CineAlta Catalog 2015

Unlimited Creative Possibility

For almost its entire history, cinema has used film as its recording medium. But recently this has
changed drastically. In 1999, Sony released the first 24p digital motion picture production system,
which was an important step in the shift toward digital production. In 2006, Sony launched the
world’s first 4K digital cinema projection system which has increased demand for high-quality
digital content retaining 4K resolution. And now, following the introduction of Sony’s F65 –
an epoch-making digital cinema camera, Sony is launching some outstanding new products to
strengthen its 4K toolset.

We have designed CineAlta™ 4K acquisition tools as ‘total imaging systems’ from sensor to
codec for capturing the image rendered by lens with the utmost fidelity. Various cutting-edge
technologies, such as a Super 35 mm imager, wider dynamic range and color gamut, high
sensitivity, and high-speed recording systems, have been used in these camera systems, so that
cinematographers can freely express their creative vision.

Regardless of any changes in technology or economy, our mission remains the same: to satisfy
the ever-increasing demands of creative minds. Sony is committed to further elevating image
quality and improving the visual experience. With this in mind, the CineAlta logo symbolizes
’infinity’, which can also be thought of as ‘unlimited creative possibility’ and ‘endless pursuit of
perfecting technology’.

2
©Thierry Lewenberg-Sturm

3
 Voice
Since Sony introduced the F65, their quality has been acclaimed by
users worldwide including professionals engaged in cinema, drama,
documentary, and many other creative productions.

4
5
 Annie

Since we were shooting 16-bit 4K RAW, we had enormous latitude with dynamic range, color, and gamma.
It was unbelievable, and I would always be shocked in certain scenarios at what the cameras could do.

Michael Grady
Cinematographer of the “Annie”

6 Voice
 F55 Digital Cinema Housing by GATES

A First Look
When Grading footage from our dives, we can match the colors exactly, getting completely faithful
color reproduction. The footage has an ethereal, otherworldly quality, which I think simply comes
from the amount of detail it captures.

Dan Beecham,
Underwater cameraman based in Cape Town, South Africa

Voice 7
 Let’s Be Cops
I was definitely going to have an F65 on Let’s Be Cops, and I did. But on this film, it looked like we would
also need cameras that were more portable. I had tested the F55 for image quality and I saw that I could
intercut the two cameras if I had to.

Daryn Okada, ASC

Cinematographer of the “Let’s Be Cops”

8 Voice
Tomorrowland
On Tomorrowland we were able to use F55 cameras when we wanted to get into small, tight places or required a lightweight
package. So it was a great complement to the F65. The F55 is an amazing little camera that just fits. It has a great, nice, open
beautiful color space. It’s simple to use.

Claudio Miranda, ASC

Cinematographer of the “Tomorrowland”

Voice 9
 Audi
With the F65 analog film quality is really becoming digital. Using the F65 with the right lenses is giving
me the opportunity to create pictures which are so clear and perfect as looking through your own eyes.
If a project needs on the other hand a more analog look I can add some grain to it which makes the F65
a perfect tool for different requirements and applications.

Berti Kropac,
Director of Photography, KROPAC MEDIA

10 Voice
Lucy
A huge draw for Luc Besson was the color fidelity and rendition of skin tones.
The colors were really there; we could pick out the blue of the sweater and
the carnations seemed very natural.

Thierry Arbogast, AFC

Director of Photography on “LUCY”

11
 CineAlta 4K Cameras

F65 CineAlta Premium 4K Camera

12
F55 CineAlta 4K Camera F5 CineAlta 4K Camera

13
 Technology
Our top engineers have spent years creating breakthroughs in
image sensors, image processors, and recording media, and now
we introduce new CineAlta 4K cameras that deliver unprecedented
image quality.

14
15
 Captured by the F65

Spectacular Images from HD to 8K

Super 35mm 8K/4K CMOS Sensors
Cutting-edge image sensors are at the heart of CineAlta 4K cameras. The F65 has an 8K sensor, and the F55 and F5 have different types
of 4K sensor. These Super 35 mm 8K/4K CMOS sensors deliver unparalleled 8K/4K/QFHD/2K/HD resolution images with extremely fine
texture and low aliasing. Even if your postproduction and deliverables are in 2K/HD, these sensors provide gorgeous, super-sampled
2K/HD images that ordinary HD cameras cannot touch. In addition, Sony has provided the PWS-300SR1 which is able to develop superb
resolution free aspect images up to 8K from F65RAW by the SRDM technology, Super Resolution De-Mosaicing processor.

16 Technology
 For illustrative purposes only.

Say Goodbye to the “Jello Effect” and “Flash Banding”

Frame Image Scan
The F55 incorporates a newly developed frame image scan technology, which completely eliminates the
so-called “jello effect” and “flash banding” that are typical of other CMOS sensors. With this technology,
you will never again hesitate to shoot fast-moving objects or a press conference flooded with flashlights.

Technology 17
 For illustrative purposes only.

Beyond the Limit of Human Vision

Wide Exposure Latitude, High Sensitivity, and Low Noise
Sony’s new image sensors and the in-camera image processors of CineAlta 4K cameras give you
impressive 14 stops of exposure latitude, high sensitivity, and low noise. These cameras deliver super-
clear images, even if you are shooting interiors or night exteriors with only ambient lighting, and also
enable graceful rendering of scene contrast even in searing sunlight.

18 Technology
 Captured by the F55

Capture a Dramatic Moment

High Frame Rate
With CineAlta 4K cameras, you can record images at variable speeds of up to 240 frames per second (fps)
in 2K with the F55 and F5 (with the AXS-R5)*¹ as well as 120 fps in 4K with the F65 (with the SR-R4). High-
frame-rate recording allows you to create super-slow-motion effects, which can change an ordinary daily
incident into a dramatic scene.
*¹ Maximum 180 fps in 2K/HD without the AXS-R5.

Technology 19
 Captured by the F65.

More Colors than Print Film

F65 and F55
Wide Dynamic Range and Color Gamut Print Film

DCI
CineAlta 4K cameras capture an incredible dynamic range, from deep shadow to bright highlights, and
ITU-709
the widest color gamut ever, even wider than print film, and precisely reproduce the true color of what
you see. These capabilities give colorists full flexibility in color correction during postproduction.

Visible Light

20 Technology
Maximum Color Management Flexibility
With the CineAlta camera’s widest mastering color gamut – known as S-Gamut and S-Gamut3 – Sony offers maximum flexibility of color
management workflow. The Catalyst Browse and the RAW Viewer is a free solution with color grading and transcoding capabilities that
work in close alignment with third-party color grading applications and also non-linear editing systems.

Catalyst
Catalyst Browse is a media assistant that lets you browse files, see and edit media metadata, accurately
view video, and apply color correction and looks. And you can copy material to a local hard drive or
connected NAS or upload to Sony’s Media Cloud Services Ci, and transcode to a variety of formats.

RAW Viewer
RAW Viewer is specialized for checking quality of F65RAW, F55RAW, SStP and XAVC materials and deep
color controls. It has total color grading functions and the capability to output HD-SDI signals and support
control panels from third-party vendors.

Technology 21
 Cost-efficient Production System for HD to 4K
XAVC New Video Format
Sony has developed a new XAVC™ recording format that delivers workflow efficiency
and optimized image quality. It uses the MPEG-4 AVC/H.264 compression codec,
and supports HD, 2K, QFHD, and 4K resolution for variable content creation from TV
programs to feature films. XAVC establishes a cost-efficient ecosystem for HD high-
frame-rate and 4K 60p production, and this will accelerate the expansion of the 4K
content market. Additionally, XAVC is an open format, and is supported by industry-
leading manufacturers.

· Support for HD, 2K, QFHD, and 4K resolution

· MPEG-4 AVC/H.264 video compression
SxS PRO+ Card SxS Card Reader/Writer Multi SxS Card Reader/Writer
· 10-bit color sampling SBAC-UT100
SBP-128C SBAC-US30
· 4K video recording at 23.98p, 24p, 25p, 29.97p, 50p, and 59.94p as native format
· High frame rate up to 180 fps in 2K/HD for super slow motion
· Newly developed SxS PRO+ and XQD memory card for XAVC recording with
the F55 and F5

XQD™ Memory Card*1 XQD USB Adaptor XQD™ Memory Card Adaptor
128GB QDA-EX1

*¹ Please use XQD USB Adaptor or XQD Card Reader MRW-E80 for data transferring.

22 Technology
Easier and Faster RAW Workflow
AXSM System
To retain all the 4K RAW data from F55 and F5 sensors, Sony had to
develop an ultra-high-speed, high-capacity recording system that was
also computer friendly and cost efficient. This was successfully achieved
with the AXSM™ system.

AXSM Card
By employing Sony’s unique high-speed recording technology,
each AXSM card offers a 256 GB/512 GB/1 TB capacity and
2.4 Gbps (300 MB/s) sustained transfer speed to record 4K RAW
data at up to 60p and 2K RAW data at up to 240 fps via an AXS-R5 RAW Recorder AXSM Card Reader
AXS-R5 AXS-CR1
RAW recorder with the F55 and F5. In addition, the generic exFAT
file system makes the AXSM card more computer friendly when
used with an economical card reader, the AXS-CR1. This card
reader has a USB3.0 interface for high-speed file transfer to your
computer without any special driver software.

AXSM Card AXSM Card AXSM Card AXSM Card Adapter

AXS-A1TS24 AXS-A512S24 AXS-A256S24

Technology 23
 F65
The F65 is the ultimate CineAlta camera,
optimized for cinema production.

24
F65 CineAlta Premium 4K Camera
Featuring an 8K CMOS sensor, premium image F65 + R4
quality, and 4K 120p recording
· Super 35 mm 8K CMOS sensor (20 M pixels)
· Mechanical rotary shutter and ND filters 8K
sensor
RAW 1 ~ 120 fps

· Wide color gamut and true-color reproduction

· 14 stops of exposure latitude Rotary
Shutter HD MPEG4 SStP 1 ~ 60 fps
· On-board recording on SRMemory™ card via an SR-R4 recorder*¹
· High-frame-rate recording up to 120 fps in F65RAW-HFR Wide Color
Gamut CBK-65EL: Digital viewfinder interface
· Advanced de-mosaic in 6K and 8K by RAW Viewer

F65 Upgrade Kit (CBK-65EL)

· DVF-EL100 OLED digital viewfinder support
· Two independent SDI outputs
(SDI1: LUT, ACES, etc., SDI2: Magnify, Clip level indicator, etc.)
· 48p production support

*¹ F65RAW (F65RAW-SQ, F65RAW-Lite, and F65RAW-HFR) and MPEG4 SStP are supported.

F65 25
 F55/F5
The F55 and F5 look very similar — both have the same compact
body to accept the same accessories — but they vary in features.
The F55 is designed for HD to 4K production, while the F5 is
optimized for 2K/HD production.

26
27
 F55 CineAlta 4K Camera
Featuring a 4K CMOS sensor, true-color
reproduction, and frame image scan for
HD to 4K production
· Super 35 mm 4K CMOS imager (8.9 M effective pixels)
· Frame image scan to eliminate distortion
· Wide color gamut and true-color reproduction
· 14 stops of exposure latitude
· High sensitivity (ISO 1250) and low noise
F55 R5
· In-camera recording on SxS card

4K
· On-board RAW recording on AXSM card via the AXS-R5 4K
QFHD XAVC 1 ~ 60 fps 4K RAW 1 ~ 60 fps
· High-frame-rate recording
sensor
· Simultaneous recording
· Interval recording Frame Image
2K XAVC 1 ~ 180 fps 2K RAW 1 ~ 240 fps
Scan
· Cache recording
· Super 16 mm center scan mode
Wide Color
Gamut HD XAVC 1 ~ 180 fps

· Compact and modular design

MPEG4 SStP ~ 30p
· PL mount with supplied lens mount adapter
~ 30p/60i (1080)
· Support for B4 lens with FZ-B4 lens mount adapter MPEG2 50p/59p (720)
Apple
~ 30p
ProRes*
Avid ~ 30p
DNxHD®*

* Required to install the CBK-55PD

28 F55/F5
F5 CineAlta 4K Camera
Featuring a 4K CMOS sensor, superior super-
sampled 2K/HD images, and 4K RAW recording
option
· Super 35 mm 4K CMOS imager (8.9 M effective pixels)
· Rich color reproduction
· 14 stops of exposure latitude
· High sensitivity (ISO 2000) and low noise
· In-camera recording on SxS card
F5 R5
· On-board RAW recording on AXSM card via the AXS-R5

4K
· High-frame-rate recording 4K
QFHD XAVC*1 1 ~ 60 fps 4K RAW 1 ~ 60 fps
· Simultaneous recording
sensor
· Interval recording
· Cache recording
2K XAVC 1 ~ 180 fps 2K RAW 1 ~ 240 fps

· Super 16 mm center scan mode

· Compact and modular design HD XAVC 1 ~ 180 fps

· PL mount with supplied lens mount adapter

MPEG4 SStP ~ 30p
· Support for B4 lens with FZ-B4 lens mount adapter
~ 30p/60i (1080)
· Upgrade to F55 by installing the CBK-55UK MPEG2 50p/59p (720)
· 4K recording and playback capability available with the CBKZ-55FX Apple
~ 30p
ProRes*2
Avid ~ 30p
DNxHD®*2

*1 Required to install the CBKZ-55FX

*2 Required to install the CBK-55PD
F55/F5 29
 Digital Viewfinder Interface

HDMI OUT

Timecode IN/OUT (switchable)

4 × SDI OUT (configurable)

· 4 × 3G-SDI for 4K 60p line out
(F55 and F5 with the CBKZ-55FX)
· 2 × HD-SDI for line out and
2 × HD-SDI for monitor out

HD Sync/HD-Y (switchable)

GENLOCK IN × 2 XLR 3-pin Audio Input Connector (detachable)

Well-designed Connector Layout

The F55 and F5 offer powerful connections, including real-time 4K
output to a compatible monitor via four 3G-SDI outputs (F55 and F5
with the CBKZ-55FX). They also offer HDMI, a detachable XLR audio
input connector, timecode, genlock, DC connection, and more, enabling
you to build the best configuration for your shooting situation.

Top Bottom

30 F55/F5
 5 5 5

6
4 4 4

3
2
3

4 4 4

1. Easy-to-navigate MENU dial

2. Current status display

3. 4 x category menus (Camera, File, Audio/TC, View)

4. 6 x direct access buttons for frequently used setup items

5. 4 x assignable buttons (with one on the other side)

6. Lock key for preventing operational errors

Intuitive User Interface

The F55 and F5 provide a rich range of controls via a nicely intuitive
interface for quick, easy setup and adjustment. They have a color
3.5-inch LCD panel and direct, one-touch access buttons to six key
parameters, including frame rate, shutter speed, exposure index,
and monitor LUT. Additionally, assignable buttons allow you to
keep your favorite adjustments always at your fingertips.

F55/F5 31
 Accessories
Sony introduces newly developed accessories along with the F55
and F5, including viewfinders, a RAW recorder, 4K monitor, and
more, providing a wide range of options to satisfy individual needs.

32
33
 F55/F5 Accessories

EFP-Style Buildup Kit

CBK-55BK

The CBK-55BK is a specialized accessory docking shoulder pad and interface for the PMW-F55/F5. This
accessory can be attached easily and allows you to access key functions. For documentary shooters
and other camera users who want improved comfort for a run-and-gun style with the F55 and F5, this
documentary and docking system (so-called Doc Dock) is an ideal addition to improve their work.

· Easy access to camera functions on the front block

· Adjustable shoulder pad and front block for appropriate weight balance
· Easy docking and undocking with the F55/F5
· Same audio control panel as broadcast shoulder camcorders
· Supports wireless slot-in audio receiver
· In/Output panel at the rear side
· Supports RAW recording with the AXS-R5
· Brushed handle including mic. holder and VF cable protection

34 Accessories
 LIGHT (video light) connector

Shoulder Strap holder

Wireless Audio Receiver slot

Monitor Select Switches

and Knob

Gain/ISO/EI, CB, WB switches

Menu and Cancel switches

DC OUT (Hirose 4-pin)

Assignable buttons Audio Control Panel MIC IN (XLR 5-pin)

Microphone holder

Menu knob

DC IN (XLR 4-pin)
Auto White/Black Balance
Rec button LIVE AUDIO OUT (XLR 5-pin)
HEADPHONE (LIVE MON) jack (stereo, mini)

Shutter MIC LEVEL AUDIO IN (XLR 3-pin)

Accessories 35
 F55/F5 Accessories

Additional Codec Board

CBK-55PD
This accessory allows the F55 and F5 to record new formats, Apple ProRes and Avid DNxHD®.

System Frequency
Codec Bit Depth Resolution
23.98P 24.0P 25.0P 29.97P 50i 59.94i

4* 4* 4* 4*
ProRes 4444 12 bit 1920 x 1080
264 Mbps 264 275 330

4 4 4 4 4 4
ProRes 422 HQ 10 bit 1920 x 1080
176 176 184 220 184 220

4 4 4 4 4 4
ProRes 422 10 bit 1920 x 1080
117 117 122 147 122 147

4 4 4 4 4
DNxHD220x 10 bit 1920 x 1080
175 185 220 185 220

4 4 4 4 4
DNxHD145 8 bit 1920 x 1080
115 120 145 120 145

* Requires a firmware upgrade (planned for June 2015).

4K Upgrade License
CBKZ-55FX
This license key option allows the F5 to activate 4K capabilities such as XAVC 4K/QFHD recording and playback, 4K SDI and 4K HDMI output,
and simultaneous recording (XAVC 4K/QFHD and MPEG HD). This option is activated by a license key which you download from Sony’s
website and simply install.

36 Accessories
PL Mount Prime Lens
A new 6 x PL mount prime lens set has been developed for the 240°. In addition, by removing the supplied PL mount adapter,
F55 and F5. The set includes focal lengths of 20, 25, 35, 50, 85, a native FZ mount allows the F55 and F5 cameras to accept FZ
and 135 mm. Each is certified for 4K capture, while minimizing mount lenses directly, and SLR and DSLR lenses via third-party
geometric distortion, vignetting, and breathing. For easy lens adapters, all without optical degradation. In short, this gives you
changes, all lenses have a consistent design such as an aperture of great flexibility in lens choice.
T2. A 9-blade iris delivers beautiful bokehs and focus rings rotate

Accessories 37
 4K OLED Unleashed
Sony proudly introduces the BVM-X300 30-inch*¹ 4K OLED master In addition, the BVM-X300 supports High Dynamic Range mode
monitor – the flagship model in our professional monitor lineup. and a wide color gamut conforming to DCI-P3 and most of the
This new monitor offers the inherent performance of TRIMASTER ITU-R BT.2020 Recommendation.*² By unleashing these superb
EL OLED monitors, including unparalleled black performance, color features and qualities, this master monitor makes an ideal tool for
reproduction, quick pixel response, and industry-leading wide a wide range of applications such as color grading and QC (quality
viewing angles. control) in the 4K production workflow.

*1 750.2 mm viewable area, measured diagonally.

*2 The BVM-X300 does not cover the ITU-R BT.2020 color space in full.

38 Accessories
Delivers New Levels of Convenience with a 4K Memory Player
Unlike the fast-growing 4K shooting and editing environment, The PMW-PZ1 is equipped with a 3.5-inch QHD LCD, SxS card slot,
the 4K clip playing environment may require expensive high- USB, HDMI/SDI(x4) output and audio output. These features enable
performance computers or servers and technical backgrounds. For the unit to play 4K images in a variety of situations. For example, a
a more affordable and simple yet high-quality 4K player, PMW-PZ1 4K image captured by the F55 on location can be checked instantly
4K memory player should be the best choice. by a 4K SDI professional monitor or consumer 4K TV connected via
HDMI.

Accessories 39
 1

6 13

8 9 10 11 12

Total Camera System Solution

With a compact, modular design camera body, the F55 and F5 1. 3.5-inch QHD LCD viewfinder 8. SxS PRO+ card
2. 0.7-inch 720 HD OLED viewfinder 9. AXSM card
offer a total camera system solution — including newly developed
3. 7-inch Full HD LCD viewfinder 10. SxS card reader/writer
viewfinders, a RAW recorder, and 4K monitor — for 4K and future
4. PL/T2 lens set 11. Multi SxS card reader/writer
content creation. You’ll find these cameras are easy to configure 5. RAW recorder 12. AXSM card reader
according to your target projects. 6. New Lithium-ion battery 13. 30-inch 4K LCD monitor
7. Shoulder adapter

40 Accessories
System Configuration
The F55 and F5 are remarkably small, light, and modular, enabling you to build the right configuration for
each job or each shot. These cameras accept Sony’s newly designed accessories and industry-standard
accessories, offering flexible system configuration to fit into any shooting style, from simple documentary
shooting, flying on a jib, and Steadicam operation, to fully rigged for formal cinematography.

Battery Battery Charger

BP-FL75 BC-L90
0.7” 720 HD OLED VF 3.5” QHD LCD VF 7” FHD LCD VF
DVF-EL100 DVF-L350 DVF-L700

PL Mount Prime Lens Set Additional Codec Board

SCL-PK6/F or /M CBK-55PD
RAW Recorder 30” 4K Monitor
AXS-R5 BVM-X300

Shoulder Adapter
VCT-FSA5

SxS Card AXSM Card

Demand Converter Box 4K Upgrade License EFP-Style Buildup Kit SBP-128C/64C AXS-A256S24/
CBK-DCB01 CBKZ-55FX CBK-55BK SBS-128G1B/64G1B/32G1B A512S24/A1TS24

Remote Control Unit SxS Reader/Writer Multi SxS Card Reader/Writer AXSM Card Reader
RM-B170 Matte Box Follow Focus Bridge Plate SBAC-US30 SBAC-UT100 AXS-CR1

Accessories 41
 System & Workflow
To allow you enormous flexibility in production, the F55 and F5
provide a wide variety of recording systems, workflows, and system
configurations.

42
43
 Recording System
When it comes to production, one recording format emphatically does not fit all. That is why the F55
and F5 give you not one but various useful recording formats with several types of recording media.

Recording Formats Recording Media

This ultimate 16-bit linear RAW format preserves all the information
captured in 4K/2K with 16 times more tonal values than 12-bit RAW.
It is supported by an F65RAW, F55RAW and F5RAW workflow.
Ultra-high-speed and high-capacity media
for SRMASTER™ products

The next-generation of H.264/AVC intra-frame coding, this format

establishes a cost-efficient ecosystem for HD high-frame-rate and
4K 60p production. It supports HD to 4K with superb efficiency and
beautiful 10-bit pictures.

This standard format for high-end production, postproduction,

and program exchange is also known as SR codec. It is a visually Ultra-high-speed, high-capacity, and cost-
loss-less codec with superior picture quality, and is supported by a efficient media for AXSM system products
robust SR workflow.

Apple ProRes and Avid DNxHD® formats are popular in

Apple ProRes* postproduction, and are supported by the F55 and F5 with
installation of the CBK-55PD. This means there’s no need for
transcoding; you can simply handle these formats directly from the
Avid DNxHD®*
camera.
High-speed, high-capacity,
compact and compatible media

This is the standard format for HD TV production. The 50 Mbps

4:2:2 codec is robust with superb pictures and compact files. The
workflow is well established with widespread third-party support.

* Required to install the CBK-55PD.

44 System & Workflow

F65 + R4 Recording Format
Color Sampling
Format Resolution Frame Rate Select FPS Recording Media
Bit-depth
4K
1 to 60 fps (F65RAW-SQ/Lite)
F65RAW 4096 × 2160 16-bit Linear 23.98/24/25/29.97/50/59.94p SRMemory
1 to 120 fps (F65RAW-HFR)
or higher

444 12-bit
HD 23.98/24/25/29.97PsF
MPEG4 SStP 444 10-bit 1 to 60 fps SRMemory
1920 × 1080 50/59.94p (422 10-bit only)
422 10-bit

F55/F5 Recording Format

Color Sampling
Format Resolution Frame Rate S&Q Recording Media
Bit-depth
4K
F55RAW 16-bit Linear 23.98/24/25/29.97/50/59.94p 1 to 60 fps (F55/F5 + R5)
4096 × 2160
F5RAW AXSM
(via R5) 2K
16-bit Linear 23.98/24/25/29.97/50/59.94p 1 to 240 fps (F55/F5 + R5)
2048 × 1080
4K (F55 only)
422 10-bit 23.98/24/25/29.97/50/59.94p 1 to 60 fps
4096 × 2160
SxS PRO+
QFHD (F55 only)
422 10-bit 23.98/25/29.97/50/59.94p 1 to 60 fps
3840 × 2160
XAVC
2K
422 10-bit 23.98/24/25/29.97/50/59.94p 1 to 180 fps
2048 × 1080 SxS PRO+
HD SxS PRO
422 10-bit 23.98/25/29.97/50/59.94p 1 to 180 fps
1920 × 1080
HD 422 10-bit
MPEG4 SStP 23.98/24/25/29.97p N/A SxS PRO+
1920 × 1080 444 10-bit

ProRes 4444 12-bit SxS Pro+

HD
Apple ProRes* ProRes 422 HQ 10-bit 23.98/24/25/29.97p N/A SxS Pro (not support
1920 × 1080
ProRes 422 10-bit ProRes 4444)

HD DNxHD 220x 10-bit SxS Pro+

Avid DNxHD®* 23.98/25/29.97p N/A
1920 × 1080 DNxHD 145 8-bit SxS Pro
HD
422 8-bit 23.98/25/29.97p50/59.94i N/A SxS PRO+
1920 × 1080
MPEG2 SxS PRO
HD SxS-1
422 8-bit 50/59.94p N/A
1280 × 720

* Required to install the CBK-55PD.

System & Workflow 45
 Workflow
To give you maximum flexibility in postproduction, we offer several 4K workflows including 16-bit linear
ACES *¹ workflows. Meanwhile, working cameras still require practical HD workflows with cost-efficient,
compatible tools. We support both.

*¹ ACES: Academy Color Encoding Specification.

Media Reader Viewer

F65 RAW F65 + SR-R4 SRPC-5, SR-PC4, SR-D1

F55/F5 RAW F55/F5 + AXS-R5 AXS-CR1

4K Workflow
F55/F5* 1 SBAC-US30/UT100
4K/QFHD SxS PRO+

F55/F5 SBAC-US30/UT100

2K/HD

F65 + SR-R4 SRPC-5,SR-PC4,SR-D1

HD Workflow MPEG4 SStP
F55/F5 SBAC-US30/UT100
SxS PRO+

MPEG2 F55/F5 SBAC-US30/UT100

Apple
ProRes*2 F55/F5 SBAC-US30/UT100

Avid
DNxHD® *2 F55/F5 SBAC-US30/UT100

*1 Required to install the CBKZ-55FX

*2 Required to install the CBK-55PD.

46 System & Workflow

 Dailies Edit Grade

Assimilate™ Adobe® Assimilate™

AVID®
Blackmagic Design Autodesk™ Autodesk™
Rhode & Schwarz DVS
Codex Blackmagic Design

Color Front Adobe® Final Cut Pro Digital Vision

AVID® Rhode & Schwarz DVS
FilmLight™ Autodesk™ Vegas Pro Film Light™
Grass Valley
MTI Film Quantel™

POMFORT*3 Rhode & Schwarz DVS

Adobe® Rhode & Schwarz DVS
AVID® Vegas Pro
YoYotta SGO
Final Cut Pro

*3 POMFORT supports RAW and XAVC

Adobe® Grass Valley

AVID® Rhode & Schwarz DVS
Autodesk™ Vegas Pro
Final Cut Pro

Please contact Apple and Avid for latest information.

For support and availability information of any desired providers, please refer to the vendor directly.

System & Workflow 47

 Appendix

48
49
 Specifications
F65RS PMW-F55 PMW-F5
General
Power Requirements DC 10.5 V to 17 V DC 12 V (11 V to 17 V) DC 12 V (11 V to 17 V)
Power Consumption Approx. 65 W (mechanical rotary shutter operating) (without lens, viewfinder, at 23.98PsF mode) Approx. 25 W (while recording XAVC 4K 60p, EVF Off, LCD monitor Off, 4K SDI On) Approx .24 W (while recording XAVC HD 60p, EVF Off, LCD monitor Off, HD-SDI On)
Operating Temperature 0°C to 40°C (32°F to 104°F) 0°C to 40°C (32°F to 104°F) 0°C to 40°C (32°F to 104°F)
Storage Temperature -20°C to +60°C (-4°F to +140°F) -20°C to +60°C (-4°F to +140°F) -20°C to +60°C (-4°F to +140°F)
Mass 5.0 kg (11 lb) (6.5 kg (14 lb 5 oz) with accessories) 2.2 kg (4 lb 14 oz) (without lens, handle, audio box and accessories) 2.2 kg (4 lb 14 oz) (without lens, handle, audio box and accessories)
Dimensions (W x H x D) 227 x 203 x 255 mm (9 x 8 x 10 1/8 inches) (without protrusions) 130 x 125 x 191 mm (5 1/8 x 5 x 7 5/8 inches) (without protrusions) 130 x 125 x 191 mm (5 1/8 x 5 x 7 5/8 inches) (without protrusions)
Camera Section
Imaging Device (Type) Super 35mm equivalent Single-chip CMOS Super 35mm equivalent Single-chip CMOS Super 35mm equivalent Single-chip CMOS
Imaging Device (Pixel Count) 20 M (total), 19 M (effective) 11.6 M (total), 8.9 M (effective) 11.6 M (total), 8.9 M (effective)
Aspect Ratio 17:9 17:9 17:9
Built-in Filters Clear, ND0.9 (1/8ND), ND1.2 (1/16ND), ND1.5 (1/32ND), ND1.8 (1/64ND) Clear, 0.9 (1/8ND), 1.8 (1/64ND) Clear, 0.9 (1/8ND), 1.8 (1/64ND)
Sensitivity (2000 lx, 89.9% reflectance) Video Gamma: T12@24p (3200K light source) Video Gamma: T14 @24p (3200K light source)
ISO Sensitivity ISO800 S-Log2 Gamma: ISO 1250 (D55 light source) S-Log2 Gamma: ISO 2000 (D55 light source)
PL mount (with supplied lens mount adapter) PL mount (with supplied lens mount adapter)
Lens Mount PL mount
FZ mount (without supplied lens mount adapter) FZ mount (without supplied lens mount adapter)
Latitude 14-stop 14-stop 14-stop
Shutter Speed (23.98PsF) 1/24s to 1/6,000s 1/24s to 1/6,000s 1/24s to 1/6,000s
Shutter Angle 4.2° to 360° (electrical shutter), 11.2° to 180° (mechanical rotary shutter) 4.2°to 360°(electrical shutter) 4.2°to 360°(electrical shutter)
Slow Shutter (SLS) 2, 3, 4, 5, 6, 7, 8-frame accumulation 2, 3, 4, 5, 6, 7, 8-frame accumulation
White Balance 3200K, 4300K, 5500K Preset (3200K, 4300K, 5500K), Memory Preset (3200K, 4300K, 5500K), Memory
Gain -6, -3, 0, 3, 6, 9, 12 dB -3, 0, 3, 6, 9, 12, 18 dB, AGC -3, 0, 3, 6, 9, 12, 18 dB, AGC
Gamma Curve HG7, HG8, S-Log2 Gamma, User Standard (x6), HG1, HG2, HG3, HG4, HG7, HG8, S-Log2 Gamma Standard (x6), HG1, HG2, HG3, HG4, HG7, HG8, S-Log2 Gamma
Input/Output
Audio Input CH-1/CH-2: XLR-type 3-pin (female) (x2), Line/Mic/Mic +48V switchable with SR-R4 CH-1/CH-2: XLR-type 3-pin (female) (x2), Line/Mic/Mic +48V (AES/EBU) switchable CH-1/CH-2: XLR-type 3-pin (female) (x2), Line/Mic/Mic +48V (AES/EBU) switchable
TEST Output BNC (x1), 75 Ω, HD-Y, 1.0 Vp-p BNC (x1), HD-Y or HD Sync (tri-level) V1.0 BNC (x1), HD-Y or HD Sync (tri-level) V1.0
DC Input Lemo 8-pin (male) (x1), DC 10.5 V to 17 V, DC 20 V to 30 V XLR-type 4-pin (male) (x1), 11 V to 17 V DC XLR-type 4-pin (male) (x1), 11 V to 17 V DC
DC Output DC 12 V: 11-pin (x1), max. 4 A, DC 24 V: 3-pin (x1), max. 4 A 4-pin (x2), 11 V to 17 V DC (max. 1.8 A) with battery adapter 4-pin (x2), 11 V to 17 V DC (max. 1.8 A) with battery adapter
Viewfinder 20-pin (x1), Digital viewfinder interface (x1)* Digital viewfinder interface (x1) Digital viewfinder interface (x1)
Lens 12-pin (x1)
BNC (x4), HD mode: SDI 1/2 Line Output, SDI 3/4 Monitor Output,
SDI Output BNC (x2), HD-SDI (4:2:2) BNC (x4), SDI 1/2 Line Output, SDI 3/4 Monitor Output
4K mode: SDI 1/2/3/4 Line Output, Display On/Off switchable
Timecode Input/Output TC IN (x1), TC OUT (x1) with SR-R4 TC IN/OUT (x1) switchable TC IN/OUT (x1) switchable
Genlock Input BNC (x1), 75 Ω, HD 3-level sync, 0.6 Vp-p BNC (x1) BNC (x1)
Remote 8-pin (x1) 8-pin (x1) 8-pin (x1)
HDMI Output A Type (x1) A Type (x1)
External Input/Output Lemo 5-pin (female) (x1)
Ethernet RJ-45 type (x1), 10BASE-T/100BASE-TX
USB Type A, USB2.0 Hi-Speed (x1) USB device, Mini-B (x1), USB host, type-A (x1) USB device, Mini-B (x1), USB host, type-A (x1)
Headphone Output Stereo mini jack (x1) Stereo mini jack (x1) Stereo mini jack (x1)
Speaker Output Monaural Monaural

Belt bracket (1), Cable clamp belt (1), 19mm dia carbon rod (1), +B3 x 5 screws (4), Lens mount adapter (1), Battery adapter (1), Audio input connector (1), Lens mount adapter (1), Battery adapter (1), Audio input connector (1),
Center handle (1), Viewfinder mounting plate (1), Riser plate (1), Screws for the audio input connector (4), Tape measure hook (1), Screws for the audio input connector (4), Tape measure hook (1),
Supplied Accessories
Power cable connector (LEMO 8-pin) (1), USB wireless LAN module IFU-WLM3 (1), Before Using this Unit (1), USB wireless LAN module IFU-WLM3 (1), Before Using this Unit (1),
Operation Manual (CD-ROM) (1), Operation Guide (1) Operating Instructions (CD-ROM) (1) Operating Instructions (CD-ROM) (1)

* To be supported by CBK-65EL.

50 Appendix
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Reproduction in whole or in part without written permission is prohibited.
Features, design, and specifications are subject to change without notice.
The values for mass and dimension are approximate.
“SONY”, “CineAlta”, “XAVC”, “AXSM”, “SRMemory”, “TRIMASTER”, and
“SRMASTER” are trademarks of Sony Corporation.
Avid and DNxHD are trademarks or registered trademarks of Avid Technology, Inc. or
its subsidiaries in the United States and/or other Countries.
All other trademarks are the property of their respective owners.

The F65, PMW-F55, and PMW-F5 are produced at Sony EMCS

Corporation Kosai Site, which has received ISO14001
Environmental Management System certification. MK11009V4OHB15MAR