Sony has officially launched the new A7 V, describing it as a “dramatic evolution” of its full-frame mirrorless line. The camera combines a new sensor design, AI-driven autofocus, expanded video modes and improved ergonomics to serve hybrid stills and video workflows.

Sensor, speed and processing

The A7 V introduces a newly developed 33-megapixel RS CMOS full-frame sensor that is partially stacked for faster readout. This enables blackout-free continuous shooting at up to 30 frames per second in 14-bit RAW, with autofocus and auto-exposure tracking. The new BIONZ XR2 image processor with integrated AI processing unit is said to deliver a 30 percent improvement in subject recognition and tracking speed.

A “Pre-Capture” feature buffers up to one second of images before the shutter press, useful for sports or wildlife photography. Sony claims up to 16 stops of dynamic range for improved highlight and shadow latitude.

Autofocus and subject tracking

The autofocus system offers 759 phase-detection points across 94 percent of the frame, recalculating AF and AE up to 60 times per second. Sony’s AI-based recognition model improves subject detection for people, animals and objects, maintaining focus during movement or occlusion. The camera also introduces AI-assisted auto-white-balance, analysing the light source to maintain consistent colour tones.

Video capabilities

For video, the A7 V records oversampled 4K 60p using the full sensor width, derived from 7K capture. It also records 4K 120p in Super 35 mode for slow-motion or cropped workflows. The faster sensor readout reduces rolling-shutter artefacts, while the Dynamic Active Mode adds digital stabilisation for handheld work.

Handling, connectivity and power

Sony reworked usability with a four-axis vari-angle monitor for flexible framing and improved menus. Connectivity includes Wi-Fi 6E and dual USB-C ports for faster data transfer. The A7 V uses the NP-FZ100 battery, rated for around 630 shots via EVF or 750 via LCD, and includes a “Low Brightness” mode to extend runtime. Thermal control has been enhanced to sustain longer 4K recording sessions. Sony also introduced a new standard zoom, the FE 28–70 mm f/3.5–5.6 OSS II, optimised for continuous shooting and the A7 V’s full-frame capabilities.

Availability and positioning

The A7 V body is expected by December 2025 at about USD 2,899, with the 28–70 mm kit lens following in February 2026. Sony positions the model as a versatile full-frame hybrid below its flagship Alpha 1 and A9 series, balancing high-speed stills and professional video features.

What remains unclear

Several aspects remain unverified, including long-take heat management, compression quality in 4K 120p, and the actual field-of-view crop in Super 35 mode. All published information stems from Sony’s official announcements. Independent testing will be required to confirm real-world thermal limits, dynamic range and rolling-shutter behaviour.

Get it here for somewhere around 2900 USD. And remeber: Professionals conduct practical tests before adopting the A7 V for production work.

The post Sony drops the new A7 V: 33 MP, 30 fps blackout-free and 4K 120p first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Sony has made available the Sony VENICE 2 firmware version 4.0 (models MPC‑3626 / MPC‑3628). This update introduces the EL Zone exposure system, enables up to three colour‑coded frame lines, adds support for the CBK‑3621XS Camera Extension System, and includes unspecified usability and operability improvements.

The firmware package—including firmware module, update manual, and release notes—is available directly from Sony’s support site here: Firmware: VENICE 2 (MPC‑3628 MPC‑3626) v4.00.

EL Zone Exposure: Precise Stop‑based Tool

The EL Zone system, designed by cinematographer Ed Lachman ASC, overlays fixed-colour zones to indicate exposure in 1‑stop and ±½‑stop increments relative to 18% grey. This brings consistency between meter readings, logs, and visual feedback across camera and monitoring systems. EL Zone is applied in both the viewfinder and monitor outputs. Lachman commented that its integration into VENICE 2 is among the best implementations he has encountered. EL Zone provides more standardized exposure information compared to false colour tools that rely on IRE scales and vary between equipment.

Colour Frame Lines for Multi‑Format Shoots

Firmware v4.0 allows display of up to three simultaneous frame lines, each in a different colour. This feature simplifies shooting for multiple formats (e.g. theatrical, broadcast, streaming) in a single take while reducing framing confusion.

Extension System Support and Firmware Enhancements

The update adds compatibility with Sony’s CBK‑3621XS Camera Extension System, expanding usage scenarios including remote and rig-based configurations. Sony notes “improved usability and operability” in general but does not detail specific enhancements; such tweaks are typical of maintenance firmware.

Roadmap and Context

This release aligns with Sony’s Cinema Line firmware roadmap, with v4.0 scheduled for mid-2025 and subsequent updates—v5.0 in 2026 and v6.0 in 2027—confirming continued platform evolution through updates rather than hardware changes. Beyond the VENICE 2, EL Zone has been adopted in other tools, including Panasonic VariCam LT/35 (since April 2021), Sigma fp/fp L, SmallHD PageOS 6 monitors, and Colourlab Ai software.

Installation Advice

The firmware v4.0 package is free to download for users of VENICE 2. The update file includes release notes and an installation manual. Users are advised to follow Sony’s installation instructions carefully. Testing exposure accuracy and frame-line output under controlled lighting conditions before deploying in active productions is strongly recommended.

The post Sony VENICE 2 Firmware 4.0 Adds EL Zone Tool first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Sony has released the 2.0 firmware update for its BURANO 8K cinema camera, adding recording formats, smarter stabilization integration, enhanced metadata tagging and improved remote control — all geared toward simplifying on-set workflows while keeping image quality pristine.

More Recording Modes, More Control

Firmware 2.0 introduces three new capture options tailored for slow‑motion and anamorphic shooting: full‑frame cropped 3.8K 16:9 up to 120 fps, Super‑35 4.3K 4:3 at 60 fps (ideal for anamorphic with 1.8× de‑squeeze), and Super‑35 1.9K 16:9 at a silky 240 fps — though note, SDI/HDMI outputs won’t work in 240 fps mode. It also adds exact 24 p to X‑OCN 16:9 scan modes.

Better Monitoring & Metadata

The update brings VF Gamma Display Assist for S‑Log3 monitoring and a new “Monitor FHD” SDI output mode that places camera status info cleanly outside the image frame. Time Code and Clip Name metadata now overlay via SDI, X‑OCN files carry breathing‑compensation and image‑stabilisation metadata — gold for VFX, editing and colorgrading workflows.

S&Q Frame‑Rate Granularity

Slow & Quick (S&Q) mode gains extra frame‑rate stops: 66, 72, 75, 88, 90, 96, and 110 fps. These let users dial in precise motion style, boosting flexibility for both action and narrative work.

Smoother Whites, Sharper Shots

White balance memories expand from 3 to 8 slots. S‑Log3 external output in Base Look sees quality refinement and adds a new 709‑tone preset. User 3D LUT performance improves, so colorists spend less time fixing, and shooters nail look faster.

Stabilisation & Autofocus Gains

Active/High Image Stabilisation (IBIS) support now reaches full‑frame cropped 6K and Super‑35 1.9K modes. Autofocus is smoother at key cinematic frame rates (29.97P, 25P, 24P, 23.98P) — useful for run‑and‑gun and solo‑operator scenarios.

Lens, Iris & PL Control

PL‑mount users gain Cooke/i‑protocol command support. Focus and zoom can now be controlled either on‑camera, via the M&C app or external devices, while iris control remains through the Remote Control Panel. A new 24 V PL‑mount voltage option opens more lens compatibility.

System Tweaks & Remote Features

Proxy recording is added at 24 p; factory‑reset frequency defaults to 23.98 p. A full “Reset to Factory Defaults” menu clears all settings including passwords and LUT memory. New status‑screen options include imager temperature and media formatting; project screen now allows camera ID and reel numbers; tally lights can be controlled over wired LAN; ND filters adjustable from RCPs.

Sony Burano firmware 2.0 update – Worth Updating?

V2.01 introduces substantive gains in recording flexibility, monitoring precision, metadata workflows, lens control, and stabilization. For VFX artists, editors, colorists, animators, riggers, lighters, post teams and finishing professionals, all these features enhance efficiency and deliver technical accuracy.

However, as Sony cautions in the firmware package: “firmware installation carries inherent risks”. Always review the Update Guide and Release Notes, and thoroughly test in a controlled environment before deploying in production.

Be sure to follow Sony’s installation guide to avoid any update hiccups.

The post Sony Burano firmware 2.0 update — More Power, Less Fuss first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Sources which don’t need additional hardware are the built-in cameras of the iPad or the Mac. Plus, since until now CineMon only runs under MacOS Sequoia, you will immediately see your iPhone if it’s nearby. Then there are recent hybrid cameras like the Sony A7IV, which deliver a video stream via USB-C, albeit usually limited to HD and fixed frame rates. Other hybrid cameras have similar features. We got HD in 25 fps for PAL from the A7IV or 30 when set to NTSC, independent of the frame rate in the camera. But there’s a catch: you can’t record at the same time, and camera profiles like log don’t work. Obviously, such cameras don’t have the computing power to do it all at the same time.

Computer Load

Thunderbolt Interfaces

For any other sources than streaming cameras you need an interface, because simple adapter cables from USB-C to HDMI are for screens only, not for input. One of the best for a decent price is the small, but sturdy UltraStudio Recorder 3G by Blackmagic Design. It offers both SDI and HDMI inputs, and can transfer uncompressed signals up to 4:2:2 in 10 bit at 60 fps, or even RGB 4:4:4 in 12 bit at frame rates up to 30 fps. But it’ll only work with the laptop via Thunderbolt and up to 2K resolution (from SDI input). Yes, there are iPads with Thunderbolt too, but until now there’s no software support by Blackmagic.

Using an iPad

Apple’s iPads are quite popular with professional videographers for their great image quality. Some even tend to give them to important clients to make sure that they see the intended picture. They can’t be calibrated, but the reference mode in recent models is getting quite close to Rec. 709 or HDR Rec. 2020. Unfortunately, third-party developers may still need to do some more work on HDR, which is visually stunning on the tablets too. For an iPad with USB-C you’ll have to look at one of the numerous solutions primarily aiming at game capture, if you don’t want to invest in an AJA U-TAP device, which cost over 600 € each for only one kind of input. 

There are very cheap devices for HDMI sources starting at 12 €, all the way up to brand products like Elgato for well over 100€, the latter claiming UHD processing up to 30p. You can even find a no-name (they don’t even care to invent one) with SDI for about 55€. This one will need an active adapter from USB-3.0 A to USB-C, aka OTG, but you can also use a hub. For about 150 € (plus taxes) you can get the AVMatrix UC2018, which offers both SD and HDMI input and claims to transfer YUY2. It weighs over 200 grams, though. We didn’t have this device for testing.

And then, there’s a Chinese brand called Acasis, which earned itself a decent reputation with NVMe enclosures, RAIDs and hubs combined with some storage. This company is also making capture devices, which are not easily found in Europe. Albeit on Ebay they have their own shop: acasis-official-store. We tested the small HD33 model for only 25 €, and the more recent VC-003 for around 35 €. Please note that all of these devices are shipping from China, so you’ll need to pay VAT on import. 

Both models offer the same connections, looping their HDMI input through to an output for other monitors or recorders, and they have an USB-C connector on the other side. So, they need no separate power supply or adapters, other than devices with USB-3.0 type A. Three tiny blue LEDs inform you of the presence of a signal. They are light and small enough to tape them to an iPad with some Velcro and connect with a short U-shaped USB-C cable. We tested both of these devices. BTW, all devices deliver color bars when there is no input signal.

The main questions are: how much do you need to pay for quality, and how bad are cheap solutions? It’s hard to find any solid reviews for the purpose at hand, since most tests on the internet are aimed at gamers. But CineMon is supposed to be a measuring device, so your adapters better be precise or the whole arrangement would be pretty useless. We tested with a DSC chart, white balance fixed on grey, and both a Sony A7IV and a Blackmagic UMP 4.6K with log signals.

Right from the start, our cheap capture devices for HDMI had difficulties getting the frame rate right. Both HDMI versions could only handle up to 30 fps, independent of our feed in 30, 50 or 60 fps. But they were advertised as 60p, which obviously just means you can feed that, not that you’ll get it through. Our SDI model, OTOH, showed everything as 60p, regardless of the input frame rate. It even has an active HDMI output, but a video monitor didn’t synchronise to that, while computer monitors did and also detected 60p.

The standard used for USB is called UVC (USB Video Class), and UAC for the audio counterpart. Initially mainly developed for webcams, it now includes quality levels up to uncompressed YUV 4:2:2 (aka YUY2). Many adapters are not constructed for lossless transfer, they use compression and may also degrade the signal substantially. The meagre Chinese manuals (if any) don’t tell much about such detail, but usually this is M-JPEG (Motion JPEG) compression, an outdated and quite inefficient method with pretty bad color sampling at 4:2:0 (aka NV12).  

Signal Quality

Such compression shows clearly in CineMon. The scopes look coarse already when being fed Rec. 709 from a camera with an internal display LUT or recording straight Rec. 709. But things get worse when feeding a log signal, in particular a very flat one like Sony SLog3. CineMon is offering options to add an input LUT and a display LUT separately, and you can even choose if it’s added before or after the scopes. Weaknesses in signal transfer will get exaggerated by the LUT conversion to Rec. 709. While the image still looks acceptable with a display LUT, the scopes tell a different story. If a device can only process the signal in compressed 4:2:0, both waveform and vectorscope are very discontinuous, the display of a color chart in the vectorscope is so coarse that you can hardly read the information, even at maximum trace intensity. 

But recently the developer has added the functionality to control the settings for the hardware devices from CineMon, which we have not yet found in competing software. If set to YUY2, you’ll also see deviations in luminance, contrast and color fidelity clearly, but you may add a correction LUT to the incoming signal.

The cheapest device tested needs an active adapter. We used one that is extremely small, but still offers an USB-C socket on the side, so you can input power or connect external storage. This device was a surprise at first view, since it actually seemed to let us switch to 422. But this didn’t work reliably, and it normally fell back to 5 fps when trying. Latency with NV12 is around 3 frames, but we can’t recommend it, since color in particular is off in the yellow/green region, even influencing skin tone.

The HD33 by Acasis seems to have the same chip inside. It can also be switched to YUY2, but then resorts to 5 fps only. Waveform is not too far off, colors are slightly too satured, but at least hues are close. The Macrosilicon VC-003 finally can handle 25, 30, or 60 fps in YUY2 pretty well out of the Sony A7IV. This camera is actually sending NTSC frequencies as 29.97 or 59.94, and 24p as 23.98. The interface doesn’t use the latter, you’ll get a picture, but only at one of the other frame rates. Latency is just a tad over 1 frame for 25 or 30 fps.

The SDI model is looping out an HDMI signal that doesn’t sync properly on video monitors, though it does on computers. While color bars generated by both HDMI devices are exactly at 100% targets, the ones from this model are between, higher than 75%, but under 100. The device outputs only 30 or 60p with latency of 4 frames. It can’t be switched to YUY2, so the signal is very coarse und vectors hardly readable. The picture is lighter, more contrasty and overly saturated for some colors.

What’s Missing?

Until now, playback of video files is limited to H.264, H.265, and ProRes, while Windows users may miss DNxHD/HR support. You can already control playback with the space bar, hopefully the developer will support JKL and single frame by arrow keys too. While many apps for the iPad may be somehow running on laptops with Apple silicon too, operation of CineMon has been well adapted for such use, so we have no doubt there’s more to come. NDI is already planned as an alternative to capture devices, as are video recording and more scopes.

Competition?

We have already reviewed Nobe OmniScope, which is very deep in its functionality, but primarily aiming at post-production. It is priced at up to 400 US$ for the Pro version and covers all kinds of video quality controls. OmniScope is complex and needs solid knowledge of video technology and nomenclature. It works even on older Macs and PCs too, but not on an iPad. This is the only other software we have tested extensively.

Video Assist by Auron Studios is iPad only and is aiming at similar use cases as CineMon.The price is 180,- € or 150 US$, depending on your App Store. It does video recording (which is planned for CineMon too) and recording can be triggered automatically when the camera is recording. Since trigger signals via HDMI don’t come across USB-C capture, it is analysing the status information of most high-end cameras to start recording. This changes the use case, though, since all recordings will contain status information too. Instead of a clean feed, you are going to record dailies with all the information burnt in.

CamX by Touchbits is free and has quite a few positive reviews. It is limited to HD and can record, including corrections to the image. HDMI Monitor – Orion by Lux Optics is from the makers of the highly respected photo app Halide. There are no reviews yet, neither for UVC Capture – HDMI Monitor by Kenneth Kao, which claims to support the reference mode and recording up to 4K.

Recommendations

For professional use, a base model Mac mini M4 with a ViewSonic VP16-OLED will cost less than one thousand US$ (some more in Europe). Together with an UltraStudio Recorder 3G and CineMon it is a viable solution for monitoring on set. For semi-professional use with any camera that offers an output by HDMI, an iPad with USB-C can be a very useful solution. 

Even a cheap capture device can suffice for PAL, if you find one with the right electronics inside. The mid-level Acasis VC-003 is decent, even for log sources, but also small and light enough for an iPad. These avoid additional adapters and work really well with CineMon if you add your own correction LUT, which we’ll explain in our next article. Given the short lifespan of models from Chinese production, you may need to test a few samples with your specific camera, though. 

The post Hardware for CineMon (et. al.) first appeared on DIGITAL PRODUCTION and was written by Uli Plank.

Sony has made test files for its BURANO camera available for free download, showcasing footage in HD, 4K, 6K, and 8K resolutions. To access the files, users are required to register via email. Once registered, users will receive a download link to approximately 50GB of test footage.

What’s included?

These test shots include X-OCN LT files in Full Frame 8.6K, Full Frame Crop 6K, Super 35 5.8K, and Super 35 Crop 4K, as well as Full Frame 8K XAVC H-I and various XAVC-I 4K and HD formats. Clips are 10 seconds long with frame rates of 24p, 48p, and 120p (4K 17:9).

The downloadable footage includes both interior and exterior scenes with challenging lighting and vibrant colors, ideal for testing the camera’s performance across various post-production workflows. The download is free, but as part of the registration process, Sony requests users to provide their email address. After registering, you will receive an email with a link to download the 50GB (or thereabouts) of test files.

To access the sample footage, visit the official Sony BURANO page. While these test files showcase the BURANO’s image capabilities, ensure you thoroughly test the footage before incorporating the camera into active projects to confirm workflow stability. But hey, like Arri and Blackmagic Design, the professional camera makers have you covered with sample footage :)

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The post Sony Releases BURANO Test Files for Download first appeared on DIGITAL PRODUCTION and was written by Günter Hagedorn.

Sony’s Alpha 1 II packs a range of advanced features aimed at professionals in filmmaking, VFX, and post-production. Key specifications include a high-resolution full-frame Exmor RS stacked CMOS sensor with approximately 50.1 MP, offering exceptional detail for both video and stills. Continuous shooting reaches up to 30 fps with blackout-free performance, supported by AF/AE tracking.

An AI processing unit enhances subject recognition with an “Auto” mode that detects subjects automatically. The high-speed anti-distortion shutter minimizes rolling shutter effects, while a Pre-Capture mode allows up to one second of image storage before pressing the shutter. Optical image stabilization reaches up to 8.5 stops in the center and 7 stops at the periphery for still images, with a new Dynamic Active Mode for videos. Updated processing algorithms reduce noise at mid-to-high ISO sensitivities, and video options include 8K 30p and 4K 120p recording with 10-bit 4:2:2, Breathing Compensation, Auto Framing, and User LUTs. These features are housed in a lightweight 743-gram body with updated ergonomics.

8K and 4K Video Capabilities

The Sony Alpha 1 II offers 8K video recording at 30 frames per second (fps), a feature that positions it as a strong contender in cinematic and VFX production where high resolution is essential for detailed compositing. For creators prioritizing smoother footage, it also supports 4K recording at up to 120 fps. Both formats leverage advanced compression and color fidelity, making the camera a practical choice for both high-budget projects and agile productions.

Dual Processor Power

The Alpha 1 II introduces dual BIONZ XR processors, a notable upgrade that enhances performance across the board. These processors support faster image rendering and real-time processing, streamlining workflows that rely on heavy RAW file editing or extensive color grading. Professionals working with 8K footage or multi-layer compositing will appreciate the increased stability and reduced lag in data handling.

Dynamic Range and Color Depth

With a full-frame stacked CMOS sensor, the Alpha 1 II achieves a wide dynamic range, enabling filmmakers and VFX artists to capture shadow and highlight details effectively. This feature is particularly useful in high-contrast scenes where preserving visual information across extremes is crucial for post-production flexibility.

Focus and Stability Improvements

Enhanced real-time autofocus ensures precise tracking, even in fast-paced shooting environments. The system supports multiple focus modes, including eye detection and object tracking, essential for projects involving live-action elements or real-time graphics integration. Paired with in-body stabilization, the Alpha 1 II minimizes motion artifacts, reducing the burden of stabilization in post-production.

Who Should Use It?

While the Alpha 1 II is marketed as a professional camera, it’s essential to note that its cutting-edge features may not yet fit every production’s workflow. Studios and artists focused on 8K or high-speed 4K production will benefit most from this tool, provided their pipelines can handle the demands of ultra-high-resolution footage.

Pricing and Availability

The Sony Alpha 1 II is available for purchase at Sony’s official store with a starting price of $6,999. While it’s a significant investment, the robust feature set makes it a compelling option for high-end video production teams.

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Fact Check Advisory: While the Alpha 1 II introduces promising enhancements, production artists should rigorously test its features within their workflows. Innovations like 8K recording and real-time processing may require additional pipeline adjustments or hardware upgrades to ensure stability during demanding projects.

Conclusion: The Sony Alpha 1 II isn’t a revolution—it’s an evolution. For filmmakers, VFX artists, and post-production professionals, it provides the tools needed to tackle increasingly complex projects while maintaining workflow simplicity and stability.

The post Sony Alpha 1 II first appeared on DIGITAL PRODUCTION and was written by Günter Hagedorn.

Such devices have existed as gyrocompasses for navigation since the beginning of the century and even Einstein was involved in their further development (although the earliest approaches date back to 1743).

Enough history, our current devices for determining rotations and accelerations are tiny marvels of nanotechnology without actual gyroscopes. Instead, they are IMUs (Inertial Measurement Units), which are based on silicon surface micromechanics and can now be mass-produced at very low cost. This is why they can be found in almost every mobile phone, the remote controls of games consoles, TVs, and also in drones, gimbals and numerous cameras (sadly, also in cruise missiles or intercontinental ones). We’ll stick with the term ‘gyro’ here, as this is the term most camera manufacturers use.

The hardware

Image stabilisation in the camera or lens is already dependent on IMU chips. For some time now, many cameras have also been able to indicate in two axes whether they are being held horizontally – just like the artificial horizon in an aeroplane. However, it is only recently that some manufacturers have been recording the information from the IMU together with the video, e.g. Sony in the current high-end devices and, since firmware version 7.9, Blackmagic in the Pocket models. This means that this data is generally available for use in post-production, whereas previously, an action cam, a mobile phone or a separate measurement sensor had to be mounted on a camera frame.

Why the effort?

What are the advantages? The stabilisation in the camera is often designed for sharp hand-held photos with longer exposure times. Moving shots are much more difficult to stabilise because the control software cannot always distinguish between desired and undesired movements. It is also unable to work in advance to optimise image stabilisation over the duration of the exposure.

Conventional post-production stabilisation software, on the other hand, works on the basis of pure image analysis. It is therefore also not always able to distinguish between desired and undesired movement and can easily be confused by moving objects in the foreground. This also applies to short-term disturbances such as flares in backlighting and, last but not least, rolling shutter (RS) effects, which cannot always be distinguished from movements in the image. With sources prone to RS, such as hybrid cameras or smartphones, this leads to the infamous ‘jelly’ effects, which are even more noticeable after stabilisation. The problem is explained well here in a video from Stanford University.

Sony Catalyst

Even the free version of this software called Catalyst Browse can use the gyro sensor data from cameras such as the A7S III (DP 21:05) or the A7 IV (DP 22:05) (according to Sony also the A1, A7C, A7R IV and
A9 II). At first glance, it only seemed to work with Sony lenses, but with third-party lenses it depends on the manufacturer and possibly the adapter used. The beautiful Sigma lenses from the “Art” series work with E-mount or the MC-11 adapter, according to users on the net it should also work with branded adapters and Canon lenses (not tested by us).

Unfortunately, no data is recorded with manual lenses, such as vintage glass from Zeiss, at 100 or 120 fps in any case. The gyro sensor data was also recorded if the internal stabiliser was already running during recording. If the stabiliser is set to “Standard”, i.e. it only works with mechanical tracking of the sensor, it has quite an effect, especially with small shaking movements in static hand-held shots.

With the new “Active” setting in the A7 IV, which also works with slight cropping via firmware, slow, controlled movements were also calmed down well. Overall, however, we would recommend switching off the internal stabilisation if you want to work with the software. The internal functions are not so good at dealing with intentional camera movements and are of little help against the rolling shutter – walks with the camera look much better in Catalyst.

Of course, Catalyst Browse cannot compete with DaVinci Resolve (DR for short), but it offers quite good options for initial colour correction including waveform display. Alternatively, you can also leave log recordings in their original form, as stabilisation with gyro sensor data – unlike image-based stabilisation – is not dependent on good contrasts. Fortunately, even the free version supports high-quality output formats such as H.264 in 10 bit and 4:2:2 with a high data rate (up to XAVC Intra).

Quality fanatics with enough storage space could also output in DPX, but this is basically nonsense, as the cameras only output GOP codecs with gyro sensor data. The analysis is very fast, the rendering rather slow. On the Mac, it is somewhat disappointing that ProRes is offered up to 422 HQ, but only in HD or with a maximum of 2K. Quite incomprehensible, as the other formats allow up to 4K. The stabilisation reduces the resolution in any case, depending on the crop adjustment, but not by half. Nevertheless, the free version already offers external monitoring via Blackmagic interfaces, ensuring precise image control during colour correction. It also shows all the metadata of the clips, and you will find much more than DR is prepared to read at Sony. However, batch rendering is only possible here with identical settings for the sources.

The full version of Catalyst Prepare offers ProRes HQ in 4K, but still no ProRes 4444. There is also the export of DNxHD and audio in WAV or MP3 (yuk). The functions for organising your media are considerably more extensive and copies can be created with checksums. It even offers a rough cut via storyboard and export as EDL. With a monthly subscription for €13.95, this version doesn’t cost the world if you just need it for a project. A detailed overview of the Catalyst versions can be found here.

Blackmagic

With firmware 7.9.1 (the x.x.1 update contains important bug fixes), the Pocket models from Blackmagic finally offer the recording of gyro sensor data – the hardware was already available from the start. Unlike Sony, the data is recorded regardless of the type of lens. However, for lenses with their own stabilisation, this must be switched off, otherwise the function will be suppressed. In the “Setup” menu of the Pocket 4K there is also a switch for “Lens Stabilisation”, which must also be deactivated. With electronically coupled lenses, the transfer of the focal length works automatically; with manual lenses, you have to enter this in the “Slate” when shooting. Unfortunately, subsequent entry in the DR metadata list does not work – an annoying trap, as manual lenses seemed unsuitable during our first attempts.

Fortunately, this is not true, because if we had already entered the correct focal length for the shot, the results for manual lenses were just as good as for electronically coupled lenses. Sony could certainly do the same, but they want to sell their own lenses. Blackmagic, on the other hand, has its own cameras and (at least so far) does not use gyro sensor data from cameras like Sony or GoPro. Although the gyro sensor data is continuously recorded, DR has so far only used the focal length of the first frame. A zoom during the recording therefore still leads to unsatisfactory results.

The analysis in DR 18.0.1 when set to “Camera Gyro” takes the same time as with “Perspective”, but the results are much better. This is especially true for RS, where side effects are particularly noticeable in the image-based methods after stabilisation. This ‘jelly’ effect is largely eliminated with Sony and Blackmagic using a gyro sensor – after all, the manufacturers know their own sensors and their readout speed. All that remains is a slight flickering of high-contrast, horizontal structures with vertical vibrations, which is visually almost reminiscent of poor de-interlacing. It is difficult to tell whether this is due to briefly increased motion blur caused by fast, hard impacts or to residual compression or stretching caused by RS. Adobe’s After Effects offers a function called “Camera Shake Deblur”, but this hardly brought about any improvement in our test clips.

You should definitely practise the strenuous, dancing gait with the camera, where you don’t straighten your knees and don’t put your heels down. The results will be much better if you work with shorter aperture angles than 180 degrees. Unfortunately, this can disrupt the cinematic illusion of fast movements, so you may have to add artificial motion blur in post after stabilisation. This is especially true for spatial resolutions above HD if the temporal resolution is only 24 to 30 fps. In contrast to the image analysis, only the “Strength” factor is offered for the gyro sensor, without “Cropping Ratio” or “Smooth”, so that you have somewhat less control over the stabilisation, similar to Catalyst Browse. Cropping is stronger at the highest value for Strength than with optical analysis, but so is image stabilisation.

The new Pocket 6K

At this point, we would like to take a brief look at the new Pocket 6K model. In terms of price and functionality, it lies between the first generation (see DP 01/20) and the 6K Pro (see DP 01/22). It has the sensor in common with the latter and is identical in almost all other respects. It only lacks the internal ND filters and the brighter screen. So if you don’t fully trust the internal mechanics and prefer to use your own filters and like to work with a viewfinder in bright light, this model is a good choice. Including the OLED viewfinder, it costs no more than the 6K Pro without it. Both 6K models are ideally suited for image stabilisation, as there is still enough resolution for 4K or UHD even after the necessary cropping.

The new firmware

There have been a few more changes with firmware 7.9. In particular, the edge enhancement for the focus area, which was previously criticised by many users as inadequate, can now be set very flexibly, including the choice of colour and continuous control of the contour display. The autofocus has become considerably faster and more accurate with the appropriate lenses, even if Blackmagic cannot compete with Sony or Canon in this area. It is not without reason that the cameras have “Cinema” in their name and are aimed more at scenic work, where human focus assistance is usually used. Nevertheless, there is already an app for this: “Focus Puller” by Robert Meakin enables remote control via Bluetooth and even continuous AF on iPhones with LIDAR (albeit without object recognition).

Recording to SSD via USB-C is said to have become more reliable with 7.9.1 and you can now change the recording medium directly in the GUI. Control via ATEM mixer supports the use of the Pockets as a studio camera. However, in addition to all the improvements, there is also one point of criticism: the previously grey recording button has now been coloured red and only has a red ring when recording is in progress. This is not as obvious as the previous display, even if the running timecode is displayed in red. At this point, many people would like to see the previous appearance again.

Gyroflow

A free alternative is this donationware for all three platforms, which was recently further developed to version 1.2.0. It supports the widest range of cameras and also allows the use of additional sources for the stabilisation of cameras without gyro sensor data. These sources include iPhones with the GFRecorder or Androids with Sensor Logger, as well as GoPro from Hero 5 and other action cameras and even separate IMUs. Of course, such sources must be synchronised with the desired video. The software offers full support for this, in addition to a generally well-functioning auto sync, there are differentiated intervention options.

Not only can you load recordings from the above-mentioned Sony cameras directly, but with the new version you can also load recordings from cameras from Blackmagic or Red. However, ProRes from the pocket cameras does not contain any gyro sensor data. It should therefore be BRAW, in which case the programme uses the motion data it contains. The SDK from Blackmagic must be installed beforehand, but Gyroflow automatically points this out with the first BRAW clip and installs it on request. If at least the camera and lens are still available when metadata on the focal length is missing, Gyroflow can even solve this problem.

For perfect results, you still need a lens profile. This can be created directly in Gyroflow using the test chart and analysis programme. The software then asks whether you would like to share it with the community
Community – which is of course only fair, as is a donation to this excellent project. You can already find ready-made profiles for many combinations on the net using the search command. You will also need the exact value for the rolling shutter. The readout times for numerous cameras can be found at CineD, for example; if necessary, you can also visually adjust the value on a particularly conspicuous individual image.

The adaptive zoom can be controlled by other parameters, so that Gyroflow offers the most comprehensive adjustments for optimum results. Of course, this takes time, but the programme can deliver results comparable to those of commercial applications even with the standard values.

Gyroflow also leaves nothing to be desired when it comes to output; the stabilised material can be exported in very high-quality formats, but can also be compressed directly with x264 or x265 in good quality. Alternatively, you can output the stabilisation information generated in the program. With an OpenFX plug-in, this information is available directly in DR and other NLEs; all you have to do is enter the full path of the *.gyroflow file.

This means that all sources that the relevant video programme can process can be used without conversion. As BM has the above-mentioned SDK for BRAW with support for gyro sensor data, there is nothing to prevent third-party manufacturers from integrating further options. Conversely, it would be great if BM could use the data from Sony cameras, as the stabilisation in DR is at least as good as in Catalyst.

Comment

All three options deliver better results with unsteady shots than stabilisation by analysing the image content via software, especially with regard to rolling shutter artefacts. This puts Blackmagic’s pocket cameras largely on a par with the hybrid cameras from Sony or Canon in this area, albeit only after processing in post. The performance of Gyroflow is particularly impressive and does not have to hide behind the commercial solutions.

It would be desirable for DaVinci Resolve to be able to use a subsequently entered focal length, or even the recorded focal length per individual image for electronically coupled lenses. This would make it possible to realise the famous ‘Vertigo’ effect with counter-rotating zoom from the hand. Further utilisation of the gyro sensor data is conceivable in conjunction with the photogrammetric determination of 3D camera paths for VFX – there is still a lot of potential for development.

The post “Gyroscopes” for image stabilisation in post-production first appeared on DIGITAL PRODUCTION and was written by Uli Plank.