For The Record - Fall 2013

Learn more about the common
challenges and solutions in the

exploding feld of media asset
management (MAM).
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Archive / News and
Production Systems
Welcome to "For the Record," our digital magazine that gives you, at a glance, what's new and noteworthy on the
pro side of Sony Electronics. This is your one-stop source to learn about newly launched Sony products, get product
updates, and read snapshots of customers who are successfully using Sony professional products in real-world
applications. Peruse the entire issue, or click through to your area of interest. It's all good.
Learn about new C-series cameras
and which model won Security
Products Magazines IP Video
Surveillance Camera for 2013.
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Learn more about our partnerships
and the expanded line of video
journalist back packs.
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Security Systems
Systems Solutions
Learn more about the cameras
capturing the latest productions
from a fashion show to late-night talk
show to original documentaries. Also,
check out our new 4K Camcorder.
Read more
Acquisition Solutions
Laser projector is shipping! See
which customers have the projector
installed and in use.
Read more
Spotlight On
New Pro Bravia monitors were recently
introduced and laser projector is now
shipping.
Read more
Presentation and
Simulation Systems
XDCAM
NXCAM
Monitors
PROJECTORS
PROJECTORS
NXCAM
Studio
Cameras
Archive
Switchers
Systems
Solutions
Pro Audio
MONITORS
Systems Solutions
News & Production Systems
LARGE SENSOR CAMERAS
Monitors
NXCAM
Pro Audio
Monitors
XDCAM
Pro Audio
ARCHIVE
LARGE SENSOR CAMERAS
NEWS & PRODUCTION SYSTEMS
for the
record Fall 2013
Learn more about the new DWZ
packages and see the voices behind
this series.
Read more
New SRG PTZ cameras and system
options for studio cameras. Plus, see
how Sony hit it out of the park with
Anycast Touch and how our studio
cameras capture the big games.
Read more
Event Production
Pro Audio Solutions
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Aquisition Solutions
Archive/ News and Production Systems
Event Production
Presentation and Simulation Systems
Pro Audio Solutions
Security Systems
Spotlight On
Systems Solutions
2
Tory Burch and Sony Bring Innovative 4K Imaging Technology
to Fashion Industry
NEXT
Sony Electronics and Tory Burch LLC
have partnered to bring a worlds frst
to the fashion industry: a 4K Runway
Show. When the Tory Burch Spring 2014
Collection was unveiled at Lincoln Center
on September 10, Sony F55 professional
cameras captured every step, turn and
photo opp in stunning 4K resolution, an
innovative new imaging technology that
ofers more than four times the detail and
clarity of standard high defnition video.
The footage was used to promote the
collection in select venues.
Said Miki Berardelli, Chief Marketing
Ofcer at Tory Burch: Were always
looking for innovative technology that
elevates our brand. With 4K viewing, our
customers will be able to experience the
collection in extraordinary detail.
The unique immersive nature of 4K
eliminates any viewing restrictions, said
John Studdert, vice president, strategic
sales, at Sony Electronics. Watching
4K is a similar experience to viewing a
painting in a museum. You can get as
close as you want to see every detail.
Sony 4K imaging has re-defned the
viewing and entertainment experience in
the movie theater and the home theater.
Now, Sony 4K technology can bring that
same level of critical evaluation and
consumer entertainment to the fashion
world.
More on acquisition solutions
in this issue:
Case Study
acquisition
solutions
4K capabilities for any user
The Brave New World project
Sony F65 cameras shoot new NBC series
Sony NEX-FS100 keeps shoot on track
Thorn Mtn. Maple mini-documentary
Jimmy Kimmel Live flms in ultra HD
Jumping duckling
4,000 reasons why I like the NEX-FS700
UC goes beyond 4K with Sonys F65
Sony expands line of VJ backpacks
Journalist backpack intro video
Sony shoots Summer X Games
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3
Sonys Newest Professional Camcorder Delivers 4K Capabilities
for Any User, Any Application
NEXT
New PXW-Z100 4K Handheld XDCAM
Camcorder Uses XAVC Workfow to
Give Professionals More Production
Flexibility and Creative Options
Sony is expanding its line of
professional 4K technologies with
the new PXW-Z100 4K handheld
XDCAM camcorder. The new model
broadens professional 4K capabilities
to new markets and applications
beyond motion picture or high-end
TV productionincluding houses of
worship, education, corporate, and
live events. The new camcorders
afordable price of less than $6,500
gives professionals even greater
fexibility and more creative options
for acquisition and production in HD,
QFHD and 4K (4096x2160).
With a 1/2.3-inch Exmor
R CMOS sensor,
the camcorder can create stunning
4K content (4096x2160) at 50p or 60p.
The PXW-Z100 camcorder is based on
the same shooting ergonomics as a
conventional handheld professional
camcorder, allowing users to record 4K
content cost efectively.
This new camcorder brings high-
performance 4K capabilities to the
entry level of our 4K line, said Takahiro
Kagawa, Product Manager at Sony
Electronics. Its perfect as a stand-
alone content creation tool or as
a complement to our large-sensor,
higher-end 4K cameras. Corporate
and event producers can now deliver
4K images for a growing number of
applications including large-venue
4K projection and 4K monitors.
Professionals now have access to the
widest palette of 4K tools to tell their
stories more efectively and creatively.
The PXW-Z100 camcorder, together
with the fxed 4K-compatible high-
performance G Lens, weighs less than
7lbs. The PXW-Z100
uses Sonys XAVC
*
recording format
frst employed in
Sonys PMW-F55
CineAlta
4K
camera. MPEG-
4 AVC/H.264
compression is used
for HD (1920x1080),
QFHD (3840x2016)
and 4K (4096x2160)
content. Image
sampling is 4:2:2
10-bit, with an intra-frame system that
compresses each frame individually
at a maximum bit rate of 500 Mbps
or 600 Mbps during 4K 50fps or 60fps
recording, respectively, and 223 Mbps
during HD 50fps or 60fps recording. The
XAVC format is ideal for those looking to
implement a high-quality, secure and
worry-free workfow.
Users can select QFHD (3840x2160)
and HD (1920x1080) resolutions, both of
which are compatible with most 4K TVs.
The camcorder provides extremely high
sensitivity due to its back-illuminated
Exmor
R CMOS sensor -- even during

in this issue:
Product Review
acquisition
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Tory Burch brings 4K to fashion industry
Jumping duckling
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4
Sonys Newest Professional Camcorder Delivers 4K Capabilities
for Any User, Any Application (continued)
NEXT
4K shooting. With more than 8.8 million
efective pixels, the 1/2.3-inch sensor
captures 4K images at 50p or 60p. The
built-in high-performance G Lens ofers
maximum shooting fexibility, including a
wide angle of 30 mm in 4096x2160 mode
or 31.5mm in 3840x2160 and 1920x1080
modes and 20x powerful optical zoom
(equivalent to 35mm).
The new camcorder uses state-of-the-
art XQD solid-state memory cards,
a format recently defned by several
industry-leading companies. XQD
uses the ultra-fast PCI Express interface
and Sonys unique camera processor
to enable stable video recording at
500Mbps or 600Mbps.** The PXW-Z100
camcorder features two XQD Memory
card slots. Multiple cards can be
used in various ways, such as for relay
recording. When the frst card becomes
full, recording continues on the second
card without a break.
The HDMI
interface on the PXW-Z100

camcorder can output 4K as a
50fps/60fps signal. When the PXW-Z100
is connected to a Sony PVM-X300 4K
professional monitor or a 4K-compatible
BRAVIA
TV, the recorded 4K image can

be displayed in 4K 50fps/60fps quality.
A future frmware upgrade is planned
to provide compatibility with the new
HDMI standard (referred to as HDMI 2.0)
and enable 4K 50fps/60fps output to a
wider range of devices. Other features
include a 3G HD-SDI interface that
supports output to an SDI of up to HD
60p. It also supports HD output during 4K
recording.***
The camcorders paint function enables
multiple image parameters to be
adjusted, including gamma curve,
black level, skin tone detail and color.
Together with other setting options,
parameter settings can be recorded as
a camera profle onto a memory card.
The recorded camera profle can then
be used to set the same parameters in
another PXW-Z100 camcorder to match
quality and image tones when using a
multi-camera setup.
Users can remotely control focus, zoom,
aperture settings and record start/
stop using the browser function of a
smartphone or tablet. Users just need to
simply plug the supplied WiFi adaptor
into the camcorder to enable the
wireless feature.
The PXW-Z100 4K camcorder is planned
to be available by the end of 2013 at a
suggested price less than $6,500.
For more information, visit the
PXW-Z100 product page
*A frmware update is planned for the middle of
2014 to support the Long GOP mode for extended
4K recording time and to add support for AVCHD
recording, a format that until now has been
compatible with the playback environment of Blu-
ray Discs.
** The use of new S Series XQD cards QD-S32E and
QD-S64E which supports 180MB/s transfer speed are
recommended.
***The PXW-Z100 is not capable of simultaneous 4K
(HDMI) and HD (3G HD-SDI) output.
in this issue:
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Product Review
Sonys XDCAM
HD 4:2:2
product line ofers fexible,
end-to-end solutions
Learn more about XDCAM solutions
Jumping duckling
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5
Sony to Provide F55 4K Camera Technology to the Brave New
World Project, Sponsored by King David Films, Focused on
Advancing Students in the Film & Entertainment Industry
NEXT
Fourteen Minority Students Selected
to Participate in the Program This Past
Summer
Bringing the latest technology to aspiring
young flmmakers, Sony Electronics
Professional Solutions of America group
teamed with King David Films to present
the Brave New World Project, hosted by
Director/Producer David Merritt II.
The project gave 14 Los Angeles-area
students interested in motion picture
production careers the opportunity
to work and learn in a professional
Hollywood production environment.
The selected teens participated
in a 5-week hands-on program at
Sonys Digital Motion Picture Center,
using Sony F55 4K cameras and Sony
Vegas
editing sofware. The sessions

were led by CEO of King David Films
David Merritt and Sony DMPC system
specialist Dhanendra Patel.
The students were divided into two teams of seven. Each team
had the opportunity to write, direct, act in and edit the flms.
The teams had access to one camera-person (DP), one boom
operator, and one editor, plus extras for flming as well as two
professional (SAG) actors. Both teams produced a fve-minute
digital flm and will receive IMDB credits. Students learned to
write and build story structure, pre-production fundamentals,
production key elements and editing skills. Sony Electronics
plans to screen the fnished projects for the students and their
families at Sony Pictures Studios.
More details about the program can be found on The Brave
New World Programs Facebook page and Twitter.
in this issue:
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6
The TV series Camp, which premiered
in July, is the latest production shot
with Sonys F65 camera. The shows
creative team used three F65s
during productiontwo in a studio
confguration, one on a Steadicamand
the cameras unique 8K image sensor,
its dynamic range and its workfow
fexibility helped the team achieve just
the look they wanted.
My approach is to get the best possible
images I can, and this camera really
allowed me to explore every shot to its
fullest potential, said DP John Stokes,
ACS. The color spectrum is huge. Until
you get to the color suite and you color
time in 4K, you dont have a full idea of
what the image really holds.
Camp is Stokes second experience
shooting with the F65, so he was confdent
the camera could keep up with the
productions fast pace, shooting each
episode in seven days and also dealing
with constantly changing conditions.
The F65 is a great on-location camera,
he said. Its great to use hand-held, it
loves the sun and is very flmic in the way
it captures light.
With the shows summer camp theme,
the production team
wanted a lush look
that conveyed the
beautiful and gorgeous
feel of summer.
According to Stokes,
the F65 delivered.
Shooting mostly
outdoors in remote
locations, the team
had to face the
challenges of rain and
mud, as well as losing
light towards the end
of the day. The buildings that the team
shot in were existing structures that ofen
contained no lighting infrastructures. The
F65 handled each days shooting with
ease, and the team was impressed with
its ability to adapt to diferent lighting
conditions.
We were shooting one scene as the sun
was going down, Stokes said. As we
lost light, we had to adjust everything to
get the same balance that I had when
the sun was up. My eyes could barely
see so I was sure the camera wasnt
capturing everything either. I told the
producer I was almost certain we would
need to re-shoot the next day. That
night, I called the DIT to check the shot
and when he sent it back to me, I said
this is not possible, I could barely believe
my eyes. The F65 got it all in almost no
light. It saved the scene and we avoided
the time and expense of a re-shoot.
The shows digital imaging technician,
Christopher Reig, shared Stokes
enthusiasm for the F65.
I honestly thought those shots would
be unusable, but the camera gave us a
wonderful surprise, he said. The quality
of the images we captured using the
F65 is outstanding. It defnitely has a
dynamic range that is comparable to,
and probably exceeds, flm. But what
really impressed me was the signal
Sony F65 Cameras Shoot NBC Series, Camp
NEXT
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7
noise, or lack thereof. Very ofen, we shot
entire night scenes at 1600 ISO, and to
my eye, I wouldn't call it noisy. I wouldn't
even correct it.
Camp was originally planned for HD
acquisition, with 4K used only for high
frame rate shots. However, Reig and
Stokes convinced the producers that
using 4K RAW Lite as the primary
acquisition format was the logical choice.
Shooting in 4K ofers tremendous
fexibility to the post-production
process, Reig said. Not just in terms of
dynamic range, but when digitally re-
framing a shot, when working with visual
efects, everything. Although we aren't
delivering 4K to networks yet, having
the 4K camera originals means, in the
future, we can re-master at the higher
resolution without a huge expense.
The F65 helped the team get the best
imagery possible. Stokes added that the
F65s mechanical shutter was perfect for
capturing the summer camp feel.
There are many scenes with kids
running around, a lot of motion and
activity, he said. When theres so much
movement, a mechanical shutter really
comes into play. It gives you a great
texture. You can see individual strands
of hair moving. Its a small thing,
almost sub-conscious, but it makes for
a more pleasing image to look at.
The F65s benefts continued on
through the post-production process.
The production team put together
its dailies solution based around
Colorfront's Express Dailies sofware
platform and support services
provided by camera equipment
supplier Gear Head.
One thing I will give the Sony system
over other systems is the tools provided
for post-production personnel
specifcally, the data transfer units and
sofware utilities, Reig said. The data
transfer units are wonderful, and very
simple to use. But more importantly, they
ft right in with my existing technologies.
Being able to link the transfer units
to a network and transfer directly to
centralized storage makes a huge
impact on getting things done fast.
With the show wrapped and airing
now, Stokes and Reig are both fans of
the F65 and confdent in the potential
of its 4K workfow to re-defne television
production.
Sony F65 Cameras Shoot NBC Series Camp (continued)
NEXT
I have a tremendous amount of
confdence in this camera, Stokes
said. I never felt I was not going to get
through the day because the camera
couldnt take it. When we had to really
run and gun, I could just grab my light
meter and approach a scene just like
flm. Im always confdent the images will
be there in post. Its a great camera. It
saved the day time and time again.
Reig said, This idea to do a show at 4K
and in RAW was an ambitious one. To be
honest, I was a little worried how it would
work on a fast-paced episodic drama.
But I was amazed at not just the fexibility
it allowed us in post, but how quickly I
could get it done. With the success of
this workfow, I am optimistic that other
shows will catch on and pave the way
for a new 'standard' workfow.
in this issue:
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Jumping duckling
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8
Sony NEX-FS100 Keeps Promotional Shoot
for Limited-Edition Car on Track
NEXT
With only a two-day window to shoot
a promotional documentary for
limited-edition car from a major auto
manufacturer, cinematographer
Christopher Webb chose Sonys NEX-
FS100 professional compact camcorder
for its compact size, image quality and
performance.
Webb and the production team shot
hours of content over two days at the
historic Lime Rock Park racing circuit,
using 21 Sony NEX-FS100 cameras.
Because of the cameras efcient
workfow and the fact all the footage
matched perfectly, the production team
was able to edit and deliver the project
within a tight two-week timeframe.
This shoot was the perfect illustration of
the right camera for the right job, said
Webb, who directed the production.
This camera is more efcient, higher
quality and is more reliable than
anything in its class. With its size and
mobility, we could be much more
creative in setting up the shots we
wanted. For this type of project, anything
else would have been exponentially
more expensive.
The content captured was produced
into a variety of elements: 4:30, :30
and :16 spots as well as a 10-minute
documentary.
The production only had access to the
track and driver for two days, so they
had to capture all the angles, shots and
sound bites in a very short period of time.
To accomplish this, the team estimated
that 21 well-placed cameras would do
the job, while avoiding a patchwork of
cameras and workfows. The NEX-FS100
provided a truly all-in-one solution,
helping reduce the amount of specialty
vehicles and camera mounts required
and allowing the team to be more
creative, because expensive equipment
was less at risk and fewer grips and
specialty personnel were needed to staf
each position.
in this issue:
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2013 Sony Electronics Inc. Sony and the Sony make.believe logo are trademarks of Sony. All rights reserved. Reproduction
in whole or in part without written permission is prohibited. All other trademarks are trademarks of their respective owners.
Sony
FS100: Amazing versatility.

Cinematographer Chris Webb had just two days to shut down Lime Rock Park and deploy
21 cameras to capture the illustrious Bill Auberlen and the BMW M3 Coupe. Webb needed
every type of coverage from beauty shots to interviews, chase car, pole-cam and in-car
point of view. Instead of the usual mix of cameraswith the attendant mix of lenses,
accessories and workows, he did it all, affordably and beautifully, with just one camera
model. The Sony NEX-FS100. Discover how much more you can do at sony.com/35mm
try this with another camera
M3 Lime Rock Park Edition 2013 BMWNorth America. All rights reserved.
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9
Sony NEX-FS100 Keeps Promotional Shoot for Limited Edition Car on Track (continued)
NEXT
According to Webb, the unique nature
of the car appeals to a very specifc
segment of the auto enthusiast and
racing fan population. The production
team also drew inspiration from classic
racing flms, like Steve McQueens Le
Mans, which was important because, as
Webb noted, the track itself presented
some very unique challenges.
The next step was a series of meetings
with the camera teams to get them to
understand the diferent varying shots
and angles that were neededfor
example, a shot through the birch trees
up a hill or down low on the corners right
next to the car and other perspectives.
They wanted a camera that could
adapt easily to all these shots, whether
it meant putting some on tripods or in a
chase car, or having a high-zoom lens
attached to others, while others were set-
up for interview capture.
It was amazing to fnd a camera that
would just do all of these things rather
than having to confgure and learn a
new technology every time we had
a diferent set-up, Webb said. Our
producing team was amazed because
all of the flters were the same, all the
tripods were the same; it was just the
same thing all across the board. Usually
I have four diferent cameras running on
a job like that.
The Right Camera
Before production started, when camera
choice was still undecided, the question
of using other competitive video camera
models, as well as DSLRs, was raised.
We said no way, Webb said. The
NEX-FS100 was just the perfect ft. It
allowed us to get a much better picture,
a much higher quality video recording
that we could easily color-grade. To use
the clients words, capture a premium
image in the car. We were doing things
with the NEX-FS100 that you just could
not do with others.
For example, because of the versatility
of the NEX-FS100, Webb and team were
able to simply extend two cameras on
monopods of of another vehicle to
chase the car around the track and get
car-to-car shots.
It was two of us with the NEX-FS100
cameras on monopods, he said. The
car would come screaming by us and
we would be under the bumper with
the camera while someone else in that
same vehicle had a camera mounted
on the bumper. So we were getting all
the same details, all at the same time.
No small feat, given the nature of the
course. Over the two-day shoot, the
teams dealt with sunlight, shadows, dirt,
dust and more.
Lime Rock Park is completely unique,
Webb said. It truly is a park, so it has
grass, trees, rolling hills. When you drive
a car like this on that track, its like
being strapped to a jack rabbit running
through the woods. Youre up a hill, you
cant see whats around the corner,
youre down through a bridge, then
theres a short straightaway, then theres
an S curve, its just one continuous
immediate emergency afer another.
Its just really hard to cover. You cannot
have a camera on a tower, spin it
around, and have it follow the car. You
can only see the car for a few seconds
and then its gone.
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10
Sony NEX-FS100 Keeps Promotional Shoot for Limited Edition Car on Track (continued)
The cameras image-capturing
capabilities and color space truly proved
to be a life-saver.
We were outdoors, in bright sun, clouds,
plus the car was bright orange, Webb
said. When we got all the footage
back, most of it was perfect, but some
was way over-exposed. The car was just
completely milked out, but we were able
to pull the color back out easily using the
AVCHD workfow to match up all of that
orange. And of course the M3 had to be
that exact same orange in every shot.
With the NEX-FS100, making that happen
was no problem.
One unique perspective that the teams
tried was a motion collage. They set up
nine cameras, with each capturing a
certain design detail of the car.
We backed the car out of that
composition, Webb said. And then our
editor was able to run those in reverse, so
the car appears to be driving and stop
in its perfect exact spot for every one of
those nine individual compositions. You
can see in the fnished piece how she
collage-cut them all at the same time.
This is something that the client really
loved and something that we never
could have done with another camera.
High-Quality Audio
While compelling footage of the car was
critical, recording interviews with the drivers
completed the story-telling. The team used
the cameras XLR inputs to get not only
audio associated with that picture, but
supplemental audio so they could run a
microphone down a hill under a bridge
and run it back up with a transmitter to
channel two on that camera.
So we could, for example, get an
awesome Doppler efect sound, Webb
said. Or one camera in the car could
record the drivers intercom and the other
could be getting sound in the cockpit
or sound from the exhaust. Our sound
guys loved that, having the quality of the
preamps and the XLR input.
He added, We needed a really
controlled, high-end interview set, and in
that situation we had two cameras side-
by-side doing a medium and a close-up.
I was able to walk onto that set as soon
as the talent was miced and ready, and
operate one of those cameras. As soon
as that interview was done, I could just
go onto the next set with the camera.
The production teams also were
impressed by the e-mount cameras
lens fexibility.
I can put any lens on there, I can do
crazy shif and tilt things that I could
never do on an Epic, on an Alexa, on a
5D, on any other camera, at any price
point, he said. So we were able to use
cinema lenses, unique still lenses, macro
lenses, tilt lenses, all kinds of things, on
just one camera.
A Safety Net
Using 21 cameras on a shoot might
normally sound technically challenging,
but the NEX-FS100s efciency made the
end-to-end workfow simple and efcient.
It was unbelievable, Webb said. Its all
the same size, its all the same codec,
sorting through the data and looking
at the creation date was easy, just all
kinds of benefts. This camera gave us a
major safety net from a dollars-to-delivery
perspective. Every time, we knew we had
the shot and we knew we werent going
to get hurt. We felt very safe with it. We
didnt have a single malfunction or error
or failure with any one of those cameras
in all of the pretty risky circumstances
we were putting them in. This camera is
just like a little wonderbox that we could
confgure in any mode we needed to at
any moment.
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11
NEXT
Thorn Mountain Maple Mini-documentary Shot on
Sony F55 with HDX35 MKII B4 Lens Adapter
A few years ago, I was visiting my family
in Arizona. We stopped for breakfast at
a local diner and I ordered pancakes.
I asked the server for real maple syrup.
She looked at me strangely and asked
me what real syrup was. She only knew
of store-bought table syrup or the brown
stuf that comes in an Aunt Jemima
bottle. I said,You know, the stuf that
comes from trees?
If she only knew what she was missing!
The North Country in the United States
and Canada have the trees that leak
the sap needed to produce the real stuf.
I dont like the high fructose fake sugar
concoction that is known as just syrup.
I have always been interested in the
process of making maple syrup in a
steam-flled sugarhouse. In the spring, I
have seen these small shacks venting
steam out holes in their roofs on the side
of the road. There is an art of pulling
sap out of a tree, boiling it down and
producing a concentrate that sells for
about $40 a jug. It is expensive for a
reasonthe real stuf is not easy to make.
In fact, for every 40 gallons of sap that
drips out of a thawing tree, you get just
one gallon of pure maple syrup.
I found a guy named Chris Uggerholt
who makes maple syrup using a mix of
traditional and state-of-the-art techniques.
I brought along a brand-new Sony F55
camera to capture his small operation in
Intervale, New Hampshire. His sugar shop
is called Thorn Mountain Maple Sweets.
I wanted to shoot this mini-doc ENG
News Style using a 2/3 inch Fujinon
broadcast high defnition television lens.
I shot the project as a test to see what
this cinema/broadcast combo could do
before using the system on paid gigs with
my television clients.
My sports clients are used to having the
ability to pick of lots of shots in short
amounts of time using shoulder-mounted
television cameras with ENG zoom lenses.
I need to be able to move quickly, either
solo or with a very small team. But these
clients want a Cinematic Look, including
shallow depth-of-feld and slow motion.
The idea of carrying and changing prime
lenses is not always an option in the fast-
paced unscripted sports world. The F55 is
my dream camera, it can do it all: digital
cinema and television.
I wanted to see how this F55 rig
would work out in a run-and-gun
documentary production setting
shooting in available light. The idea
of having a camera with 14 stops of
latitude, the ability to shoot raw, have
full audio in camera recording control
and slow motion with future frmware
updates was very appealing to me.
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Article written by Tom Guillmette. Posted on tomguillmette.com on 8/4/13
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Thorn Mountain Maple Mini-documentary Shot on Sony F55
with HDX35 MKII B4 Lens Adapter (continued)
I did not do too much directing, I simply
captured the process as it unfolded in
front of me. If I missed something that
I felt important for the edit, I would ask
Chris to do it again. I would fre questions
out from behind the camera to help get
the sound bites that I needed to drive
the story forward.
Special thanks to Nate Camille for his
help in the sugarhouse. Nate works
alongside Chris and operates the
equipment when Chris is not around.
I use the Abelcine HDx35 mkII PL to b4
adapter to mount a Fujinon 23x zoom
lens to the front of the Sony F55. This
super sharp adapter covers the super
35 sensor without the need to drop in
the lens extender, and it only loses 2.5
stops of light. With the super-sensitive F55,
this light loss is not a big deal and
using the Fujinon lens allows me
to operate the camera on the
shoulder like a broadcast rig.
I spent a total of fve hours with
Chris to shoot this 4.5-minute
short doc, in only three locations.
The locations were the sugar house, the
feld full of maple trees with buckets, and
the tube-tapped trees on the side of the
road.
Owning a good solid tripod is important,
and I use a Vinten Vision 100 with a
Sony UCT-14 plate. The F55 shoulder
mount system has the v-wedge plate for
snapping on and of the tripod quickly.
And the pad is comfortable on my
shoulder when operating hand-held.
While working with Chris in his
sugarhouse, my audio was provided by a
single Sony UWP wireless lav microphone
clipped to his sweatshirt on channel 1
and a Sennheiser 416 shotgun mounted
on the top of the camera for wild sound
on channel 2.
I recorded the sound of dripping sap into
the metal buckets by clipping the lav to
the top of them. I knew that I was going
to include this unique sound when I frst
heard it while setting up my camera to
shoot b-roll.
I edited the video using Adobe
Premiere CC and was able to
cut the 24p 1920x1080 XAVC
SLOG2 fles natively. I was unable
to shoot raw at the time, but will
blog about it soon.
I was amazed by how much picture
information was visible in the MPEG2
50mbps image, even in scenes with high
NEXT
contrast because of sun and snow. I did
not grade any of the footage in the mini-
doc. It is presented as it was shot and
exposed in camera using SLOG2. The
Sony F55 is a remarkable camera already
as far as the sensor goes and with future
planned free frmware updates, it will get
even better.
I am ofering a 5.34GB ProRes4444
1920x1080 23.98fps download of this
doc for a limited time. Pixel peep all you
want! You will notice a few shots near the
beginning were sof. My backfocus was
out for a bit until I realized it.
http://www.tomguilmette.com/
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Jimmy Kimmel Live Films Karmin Performance in "Ultra HD"
Jimmy Kimmel Live ran its frst 4K Ultra HD
test on Tuesday, shooting a performance
of next weeks musical guest Karmin on
the shows outdoor concert stage before
an audience in Hollywood.
"This, we feel, is a
step in the direction
of [creating] a
better consumer
experience, Doug
DeLuca, co-executive
producer of Jimmy
Kimmel Live, told The
Hollywood Reporter.
"Our show tries to be
on the cutting edge of technology. We
have a very vibrant show, and the better
it looks, the better the user experience is
at home.
"I believe in the 4K format," he added. "Its
clearly the next jump from HD."
4K, also referred to as Ultra HD, is a high-
resolution format that contains
roughly four times as much picture
information as is found in todays
HD format. It was a big trend at
January's CES and has been
heavily promoted in professional
production circles.
It's also in a very early stage, and part
of the rollout has included consumer
education and awareness -- still needed,
it would appear, judging from the facial
expressions of some audience members
as the 4K experiment was announced
on Tuesday.
At this point, Ultra HD TVs and 4K
production equipment are available,
though there is currently no method
of delivering a steady amount of 4K TV
programming to homes. (Some consumer
displays, including those made by Sony,
will upconvert HD images.)
Still, certain TV series, such as NBCs Save
Me from Sony Pictures Television, are
being shot and fnished in 4K with an
eye toward future syndication needs that
might arise.
Asked why Jimmy Kimmel Live was
experimenting with 4K at this stage,
DeLuca said, It is something we have
our sights set on and would like to do
when a lot of our audience can see it in
their homes.
"We feel this is a frst step in the
process, he added, explaining that this
experiment allowed the show's camera,
lighting, production design and make-
up stafers to start to examine the format.
"When you move to a new format, there
will be issues over the camera, recording
devices, editing system and pipeline that
transmits itTheres going to be some
time before we get to broadcast 4K, but
hopefully its sooner rather than later."
Earlier this year, Sony entered into
a partnership with Jimmy Kimmel
Live that involves Sony product
integration as well as sponsorship of
the shows concert series.
NEXT
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This article by Carolyn Giardina appeared in on-line version of The Hollywood Reporter on 7/3/2013
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Jimmy Kimmel Live Films Karmin Performance in "Ultra HD"
(continued)
Tuesdays night performance was unique from other concert series shoots in that it was
planned as a 4K test for the show while an HD version was also recorded as a segment
for Jimmy Kimmel Live's July 10 show.
The Karmin performance was shot on the outdoor stage using six F55 4K cameras
(which have already been used for a limited amount of television pilot and series
production) that mirrored the shows HD camera positions, include two fxed
cameras, two handheld cameras, jib and Steadicam. (Fujinons 19-90 mm and
85-300 mm Cabrio lenses, Premier 75-400 mm and Leica 16 mm Prime were used).
Two songs were performed and shot in HD, which will be used for the shows
broadcast. Then afer a break, during which the team switched to the 4K set-up,
Karmin repeated the two songs and then performed two additional songs.
The HD version wont ofer a direct comparison with the 4K version since the HD was
lensed as the sun was setting and the 4K was shot afer dark, meaning that both
the natural and onstage lighting conditions were diferent.
During the 4K-lensed performance, HD was fed to the control rooms existing HD
infrastructure. Meanwhile 4K RAW data was recorded onto AXS memory cards; that
material will be posted at Sonys Digital Motion Picture Center on the Sony Pictures
lot in Culver City.
This Ultra HD clip will soon be used as 4K demonstration material at Sony stores and
will eventually be available for viewing at home using Sonys 4K Media Player.
The Media Player will arrive bundled with 10 4K features as well as some additional
TV and short-form video. In time, new movies and programs will become available
via Sonys Video Unlimited 4K content service.
The FMP-X1 Media Player lists for $699; however, its available for an introductory
price of $499 to consumers who bought one of Sonys X900A 4K TVs. The Video
Unlmited service will allow users to download 4K movies as 24-hour rentals starting
at $7.99 or for purchase from $29.99.
NEXT
Jumping Duckling
Check out documentary:
youtu.be/d3vCUyENpmM
Sony is fond of this clip from the
PBS series Nature, and for good
reason. The episode, An Original
Duckumentary, was nominated for
four Emmys, including Outstanding
Cinematography, thanks in part
to slow-motion footage captured
with the NEX-FS700. The credited
cinematographers are Matt Bradbury,
Michael Male, Ann Johnson Prum,
and Andrew Young. We're not sure
exactly who shot this jumping
duckling, but we ofer kudos all around
for the terrifc wildlife photography.
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15
4,000 Reasons Why I Like the NEX-FS700
by Erik Bragg
In 2003, when professional skateboarder
Danny Way debuted the frst Mega Ramp
in The DC Video, the Sony VX1000 DV
camcorder was the weapon of choice
for almost every professional skateboard
cinematographer. Only 480 vertical lines of
resolution to capture a skateboarder drop
in on a ramp the size of a roller coaster,
backside 360 over a 75 gap at 50mph,
and then fy up 23 above a 2-story
quarter pipe!? If youve got the whole
ramp in your shot, youre only dedicating
a few pixels to the death-defying pioneer
whos fipping his board through the
air and breaking world records. Master
skateboarding cinematographer Greg
Hunt knew DV wasnt going to cut it, and
although most of the rest of
the video was shot on the
VX1000, he shot Dannys
Mega Ramp portion on
Super 16mm.
Greg would have loved to
shoot the entire video with
flm, but it was too expensive
and difcult. Dannys part in
the video blew minds and
looked amazing. It won
Skateboarding Magazines
Best Video Part that year and redefned
skateboardings limits.
Here we are, 10 years later, when both
skateboarding and video technology
have progressed to unimaginable levels.
Danny Way is still building bigger, gnarlier
ramps, and Sony is still on top in the skate
video world. The Sony NEX-FS700 has
replaced the Sony DCR-VX1000 as the
go-to camera for professional skateboard
cinematographers. Its lightweight, shoots
super-slow motion, looks excellent in low
light, accommodates almost any lens,
and a single battery and SD card can
get you all the way through most days.
Ive been working on a full-length skate
video with Danny for Plan B skateboards
for a couple years now, and Ive
NEXT
experimented with a ton of equipment in
that time. The Sony NEX-FS700 has been
by far my favorite camera to work with.
That is, until now. Now that Ive tried the
Sony NEX-FS700 with the 4K upgrade.
I brought the 4K recorder and NEX-
FS700 on its maiden voyage to Kauai,
where Dannys newer, bigger, faster,
stronger ramp resides amongst the epic
landscape of The Garden Island. The
Way and Colin McKay dropped in on the
massive concrete roll-in that leads you
straight into a re-imagined quarter pipe
with banks and features ranging from
25 to 40 feet. Using the 4K 120fps raw
high-speed burst allows me to slow down
tricks and show them for what they really
are. The amount of detail in the image
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is incredible, especially when slowed
down. Ive gotten used to using 120fps
and 240fps bursts on the NEX-FS700, but
when you add 4K and the image control
of 16-bit linear raw fle, skateboarding has
never looked better.
Ive been shooting with the NEX-FS700
since July 1st, 2012. I preordered the
camera based on its stats sheet and
was pleasantly surprised by its latitude,
smooth highlight roll of, and overall
image quality. I couldnt believe how well
it performed in low light. All these features
are supercharged with the 4K recorder.
Initially, I thought Id only throw on the 4K
recorder for shooting the Mega Ramp
B-roll, and save it for larger productions.
Afer reviewing the footage, Id be crazy
not to shoot everything with it. When we
werent skating, I went around Kauai
shooting waterfalls, sunrises, and even
found a New Zealander who climbed up
into a tree and jumped out 65 down into a
lagoon. Kiwi Knievel jumped out in 4K 24p
and then I asked him to do it again in 4K at
120fps. The camera records simultaneously
to its SD card and I was able to easily
send him his AVCHD clips that night.
Fortunately, deciding to shoot everything
in 4K from now on is as simple throwing
the recorder on. Wait, I shouldnt say 4K
everything. I did shoot a lot of 2K raw
footage at 240fps. The ability to just let
240fps roll as long as you want to really
creates opportunities I didnt have before
on the NEX-FS700 for capturing super-slow
motion. The fact thats its raw, too, is just
icing on the cake, or bufalo sauce on
your wings for me. Not too big on sweets.
I used a SmallHD AC7-SDI monitor to
make sure I wasnt blowing it in 4K. With a
giant detailed image, its obvious if your
focus is of. Focus features and false color
buttons keep it clean, simple, and fast.
Although sometimes I wondered if the
false color feature was working, because
it was so hard to fnd anything around
me that the latitude of my new pet beast
couldnt handle. The monitor defnitely
came in handy while I used a Nanoha
macro lens and Cinevate Atlas 10 w/
Moco for a little surprise youll have to
wait to see.
Having the option to remove the recorder
and yet keep it tethered was nice when
4,000 Reasons Why I Like the NEX-FS700 (continued)
I needed to lighten the load and shoot
leaning over the edge of a 30-foot drop
on the edge of the ramp.
The set-up was an absolute breeze. I
didnt even read a manual or anything.
The menu is simple and straightforward.
Click around for fve minutes and youre
an expert.
In skateboarding, sometimes the skater
will mess up on a trick 20 times before he
lands it. Maybe more. Maybe hell never
land it. The HXR-IFR5 lets you easily delete
clips as you go along. I found myself
deleting all the 4K bails right afer every
try, while leaving a record of everything
recording to the SD card in the camera.
That way, we still have a copy, but Im
saving card space and I wont end up
with a terabyte of falls to go through at the
end of the day.
Wow, am I still talking about this camera?
The bottom line is, the trip was a success.
We spent three weeks getting tricks and
making them look good. I tried to surf
once, but I think Ill stick to skateboarding
and camera toys. Im looking forward
to incorporating the 4K NEX-FS700 into
all of my scheduled productions this
year and, of course, coming back to the
island to watch Danny and Colin throw
themselves in the air.
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NEXT
University of California at San Diego
Goes Beyond 4K with Sonys F65
Case Study
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The University of California at San
Diegos Visual Arts Department and
its Arthur C. Clarke Center for Human
Imagination has entered the new
frontier of digital media production with
Sonys fagship CineAlta F65 8K sensor
camera. As 4K rises to the forefront
of flm and television production, the
department is leading the way among
educational organizations utilizing the
F65 cameras ultra-high resolution for a
range of student projects, digital media
research and campus events.
The F65 will be used to support
and produce high-quality
graduate student thesis
projects, including experimental
short flms and the development of
new elements for multi-media art
installation and globally networked
live performances. The camera will
also be available to the departments
faculty and research associates.
UCSD received one of the frst Sony
4K projectors in North America almost
seven years ago, and UCSDs Visual
Arts Department professor Sheldon
Brown, a long-time pioneer in the
digital media feld, has a history of
pushing the limits of traditional digital
media. Browns research has focused on
early development processes for 3D, and
now in the area of 4K, he will use the F65
to go beyond 4K for projects with up to
300,000,000 pixel displays.
UCSD has a rich history of leading-
edge cultural production combining
both the artistic and the technological
vanguard, Brown said. The F65 is a
tremendous new tool for us to be able
to use in our exploration beyond 4K.
The camera brings a new level of
sophistication to our work, allowing us to
make a far more substantial push in the
integration of camera-based footage
into new types of hybrid digital media
environments. The F65s shutter allows us
to avoid certain kinds of artifacts which
appear at ultra-high resolution. The
way in which the sensor elements are
structured also provides for the highest
levels of color fdelity.
Students are the future leaders of the
industry, and partnerships like the
one between UCSDs Visual Arts
Department, the Arthur C. Clarke Center
for Human Imagination and Sony are
critical to the evolution of digital
media, said Rob Willox, Director
of Large Sensor Cameras at Sony
Electronics. The creativity and
innovation that is coming out of
UCSD is a preview of the industrys
future. We look forward to following
the departments projects as they
put the F65 to the test.
For further information on the Sony F65,
click here.
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Sony Expands Line of Video Journalist Backpacks
New Models Add the Benefts of Sony XDCAM HD 4:2:2 Technology to Deliver Higher Performance
and Improved Workfows
New Products
acquisition
solutions
Sony has four new models in its Video
Journalist Backpack series of all-in-one
portable feld production kits. The new
backpacks ofer professionals a choice
of Sonys XDCAM HD 4:2:2 camcorder
technology (models PMW-100 or PMW-
200), bringing new workfow options to
mobile production applications.
Sonys Video Journalist Backpacks, frst
introduced in 2011, are now in use at
news stations and schools across the
country. Designed to give single-person
production crews end-to-end HD
acquisition and editing capabilities,
the original kits included a range
of Sony professional and consumer
technology: an HD camcorder, an
optional laptop, wireless microphone
system, tablet for playback or
teleprompter use, video editing
sofware, memory cards and more.
The new kits still ofer the same
comprehensive array of technology,
but the addition of the new XDCAM
camcorders gives mobile professionals
more options for choosing the workfow
that best fts their needs.
These backpacks were designed
to give professionals everything they
need to make their jobs easier and
more efective, said Pete DiIorio, Senior
Marketing Manager, Systems Solutions,
for Sony Electronics Professional Solutions
of America group. We also wanted them
to be able to grow with our users as their
needs change. Now, incredible fexibility
and high-end recording capabilities like
HD4:2:2 are becoming more important to
pro shooters at every level of production
in terms of workfow and picture quality.
These new capabilities take an already
comprehensive product and add more
useful features to it, resulting in an ever
greater user experience.
The Video Journalist Backpack
series supports feld production
activities for a range of
applications and users, from
flm/video students to ENG/
EFP crews to corporate
video and houses of worship.
The PMW-100, which is included
in both the new VJBK-1TP100
and VJBK-1TVVP100 backpacks,
increases performance with
high resolution 50 Mbps MPEG HD422
codec. It has the ability to record MXF
fles on UDF formatted cards or on SxS
memory cards that are compatible with
the XDCAM EX format.
The PMW-200 camcorder, included in
the VJBK-1TP200 and VJBK-1TVVP200 kits,
is the successor to Sonys PMW-EX1/R
camcorder. It supports a 50 Mbps MPEG
HD422 codec and MXF recording and
uses three 1/2-inch Full HD Exmor CMOS
sensors (1920x1280).
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Sony Expands Line of Video Journalist Backpacks (continued)
New Products
acquisition
solutions
Like the original Video Journalist
Backpacks, all four of the new kits
contain a diverse set of support
accessories to provide users with the
tools they need for recording and
producing professional audio and
video. Components include:
Sonys easy-to-use UWP-V1 full wireless
microphone system, with an F112
handheld microphone and MDR7510
professional headphones
The latest Xperia tablet PC for
teleprompting or clip playback
Sony Creative Sofwares Vegas Pro
Sofware for editing
Tripod for making smooth pans and
tilts, in addition to keeping the camera
steady during interview shots
Dimmable on camera LED video light to
match both outdoor and indoor lighting
that uses rechargeable batteries
Extra memory cards, lens cleaning kits,
cables, batteries, and other accessories
The backpack itself, which is lightweight
yet includes a rain cover and work mat
Live telephone tech support
The new VJBK-1TVVP100 and VJBK-
1TVVP200 also includes a VAIO laptop,
VJBK-1TP100 - $7,779
VJBK-1TVVP100 (with VAIO laptop
computer) - $8,519
VJBK-1TP200 - $11,619
computer) - $12,359
Check out our Journalist Backpack intro video that presents the major pieces
of equipment included, as well as the major capabilities of this comprehensive
feld production solution. Presented by Andy Munitz, National Training Manager,
Sony Professional Solutions Division.
which can burn DVDs, prepare content
to be uploaded to the web, and work
with the provided Vegas Pro Sofware.
The new Video Journalist Backpacks are
available now, at the following suggested
list prices:
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Client:
Project:
Campaign:
Creative:
AE:
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2013 Sony
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Publication:
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Issue:
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Contact None with any questions regarding these materials.
ph: None email: rda@gsgnyc.com
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Sony
F55: Superior range of colors.

Try to capture such accurate reds and greens with anything else,
lm or digital. Nothing comes close. Sonys 16-bit RAW retains every
nuance of the full color spectrum. With a streamlined workow and
superior performance, theres a Sony 35mm digital camera for every
application. Dont just dream in color. Deliver. Discover how much
more you can see at sony.com/color
try this with another camera
Color 2013 GRS Systems, Inc. All rights reserved.
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Sony Shoots Summer X Games
Sony used 25 HDC Series Cameras to
shoot and broadcast the 2013 Summer
X Games, continuing Sonys long-running
tradition of providing HD production
technology for nearly every major live
entertainment and sporting event.
Sony also captured 4K sports content
for demo purposes and as content for
Sonys FMP-X1 4K Ultra HD media player,
using four Sony F55 4K cameras.
ESPN gave us prime real estate to get
the best possible angles in 4K, said John
Studdert, vice president, Professional
Solutions of America (PSA). We used
four 4K cameras total, with at least two
cameras on every event... we had at
least two angles for every jump, every
bump of the skateboard, every 360 spin.
Hosted in L.A. from Aug. 1-4, ESPNs
Summer X Games featured top athletes
in skateboarding, BMX and Moto X
events.
Check out the 4K coverage here:
The Hollywood Reporter
Sports Video Group (SVG)
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Interview
archive/news
and production
systems
Sports Asset Management Q&A:
Peter DiIorio, Senior Manager, Sony Systems Solutions
At Julys SVG Sports Asset Management
Forum, leagues, networks, and
manufacturers discussed some of the
common challenges, solutions, and best
practices in the exploding feld of media-
asset management (MAM).
Typically known for its top-of-the-line
cameras, television sets, and other
hardware, Sony
has also risen to
the forefront of fle-
based workfow and
media-infrastructure
technologies over the
past few years.
At the event, SVG
caught up with
Peter DiIorio, senior
manager of Sony
Systems Solutions, to
discuss some of the
companys newest
asset-management systems and what
can be done to better standardize MAM
workfows going forward.
Over the past fve to 10 years, how
much has asset management become
more a part of what Sony does?
Asset management has become a
huge part of Sonys philosophy. We
have a suite of products called Media
Backbone Solutions. That includes Ci,
which is the cloud-based collaborative
workfow. It comes with
the idea of being able
to move your assets into
the cloud and edit them
collaboratively. Its not
a fnal-editing platform;
its a way of annotating
and communicating
between production
platforms and a place
to put lots of content. It
addresses the element
of moving production
to the cloud, which is
coming to the forefront.
We also have our Media Backbone
Enterprise Management System [MBEMS],
or what we used to call Conductor. Thats
an orchestration application. The idea of
that is for folks who have a facility and a
whole bunch of various applications.
What MBEMS does is take all of those
separate workfowsthose islands, if you
willand basically put an umbrella over
them to manage them all. So much time
is spent in production that, whatever
youre doing with your contentediting
in one location, transcoding in another,
playing out in anotherits very difcult
to track whats going on with any
particular job. What Media Backbone
Enterprise Management Systemsand
thats really a mouthfuldoes is let
you know whats happening with your
project at any given time. The beauty of
that is that it is independent of whatever
manufacturers product is being used.
Outside of the cloudfor those who
still may be afraid of itwhat are some
other storage options that Sony ofers?
We have Optical Disc Archive. We have
taken our experience with optical-disc
storage media; weve combined a bunch
NEXT
Sonys Peter DiIorio addresses the crowd
of more than 200 at SVGs Sports Asset
Management Forum.
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Interview
archive/news
and production
systems
Sports Asset Management Q&A:
Peter DiIorio, Senior Manager, Sony Systems Solutions (continued)
of optical discs in a cartridge.
There are three elements that make this
really cool. First of all, the media is just
incredibly robust. So, if youre looking for
some serious archive capability where
you dont have to worry as much about
the environment, Optical Disc Archive is
very good for you. The second thing is,
because its disc-based, it really lends
itself to media, because you can record
and access content fle-based, which
is diferent from LTO. Third, its got a 50-
year life. Youre less constrained toward
migration every fve to seven years as
you might see with LTO.
So is asset management important to
us? Heck yeah! Were at the front end
creating the fle-based content, and were
at the back end consuming it.
Weve heard some of the challenges
with asset management throughout the
panel discussionsbe it consistency of
transcoding, codecs, metadata issues.
In your opinion, how much of that
responsibility lies on the manufacturer
and how much on the end user?
Thats why there are standards groups.
I heard someone talking today
about having a metadata-standards
committee. I think thats a good idea.
The long and the short of it, at the end
of the day, were trying to get pictures
to somewhere. Its television, whether its
on your phone or a tablet. Its all about
getting a picture and audio out there
somewhere. Theres always going to
have to be collaboration between the
end user and the manufacturer. The
difculty for the manufacturer is, you have
to start somewhere. Theres always new
developments coming along, and what
companies like Sony do is get together
with our customers and ask them
questions. That kind of research is always
going on.
So I dont think its any one partys
responsibility. A technology will come
out because of a manufacturers
understanding of the marketplace, but
we wont know [what the end users
think] unless we talk to [them]. The
manufacturers have to ask the right
questions of their end users, and the
end users also have to come back to
the manufacturers and let us know what
theyre trying to do and asking us what
we can do to help make it happen.
Its always going to be collaborative.
When you get down to the nitty-gritty and
youre really trying to create a system,
the end user is going to have to do their
research, but it is the responsibility of
the manufacturer to keep the end user
up-to-date. On a day-to-day basis, were
all really busy, and theres fewer people
to do many more things, so we have to
do a really good job of reaching out to
our customers and say, Hey, this is what
weve got. What do you think?
Thats why a forum like [Sports Asset
Management Forum] is so valuable,
and thats why Sony supports SVG
because it gets everybody together. It
brings us together to talk about what we
do and maybe fgure out how to do it
better. Thats a really important element
as well. End users and manufacturers
need to understand the importance of
this sort of forum.
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More on event production
in this issue:
New Products
event
production
New Sony Robotic
Cameras - the SRG Series
Only a robotic camera leader like Sony could
make great images appear even better!
Introducing Sonys new line-up of PTZ cameras
the SRG Series. Joining Sonys popular EVI and
BRC Series, the SRG-300H (30x) and SRG-120DH
(12x) feature Full HD 1080p/60 image format
as well as 720p. In addition to being equipped
with the industry-known Sony VISCA protocol,
the SRG Series also comes with built-in IP control
capabilitymaking remote control even easier!
With unprecedented clarity and reliability,
these PTZ cameras are ideal for small to large
spaces in a variety of government, corporate,
videoconference, education, telemedicine and
house of worship applications.
Test out these amazing cameras that you control
remotely for close-up access at the upcoming
Content Creation World in NYC, November 13-14.
NEXT
Introducing the SRG Series pan/tilt/zoom cameras.
Sony, the people who brought you the best-selling EVI Series, have just upped the ante. Feast your eyes on 1080p/60 HD.
Discover wider wide angles, extended zoom, higher sensitivity, IP control, plus View-DR
processing to master the harshest

light conditions. What hasnt changed is the uncanny smoothness of our pan/tilt/zoom or the clarity of our legendary
Exmor
sensors. Sony SRG Series cameras. Youve got to see them for yourself.
Arrange a demo at sony.com/ptz.
Simulated images
2013 Sony Electronics Inc. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Features and specications are subject to change without notice.
Sony, Exmor, View-DR and the Sony make.believe logo are trademarks of Sony.
raise your sights
Anycast Touch
MVS-3000/MVS-6500 series V1.10 sofware
New cameras, more choices
Making a triax solution more afordable
Sonys new Environmental Dome
New Sony PTZ camera dedicated website
Monday Night Football sets bar high
Anycast Touch PSA hits it out of the park
Touch the future of live production
Sony, Game Creek Video at All-Star Game
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Product Highlights
event
production
in this issue:
Anycast Touch
Tablets, smartphones and PCs harness
the power of touch. Why not a live
production switcher? Sony created the
AWS-750 Anycast
Touch live content

producer with incredibly intuitive dual-
touchscreen control. Heres a 6-input/5-
output switcher and audio mixer with
real-time streaming and multi-viewer all
in one. Youll enjoy 10 hours of internal
recording and VISCA
control for Sony

BRC cameras
The Anycast Touch is shipping now
at a special early adopter price
through December 26, 2013.
Please visit sony.com/AnycastTouch to
learn more about this new innovation in
live production and be sure to check out
the Anycast Touch Essentials video series.
In this series of short videos we explore
just how easy the Anycast Touch makes
video switching and audio mixing. Then
building upon these concepts, we dive
deeper into the Anycast Touch to learn
about the features and benefts, such as
the unique scene functionality, how to
stream video, create efects and titles,
and much more.
The Anycast Essentials video
series will show you how
someone of any skill level can
utilize the unique features and
functions to work faster, more
efciently, and get the most
out of the Anycast Touch.
Have an idea or feedback
on the Anycast Touch?
Join the conversation at
community.sony.com.
MVS Promotions and Resource Kit
The switcher resource tool kits for the
MVS series switchers contain valuable
and useful information for operating your
production switcher. Each kit contains
user manuals, installation guides,
brochures, and CADs and instructional
videos in one convenient location.
Because making a big production
shouldnt be a big production.
Click here to learn more
NEXT
NEXT
New features and functionalities
Click here to download
MVS-3000/MVS-6500
series V1.10 sofware
New Sony robotic cameras - SRG series
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in this issue:
New Products
event
production
Sony is now ofering you a choice on the
best workhorse cameras in the industry
with new digital Triax and Optical Fiber
systems options. Sony proudly introduces
four powerful, all-new HSC series cameras
incorporating the latest broadcast
technologies.
The new HSC cameras have stepped
up the performance quotient by
incorporating a sophisticated 16-bit
A/D conversion circuit coupled with the
superb performance of three 2/3 CCDs.
Other feature and performance
highlights include:
High S/N of -60 dB (HD)
Multi-format operation
High sensitivity of F10
(59.94 Hz) & F11 (50 Hz)
Adaptive Matrix
Hypergamma
The HSC-300R and HSC-100R ofer digital
Triax operation, which allows long cable
runs of up to 1800 meters while still being
able to be integrated into conventional
Triax-based systems. An easy upgrade for
existing systems.
The HSC-300RF and HSC-100RF ofer
1.5 Gbps Optical Fiber operation for
uncompressed signal transmission cable
runs of up to 2000 meters.
The 300 series also ofers the fexibility of
adding Quick Mount adaptors for large
lens operation along with a choice of
NEXT
viewfnders to ft your most demanding
production applications.
So, as you see, four new cameras and
many more choices.
For more information go to
sony.com/professional
Making a Triax Solution
More Afordable
With the recent introduction of the
new HXCU-TX70 control unit, digital
Triax operation with the HXC-D70
camera becomes even more
afordable. Previously you had to
purchase the HXCU-100K control
unit for the HXC-D70 which was
primarily designed for use with the
more expensive HXC-100K camera.
But now with the advent of the
HXCU-TX70, which was specifcally
designed for the D70 camera,
you can realize a savings of more
than 30% on a camera control
unit without any compromise in
performance or features.
The suggested list price of the
HXCU-TX70 is $11,000.
Anycast Touch
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in this issue:
New Products
event
production
Now you can protect your high-
quality BRC PTZ camera against water,
moisture, dirt, and dust. Announcing
Sony's new environmental enclosures,
available with a clear or tinted dome.
The environmental housing is equipped
with a built-in heater and blower and
is IP66-rated. The BRC cameras can
be accessed via a network with its
IP control capability (optional RM-
IP10 controller and BRBK-IP10 board
required), making it even easier to work
in the Great Outdoors.
Sony's line of BRC cameras is already
at work in corporate boardrooms,
concert halls, studios, houses of worship,
city council chambers, wedding
venues, lecture halls, and other places
where exceptional picture quality,
remote control, and smooth, silent PTZ
capabilities are essential. And now the
environmental dome provides climate
control.
Highlights:
12.5" dome for unobstructed viewing
through full-tilt range of -30 to +90
vertical range of motion
Thermoelectric cooling device (TEC)
provides sub-ambient temperatures
within the enclosure
Mounts directly to walls and poles
Light industrial gray powder-coated
aluminum body
IP66-rated seal for ingress protection
against dirt, dust, and moisture
Optional sunshield (BRC-AD14SS)
protects the camera from solar
radiation
Designed for use with Sony's BRC-H900,
BRC-Z700, BRC-Z330, and BRC-300 PTZ
cameras
Climate Control
Sony's New Environmental Dome is an All-Weather Friend
to the BRC Camera Line.
New Sony PTZ Camera
Dedicated Website
NEXT
sony.com/ptz
A leader in the robotic
camera industry, Sony ofers a
comprehensive line up of PTZ
Cameras with its well-known EVI
and BRC Cameras Series -- and
soon-to-be-released SRG Series.
Newly launched, this site allows you
to locate PTZ camera information
within just a few clicks. The site
ofers an extensive library of
materials including specifcations,
manuals, sofware and side-by-side
comparisions, to name a few. Now
you can quickly and easily fnd
the right Sony PTZ camera for your
application.
Anycast Touch
Anycast Touch
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in this issue:
Case Study
event
production
On a sunny Wednesday afernoon in
Bristol, CT, the technological brain trusts
behind the football institution that is
Monday Night Football are beaming like
two dads whose kids just graduated at
the top of their class.
ESPNs VP of Remote Operations Chris
Calcinari and Senior Operations Manager
Steve Carter are just days away from the
kickof of a new season, and they are
basking in the glow of their new state-of-
the-art feet of live production trucks.
Today has been two years in the
making. ESPN worked hand-in-hand with
NEP Broadcasting to produce EN1, a
collection of four mobile units that those
involved believe is the realization of the
of discussed Truck of the Future.
This is the new
standard for big-event
trucks, says Calcinari.
Once people see this
thing in action, they
are going to realize this
is the model that a lot
people are going to
want moving forward.
A shiny new feet, a
complete painters
palette of the latest
and greatest gear, and
some exciting on-feld
matchups have ESPNs
Monday Night Football
geared up for one of its
most exciting seasons yet.
Lens Crafed
For MNF telecasts, ESPN blankets a
stadium with 30-35 cameras.
2013 NFL Preview: Monday Night Footballs New Production
Infrastructure Sets Bar High
NEXT
With the new NEP EN1 trucks, ESPN also
gets an entirely new collection of Sony
HDC2500 cameras. Many of them are
stationed in the traditional football
camera positions: three across the top of
the stadium, low end-zone slash, and two
high end zone (if stadium permits).
ESPNs Senior Operations Manager Steve Carter (lef) and VP of Remote
Operations Chris Calcinari with the new NEP EN1 production truck.
MNF uses a unique cart camera design (seen here
at MetLife Stadium in 2012) that stacks two cameras.
This article was posted on sportsvideo.org, by Brandon Costa, Senior Editor, September 6, 2013.
Anycast Touch
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in this issue:
Case Study
event
production
ESPNs MNF telecast also uses a cart
camera that stacks two cameras instead
of the traditional side-by-side design.
Our design is diferent from everybody
elses, says Carter. End-to-end gives us
both cameras on the plane of the goal
line when we get down there. When we
initially started it, only one camera could
get on the plane of the goal. The tiered
system is great, and I hear others are
following suit.
The camera arsenal also overfows
with slow-motion options. According to
Calcinari, up to 12 of the Sony 2500s are
capable of producing 2x super-slow-mo.
In addition, three Sony HDC3300R Super
Motion cameras provide 3x super-slo-mo.
Thats a lot, laughs Calcinari, as the fnal
total hits him. Youre talking 17 cameras
that are capable of doing slo-mo, which
is pretty impressive.
To the Skies
Last year, the star of the camera arsenal
was the wildly popular Spidercam, which
2013 NFL Preview: Monday Night Footballs New Production Infrastructure
Sets Bar High (continued)
NEXT
captured shots never before seen on an
NFL feld.
The aerial camera system Spidercam
made a successful debut on MNF a year
ago and will be back again this season.
I think Spidercam in football is a game
changer, says Calcinari. The shots
that we get out of Spidercam are just
phenomenal. It can get much lower, its
much quieter, it takes of much faster. The
shots on the kickof are just unbelievable.
The way that [director] Chip [Dean] uses
that particular camera on that shot is
pretty impressive.
Aerial Video Systems (AVS) is also
back again this year and in a big
way. In addition to providing a wireless
Steadicam and a wireless handheld, AVS
is living up to its name, fying in its own
Partenavia P68 Observer aircraf. With its
twin engines and high-wing profle, the
P68 provides greater range, fight time,
and performance than helicopters and
blimps. Outftted with AVSs Cinefex V14
and Link microwave systems, the P68 is
fully HD-capable.
To read the full SVG article click here.
Up to 12 of the Sony 2500s are capable of producing
2x super-slow-mo. In addition, three Sony HDC3300R
Super Motion cameras provide 3x super-slo-mo. Youre
talking 17 cameras that are capable of doing slo-mo,
which is pretty impressive.
Chris Calcinari,
VP of Remote Operations,
ESPN
Anycast Touch
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in this issue:
Product Highlights
event
production
Sony stepped up to the plate in July
to launch the new Anycast
Touch
all-in-one live production system. The
Professional Solutions of America
group hosted two days of events and
demonstrations at Provident Bank Park
in Pomona, N.Y., home of the minor
league Rockland Boulders.
The activities began with a press day
on Tuesday, July 16th. A dozen trade
journalists from top A/V publications as
well as industry bloggers came to the
Park Ridge ofce for hands-on training
with the system. Within an hour, they
were at the ballpark taking turns at the
controls of the Anycast Touch system for
an inning, working with real, live game
content direct from the Boulders control
room, and from Sonys BRC cameras set
up specifcally for this event.
We wanted to demonstrate how easy this
system is to learn and use, said Wayne
Zuchowski, group marketing manager
of America group. With just some basic
training and direction, these editors
were using the Anycast Touch in a real
professional production environment. And
they had a lot of fun doing it.
The next night gave Sony channel
partners an opportunity to try the system
out, as a group of resellers and system
integrators came to the parkand the
results were the same.
The Anycast Touch system is designed
for live production or webcasting
environments where single-person
operation is required, such as houses
Sony PSA Hits It Out of the Park with Anycast Touch
NEXT
of worship, schools, sports venues and
more. It combines a familiar touch-screen
interface, common in mobile devices,
with full-scale A/V performance.
The full HD (1920x1080) system combines
a video switcher, audio mixer, special
efects generator, PTZ camera control,
a real-time streaming encoder, image
still store, character generator, and
scale converter. And with just one
cable connection, it eliminates the
additional hardware typically required
for professional live streaming, such as
encoders, video recorders, audio mixers,
titlers and remote camera controllers.
The demos at Provident Bank Park also
used Sonys BRC robotic pan-tilt-zoom
cameras, as well as the NXL-IP55, a video
network unit that can transfer multiple HD
image signals, audio signals and control
signals over a single network cable.
Here are links to articles following the
event:
Church Production
Systems Contractor News
Broadcast Engineering
Studio Daily
TV Technology
Read the full case study
Press getting Anycast training in Park Ridge . . .
. . . and then using the system in a real
production environment at a Rockland
Boulders game
Anycast Touch
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in this issue:
event
production
Client:
Project:
Campaign:
Creative:
AE:
RDA International, Inc. - 309021
2013 Sony
7314 Switcher Touch
7314 Switcher Touch
SL
Publication:
IO #:
Issue:
Ad Type:
Proofs:
CREATIVE MASTER
None
2013_07(July)
P4CB
B: = 8.75 x 11.25
T: = 8.5 x 11
S: = 8 x 10.5
None
Ship Info: CREATIVE MASTER
None

None, None None
Attn: None
T: None
E: None
Contact None with any questions regarding these materials.
ph: None email: rda@gsgnyc.com
33 East 17th Street, New York, NY 10003 646-230-1900
K100 K75 K50 K25 C100 C75 C50 C25 M100 M75 M50 M25 Y100 Y75 Y50 Y25 R100 R75 R50 R25 G100 G75 G50 G25 B100 B75 B50 B25 PAPER
All screen images simulated.
2013 Sony Electronics Inc. All rights reserved. Reproduction in whole or in part without written permission is prohibited.
Features and specications are subject to change without notice. Sony, Anycast, VISCA and the Sony make.believe logo are trademarks of Sony.
Tablets, smartphones and PCs harness the power of touch. Why not a live production switcher? Sony created the AWS-750
Anycast Touch live content producer with incredibly intuitive touchscreen control. Heres a 6-input/5-output switcher and
audio mixer with real-time streaming and multi-viewer all in one. Youll enjoy 10 hours of internal recording and VISCA

control for Sony BRC cameras. Not only is the system ideal for broadcasters, its also easy for students, parishioners and
volunteers to master. The Anycast Touch switcher. Because making a big production shouldnt be a big production.
Visit sony.com/anycasttouch for more information and to locate a reseller in your area.
AWS-750 Anycast
Touch Switcher
touch the future of live production
S:8
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7314_SwitcherTouch_MASTER_PC4B.indd 1 6/28/13 12:26 PM

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Anycast Touch
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in this issue:
Case Study
event
production
A massive production like Fox Sports MLB
All-Star Game show is always chock-full of
the most cutting-edge technology and
high-end production facilities available
and this year at Citi Field in Queens,
NY, was no diferent. Sony and Game
Creek Video once again helped lead
the charge for Fox in July, combining to
supply an army of mobile units, cameras,
and other gear for the highly-rated All-
Star telecast.
We had a great show, says Jerry
Steinberg, SVP, Field Operations and
Engineering. Our signature elements
audio and high-speed photography
were awesome. We have continued
to push the envelope for high-speed
photography and that technology
allows you to televise dramatic moments
in a way that would not be possible
otherwiseand Im really proud of
it. When you have a play like [Prince
Fielder's sliding triple at third base] at
Sony, Game Creek Video Come Up Big for Fox at All-Star Game
NEXT
high-speed and with the [enhanced]
audio, those are the moments you
remember about the All-Star Game.
Sony Cameras Ubiquitous at Citi
Sony was once again all over the
All-Star festivities, supplying nearly every
camera on-site at Citi Field. The substantial
Sony camera complement was on-site,
including more than two dozen Sony
HDC-1500 cameras for mobile-unit provider
Game Creek Video and Fox Sports.
We have continued to
push the envelope for
high-speed photography
and that technology
allows you televise
dramatic moments in a
way that would not be
possible otherwise
Jerry Steinberg,
SVP, Field Operations,
Fox Sports
This article was posted on sportsvideo.org, by Jason Dachman, Managing Editor, July 19, 2013.
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in this issue:
Case Study
event
production
Our entire feet is Sony cameras,
including the Fox truck, says Jason
Taubman, VP, design/new technology,
Game Creek Video. We purchased our
frst round of [Sony HDC-1500 cameras]
in 2003-2004, and they have been a total
workhorse for us. We own over 200 of
them now. We are continuing to buy the
follow-on, which is the Sony HDC-2500,
and we dont see any reason why we
wouldnt continue to purchase those
cameras in the future.
Steinberg adds: We use all Sony
[cameras] and its been that way for a
long time. The only thing out there that
are not Sony cameras are the specialty
cameras. Were very happy with [the
Sony cameras].
In addition to Foxs coverage of the
Game itself, Sony cameras from NEPs
SS-25 mobile unit provided the primary
coverage for ESPNs Home Run Derby.
Sony is used to being on the big
stageeverything from the Academy
Awards to the Grammys to the Super
Bowl to the All-Star Game, says John
Studdert, VP, end-user sales, Sony
Electronics Professional Solutions
Division. I cant think of a major event
that was produced over the last few
years that didnt have Sony HDC
cameras. I think the big story would
actually be if Sony was not there. And
we were everywhere once again [at All-
Star]basically every single HD camera
was a Sony camera.
Game Creek Fox Trucks Back in the
All-Star Saddle
Game Creeks robust quartet of Fox
trucks were once again on-hand to serve
as the home of Foxs All-Star production.
These A, B, C, and D units have been the
networks home base for every major
Fox Sports production in recent memory,
including All-Star Games, Daytona 500s,
and Super Bowls, among others.
The Fox trucks just take a show like this
in stride; big shows are just what they do,
says Taubman. The All-Star Game was an
enormous show, for sure, but they were
Sony, Game Creek Video Come Up Big for Fox at All-Star Game (continued)
well equipped for it and it didnt really
faze them. The Fox truck was prepared to
handle a show like this without a whole
lot of modifcation.
The A truck is the hardware truck with
all of the audio, replay, video, and core
engineering going on inside. The B
unit has graphics, production, and the
ChyronHego AKI Paint system. The D
unit, meanwhile, is equipped with two
pre-game Final Cut edit systems and a
ffh video position for operators shading
robo cameras.
They are as modern and current as
anything that is on the road today, says
Steinberg. And that is true even afer
them being on the road for a few years.
Our entire feet is ony
cameras, including the
Fox truck
Jason Taubman,
VP, Design/New technology,
Game Creek Video
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More on presentation
and simulation systems
in this issue:
New Products
presentation and
simulation systems
We recently introduced three new
ProBravia monitors, FWD47W802A
47" and FWD55W802A 55" ProBRAVIA
professional full HD LED displays, and the
FWD84X900 84" 4K professional
Pro Bravia panel.
The energy-efcient 47" and 55" Full HD
LED displays are the smart way to make
your point in boardrooms and ofces,
public spaces, retail venues and schools.
Its easy to install, with plentiful video
connections and both LAN and Wi-Fi
networking included.
The 84-inch ProBRAVIA LED incorporates
a 4K (3840 x 2160 pixels) LCD panel, with
four times the pixels of Full HD, achieving
52 ppi (pixels per inch) even on its extra-
large 84-inch high-resolution screen.
The new ProBRAVIA professional displays
are bringing exciting new possibilities
to the worlds of business and retail. The
FWD47W802A and the FWD55W802A
New ProBravia Monitors
NEXT
includes a built-in HTML5 web browser
which allows for Digital Signage Solutions
without needing an external player.
The HTML5 browser allows for media-
rich content such as video, live TV and
RSS feeds to be easily displayed on the
FWD47W802A and FWD55W802A Pro
Bravia with nothing more than a network
connection (not available on the 84" 4K
LED Display).
Learn more at sony.com/professional
Sony Begins Shipping Worlds First 3LCD
Laser Light Source Projector
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More on presentation
and simulation systems
in this issue:
New Products
presentation and
simulation systems
Sony is now shipping the frst units of
the most eagerly anticipated product
in the AV presentation market: the
VPL-FHZ55 laser light source projector.
Announced in June 2013, industry
demand is strong and growing for
Sonys next-generation projection
technology.
Based on a laser light source, the VPL-
FHZ55 delivers a range of performance
capabilities and eliminates many of
the issues associated with conventional
lamp-based projection. This projector is
Sonys frst lamp-less projector using 3LCD
imaging technology to achieve 4,000
lumens of color light output at WUXGA
resolution (1920 x 1200), to deliver bright
and vivid color reproduction.
The initial response to this projection
technology has been overwhelmingly
positive, said Wally Mohri, marketing
manager for professional projectors at
Sony Electronics. Every customer whos
had a demo has walked away impressed,
and now that were shipping, even more
people will get a chance to see frst-hand
what this technology can really do.
The frst customers to receive the new
VPL-FHZ55 projector include the Moftt
Cancer Center in Tampa, Fla., and
Georgia State University among others.
The new VPL-FHZ55 projector uses blue
laser as its light source, which excites a
phosphorous material that in turn creates
white light. The white light is delivered to
the 3LCD optical system, generating full-
time, vibrant RGB color through a color
splitting process. The resulting 4,000 lumen
color light output produces brightness
sufcient for a range of commercial
applications, unlike competitive models
based on one-chip imager and hybrid
light source technologies.
The VPL-FHZ55 projector expands Sonys
eforts to achieve lower total cost of
ownership and energy efciency in
its projector line. The projector ofers
virtually maintenance-free operation
for up to 20,000* hours of expected
light source, display device and flter
use. The HG (mercury) free projector
is packed with energy-saving features,
including: Auto Light Dimming, which
dims light output down to 5% when
lef powered on without use; and Auto
Brightness Adjustment, which eliminates
unnecessary illumination when a dark
Sony Begins Shipping Worlds First 3LCD Laser Light Source Projector
First Units Scheduled for Delivery to A/V Rental Houses, Medical, Education, and HOW Markets
NEXT
picture is projected; and Constant
Brightness Mode, which allows users
to maintain brightness throughout the
expected 20,000-hour life by driving the
projector at reduced light output.
The use of a laser light source also gives
the projector instant on/of capability
and tilt- free capability for seamless
installation in nearly any setting or
position. Combined with 1.6x standard
zoom lens, V:+60% H:+/-32% lens shif,
built-in edge-blending and geometric
correction, the projector is fully capable
of advanced commercial integration.
The projector has a parts and labor
limited warranty of 5 years or 12,000
hours whichever comes frst, when
purchased from a Sony Authorized
Reseller or directly from Sony.
For more information,
visit sony.com/laser.
*Using with Auto Light Dimming feature enabled. Actual hours may vary depending on usage environment.
New ProBravia monitors
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For proper editing sessions, atuned room
with appropriately sized and positioned
monitors is the best way to go, but in
the fast-evolving world of flmmaking,
where hiring a professional sound mixer
or editor isn't always possible, that
specially tuned room is unlikely to be
among your options. Having a good
pair of headphones isn't a substitute
for a balanced audio booth or
perfectly tuned studio, but in
a pinch it will be better than
trying to edit with a random
collection of general-purpose
speakers attached to your
computer. Headphones
are also a necessity in the
feld. You can't rely on
visual monitors alone,
and hidden transient
noises are easy to miss
without a good pair of
headphones.
OPEN OR CLOSED?
Open-back versus closed-back
is a fundamental question when
choosing headphones. Among
audio professionals, open-back models
are prized for their defnition and clarity
of sound. Closed-back headphones are
usually characterized as creating sound
that seems as though it's inside your
head. They also have more bass punch
than the open-back models. That "sound
in the head" efect isn't always ideal,
especially when mixing in your
studio. In the feld, however,
closed-back headphones
are preferable because
of their ability to isolate
your ears from your
surroundings. In this
article, we're looking
at some selected
models of closed-
back headphones
that are up to
professional use. This
isn't a comprehensive
list. Our goal is to show
you a sampling of
what's available from
the top manufacturers.
The Sony MDR7520 Professional
Headphones For Field And Studio Use
Essential Tools to Let You Accurately Hear Whats Being Recorded on Set
Article posted by HDVideoPro.com
NEXT
Product Highlights
pro audio
solutions
More on pro audio
in this issue:
Studio Headphones have a closed-back
ear cup design with thick around-ear
cushions to block out environmental
noise. Their swivel mechanisms make
single-ear monitoring convenient and
comfortable. The single-sided OFC
cable gives clear signal transfer, and it's
detachable and replaceable. There's a
gold-plated 3.5mm plug and a -inch
adapter. The headphones have 50mm
drivers with LCP diaphragms and
neodymium magnets to deliver highly
accurate sound with an extended
frequency response that brings out the
deepest bass and crisp treble.
Read the full article here
Estimated Street Price: $399.
pro.sony.com
Check out the new
Audiofles episode:
DWX: Intelligent Digital Wireless
DWZ wireless microphone series
Upgrades to pro audio editing sofware
Developing the DWZ series
See what musicians are saying
Learn more about new DWZ products
Alternative wireless systems
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New Products
pro audio
solutions
More on pro audio
in this issue:
Sony recently added two new packages
to its widely used DWZ wireless microphone
seriesthe DWZ-B50I instrument set and
the DWZ-B50GB guitar set.
The two new packages continue the
series focus on fexibility, stability, and
high quality sound, while adding new
features that give performers more
options. Each new set ofers 24-bit
linear PCM digital audio transmission,
two selectable RF modes and Sonys
unique data processing for reliable RF
transmission, a 5-band equalizer and
robust metal body transmitter.
The DWZ-B50I instrument
set includes a
cardioid condenser
microphone with
fexible gooseneck
and two-way clip for
use with trumpets, saxophones or
other wind instruments. The DWZ-B50GB
guitar set also includes a cable tone
generator for matching the sound from
wired and wireless systems.
Sonys 2.4 GHz DWZ series includes
combinations of hand-held mics,
bodypack transmitters and rack-mount
or compact size receivers, ideal for use
by musicians, especially guitarists and
vocalists.
The DWZ series represents Sonys
ongoing eforts at evolving its extensive
wireless expertise to deliver the most
fexibility and the highest levels of
performance, said Karl Kussmaul, senior
product manager for professional
audio, Sony Electronics. With these new
packages, audio professionals now have
an
ideal wireless
solution for
small to
mid-
size
wireless audio
applications, combining
outstanding sound quality, stable
transmission, performance and durability.
The DWZ series also includes packages
ideal for musicians, classroom, corporate,
house of worship or government
applications. These include: DWZ-B30GB
Digital Wireless Package-Guitar Set,
DWZ-M50 Digital Wireless Package-Vocal
Set, DWZ-B70HL Digital Wireless Package-
Headset and Lavalier Set, and the
DWZ-M70 Digital Wireless Package-Vocal/
Speech Set.
The various DWZ components share
many high-performance features,
Sony Expands DWZ Wireless Microphone Series
with New Guitar and Instrument Sets
New Packages Deliver New Performance Options and Greater Flexibility
for Musicians
Headphones for feld and studio use
Check out the new Audiofles episode
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including 24-bit linear PCM digital audio
transmission, rack-mount receivers
with integrated color LCD and built-in
digital EQ, interchangeable handheld
capsule design that supports Sony or
third-party mic capsules, balanced and
unbalanced audio outputs, and more.
These features are complemented by
Sony technologies designed to further
enhance performance.
For example, the DWZ-M70 and
DWZ-B70HL packages ofer Sonys
Intelligent Feedback Reducer to
suppress unwanted feedback (or
howling), using a combination of high
performance DSP and Sonys unique
algorithms. A maximum of 1024 bands
suppression flters are continuously tuned
automatically in real time, eliminating
feedback and avoiding original
signal deterioration. Users can freely
select which audio outputs to apply
this feedback reduction flter tofor
example, output original audio to the
main PA system, while processed audio is
delivered to their monitor speakers.
The series also gives users two modes of
2.4GHz frequency selection (wide band
frequency hopping for simple operation
or narrow band frequency hopping for
coordinated spectrum use).
Wide Band Hopping Mode reduces
interference to other wireless equipment
used in the same environment, such as
Wi-Fi, and is also designed to support
additional error correction for more
secure transmission. Narrow Band
Hopping Mode can help users avoid
interference from other devicesfor
example, 2.4 GHz wireless remote
controllers that are commonly used for
lighting control. This lets users coordinate
frequencies when using multiple wireless
systems simultaneously.
Sony Electronics full line of professional
audio technologyportable audio
recorders, headphones and wireless
and wired microphone technology
is designed to meet an array of
professional sound and recording
requirements. For more information, visit
sony.com/proaudio.
Sony Expands DWZ Wireless Microphone Series with New
Guitar and Instrument Sets (continued)
NEXT
New Products
pro audio
solutions
More on pro audio
in this issue:
See the Voices behind the
development of Sonys DWZ Series
Digital Wireless System
Learn more
Developing the
DWZ series
See what musicians and industry
professionals are saying about
Sony audio products
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pro audio
solutions
More on pro audio
in this issue:
Sony Releases New Upgrades to Sound Forge
Pro and
Spectralayers
Pro Audio Editing Sofware

Audio Editing Powerhouses Sound
Forge Pro 11 and SpectraLayers Pro 2
Designed to Work Seamlessly Together
Sony Creative Sofware, a leading
global provider of professional editing
and authoring solutions, released new
upgrades for two of their award-winning
sofware applications, Sound Forge
Pro 11 [WIN] and SpectraLayers Pro
2 [WIN/MAC]. Sound Forge Pro is the
application of choice for a generation
of editors, comprising a solid platform
with an array of options that have
enjoyed a continuous evolution since
the birth of audio recording on the PC.
The new edition introduces more efcient
recording and processing workfows and
new signal and efects processing plug-
ins for crafing broadcast-ready audio
masters. Upgrading the revolutionary
editing application, SpectraLayers Pro
2 stands at the forefront of the audio
spectrum editing movement. Working
with audio in the spectral realm is now
even quicker and easier, with a faster
processing engine and a host of new
tools, methodologies and user interface
improvements.
While Sound Forge Pro 11
and SpectraLayers Pro 2 are
stand-alone applications, both
are now confgured to work
seamlessly with each other,
providing a comprehensive
editing environment that
combines deep waveform and
spectrum editing capabilities.
Sound Forge Pro 11 and
SpectraLayers Pro 2 have
arrived together in the form of a perfect
pair, unifed with systems for easy audio
data transfer capabilities, resulting in
a truly integrated solution for working
freely across the waveform and spectral
paradigms, said Dave Chaimson, vice
president of global marketing for Sony
Creative Sofware. Sound Forge Pro users
can now enjoy a very straightforward
punch-and-roll recording process, as well
as a host of new plug-ins that can be
accessed and controlled directly in the
workspace. Our legion of SpectraLayers
Pro users will enjoy the new performance
gains weve put under the hood while
inventing fresh ways to implement the
new sound-shaping features on board.
Sound Forge Pro 11 Sofware New
Features
One-Touch Recording: Sound Forge Pro
11 features a completely redesigned
recording interface that keeps you
anchored in the workspace at all times
while you shape and monitor incoming
audio, arm and record takes, review
work, and prepare for the next pass.
CALM (Commercial Advertisement
Loudness Mitigation Act) compliant
metering: New metering features
help you follow the new rules while
maximizing the dynamic range
potential of your audio.
New Products
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pro audio
solutions
More on pro audio
in this issue:
Sony Releases New Upgrades to Sound Forge
Pro and
Spectralayers
Pro Audio Editing Sofware (continued)

New Plug-in Chain Interface: Direct
workspace access to every element of
the plug-in processing environment.
Includes iZotope
Nectar
Elements
plug-in (a $129 value): High-end voice
processing plug-in with style presets
in genres like rock, pop, folk, soul, and
voiceover & dialogue.
New Restore and Repair Tools by
iZotope: New in this edition: Declipper,
Denoiser, Declicker.
New Waveform Display Options: More
than just a simple strip that displays
your exact location, this feature also
serves as an excellent navigation and
auditioning tool.
Input Bus Efects: Set the mood for your
talent by sweetening your source signal
with plug-in efects.
Broadcast Wave File Format
Enhancements: Supports BEXT BWF
version
2.0, iXML, and includes autofll
and verifcation options as well as
automatic repair of BWF data.
SpectraLayers Pro 2 Sofware New
Features
Signifcantly Enhanced Performance:
Enjoy faster spectral graph explorations
in any scenario.
Spectral Casting / Molding: Cast the
frequency signature of one layer over
that of another to derive a derivative
layer that can be phase-inverted to
create free spectral space for hard-
to-distinguish sounds to occupy in a
mix. Try a spectral alternative to typical
side-chain/ducking processes, or tap
this features creative potential for
incredible sound design possibilities.
Shape Tool: Perfect for extracting drum
sounds, simply point at a shape on the
spectral graph and click to pull your
hits over to a target layer.
Frequency Range Display Options:
Display frequency ranges plotted on
your choice of logarithmic scales.
One-Click Noise Extraction: A new one-
click command executes your custom
noiseprint over the target layers entire
spectral expanse.
Looping: Defne a time range and
engage looped playback to audition
full-spectrum selections as well as
frequency bandwidth-limited selections.
New Resampling and Remixing
Options: Freely defne, route, and
mix channels during the resampling
process.
Retina-Ready: Peer deeper into the
spectral graph while taking advantage
of your Retina display equipped
MacBook Pro.
Price and Availability
Sound Forge Pro 11 sofware (MSRP
$499.95 WIN), SpectraLayers Pro 2
sofware (MSRP $399.95 MAC/WIN), and
both applications bundled in the Audio
Master Suite package (MSRP $849.95)
are now available. For more information
or to purchase, please visit:
sonycreativesofware.com.
New Products
Learn more about our
New DWZ products
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pro audio
solutions
More on pro audio
in this issue:
* Compared to analog wireless mic systems.
Sony, Cross Remote and the make.believe logo are trademarks of Sony.
Audio for video from the leader in video
peerless wireless
What digital wireless mic system works seamlessly with camcorders? The DWX Series from Sony, the camcorder experts.
The RF transmission is so robust, theres a two-fold improvement* in co-channel interference rejection. And, Sonys Cross
Remote
technology enables adjustments on the y. Our 100% digital sound and interchangeable third-party capsules
please the most critical broadcasters and sound engineers. Even the pricing sounds terric. From eld to stage to studio,
the best choice in wireless remains clear: Sony.
Pros tell their DWX stories at sony.com/DWX
With the DWX system, our audio
is seamless and complete.
Alex Blanding, VP of Engineering, SNY
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Getting an Angle on Alternative Wireless Systems
NEXT
More on pro audio
in this issue:
They say land is always a good
investment because they arent making
any more of it. The same could be said
of the radio spectrum, and as the FCC
has sold of large swaths of it in recent
times, wireless microphone users have
become all too aware that they arent
making any more frequencies either. Pro
audio manufacturers have answered the
challenge with various responses, literally
trying to achieve more with lessmore
robust sound with less bandwidthas
they attempt to make the most of the TV
band channels they have lef.
With the arrival of TV BD devices
imminent, added wireless congestion
expected and more spectrum sales
seemingly inevitable, end users and the
pros who spec their mics are in a bind:
Either they buy a new system and hope
that it still has enough room to work
within in a few years, or they somehow
attempt to go back to wired mics even
though modern production demands
ofen make that impossible.
Finding neither option to be an option
at all, wireless mic operators are
increasingly exploring alternative wireless
microphones technologies, ranging
from digital wireless mics to microphone
systems that work outside
the typically used TV
channel frequencies. Of
course, deciding to take
the road less traveled
sends up all kinds of red
fags to the uninitiated
what about latency?
Whats the range like? Can
you use them outside the
U.S.? Are they reliable or
are they going to cut out
just before the singer hits
the high note? In short,
are these things ready for
prime time?
As far as Rick Camp is concerned, the
answer is yes. A frst-call FOH engineer,
Camp has mixed the likes of Madonna,
Beyonc, Jennifer Lopez, Anita Baker and
many others, and these days, his wireless
mic of choice is Sonys DWX digital
wireless system.
About 25 years ago, I was doing Earth
Wind and Fire, and they had Sony
wireless mics, he recalled. Back then,
Sony didnt have the best-sounding
capsules, but they had the best-sounding
receivers nobody could beat them.
Then Sony kind of dropped of and I
didnt see them anymore. Fast-forward
a few decades and Camp heard about
the DWX wireless system last year. With
a summer 2012 tour mixing Babyface
ahead of him, Camp got his hands on
the modern-day Sony system, which
transmits and receives 24-bit/48-kHz
digital audio, while ofering a reported
pro audio
solutions
Case Study
They work greatthe
range is superb
Rick Camp
This article appeared in Pro Sound News, Microphone Gear Guide. Written by Clive Young
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Getting an Angle on Alternative Wireless Systems (continued)
NEXT
dynamic range of more than 106 dB and
a frequency response of 20 Hz to 22 kHz.
On Babyface, we were out on tour for
about a month and a half, so we were
hitting all the sheds and amphitheaters,
10,000 people and up every night,
he explained. Frankie Beverly was
the headliner and we were opening
for him. We brought our own console
and the Sony wireless mics, and the
sound company was amazed by them.
You dont see Sony wireless on a lot of
riders and TV shows, but thats going to
change. They work greatthe range is
superb and Babyface really put them
to the test. At the end of his show, he
and his brother would run out into the
audience all the way to front of house,
and take a lap around the whole arena.
Not a problemno dropouts, no nothing;
they were rock solid.
Of course, range doesnt mean much if a
wireless mic sounds terrible to begin with,
but Camp found that wasnt an issue.
The sound is better because theyre not
using the companders like on a regular
analog wireless systems, said Camp.
And latency? If theres any, I havent
heard it yet.
Nonetheless, the person who has to be
most satisfed by a microphone is the
end user, and Babyface, a multi-Grammy
winning producer in his own right, was
no slouch in that regard. The Sonys have
changeable capsules, said Camp. Their
new capsules sound pretty nice to me,
cause we tried the DWX in rehearsal with
the Sony capsules and it sounded pretty
good, but we switched it to the Shure
KSM9 capsule because thats what hes
used to singing on, and its my favorite
capsule as well.
Perhaps the ultimate stamp of approval,
however, is the fact that Camp now
hopes to switch some of his other clients
to the Sony DWX: Now Im going to try
and get it on some of the one-ofs that
Jennifer [Lopez] has coming up this
summer, like Party In the Park in London.
Much like the U.S., the U.K. has had
its own spectrum upheaval in recent
years. In the past, wireless mic users had
exclusive use of a dedicated channel
channel 69 but 2012 saw that change
to a requirement to shared use of
channel 38 (with temporary shared use
of channels 39, 40 and 69 in a pinch). It
was that change that led Gilead Limor,
a corporate audio-visual specialist for
London-based Music, Arts & Media, to
leave the TV bands behind altogether.
I work mainly in conferences and
corporate events with up to 200
delegates, he said. A typical event has
up to six radio mics for spoken-word use,
along with a room full of mobile phones
switched onmostly set to silentwhich
used to come across as interference in
my Channel 69 mics. Disruptive calls
from home werent the only reason he
made the switch, however; while Channel
38 was designated to replace Channel
69, its not as wide or as stable; therefore
less frequencies are available. It is also
unclear whether our communications
More on pro audio
in this issue:
pro audio
solutions
Case Study
At the end of his show, he
and his brother would run
out into the audience all
the way to front of house,
and take a lap around
the whole arena. Not a
problemno dropouts, no
nothing; they were rock
solid.
Rick Camp
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regulator in 5-10 years may choose to sell
of Channel 38 as well, he added.
Faced with these issues, Limor made
the jump to wireless microphones
operating in an entirely diferent part of
the spectrum: Buying into the 2.4 GHz
range, which has a strong case for future
use, seemed a logical move. Another
consideration was that theres a license
fee for Channel 38, versus no license fee
for 2.4 GHz.
The result was that Limors conferences
now make use of Line 6 XD-V55
handheld mics with standard capsules.
As I understand it, Line 6 mics convert
the signal to digital at the sourcethus
a very short analog signal path
and send a wireless digital stream.
Since the transmitter and receiver are
communicating in binary, interference
is ignored and not processed with the
incoming signalhence, no noise. I have
no complaintsclear signal every time.
My only gripe until now was the lack
of 19 rack hardware for this particular
product line. That hardware debuted at
InfoComm in June, 2013.
2.4 GHz is where Wi-Fi networks reside, so
some thought has to be put into antenna
placement and frequency scanning.
Wi-Fi networks with high channel counts
can sometimes overlap with 2.4 GHz
wireless mic systems, resulting in network
slowdowns.
Just like with all the UHF band mics,
RF distribution and smarter antenna
deployment make an enormous
diference, advised Chris Regan, CEO of
wireless antenna manufacturer RF Venue.
Operating range, mitigating third-party
interference, and maintaining a reliable
RF link are all heavily infuenced by your
antenna system and also your transmitter
power levels.
Sometimes solutions come down to
simply experimenting with multiple
channel-use settings. Line 6, for instance,
ofers RF1, a redundant 4-channel
mode, but defaults to RF2, which uses
two channels. Using the latter mode
would make it less likely to overlap with
Wi-Fi channels in use, while bringing
latency under 2.9 mS and allowing more
simultaneous systems.
Theres been some learning curves for us,
like using any other wireless technologies,
but you have that kind of problem with
UHF or VHF signals, too, said Landon
Balding of Monumental Entertainment,
recalling the frst time he set up a diferent
Line 6 system: XCV -75 handhelds.
As the manager of Mosaic, an a
capella group with a modern pop/
hip-hop vocal style that primarily plays
corporate events, he said the act came
to use alternative wireless systems purely
by chance: We had an event in my
hometown of Grand Junction, CO, and
went down to the local music store; they
had this product on the shelf and spoke
very highly of it. We werent searching for
a digital solution; we kind of walked into it
and gave it a shot.
For the vocal act, the two main selling
points were that the system could travel
(Mosaic performs a lot overseas, so we
can travel with the mic worldwide and
its license-free) and digital modeling
technologies. The microphones capsule
can be interchanged with any Shure,
Earthworks, Heil or Telefunken capsule, but
it also ofers digital modeling of various
Shure and Sennheiser mics, so Mosaic
elected to emulate the Shure Beta58.
pro audio
solutions
Case Study
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in this issue:
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Brent Handy, a systems installer,
designer and project manager for
Advanced Sound & Communications
in Kansas City, MO, takes a pragmatic
approach to alternative wireless
systems, noting that his company is
a dealer for just about every major
wireless manufacturers line. We cherry-
pick specifc models from each line to
minimize overlap, maximize purchasing
power, and most importantly, provide
our customers with the best solutions.
While Handys company sells analog
systems, in his opinion, most of them still
have compander artifacts, less gain
before feedback, and simply dont
sound as good compared to their 24-
bit digital counterparts. Between those
concerns and the additional challenge
of having 14 broadcasters in his market,
Handy has moved to specing digital
wireless almost exclusively, selling mostly
the Shure ULX-D and Line 6 XD-V75. These
systems ft the needs of the bulk of my
customers. There will be some instances
where the new Shure BLX [analog
system] might ft the budget and be
made to work in a specifc environment,
but for the most part, I like the sound of
digital and the fact that digital does not
glitch as blatantly when experiencing
interference as similarly priced analog.
That is my experience.
Top analog systems support upwards
of 20 microphones per TV channel, or 6
MHz. In its standard mode, Shures ULX-D
supports 17 mics, which is comparable,
but when set at High Density, it can ft
47 wireless microphones into that same
amount of spectrum. That feature came
in handy for Handy, who recalled, We
recently completed an installation of 32
Shure ULX-D systems in an Overland Park,
KS, Jewish Community Center theater,
where we installed an Allen & Heath iLive
console last year. Shures inclusion of the
Dante protocol meant I could connect
to the iLive rack with one cable, which
allowed us to patch all stage inputs to
the rack. Shures sofware is great, and
the set-up is fast. The units become a
system, not just a bunch of connected
parts; in about fve minutes, I had 32
receivers programmed.
While some might have concerns about
2.4 GHz systems competing with Wi-Fi
networks, Handy recalled installing three
XD-V75s in a downtown Kansas City
event center that had more than 30
simultaneously active wireless routers.
Never once have they had a drop-out
issue, he said. The units were installed as
specifed by Line 6, and we spent an hour
on site during the peak of the business
day trying to make them fail.
In another instance, he installed eight
systems in a Bonner Springs, KS, Methodist
church surrounded by a well-populated
neighborhood. We have had no issues,
and the church is very happy with the
sound quality, he reported. The pastors
body pack used the same Countryman
E6 series mic she had been using with
another analog system, and she was
blown away by the precise detail.
For now, most installations and
productions seem to be sticking with
tried-and-true analog-based systems, but
alternative wireless mics are undeniably
becoming more popular. Overall, I think
the better 2.4 GHz mic platforms have
come a very long way from where they
were just 5-6 years ago; you might be
surprised if you havent checked any
out in a while, said RF Venues Regan.
The same could be said for digital
wireless systems as well. As the spectrum
becomes more congested and digital
mic technologies advance, it may not
be long before alternative wireless arent
considered alternatives any more.
pro audio
solutions
Case Study
More on pro audio
in this issue:
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45
NEXT
Sony Electronics recently announced
a new line of afordably priced, high-
performance security cameras. The
high-defnition C-Series camerasmodels
SNC-CX600 and SNC-CX600Wft a range
of security or surveillance applications,
especially those for the small-to-midsize
business (SMB) market. This includes
retailers, ofces and restaurants.
Small- and medium-sized businesses
are more interested in security and
surveillance than ever before, said
Mark Collett, general manager of Sony
Electronics Security Systems Division.
However, these customers typically have
smaller budgets, so most high-end HD
cameras are cost-prohibitive. Our new
C-Series cameras are particularly well
suited for smaller installations because
they ofer professional-level features in a
small, well-priced camera that is easy to
deploy and manage.
The SNC-CX600 and SNC-CX600W
cameras are equipped with many
features not typically found in comparably
priced products. The cameras include:
720p (HD) image quality for high-
resolution imaging
A 120 viewing angle rather than the
standard 90 angle, which reduces the
number of cameras needed to cover
an area
A built-in motion sensor that works in
both light and dark environments
White LED illumination for true-to-life
color recording
Edge storage capabilities that reduce
costs by recording video and audio
directly onto microSD or SDHC cards,
bypassing the need for external
recorders
Sonys IPELA ENGINE EX integrated
signal processing system that
enhances video quality
Wi-Fi certifcation that enables the
stable transmission of video via
wireless networks; improved security
and simplifed set-up using WPS (Wi-Fi
Protected Setup)
A speaker that plays alerts or pre-
recorded voice messages
A microphone for optional sound
capture
The SNC-CX600 and SNC-CX600W
both have a list price of $497.
The SNC-CX600W is available now
through its product distribution channel,
while the SNC-CX600 is planned for
December availability.
Sony Launches Afordable, Compact HD Security Cameras
C-Series Cameras Deliver Professional-Grade Features for Small-to-Midsize Businesses
security
systems
New Products
More on security systems
in this issue:
Sonys C-Series HD Surveillance
Cameras are Compact, Afordable
and Feature Rich
SNC-CX600W
(with Wi-Fi Module)
SNC-CX600
See whats in store
Security Products 2013 winner
IP video surveillance camera
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Systems Solutions
46
NEXT
More on security systems
in this issue:
security
systems
Today, everything from loss prevention to business intelligence depends on video. So its never been more important
to start with the best possible picture. Which is where Sony comes in. Were the imaging experts in everything from
cinematography to mobile phones. So we can sharpen your image at the cash register. Enable you to see entrances
and parking lots in low light or severe backlight. And identify warehouse trafc details as never before. But, beyond
loss prevention, Sony video for retail can help you analyze and improve your business in the process. To see everything
you can, rst youve got to see your Sony representative.
See Sony cameras in action at sony.com/security/retail
Look to Sony video for quality, insight and context.
see whats in store
Simulated images
Sony, DEPA, View-DR and the Sony make.believe logo are trademarks of Sony.
Behavioral Analytics (DEPA
Advanced Technology)
LowLight Sensitivity
(Visibility Enhancer)
Actual image
Wide Dynamic Range (View-DR
Technology)
Winner IP Video
Surveillance
Camera
SNC-VM630
Sony launches afordable, compact
HD security cameras
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Systems Solutions
47
New Products
spotlight on...
START NEXT SECTION
Sony is now shipping the frst units of the
most eagerly anticipated product in the
AV presentation market: the VPL-FHZ55
laser light source projector. Announced
in June 2013, industry demand is strong
and growing for Sonys next-generation
projection technology.
Based on a laser light source, the VPL-
FHZ55 delivers a range of performance
capabilities and eliminates many of
the issues associated with conventional
lamp-based projection. This projector is
Sonys frst lamp-less projector using 3LCD
imaging technology to achieve 4,000
lumens of color light output at WUXGA
resolution (1920 x 1200), to deliver bright
and vivid color reproduction.
The initial response to this projection
technology has been overwhelmingly
positive, said Wally Mohri, marketing
manager for professional projectors at
Sony Electronics. Every customer whos
had a demo has walked away impressed,
and now that were shipping, even more
people will get a chance to see frst-hand
what this technology can really do.
The frst customers to receive the new
VPL-FHZ55 projector include the Moftt
Cancer Center in Tampa, Fla., and
Georgia State University among others.
The new VPL-FHZ55 projector uses blue
laser as its light source, which excites a
phosphorous material that in turn creates
white light. The white light is delivered to
the 3LCD optical system, generating full-
time, vibrant RGB color through a color
splitting process. The resulting 4,000 lumen
color light output produces brightness
sufcient for a range of commercial
applications, unlike competitive models
based on one-chip imager and hybrid
light source technologies.
The VPL-FHZ55 projector expands Sonys
eforts to achieve lower total cost of
ownership and energy efciency in
its projector line. The projector ofers
virtually maintenance-free operation
for up to 20,000* hours of expected
light source, display device and flter
use. The HG (mercury) free projector
is packed with energy-saving features,
including: Auto Light Dimming, which
dims light output down to 5% when
lef powered on without use; and Auto
Brightness Adjustment, which eliminates
unnecessary illumination when a dark
picture is projected; and Constant
Sony Begins Shipping Worlds First 3LCD Laser Light Source Projector
First Units Scheduled for Delivery to A/V Rental Houses, Medical, Education, and HOW Markets
Brightness Mode, which allows users
to maintain brightness throughout the
expected 20,000-hour life by driving the
projector at reduced light output.
The use of a laser light source also gives
the projector instant on/of capability
and tilt- free capability for seamless
installation in nearly any setting or
position. Combined with 1.6x standard
zoom lens, V:+60% H:+/-32% lens shif,
built-in edge-blending and geometric
correction, the projector is fully capable
of advanced commercial integration.
The projector has a parts and labor
limited warranty of 5 years or 12,000
hours whichever comes frst, when
purchased from a Sony Authorized
Reseller or directly from Sony.
For more information,
visit sony.com/laser.
*Using with Auto Light Dimming feature enabled. Actual hours may vary depending on usage environment.
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48
systems
solutions
More on system solutions
in this issue:
Case Study
Sony Pro Solutions Teams Up with Pro Sports for the Win
When people think of Sony, they
most ofen think of consumer
products like PlayStation
,
Handycam
and Cyber-shot
.
If they happen to think of the
professional side of the house,
theyre likely to think of the high-
end Sony equipment used to flm
the next summer blockbuster. What
they may not realize is that Sony
professional products are also
widely used to enhance our sports
experience. Since the 1980s, Sony
Professional Solutions of America
(PSA) has been working to develop
strong business ties with a variety of
sports-related entities, starting with the
installation of its JumboTron display
system. Over that period, it has formed
more extensive relationships with major
broadcasters and modern professional
sports stadiums in the U.S. and around
the world.
Our goal is to develop long-term
partnerships based on technology that
can evolve with future innovation, said
Alec Shapiro, President of PSA at SEL.
Most recently, for example, Sony PSA led
the installation and management of
professional broadcast equipment and
technical support systems at NBC Sports
Groups brand-new, 300,000-square-foot
broadcast and production center in
Stamford, CT. The center is home to all
NBC Sports broadcast content, including
NBC Olympics, NBC Sports Network, NBC
Sports Digital and the Comcast Sports
Management Group, which oversees the
NBC Sport Groups 11 regional networks.
With Sonys support, NBC is now able to
efciently and efectively deliver sports-
related content to the masses through a
centrally located hub.
Both technologically and operationally,
Sony has been an integral part of
getting this facility of the ground, said
Paul Koopmann, Vice President of
Engineering for Sports & Olympics
at NBC Sports.
Theres a comfort factor in knowing
that the breadth of Sony was
behind the project, said Dave
Mazza, CTO and SVP of the NBC
Sports Group and NBC Olympics,
in a recent video shown at this
years National Association of
Broadcasters (NAB) conference.
In addition to its partnership with
NBC Sports, which began with the
1998 Olympic Winter Games in
Sydney, Australia, Sony PSA keeps its head
in the game through relationships with
over 20 organizations and professional
sports teams across Major League
Baseball, the NFL, the NBA and the NHL,
as well as minor league and collegiate
sports partners. Along with more recent
stadium projects for the Los Angeles
Dodgers and Denver Broncos, Sony is
also continuing its partnership with the
San Francisco 49ers. When the team
kicks of its 2014 season at Levis Stadium,
Sony will be present as the ofcial
consumer electronics partner for both
the club and the stadium. Sony will also
NEXT
A Sony HDC Series studio camera takes up residence at NBC
Sports Group's new broadcast and production center.
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49
NEXT
systems
solutions
Case Study
Sony Pro Solutions Teams Up with Pro Sports for the Win (continued)
be a presenting partner of the 49ers
Hall of Fame, an integral part of the fan
experience in the new stadium.
For the sports enthusiast in all of us,
here's a look at just a few of PSA's many
stadium partnerships:
But, thats just the tip of the iceberg. In
addition to all of the sports arenas where
Sony has a presence, the company has
extended its professional
footprint to a number of
educational, government and
corporate institutions.
In the current economic
climate, Sony, like many others,
must deal with reduced
resources, but continues
to work toward building its
businesses. And while Sony
PSA faces ferce competition
from companies like Canon
and Panasonic, it strives to
stay ahead of the curve by
consistently ofering customers
a total solution, from
acquisition to archive, orin the case of
4Kfrom lens to theater or living room.
When asked about the specifc
challenges facing PSA in the industry,
Shapiro said, More and more
content is being produced today
for an increasingly diverse range of
applications. As a result, producers
have to think about how their content
will be viewed by consumers on the
Internet or on mobile devices like
phones and tablets, in addition to
traditional broadcast channels. This new
production cycle raises new workfow
challenges for producers.
To help them overcome these challenges,
PSA has developed a full suite of content
management, content production and
media asset management solutions
referred to as Media Backbone.
NBC utilized Media Backbone for the
production of all non-TV broadcast
content in the U.S. in connection with the
2012 London Olympics, which included
thousands of clips and nearly 5,000 hours
of new media content distributed through
websites, smart phones, tablets, cable
video-on-demand, and electronic sell-
through sites like iTunes and Amazon.
One of fve HD control rooms equipped with Sony MVS switchers at
NBC Sports Groups broadcast and production center.
in this issue:
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50
New Products
systems
solutions
in this issue:
Sony Expands Line of Video Journalist Backpacks
New Models Add the Benefts of Sony XDCAM HD 4:2:2 Technology to Deliver Higher Performance
and Improved Workfows
Sony has four new models in its Video
Journalist Backpack series of all-in-one
portable feld production kits. The new
backpacks ofer professionals a choice
of Sonys XDCAM HD 4:2:2 camcorder
technology (models PMW-100 or PMW-
200), bringing new workfow options to
mobile production applications.
Sonys Video Journalist Backpacks, frst
introduced in 2011, are now in use at
news stations and schools across the
country. Designed to give single-person
production crews end-to-end HD
acquisition and editing capabilities,
the original kits included a range
of Sony professional and consumer
technology: an HD camcorder, an
optional laptop, wireless microphone
system, tablet for playback or
teleprompter use, video editing
sofware, memory cards and more.
The new kits still ofer the same
comprehensive array of technology,
but the addition of the new XDCAM
camcorders gives mobile professionals
more options for choosing the workfow
that best fts their needs.
These backpacks were designed
to give professionals everything they
need to make their jobs easier and
more efective, said Pete DiIorio, Senior
Marketing Manager, Systems Solutions,
of America group. We also wanted them
to be able to grow with our users as their
needs change. Now, incredible fexibility
and high-end recording capabilities like
HD4:2:2 are becoming more important to
pro shooters at every level of production
in terms of workfow and picture quality.
These new capabilities take an already
comprehensive product and add more
useful features to it, resulting in an ever
greater user experience.
The Video Journalist Backpack
series supports feld production
activities for a range of
applications and users, from
flm/video students to ENG/
EFP crews to corporate
video and houses of worship.
The PMW-100, which is included
in both the new VJBK-1TP100
and VJBK-1TVVP100 backpacks,
increases performance with
high resolution 50 Mbps MPEG HD422
codec. It has the ability to record MXF
fles on UDF formatted cards or on SxS
memory cards that are compatible with
the XDCAM EX format.
The PMW-200 camcorder, included in
the VJBK-1TP200 and VJBK-1TVVP200 kits,
is the successor to Sonys PMW-EX1/R
camcorder. It supports a 50 Mbps MPEG
HD422 codec and MXF recording and
uses three 1/2-inch Full HD Exmor CMOS
sensors (1920x1280).
NEXT
Sony Pro Solutions teams up with pro
sports for the win
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Event Production
Pro Audio Solutions
Security Systems
Spotlight On
Systems Solutions
51
New Products
systems
solutions
Sony Expands Line of Video Journalist Backpacks (continued)
Like the original Video Journalist
Backpacks, all four of the new kits
contain a diverse set of support
accessories to provide users with the
tools they need for recording and
producing professional audio and
video. Components include:
Sonys easy-to-use UWP-V1 full wireless
microphone system, with an F112
handheld microphone and MDR7510
professional headphones
The latest Xperia tablet PC for
teleprompting or clip playback
Sony Creative Sofwares Vegas Pro
Sofware for editing
Tripod for making smooth pans and
tilts, in addition to keeping the camera
steady during interview shots
Dimmable on camera LED video light
to match both outdoor and indoor
lighting that uses rechargeable batteries
Extra memory cards, lens cleaning kits,
cables, batteries, and other accessories
The backpack itself, which is lightweight
yet includes a rain cover and work mat
Live telephone tech support
The new VJBK-1TVVP100 and VJBK-
1TVVP200 also includes a VAIO laptop,
VJBK-1TP100 - $7,779
computer) - $8,519
VJBK-1TP200 - $11,619
computer) - $12,359
Check out our Journalist Backpack intro video that presents the major pieces
of equipment included, as well as the major capabilities of this comprehensive
feld production solution. Presented by Andy Munitz, National Training Manager,
Sony Professional Solutions Division.
pro.sony.com/bbsc/video/related-recently_added/video-journalist_
backpack_Introduction
which can burn DVDs, prepare content
to be uploaded to the web, and work
with the provided Vegas Pro Sofware.
The new Video Journalist Backpacks are
available now, at the following suggested
list prices:
Next issue coming in Winter 2014
in this issue:
Sony Pro Solutions teams up with pro
sports for the win

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Learn more about the common

challenges and solutions in the

R CMOS sensor -- even during

interface on the PXW-Z100

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editing sofware. The sessions

FS100: Amazing versatility.

F55: Superior range of colors.

7362_Color_Master_SP4CB.indd 1 8/22/13 4:26 PM

processing to master the harshest

Touch live content

control for Sony

7314_SwitcherTouch_MASTER_PC4B.indd 1 6/28/13 12:26 PM

Pro Audio Editing Sofware

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