Sony Tidbits…


On Set with KeJia Zeng: Shooting ‘Er Luo’ Using Sony BURANO & FE 50-150mm F2 GM

Today deals at Amazon, BHphoto, Adorama, Amazon DE, Amazon UK, Amazon FR, Amazon IT, FotoErhardt DE, FotoKoch DE.
B&H Photo News Roundup: Week of February 2, 2025 (Explora)
Is the DSLR Really Dead? Mirrorless vs DSLR in 2025 (42West)
Yongnuo AF 35mm f/1.8 ‘Art’ lens review (Christopher Frost)
Godox Virso S Wireless Audio Recorder Don’t Need Cables for Sony Cameras (Lensvid).
Voigtlander 75mm Portrait Heliar 75mm F1.8 review at SonyAlphaBlog.
Flashpoint vs. Godox: What’s the Difference? (42West)
Mastering Light: From Camera Flash to Studio Strobes (Explora)

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Just announced: New Sony Type A cards and ECM-778 Compact Supercardioid Shotgun Microphone

Yesterday Sony announced four new products that are now finally available for preorder today:

Press text:

Sony Electronics Inc. today announced the launch of its new ECM-778 shotgun microphone, a flagship mono high-resolution model that delivers immersive, high-quality audio recordings. The ECM-778 is designed for premium audio capture in films, dramas, documentaries, and other content production environments where sound quality is critical. This professional-grade microphone provides high-fidelity audio with versatile mounting options, making it ideal for both boom poles and compatible camerai mounted setups.

In tandem, Sony is also introducing new CFexpress Type A cards—the CEA-G1920T (1920 GBii) and CEA-G960T (960 GB)—along with the MRW-G3 CFexpress Type A card reader. These products support CFexpress 4 and deliver read speeds exceeding 1800 MB/s, over twice as fast as earlier modelsiii—and a storage capacity of up to 1920 GBiv, significantly improving data transfer and workflow efficiency for users of Sony’s Cinema Line and Alpha mirrorless interchangeable lens cameras.

New ECM-778 Premium Shotgun Microphone

The ECM-778 features a newly developed microphone capsule, a precision-machined brass acoustic tube, and a specifically designed electronic circuit board for superior sound quality, providing clear high frequencies and stable mid-low ranges. Measuring just 176 mm and weighing approximately only 102 g, it combines portability with excellent directivity, making it ideal for tight filming conditions.

Designed for versatility, it can be mounted on boom poles by using the supplied microphone holder and stand adapterv or directly on cameras with XLR terminals, supporting a wide range of production setups. The inclusion of foam and fur-type wind screens, a low-cut switch, and a machined aluminum body ensures reliable performance across diverse environments.

Key Features:

  • Sharp forward directivity through sound wave interference design
  • High-resolution audio capture beyond 20 kHz
  • Low-cut switch for reduced wind and handling noise
  • Durable aluminum construction
  • Compact and lightweight for handheld or mounted use
  • Professional-grade internal components for reduced noise and high fidelity

Collaboration with Film Sound Engineers

Developed in collaboration with professional film sound engineers, the ECM-778 reflects real-world insights from production environments. Renowned sound engineer Kenichi Fujimoto, winner of multiple Japan Academy Film Prizes for Best Sound Recording, remarked:

We recording engineers forge our sonic preferences over years, recording and listening to countless projects with a vast array of microphones, starting from our days as assistants. When we step into the lead role, we choose the mic that perfectly matches our cultivated taste. Right now, this is the single best choice available. In filmmaking, the shotgun mic for dialogue is the most critical tool—it’s the axis around which everything else turns. The ‘ECM-778’ is that new axis. It strikes an exceptional balance with its length and weight, its clarity and solid core deliver a palpable sound pressure, and it provides that ‘little something’ that has always been missing in other microphones. It is, simply put, a microphone that lets you create a truly cinematic sound.”

New CEA-G1920T and CEA-G960T CFexpress Type A Cards and MRW-G3 Card Reader

Sony’s new CEA-G1920T (1920 GB) and CEA-G960T (960 GB) CFexpress Type A cards meet the VPG400 standard, guaranteeing stable video recording at 400 MB/svi. Built to TOUGH specifications, these cards offer:

  • Read speeds of up to 1800 MB/s and write speeds up to 1700 MB/s
  • 5x drop resistance and 10x bend strength over standard CFexpress Type A cardsvii
  • IP57-rated dust and water resistance
  • Temperature, X-ray, anti-static, and UV resistanceviii

Accompanying these is the MRWG3 card reader, which supports USB 40 Gbps and CFexpress 4, enabling ultra-fast transfers and compatibility with most computers, smartphones, and tablets. A heat dissipation design ensures durability and sustained performance even during large transfers.

Sony remains committed to supporting professional and high-end amateur creators with advanced tools that enhance production quality and streamline workflows across varied content creation scenarios.

Petapixel: FX2’s EVF Surprise and Master Lenses Steal the Show: Sony’s Quiet, Yet Strategic, 2025

The PetaPixel crew+ Gordon Laing analyzed Sony’s “performance” during the first half of this year. This is a summary of their thoughts:

Since the start of 2025, Sony has taken a more measured approach—releasing fewer bodies but doubling down on key cinema features and high-end glass. Here’s how the company has quietly maintained its momentum through mid-year.

Selective Body Updates

FX2 with EVF
Sony’s first cinema-line camera to sport an integrated electronic viewfinder, the FX2 marries stills-style ergonomics with cinema-grade codec options. Built-in cooling, 4K/120 fps oversampling, and a compact form factor make it a compelling “B-cam” for run-and-gun shooters.

No A7S IV… yet
Unlike past years, Sony has held off on a refresh of its low-light flagship. Rumors of an A7S IV or A7 V slanting toward super-high ISO persist, but no official word has emerged. The lull in body launches has left many hybrid shooters eager for a true successor to Sony’s vaunted video-sensors.

Masterpiece Lenses Take Center Stage

50–150 mm F2 G Master
Sony answered a long-standing wish for a “portrait zoom” with a compact, constant-F2 tele. Reviewers praised its sharpness, fast AF, and surprisingly small footprint.

16mm F1.8 G and 400–800mm G Master
The ultra-wide, fast 16 mm prime offers unique perspective for landscapes and astro work.
The 400–800 mm adds internal zoom mechanics and pro-grade optics, putting Sony back in the super-telephoto conversation.

Wireless Grip and Power Zoom
A new three-in-one shooting grip and power-zoom adapter hint at Sony’s commitment to creator-friendly controls.

Cinema-Hybrid Ambitions

FX Line vs. Alpha Line
With the FX2 borrowing heavily from Alpha ergonomics, Sony is blurring the line between its stills and cinema divisions—leveraging its stacked-sensor expertise across both.

• E-mount Ecosystem
Sony’s open E-mount continues to attract third-party innovation. Creators now enjoy a vast array of autofocus-capable lenses from Sigma, Tamron, Viltrox, and more—unmatched in the mirrorless world.

Opportunities Ahead

While Sony’s restrained 2025 body rollout earned respect for its focus on quality over quantity, a few areas could propel the next half-year toward standout success:

  • A7S IV or A7 IV Mark II: Delivering the promised ultra-high-ISO, video-forward Alpha body would reignite Sony’s hybrid-shooter fanbase.

  • Entry-level APS-C Refresh: Updating the a6700/a6100 line with newer sensors or C-Log options could energize crop-sensor enthusiasts.

  • Integrated Power Zoom Solutions: Refining the power-zoom grip into a native lens feature would streamline Sony’s run-and-gun offering.

Bottom Line

With the FX2’s EVF debut, a slate of stellar G Master lenses, and a richer third-party lens pool, Sony’s first half of 2025 has been all about strategic depth. As whispers of new Alpha bodies swirl, Sony’s hybrid community watches closely—ready for the next chapter in its mirrorless saga.

 

For comparison…here is how they graded all companies:

Camera Company Grades

Canon (B-/C+)
Focused on vlogging: V1 (fixed-lens compact), R50V (video-centric APS-C).
New lenses: 16-28mm f/2.8, 14-30mm f/4 PZ, 75-300mm (recycled DSLR design).
Criticism: No pro photo bodies, limited third-party lens support.

Nikon (A/A-)
Strong video push with Z5 II, Z8 firmware, and 28-135mm PZ cine lens.
Criticism: Still no full-frame Sigma lenses due to alleged Tamron exclusivity.

Sony (B-/C+)
Quiet first half: FX3 II, 50-150mm f/2.0, 400-800mm f/6.3-8.
Criticism: No major camera releases, stagnant APS-C support.

Panasonic (A-)
Launched S1R II (high-res), S1 II (video), and 24-60mm f/2.8 lens.
Praise: Open-gate video, firmware updates, cropless stabilization.
Criticism: Uninspiring lens designs.

Fujifilm (A/B+)
Diverse releases: X100VI, XE5, GFX100 RF, Instax Wide Evo, X half (film-sim compact).
Praise: Unique designs catering to different users.
Criticism: Autofocus still lags behind competitors.

OM System (C+)
Minor updates: OM-5 II, OM-3 (retro-styled), 100-400mm II.
Criticism: Lack of innovation, rehashing old designs.

Leica (D/L)
Only released the SL3-S (low-res cine variant).
Celebrated 100 years of M-mount with no new M camera.

Sigma (A+)
Strong lens releases: 300-600mm f/4.0, Cine line lenses. Sigma BF

Tamron (C+)
Quiet first half: 16-30mm f/2.8 G2, firmware updates for existing lenses.
Promised more lenses in late 2025/2026.

Final Thoughts

Best Performers: Fujifilm, Sigma, Nikon.
Needs Improvement: Leica, OM System, Tamron.
Upcoming Expectations: Sony A7S IV, Fujifilm X-Pro 4, Canon R7 II.

Final Grade Summary:

A/A+: Fujifilm, Sigma, Nikon.
B/B-: Panasonic, Sony, Canon.
C/C+: OM System, Tamron.
D/L: Leica.