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Why Raw video might not be the game-changer you expect

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Why Raw video might not be the game-changer you expect
External recorders such as the Atomos Ninja V shown here can encode a Raw video stream into a formats such as Apple’s ProRes RAW.

Raw video has become something of a talking point as more and more cameras have provided a way of capturing or outputting Raw video data streams. But, for a couple of reasons, Raw video doesn’t offer the same benefits that photographers are used to enjoying, when they shoot stills.

Raw video formats

There are multiple types of Raw available and the experience of using each will differ somewhat, but the underlying benefits are broadly similar. RED and ARRI use their own Raw formats, currently only offered on their own cameras. But for non-pro work, it’s much more likely that you’ll encounter CinemaDNG, ProRes RAW or BRaw.

Adobe’s CinemaDNG is an open system based on its stills DNG format, offered natively on the Sigma fp and some external recorders. Atomos has licensed Apple’s ProRes RAW format and BlackMagic Design has created its own BRaw format, both of which allow their external recorders to encode the Raw output streams from a variety of popular cameras.

So, before you add it to your must-have list of features for your next camera (or your list of camera features for brand-loyal point-scoring arguments in the comments), let’s look at why you might not want to dive into Raw shooting just yet.

We’re going to focus on ProRes RAW in this article, since its adoption by Atomos means it’s the Raw video format available to the widest number of camera models, at present. But many of the points are applicable to other formats, to a greater or lesser degree.

1) There’s a lot of extra work to be done

The first time you look at a Raw video file, the first thing you’re likely to notice is how much processing your camera usually does when creating video. For a start, the video is likely to need some re-sizing: both the Panasonic S-series cameras and Sony’s a7S III output roughly 16:9 regions taken from the full width of their sensors, meaning 5.9K or 4.2K, respectively. The Nikon Z6 instead sub-samples its sensor, in order to output an unprocessed UHD signal. Unfortunately, this pixel skipping reduces resolution and introduces moiré, compared with the in-camera 5.9K-derived footage. It also results in noisier footage, because it’s not using all the available pixels.

Once downsized, there’s still a lot of work to be done. You’ll need to find a sharpening and noise reduction strategy that suits your camera’s output, which is likely to require a fair degree of experimentation with different settings and plugins, if you want results that look as clean or sharp as the camera’s own compressed footage. Then there’s the need to reduce and mask any moiré in the footage: something your camera is likely to be doing pretty well without you realizing it.

2) The software support isn’t especially polished

Beyond gaining finer control over the processing applied to your footage, perhaps the two strongest reasons for wanting to shoot Raw are that it should give you greater flexibility over tonal adjustments (ability to brighten footage, adjust curves and exploit dynamic range) and the ability to make big white balance adjustments without detrimental impact on the footage.

Even when they’re available, the Raw adjustment tools in Final Cut Pro are limited and duplicate the function (though not effect) of existing tools elsewhere in the interface.

In the case of ProRes RAW, the tools available to make these adjustments aren’t always particularly polished, despite Apple controlling both the format and Final Cut Pro. Not all cameras appear to communicate enough information in their data streams, meaning the Raw adjustment controls for white balance and brightness (‘ISO’) are not available for some cameras.

For instance in Final Cut Pro these options, when available, are simple pull-downs in the ‘Info’ tab, rather than full tools in the video or color inspector tabs. And, because they’ve been added on later, when they are available their functions overlap with the existing brightness and white balance tools designed for use on gamma-encoded footage. The result is a rather inelegant duplication of options, which have different ways of working and differing effectiveness.

Raw output options are becoming increasingly common. This image shows the Sony a7S III which can output 4.2K Raw at up to 60p.

Our best experiences so far have been with the likes of REDRaw, which can be adjusted using tools designed to match the camera.

3) There’s less potential for improvement.

The other important thing to recognize is that Raw video won’t give as much of an improvement over gamma-encoded, compressed footage as you’d experience when comparing JPEG files to Raw stills.

As well as having more powerful adjustment software available for photography, the difference between the two filetypes used for stills is greater. For photos, the option is typically between 8-bit JPEGs and 12 or 14-bit Raw files, and these JPEGs are designed as final images. As such, they’ve typically had very aggressive S-shaped tone curves applied to them, to give a punchy final result. Looking at a typical JPEG tone curve, we found that around 174 (of 256) data values were committed to the four-stop range centered on middle grey. With just 32% of the available data values available for the other five stops of shadows and highlights, it should come as no surprise that there’s not much scope for adjusting the highlights or exploiting additional dynamic range from the shadows.

This JPEG tone curve, taken from a camera’s standard color mode, devotes around 68% of its values to the two stops on either side of middle grey. As you can imagine, trying to make significant adjustments to the highlights or shadows, squeezed into the remaining values, doesn’t work very well.

But in video the next-best thing to Raw isn’t an 8-bit file with priority given to mid-tones; it’s more likely to be a 10-bit file in which roughly equal importance is given to every tone in the footage, specifically with the intention of preserving the ability to make adjustments. Apple doesn’t give enough information about the ProRes RAW format, meaning we can’t be sure what happens when the 16, 14 or 12-bit linear Raw readout from the camera is encoded into the 12-bits that ProRes RAW uses.

A Log curve (Sony’s S-Log3 in this instance) distributes the available values much more equally. This arrangement and the move from 8 to 10-bit precision maintains a great deal more editing flexibility than the JPEG represented above. Consequently, there’s less of a gain to be had by moving to Raw.

This lack of disclosure makes it difficult to make exact comparisons, but the difference, in terms of how much of the original information is retained between a Log-encoded 10-bit signal and a (presumably) quasi-linear 12-bit capture, is going to be much, much smaller than the difference between JPEGs and Raw stills. This is also why Raw video, with a single 12-bit value for every pixel, isn’t unbearably large by comparison with gamma-encoded footage (which has to retain up to three 10-bit values per pixel, depending on the chroma sub-sampling and group-of-pictures compression scheme being used).

Changing ‘ISO’

RED cameras don’t change in-camera amplification when you change the ISO setting, and just brighten the footage to match your choice of rendering in ‘post. Similarly, some Sony pro video cameras, such as the FX6 and FX9 include a ‘Cine EI’ (EI = Exposure Index) mode, which locks the cameras to one of the two gain steps of their dual gain sensors, again with the expectation that the output can be brightened later, as needed. In principle this should be possible with any ProRes RAW footage but the processing software would need to know how much gain had already been applied to the footage.

We suspect the lack of communication about which ISO mode has been used (especially in Auto ISO mode, where in-camera amplification could change within a single clip) is part of the reason the ‘ISO’ adjustment option isn’t available for all cameras. In principle, once implemented, it would be possible to use the likes of the Z6 II, S1H or a7S III as an ‘EI’ camera, always shooting at a base ISO setting to allow the greatest possible adjustment, later.

Importantly, this means ProRes RAW should still give you lots of flexibility in terms of white balance (so long as the color channels haven’t been rendered and ‘baked’ relative to one another), but you won’t gain the leaps in dynamic range and tonal adjustment that you get with processing Raw stills. In fact your dynamic range may fall if the Raw comes from noisier, sub-sampled output.

Other ‘Raw’ video formats appear to demosaic (resolve the color for each pixel) and chroma sub-sample before recording the file, which would reduce some of this white balance flexibility, too.

In summary

Raw video is clearly going to become more common. With cameras starting to include internal capture, and manufacturers recognizing the benefits of working with companies such as Atomos and BlackMagic Design to offer external capture, it’s only likely to become more accessible.

In turn, the usefulness of Raw video is likely to increase as adoption increases and software makers get better at providing and integrating the tools needed to make the most of it.

And working from Raw still gives you some degree of additional control over:

  • Image processing and noise reduction
  • Brightness, tonal distribution and dynamic range
  • white-balance adjustments

However it’s not going to be as dramatic a difference as you see with stills. And, given there’s already a well-established approach for capturing high-DR, flexible footage and most editing software already provides the tools to make use of it, for now you may find a camera with well-processed 10-bit Log capture is a more practical way to shoot gradable footage.

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

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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.


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

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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.


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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)



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

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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}



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