using Sony Semiconductor’s sensors offering high dynamic range (i.e. low noise) and had gotten used to exploiting this in our photography.

It appeared the a9 traded off dynamic range – by dropping readout bit-depth we surmised – to achieve high read speeds (nearly 1/160s according to Jim Kasson). While the a9 II improved matters significantly, noise levels in deep shadows were never as low as those of Sony Semiconductor’s benchmark sensors. Our dynamic range tests showed that neither the a9 nor the a9 II achieved the noise-free shadows (i.e. high dynamic range) of Sony’s own a7 III, while Canon’s 1D X III only competed with noise reduction that significantly decreases detail.1

It seemed that you could only have high dynamic range and modest readout / shooting speeds, or high-speed sensors with accompanying noise penalties. Put more simply, you apparently couldn’t have your cake and eat it too. With the a1, you can.

The sensor in the a1 proves that fast scan rates and high dynamic range need not be mutually exclusive. Compared to the chip in the a9 II, it offers a nearly 1 EV improvement in base ISO dynamic range2 while still offering at least a 20% increase in readout speed based on spec alone, and a 1.44x increase in linear resolution.

The a1 measures 13.71 EV base ISO dynamic range in all electronic shutter modes (including 20 and 30 fps continuous modes), compared to 12.96 EV for the a9 II in all its electronic shutter modes. This 0.75 EV improvement places the a1 firmly ahead of all professional sports-oriented cameras in low ISO dynamic range. High ISO dynamic range remains competitive, though lags slightly at very high ISOs due likely to a smaller pixel pitch and 1/3 EV lower dual gain step (ISO 500 vs. 640) compared to the a9 II.3

Note that all dynamic range comparisons are normalized to a common output or viewing size, for fair comparisons, removing disadvantages due simply to the presence of more pixels in higher resolution sensors.

The 0.75 EV improvement in e-shutter base ISO dynamic range (0.7 EV in mechanical shutter) over the previous generation of stacked CMOS places the a1 firmly ahead of not only Sony’s own prior attempts at pro-oriented cameras in this regard, but all other professional sports-oriented cameras as well:

Mechanical Electronic
Sony a1 13.9 EV 13.7 EV
Sony a9 II 13.2 EV 13.0 EV
Sony a9 12.6 EV 12.6 EV
Canon 1D X III 13.6 EV* 11.6 EV
Nikon D5 11.4 EV

* Canon 1D X III achieves this high dynamic range figure after noise reduction.

The a1 has 2.5 EV higher base ISO dynamic range than Nikon’s closest offering, while Canon’s 1D X III shows similar noise levels in base ISO Raws, but with considerably less detail due to the noise reduction that enables its low noise levels. Amongst its pro-oriented peers, the a1 sports class-leading dynamic range.

Not just good for a sports camera

The Sony Alpha 1’s dynamic range isn’t just good for a sports camera, though. It’s nearly a match for the very best full-frame cameras we’ve tested, despite the fast sensor scan rates that enable so many of its headline-grabbing capabilities. Have a look below at the a1’s dynamic range performance against the Sony a7R Mark IV (green), one of our current benchmarks for full-frame performance.

The base ISO dynamic range of the Sony a1 falls only 0.1 EV behind that of the class-leading Sony a7R IV in mechanical shutter mode, making it nearly class-leading in dynamic range compared to full-frame cameras. There is only at most a 0.2 EV dynamic range cost to e-shutter mode, which disappears at higher ISOs as amplification overcomes any extra read noise that accompanies the electronic shutter mode. High ISO dynamic range, which tends to vary with pixel size, the dual gain step, and upstream read noise, exceeds the a7R IV and compares favorably against other high-res full-frame cameras, albeit slightly less so against its lower-resolution pro- and sports-oriented peers.

The a1’s dynamic range stacks up well alongside its class-leading high-resolution full-frame peers: the Sony a7R IV (and for that matter, Nikon’s excellent Z7 II), being only a nearly inconsequential 0.1 EV behind either.4 But what’s particularly impressive is just how little of a dynamic range cost – just 0.2 EV – there is to the e-shutter mode that underpins the camera’s 20 and 30 fps burst modes. Until now we’ve typically seen a noise cost associated with fast readout speeds; the a1’s sensor retains nearly the same dynamic range in both of its shutter modes despite a readout rate that’s within 1ms of a traditional mechanical shutter.

This means that the a1 can offer dynamic range competitive with the best landscape cameras even when using the fast readout modes that allow sports camera performance. A table below summarizes the base ISO dynamic range numbers for the cameras, alongside the a7 Mark III referred to earlier:

D-Range (pixel level) D-Range (24 MP)
Sony a1 Mechanical 13.4 EV 13.9 EV
Sony a1 Electronic 13.2 EV 13.7 EV
Sony a7R IV Mechanical 13.4 EV 14 EV
Sony a7 III Mechanical 13.8 EV 13.8 EV

Furthermore, although 30 fps bursts require you switch to lossy compressed Raw, we measured no additional dynamic range cost (there may still be potentially distracting local compression artifacts around high contrast edges of deep shadows in low ISO files).

It seems that with the launch of the sensor in the a1, Sony shows us there needn’t be a dramatic tradeoff between speed and image quality, in terms of either dynamic range or resolution.

All-round performance

So far we’ve primarily looked at low ISO settings, since these are the ones that you’d use if you were concerned about dynamic range. However, as light levels drop, the a1 remains competitive, especially when you consider its high resolution. Noise levels in midtones are only slightly behind class leaders Nikon D5 and Canon 1D X III. We take the position that signal:noise ratio of midtones is more relevant at high ISO than dynamic range, but it’s worth noting that the a1 fares well in both regards, exceeding the dynamic range of the a9 II at intermediate ISOs, but eventually falling slightly behind the a9 II and other lower resolution chips at the highest ISOs. Pay close attention to the noise levels of pushed shadows of the high ISO crops in the links above.

These additional visual results compared to the a7R IV, a9 II and a7 III confirm a clear pattern: there’s a small high ISO dynamic range cost to be paid for high resolution sensors due to the increased cumulative read noise from the extra pixels which, with the greater amplification at the highest ISOs, becomes more noticeable as visible noise in deep shadows. It also seems that fast readout still does come at the cost of at least some, albeit now small, noise cost.5 That considered, the a1 does compare favorably in high ISO dynamic range next to its high-resolution peers.

A visual comparison

While a single number isn’t meant to sum up image quality by any means, when comparing across the same sensor format, base ISO dynamic range numbers give you a reasonable idea of how noise-free shadows of Raw files are (and for the sensor geeks amongst us, how little downstream read noise the sensor and camera electronics add to the signal). The cleaner those darker tones are, the more readily you can brighten them for incorporation (or tone-mapping) into your final output. And, indeed, our measured numbers align very well with the visual results our tests, below.

Take a look at the dynamic range capabilities of these cameras – and our previously mentioned high-resolution benchmarks – by examining shadow noise in our ISO invariance widget below. Our ISO invariance test looks at how much electronic noise a camera’s sensor and electronics add to an image, which provides a rough idea of the noise penalty you can expect if you were to reduce the ISO setting to protect highlights at the time of exposure – while still using the shutter speed and aperture of a high ISO exposure – compared to using the high ISO setting in-camera to obtain a ‘proper’ exposure (learn about ISO-invariance here).

After a +6 EV push, the a1 shows similar noise levels in shadows to the a7R IV, as our graphs and numbers predict. Electronic shutter, the mode required for the camera’s highest burst rates, shows only the tiniest increase in noise in the darkest black tones (to the right of the newspaper crop above). There’s significantly less noise and more detail compared to the a9 II, and especially in comparison to Sony’s first attempt at full-frame stacked CMOS, the a9.

Compared to ‘pro’ offerings from Canon and Nikon, the a1 shows significantly more detail and less noise, with the 1D X III competing on noise levels due only to noise reduction that reduces detail. Switch the Canon to its e-shutter mode and the difference in dynamic range is rather stark (we use the R6 as a proxy here as the sensor measurements are identical)

Though measured base ISO dynamic range falls within 0.1 EV of Nikon’s Z7 II, engineering dynamic range does not account for the increased total light the Z7 II can tolerate at its lower base ISO of 64 (compared to 100 for the a1 and a7R IV), which does give the Nikon a leg up in shadow noise, provided the extra exposure is possible.

Conclusion

The sensor in the Sony a1 displays a marked improvement over the first-generation full-frame stacked CMOS seen in the a9 and a9 II, with increases in resolution, readout speed and dynamic range. Up until now it had seemed as though fast sensor readout and high dynamic range were mutually exclusive. The a1 has the fastest sensor scan rate of any camera we’ve measured, to our knowledge only roughly 1ms or ~25% slower than a traditional mechanical shutter

And yet despite the speedy readout and shooting rates, the a1’s base ISO dynamic range is class-leading compared its sport-oriented peers, and lies within our measurement error of its class-leading high-resolution full-frame peers. Meanwhile, high ISO dynamic range remains competitive, surpassing that of many of its high-resolution peers and falling only slightly behind lower resolution cameras that have less cumulative read noise due to fewer pixels.

That means you won’t have to worry about trading off any image quality for the capabilities the a1 bring that hinge upon its fast readout. High contrast scenes such as the one above, and more challenging ones, can be handled with ease if you expose to retain highlights and tone-map underexposed tones to be visible in post-processing. And the dual gain design of the sensor ensures low noise levels as light levels drop. The Alpha 1 should offer a great deal of flexibility regardless of your shooting scenario.

Addendum: What about lossy and lossless compression?

We’ve written much about Sony’s lossy compression, mostly about how it should be modified to not include local compression artifacts, in addition to being offered alongside lossless compression as it is for most other brands. The destructive lossy compression was the only form of compression for Raw files offered up until now (remember when it was the only Raw option?), but that’s changed with the a1.

With the a1, you now have three options for Raws: uncompressed, lossless and lossy compressed.

Uncompressed and lossless compressed files retain the largest dynamic range, while lossy Raw files pay a slight 0.11 EV dynamic range cost. 0.11 EV is within our margin of error, so you’re more likely to notice the local compression artifacts around high contrast edges of deep shadows than you are to notice this slight drop in measured dynamic range. Furthermore, if you’re switching to lossy compressed Raw to achieve the camera’s 30 fps burst rate, there’s already a 0.2 EV drop in dynamic range due to the use of a fully electronic shutter, which makes this 0.11 EV cost typically irrelevant.

Source link

Continue Reading
1 Comment

1 Comment

  1. Pingback: Google shares a deep dive into its new HDR+ with Bracketing technology found in its latest Pixel devices

Leave a Reply

Camera

Ulanzi’s 52mm MagFilter Magnetic Filters offers interchangeable filters for smartphones

Published

on

By

Ulanzi’s 52mm MagFilter Magnetic Filters offers interchangeable filters for smartphones


Image: Ulanzi

Lens filters for smartphones are not a new concept. Designed to give photographers more creative and technical control over their images, there are several types on the market today that can control how much light comes into the camera, reduce reflections and flare or add more vibrancy to your images with different color tones.

Up until a few years ago, photographers wanting to add a physical filter to a smartphone would need to attach a clamped filter that sits at the top of the phone’s camera lenses or use a third-party smartphone lens with filters.

Although useful, clamps tend to be bulky and aren’t always the easiest to align with your camera. Third party lenses offer more accuracy, but good-quality options can cost in excess of $100, without the inclusion of filters.

Ulanzi aims to be different by offering a lightweight foldable adapter ring that snaps on to the center of your MagSafe compatible device or case, which the manufacture says leads to a quicker workflow and more accurate alignment of the filter to the camera lens on the back of the phone. On an iPhone 14 or 15 it works by magnetically attaching to the rear using Apple’s MagSafe attachment system.

For users without an iPhone, there are workarounds through the use of third-party smartphone cases with magnetic ring plates that emulating MagSafe. WIth such a case, you can attach Ulanzi’s adapter to the ring plate and use the filters as normal.

As we reported last week, the concept isn’t new. Tiffen recently released a similar product with its MagSafe 58mm Filter Mount. Both products approach a solution to adding filters in a similar manner but differ in design. The Ulanzi opts for compactness with a foldable design.

The Tiffen comes with one polarizing filter (you can buy other filters separately) at around $40. In contrast, the Ulanzi’s version comes as a kit for $219 with an ND filter, a polarizing filter, one soft focus filter and a selection of color effect filters. There’s a storage case as well. Having multiple filters packed in may be enticing to users seeking to experiment with different filters and want the simplicity of having them all packaged together.


Buy now:




Source link

Continue Reading

Camera

Tamron announces 28-75mm F2.8 Di III VXD G2 for Nikon Z mount

Published

on

By

Tamron announces 28-75mm F2.8 Di III VXD G2 for Nikon Z mount


Image: Tamron

Tamron has announced it will release its popular 28-75mm F2.8 Di III VXD G2 fast standard zoom for Nikon’s Z-mount.

Nikon already sells a 28-75mm F2.8 with an optical formula and calculated MTF charts that are a match for Tamron’s original, stepper-motor driven 28-75mm F2.8 Di III RXD. The newer, linear-motor-driven G2 model features improved optical performance.


Buy now:


The G2 uses a more complex 17 element / 15 group design and has a fractionally shorter minimum focus distance (18cm/7.1″ vs 19cm/7.5″) to deliver very slightly increased maximum magnification. The G2 is also a fraction lighter than the Nikon-branded 28-75mm, weighing 550g (19.4oz), rather than 565g (19.9oz). On the E-mount versions, Tamron claimed the VXD linear motor design was twice as fast as the RXD version.

The focal length range makes the 28-75mm a wide to short-telephoto lens for Nikon’s full-frame Z-mount cameras but could, in principle, be used as a 42-113mm equivalent on DX APS-C bodies, if you wished.

Click here to see the Tamron 28-75mm F2.8 G2 gallery shot on Sony E-mount

The announcement adds a more affordable option for Nikon’s Z-mount users, but the hope has to be that, letting Tamron compete against its own-brand lenses, might also indicate some relaxation of Nikon’s restrictions around the mount. As the footnotes make clear, this lens is “developed, manufactured and sold under the license agreement with Nikon Corporation.”

The Tamron 28-75mm F2.8 Di III VXD will be available from April 18th at an MSRP of $999. This is $100 more than the E-mount version and a match for the current price of the Nikkor Z 28-75mm F2.8. It’s $200 below Nikon’s launch price for the Nikkor version.

TAMRON announces the launch of fast-aperture standard zoom lens for “Nikon Z mount system”

28-75mm F/2.8 Di III VXD G2 (Model A063) for Nikon Z mount

March 27, 2024, 11pm ET / 8PM PT, Commack, NY – Tamron announces the launch of the 28-75mm F/2.8 Di III VXD G2 (Model A063), a fast-aperture standard zoom lens, for Nikon Z mount full-frame mirrorless cameras1. The lens will be available April 18, 2024, at $999 USD / $1399 CAD.

The 28-75mm F2.8 G2 is compact and easy to use yet has excellent optical performance and is compatible with the latest digital cameras with increasingly high pixel resolution. The AF drive uses a linear motor focus mechanism VXD (Voice-coil eXtreme-torque Drive) that is fast, highly accurate and quiet. The lens also excels at close-up shooting, achieving an MOD (Minimum Object Distance) of 7.1” (0.18m) at the wide end and a maximum magnification ratio of 1:2.7. Additionally, the lens design takes operability into consideration by including a coating with excellent scratch resistance on the barrel of the lens and a rubber focusing ring for a comfortable, secure grip among other features.

TAMRON pioneered the category of compact fast-aperture standard zoom lenses for mirrorless models. Now the 28-75mm F2.8 G2 will be available for Nikon Z mount as the ideal everyday lens for Nikon full-frame mirrorless camera users.

Product highlights

1. Best image quality in the standard zoom lens class

The new zoom leverages the latest design expertise and comprises an optical construction with 17 elements in 15 groups. Two optimally arranged LD (Low Dispersion) and GM (Glass Molded Aspherical) lens elements control optical aberrations to the highest degree. The lens provides high-resolution performance from edge-to-edge and corner-to-corner over the entire zoom range, even at wide open aperture. In addition, the soft, beautiful, round bokeh that can be achieved with a fast-aperture lens adds a distinctive dimension, especially to portraits. The overall compact size and high performance can be used advantageously with top-class, ultra-high-resolution mirrorless cameras.

2. Fast, quiet VXD linear motor for high-speed and high precision autofocus

The AF drive system employs TAMRON’s VXD linear motor focus mechanism. The high-speed, high-precision AF is exceedingly responsive and provides dependable and accurate focusing performance from MOD to infinity, despite the fast F2.8 aperture. The lens delivers excellent focus tracking of moving objects, so you are always ready for fast action. Additionally, the focus motor is quiet, so it’s ideal for shooting both still images and video in situations that demand low noise.

3. Lightweight and compact

The 28-75mm F2.8 G2 is a fast-aperture standard zoom lens with a remarkably compact and lightweight design, just 4.7” (119.8mm) long. The maximum diameter is 75.8mm and it weighs only 19.4 oz. (550g). Filter size is 67mm. With a size that’s easy to carry and a light weight that’s well-suited for handheld shooting for extended periods, the 28-75mm F2.8 G2 will surely become your favorite zoom for travel, street shooting, everyday carry, and spontaneous photo opportunities.

4. MOD of 7.1” (0.18m) at the wide end and a maximum magnification ratio of 1:2.7 for creative close-ups

The 28-75mm F2.8 G2 features an MOD of 7.1” (0.18m) at the wide end. The working distance shrinks to around 1.7” (4.4cm) when used at MOD. Because the maximum magnification ratio is 1:2.7, you can get close to your subject for wide macro photography, enabling powerful visual impact with the subject positioned large in the frame while keeping a wide view of the background.

5. TAMRON Lens Utility™ expands the possibilities of still photography and video shooting

The 28-75mm F2.8 G2 is compatible with the dedicated TAMRON Lens Utility software developed in-house by TAMRON that empowers users to easily update the lens to the latest firmware without going through the camera2 and includes functions to support focusing operations and other actions when shooting still images or video. By utilizing a wide range of functions3, users can expand the breadth of expression in still images and video. For example, A-B Focus allows users to limit focusing to two pre-selected focus points, shifting focus from one subject to the other with just a click of the Focus Set Button. Users can also choose between Linear and Non-Linear, which affects how the focus shifts during manual focusing.

6. Enhanced overall lens design for user-friendly operation

Every individual part of the lens has been carefully scrutinized, right down to the fine details, resulting in an enhanced design that optimizes both operability and ergonomics. The surface of the lens exterior is glossy black. Improved abrasion resistance makes the lens barrel harder to scratch and resists fingerprints. Additionally, the grip performance has been improved. The smoothly curved, elegant surface of the brand ring creates a dignified appearance with a design that signifies functional beauty and high quality.

7. Moisture-Resistant Construction and Fluorine Coating provide extra protection

1. The lens for Sony E-mount previously launched on October 28, 2021.

2. To connect your PC and lens, use the TAMRON Connection Cable (USB Type-A to Type-C/ Model CC-150, or USB Type-C to Type-C/ Model CC-350) sold separately. To connect your smartphone and lens, use the TAMRON Connection Cable (USB Type-C to Type-C/ Model CC-350) sold separately. Lens firmware updates are not supported with the Mobile version. Performing firmware updates requires the TAMRON Lens Utility for PC and a computer.

3. The ring function (Focus/Aperture) is not supported for Nikon Z mount.

Tamron 28-75mm F2.8 Di III VXD G2 specifications

(Length and weight refer to E-mount version)



Source link

Continue Reading

Camera

Sony announces major firmware upgrades for a1, a9 III, a7S III and a7 IV

Published

on

By

Sony announces major firmware upgrades for a1, a9 III, a7S III and a7 IV


Photo: Dan Bracaglia

Sony has announced major firmware updates for four of its current full-frame range, bringing many features and behaviors up to its latest standards and adding C2PA authenticity verification capabilities.

Sony a1 f/w v2.00

Firmware v2.00 for the Sony a1 is perhaps the most extensive, adding features that have appeared in other models in the three-and-a-bit years since it was launched, such as the lens breathing compensation function. It also adds a handful of new features and modifications of behavior, including an option to ensure the EVF remains on, regardless of the LCD position, and relay playback of images across multiple media. Among the extensive list of additions an updates are features such as Timecode Sync, previously only available in Sony’s Cinema Line cameras.

A series of FTP options, including SFTP support are also added.

The firmware doesn’t activate the C2PA function – which not only authenticates the camera and date/time but also that the photo is of a 3D subject, not a photo of a photo – but instead adds the capability to the camera. Once installed, users need to activate a separate license via the Creators’ App to use the function.

Sony a7S III f/w v3.00

Firmware v3.00 brings many of the updates seen in the a1, including Timecode Sync, breathing compensation and relay playback. It also adds the ability to close the mechanical shutter when the camera is turned off, to mitigate dust ingress, and the ability to transfer Raw files to smartphones.

In addition to the C2PA capability, firmware v3.00 includes the ability to add DCI 4K 24p shooting. Again a license needs to be downloaded to a camera running the new firmware to actually activate the function.

Sony a7 IV f/w v3.00

As one of the most recently updated cameras on this list, the a7 IV gains fewer features than the other cameras here. But in addition to C2PA capability, it adds network streaming, direct cloud upload support and an expansion of the features accessible via software development kit (SDK).

Sony a9 III f/w v2.00 [Expected April 9th]

As the newest of the cameras here, the a9 III receives fewer additions and updates than the a1 and a7S III, as in many instances they are gaining the features that the latest a9 introduced. However, in addition to details such as outputting lens names in video file metadata, the a9 III gains the promised ability to use the camera’s full shutter speed range when continuous shooting. But beyond this, the a9 III gains a small array of feature expansions and refinements being added across the four cameras, including the ability to extract stills from video capture, to take advantage of its lack of rolling shutter.

{PressRelease}

Sony Electronics Delivers Firmware Updates including C2PA Compliancy as a Next Step to Ensure Authenticity of Images

SAN DIEGO, March 27, 2024 – Today, Sony Electronics delivers the highly anticipated firmware updates for the Alpha 1 (Ver. 2.00), Alpha 7S III (Ver. 3.00), Alpha 7 IV (Ver. 3.00), and after April 2024, the Alpha 9 III (Ver.2.00). The update contains some of Sony’s most impactful technology, including Camera Authenticity Solution, the proprietary in-camera digital signature and C2PA (Coalition for Content Provenance and Authenticity) format support1. Together, these tools will make it possible for news agencies to ensure the authenticity of images, contributing to industry efforts to protect creators, and society from fake imagery.

Additionally, the firmware updates include many requested features to improve everyday use. The update evolves shooting functions and post-shooting workflow and brings advanced movie features like breathing compensation. It also includes new remote-control capabilities, new features for professional applications, and expanded access to cloud services applications.

“There is nothing more core to our mission than listening to the voices of the photographers, videographers, and filmmakers who shoot with Sony Alpha cameras. We know this community has been asking for these updates, and we’re happy to deliver. Each of these updates are designed to promote ease of use for our creators and allow them to maximize the strengths of their cameras,” says Yang Cheng, Vice President, Imaging Solutions, Sony Electronics Inc. “We’re especially pleased to deliver C2PA compliancy with this update. This compliancy paired with our unique digital signature technology, allows us to offer the most secure and comprehensive solution to protect professional photographers, news agencies, and society from manipulated imagery.”

Camera Authenticity Solution

Last year, Sony announced its commitment to developing technology in its cameras to aid in the fight against manipulated imagery and AI-generated fakes. The severity of this issue is only increasing and it’s a complex problem that requires the focus and attention of our entire industry.

One critical part of the solution is making more Sony cameras C2PA compliant. C2PA is a Joint Development Foundation project, where Sony is a steering committee member. C2PA aims to develop an end-to-end open technical standard to provide publishers, creators and consumers with opt-in, flexible ways to understand the authenticity, and provenance of different types of media. The C2PA is a standards-setting body that will develop technical specifications on content provenance and authentication by certifying the source and history of media content. With this firmware update, the authenticity information embedded on images from Alpha 1, Alpha 9 III, Alpha 7S III, and Alpha 7 IV can be maintained from capture through publication. This provides professional photographers with the ability to preserve their digital signature from the camera, while tracking the editing history throughout revisions.

Another critical component of the solution is Sony’s in-camera digital signature technology2 that signs images in real-time. This new feature certifies the authenticity of an image at the point of capture and creates a ‘digital birth certificate’ that is retained throughout revisions. The signature contains metadata including 3D-depth information captured through the proprietary technology in the image sensor developed by Sony. This depth information can show if the image captured was of an actual 3D object, vs a photograph of an image or video, providing an extra level of protection and even more assurance of the content’s authenticity, and making Sony’s solution especially unique for photojournalists and news agencies.

Sony’s solution also helps protect the authenticity of content by including an Image Validation Site, which verifies the image even after edits have been made by C2PA-compliant editing software. This service confirms the authenticity of the photo was taken by a specific camera and that the object of the photo is 3D. This service will initially be offered to select news media agencies, expanding to other agencies at a later date.

Sony’s Camera Authenticity Solution overview diagram
Example image of 3D Image verification

Shooting and Playback Updates

The firmware updates include over 10 new features, as well as improvements to existing features, designed to improve the user’s overall shooting experience. These improved capabilities showcase Sony’s commitment to continuing to evolve the functionality of Sony’s existing camera models. A few highlights of the firmware update functions include:

  • Relay Playback: Enables seamless sequential playback from one memory card slot to another on the Alpha 1, Alpha 7S III, and Alpha 9 III.
  • Playback Filter Condition: Lets users categorize image playback based on select criteria including date, folder, file format, and more on the Alpha 1 and Alpha 7S III
  • Breathing Compensation: The highly requested Breathing Compensation function3 is now available on the Alpha 1 and Alpha 7S III.
  • Upgrade DCI 4K / 24.00p Upgrade License on Alpha 7S III: via a free downloadable license through Creators’ Cloud4.
  • Sync Release function: Enables simultaneous shutter release with two or more multiple cameras connected to the main camera5 on the Alpha 1 and Alpha 9 III.
  • Focus frame display: Focus frame will be displayed on the Remote Camera Tool screeniii on the Alpha 1 and Alpha 9 III.
  • Enhanced image stabilization: The camera body and lens effectively work together to correct larger blurs6 on the Alpha 1.
  • Increased upper limit of recordable images in a folder from 4,000 to 9,999 on the Alpha 1, Alpha 7S III, A7 IV, and Alpha 9 III.
  • Matching the time code with other devices is now possible with a dedicated adapter cable (sold separately)7 on the Alpha 1 and Alpha 7S III.
  • Up to 20 IPTC presets can be on the Alpha 1 and Alpha 7S III.
  • Custom Grid Line is available as a paid license basis for some models8.

File Transfer and Network Connectivity

Additional updates aimed to optimize the post-production workflow efficiency include improvements to International Press Telecommunications Council (IPTC) preset and File Transfer Protocol (FTP) transfer operability. To streamline processes for users, expanded cloud upload and application services will be available. Key updates include:

  • Cloud upload (camera direct) function allows users to upload images directly to the Sony’s Creators’ Cloud9. Key additional features include simplified camera software updates, direct camera registration to the Creators’ Cloud, and a flexible system for uploading, storing, and sharing content. Additionally, the capability to manage video and LUT files via mobile apps, along with the transfer of RAW files to smartphones, optimizes the creative process in fast-paced environments.
  • FTP Transfer Improvements: A “Protected Images Only” option for the Auto FTP Transfer and a “Protect Image in FTP Transfer” option for the FTP transfer function have been added. Available on the Alpha 1, Alpha 7S III, and Alpha 9 III.
  • Support for USB streaming10 on the Alpha 1.
  • Secure File Transfer Protocol (SFTP) has been added to secure protocol on the Alpha 1, Alpha 7S III, and Alpha 9 III and WPA3-SAE is now supported for wireless LAN on the Alpha 1 and Alpha 7S III.
  • Network streaming enables direct live streaming from the Alpha 7 IV to a streaming sitevii.
  • Expansion of app support with Creators’ App and Monitor & Control app now supported with the Alpha 1 and Alpha 7S III.

Many of these updates are applicable to multiple cameras, however for a list of each body’s specific update please check the Sony website.

Exclusive stories and exciting new content shot with Sony’s imaging products can be found at www.alphauniverse.com, a site created to educate and inspire all fans and customers of Sony α – Alpha brand.

1. This feature is available to some news organizations at the press release timing.
2. Both Sony’s in-camera digital signature technology and C2PA compliancy are currently available through a separate upgrade license.
3. For compatible lens information, please refer to the support page (https://www.sony.net/dics/breathing/)
4. For regional app/service availability, check here. To use this service, it is necessary to download and install the upgrade license.
5. Remote Camera Tool Version 4.1.0 is required to activate the function.
6. For compatible lens information, please refer to the support page (https://www.sony.net/dics/func1002/)
7. A dedicated adapter cable, which is sold separately, is required to connect to the timecode source equipment.
8. Availability varies depending on country and region. Available through the Upgrade and License Management Suite at https://ulms.sony.net.
9. For regional app/service availability, check here. Creators’ App Ver.2.3.1 or later is necessary. Settings must be made in the Creators’ App in advance. For more information, please visit the Creators’ App support website (https://www.sony.net/ca/help/opr/)

10. When connecting to a device with a USB Type-C port, please use a commercially available USB cable or a conversion adapter.

{/PressRelease}



Source link

Continue Reading

Trending

Copyright © 2017 Zox News Theme. Theme by MVP Themes, powered by WordPress.