Rodrigo Prieto, “The Homesman”
“Takes handheld to another level.”Michelle McCabe, DP, Nun Creative, LLC
SONY Digital Motion Picture Cameras:
Silicon, glass and steel
in the service of art
At Sony, the quest for better imaging never stops. It spurs us to do the hard stuff. To develop and fabricate ground-breaking image sensors. To create original codecs that combine unprecedented quality and practicality. To build forward-looking recording systems and incredibly useful lens mounts. The resulting Sony® CineAlta® cameras capture world-beating color. And resolution beyond the ordinary. And sensitivity. And exposure latitude. That’s why DPs choose Sony CineAlta cameras for everything from intensely personal projects to big-budget blockbusters.
Capture colors that others can’t.
We design our own image sensors and build them in our own factory. That’s how the Sony F65 and F55 can capture shades of green and red that are not simply beyond the reach of other digital cameras. They’re beyond the capability of print film. And where others record with 10-bit or 12-bit precision, Sony’s 16-bit linear RAW delivers 4,000 times as many color gradations. Which means that every nuance of color is faithfully preserved.
Shot on Sony
Movies – Episodic TV – Reality/DocsView all
Go behind the scenes with our digital motion picture cameras. See the real stories of the people behind the cameras, in the edit bay and in the color correction suite.Read now
Get the inside story on amazing projects shot on Sony FS Series cameras, as told by the production teams themselves.Read now
From the Super Slow Motion FS700R to the king-of-the-hill F65, Sony has a camera for every project.
|Sensor Resolution||8192 x 2160||4096 x 2160||4096 x 2160||2448 x 1377||4096 x 2160||4096 x 2160|
|Lens Mount||PL||Sony FZ + PL||Sony FZ + PL||Sony FZ + PL||Sony E-Mount||Sony E-Mount|
|16-bit Linear RAW recording||8K, 6K and true 4K with SR-R4||4K and 2K with AXS-R5||4K and 2K with AXS-R5||-||4K and 2K 12-bit payload with XDCA-FS7, AXS-R5+ HXR-IFR5||4K and 2K 12-bit payload with AXS-R5+ HXR-IFR5|
|Shutter||Rotary + Electronic||Frame Image Scan||Electronic||Electronic||Electronic||Electronic|
|Exposure Latitude||14+ stops||14 stops||14 stops||12.5 stops||14 stops||>12 stops|
|Maximum Frame Rate||120 fps||240 fps in 2K RAW||240 fps in 2K RAW||60 fps||180 fps||960 fps|
|Maximum Bitrate||2.0 Gbps w. SR-R4||960 Mbps at 24p w. AXS-R5||960 Mbps at 24p w. AXS-R5||704 Mbps with SR-R1||960 Mbps at 24p with XDCA-FS7, AXS-R5 + HXR-IFR5||960 Mbps at 24p with AXS-R5 + HXR-IFR5|
|MSRP (body only)||On request||$34,927.71||$19,400.00||$16,800.00||$9,599.00||$6,799.00|
|Learn more||Learn more||Learn more||Learn more||Learn more||Learn more|
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Built to work
the way you do
Sony CineAlta cameras fit—comfortably—into the on-set realities of today’s productions. We designed FS7 from the ground up for long-form, handheld shooting. And the highly modular F55 and F5 now slide into the CBK-55BK shoulder mount dock, sold separately. When docked, the F55 and F5 combine the capabilities of a Super 35 cinema camera with the ergonomics of a shoulder-mount 2/3-inch broadcast/documentary camcorder.
Exquisite slow motion
Nothing underscores dramatic action like slow motion. And nobody delivers slow motion like Sony. Our F55 and F5 capture 240 fps, which translates to an ethereal 10x slow motion when played back at 24p. And the remarkable FS700R captures up to 19 seconds in burst mode at 960 fps—a frame rate once the exclusive domain of highly expensive high-speed cameras.
Never fear the dark. Or sunlight.
Bring on the pyrotechnics. Bring on the Los Angeles noontime exteriors, when the sun is direct and the shadows are deep. Bring on the night scenes with faint city lights glowing in the distance. In every aspect of exposure, Sony cameras exceed expectations, because they exceed the capabilities of the human eye. Up to 14 stops of exposure latitude equal the best that film has to offer. While extraordinary sensitivity and low noise enable you to pull detail out of darkness in ways that film never could.
Sony has always seen beyond the standards of today—to create the standards of tomorrow. Way back in the 1980s, we produced the world’s first commercial HD production system. In 2005, we built the world’s first commercial 4K projectors. Today, we offer production in HD, 2K, 4K, 6K and even 8K with the remarkable F65.
All too many digital cameras lock you into a single lens mount, a single recording system or a single shooting style. Sony CineAlta® cameras deliver mind-bending versatility. The F55 and F5 already record to four different codecs. And they’ll add two more—Apple® ProRes 422 and Avid DNxHD® recording—via the CBK-55PD encoder board, sold separately, coming January 2015. The total range of bitrates varies from a utilitarian 50 Mbps all the way up to a magisterial 960 Mbps with the docking AXS-R5 recorder. Sony gives you options to mount cine lenses, SLR lenses or broadcast lenses—all on the same camera body. The F65 and F55 can even support 4K live production, complete with remote camera control, live switching and instant replay.