Sony's 1/1.8-type CMOS sensor, 8.42 MP with 8.29 MP effective, produces 4K60 at 3840 × 2160, plus 59.94, 50, 30, 29.97 and 25 fps for PAL and NTSC projects. Because the aperture closes from F1.61 at wide to F5.19 at 210 mm, tight shots in dim halls need a lighting plan, even with a 0.5 lux rating (F1.8, AGC on), Dynamic Range Control, 3D noise reduction and a gain limit. Since the September 2026 firmware, 50/60 Hz flicker suppression is available across Auto, One Push, Bright and aperture-priority exposure, which keeps banding from LED video walls off the programme feed. In VAR mode, colour temperature is dialled between 2,500 and 8,000 K in 20-kelvin increments for matching studio cameras. Autofocus can be weighted to the centre, top, bottom or front of the frame, and the SNAP button fires a single focus pass before returning to manual.

HDMI 2.0 carries up to 2160p60 and 3G-SDI (Level A or B) up to 1080p60 over BNC runs of up to 100 m, with one of the two chosen as the active baseband output; network video always runs alongside. On the network side, firmware v2.1.17 moves this 4K NDI PTZ camera to NDI 6.3 with two NDI|HX3 profiles in H.264 or H.265: High for 1080p50/60 and Ultra for 4K50/60. Transport can be Reliable UDP, TCP, UDP or multicast, handy when several vMix or TriCaster receivers share one VLAN. AES-encrypted SRT crosses the public internet to a cloud production platform, RTMP and RTMPS push to YouTube or a CDN, and RTSP feeds a recorder on the LAN. Over USB 2.0 the head is a UVC source up to 4K30. Audio uses 3.5 mm line-level jacks: the input is embedded as AAC or G.711, the output serves monitoring.

Studios gain two integration tools. FreeD output, still labelled beta, sends pan, tilt and zoom positions with X, Y, Z and roll on UDP port 40000. PTZOptics has verified it with Unreal Engine's Live Link, so the head can drive a virtual set or AR graphics; for now, the stream is started with a short hex command. The HTTP API reports whether the camera is moving, confirms when a recalled preset is reached, returns stored preset coordinates and serves JPEG snapshots, which is what anyone scripting a parliament, newsroom or esports automation system needs.

Pan covers ±170° at 0.7–100°/s and tilt −30° to +90° at up to 69.9°/s; at 210 mm the 0.7°/s floor turns a reposition into a slow drift that can stay on air. Motion Sync brings pan, tilt and zoom onto a preset together, 255 positions return within 0.1°, and Image Presets decide whether exposure and colour come back with them. Control comes through VISCA over IP, RS-232 (30 m, daisy-chained), RS-485 (1,200 m, shared bus), Pelco-D/P, certified ONVIF Profile S, NDI absolute positioning and the IR remote, which addresses four cameras. Horizon, the browser control suite supplied with every Move 4K, offers a WebRTC preview with visual presets, and HIVE Linked adds cloud supervision across venues.

One Cat5e/Cat6 run of up to 100 m from a PoE+ (802.3at) switch powers and connects the camera; standard 802.3af PoE falls short, and Energy-Efficient Ethernet should be off on that port. A 12 V DC adapter is supplied. At start-up the head self-calibrates and parks on preset 0, and Auto Inversion rights the picture on a ceiling mount. For council and court sessions, Privacy Mode turns the lens away and cuts the video, while an NTP timestamp can be burned into the image for the archive. Operation is rated indoors from −10 to 40 °C, firmware uploads require the camera's login and NDAA compliance satisfies many public tenders. The white housing of the PTZOptics Move 4K 30x Zoom White blends into plaster ceilings, light lecture-theatre walls and pale TV sets, and takes the large white PTZOptics wall, ceiling and pole mounts.

We supply the matching large white wall and ceiling brackets as well as the SuperJoy controller. Send us the room drawing and the tightest shot you need, and we will calculate the frame width at that distance and check the PoE+ budget of your switch before anything ships.