Sony has announced its solutions were deployed by The Esports World Cup 2026 (EWC26), supporting the tournament across seven weeks of competition.
Aiming to deliver a constant stream of content throughout the event, including live gaming action, highlights, celebrity appearances and more, the production team selected Sony Cinema Line cameras as the foundation of its workflow.
At the event’s peak, 50 Sony FX3 and FX2 units were recording, supported by ECM-778 shotgun mics. Additionally, two Sony BURANOs and four FX6s captured the highest quality team promo content in a purpose-built, said the company.
Commenting, EWC26’s post production lead, Adam Kędzierski, said, “We decided to go with Sony as our main platform for reliability and future-proofing. Everyone thinks of the equipment as reliable and a great choice for quality.”
Positioned to capture multiple angles during EWC26 media days, Sony BURANO cameras enabled operators to maintain control during changing conditions and tight production schedules. Featuring full-frame sensors, dual base ISO, autofocus and electronic variable ND filters, the cameras allowed the production team to capture content with minimal disruption,
“The BURANO was a perfect choice for us,” said Charles Dalton, senior creative producer. “It gives us that cinematic image quality in a smaller, lighter and more power-efficient package, which is ideal when you’re working with lean, agile crews.”
With a compact form factor, internal ND filters and dual-native ISO, the FX6 units were used for run-and-gun and documentary-style filming. Paired with Sony G Master and G Master II zoom and prime lenses, FX3 and FX2 cameras enabled the production teams to capture footage during competition without distracting players from the action.
Ryan Priestnall, cinematographer and camera operator, said, “These guys are playing in a serious competition, for a lot of money. The last thing we want to do is turn up and distract them with a huge camera. The FX3 is agile and compact, so we can get close and they don’t really notice us as much.”
Post production
Aiming to provide post production consistency, Sony’s S-Log3 gamma curve, enabled the team to finesse dark and light footage areas. At the same time, S-Gamut.Cine colour space allowed accurate tweaking of colours to match clips coming in from the camera operators.“
Having shot on Sony is definitely making our life easier, because you have the same image character,” said Roman Ivasyk, colourist supervisor. “You have the same colour science, you have the same meter data, so you know it all. Even when the cameras look uneven, it’s very easy for you to find out what went wrong and quickly fix it in post.”
