For this years Glastonbury festival I chose to use a combination of a Sony A1, FX3 and FX30 (we also used a DJI Pocket 3 and a Wirral wire cam). These are all small cameras and the screens on the back of them really rather small. So, I wanted to use an external monitor to make it easier to be sure I was in focus.
Using the Portkeys LH7P with a Sony A1 at Glastonbury Festival
I have been aware of the Portkeys monitors for some time, and in particular their ability to remotely control the Sony cameras via WiFi. So this seemed like the perfect opportunity to try out the LH7P as it would give me the ability to control the cameras touch tracking autofocus using the monitors touch screen. So, I obtained a demo unit form Portkeys to try. Click here for the Portkeys LH7P specs.
The Portkeys LH7P with a Sony FX3
I have to say that I am pretty impressed by how well this relatively cheap monitor performs. It has a 1000 Nit screen so it’s pretty bright and overall the colour and contrast accuracy is pretty good. It won’t win any awards for having the very best image, but it is pretty decent and certainly good enough for most on camera applications.
The LH7P is HDMI only, but this helps keep the weight and power consumption down. While mostly made of plastic it does feel robust enough for professional use. But I wouldn’t be rough with it.
The monitor is very thin and very light. It runs off the very common Sony NP-F style batteries or via a DC in socket that accepts 7 to 24 volts, a surprisingly large range that allows you to use it with almost any battery found in the world of film and TV. It uses very little power at around 9 watts, so the larger NP-F type batteries will run it for at least 3 or 4 hours.
It’s a touch screen monitor and the touch operated menu system is quite straightforward. One small issue is that if you are using the monitors touchscreen to control the cameras touch autofocus you can’t also use the touchscreen to access the menu system or change the cameras other settings, it’s one or the other. When connected to a camera, to use the monitors menus or access the camera settings you must have the touch tracking focus control turned off. If you are using the touch tracking controls there are 4 assignable buttons on the top of the monitor and you can assign things like peaking, zebras, false colour etc to these, so most of the time having to choose between touch focus or touch menus isn’t a big drama as these switches can be used to turn on and off your most commonly used exposure and focus tools. But you do have to remember to turn off the touch tracking if you want to change another setting from the monitor.
When you are using the monitor to control the touch tracking it is very responsive and because there is very minimal latency due to the direct HDMI connection to the camera it works well, just touch where you want the camera to focus. The only downside is that you don’t get a tracking box on the monitors screen. This is because Sony don’t output the tracking box overlay over the HDMI.
As a result there may be times where you do need to look at the LCD on the back of the camera to see what the camera is tracking. When I used it a Glastonbury I didn’t really find this to be too much of a problem, f I was unsure of what the camera was focussing on, I simply touched the LH7P’s screen where I wanted to focus.
Pairing the monitor with the camera is simple, but you do need to make sure the cameras wifi is set to 2.4Ghz as this is the only band the monitor supports. To see how to pair it with an FX3 please watch the video linked above. Once connected I found the connection to be very stable and I didn’t experience any unexpected disconnects, even when the venue at Glastonbury was completely full.
The LH7P screen with camera control activated
I have to say that this low cost monitor has really surprised me. The image quality is more than acceptable for a 7″ monitor and controlling the camera via the monitors touch screen is a very nice way to work, especially given the small size of the LCD screen on a camera like the FX3 or A1. I haven’t had it all that long, so I don’t know what the long term reliability is like, but for what it costs it represents excellent value.
I’m running a film making workshop around “how to get the film look” in Dubai for Nanlite and Sony on the 25th of May. During the workshop I will be showing how to expose S-Log3 on the Sony FX series cameras, how to use CineEI and then looking at film style lighting using Nanlite fixtures. We will look at a couple of different types of scenes, an office, a romantic scene and also at how to light for greenscreen.
I will also be at Cabsat 2024, so do drop by the Nanlite booth to say hello.
This is part 2 of my 2 part look at whether small cameras such as a Sony FX3 or A1 really can replace full size cinema cameras.
For this part of the article to make sense you will want to watch the YouTube clips that are linked here full screen at at the highest possible quality settings, Preferably 4K. Please don”t cheat, watch them in the order they are presented as I hope this will allow you to understand the points I am trying to make better.
Also, in the videos I have not put the different cameras that were tested side by side. You may ask why – well it’s because if you do watch a video online or a movie in a cinema you don’t see different cameras side by side on the same screen at the same time. A big point of all of this is that we are now at a place where the quality of even the smallest and cheapest large sensor camera is likely going to be good enough to make a movie. It’s not necessarily a case of is camera A better than camera B, but the question is will the audience know or care which camera you used. There are 5 cameras and I have labelled them A through to E.
The footage presented here was captured during a workshop I did for Sony at Garage Studios in Dubai (if you need a studio space in Dubai they have some great low budget options). We weren’t doing carefully orchestrated camera tests, but I did get the chance to quickly capture some side by side content.
So lets get into it.
THE FINAL GRADE:
In many regards I think this is the most important clip as this is how the audience would see the 5 cameras. It represents how they might look at the end of a production. I graded the cameras using ACES in DaVinci Resolve.
Why ACES? Well, the whole point of ACES is to neutralise any specific camera “look”. The ACES input transform takes the cameras footage and converts it to a neutral look that is meant to represent the scene as it actually was but with a film like highlight roll off added. From here the idea is that you can apply the same grade to almost any camera and the end result should look more or less the same. The look of different cameras is largely a result of differences in the electronic processing of the image in post production rather than large differences in the sensors. Most modern sensors capture a broadly similar range of colours with broadly similar dynamic range. So, provided you know the what recording levels represent what colour in the scene, it is pretty easy to make any camera look like any other, which is what ACES does.
The footage captured here was captured during a workshop, we weren’t specifically testing the different cameras in great depth. For the workshop the aim was to simply show how any of these cameras could work together. For simplicity and speed I manually set each camera to 5600K and as a result of the inevitable variations you get between different cameras, how each is calibrated and how each applies the white balance settings there were differences between in the colour balance of each camera.
To neutralise these white balance differences the grading process started by using the colour chart to equalise the images from each camera using the “match” function in DaVinci Resolve. Then each camera has exactly the same grade applied – there are no grading differences, they are all graded in the same way.
Below are frame grabs from each camera with a slightly different grade to the video clips, again, they all look more or less the same.
The graded image from camera A. Click on the image to view the full resolution image.
The graded image from camera B. Click on the image to view the full resolution image.
The graded image from camera C. Click on the image to view the full resolution image.
The graded image from camera D. Click on the image to view the full resolution image.
The graded image from camera E. Click on the image to view the full resolution image.
The first thing to take away from all of this then is that you can make any camera look like pretty much any other and a chart such as the “color checker video” and software that can read the chart and correct the colours according to the chart makes it much easier to do this.
To allow for issues with the quality of YouTube’s encoding etc here is a 400% crop of the same clips:
What I am expecting is that most people won’t actually see a great deal of difference between any of the cameras. The cheapest camera is $6K and the most expensive $75K, yet it’s hard to tell which is which or see much difference between them. Things that do perhaps stand out initially in the zoomed in image are the softness/resolution differences between the 4K and 8K cameras, but in the first un cropped clip this difference is much harder to spot and I don’t think an audience would notice especially if the one camera is used on it’s own so the viewer has nothing to directly compare it with. It is possible that there are also small focus differences between each camera, I did try to ensure each was equally well focussed but small errors may have crept in.
WHAT HAPPENS IF WE LIFT THE SHADOWS?
OK, so lets pixel peep a bit more and artificially raise the shadows so that we can see what’s going on in the darker parts of the image.
There are differences, but again there isn’t a big difference between any of the cameras. You certainly couldn’t call them huge and in all likelihood, even if for some reason you needed to raise or lift the shadows by an unusually large amount as done here (about 2.5 stops) the difference between “best” and “worst” isn’t large enough for it to be a situation where any one of these cameras would be deemed unusable compared to the others.
SO WHY DO YOU WANT A BETTER CAMERA?
So, if we are struggling to tell the difference between a $6K camera and a $75K one why do you want a “better” camera? What are the differences and why might they matter?
When I graded the footage from these cameras in the workshop it was actually quite difficult to find a way to “break” the footage from any of them. For the majority of grading processes that I tried they all held up really well and I’d be happy to work with any of them, even the cameras using the highly compressed internal recordings held up well. But there are differences, they are not all the same and some are easier to work with than the others.
The two cheapest cameras were a Sony FX3 and a Sony A1. I recorded using their built in codecs, XAVC-SI in the FX3 and XAVC-HS in the A1. These are highly compressed 10 bit codecs. The other cameras were all recorded using their internal raw codecs which are either 16 bit linear or 12 bit log. At some time I really do need to do a proper comparison of the internal XAVC form the FX3 and the ProResRaw that can be recorded externally. But it is hard to do a fully meaningful test as to get the ProResRaw into Resolve requires transcoding and a lot of other awkward steps. From my own experience the difference in what you can do with XAVC v ProResRaw is very small.
One thing that happens with most highly compressed codecs such as H264 (XAVC-SI) or H265(XAVC-HS) is a loss of some very fine textural information and the image breaking up into blocks of data. But as I am showing these clips via YouTube in a compressed state I needed to find a way to illustrate the subtle differences that I see when looking at the original material. So, to show the difference between the different sensors and codecs within these camera I decided to pick a colour using the Resolve colour picker and then turn that colour into a completely different one, in this case pink.
What this allows you to see is how precisely the picked colour is recorded and it also shows up some of the macro block artefacts. Additionally it gives an indication on how fine the noise is and the textural qualities of the recording. In this case the finer the pink “noise” the better, as this is an indication of smaller, finer textural differences in the image. These smaller textural details would be helpful if chroma keying or perhaps for some types of VFX work. It might (and say might because I’m not convinced it always will) allow you to push a very extreme grade a little bit further.
I would guess that by now you are starting to figure out which camera is which – The cameras are an FX3, A1, Burano, Venice 2 and an ArriLF.
In this test you should be able to identify the highly compressed cameras from the raw cameras. The pink areas from the raw cameras are finer and less blocky, this is a good representation of the benefit of less compression and a deeper bit depth.
Camera A. Click on the image to view the full resolution image.
Compression and codec Camera B. Click on the image to view the full resolution image.
Compression and codec Camera C. Click on the image to view the full resolution image.
Compression and codec Camera D. Click on the image to view the full resolution image.
Compression and codec Camera E. Click on the image to view the full resolution image.
But even here the difference isn’t vast. It certainly, absolutely, exists. But at the same time you could push ANY of these cameras around in post production and if you’ve shot well none of them are going to fall apart.
As a side note I will say that I find grading linear raw footage such as the 16 bit X-OCN from a Venice or Burano more intuitive compared to working with compressed Log. As a result I find it a bit easier to get to where I want to be with the X-OCN than the XAVC. But this doesn’t mean I can’t get to the same place with either.
RESOLUTION MATTERS.
Not only is compression important but so too is resolution. To some degree increasing the resolution can make up for a lesser bit depth. As these camera all use bayer sensors the chroma resolution will be somewhat less than the luma resolution. A 4K sensor such as the one in the FX3 or the Arri LF will have much lower chroma resolution than the 8K A1, Burano or Venice 2. If we look at the raised shadows clip again we can see some interesting things going on the the girls hair.
If you look closely camera D has a bit of blocky chroma noise in the shadows. I suspect this might be because this is one of the 4K sensor cameras and the lower chroma resolution means the chroma noise is a bit larger.
I expect that by now you have an idea of which camera is which, but here is the big reveal: A is the FX3, B is the Venice 2, C is Burano, D is an Arri LF, and E is the Sony A1.
What can we conclude from all of this:
There are differences between codecs. A better codec with a greater bit depth will give you more textural information. It is not necessarily simply that raw will always be better than YUV/YCbCr but because of raws compression efficiency it is possible to have very low levels of compression and a deep bit depth. So, if you are able to record with a better codec or greater bit depth why not do so. There are some textural benefits and there will be fewer compression artefacts. BUT this doesn’t mean you can’t get a great result from XAVC or another compressed codec.
If using a bayer sensor than using a sensor with more “K” than the delivery resolution can bring textural benefits.
There are differences in the sensors, but these differences are not really as great as many might expect. In terms of DR they are all actually very close, close enough that in the real world it isn’t going to make a substantial difference. As far as your audience is concerned I doubt they would know or care. Of course we have all seen the tests where you greatly under expose a camera and then bring the footage back to normal, and these can show differences. But that’s not how we shoot things. If you are serious about getting the best image that you can, then you will light to get the contrast and exposure that you want. What isn’t in this test is rolling shutter, but generally I rarely see issues with rolling shutter these days. But if you are worried about RS, then the Venice 2 is excellent and the best of the group tested here.
Assuming you have shot well there is no reason why an audience should find the image quality from the $6K FX3 unacceptable, even on a big screen. And if you were to mix and FX3 with a Venice 2 or Burano, again if you have used each camera equally well I doubt the audience would spot the difference.
BACK TO THE BEGINNING:
So this brings me back to where I started in part 1. I believe this is the age of the small camera – or at least there is no reason why you can’t use a camera like an FX3 or an A1 to shoot a movie. While many of my readers I am sure will focus on the technical details of the image quality of camera A against camera B, in reality these days it’s much more about the ergonomics and feature set as well as lens and lighting choices.
A small camera allows you to be quick and nimble, but a bigger camera may give you a lot more monitoring options as well as other things such as genlock. And….. if you can – having a better codec doesn’t hurt. So there is no – one fits all – camera that will be the right tool for every job.
As Sony’s new Burano camera starts to ship – a relatively small camera that could comfortably be used to shoot a blockbuster movie we have to look at how over the last few years the size of the cameras used for film production has reduced.
Which was shot with an 8K Venice 2 and which was shot with a 4K FX3?
Only last year we saw the use of the Sony FX3 as the principle camera for the movie the Creator. What is particularly interesting about the Creator is that the FX3 was chosen by the director Gareth Edwards for a mix of both creative and financial reasons.
To save money or to add flexibility?
To save money, rather than building a lot of expensive sets Edwards chose to shoot on location using a wide and varied range of locations (80 different locations) all over Asia. To make this possible he used a smaller than usual crew. Part of the reasoning that was given was that it was cheaper to fly a small crew to all these different locations than to try to build a different set for each part of the film. The film cost $80 million to make and took $104 million in the box office, a pretty decent profit at a time when many movies take years to break even.
FX3 on gimbal during the filming of The Creator
The FX3 was typically mounted on a gimbal and this allowed them to shoot quickly and in a very fluid manner, making use of natural light where possible. A 2x anamorphic lens was used and the final delivery aspect ratio was a very wide 2.76:1. The film was edited first and then when the edit was locked down the VFX elements were added to the film. Modern tracking and rotoscoping techniques make it much easier to add VFX into sequences without needing to use green or blue screen techniques and this is one of those areas where AI will become a very useful and powerful tool.
You don’t NEED a big camera, but you might want one.
So, what is clear is that you don’t NEED a big camera to make a feature film and The Creator demonstrates that an FX3 (recording to an Atomos Ninja) offers sufficient image quality to stand up to big screen presentation. I don’t think this is really anything new, but we have now reached the stage where the difference in image quality between a cheap $1500 camera like the FX30 and a high end “cinema” camera like the $70K Venice 2 is genuinely so small that an audience probably won’t notice.
There may be reasons why you might prefer to have a bigger camera body – it does make mounting accessories easier and will often have much better monitoring and viewfinder options. And you may argue that a camera like Venice can offer greater image quality (as you will see in part 2 – it technically does have a higher quality image than the FX3), but would the audience actually be able to see the difference and even if they can would they actually care? And what about post production – surely a better quality image is a big help with post – again come back for part 2 where I explore this in more depth.
Which is the Arri LF and which is the Sony A1?
And small cameras will continue to improve. If what we have now is already good enough things can only get better.
8K Benefits??
Since the launch of Burano I’ve become more and more convinced of the benefits of an 8K sensor – even if you only ever intend to deliver in 4K, the extra chroma resolution from actually having 4K of R and B pixels makes a very real difference. Venice 2 really made me much more aware of this and Burano confirms it. Because of this I’ve been shooting a lot more with the Sony A1 (which possibly shares the same sensor as Burano). There is something I really like about the textural quality in the images from the A1, Burano and Venice 2 (having said that after spending hours looking at my side by side test samples from both 4K and 8K cameras while the difference is real, I’m not sure it will always be seen in the final deliverable). In addition when using a very compressed codec such as the XAVC-HS in the A1 recording at 8K leads to smaller artefacts which then tend to be less visible in a 4K deliverable. This allows you to grade the material harder than perhaps you can with similarly compressed 4K footage. The net result is the 10 bit 8K looks fantastic in a 4K production.
Sony A1 cropped and zoomed in 6x.
I have to wonder if The Creator wouldn’t have been better off being shot with an A1 rather than an FX3. You can’t get 8K raw out of an A1, but the extra resolution makes up for this and it may have been a better fit for the 2x anamorphic lens that they used.
So many choices….
And that’s the thing – we have lots of choices now. There are many really great small cameras, all capable of producing truly excellent images. A small camera allows you to be nimble. The grip and support equipment becomes smaller. This allows you to be more creative. A lot of small cameras are being used for the Formula 1 movie, small cameras are often mixed with larger cameras and these days the audience isn’t going to notice.
Plus we are seeing a change in attitudes. A few years ago most cinematographers wouldn’t have entertained the idea of using a DSLR or pocket sized camera as the primary camera for a feature. Now it is different, a far greater number of DP’s are looking at what a small camera might allow them to do, not just as a B camera but as the A camera. When the image quality stops being an issue, then small might allow you to do more.
This doesn’t mean big cameras like Venice will go away, there will always be a place for them. But I expect we will see more and more really great theatrical releases shot with cameras like the FX3 or A1 and that makes it a really interesting time to be a cinematographer. Again, look at The Creator – this was a relatively small budget for a science fiction film packed with CGI and other effects. And it looked great. Of course there is also that middle ground, a smaller camera but with the image quality of a big one – Burano perhaps?
In Part 2……
In part 2 I’m going to take some sample clips that I grabbed at a recent workshop from a Venice 2, Burano, A1 and FX3 and show you just how close the footage from these cameras is. I’ll also throw in some footage from an Arri LF and then I’ll “break” the footage in post production to give you an idea of where the differences are and whether they are actually significant enough to worry about.
When you have millions of pixels on a video sensor it isn’t surprising to find that every now and then one or two might go out of spec and show up in your footage as a white dot. These “hot” pixels are most commonly seen when using high ISO’s or the upper of the cameras two base ISO’s. Hot pixels are not uncommon and they are not something to worry about.
The Fix:
Thankfully the issue is easily resolved by going to the cameras main menu and – Setup Menu – Setup Option – Pixel Mapping. Then cap the lens or cap the camera body and run the pixel mapping. It only takes around 30 seconds and it should eliminate any white, black or coloured sensor pixel issues. The camera will ask you to do this periodically anyway and you should do it regularly, especially after flying anywhere with the camera.
Sensor pixels can be damaged by energetic particles that come from cosmic events. So a hot pixel can appear at any time and without warning. They are not something to worry about, it is normal to get some bad pixels from time to time over the life of a camera. When you travel by air there is less of the atmosphere to protect your camera from these particles, so there is a higher than normal likelihood of one going out of spec. Polar air routes are the worst as the earths magnetic field tends to funnel these particles towards the north and south poles. So, whenever you fly with your camera it is a good idea to run Pixel Mapping (or APR if you have an FX6, FX9 etc) before you start shooting.
Every January I run tours to northern Norway in the hope of seeing the Northern Lights. Over the years I have been incredibly lucky and to date, every single tour I have run has seen the Northern lights. I’ve taken all sorts of cameras on these tours, everything from optical disc camcorders (PDW-700), solid state camcorders including the original Sony EX1 and most of Sony’s large sensor video cameras from FS100 to the FX9.
All of these cameras are fairly bulky and require larger tripods and battery systems. In addition, I have always taken a stills camera to shoot timelapse of the Aurora. This year I decided to downsize the equipment I was taking, so instead of taking a full-size video camera I decided to take 2 small cameras.
I already have an FX3, which is a great camera and extremely good in low light. Being part of the Sony Cinema line, it has Sony’s very nice looking Venice based colour science as well, can shoot using S-Log3 as well as the handy what you see is what you get S-Cinetone gamma curve. I know this camera well and I knew it would be a good choice for the challenges I would encounter in Norway. To compliment the FX3 I also decided to take a Sony A1. The A1 (or Alpha 1) is Sony’s flagship compact mirrorless stills camera. As well as amazing photo performance the A1 also promises much as a video camera. It’s 50.1 megapixel sensor allows it to shoot high quality video at 8K. Like the FX3 the A1 can record using S-Log3 and offers similar dynamic range to the FX3.
Sony Alpha A1
Need for Speed – fast lenses.
For many years my main lens for shooting the Northern Lights has been the Sigma 20mm f1.4. This is a great lens, but it is quite heavy and I’ve never found the autofocus on this lens to be all that good. I already have Sony’s 20mm f1.8 and this is a great lens for the money. But for the Northern Lights you really want your lenses to be as fast as possible.So for this trip I decided to take Sony’s 24mm f1.4 GM lens to see how that performed.
Sony 24mm f1.4 G Master lens – I really like this lens.
The other lens that I use extensively on trips like this is the much-underrated Sony 24-240mm zoom lens. This is a 10x zoom giving a huge range of focal lengths from pretty wide to nice and long. The aperture does ramp, going from f3.5 to f6.3 as you zoom in. But for the kinds of shoots I use this lens on this is rarely an issue. Todays cameras are so sensitive that f6.3 is plenty fast enough for all daytime applications. In northern Norway in the winter the temperature is typically -20c, often getting down as low an -35c. Changing lenses is not something you want to do unless you really must when it’s this cold, so a zoom lens is what I like to use when I’m out and about on the show scooters.
Shooting 8K with the A1.
Wherever I could I shot with the A1 in 8K. I recorded internally to CFExpress type A cards using the XAVC-HS codec. When shooting 8K at 24fps the file size is 7860×4320. It is 10 bit 4:2:0 and the bit rate is 400Mb/s. When you shoot 24p at 4K using the XAVC-SI codec the bit rate is 240MB/s, so you might wonder how it’s possible to record frames that in 8K are 4 times larger than 4K with a codec only half the size. The XAVC-HS codec is based on the latest H265 codec. H265 is an ultra efficient long GoP codec. Long GoP codecs can be very efficient as they record a master frame called an “I” frame and then for the next group of frames they only record the differences between the first “I” frame and the next “I” frame. The GoP (group of pictures) can be anywhere up to 180 frames long (but is typically 24 to 60 frames long). This method of compressing moving images is very effective and very efficient. But it can sometimes struggle with very complex images where there is a lot of random motion. Random motion cause issues for the motion prediction algorithms in the codec. In my own footage from Norway, I did notice some minor artefacts in the rippling water within shots across the Fjords.
Filming water can be a real challenge for long GoP codecs, but the A1 did very well.
Moving water is always going to be tough for a Long GoP codec, But I suspect that unless you were actually looking for the artefacts most people wouldn’t notice them. When I graded the A1 footage I also found other very minor artefacts if I pushed the footage hard during the grade. But having said all of that, overall, I think the footage from the A1 looks pretty amazing.
One thing you really do need to consider if you are thinking of using the A1 to shoot 8K is that the XAVC-HS HEVC codec requires a lot of extra processing power to decode. So, your computer needs to be a fast one. Preferably one made in the last couple of years as the most recent processors and graphics cards now include special optimisations for the HEVC codec that will really help.
The sensor in the A1 uses Sony’s latest multi-layer stacked technologies. It is surprisingly sensitive and very low noise. It has excellent dynamic range, around 14 stops which is typical of most current large sensor cameras and very pleasing colour response.
Frame grab from the Alpha A1.
The camera performed better than I expected in low light and while for me at least the A7SIII/FX3 and FX6 remain the kings of low light, the A1 isn’t actually all that far behind. This is particularly impressive when you consider that the pixels in the A1 are much smaller than the pixels in the A7SIII. Having said that, it does appear that the A7S3/FX3/FX6 sensor combines 4 photosites under a single colour filter to create a single “pixel” – could they both be based on a very similar sensor? The A1 sensor is 8640 x 5760 while the A7S3 sensor is 4240 x 2832, the numbers are close enough to believe the underlying sensor could be the same.
For a camera with so many pixels the A1 has a very low level of rolling shutter, you are highly unlikely to encounter any significant rolling shutter issues thanks to the 16ms readout time at 8K. Again, it is interesting to note that the 8.7ms readout of A7S3/FX3/FX6 at 4K is almost exactly half that of the A1 – further pointing to sensor similarities.
Golden Hour = Golden Day.
One of the great things about Norway in the winter is that when the skies are clear the very low sun means that you get golden hour light almost all day. The A1 did an excellent job of capturing the rich colours and deep shadows, especially that deep orange light that seems to make objects glow. Rather than going for a film style grade I chose to use a high contrast and vibrant grade for the sample video. I edited the footage in DaVinci Resolve using ACES colour management. The initial grading was done in HDR and I have uploaded an 8K HDR version for those of you that have an HDR TV or monitor.
Beautiful golden hour colours captured by the Sony A1
The days in northern Norway in January are very short and brutally cold. You only have to look at the shots of the dog sled driver to see how well wrapped up he is. It got down to -34c the day we went dog sledding. Even without a cover the A1 performed very well in the cold. There was some loss of battery life but this is to be expected. If you do find yourself shooting somewhere very cold, try to keep your batteries in an inside pocket until you need them to keep them warm.
At night I decided to use the A1 to shoot time-lapse of the Aurora while using the FX3 to video the Aurora. The A1 has a built in intervalometer so it’s very easy to shoot timelapse with it.
The 24mm f1.4 GM lens.
A frame of the Aurora taken with the A1
Shooting stars at night with a wide angle lens is very challenging. You have to be very careful to ensure that your stars and in good focus. I use the cameras built in image magnification to check and double check my focus. One thing that many wide lenses suffer from is an optical defect called “coma”. Often stars that should be a tiny round point of light will take on a slightly elongated appearance, looking like a comma sign or comet rather than a dot, especially towards the edges and corners of the frame. My Sigma 20mm has very little coma and it’s one of the reasons why I like it so much. But the Sony 24mm f1.4 has even less, in fact it is almost completely non-existent. The 24mm is also very, very sharp even wide open, there is no need to stop down to sharpen the image as with some other lenses. It is also a very compact lens and yet despite its small size and low weight it manages to fit in a proper iris ring as well as the large focus ring. Like most of Sony’s most recent lenses the 24mm GM has a linear focus ring. Linear focus means that the amount you turn the focus ring for any given focus change remains completely constant. As a result, you can manually pull focus from one object to another very easily as each time you shift the focus back to your starting point the focus ring will return to exactly the same position each time.
While not quite as wide as my 20mm the clarity and lack of distortions in the images from the 24mm GM means that this lens is now easily my favourite lens for shooting the Aurora or star fields. Of course, it is also very competent for shooting during the day as well. The autofocus is very fast and completely silent due to the use of linear focus motors. The extra assignable button on the lens body is also very handy.
Together the A1 and the 24mm GM were a delight to use. I have to admit that I am wondering whether an A1 could replace my FX3 or FX6. The richness of the 8K images from the A1 are impressive to say the least. I have done a few 8K projects for clients already, But I am not yet regularly delivering in 8K and I don’t think it will be something that I will be asked for regularly for a couple years yet. Besides, most of my clients that do want 8K are really going to want me to shoot on a Venice 2 rather than the A1. I also don’t think I can push the A1 8K images in post quite as much as I can the XAVC-S-I or XAVC-I from the FX3/FX6. Plus, when you do start to do any heavy image manipulation at 8K even my MacBook M1 Max starts to bog down (I actually find it easier to work with the 8K XOCN from Venice 2 than the 8K XAVC-HS from the A1). The FX3 will remain my main camera for my Aurora shoots for the next couple of year but perhaps I will need to start saving some pennies to add an A1 to my camera collection, it certainly impressed me and it would be nice to start shooting some of my stock footage in 8K.
NOTE: To watch the video in 8K you will need a monitor, TV or device capable of 8K playback. To view in HDR you will need to be using an HDR TV or HDR monitor. If you do not have an 8K or HDR TV/Monitor then YouTube will detect this and instead send you a standard dynamic range verison of the video at the highest resolution that your device can support. For the best viewing experience please watch using a HDR device that supports HDR10 ST2084/Rec2020.
The FX3’s larger brothers, the FX6 and FX9 have a function called “APR” that is used to periodically inspect every pixel on the sensor and normalise or map out any out of spec pixels. With modern 4K cameras having at least 8.8 million pixels the chances of a few going out of spec or being damaged by cosmic rays from time to time is quite high. So on the FX6 and FX9 you will get a reminder to perform the APR process around once a week.
From what I understand, the Alpha series cameras and FX3 also periodically perform a similar process automatically. Because these camera have a mechanical shutter to shut out any external light there is no need for any user intervention to perform this process so you will not be aware that it’s happening. On the FX6 and FX9 the user has to place a cap over the lens or sensor, hence why the camera asks you before it can happen.
But what if you find you have some bright or hot pixels with the FX3? Perhaps you have just travelled on a plane where the high altitude reduces the atmospheres damping effect of the high energy particles from space that can damage pixels. Well you can go into the camera’s menu system and force it to run its pixel mapping process which does the same thing as APR on the other cameras.
You need to go to:
MENU: (Setup) ? [Setup Option] ? select [Pixel Mapping] and then select OK. It doesn’t take long and I would recommend that you do this after flying on a plane or prior to any shoot where you will use large amounts of gain as this is when hot pixels are most likely to show up.
Most of sony’s cameras that support S-Log3 or Hybrid Log Gamma also have a function called Viewfinder Display Gamma Assist.
Viewfinder Display Gamma Assist allows you to monitor with the cameras built in LCD screen or viewfinder with the correct brightness and contrast range when using gamma curves that are not directly compatible with these Rec-709 screens.
Whenever you try to view a gamma curve that is not normal Rec-709 on a Rec-709 screen the brightness and contrast that you will see will be incorrect. The most common scenario is perhaps viewing S-Log3 without any form of LUT. In this case the images will look less bright and have less contrast than they should and this makes judging exposure difficult as well making it less easy to see focus errors.
With a camera like the FX6 or FX9 most people will use the cameras CineEI mode and add a LUT to the viewfinder image to convert the S-Log3 to something that looks more contrasty and on the FX6 and FX9 the default LUT is “s709”. However s709 is not the same thing as Rec-709 (Note that with the FX6, because LUTs are always available in the CineEI mode, viewfinder display gamma assist is not available in the CineEI mode of the FX6, you should instead use a LUT).
I think a lot of people think that the default s709 LUT is the same as Rec-709, it’s not, it is very different. They look very different and result in quite different brightness levels when exposed correctly. s709 when exposed correctly will put skin tones somewhere around 50-60% and white at 78%. If you expose s709 using normal Rec-709 brightness levels (70% skintones, 90% white) this is actually over exposed by just over 1 stop. As a result if you expose the s709 LUT, using Rec-709 levels, and then turn off the LUT and instead use Viewfinder Gamma Assist, the gamma assist will look wrong, it will be too bright and may look washed out and this is simply because the exposure IS wrong.
Almost always, if the viewfinder display gamma assist looks wrong, the exposure is wrong. When it looks right, the likelihood is the exposure is right.
A few things to understand:
The viewfinder is a Rec-709 range display device only capable of showing Rec-709 range and colour.
Feed true Rec-709 to a Rec-709 device and you will have a correct looking image with “normal” brightness, contrast and colour.
Feed S-Log3 to a Rec-709 device and you will have an incorrect dull, flat looking image due to the gamma miss-match between the capture gamma and display gamma.
Feed S-Log3 to a device with S-Log3 gamma and you will once again have the correct brightness and contrast as there is no longer a gamma miss-match (S-Log3 only appears to be flat due to the gamma missmatch between S-Log3 and Rec-709, use the right gamma and you will see that it is not actually flat).
Viewfinder Display Gamma Assist works by changing the gamma curve used in the Viewfinder to a gamma curve similar to S-Log3. When you view S-Log3 with a monitor with S-Log3 gamma you will have the correct contrast and brightness, so correct exposure will look correct.
But because the cameras LCD display screen can only show 6 to 7 stops you don’t get the full S-Log3 viewing range, just the central mid range part that is the direct equivalent of Rec-709. This very closely matches what you see if you use the Sony 709(800) LUT to convert the S-log3 to 709. The 709(800) LUT converts S-Log2 or S-Log3 to vanilla Rec-709 (70% skintones/90% white) with a knee that provides a slightly extended highlight range. It is broadly comparable to how most conventional Rec-709 cameras will look. So as a result viewfinder display gamma assist and Sony’s 709(800) LUT’s will look almost identical, while the s709 LUT will (and should by design) look different.
Viewfinder Display Gamma Assist is extremely useful for scenarios where you do not have a LUT option such as when shooting in CineEI in HD with the FX9. It can help you make good exposure assessments. It can make it easier to see when you are in focus. But it isn’t a LUT, so can’t be applied to the cameras outputs, only the built in viewfinder. Additionally if you use zebras, the waveform or histogram, gamma assist has no effect on these so you must remember that you are still measuring the levels of the actual recording gamma, not Rec-709 levels.
Viewfinder Gamma Assist is useful not only for shooting with S-Log but also when shooting using HLG (Hybrid Log Gamma). HLG is an HDR gamma curve and because the LCD viewfinder isn’t HDR you can’t correctly monitor HLG directly. Viewfinder Gamma Assist allows you to monitor with the correct brightness and contrast when shooting HLG making it easier to confidently get the correct exposure levels, as much like S-log3 the levels required for the correct exposure of HLG are quite different to Rec-709.
One last thing: NEVER use Viewfinder Gamma Assist with a LUT at the same time, this will result in a completely incorrect looking image and could result in very bad exposure as a result.
Sony Alpha 1. 8K 10 bit 4:2:0 Video makes this a very interesting camera.
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!
Sony Alpha 1 Full Frame 8K 10 bit video capable camera with over sampled super 35mm 4K and 120fps!
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.
Advanced Autofocus
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.
Heat-dissipating Structure
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.
[xx] Accurate focus may not be achieved with certain subjects in certain situations.
[xxi] Shutter speed slower than 0.5 sec. cannot be set while continuous shooting. Tracking performance and max. aperture differs by settings and lenses.
[xxii] Up to 1/200 sec. Synchronization via the sync terminal is not available for electronic shutter.
[xxiii] Post-production editing and S&Q mode recording required. Data must be recorded to a CFexpress Type A memory card when the frame rate is 120 (100) fps or higher.
[xxiv] Sony internal tests with [Auto Power OFF Temp.] set to [High].
[xxv] Active Mode is not available for 8K recording.
[xxvi] Catalyst Browse™ version 2020.1 or later, Catalyst Prepare version 2020.1 or later are required.
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xdcam-user.com
Google Analytics short-term functional cookie used to determine new users and sessions.
Session
HTTP
Preference cookies enable a website to remember information that changes the way the website behaves or looks, like your preferred language or the region that you are in.
Name
Domain
Purpose
Expiry
Type
__cf_bm
onesignal.com
Generic CloudFlare functional cookie.
Session
HTTP
NID
translate-pa.googleapis.com
Google unique id for preferences.
6 months
HTTP
Unclassified cookies are cookies that we are in the process of classifying, together with the providers of individual cookies.
Name
Domain
Purpose
Expiry
Type
_ir
api.pinterest.com
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Session
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Cookies are small text files that can be used by websites to make a user's experience more efficient. The law states that we can store cookies on your device if they are strictly necessary for the operation of this site. For all other types of cookies we need your permission. This site uses different types of cookies. Some cookies are placed by third party services that appear on our pages.
