and on - and while Acid has stood still, the competition has not. However, the wait for a new version of Acid Pro has gone on. For both Sound Forge and Vegas (for my money, the best desktop video editing environment available for the PC), happily, those fears were quickly put to rest as Sony soon released new versions of both. Such a development always leaves users a little concerned about possible changes in design philosophy or development of the products concerned. However, like Emagic and Steinberg, Sonic Foundry's audio and video software assets were the subject of some corporate manoeuvrings, in this case a sale to Sony's Media Software division. At that stage Acid, Sound Forge and Vegas Video were all still under their original Sonic Foundry ownership. It is now over two years since Acid Pro 4 was released. Does it keep pace with other manufacturers' loop-sequencing packages? Version 5 of Acid Pro is the first major upgrade under the Sony Media Software badge, and has taken two years to arrive. It also comes with S-Log3 gamma, wide S-Gamut3 and S-Gamut3.Cine color spaces for HDR and enhanced color grading capabilities.The Acid user interface remains the same, albeit with the inclusion of Folder Tracks, Groove Tools and the Media Manager. On top of that, it has a native ISO range up to 409,600 with 15+ stops of dynamic range, making it suitable for shooting in low light. However, it does offer 4K recording at up to 120 fps or 1080p at 240fps. The 10.3-megapixel sensor is an unusual choice, as it may not be suitable for some high-end productions due to the 4K resolution limit. You can store up to 100 camera presents and control it using a web app or the optional $2,625 RM-IP500 remote controller. 02 to a rapid 60 degrees per second, while moving from plus or minus 170 degrees (pan) and -30 to 195 degrees (tilt). It's designed to smoothly pan and tilt at speeds ranging from. The FR7 looks a bit like Sony cut the back off an FX6, leaving the mount and small body fixed to a compact motorized system. 'In parallel, over the last 2 years, we’ve seen a steep rise in content created remotely or in small locations where access is difficult.'

'The cinematic look and feel is rapidly becoming the norm in broadcasting and live production as it opens up new ways to tell a narrative,' said Sony Electronics VP Yang Chen. The large sensor allows for a more cinematic image than typical robotic TV cameras, too.

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