{"id":1530,"date":"2026-09-05T15:13:00","date_gmt":"2026-09-05T19:13:00","guid":{"rendered":"https:\/\/www.xconvert.com\/blog\/?p=1530"},"modified":"2026-07-17T00:27:55","modified_gmt":"2026-07-17T04:27:55","slug":"what-is-mxf-convert-to-mp4","status":"publish","type":"post","link":"https:\/\/www.xconvert.com\/blog\/what-is-mxf-convert-to-mp4","title":{"rendered":"What Is an MXF File? How to Open and Convert MXF to MP4"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\">Someone hands you an <code>.mxf<\/code> file off a Sony, Panasonic, or ARRI camera \u2014 footage a broadcaster would call pristine \u2014 and yet nothing consumer will touch it. Windows Media Player shrugs, a <code>&lt;video&gt;<\/code> tag won\u2019t load it, and YouTube and your phone reject it. That\u2019s not a broken file: MXF is the professional broadcast and cinema container, built for interchange between production systems, not for playing on a phone. This guide covers what MXF is, which cameras produce it, the OP1a-vs-OP-Atom split-file gotcha that catches editors, and how to make a clean, shareable MP4 review copy. We verified the SMPTE standard, the operational patterns, and the camera formats against SMPTE, the Library of Congress, and the manufacturers\u2019 own documentation.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Quick answer:<\/strong> <strong>MXF (Material Exchange Format) is the SMPTE-standardized professional video container<\/strong> \u2014 defined by <strong>SMPTE ST 377-1<\/strong>, first released in 2004. It\u2019s a <em>wrapper<\/em> that carries professional \u201cessence\u201d (codecs like XDCAM HD422, Avid DNxHD, AVC-Intra, IMX) plus rich metadata, used by <strong>Sony XDCAM, Panasonic P2, Canon XF, ARRI Alexa, Avid, and broadcast\/DCP delivery<\/strong>. It won\u2019t play on phones, browsers, smart TVs, or YouTube because it\u2019s a <em>production interchange\/mastering<\/em> format, not a <em>delivery<\/em> format \u2014 consumer players simply don\u2019t include an MXF demuxer. To share, review, or import into consumer tools, <strong>convert it to MP4 (H.264)<\/strong>, which plays essentially everywhere.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Jump to a section<\/h2>\n\n\n\n<ul class=\"wp-block-list\"><li><a href=\"#what\">What an MXF file actually is<\/a><\/li><li><a href=\"#where\">The cameras and workflows that produce MXF<\/a><\/li><li><a href=\"#why\">Why MXF won\u2019t play on your phone, browser, or TV<\/a><\/li><li><a href=\"#op-patterns\">OP1a vs OP-Atom: the split-file gotcha<\/a><\/li><li><a href=\"#tool\">Convert MXF to MP4 on xconvert<\/a><\/li><li><a href=\"#faq\">FAQ<\/a><\/li><\/ul>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"what\">What an MXF file actually is<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>MXF stands for Material Exchange Format<\/strong>, and the key thing to understand is that it\u2019s a <strong>container<\/strong> \u2014 a wrapper \u2014 not a codec. It\u2019s defined by <strong>SMPTE ST 377-1<\/strong>, the <em>Material Exchange Format \u2014 File Format Specification<\/em>, first released (as SMPTE 377M) on <strong>22 September 2004<\/strong>; the current edition is <strong>SMPTE ST 377-1:2019<\/strong>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Per the specification, an MXF file wraps one or more streams of coded <strong>\u201cessence\u201d<\/strong> \u2014 the actual audio and video \u2014 \u201cencoded in any of a variety of video and audio compression formats, together with a metadata wrapper which describes the material contained within.\u201d So the <code>.mxf<\/code> extension tells you almost nothing about the codec inside \u2014 only that the file follows a professional interchange structure. The same wrapper can hold Sony\u2019s <strong>XDCAM HD422<\/strong> (MPEG HD422), Avid <strong>DNxHD<\/strong>, Panasonic\u2019s <strong>AVC-Intra<\/strong>, Sony <strong>IMX<\/strong> (D10), or the <strong>JPEG 2000<\/strong> used in Digital Cinema Packages \u2014 very different pictures in an identical box.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">That codec-agnostic design is the whole point. MXF was created so that a Sony deck, an Avid edit bay, a Panasonic camera, and a broadcaster\u2019s playout server could all exchange the <em>same<\/em> file with its timecode, audio layout, and metadata intact. It is built for <strong>production interchange, mastering, and archiving<\/strong> \u2014 the Library of Congress lists it as a preservation-grade wrapper \u2014 and it is a core part of the <strong>Digital Cinema Package (DCP)<\/strong> that delivers films to theaters. None of those jobs is \u201cplay on a laptop,\u201d which is exactly why a laptop struggles with it.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"where\">The cameras and workflows that produce MXF<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">If an <code>.mxf<\/code> file landed on your desk, it almost certainly came from professional gear. Here\u2019s the lineage:<\/p>\n\n\n\n<figure class=\"wp-block-table\"><table><thead><tr><th>Source<\/th><th>Where it\u2019s used<\/th><th>Common MXF essence (codec)<\/th><\/tr><\/thead><tbody><tr><td><strong>Sony XDCAM \/ XDCAM HD422<\/strong><\/td><td>ENG, broadcast acquisition<\/td><td>MPEG HD422 \u2014 4:2:2, 1920\u00d71080, at least <strong>50 Mbit\/s<\/strong>, 8-channel 24-bit audio<\/td><\/tr><tr><td><strong>Panasonic P2<\/strong><\/td><td>Broadcast &amp; ENG cameras<\/td><td>AVC-Intra (intra-only H.264\/AVC), DVCPRO<\/td><\/tr><tr><td><strong>Canon XF \/ XF-AVC<\/strong><\/td><td>Pro camcorders (e.g. C300 line)<\/td><td>XF-AVC, with LPCM audio, wrapped as OP-1a<\/td><\/tr><tr><td><strong>ARRI ALEXA<\/strong><\/td><td>Cinema &amp; high-end TV<\/td><td>Avid DNxHD 145 (8-bit 4:2:2) or 220x (10-bit 4:2:2) \u2014 alternative to QuickTime\/ProRes<\/td><\/tr><tr><td><strong>Avid Media Composer<\/strong><\/td><td>Editing &amp; post media<\/td><td>DNxHD \/ DNxHR<\/td><\/tr><tr><td><strong>Broadcast delivery \/ DCP<\/strong><\/td><td>Station delivery, cinema<\/td><td>AS-11 packages (OP1a); JPEG 2000 in DCP<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Sony states that \u201cXDCAM products record material as data files in the industry-standard MXF file format.\u201d Panasonic <strong>P2<\/strong> cameras record <strong>AVC-Intra as MXF<\/strong>; Canon <strong>XF-AVC<\/strong> clips are MXF; and ARRI\u2019s <strong>ALEXA<\/strong> records <strong>DNxHD with sound and metadata in an MXF container<\/strong> straight to the card, so dailies drop into Avid without a transcode. In broadcast and cinema, the <strong>AS-11<\/strong> delivery spec and the <strong>DCP<\/strong> package are both MXF-based. This is the format\u2019s home turf \u2014 professional, tapeless, metadata-rich \u2014 which is precisely why consumer devices were never taught to read it.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"why\">Why MXF won\u2019t play on your phone, browser, or TV<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The frustration is real and the cause is structural: <strong>MXF is an interchange and mastering format, not a delivery format.<\/strong> Delivery formats \u2014 MP4, and to a lesser extent MOV\/WebM \u2014 are what consumer software is built to open. MXF was designed to move material <em>between professional systems<\/em>, so support for it lives in professional software, not in the things you play video on every day.<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li><strong>Web browsers have zero MXF support.<\/strong> MXF is not a web format \u2014 there\u2019s no <code>&lt;video&gt;<\/code> path for it. Embed it or upload it to a site and nothing happens.<\/li><li><strong>Consumer players don\u2019t include an MXF demuxer.<\/strong> QuickTime and Windows Media Player generally can\u2019t open MXF, and even the pro-friendly VLC handles only <em>some<\/em> MXF essence types \u2014 high-end codecs like DNxHD or AVC-Intra may still fail to decode.<\/li><li><strong>Phones, smart TVs, and YouTube uploads reject it.<\/strong> These target consumer containers; MXF isn\u2019t one.<\/li><li><strong>Even pro editors can be fussy.<\/strong> Premiere Pro, DaVinci Resolve, Final Cut Pro, and Avid <em>do<\/em> import MXF, but frequently expect the camera\u2019s <strong>complete card folder structure<\/strong> intact \u2014 stray single files may import without audio or refuse outright.<\/li><\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">Converting to <strong>MP4 with H.264<\/strong> fixes every one of these at once. H.264-in-MP4 is the most broadly playable combination there is \u2014 near-universal across browsers, phones, TVs, and editors, per <a href=\"https:\/\/caniuse.com\/mpeg4\">caniuse<\/a>. That\u2019s why the standard move for a <strong>review copy, a client-shareable link, or an import into a consumer tool<\/strong> is: keep your MXF as the master, and hand out an MP4 proxy.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"op-patterns\">OP1a vs OP-Atom: the split-file gotcha<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Here\u2019s the part that trips up even experienced editors. MXF defines several <strong>Operational Patterns (OPs)<\/strong> \u2014 standardized layouts for how essence is arranged in the file(s). Two matter in practice, and the difference is not academic:<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li><strong>OP1a<\/strong> \u2014 a single, self-contained file with the picture, all audio tracks, and metadata <strong>interleaved together<\/strong>. This is what most cameras write for a finished clip and what broadcast delivery (AS-11) uses. ARRI\u2019s ALEXA MXF\/DNxHD recordings, for example, use <strong>OP1a with frame-wrapping<\/strong>, and Canon <strong>XF-AVC clips are OP-1a<\/strong>. One clip, one file, sound included.<\/li><li><strong>OP-Atom<\/strong> \u2014 <strong>one essence track per file.<\/strong> This is the native layout of <strong>Avid Media Composer<\/strong> media. A single video clip with stereo sound isn\u2019t one MXF \u2014 it\u2019s <strong>three separate <code>.mxf<\/code> files<\/strong>: one for the picture and one for <em>each<\/em> audio channel, tied together by the project\u2019s metadata (an AAF), not by the media files themselves. Panasonic <strong>P2<\/strong> similarly separates streams into a <code>CONTENTS<\/code> folder with distinct video and audio subfolders.<\/li><\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">Why it matters: <strong>if your source is Avid (or another OP-Atom workflow) and you grab a lone <code>.mxf<\/code>, that file may be video-only (silent) or a single audio track with no picture.<\/strong> Converting it produces exactly that \u2014 a silent MP4, or an audio-only one \u2014 and it looks like the converter \u201clost the sound\u201d when the sound was never in the uploaded file.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The honest guidance: <strong>convert from a self-contained clip.<\/strong> Camera OP1a clips (Sony XDCAM, Canon XF, ARRI DNxHD) carry audio and video in one <code>.mxf<\/code> and convert cleanly with sound. For Avid OP-Atom media, export or \u201cconsolidate\u201d a self-contained clip first, or handle the video and audio files separately \u2014 one conversion can only contain what that one file holds.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"tool\">Convert MXF to MP4 on xconvert<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The <a href=\"https:\/\/www.xconvert.com\/convert-mxf-to-mp4\">xconvert MXF to MP4 converter<\/a> turns a broadcast MXF clip into a standard, playable MP4 \u2014 a proxy you can review, share, or import anywhere. Here\u2019s the flow, using the tool\u2019s actual controls:<\/p>\n\n\n\n<ol class=\"wp-block-list\"><li>Open <a href=\"https:\/\/www.xconvert.com\/convert-mxf-to-mp4\">xconvert.com\/convert-mxf-to-mp4<\/a> and click <strong>Upload<\/strong> to add your file \u2014 <strong>From my Computer<\/strong>, <strong>From Google Drive<\/strong>, or <strong>From Dropbox<\/strong>. Upload a <em>self-contained<\/em> clip; if your source is Avid <strong>OP-Atom<\/strong>, a single track file will be video-only or audio-only (see above).<\/li><li>The defaults produce a clean H.264 MP4, so for a straightforward proxy you can go straight to converting. To adjust anything, open <strong>Advanced Options<\/strong> (the gear icon).<\/li><li>Under the <strong>Video Codec<\/strong> control, the default is <strong>H.264<\/strong> \u2014 the right pick for maximum compatibility and the classic review-copy proxy. You can switch to <strong>H.265 \/ HEVC<\/strong> or <strong>AV1<\/strong> for a smaller file if your viewers are on modern hardware, though fewer devices support those.<\/li><li>Choose how to control size and quality: a <strong>Quality Preset<\/strong> (e.g. <strong>Very High (Recommended)<\/strong>), a <strong>Specific file size<\/strong>, <strong>Constant Quality<\/strong>, or a <strong>Constant\/Variable Bitrate<\/strong>. Broadcast MXF is high-bitrate, so keep the quality high if this proxy is for grading or client review.<\/li><li>Under <strong>Video resolution<\/strong>, leave it on <strong>Keep original<\/strong> to preserve the source frame size, or pick a <strong>Preset Resolution<\/strong> to scale down for a lighter review file. Need just a section? Use <strong>Trim \u2192 Time Range<\/strong>.<\/li><li>Click <strong>Convert<\/strong>, then download your MP4. It will now play on phones, browsers, editors, and upload targets that rejected the MXF.<\/li><\/ol>\n\n\n\n<p class=\"wp-block-paragraph\">Your file uploads over an encrypted connection, is processed on our servers, and is <strong>deleted automatically a few hours later<\/strong>. Nothing lingers.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For neighboring camcorder and disc formats, see <a href=\"https:\/\/www.xconvert.com\/blog\/convert-mts-m2ts-avchd-to-mp4\/\">convert MTS\/M2TS (AVCHD camcorder) to MP4<\/a> and the <a href=\"https:\/\/www.xconvert.com\/blog\/vob-m2ts-mts-explained\/\">VOB, M2TS, and MTS explainer<\/a>.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"faq\">FAQ<\/h2>\n\n\n\n<h5 class=\"wp-block-heading\">What is an MXF file?<\/h5>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>MXF (Material Exchange Format) is a professional video container defined by SMPTE ST 377-1<\/strong>, first released in 2004. It\u2019s a <em>wrapper<\/em> that holds professional \u201cessence\u201d (codecs like XDCAM HD422, Avid DNxHD, AVC-Intra, or IMX) plus timecode and metadata, used for broadcast acquisition, editing, mastering, and cinema delivery. The <code>.mxf<\/code> extension tells you the file is a pro interchange format, not which codec is inside.<\/p>\n\n\n\n<h5 class=\"wp-block-heading\">Why won\u2019t my MXF file play or open?<\/h5>\n\n\n\n<p class=\"wp-block-paragraph\">Because <strong>MXF is a production interchange format, not a consumer delivery format<\/strong>, and everyday players don\u2019t include an MXF demuxer. Web browsers have no MXF support at all; QuickTime and Windows Media Player generally can\u2019t open it; and even VLC only decodes some MXF essence types. The reliable fix is to <strong>convert it to MP4 (H.264)<\/strong>, which plays essentially everywhere.<\/p>\n\n\n\n<h5 class=\"wp-block-heading\">What opens MXF files?<\/h5>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Professional editing software<\/strong> \u2014 Adobe Premiere Pro, DaVinci Resolve, Final Cut Pro, and Avid Media Composer \u2014 can import MXF, though they often want the camera\u2019s complete card folder structure intact. For simple playback, VLC opens <em>some<\/em> MXF files but not all codecs. If you just need it to play on a normal device, phone, or browser, convert it to <strong>MP4<\/strong> first \u2014 that\u2019s the format everything opens.<\/p>\n\n\n\n<h5 class=\"wp-block-heading\">How do I convert MXF to MP4?<\/h5>\n\n\n\n<p class=\"wp-block-paragraph\">Upload the <code>.mxf<\/code> to an <a href=\"https:\/\/www.xconvert.com\/convert-mxf-to-mp4\">MXF to MP4 converter<\/a>, leave the <strong>Video Codec<\/strong> on the default <strong>H.264<\/strong> for maximum compatibility, keep the quality high (broadcast MXF is high-bitrate), and convert. Processing happens on the server, so it doesn\u2019t matter that your own machine can\u2019t play the source \u2014 download the MP4 and it plays and imports anywhere.<\/p>\n\n\n\n<h5 class=\"wp-block-heading\">My converted MXF has no audio \u2014 what happened?<\/h5>\n\n\n\n<p class=\"wp-block-paragraph\">Most likely your source was an <strong>Avid OP-Atom<\/strong> (or Panasonic P2) file, where <strong>each track is stored in a separate <code>.mxf<\/code><\/strong>. A lone video-track file has <strong>no audio in it to begin with<\/strong>, so the MP4 comes out silent \u2014 the conversion didn\u2019t drop the sound, the uploaded file never contained it. Export a <strong>self-contained clip<\/strong> (audio and video combined) from your editor and convert that instead. Camera OP1a clips (Sony XDCAM, Canon XF, ARRI DNxHD) already bundle everything in one file.<\/p>\n\n\n\n<h5 class=\"wp-block-heading\">What cameras and devices record MXF?<\/h5>\n\n\n\n<p class=\"wp-block-paragraph\">MXF is recorded by <strong>Sony XDCAM \/ XDCAM HD422<\/strong>, <strong>Panasonic P2<\/strong> (AVC-Intra), <strong>Canon XF \/ XF-AVC<\/strong>, and <strong>ARRI ALEXA<\/strong> (Avid DNxHD), among other professional cameras and decks. It\u2019s also <strong>Avid Media Composer\u2019s<\/strong> native media format and the basis of broadcast delivery specs (AS-11) and the cinema <strong>DCP<\/strong>. If your footage has an <code>.mxf<\/code> extension, it came from a professional production pipeline.<\/p>\n\n\n\n<h5 class=\"wp-block-heading\">Does converting MXF to MP4 lose quality?<\/h5>\n\n\n\n<p class=\"wp-block-paragraph\">There\u2019s a re-encode, since MXF\u2019s mastering codecs (DNxHD, XDCAM HD422, AVC-Intra) differ from MP4\u2019s H.264 \u2014 but at a high enough bitrate or quality preset, an MP4 proxy is <strong>visually indistinguishable<\/strong> for review and sharing. Keep the original MXF as your master for grading and finishing; use the MP4 as the playable, shareable copy. Only drop resolution or bitrate when you <em>want<\/em> a smaller file.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Sources<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Last verified 2026-07-16.<\/em><\/p>\n\n\n\n<ul class=\"wp-block-list\"><li><a href=\"https:\/\/www.smpte.org\/standards\/advisory-note-377-1\">SMPTE ST 377-1 \u2014 Material Exchange Format (MXF), File Format Specification<\/a> \u2014 the standard that defines MXF; prepared by SMPTE Technology Committee 31FS; current edition ST 377-1:2019.<\/li><li><a href=\"https:\/\/en.wikipedia.org\/wiki\/Material_Exchange_Format\">Wikipedia \u2014 Material Exchange Format<\/a> \u2014 MXF as a \u201ccontainer format for professional digital video and audio media\u201d; wrapper carries essence \u201cin any of a variety of video and audio compression formats\u201d plus metadata; initial release 22 September 2004; use in broadcast delivery, archiving, and the Digital Cinema Package; OP1a vs OP-Atom.<\/li><li><a href=\"https:\/\/www.loc.gov\/preservation\/digital\/formats\/fdd\/fdd000013.shtml\">Library of Congress \u2014 Sustainability of Digital Formats: MXF (fdd000013)<\/a> \u2014 MXF as a preservation-grade wrapper; the family of SMPTE MXF standards including operational patterns.<\/li><li><a href=\"https:\/\/www.loc.gov\/preservation\/digital\/formats\/fdd\/fdd000265.shtml\">Library of Congress \u2014 MXF Operational Pattern Atom (OP-Atom) (fdd000265)<\/a> \u2014 OP-Atom as the highly constrained \u201cone essence track per file\u201d layout used by Avid.<\/li><li><a href=\"https:\/\/www.sony-asia.com\/microsite\/professional\/xdcam\/resources_faqs_XDCAMbasics.html\">Sony Professional \u2014 XDCAM basics (FAQ)<\/a> \u2014 XDCAM records material \u201cas data files in the industry-standard MXF file format\u201d; XDCAM HD422 is 4:2:2, 1920\u00d71080, at least 50 Mbit\/s.<\/li><li><a href=\"https:\/\/en.wikipedia.org\/wiki\/AVC-Intra\">Wikipedia \u2014 AVC-Intra<\/a> \u2014 Panasonic\u2019s intra-only H.264\/MPEG-4 AVC profiles \u201cencapsulated in MXF-format files,\u201d recorded by P2-equipped broadcast cameras.<\/li><li><a href=\"https:\/\/www.arri.com\/resource\/blob\/31906\/5041b6a03f1200b16e8815d1c7384f89\/arri-mxf-dnxhd-white-paper-for-alexa-sup9-0-data.pdf\">ARRI \u2014 ALEXA MXF\/DNxHD White Paper<\/a> \u2014 ALEXA records DNxHD-encoded images with sound and metadata \u201cin an MXF container using a file structure according to Operational Pattern 1a (OP1a) with frame-wrapping\u201d; codecs DNxHD 145 and 220x; alternative is QuickTime\/ProRes.<\/li><li><a href=\"https:\/\/help.autodesk.com\/cloudhelp\/2016\/ENU\/Smoke\/files\/GUID-E911537C-8A46-4EA1-9A92-593CE2A6574C.htm\">Autodesk \u2014 Canon Format Settings (Smoke\/Flame)<\/a> \u2014 Canon XF-AVC clips are OP-1a MXF clips with LPCM audio, recorded to a folder structure.<\/li><li><a href=\"https:\/\/caniuse.com\/mpeg4\">caniuse \u2014 MPEG-4 \/ H.264 video format<\/a> \u2014 H.264-in-MP4 has near-universal playback across browsers and devices.<\/li><\/ul>\n","protected":false},"excerpt":{"rendered":"<p>MXF is the SMPTE broadcast video container behind Sony, Panasonic and ARRI cameras. Here&#8217;s why it won&#8217;t play \u2014 and how to convert MXF to MP4.<\/p>\n","protected":false},"author":4,"featured_media":1529,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5,14],"tags":[],"class_list":["post-1530","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-how-to-guides","category-tools"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.9 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>What Is an MXF File? How to Open and Convert MXF to MP4<\/title>\n<meta name=\"description\" content=\"MXF is the SMPTE broadcast video container behind Sony, Panasonic and ARRI cameras. 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