CP+ 2023: Sony interview – ‘Expanding an ecosystem around E-mount is our strategy’

Masanori Kishi, Senior General Manager, Lens System Business, and Masaaki Oshima, Senior General Manager, Camera System Business.

At the recent CP+ expo in Japan, we met with senior executives from Sony to get their thoughts on the state of the camera industry, its philosophy about third party lens support, and how Sony intends to use technology to create better products.

Our interview panel included:

• Masaaki Oshima: Senior General Manager, Camera System Business
• Masanori Kishi: Senior General Manager, Lens System Business

This interview was conducted with multiple people without the assistance of an interpreter. It has been edited for clarity and flow, and some responses have been combined.

---

How would you describe the overall health of the camera industry?

The total camera market is recovering from Covid-19 and the severe parts shortage this fiscal year, but the quantity of camera shipments is higher than last fiscal year. New demand is also increasing; for example, vlogging, demand for video, and young creators. Of course, still photography is coming back because people can go out again.

So, I think the industry’s health is very good. Better than our expectations.

Sony was an early adopter of mirrorless technology for full-frame cameras, but your competitors now have mature full-frame mirrorless systems as well. How will Sony maintain a competitive edge in this landscape?

First, having more camera manufacturers coming to the mirrorless market is good for us because customers can choose based on their preferences. So that’s a good thing.

Of course, we’re a pioneer in this market, but we still have some strengths relative to them. For example, compactness, light weight, the lens lineup, and of course, new cutting-edge technology like AI or digital signal processors. I know competitors will catch up with us, but we have to lead this market with our cutting-edge technology and innovation.

Sony was an early adopter of mirrorless technology for full-frame cameras. Above: the Sony a7, introduced in 2013.

Sony has taken a different approach to support for third-party lens makers than some other companies. What was the strategy behind that decision?

I can’t say anything about other companies’ strategies, but we’re always considering the advantage of a total ecosystem. Sony is developing our business around the growth of E-mount as an entire ecosystem. We have a wide variety of products, not only bodies but also lenses. Each product connects using only one mount from APS-C to full-frame, from entry-level to professional, from still to cinema camera.

This is a real, ideal ecosystem. Expanding this ecosystem around E-mount is our strategy.

Over the past couple of years, most of Sony’s new interchangeable lens cameras have been full-frame. What does the future look like for APS-C in Sony’s lineup?

I know many customers like small cameras and longer focal-length lenses. We understand there’s a huge opportunity and demand in the APS-C area, so we’ve never stopped our development of APS-C cameras.

We understand there’s a huge opportunity and demand in the APS-C area, so we’ve never stopped our development of APS-C cameras.

Also, as you’ve noticed, the FX30 has a brand-new image sensor. That means stay tuned!

We launched three new APS-C lenses last year, the 15mm F1.4 G, the 11mm F1.8, and the PZ 10-20mm F4 G. These lenses have been well-received by customers. Our mount has the strong advantage of a total ecosystem by the kinds of bodies and lenses it includes. They’re all connected by one mount and are also compatible with full-frame bodies. This is an ideal ecosystem. From that point of view, the APS-C system is really important for us, and we’re always focusing on that, not only full-frame.

Sony says APS-C cameras, like the a6100 (above) are an important part of its total ecosystem of cameras and lenses that use a single lens mount.

The Alpha line now includes dedicated video cameras, like the FX30. Does this signal a greater emphasis on video technology in future alpha products?

There are many still photographers, and we will, of course, focus on still photographers too. I think the community of interest is increasing to include video, photo, and even low-vision photographers.*

So, we will support them, all of them, by reaching out [to each community] with technology for each: the FX series, the a7 series, the a6000 series, and the ZV series. This doesn’t represent a shift in focus. It’s a matter of increasing our breadth because the type of customer is becoming more varied.

*Editor’s note: Shortly before CP+, Sony announced the DSC-HX99RNV Kit, a new retinal projection camera kit that helps people with visual impairments use a camera and take photos.

What types of users do you see using products like the FX30?

For the FX30, young video creators. They admire and study top videographers and cinematographers and want to express their own creativity with an affordable cinema camera. As they continue learning, we hope they will step up to the FX6 or FX9.

Does Sony see APS-C as a more versatile format for video?

I don’t think so. We don’t intend to focus on APS-C or full-frame in terms of video. Both are very important to us, but customers differ slightly between full-frame and APS-C.

If we think about the differentiation points between full-frame and APS-C for young video creators, it’s complicated but important. FX3 users are more likely to already know how to use a camera to create what they imagine. APS-C users may still be younger and earlier in their learning cycle.

Sony’s FX3 (left) and FX30 (right) are dedicated video cameras that have joined the Alpha product line.

What are your priorities for new lenses for E-mount? More primes? More zooms? Lenses for video? Something else?

We’re always focused on how to provide customers with new imaging and shooting experiences. As I mentioned earlier, E-mount customers represent a wide range of uses, so we want to create as many choices as possible because there are a lot of different demands.

We want to provide new lenses that maximize a photographer’s creativity. We’re always trying to improve our lens technology and the peripheral technologies required to create new lenses.

We want to provide new lenses that maximize a photographer’s creativity.

Lenses are a challenging product. It’s difficult to solve all the problems only through optical design. Peripheral technologies can remove the constraints of lens design. We’re always focused on that peripheral technology improvement.

We’ve seen updates for some of the original G Master lenses, like the 24-70mm F2.8 GM II and 70-200mm F2.8 GM II. Are there particular design or manufacturing processes that made this possible, and can we expect updates to other existing lenses?

Of course, optical design improvements make a significant contribution when creating new lenses, but not only optical design; peripheral technology is very important. An example is autofocus, where we developed the linear motor from the beginning of the system.

This technology is really important and contributes to the development of new lenses. We’ve focused on linear technology and are continuously improving it. The latest is the XD Linear Motor, which is powerful and efficient and allows us to move a very heavy lens group. This motor removes some of the constraints of optical design.

Another important technology is aspherical lens elements. We’re developing aspherical elements internally, with very high surface accuracy, and this aspherical technology is a big contributor to our lens improvements.

Sony’s second generation 70-200mm F2.8 GM OSS II lens uses two pairs of XD linear motors to drive its focus groups. Sony says the XD linear motor is an example of a technology that improves lens design; since it’s powerful enough to move heavy lens groups quickly, it places fewer limitations on optical design.

We’ve noticed a focus on cameras aimed at vloggers. Why is this group of users so important?

We need more newcomers and new customers entering the imaging industry to keep our industry healthy. Vloggers, especially young creators, are leading this trend. That’s why, in addition to still photographers, we’re focusing on young creators, Gen Z.

They’re entering the imaging world by shooting vlogs, so that’s how we support them.

How have these users responded to cameras like the ZV-1F?

The ZV-1F is focused on grabbing them, especially Gen Z and teenagers. We have campaigns with attractive offers for students, and many students, particularly women, have seen that this camera is well-suited for them. Students now accept the ZV-1F, and the business is increasing.

Gen Z has noticed the ZV-1F and said, ‘This is my camera’

At launch, the ZV-1F was evaluated by camera geeks, so initially, young creators, and young women, didn’t think, ‘This is my camera.’ But now, many influencers have posted their feelings about using it and said nice things. And now, Gen Z has noticed the ZV-1F and said, ‘This is my camera.’

At launch, DPReview called out the ZV-1F for not capturing Raw images, that it was a negative. But young creators and vloggers don’t know that word.

Beginning with the a7S III, you implemented a new menu system for Alpha cameras. Can you explain how much research goes into designing a good menu system?

It was challenging. Customers complained about complicated menus, so, we had to analyze how they used the camera and how they reacted to it. We did many surveys and got feedback on prototypes from people ranging from entry-level users to professionals.

And, of course, DPReview suggested improvement points. We combined this type of feedback with our research and implemented the new menu in cameras.

We’ve had a good response from users, but new requests are already coming since the last improvement!

Sony introduced a completely new menu system beginning on the a7S III.

When it was introduced, Sony’s ‘real-time’ AF tracking was a model for others to emulate. Now that other camera companies have similar AF capabilities, how can Sony raise the bar again?

Before the a7R V, we had AI technologies combined on a single DSP chip. Starting with the a7R V, we’ve implemented a dedicated AI processor focused on AI functions. This processor has huge benefits, not only for autofocus but for scene recognition, white balance, and auto exposure. I think you’ll notice that if you try the camera.

It’s challenging for customers to realize the difference between our system and others, but once you try our system, you’ll notice the strengths of our technology.

Starting with the a7R V, we’ve implemented a dedicated AI processor focused on AI functions.

Now we have a dedicated AI processor in the camera body, but AI is moving to even higher levels. So that’s why we not only have an AI processor in the camera, but we’ve already launched cloud AI solutions. Just yesterday [Feb. 22] we launched Creators’ Cloud, which will help creators step up their images or videos. Once we’ve implemented an AI processor, it isn’t easy to update the processor itself, but we have the AI engine in the cloud, and we can connect cloud and camera.

In recent years we’ve seen a lot of AI and machine learning technologies improve autofocus systems. Beyond AF, how else could AI help photographers in the future?

We’re not just using AI for autofocus but are now using AI to clarify the scene itself. What would be in the scene? What would be the subject? Where would it be? What time would it be? How would the subject feel?

So, we’d like to utilize the power of AI to recognize the entire scene.

So, a camera might analyze a scene and predict whether you’re attempting to take a tack-sharp picture or a dreamy portrait, depending on the mood, and expose accordingly.

Yes, that’s it. And AI could help creatively.

The a7R V was Sony’s first camera to include a dedicated processor for AI functions.

Sony has always been a technology-driven company. What areas of technology do you expect to have the most significant impact on cameras in the next five years?

Technology isn’t only for geeks and devices but can help creators feel free to use our camera system to make content. Of course, we implement cutting-edge technology at the top, as we did on the a1 and a9, but we want technology to scale down to entry-level products because that makes it easier for creators to use our cameras.

We want technology to scale down to entry-level products because that makes it easier for creators to use our cameras.

That’s why now we’re not only developing the camera itself, but also the Creators’ Cloud services. We want to support our creators and feel their success when they make content and make the industry fun. We want to uplift their camera and imaging experience. It’s not about a specific technology but thinking about how to support the technology. Of course, we need camera and lens technologies. We have to improve those. But we need to develop a technology infrastructure that supports users.

2023 is DPReview’s 25th year of operation. What do you think have been the most important changes to photography in the last 25 years?

In 1998 digital photography was just starting. It was like moving from gasoline engines to EVs.

Photography is more popular today. People use it to communicate with each other. People love taking photos even if they’re using a smartphone. So many people are taking pictures in this generation, and it’s becoming common for everybody to take and share photos. It’s more critical to communication. Everybody wants higher quality and to enhance their creativity. Everybody wants to be a creator.