It’s a revolution in image quality. 4K UHD breathes life into all your images, with four times the definition of Full HD, and sumptuous colour for a captivating viewing experience. 4K footage looks far sharper and richer, even when it’s converted and distributed in HD. So it’s ideal for engaging audiences and differentiating your content. And with High Dynamic Range, every pixel truly shines with sparkling peak brightness and rich, deep black levels that reveal even more detail. Capturing in 4K today adds real value – giving you more flexible distribution options and exciting future revenue possibilities.

Compare and contrast. OLED brings clarity to the critical last mile of today’s production workflows. It opens up new worlds of colour and contrast that previous-generation display technologies just can’t match. Whether you’re editing or colour grading, you’ll see the finest details in a new light. So what’s on screen is even closer to reality – helping you make better-informed creative decisions with absolute confidence.

Creative ambitions are always balanced by real-world operational needs. What image resolution is enough to do your subject justice? How much recording and archive space can you spare with another tough day’s shooting ahead of you? XAVC is the latest generation format standard for image quality and flexibility… whether you’re making news, music promos or even 4K movies. Based on H.264, XAVC offers a great interoperability with the workflow solutions on the market. It´s also extremely scalable, supporting pixel resolutions from low-res proxies to HD and right up to 4K in a single file.

Content is king, but the real value is in the network. And the right content in the right place at the right time means faster commercial returns. Let´s work together to ensure smooth, seamless content flow and interaction between all your systems. It’s the key to getting great-looking content on air quicker, with more creative flexibility and efficient use of resources. Connect intelligently. Achieve more.

We’ll protect the long-term value of all your content, providing absolute peace of mind that your precious pictures are in safe hands, today and tomorrow. Optical Disc Archive leverages decades of Sony expertise in broadcast workflow and media management. Speedy, secure and scalable, ODA offers industry-leading performance and reliability with at least a 50 year media lifespan. You’re in this for the long term. We’ll ensure your content is too.

In an age of over-the-top services, social video streaming and changing pay TV models, broadcasters are under pressure to originate increasing volumes of stunning live content. But as they add higher frame rates, higher dynamic range and higher resolutions to their productions, the hardware and cabling required for conventional SDI implementations can be costly, inefficient and hard to scale.

IP Live isn’t merely a promising breakthrough on the horizon. Find out more about how our robust, proven platform is enabling broadcasters to embrace the transformational benefits of IP Live, today.

Job Role

Heads a team of research and development engineers to understand customers’ challenges, and manage development projects.

Key projects delievered

Gave another dimension for football fans at the 2010 FIFA World Cup South Africa 3D trial. Saved Freemantle Media 20% of post-production time with the introduction of XMPilot, a Wi-Fi metadata tool now available in all Sony cameras/camcorders. Spent a year working with ITV to explore innovative ways for post-production teams to access their extensive digital wildlife archive. Currently also working with medical professionals to get a better picture of life-threatening issues.

What I most enjoy

I’ve been fortunate enough to have worked on many exciting and ground-breaking developments at Sony. But by far the most rewarding experiences for me are those where we have the opportunity to engage directly with our customers and hear how they want to use our technology to help them work better, quicker or more creatively. Frequently, conversations with our users will trigger innovative ideas for solutions to their workflow challenges. It’s this catalyst that helps us fully address our customers’ needs. I strongly believe that this process of understanding what’s really important is vital to the success of our R&D.

Job Role

Leads operations of the multi business unit centre at Sony’s Pencoed site in Wales. This spans broadcast camera production, service and repairs for consumer and professional products, third party manufacturing contracts and an on-site incubation business centre for 35 companies.

Key projects delievered

Numerous significant broadcast deals across Europe since 2000. Finalisation of OB trucks for 2010 Ryder Cup at Celtic Manor. Supporting Pencoed-produced products for the shooting of several 2010 FIFA World Cup matches in South Africa. Preparation of each stadium configuration for 2014 FIFA World Cup, Brazil.

What I most enjoy

Learning never stops, otherwise you start moving backwards! My role has allowed me to visit production facilities all over the world and capture best practices to implement locally. This has now allowed us to become the benchmark for other global operations. Hosting customer visits on site is a powerful way to engage with customers and also demonstrate the unique way our products meticulously match required design standards to create superior performance – like matching the CCD in a camera’s optical head block for better picture quality. Creating something the customer really values often means they want to purchase it.

Job Role

Developing Live Production workflows and solutions around new technologies in conjunction with Europe's leading sports broadcasters and event organisers.

Key projects delievered

Between many other sports events – such as Live 3D Production of Wimbledon for three consecutive tournaments to 2013 and the Ryder Cup in 4K – I was responsible for the FIFA World Cup in 2014, covering the provision of all 2D Venue Production Facilities, planning for 3D, 4K and other corporate related projects. Responsible for the delivery of the inaugural 3D FIFA World Cup in 2010 in South Africa for Sony.

What I most enjoy

I probably have the most exciting job on the planet! Working on the most-watched sports events across the globe, I’m working with the Sony team and our partners to always to push the boundaries of the technology – so fans who can’t attend events physically can still have the most immersive and fun experience. What I enjoy most is getting the team ready to address a big challenge (we have plenty of those!) and celebrating success together.