The Info List - Digital Betacam

--- Advertisement ---

Betacam is a family of half-inch professional videocassette products developed by Sony in 1982. In colloquial use, "Betacam" singly is often used to refer to a Betacam camcorder, a Betacam tape, a Betacam video recorder or the format itself. All Betacam variants from (plain) analog recording Betacam to Betacam SP and digital recording Digital Betacam (and additionally, HDCAM & HDCAM SR), use the same shape videocassettes, meaning vaults and other storage facilities do not have to be changed, when upgrading to a new format. The cassettes are available in two sizes: S (for Short) and L (for Long). The Betacam camcorder can only load S magnetic tapes, while television studio sized video tape recorders (VTR) designed for video editing can play both S and L tapes. The cassette shell and case for each Betacam cassette is colored differently depending on the format, allowing for easy visual identification. There is also a mechanical key that allows a video tape recorder to identify which format has been inserted. The smaller S cassettes use the same form factor as Betamax. The format supplanted the three-quarter-inch U-Matic format, which Sony had introduced in 1971. In addition to improvements in video quality, the Betacam configuration of an integrated professional video camera/recorder led to its rapid adoption by electronic news gathering (ENG) organizations. DigiBeta, the common name for Digital Betacam, went on to become the single most successful professional broadcast digital recording video tape format in history. Even though Betacam remains popular in the field and for archiving, new tapeless digital products such as the Multi Access Video Disk Recorder are leading to a phasing out of Betacam products in a television studio environment, as of 2006.[citation needed]


1 Variants

1.1 Betacam and Betacam SP

1.1.1 Original Betacam format 1.1.2 Betacam SP 1.1.3 Third-party support

1.2 Digital Betacam 1.3 Betacam SX 1.4 MPEG IMX 1.5 HDCAM/HDCAM SR

2 See also 3 Footnotes 4 References 5 Further reading 6 External links

Variants[edit] Betacam and Betacam SP[edit] Original Betacam format[edit] The original Betacam format was launched on August 7, 1982. It is an analog component video format, storing the luminance, "Y", in one track and the chrominance, on another as alternating segments of the R-Y and B-Y components performing Compressed Time Division Multiplex, or CTDM.[1] This splitting of channels allows true broadcast quality recording with 300 lines of horizontal luminance resolution and 120 lines chrominance resolution[2] (versus ≈30 for Betamax/VHS),[citation needed] on a relatively inexpensive cassette based format. The original Betacam format records on cassettes loaded with ferric oxide–formulated tape, which are theoretically the same as used by its consumer market-oriented predecessor Betamax, introduced seven years earlier by Sony in 1975. A blank Betamax-branded tape will work on a Betacam deck, and a Betacam-branded tape can be used to record in a Betamax deck. However, in later years Sony discouraged this practice, suggesting that the internal tape transport of a domestic Betamax cassette was not well suited to the faster tape transport of Betacam. In particular, the guide rollers tend to be noisy. Although there is a superficial similarity between Betamax and Betacam in that they use the same tape cassette, they are really quite different formats. Betamax records relatively low resolution video using a heterodyne color recording system and only two recording heads, while Betacam uses four heads to record in component format, at a much higher linear tape speed of 10.15 cm/s (3.99606 in./s) compared with Betamax's 1.87 cm/s (0.7362205 in./s), resulting in much higher video and audio quality. A typical L-750 length Betamax cassette that yielded about 3 hours of recording time on a Betamax VCR at its B-II Speed (NTSC), or on PAL, only provided 30 minutes' record time on a Betacam VCR or camcorder. Another common point between Betamax and Betacam is the placement of the stereo linear audio tracks.[citation needed] Also, some Betacam and Betamax portables share the same batteries. (Matsushita's rival "M" and "MII" formats took a similar approach in combining the cassette from a non-professional system- in this case, VHS- with a much higher-quality recording format. However, neither enjoyed Betacam's level of success).[footnotes 1] Betacam was initially introduced as a camera line along with a video cassette player. The first cameras were the BVP-3, which utilized three saticon tubes, and the BVP1, which used a single tri-stripe Trinicon tube. Both these cameras could be operated standalone, or with their docking companion VTR, the BVV-1 (quickly superseded by the BVV-1A), to form the BVW-1 (BVW-1A) integrated camcorder. Those decks were record-only. The only transport controls on the deck were Eject and Rewind. The docked camera's VTR button started and paused the tape recorder. Later the Betacam SP docking decks had full transport controls (except a Record button) but tapes could not be played back except in the camera's viewfinder in black-and-white only. Sony then came out with the Play Adapter, a separate portable unit that connected via a multi-pin cable and had a composite video out jack for color playback. At first color playback required the studio source deck, the BVW-10, which could not record, only play back. It was primarily designed as a feeder deck for A/B roll edit systems, usually for editing to a one-inch Type C or three-quarter-inch U-matic cassette edit master tape. There was also the BVW-20 field playback deck, which was a portable unit with DC power and a handle, that was used to verify color playback of tapes in the field. Unlike the BVW-10, it did not have a built in Time Base Corrector, or TBC. With the popular success of the Betacam system as a news acquisition format, the line was soon extended to include the BVW-15 studio player, and the BVW-40 Studio Edit Recorder. The BVW-15 added Dynamic Tracking, which enabled clear still frame and jog playback, something the BVW-10 could not deliver. The BVW-40 enabled for the first time editing to a Betacam master, and if set up and wired correctly, true component video editing. It was also possible to do machine to machine editing between a BVW-10/15 and BVW-40 without an edit controller—a single serial cable between the units was all that was required to control the player from the recorder in performing simple assemble and insert editing. Additionally there were two field models introduced, the field recorder BVW-25, and the BVW-21 play only portable field deck. At its introduction, many insisted that Betacam remained inferior to the bulkier one-inch Type C and B recording, the standard broadcast production format of the late 1970s to mid-1980s. Additionally, the maximum record time for both the cameras and studio recorders was only half an hour, a severe limitation in television production. There was also the limitation that high quality recording was only possible if the original component signals were available, as they were in a Betacam camcorder. If the recording started as composite video, re-converting them to components for recording and then eventually back to composite for broadcast caused a drop in quality compared to recording component video directly. Betacam SP[edit] In 1986, Betacam SP was developed, which increased horizontal resolution to 340 lines. While the quality improvement of the format itself was minor, the improvement to the VTRs was enormous, in quality, features, and particularly, the new larger cassette with 90 minutes of recording time. Betacam SP (for "Superior Performance") became the industry standard for most TV stations and high-end production houses until the late 1990s. Despite the format's age Betacam SP remained a common standard for standard definition video post-production into the 2000s. The recording time is the same as for Betacam, 30 and 90 minutes for S and L, respectively. Tape speed is slightly slower in machines working in the 625/50 format, increasing tape duration of one minute for every five minutes of run time. So, a 90-minute tape will record 108 minutes of video in PAL. Betacam SP is able to achieve its namesake "Superior Performance" over Betacam in the fact that it uses metal-formulated tape as opposed to Betacam's ferric oxide tape. Sony designed Betacam SP to be partially forward compatible with standard Betacam, with the capability that Betacam SP tapes recorded on Betacam SP decks can be played in oxide-era Betacam VTRs (such as the BVW-15 and BVW-40 mentioned earlier), but for playback only. Betacam SP-branded tapes cannot be used for recording in consumer Betamax VCRs like oxide Betacam tapes, due to Betacam SP's metal-formulation tape causing the video heads in a Betamax deck to wear prematurely, which are made of a softer material than the heads in a standard Betacam deck. However, Betacam SP tapes can be used without a problem in ED Beta VCRs, since the ED Beta format uses metal-formulated tape as well. The new Betacam SP studio decks were the players: The BVW-60 and BVW-65 (the BVW-65 features Dynamic Tracking); and the Edit Recorders: the BVW-70, and the Dynamic Tracking model, the BVW-75. The BVV-5 was the Betacam SP dockable camera back, which could play back in color if its companion playback adapter was used. A new SP field recorder, the BVW-35, possessed the added benefit of a standard RS422 serial control port that enabled it to be used as an edit feeder deck. Though the four new studio decks could utilize the full 90-minute Betacam SP cassettes, the BVW-35 remained limited to the original Betacam small 30-minute cassette shells. Answering a need for a basic office player, Sony also introduced the BVW-22, a much less expensive desktop model that could be used for viewing and logging 90-minute cassettes, but could not be configured into an edit system. Sony followed up the SP Field Recorder with the BVW-50, that could record and play the large-size 90 minute cassettes. After this, the deck line was relatively stagnant and incredibly popular for a decade, aside from some specialty models that could record digital audio. Until the introduction of the BVW-200 camera though, the camera and recorder configuration was a docking system. The BVW-200 was an integrated camera recorder system. It sacrificed the flexibility of a docking camera in order to lose a substantial amount of weight. Eventually, non-docking camcorders became the most popular design by the mid-1990s. The final Betacam SP camcorder was the BVW-600, which paired a digital professional video camera front section, very similar to the one on the DigiBeta DVW-700, with an integrated Betacam SP recorder. Like every other Betacam camera system, and unlike the DigiBeta DVW-700, the camera could not play back in color without the use of an outboard adapter. In 1991, the less-expensive, "Professional", PV line of Betacam SP decks was introduced. The PV line consisted of only four models: the full-sized PVW-2600 (VTP), PVW-2650 (VTP with Dynamic tracking allowing up to fwd x3, whereas the BVW line only offered x2 DT playback) and PVW-2800 (VTR) editing decks, and the PVV-3 camera-dockable VTR. These high quality machines were similar to the original BV series machines, but lacked the third and fourth audio channels. In 1993, the far less expensive UVW series debuted. These machines were considerably simpler, somewhat lower quality, and were designed primarily to be used as companions to computer systems, for industrial video, and other low-cost, yet high-quality, uses. The UVW decks possessed very limited front panel controls, no jog and shuttle; and with Time Base Corrector (TBC) control available only with an optional remote TBC controller. These were represented by the UVW-1800, a very popular editing VTR (and companion UVW-1600 edit VTP), and the non-editing UVW-1400 VTR, and UVW-1200 VTP. The UVW-100 (and later 100B) one-piece camcorder rounded out the UVW series. Third-party support[edit] Betacam and Betacam SP tape cassette shells varied in color depending on the manufacturer. Many companies sold Betacam tapes, sometimes of their own manufacture, sometimes re-branded. Fuji, Maxell, Ampex and 3M were just some of the major brands to do so. Ampex, Thomson SA and Philips each sold rebranded OEM versions of some of the Sony VTRs and camcorders at various times in the 1980s and 1990s. Other than nameplates, these models were identical to the Sony models. Internal components still bore the Sony name. Digital Betacam[edit]

Digital Betacam L tape

Digital Betacam (commonly referred to as DigiBeta, D-Beta, DBC or simply Digi) was launched in 1993. It supersedes both Betacam and Betacam SP, while costing significantly less than the first, 100% uncompressed D1 format. S tapes are available with up to 40 minutes running time, and L tapes with up to 124 minutes. The Digital Betacam format records 2.34-to-1 DCT-compressed digital component video signal[3] at 10-bit YUV 4:2:2 sampling in NTSC (720×486) or PAL (720×576) resolutions at a bitrate of 90 Mbit/s plus four channels of uncompressed 48 kHz / 20 bit PCM-encoded digital audio. A fifth analog audio track is available for cueing, and a linear timecode track is also used on the tape. It is a popular digital video cassette format for broadcast television use. Another key element which aided adoption was Sony's implementation of the SDI coaxial digital connection on Digital Betacam decks. Facilities could begin using digital signals on their existing coaxial wiring without having to commit to an expensive re-installation.[4] Betacam SX[edit]

Betacam SX S tape

Betacam SX is a digital version of Betacam SP introduced in 1996, positioned as a cheaper alternative to Digital Betacam. It stores video using MPEG-2 4:2:2 Profile@ML compression, along with four channels of 48 kHz 16 bit PCM audio. All Betacam SX equipment is compatible with Betacam SP tapes. S tapes have a recording time up to 62 minutes, and L tapes up to 194 minutes. The Betacam SX system was very successful with newsgathering operations, which had a legacy of Betacam and Betacam SP tapes. Some Betacam SX decks, such as the DNW-A75 or DNW-A50, can natively play and work from the analog tapes interchangeably, because they contain both analog and digital playback heads. Betacam SX uses MPEG-2 4:2:2P@ML compression, in comparison with other similar systems that use 4:1:1 or 4:2:0 coding. It gives better chroma resolution and allows certain postproduction processes such as Chroma-key. This format compresses the video signal from approximately 180 Mbit/s to only 18 Mbit/s. This means a compression ratio of around 10:1, which is achieved by the use of mild temporal compression, where alternate frames are stored as MPEG I-frames and B-frames, giving rise to an IBIB sequence on tape. Together with Betacam SX, Sony introduced a generation of hybrid recorder, allowing use of both tape and disk recording on the same deck, and high speed dubbing from one to another. This was intended to save wear on the video heads for television studio applications, as well to speed up online editing. Betacam SX also features a good shot mark (a method for qualitative decisions made in the camcorder to be utilized during the editing process[5]) feature that allows marking of each scene for fast scanning of the tape, looking at recorded marks on each single cassette, and showing the markers to the operator. The cameras themselves are generally considered by most sound recordists to be quite noisy in operation, possibly because the amount of computer processing power, and subsequent generated heat leads to cooling fans being used to keep the camera at a reasonable temperature. Betacam SX tape shells are bright yellow, but SX recordings may also be found recorded on analogue Betacam SP cassettes. Of course if such a Betacam SP tape with SX recording is inserted into a Betacam SP player, no picture or sound will appear. Although Betacam SX machines have gone out of production, the format is still used by many newsgathering operations, including CNN, Canada's CTV, Atlanta's WSB-TV, San Diego's KFMB-TV and NBC's operations in the San Francisco Bay Area at KNTV and KSTS. Many news archives still contain SX tapes. In August 2011, Betacam SX tapes were found in Muammar Gaddafi's underground studio in Tripoli. CNN reporter Sara Sidner commented on-air that CNN still uses the same type of tapes.[6] MPEG IMX[edit] MPEG IMX is a 2001 development of the Digital Betacam format. Digital video compression uses H.262/MPEG-2 Part 2 encoding at a higher bitrate than Betacam SX: 30 Mbit/s (6:1 compression), 40 Mbit/s (4:1 compression) or 50 Mbit/s (3.3:1 compression). Unlike most other MPEG-2 implementations, IMX uses intraframe compression. Additionally, IMX ensures that each frame has the same exact size in bytes to simplify recording onto video tape. Video recorded in the IMX format is compliant with CCIR 601 specification, with eight channels of audio and timecode track. It lacks an analog audio (cue) track as the Digital Betacam, but will read it as channel 7 if used for playback. This format has been standardized in SMPTE 365M and SMPTE 356M as "MPEG D10 Streaming".[7] With its IMX VTRs, Sony introduced some new technologies including SDTI and e-VTR. SDTI allows for audio, video, timecode, and remote control functions to be transported by a single coaxial cable, while e-VTR technology extends this by allowing the same data to be transported over IP by way of an ethernet interface on the VTR itself. All IMX VTRs can natively playback Betacam SX tapes, and some, such as the MSW-M2000P/1 are capable of playing back Digital Betacam cassettes as well as analog Betacam and Betacam SP cassettes, but they can only record to their native IMX cassettes. S tapes are available with up to 60 minutes capacity, and L tapes hold up to 184 minutes. These values are for 525/60 decks, but will extend in 625/50. A 184-minute tape will record for, as the label itself specifies, 220 minutes. IMX machines feature the same good shot mark function of the Betacam SX. MPEG IMX cassettes are a muted green. The XDCAM format, unveiled in 2003, allows recording of MPEG IMX video in MXF container onto Professional Disc. HDCAM/HDCAM SR[edit] See also: HDCAM HDCAM, introduced in 1997, was the first HD format available in Betacam form-factor, using an 8-bit DCT compressed 3:1:1 recording, in 1080i-compatible downsampled resolution of 1440×1080, and adding 24p and 23.976 PsF modes to later models. The HDCAM codec uses non-square pixels and as such the recorded 1440×1080 content is upsampled to 1920×1080 on playback. The recorded video bitrate is 144 Mbit/s. There are four channels of AES/EBU 20-bit/48 kHz digital audio. It is used for some of Sony's cinema-targeted CineAlta range of products (other CineAlta devices use flash storage). HDCAM SR, introduced in 2003, uses a higher particle density tape and is capable of recording in 10 bits 4:2:2 or 4:4:4 RGB with a bitrate of 440 Mbit/s. The "SR" stands for "Superior Resolution". The increased bitrate (over HDCAM) allows HDCAM SR to capture much more of the full bandwidth of the HD-SDI signal (1920×1080). Some HDCAM SR VTRs can also use a 2× mode with an even higher bitrate of 880 Mbit/s, allowing for a 4:4:4 RGB stream at a lower compression. HDCAM SR uses the new MPEG-4 Part 2 Studio Profile for compression, and expands the number of audio channels up to 12 at 48 kHz/24 bit. HDCAM SR is used commonly for HDTV television production. Some HDCAM VTRs play back older Betacam variants, for example, the Sony SRW-5500 HDCAM SR recorder, plays back and records HDCAM and HDCAM SR tapes and with optional hardware also plays and upconverts Digital Betacam tapes to HD format. Tape lengths are the same as for Digital Betacam, up to 40 minutes for S and 124 minutes for L tapes. In 24p mode the runtime increases to 50 and 155 minutes, respectively. Sony branded HDCAM cassettes are black with an orange lid, and HDCAM SR cassettes black with a cyan lid. 440 Mbit/s mode is known as SQ, and 880 Mbit/s mode is known as HQ, and this mode has recently become available in studio models (e.g. SRW-5800) as well as portable models previously available.



See also[edit]



^ Matsushita/Panasonic also introduced a professional half-inch analog component video tape format, which used VHS style tape cassettes, called "M-Format". However, while Sony's Betacam system rapidly became an industry standard, M-format was a marketing failure. A follow-up format called M-II— effectively the Panasonic enhancement of M-format as SP was Sony's enhancement of Betacam— was a great improvement.[according to whom?] Though it was used as an internal standard at NBC TV and Hubbard's Conus Communications in America for a time,[citation needed] it failed to make much headway in the marketplace. While technically M-II was in some ways an improvement over Betacam SP,[according to whom?] Betacam SP had the overwhelming advantage of a high degree of compatibility with the existing (and very large) Betacam infrastructure.[citation needed][original research?]


^ Ward 2001, p.30 ^ http://greentreeav.com/betacam ^ Medoff, Norman; Fink, Edward J. (September 10, 2012). Portable Video: ENG & EFP. CRC Press. p. 221. ISBN 9781136047701.  ^ Sony Digital Betacam DVM 2000 ^ "The Digital Video Cassette Player—DNW-65" (PDF).  ^ "CNN.com Video". CNN. Retrieved 2011-08-27.  ^ Material Exchange Format FAQ, by Pinnacle Systems Archived July 23, 2011, at the Wayback Machine.

Further reading[edit]

Ward, Peter (2001). Basic Betacam Camerawork. Focal Press. ISBN 0-240-51604-4. 

External links[edit]

Sony professional cameras Comparison Chart of Tape format Specs from Maxell Betacam PALsite—over 70 pages of Betacam information, running since 2000 Sony Betamax Case Report

v t e

Video storage formats



Quadruplex (1956) VERA (1958) Ampex 2 inch helical VTR (1961) Sony 2 inch helical VTR (1961) Type A (1965) CV-2000 (1965) Akai (1967) U-matic (1969) EIAJ-1 (1969) Cartrivision (1972) Philips VCR (1972) V-Cord (1974) VX (1974) Betamax (1975) IVC (1975) Type B (1976) Type C (1976) VHS (1976) VK (1977) SVR (1979) Video 2000 (1980) CVC (1980) VHS-C (1982) M (1982) Betacam (1982) Video8 (1985) MII (1986) S-VHS (1987) S-VHS-C (1987) Hi8 (1989) Ruvi (1998)


D1 (1986) D2 (1988) D3 (1991) DCT (1992) Digital Betacam (1993) D5 (1994) Digital-S (D9) (1995) Betacam SX (1996) Digital8 (1999) MicroMV (2001)

High Definition

Sony HDVS (1984) UniHi (1984) W-VHS (1994) HDCAM (1997) D-VHS (1998) D6 HDTV VTR (2000) HDV (2003) HDCAM SR (2003)



Phonovision (1927) Ampex-HS (1967) TeD (1975) LaserDisc (1978) CED (1981) VHD (1983) Laserfilm (1984) CD Video (1987) VSD (c. 1987)


VCD (1993) MovieCD (1996) DVD (1996) MiniDVD (c. 1996) DVD-Video (1997) CVD (1998) SVCD (1998) EVD (2003) PVD (Personal Video Disc) (2003) HVD (High-Definition Versatile Disc) (2004) UMD (2004) FVD (2005)

High Definition

MUSE Hi-Vision LD (1994) VMD (2006) HD DVD (2006) BRD (BD/Blu-ray disc) (2006) MiniBD (c. 2006) HVD (Holographic Versatile Disc) (2007) CBHD (China Blue High-definition Disc) (2008) UHD BRD (Ultra HD Blu-ray disc) (2016)


Media agnostic

DV (1995) DVCPRO (1995) DVCAM (1996) DVCPRO50 (1997) DVCPRO HD (2000)


CamCutter Editcam (1995) XDCAM (2003) MOD (2005) AVCHD (2006) AVC-Intra (2006) TOD (2007) iFrame (2009) XAVC (2012)

Solid state

P2 (2004) SxS (2007) MicroP2 (2012)

Video recorded to film

Kinescope (1947) Telerecording (1940s) Electronicam kinescope (1950s) Electronic Video Recording (1967)

v t e

High-definition (HD)


High-definition television High-definition video Ultra-high-definition television

Analog broadcast (All defunct)

819 line system HD MAC MUSE (Hi-Vision)

Digital broadcast



Dolby Digital Surround sound DSD DXD DTS

Filming and storage


HD media and compression

Blu-ray CBHD D-VHS DVD-Audio H.264 H.265 HD DVD HD VMD MPEG-2 MVC Super Audio CD Ultra HD Blu-ray Uncompressed VC-1


Component DisplayPort DVI HDMI VGA


List of digital television deployments by country

v t e

High definition media

Media formats

Blu-ray China Blue High-definition Disc (CBHD) D-VHS HD DVD Holographic Versatile Disc Ultra HD Blu-ray


Blu-ray Disc Association China High-definition DVD Industry Association HD DVD Promotion Group HVD Forum


Advanced Content BD-Java

Recordable formats



Comparison of high definition optical disc formats

Copy prevention

AACS (BD, FVD, and HD DVD) BD+ (BD) HDCP (BD and HD DVD) ROM Mark (BD) Cinavia (BD)

Blu-ray players

TotalMedia Theatre CyberLink PowerDVD PlayStation 3 Sony BDP-S1 PlayStation 4 Xbox One

HD DVD players

Xbox 360 HD DVD Drive

v t e



Masaru Ibuka Akio Morita

Key personnel

Kaz Hirai (Chairman) Kenichiro Yoshida (President and CEO)

Primary businesses

Sony Corporation Sony Interactive Entertainment


Sony Mobile Sony Entertainment

Sony Pictures Entertainment Sony Music Entertainment Sony/ATV Music Publishing

Sony Financial Holdings

Sony Life Sony Bank

Technologies and brands

α (Alpha) Betacam Bionz Blu-ray BRAVIA CD Cell Cyber-shot Dash Dream Machine DVD Exmor FeliCa Handycam HDCAM/HDCAM-SR LocationFree Memory Stick MiniDisc MiniDV mylo PlayStation Reader S/PDIF SDDS SXRD Sony Tablet Tunnel diode TransferJet UMD Vaio Video8/Hi8/Digital8 Walkman Walkman Phones XDCAM Xperia HMZ-T1

Historical products

AIBO CV-2000 DAT Betamax Sony CLIÉ Discman Jumbotron Lissa Mavica NEWS Qualia Rolly TR-55 Trinitron 1 inch Type C (BVH series) U-matic Watchman WEGA


Sony Electronics (US subsidiary) Sony Energy Devices Sony Creative Software FeliCa Networks (57%)

v t e

Sony Interactive Entertainment

Key personnel

Andrew House Shawn Layden Shuhei Yoshida

v t e

Sony Interactive Entertainment Worldwide Studios


Ape Escape Arc the Lad ATV Offroad Fury Boku no Natsuyasumi Buzz! Colony Wars Cool Boarders DanceStar Party Dark Cloud Destruction Derby Devil Dice Echochrome EverQuest Everybody's Golf Everybody's Tennis EyePet EyeToy FantaVision Fat Princess G-Police Genji God of War Gran Turismo Gravity Rush Hustle Kings Infamous Invizimals Jak and Daxter Jet Moto Jumping Flash! Killzone Knack Legend of Legaia Lemmings LittleBigPlanet LocoRoco MediEvil MLB: The Show ModNation Racers MotorStorm Motor Toon Grand Prix Ore no Shikabane wo Koete Yuke/Oreshika PaRappa the Rapper Patapon PlanetSide Pursuit Force Rally Cross Ratchet & Clank Resistance Savage Moon Shadow of the Beast SingStar Siren Sly Cooper Socom Soul Sacrifice Sports Champions Start the Party! Super Stardust Syphon Filter The Eye of Judgment The Getaway The Last of Us This Is Football Twisted Metal Uncharted Vib-Ribbon Warhawk What Did I Do to Deserve This, My Lord?/No Heroes Allowed White Knight Chronicles Wild Arms Wipeout Wonderbook World Tour Soccer


Bend Studio Foster City Studio Japan Studio London Studio San Diego Studio Santa Monica Studio


Guerrilla Games J.S.E.E.D. PlayStation C.A.M.P. Team Gravity Team Ico Media Molecule Naughty Dog PixelOpus Polyphony Digital Sucker Punch Productions XDev

Former subsidiaries

989 Studios Bigbig Studios Contrail Evolution Studios Guerrilla Cambridge Incognito Entertainment Psygnosis Team Soho Zipper Interactive

v t e


Sony Interactive Entertainment SIE Worldwide Studios


Home consoles


Models Main hardware

PlayStation 2

Models Main hardware

PlayStation 3

Models Main hardware System software

PlayStation 4

Main hardware System software


PlayStation Portable

System software

PlayStation Vita

System software


PocketStation PSX PlayStation TV


PS1 games

A–L M–Z Best-selling PS one Classics


PS2 games

Best-selling Online games HD games PS2 Classics for PS3 PS2 games for PS4

PS3 games

Best-selling Physical Digital only Physical and digital 3D games PS Move games PS Now games

PS4 games

Best-selling PSVR

PSP games

Physical and digital System software compatibilities PS Minis


PS Vita games


PS Mobile games TurboGrafx-16 Classics NEOGEO Station Classics HD Instant Game Collection

NA PAL Asia Japan China


Greatest Hits Essentials The Best BigHit Series


PlayStation Network 2011 outage Central Station FirstPlay PlayStation App PlayStation Blog PlayStation Home PlayStation Mobile PlayStation Music PlayStation Now PlayStation Store PlayStation Video PlayStation Vue PS2 online Room for PSP VidZone



PlayStation Controller PlayStation Mouse Analog Joystick Dual Analog DualShock Sixaxis PlayStation Move


EyeToy Go!Cam PlayStation Eye PlayStation Camera


Multitap Link Cable PS2 accessories PS2 Headset PS3 accessories PlayTV Wonderbook PlayStation VR


Net Yaroze PS2 Linux GScube OtherOS Zego



Official U.S. PlayStation Magazine PlayStation: The Official Magazine PlayStation Official Magazine – UK PlayStation Official Magazine – Australia PlayStation Underground


Double Life Mountain PlayStation marketing


Toro Polygon Man Kevin Butler Marcus Rivers

Arcade boards

Namco System 11 System 12 System 10 System 246 System 357


Super NES CD-ROM Sony Ericsson Xperia Play

Category Portal


Gaikai SN Systems Cellius (49%) Dimps

Category Portal

v t e

Sony Music Entertainment

Key personnel

Rob Stringer Kevin Kelleher


Columbia Records RCA Records Epic Records

Sony Music Nashville

Columbia Nashville Arista Nashville RCA Records Nashville Provident Label Group

Sony Masterworks

Sony Classical Records Portrait Records RCA Red Seal Records Okeh Records

Sony Music Entertainment Japan

Epic Records Japan Ki/oon Music Sony Music Entertainment Japan Ariola Japan BMG Japan mora Sacra Music Aniplex

Aniplex of America A-1 Pictures

Music On! TV


The Orchard

IODA RED Distribution Red Essential

Other Labels

RCA Inspiration Phonogenic Records Ultra Music Century Media Records Legacy Recordings Black Butter Records Kemosabe Records Robbins Entertainment Syco Music (50%) Sony Music Australia Sony Music UK Sony Music India Sony Music Latin Vevo Volcano Entertainment

v t e

Sony Pictures Entertainment

Key personnel

Tony Vinciquerra Thomas Rothman

Sony Pictures Motion Picture Group

Columbia Pictures TriStar Pictures TriStar Productions Screen Gems Sony Pictures Classics Sony Pictures Releasing Sony Pictures Imageworks Sony Pictures Animation Sony Pictures Worldwide Acquisitions

Destination Films Stage 6 Films Affirm Films

Sony Pictures Home Entertainment

Sony Wonder

Sony Pictures Television

U.S. production

Adelaide Productions Sony Crackle

The Minisode Network

Culver Entertainment Embassy Row TriStar Television

U.S. distribution

Funimation (95%)

International production

2waytraffic Left Bank Pictures Playmaker Media Stellify Media Teleset

TV channels & VOD

v t e

Sony Pictures Television TV channels and VOD platforms

O = online VOD platform


US networks

Sony Movie Channel GSN (58% joint venture with AT&T Entertainment Group) getTV Cine Sony Sony CrackleO Defunct 3net (joint venture with Discovery and IMAX) Fearnet (joint venture with Comcast and Lions Gate Entertainment)


Sony Movie Channel and AXN Movies (rebranded)

Latin America

Canal Sony AXN Defunct Animax Locomotion Sony Spin


Indian sub-continent

v t e

Sony Pictures Networks India Pvt. Ltd.

Hindi entertainment



Sony Sab Sony Max Sony Max 2 Sony Pal Sony Wah

English entertainment

AXN Sony Le Plex Sony Pix

Bengali entertainment

Sony Aath


Sony Six Sony ESPN (50%; Joint venture with ESPN Inc.) Sony Ten

Sony Ten 1 Sony Ten 2 Sony Ten 3 Sony Ten Golf

Acquisition pending TEN Sports Pakistan TEN Cricket International


Sony Mix Sony Rox

Other channels

Sony BBC Earth (50%; Joint venture with BBC Studios) Sony Yay

Other businesses

Sony LIV (Online VOD platform)



Animax PlusO


AXN Mystery AXN PlusO

Star Channel (25% joint venture with News Corporation, Tohokushinsha Film, and Itochu)

South Korea

Animax (50% joint venture with KT SkyLife)

Animax PlusO

AXN (50% joint venture with IHQ)


AXN Animax

Animax HD

south-east Asia

Animax AXN Gem

south-east Asia (50% joint venture with Nippon Television Network Corporation) Vietnam

Sony Channel Sony One Defunct AXN Beyond BeTV

Europe, Middle East, Africa (EMEA)


AnimaxO AXN Sony Channel Defunct Animax (linear television)


Cine Sony Pop Defunct AXN AXN Sci Fi

The Netherlands


Film1 Action Film1 Drama Film1 Family Film1 Premiere

Defunct Film1 Festival Film1 Sundance



AXN Black AXN White

Defunct Animax


Sony Channel Sony Turbo Sony Sci-Fi



AXN SyncO AXN White

Defunct Animax


Sony Channel Sony Çocuk Planet Mutfak Planet Türk

UK & Ireland

v t e

Television channels in the United Kingdom and Ireland operated by Sony Pictures Television

Including CSC Media Group television channels

Entertainment channels

Movies4Men Sony Crime Channel Sony Crime Channel 2 Sony Movie Channel truTV

CSC True Entertainment True Movies

Music channels

CSC Chart Show TV Chart Show Hits Scuzz Starz TV The Vault

Children's channels

CSC Pop Pop Max Tiny Pop

Former channels

More Than Movies Movies4Men 2 Sony Channel

CSC The Amp AnimeCentral Bliss BuzMuzik Chart Shop TV Flaunt Flava MinX NME TV Pop Girl Pop Plus Showcase TV True Crime True Drama True Movies 2


Sony Pictures Television animaxtv.co.uk (VOD)


Sony Channel Sony Turbo

Central and Eastern Europe (CEE)


Adria Hungary


AXN Black AXN Spin AXN White

Sony Max Sony Movie Channel Viasat Hungary

Viasat 3 Viasat 6

Defunct Animax AXN Crime

Middle East

AXN Middle East

Arabic English

Defunct AXN Israel


Sony Channel Sony MAX True Movies Defunct Animax


Sony Pictures Digital

Sony Pictures Mobile

Sony Pictures Entertainment Japan Sony Pictures Family Entertainment Group Sony Pictures Studios Madison Gate Records


Columbia Pictures Television Columbia TriStar Television Merv Griffin Enterprises ELP Communications

Online distribution platforms

PlayStation Network (PlayStation Music PlayStation Now PlayStation Store PlayStation Video PlayStation Plus PlayStation Vue) The Minisode Network Sony Crackle Sony Liv

Other businesses

Sony DADC Sony Network Communications Sony Professional Solutions M3 (39.4%) Sony/ATV Music Publishing EMI Music Publishing (19%) Vaio (4.9%)

Other assets

Sony Corporation of America (umbrella company in the US) Other subsidiaries List of acquisitions

Nonprofit organizations

Sony Institute of Higher Education Shohoku College


History of Sony Sony Toshiba IBM Center of Competence for