For incredibly vivid HD, start with the 4K imager of the Sony F5. You'll get superior, super-sampled pictures with noticeably higher contrast, rich color reproduction and greater clarity. The F5 offers robust internal recording modes, all with vibrant 4:2:2 color. Irresistible options include the amazing precision of 16-bit linear RAW 2K/4K recording and high speed 2K RAW at up to 240 fps without cropping.

The Sony F5 is open to a world of cinema and SLR lenses. Your choices include PL mount lenses (with the supplied adaptor), Sony's native FZ mount lenses, plus a host of third-party adaptors for Canon and Nikon SLR lenses as well as B4 mount lenses. Our Center Scan mode even acts like a 2x focal length extender, enhancing the versatility of your 35mm glass. While others force you to choose one lens mount or another, the F5 sets you free.

Delighting the director of photography is a major Sony design goal. But with the F5, it's just the beginning. The camera's robust, practical workflows will also delight DITs, editors, colorists and visual effects supervisors. Your team will benefit from fast file transfers, sensitive color handling, and growing compatibility with many of the production community's favorite tools for dailies, editing and color correction.

The F5 camera and AXS-R5 recorder are both scheduled for free firmware upgrades that will deliver more features, more frame rates and more recording options in the months to come. Not only are the upgrades free, but with an internet connection you can download and install them yourself—no need to send the equipment to a service center.

The Sony F3 demonstrated that a single camera could provide top-flight Super 35 images and full professional facilities at a very reasonable price. And cinematographers in all genres used the F3 to create memorable, powerful, emotionally compelling images. Now the Sony F5 carries that filmmaking ethos forward. Directors of photography are telling great stories with the F5.

Super-sampling: Spectacular HD, 2K or 4K

Does a 4K camera make sense in an HD world? Perfect sense. Even if you're not planning on 4K production, the 11.6 total megapixels of Sony's 4K image sensor enable you to shoot gorgeous, super-sampled HD now and learn how to get the best from the camera. read more

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Super-sampling: Spectacular HD, 2K or 4K

Does a 4K camera make sense in an HD world? Perfect sense. Even if you're not planning on 4K production, the 11.6 total megapixels of Sony's 4K image sensor enable you to shoot gorgeous, super-sampled HD now and learn how to get the best from the camera. Then as 4K postproduction and distribution continue to gain traction, you can add the outboard AXS-R5 4K RAW recorder. The F5 supports three major shooting scenarios.

  • Shoot, Record, Master and Distribute in stunning 4K. You're ready for the more than 13,000 movie theaters with Sony Digital Cinema 4K projectors—and the new wave of 4K home entertainment. Sony is one of several companies that have launched 4K home televisions while cable, satellite and network operators are currently considering the prospect of 4K content delivery.
  • Shoot, Record and Master in 4K. Distribute in 2K/HD. Derive your delivery format while preserving the original as a future-proof archive. Your master is ready for future 4K release.
  • Shoot in 4K. Record, Master and Distribute in 2K/HD. Sony's 4K sensor gives you a gorgeous, super-sampled HD picture with visibly superior texture, color reproduction, detail and high-frequency contrast that ordinary HD cameras cannot touch. 2K XAVC internal recording and 2K RAW High Frame Rate have arrived with the free v2.0 upgrade.
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4K/2K RAW options

The ultimate camera capture system would record every nuance of light and shadow from the image sensor, preserving every detail from every pixel for full exploitation in post-production. If you want the maximum flexibility that 4K and 2K RAW deliver, Sony's optional AXS-R5 Access Memory System recorder is a remarkable choice. Unlike some RAW systems, Sony's 16-bit linear capture preserves more tonal values than the human eye can differentiate. This is also the ideal match for the 16-bit linear ACES workflow. For simplified creation of offline proxies, the camera even provides simultaneous onboard recording to SxS® cards using the same start frame and stop frame as the RAW recording. read more

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4K/2K RAW options

The ultimate camera capture system would record every nuance of light and shadow from the image sensor, preserving every detail from every pixel for full exploitation in post-production. If you want the maximum flexibility that 4K and 2K RAW deliver, Sony's optional AXS-R5 Access Memory System recorder is a remarkable choice. Unlike some RAW systems, Sony's 16-bit linear capture preserves more tonal values than the human eye can differentiate. This is also the ideal match for the 16-bit linear ACES workflow. For simplified creation of offline proxies, the camera even provides simultaneous onboard recording to SxS® cards using the same start frame and stop frame as the RAW recording.

With the F5, 2K RAW is not just a technical specification. It's a business model. Sony 2K RAW gives you everything you love about Super 35 cinematography with no crop factor, no telephoto conversion on your lenses. 2K RAW is a smart choice for HD productions and it's just one quarter the data of 4K RAW. 2K RAW High Frame Rate has arrived with the free v2.0 upgrade. (Normal speed 2K RAW with the free v3.0 upgrade, expected December 2013.)

The AXS-R5 has another clever advantage. Its HD-SDI output provides a closer-to-RAW live demosaiced image for outboard monitors and recorders. This is a 4:2:2 10-bit digital signal with S-Log 2 encoding to protect highlights and shadows.

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Vast exposure latitude

Cinematographers paint their images with light and shadow. So the ability to render tones from deepest shadows to brightest highlights is a crucial test of any digital camera. The F5 excels, with 14 stops of exposure latitude. DPs have noticed that the camera holds remarkable detail in the highlights, while noise in the blacks is extremely low. The result? Graceful rendering of scene contrast, even in searing sunlight. The camera is rated at ISO 2000 (S-Log 2 gamma, D55 light source) for superb results in available light.

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Vast exposure latitude

Cinematographers paint their images with light and shadow. So the ability to render tones from deepest shadows to brightest highlights is a crucial test of any digital camera. The F5 excels, with 14 stops of exposure latitude. DPs have noticed that the camera holds remarkable detail in the highlights, while noise in the blacks is extremely low. The result? Graceful rendering of scene contrast, even in searing sunlight. The camera is rated at ISO 2000 (S-Log 2 gamma, D55 light source) for superb results in available light.

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Retaining maximum grayscale

Given all the effort Sony made to achieve 14 stops of exposure latitude, it would be a crime to crush this latitude in recording. That's why Sony gives you a choice of grayscale encoding. read more

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Retaining maximum grayscale

Given all the effort Sony made to achieve 14 stops of exposure latitude, it would be a crime to crush this latitude in recording. That's why Sony gives you a choice of grayscale encoding.

  • 16-bit linear RAW. Preserve the maximum headroom for color correction. See everything the image sensor has to offer. Like other RAW recording, Sony's system captures a color sample for each photosite on the image sensor. Unlike some others, Sony's 16-linear system preserves more tonal values than the human eye can differentiate. As a result, your look isn't “baked in.” It's fully open to creative manipulation.
  • S-Log 2 Gamma. Postproduction can take advantage of the full range of grayscale values from the deepest shadows to the brightest specular highlights, thanks to Sony's latest S-Log 2 Gamma. While conventional video gamma preserves 109% of the sensor's nominal peak white, and Sony's original S-Log accommodates 800%, S-Log 2 extends all the way to 1300% of nominal peak white, to deliver the full 14-stop dynamic range of the camera.
  • Rec. 709 high definition. Productions intended for television that plan little or no color correction may choose to take advantage of conventional Rec. 709 high definition, which is also available.
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Center Scan mode

To deliver the selective focus and beautiful bokeh of 35mm cinematography, the F5 incorporates a Super 35 image sensor, and can scan the entire sensor for 4K, 2K and HD capture. But there are times when productions can benefit from scanning a smaller 2K “window” within the 4K frame. That’s why Sony now offers Center Scan mode. read more

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Center Scan mode

To deliver the selective focus and beautiful bokeh of 35mm cinematography, the F5 incorporates a Super 35 image sensor, and can scan the entire sensor for 4K, 2K and HD capture. But there are times when productions can benefit from scanning a smaller 2K “window” within the 4K frame. That’s why Sony now offers Center Scan mode. This provides a 2x crop factor, which is almost like doubling the focal length of your 35mm glass, turning your 15.5 to 45 mm zoom into a 31 to 90. Your 300 mm telephoto becomes a 600 with no light loss, no degradation in lens quality. Center Scan mode also accommodates run & gun cinematography with 16mm lenses and the supplied PL mount adaptor or 2/3-inch lenses and an accessory B4 lens adaptor, sold separately.

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Cache recording

If you’re waiting for an unpredictable event—whether meerkats poking their heads out of the burrow or lawyers poking their heads out of the courthouse—there’s no need to keep the camera rolling. Sony’s cache recording can capture up to 15 seconds of content prior to your hitting “Record.” The feature works in MPEG-2 and XAVC codecs. read more

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Cache recording

If you’re waiting for an unpredictable event—whether meerkats poking their heads out of the burrow or lawyers poking their heads out of the courthouse—there’s no need to keep the camera rolling. Sony’s cache recording can capture up to 15 seconds of content prior to your hitting “Record.” The feature works in MPEG-2 and XAVC codecs.

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Viewfinders as revolutionary as the camera

It's ironic that with focus so critical, most operators are stuck with viewfinders and on-camera monitors that offer middling contrast and resolution. Sony changes all that with the F5. A new digital interface has given rise to a brilliant new series of viewfinders. read more

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Viewfinders as revolutionary as the camera

It's ironic that with focus so critical, most operators are stuck with viewfinders and on-camera monitors that offer middling contrast and resolution. Sony changes all that with the F5. A new digital interface has given rise to a brilliant new series of viewfinders.

  • Amazing OLED: optional DVF-EL100. Don't let the small size fool you. This 0.7-inch* viewfinder has the incredible clarity of 1280 x 720 High Definition. And resolution is just the beginning. Thanks to OLED technology, you get superb brightness, contrast and response. Features include focus magnification and an on/off switch for superimposed display characters.
  • Higher resolution, higher contrast: optional DVF-L350. Take a major step forward in operating with the incredible image of this 3.5-inch* LCD viewfinder. Compared to previous Sony finders, this one has higher resolution (960 x 540) plus ten times the contrast. The finder is double-articulated. When holding your eye up against the camera is not an option, flip up the eyepiece for monitoring from the back of the camera or flip up the mirror for direct monitoring from the side.
  • Full HD: optional DVF-L700. This compact 7-inch* LCD viewfinder provides high resolution when shooting in 2K and 4K, not to mention pixel-for-pixel 1920 x 1080 representation of your HD images. The monitor stands up to exterior day shooting with high brightness (1000 cd/m2). HD-SDI input and output connect to other cameras, other sources and other monitors. The supplied Israeli arm enables mounting at almost any angle.

* Viewable area, measured diagonally.

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Modularity and versatility

Sony spent two years in close consultation with cinematographers and ACs. In particular, we focused on the ergonomics of handheld and shoulder-mounted shooting. The result is an ergonomic design unlike any previous Sony camera. It starts with a highly compact camera that builds up with modules to form an elegant, unified system. read more

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Modularity and versatility

Sony spent two years in close consultation with cinematographers and ACs. In particular, we focused on the ergonomics of handheld and shoulder-mounted shooting. The result is an ergonomic design unlike any previous Sony camera. It starts with a highly compact camera that builds up with modules to form an elegant, unified system.

  • Exceptional modularity.The F5 is notably small, light and modular, letting you build up the right configuration for each job—or each shot. For example, you can add the optional AXS-R5 RAW recorder whenever you need it. Or go with internal recording whenever size and weight are the highest priority.
  • Optional VCT-FSA5 shoulder rig with rosettes.Sony's optional Sony shoulder rig with padded arch provides comfortable handheld operation hour after hour. The rig is sturdy, lightweight and features generous front-to-back adjustment for ideal weight balance. The side-mounted optional viewfinders also offer substantial front-to-back adjustment. The shoulder rig accepts 15 mm rods, while industry-standard rosettes on both sides enable quick and easy attachment of third-party hand grips and other accessories.

The camera is highly modular, a major advantage whenever size and weight are primary concerns.

For rapid moves between shoulder mount and tripod, the VCT-FSA5 shoulder rig snaps quickly and securely into the VCT-U14 tripod adaptor.

  • 3D ergonomics. Small size is particularly welcome in stereoscopic 3D shooting. The time code/genlock connections and XLR audio inputs are located in two modules that you can add or remove as needed. With the modules removed, the chassis is only slightly wider than a typical PL mount prime lens, perfect for both mirror rigs and side-by-side configurations.
  • Mounting threads. For even greater versatility, Sony provides mounting threads to attach third-party accessories. For example, the bottom of the camera offers three 3/8-16 and three 1/4-20 threads. The top of the camera includes four 1/4-20 threads. The detachable top handle includes five 3/8-16 and four 1/4-20 threads.

To accommodate accessories and camera mounts, Sony provides an assortment of mounting threads on the top, the detachable top handle and the bottom.

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Shoulder-mount ENG/documentary dock

A powerful new accessory for the F5 is Sony’s shoulder-mount dock, sold separately. Slide the camera into the dock and suddenly you’ve got the familiar ergonomics of a 2/3-inch camcorder. The controls are right where muscle memory tells you they should be. And the connections you need are right where you need them. The combination of the shoulder-mount dock, B4 lens adaptor, sold separately, and Center Scan Mode replicates the angle of view, depth of field, and operability of a conventional 2/3 camera! The system even supports auto iris and power zoom. In this way, the F5 is a 35 mm camera when you need it. And a 2/3-inch camera when you don’t. Stay tuned for pricing and availability.

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Shoulder-mount ENG/documentary dock

A powerful new accessory for the F5 is Sony’s shoulder-mount dock, sold separately. Slide the camera into the dock and suddenly you’ve got the familiar ergonomics of a 2/3-inch camcorder. The controls are right where muscle memory tells you they should be. And the connections you need are right where you need them. The combination of the shoulder-mount dock, B4 lens adaptor, sold separately, and Center Scan Mode replicates the angle of view, depth of field, and operability of a conventional 2/3 camera! The system even supports auto iris and power zoom. In this way, the F5 is a 35 mm camera when you need it. And a 2/3-inch camera when you don’t. Stay tuned for pricing and availability.

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Choice of recording formats

While the F5 offers the option of glorious 16-bit 4K and 2K RAW recording using the outboard AXS-R5 recorder, not every production is prepared to take advantage. That's why the camera offers three internal recording formats ranging from 50 Mbps to 352 Mbps (at 24p). You can choose the codec, processing complexity and file size that match the needs of each project. read more

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Choice of recording formats

While the F5 offers the option of glorious 16-bit 4K and 2K RAW recording using the outboard AXS-R5 recorder, not every production is prepared to take advantage. That's why the camera offers three internal recording formats ranging from 50 Mbps to 352 Mbps (at 24p). You can choose the codec, processing complexity and file size that match the needs of each project.

  • MPEG-2 HD. The de facto standard for television production. 50 Mbps at 24p.
  • XAVC HD. The next generation of H.264/AVC Intra-frame coding. 90 Mbps at 24p.
  • SR File A fixture in Hollywood production, post production and program exchange. 176 and 352 Mbps at 24p. Available with free v1.2 upgrade, July 2013

And the future is bright. Sony has a roadmap of planned firmware upgrades: version 1.2 (July 2013), v2.0 (September 2013) and v3.0 (expected December 2013). Each is available at no extra charge to users with an internet connection. Each is user installable, which means you won't need to bring the camera in to a service center to reap the benefits. And each brings you even more frame rates, more operating features and more recording options.

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High speed: 240 fps

From stunts and explosions to the fall of a single raindrop, F5 high-speed shooting is a powerful storytelling tool. The camera also performs Slow & Quick (S&Q) motion for overcranking and undercranking. This enables you to alter the narrative by speeding up or slowing down the action, choosing frame rates from 1 frame per second (fps) to the maximum in 1 fps increments. And with the F5, every high speed shooting, overcranking and undercranking mode delivers full quality. There's no sacrifice in bit depth and no “windowing” of the sensor. So there's no crop factor, no loss in angle of view. read more

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High speed: 240 fps

From stunts and explosions to the fall of a single raindrop, F5 high-speed shooting is a powerful storytelling tool. The camera also performs Slow & Quick (S&Q) motion for overcranking and undercranking. This enables you to alter the narrative by speeding up or slowing down the action, choosing frame rates from 1 frame per second (fps) to the maximum in 1 fps increments. And with the F5, every high speed shooting, overcranking and undercranking mode delivers full quality. There's no sacrifice in bit depth and no “windowing” of the sensor. So there's no crop factor, no loss in angle of view.

  • 60 fps 4K RAW and XAVC HD out of the box at launch
  • 120 fps XAVC HD with the free v2.0 upgrade now available.
  • 240 fps 2K RAW, with the optional AXS-R5 outboard recorder and the free v2.0 upgrade, now available. In this way, the F5 achieves the highest frame rates many productions will need, while retaining exceptional, 16-bit image quality.
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More than just a pretty interface

Carefully designed with significant input from cinematographers, the F5 provides an incredibly rich range of controls. And the interface is nicely intuitive. Instead of diving through menus, you get direct, one-touch access to key shooting parameters including frame rate, shutter speed, color temperature, ISO sensitivity and gamma. Assignable buttons mean that favorite adjustments are always at your fingertips. read more

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More than just a pretty interface

Carefully designed with significant input from cinematographers, the F5 provides an incredibly rich range of controls. And the interface is nicely intuitive. Instead of diving through menus, you get direct, one-touch access to key shooting parameters including frame rate, shutter speed, color temperature, ISO sensitivity and gamma. Assignable buttons mean that favorite adjustments are always at your fingertips.

To experience the user interface for yourself, visit the Interactive F5 Simulator.



The high-resolution status display confirms major settings for confident operation. Keys above and below the display are context sensitive and give you direct access to main shooting parameters.

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The connections you need

The camera offers powerful connections, including four HD-SDI outputs. There's also HDMI®, USB, DC in connection, a removable XLR audio module and a removable time code/genlock module. The XLR inputs accept balanced analog signals, provide 48-Volt phantom power and will accept four channels of AES/EBU digital audio with an expected free firmware upgrade. read more

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The connections you need

The camera offers powerful connections, including four HD-SDI outputs. There's also HDMI®, USB, DC in connection, a removable XLR audio module and a removable time code/genlock module. The XLR inputs accept balanced analog signals, provide 48-Volt phantom power and will accept four channels of AES/EBU digital audio with an expected free firmware upgrade.


The F5 includes a robust range of connections, including detachable modules for audio input and time code/genlock.

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Long-life Olivine Battery

At Sony, we don't just know about cameras. We're also a leader in battery technology. The F5 takes advantage of Sony's innovative BP-FL75 battery pack, which uses Olivine—Lithium Iron Phosphate—instead of conventional Lithium Ion cathodes. The result is twice the number of charge-discharge cycles, compared to previous Sony batteries. read more

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Long-life Olivine Battery

At Sony, we don't just know about cameras. We're also a leader in battery technology. The F5 takes advantage of Sony's innovative BP-FL75 battery pack, which uses Olivine—Lithium Iron Phosphate—instead of conventional Lithium Ion cathodes. The result is twice the number of charge-discharge cycles, compared to previous Sony batteries.

The BP-FL75 Olivine battery works with Sony's BC-L90 quick charger, which accommodates two batteries and cuts charging time from 120 minutes to just 60 minutes, compared to conventional Sony chargers.

The cameras and batteries are also interoperable. The F5 camera accepts Sony's conventional batteries: the BP-GL95A, GL65A, L80S and L60S. These batteries work with the BC-L90 charger (at normal speed). And the BP-FL75 Olivine battery works with the conventional BC-L70 and L160 chargers (at normal speed).

< The Olivine battery is a remarkable piece of technology, capable of twice the charge-discharge cycles and recharging in half the time, compared to previous Sony batteries.

> The supplied V-mount battery adaptor includes two aux DC outputs. This adaptor is not required when the camera is used with the optional AXS-R5 RAW recorder.

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Sony’s 4K universe

Like high definition a decade ago, 4K is emerging as a consumer entertainment platform. And Sony is playing a pivotal role in this transition. When we launched the world's first commercial 4K projectors in 2005, we had to explain that a “K” was 1024 horizontal pixels and that “4K” meant 4096 x 2160 resolution. We had to itemize the advantages with tutorials on resolution and seating distance. Today 4K is a robust production platform. It is enshrined in the Digital Cinema Initiatives (DCI) specification. The ITU and SMPTE have both issued 4K standards. And the Consumer Electronics Association has recently launched the term “Ultra High-Definition” (Ultra HD) to cover 4K consumer products. read more

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The Sony 4K universe

Like high definition a decade ago, 4K is emerging as a consumer entertainment platform. And Sony is playing a pivotal role in this transition. When we launched the world's first commercial 4K projectors in 2005, we had to explain that a “K” was 1024 horizontal pixels and that “4K” meant 4096 x 2160 resolution. We had to itemize the advantages with tutorials on resolution and seating distance. Today 4K is a robust production platform. It is enshrined in the Digital Cinema Initiatives (DCI) specification. The ITU and SMPTE have both issued 4K standards. And the Consumer Electronics Association has recently launched the term “Ultra High-Definition” (Ultra HD) to cover 4K consumer products.



Just as high definition was a giant leap ahead of standard definition, 4K is far more immersive than HD.


The Sony 4K universe includes consumer products like the XBR-84X900 television.

Sony 4K products include the world's leading lineup of Digital Cinema 4K projectors, with over 13,000 systems installed. We also created the PVM-X300 4K professional monitor, plus a line of 4K projectors for visualization, simulation auditoriums and post. Our Sony Vegas® Pro 12 software is enabled for 4K nonlinear editing. Our 4K consumer products include the VPL-VW1000ES home theater projector, three televisions and even Sony PlayMemories™ Studio software for the PlayStation®3 console, which enables owners to load still pictures onto the console for viewing in 4K on a television or projector.

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Sony cameras compared

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Sony cameras compared

F65 PMW-F55 PMW-F5 PMW-F3 NEX-FS700R NEX-FS100U
Sensor Size 24.7 x 13.1 mm 24 x 12.7 mm 24 x 12.7 mm 23.6 x 13.3 mm 24 x 12.7 mm
(16:9 mode)
23.6 x 13.3 mm
Sensor Diagonal 28 mm 27.1 mm 27.1 mm 27.1 mm 27.1 mm
(16:9 mode)
27.1 mm
Sensor Aspect Ratio 1.89:1 (17:9) 1.89:1 (17:9) 1.89:1 (17:9) 1.78:1 (16:9) 1.89:1 (17:9) 1.78:1 (16:9)
Sensor Resolution 8182 x 2160 4096 x 2160 4096 x 2160 2448 x 1377 4096 x 2160 2448 x 1377
Photosites Total 20 million 11.6 million 11.6 million 3.5 million 11.6 million 3.5 million
Photosites Effective n/s 8.8 million (17:9) 8.8 million (17:9) 3.4 million (16:9) 8.8 million (17:9) 3.4 million (16:9)
Color Gamut S-Gamut S-Gamut Wide Wide Wide Wide
Lens Mount PL Sony FZ and supplied PL adaptor Sony FZ and supplied PL adaptor Sony FZ and supplied PL adaptor Sony E-Mount Sony E-Mount
Flange Focal Depth 52 mm 19 mm (FZ)
52 mm (PL)
19 mm (FZ)
52 mm (PL)
19 mm (FZ)
52 mm (PL)
18 mm 18 mm
Shutter Rotary 11.2 to 180° Electronic 4.2 to 360° Frame Image Scan 4.2 to 360° Electronic 4.2 to 360° Electronic 1/32 to 1/2000 Electronic1/3 to 1/10000 Electronic 1/3 to 1/10000
Built in ND Filters 0, 0.9, 1.2, 1.5, 1.8 (0, 3, 4, 5, 6 stops) 0, 0.9, 1.8 (0, 3, 6 stops) 0, 0.9, 1.8 (0, 3, 6 stops) 0, 0.9, 1.8 (0, 3, 6 stops) 0, 0.6, 1.2, 1.8 (0, 2, 4, 6 stops) -
Exposure Latitude 14 stops 14 stops 14 stops 12.5 stops Over 12 stops (CineGamma 4) n/s
Native ISO 800 1250 in S-Log 2 2000 in S-Log 2 1600 in S-Log 500 in Standard Gamma 500 in Standard Gamma
RAW Recording With SR-R4 With AXS-R5 With AXS-R5 - With AXS-R5 + HXR-IFR5 -
S-Log Recording S-Log 2 S-Log 2 S-Log 2 S-Log S-Log 2 -
Video Recording Yes Yes Yes Yes Yes Yes
8K Recording (bitrate at 24p) • F65RAW-SQ, 16-bit, 2.0 Gbps with SR-R4
•F65RAW-Lite, 16-bit, 1.2 Gbps with SR-R4
- - - - -
4K Recording (bitrate at 24p) - • XAVC 4:2:2, 10-bit, 240 Mbps Internal (QFHD with v3.0 upgrade)
• F55RAW, 16-bit, 960 Mbps with AXS-R5
F5RAW, 16-bit, 960 Mbps with AXS-R5 - FS700RAW 12-bit payload, 960 Mbps with AXS-R5 + HXR-IF5 -
2K Recording (bitrate at 24p) - • XAVC 4:2:2, 10-bit, 90 Mbps Internal with v2.0 upgrade
• F55RAW HFR, 16-bit, 240 Mbps with AXS-R5 and v2.0 upgrade
• XAVC 4:2:2, 10-bit, 90 Mbps Internal with v2.0 upgrade
• F5RAW HFR, 16-bit, 240 Mbps with AXS-R5 and v2.0 upgrade
- FS700RAW 12-bit payload, 240 Mbps with AXS-R5 + HXR-IF5 -
HD Recording (bitrate at 24p) SR File, 12-bit or 10-bit, 4:4:4 or 4:2:2; 704, 352 or 176 Mbps with SR-R4 • XAVC 4:2:2, 10-bit, 90 Mbps
• SR File, 4:4:4 or 4:2:2, 10-bit, 352 or 176 Mbps with v1.2 upgrade
• MPEG 4:2:2, 8-bit, 50 Mbps
• All internal
• XAVC 4:2:2, 10-bit, 90 Mbps
• SR File, 4:4:4 or 4:2:2, 10-bit, 352 or 176 Mbps with v1.2 upgrade
• MPEG 4:2:2, 8-bit, 50 Mbps
• All internal
• MPEG 4:2:0, 8 bit, 35 Mbps internal
• SR File, 10-bit, 4:4:4 or 4:2:2; 176, 352 or 704 with SR-R1
AVCHD 4:2:0, 8 bit, 24 or 28 Mbps, internal AVCHD 4:2:0, 8 bit, 24 or 28 Mbps, internal
Maximum Frames Per Second (progressive) 120 fps @ 4K RAW with SR-R4 • 240 fps @ 2K RAW with AXS-R5 and v2.0 upgrade
• 180 fps @ 2K/HD XAVC with v3.0 upgrade
• 240 fps @ 2K RAW with AXS-R5 and v2.0 upgrade
• 180 fps @ 2K/HD XAVC with v3.0 upgrade
• 60 fps @ 1080p with SR-R1
• 60 fps @ 720p internal
• 30 fps @ 1080p internal
• 960 fps in Super Slow Motion
• 240 fps 2K RAW continuous
• 60 fps AVCHD codec continuous
60 fps continuous
Recording Media SRMemory cards for SR-R4 • SxS-1, PRO, PRO+ cards (internal)
• AXSM cards for AXS-R5
• SxS-1, PRO, PRO+ cards (internal)
• AXSM cards for AXS-R5
• SxS-1, PRO cards (internal)
• SRMemory cards for SR-R1
• SD, SDHC, SDXC or Memory Stick PRO Duo (internal)
• AXSM cards for AXS-R5
SD, SDHC, SDXC or Memory Stick PRO Duo (internal)
HD Output HD-SDI x2 • 3G-SDI x4 with 2K and 4K capability
• HDMI 1.4a
• 3G-SDI x4
• HDMI 1.4a
• HD-SDI x2
• Dual Link HD-SDI
• HDMI 1.4
• 3G-SDI with 2K and 4K capability
• HDMI
• HD-SDI
• HDMI 1.4
Batteries V-mount V-mount V-mount Sony BP Series Sony L Series Sony L Series
Dimensions (body only) 12 x 9-1/8 x 7-3/4 inches (305 x 227 x 195 mm) 7-1/8 x 7-7/8 x 12-1/4 inches (151 x 189 x 210 mm) 7-1/8 x 7-7/8 x 12-1/4 inches (151 x 189 x 210 mm) 6 x 7-1/2 x 8-3/8 inches (151 x 189 x 210 mm) 5-3/4 x 7 1/8 x 10 inches (145 x 179 x 254 mm) 5 x 4 x 7 5/8 inches (127 x 102 x 194 mm )
Weight (body only) 11 lb (5.0 kg) 4 lb 14 oz (2.2 kg) 4 lb 14 oz (2.2 kg) 5 lb 4 oz (2.4 kg) 3 lb 11 oz (1.7 kg) 2 lb 4oz (1.0 kg)
Power Consumption (typical) Approx. 65 W Approx. 25 W Approx. 24 W Approx. 24 W Approx. 9.6 W Approx. 5.6W
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Sony camera accessories

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Sony camera accessories

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Connectivity, flexibility and longer cables

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Connectivity, flexibility and longer cables

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PL mount lenses via supplied adaptor

From Cooke to Angenieux, Fujinon, Zeiss and Leica, 35mm Positive Lock (PL) mount motion picture lenses inspire critical appreciation and passion among the professionals who use them. A broad infrastructure of movie production has arisen to exploit the creative potential of this glass. The Sony F5 takes full advantage with the supplied PL mount adaptor. Proven across two years of intensive use with the Sony F3, the PL adaptor is machined to tight tolerances and performs well, even when matched to heavy zooms and telephotos. read more

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PL mount lenses via supplied adaptor

From Cooke to Angenieux, Fujinon, Zeiss and Leica, 35mm Positive Lock (PL) mount motion picture lenses inspire critical appreciation and passion among the professionals who use them. A broad infrastructure of movie production has arisen to exploit the creative potential of this glass. The Sony F5 takes full advantage with the supplied PL mount adaptor. Proven across two years of intensive use with the Sony F3, the PL adaptor is machined to tight tolerances and performs well, even when matched to heavy zooms and telephotos.

Sony's proven PL mount adaptor is robust and ready to handle heavyweight telephotos and zooms. The native FZ mount is wide and shallow, the better to accommodate third party lens adaptors.

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Hot shoe for ARRI® LDS and Cooke® /i metadata

Electronic contacts for both the Cooke /i and ARRI Lens Data System (LDS) interfaces enable frame-by-frame capture of lens metadata, including your settings for zoom, focus, iris and depth of field. The camera automatically records these settings along with the picture. So even if you're pulling focus and zooming simultaneously, your VFX team will know exactly what you've done, frame by frame. read more

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Hot shoe for ARRI® LDS and Cooke® /i metadata

Electronic contacts for both the Cooke /i and ARRI Lens Data System (LDS) interfaces enable frame-by-frame capture of lens metadata, including your settings for zoom, focus, iris and depth of field. The camera automatically records these settings along with the picture. So even if you're pulling focus and zooming simultaneously, your VFX team will know exactly what you've done, frame by frame.



The PL mount adaptor includes hot shoe contacts for the Cooke /i system (at the 12 o'clock position) and ARRI LDS system (at 3 o'clock).

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Sony CineAlta PL-mount prime lenses

With the F5, Sony introduces our second generation of cost-effective PL mount prime lenses, featuring a dramatic improvement in build quality. read more

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Sony CineAlta PL-mount prime lenses

With the F5, Sony introduces our second generation of cost-effective PL mount prime lenses, featuring a dramatic improvement in build quality. Thanks to refined glass, all are certified for 4K capture, while minimizing geometric distortion, vignetting and breathing. A 9-blade iris delivers beautiful bokehs. The focus rings rotate 240°. The series includes focal lengths of 20, 25, 35, 50, 85 and 135 mm. For easy lens changes, all have the same T2.0 aperture, the same external diameter, matte box diameter, and gear locations for follow focus and aperture. All are the same size except for the 135 mm.

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Sony PL zoom

The Sony SCL-P11X15 is a wide-angle 11-16mm 1.5x zoom. It features a T3.0 aperture with settings to T22. read more

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Sony PL zoom

The Sony SCL-P11X15 is a wide-angle 11-16mm 1.5x zoom. It features a T3.0 aperture with settings to T22.

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Sony FZ mount auto focus servo zoom

Ideal for run-and-gun projects, the SCL-Z18X140 delivers features you might not expect in Super 35mm shooting. These include auto/manual focus, auto/manual iris, servo/manual zoom and incredibly effective optical image stabilization. read more

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Sony FZ mount auto focus servo zoom

Ideal for run-and-gun projects, the SCL-Z18X140 delivers features you might not expect in Super 35mm shooting. These include auto/manual focus, auto/manual iris, servo/manual zoom and incredibly effective optical image stabilization. (Manual zoom is supported by camera firmware v1.12. Power zoom requires v1.2, July 2013, plus a power zoom control such as the Sony CBK-DCB01.)



You can take advantage of auto focus, auto iris, image stabilization and servo zoom in Super 35 cinematography with Sony's SCL-Z18X140 14x zoom.

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SLR lenses via third-party adaptors

Slip off the supplied PL-mount adaptor to reveal the native FZ mount. The 19 mm flange focal length is extremely shallow, opening the camera up for still camera lenses. read more

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SLR lenses via third-party adaptors

Slip off the supplied PL-mount adaptor to reveal the native FZ mount. The 19 mm flange focal length is extremely shallow, opening the camera up for still camera lenses. You can already choose from the following commercially-available adaptors:

  • OptiTek Canon EF to FZ mount adaptor
  • MTF MTNIKGF3 Nikon G/DX to FZ mount adaptor
  • MTF MTCANFDF3 Canon FD to FZ mount adaptor
  • MTF MTB4F3 2/3-inch B4 to FZ mount adaptor
  • Birger Engineering Canon EF to FZ mount adaptor
  • IB/E Optics HDx35 2/3-inch B4 to PL mount optical adapter



The MTCANFDF3 from MTF enables Canon FD glass to be used on the camera's native FZ mount.

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Sony B4 broadcast lens adapters

read more

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Sony B4 broadcast lens adapters

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2/3-inch B4 lenses via Sony adaptors

A growing number of news and documentary shooters want to use the F5 with their familiar 2/3-inch broadcast lenses. These users depend on powerful zoom and the ability to accommodate both Electronic Newsgathering (ENG) and Electronic Field Production (EFP) operating styles. To meet the need, Sony has created the LA-FZB1 and LA-FZB2 2/3-inch to FZ mount lens adaptors, which work with the free v2.0 upgrade. read more

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2/3-inch B4 lenses via Sony adaptors

A growing number of news and documentary shooters want to use the F5 with their familiar 2/3-inch broadcast lenses. These users depend on powerful zoom and the ability to accommodate both Electronic Newsgathering (ENG) and Electronic Field Production (EFP) operating styles. To meet the need, Sony has created the LA-FZB1 and LA-FZB2 2/3-inch to FZ mount lens adaptors, which work with the free v2.0 upgrade.

The LA-FZB1 features an optical system that enlarges the 2/3-inch image 2.6 times to cover the much larger Super 35 image sensor. (Of course this incurs a 2.6 stop loss of light, which is made easier to accept by the camera's prodigious sensitivity.) The adaptor supports lens zoom, iris control, and lens-mounted recording stop/start control. A standard 12-pin Hirose connector on the adaptor powers the lens from the camera.

The LA-FZB2 has all the features of the FZB1, plus motor-driven Neutral Density (ND) and Color Correction (CC) filters, which can be operated remotely in studio configuration.

Motor-driven ND and CC filters distinguish the LA-FZB2.

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Choice of recording formats

While the F5 offers the option of glorious 16-bit 4K RAW recording, not every production is prepared to take advantage. That's why the camera offers not one, but five recording formats at an incredible range of bitrates from 50 Mbps to 960 Mbps (at 24p), for images from HD to 2K to 4K. (2K XAVC and 2K RAW High Frame Rate available now with the free version 2.0 upgrade. RAW requires the optional AXS-R5 recorder.) You can choose the image type, codec, processing complexity and file size that match the needs of each project. read more

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Choice of recording formats

While the F5 offers the option of glorious 16-bit 4K RAW recording, not every production is prepared to take advantage. That's why the camera offers not one, but five recording formats at an incredible range of bitrates from 50 Mbps to 960 Mbps (at 24p), for images from HD to 2K to 4K. (2K XAVC and 2K RAW High Frame Rate available now with the free version 2.0 upgrade. RAW requires the optional AXS-R5 recorder.) You can choose the image type, codec, processing complexity and file size that match the needs of each project.


* Compared to previous professional AVC Intra-frame only encoding.


All updates are subject to change without notice and descriptions here-in do not represent all features being implemented.
End user firmware updates are FREE of charge. Features, specifications and timeline are subject to change. (As of October 10, 2013).

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4K/2K RAW recording option

Conventional HD recording requires the image sensor signal to go through a demosaicing process, gamma encoding, bit depth reduction and a color matrix—“baking in” many decisions that may be better left for post. RAW recording requires none of these, preserving more of the original camera signal for maximum image quality and maximum flexibility in post. read more

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4K/2K RAW recording option

Conventional HD recording requires the image sensor signal to go through a demosaicing process, gamma encoding, bit depth reduction and a color matrix—“baking in” many decisions that may be better left for post. RAW recording requires none of these, preserving more of the original camera signal for maximum image quality and maximum flexibility in post. Sony's optional AXS-R5 Access Memory System recorder offers all of these benefits. But even among today's RAW recording systems, the AXS-R5 stands apart.

  • 4K RAW. Capture maximum resolution, preserving the greatest latitude for color correction and other post processes.
  • Derived 2K RAW without windowing. Unique to this process, there is no line skipping or sensor windowing. So there's no crop factor, no loss in angle of view. 2K RAW is a smart choice for HD productions and it's just one quarter the data of 4K RAW. 2K RAW High Frame Rate has arrived with the free v2.0 upgrade. (Normal speed 2K RAW with the free v3.0 upgrade, expected December 2013.)
  • Incredible 16-bit precision. By design, Sony's 16-bit recording captures more tonal values than the human eye can differentiate. Sony RAW retains 16 times as many Red, Green and Blue gradations as 12-bit RAW and 64 times as many tones per channel as 10-bit recording. Sony 16-bit linear RAW is also the ideal point of entry into the 16-bit linear Academy Color Encoding System (ACES) workflow.
  • Simultaneous RAW + Onboard SxS® recording. Instead of requiring you to patch together a science project, Sony provides a coordinated “off-line, on-line” workflow with simultaneous recording to internal SxS cards and the optional AXS-R5 RAW recorder. For easier conforming in post, you get the same start and stop frames on both versions.

To support the tremendous bitrates of 4K RAW recording, Sony created the AXSM Access Memory System, which includes the AXS-R5 recorder, AXS-512S24 memory card and an affordable USB 3.0 reader, the AXS-CR1. Once on a PC, F5RAW files can be screened using Sony's free RAW Viewer software.

AXS-R5 RAW recorder. This low-profile module fits on the back of the F5, matching the camera body in height and width.

  • Records 16-bit linear RAW in 4K (4096 x 2160) or 2K (2048 x 1080) (2K RAW High Frame Rate with the free v2.0 upgrade, available now; normal speed 2K RAW with the free v3.0 upgrade, expected December 2013)
  • Base frame rates of 23.98, 24, 25, 29.97, 50 and 59.94p
  • 4K Slow & Quick motion with selectable frame rates from 1 to 60 fps (with the free v3.0 upgrade, expected December 2013)
  • Affordable 2K RAW recording retains 16-bit linear performance at just one fourth the data of 4K RAW (2K RAW High Frame Rate with the free v2.0 upgrade, available now; normal speed 2K RAW with the free v3.0 upgrade, expected December 2013)
  • 2K High Frame Rate: 240 fps (with the free v2.0 upgrade, available now)
  • 2K Slow & Quick motion with selectable frame rates from 1 to 240 fps (with the free v3.0 upgrade, expected December 2013)
  • Live demosaiced output provides a closer-to-RAW image for outboard monitors and recorders; HD-SDI 4:2:2 10-bit signal with S-Log 2 encoding to protect highlights and shadows
  • 1:3.6 compression
  • Docks on the back of the camera and provides a V-mount for the battery
  • 22 Watts power consumption

AXS-512S24 memory card. The AXS-R5 records onto this rugged, compact card.

  • 512 GB* capacity, which equals up to 60 minutes of 4K RAW and up to 240 minutes of 2K RAW recording
  • 2.4 Gigabits per second (300 MB/sec) write speed
  • 1.95 Gigabits per second (250 MB/sec) read speed
  • exFAT file system for near-instant mounting on a computer
  • Small and lightweight; 2-3/8 x 3-1/4 x 3/8 inches (60 x 81 x 9.4 mm)


* 1 GB equals one billion bytes, a portion of which is used for data management functions.

AXSM A Series memory cards. Another media option for the AXS-R5 recorder is the AXSM A Series. Because end-users have told us that some shoots go better with more frequent media swaps, we’re introducing a smaller, 256 GB* card in addition to a larger 1 TB* version. These small, lightweight cards have the same form factor as Sony’s SxS® media, and work in the AXS-R5 recorder and AXS-CR1 card reader via a supplied adaptor. Expected availability is September, 2014.

* 1 GB equals one billion bytes and 1 TB equals one trillion bytes, a portion of which is used for data management functions.

AXS-CR1 USB 3.0 card reader. Fast and simple, the reader connects directly to compatible computers via USB 3.0 (cable sold separately) and requires no driver installation.

  • 1.95 Gigabits per second (250 MB/sec) read speed
  • Transfers 4K at 1.9x real-time (60 minutes of material transfers in 32 minutes)
  • Transfers 2K at 7.5x real-time (60 minutes of material transfers in 8 minutes)
  • No driver software required with Macintosh® and Windows® computers, thanks to exFAT file system
  • USB 3.0 interface for direct connection to many Macintosh and Windows computers
  • Read, erase and salvage functions (no writing)
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ACES color management

In a perfect world, the colors you intend would be the colors your audience sees, whether in a movie theater or at home. The F5 can achieve that goal thanks to the Academy Color Encoding System (ACES). read more

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ACES color management

In a perfect world, the colors you intend would be the colors your audience sees, whether in a movie theater or at home. The F5 can achieve that goal thanks to the Academy Color Encoding System (ACES).

ACES was created by the Science and Technology Council of the Academy of Motion Picture Arts and Sciences (AMPAS). The ACES color workflow holds tremendous promise because it clears away so many stumbling blocks.

  • Overcomes the performance limits and potential ambiguities of previous interchange formats.
  • Establishes a common playing field for images of different origins (including film scans, digital cameras and CGI).
  • Achieves consistent appearance across different toolsets.
  • Enables reliable interchange of elements among multiple service providers.
  • Retains maximum headroom for color grading.
  • Delivers consistent results across different distribution technologies.
  • Anticipates future camera and display technologies thanks to 16-bit storage that preserves more tonal values than the human eye can differentiate.

The 16-bit linear RAW capture of the F5 is the ideal point of entry into the 16-bit linear ACES workflow.

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Fast SxS® PRO+ cards

The F5 is capable of high bitrate XAVC and SR File recording—even at high frame rates. Pulling off this feat required a faster version of Sony's well-regarded SxS PRO cards. (SR File with free v1.2 upgrade, July 2013.) read more

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Fast SxS® PRO+ cards

The F5 is capable of high bitrate XAVC and SR File recording—even at high frame rates. Pulling off this feat required a faster version of Sony's well-regarded SxS PRO cards. (SR File with free v1.2 upgrade, July 2013.)

SBP-128B and SBP-64B SxS PRO+ memory cards. Presenting the new generation of Sony's sleek, thin and extraordinarily rugged memory cards.

  • Sustained data rate of 1.2 Gbps, compared to 400 Mbps for conventional SxS PRO cards
  • Peak data rate of 1.6 Gbps
  • Compatible with all previous cameras, decks and card readers that feature an SxS card slot (at conventional read/write speeds)
  • 128 GB* card has the following recording capacity:
    • Up to 60 minutes of HD XAVC at 60p
    • Up to 150 minutes of HD XAVC at 24p
    • Up to 240 minutes of MPEG-2 HD422 at 30p
  • 64 GB* card has the following recording capacity:
    • Up to 30 minutes of HD XAVC at 60p
    • Up to 75 minutes of HD XAVC at 24p
    • Up to 120 minutes of MPEG-2 HD422 at 30p
  • Data error correction defends against playback glitches
  • Power failure management protects your recording in the event of battery or power switch mishaps

* 1 GB equals one billion bytes, a portion of which is used for data management functions.

SBAC-US20 card reader. The higher-speed cards perform best with a higher-speed reader.

  • USB 3.0 interface for direct connection to compatible Windows® or Macintosh® computers
  • Peak read speed: 1.6 Gbps
  • Sustained read speed: 1.2 Gbps
  • Compatible with SxS PRO+ cards in addition to legacy SxS PRO and SxS-1 cards
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The versatile XAVC codec

To create the F5, Sony embraced an approach we called “completely new everything.” During the two-year development process, we created a next-generation image sensor, a fresh generation of SxS® cards, an innovative outboard RAW recorder, and even a next-generation compression system. read more

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The versatile XAVC codec

To create the F5, Sony embraced an approach we called “completely new everything.” During the two-year development process, we created a next-generation image sensor, a fresh generation of SxS® cards, an innovative outboard RAW recorder, and even a next-generation compression system. This is the XAVC codec, which Sony created to accomplish several key missions:

  • Supports 10-bit precision, for superior color gradation compared to 8-bit systems.
  • Supports high bit rates to a maximum of 960 Megabits per second. This was particularly crucial for High-Frame Rate recording and Sony's Slow & Quick motion (overcranking and undercranking).
  • Anticipates the trend in CMOS image sensors toward higher resolution and higher dynamic range, requiring higher recording bitrates.
  • Leverages the declining cost of computer processing power and data storage.

In many respects, the XAVC codec is a straightforward outgrowth of industry standards. This Intra-frame-only codec is firmly rooted in the industry-standard H.264/MPEG-4 Advanced Video Coding technology that Sony helped develop. The XAVC codec specifically complies with H.264 level 5.2. The codec also encapsulates video essence in an industry standard MXF OP-1a wrapper.

Under the hood, two technical features distinguish the XAVC codec.

  • The bitstream includes Sequence Parameter Set (SPS) and Picture Parameter Set (PPS) bits, enabling the recorder to dynamically optimize the picture of each individual frame. The optimized image setting remains attached to the picture even after editing.
  • Sony's multi-pass encoding includes a clever pre-coding mechanism. This enables more refined bit allocation based on human visual characteristics and superior multi-generation performance, compared to previous professional AVC Intra-frame only encoding. The pre-coder is a crucial advantage in high-frame rate and 4K recordings.


Sony's pre-coder circuit enables multi-pass encoding, for superior performance compared to previous professional AVC Intra-frame only encoding.

The F5 incorporates the XAVC codec in an exclusive, custom-built chipset of amazing versatility. It also performs MPEG-2 HD422 and SR File processing, while keeping power consumption low. (SR File available in v1.2 upgrade, July 2013.)

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Simultaneous recording

In today's fast-paced, high-pressure production environment, editorial sometimes needs to get working at the earliest possible moment. Sony understands. That's why the F5 performs simultaneous recording. read more

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Simultaneous recording

In today's fast-paced, high-pressure production environment, editorial sometimes needs to get working at the earliest possible moment. Sony understands. That's why the F5 performs simultaneous recording. Instead of requiring you to patch together a science project, Sony provides a coordinated “off-line, on-line” workflow. For easier conforming in post, you get matching start frame and stop frame.


Simultaneous RAW and SxS® recording enables you to consider the RAW file as camera original negative and the SxS file as your workprint,
immediately ready for editorial.

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Optical disc backup and archiving

While the F5 records onto memory cards, Sony understands the need to offload your productions onto affordable storage media. Fortunately, the F5 works beautifully with Sony optical disc systems for backup, archiving, playback and program exchange. read more

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Optical disc backup and archiving

While the F5 records onto memory cards, Sony understands the need to offload your productions onto affordable storage media. Fortunately, the F5 works beautifully with Sony optical disc systems for backup, archiving, playback and program exchange.

  • Sony Professional Disc™ media has a track record for reliable storage in the harshest of field conditions. It's also accepted by thousands of XDCAM® HD decks and thousands more XDCAM HD drives.
    • For XDCAM HD 422 files. Files captured as 50 Mbps MPEG-2 422 are fully compatible with XDCAM HD systems. Simply drag & drop files onto the clip folder of Professional Disc media. The result is a bit-for-bit copy that will play on XDCAM HD decks and read on XDCAM HD drives. You even get XDCAM 2 Mbps proxy video, which is generated automatically as you copy. This solution is perfect for playing back, archiving and delivering HD projects.
    • For data backup of other files. You can use Professional Disc media as pure data storage for F5RAW, SR File and XAVC files.
  • Sony Optical Disc Archive (ODA) cartridges hold up to 1.5 Terabytes1 of data in compact, handheld format. Each cartridge contains 12 data discs, organized as a single volume. Unlike generic data storage systems, Sony ODA systems have utilities for managing audio/visual content. You can use our Content Manager to back up MPEG-2 and XAVC for archiving, restoring and delivery to clients. The system automatically generates metadata, including browse-able proxy video and thumbnail pictures. You can also use ODA cartridges to back up F5RAW files as data.

1 One terabyte is a trillion bytes, a portion of which is used for data management

The F5 works beautifully with Sony Professional Disc media (left) and Sony Optical Disc Archive cartridges (right).

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MPEG-2 HD workflow

Launched with Sony's XDCAM® HD system, the MPEG-2 HD422 codec at 50 Megabits per second is an industry workhorse. It's the go-to format for reality TV, network news, sports and many other genres. It's an accepted format, receiving the formal blessing from many of the world's most demanding broadcasters and channel operators. And it's a compatible format, with near universal support from third-party system vendors. read more

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MPEG-2 HD workflow

Launched with Sony's XDCAM® HD system, the MPEG-2 HD422 codec at 50 Megabits per second is an industry workhorse. It's the go-to format for reality TV, network news, sports and many other genres. It's an accepted format, receiving the formal blessing from many of the world's most demanding broadcasters and channel operators. And it's a compatible format, with near universal support from third-party system vendors.

The codec is in such widespread use because it combines full HD resolution, vivid 4:2:2 color and relatively lightweight files at a modest 50 Mbps. It's optimized for fast PC processing, modest storage cost and easy network file transfers.


Files recorded in the MPEG-2 HD422 codec play back easily on Sony's Content Browser software on both Windows® and Macintosh® computers.

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XAVC workflow

The XAVC codec delivers powerful advantages, including beyond-HD performance in resolution and frame rates, as well as the subtle grayscale rendition of 10-bit precision. Even in early days, the XAVC codec is supported by a broad range of third-party workflow vendors. read more

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XAVC workflow

The XAVC codec delivers powerful advantages, including beyond-HD performance in resolution and frame rates, as well as the subtle grayscale rendition of 10-bit precision. Even in early days, the XAVC codec is supported by a broad range of third-party workflow vendors.


Sony's Content Browser software plays back files recorded in the XAVC codec on both Windows® and Macintosh® computers.

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SR File workflow

The SR File brings the legendary image quality of HDCAM-SR recording into the file-based, direct-to-edit world. As a presence throughout Hollywood postproduction and a force in television program exchange, the SR File system enjoys widespread third-party support. (Available with free v1.2 upgrade, expected July 2013.) read more

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SR File workflow

The SR File brings the legendary image quality of HDCAM-SR recording into the file-based, direct-to-edit world. As a presence throughout Hollywood postproduction and a force in television program exchange, the SR File system enjoys widespread third-party support. (Available with free v1.2 upgrade, expected July 2013.)

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F5RAW workflow

F5RAW files take advantage of the trail already blazed by Sony's F65RAW format. The F5RAW files use the same Sony RAW Viewer software, plus many of the same third-party solutions for dailies, editing, finishing and visual effects. read more

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F5RAW workflow

F5RAW files take advantage of the trail already blazed by Sony's F65RAW format. The F5RAW files use the same Sony RAW Viewer software, plus many of the same third-party solutions for dailies, editing, finishing and visual effects.


Sony's RAW Viewer software makes it easy to view and back up F65RAW, F55RAW and F5RAW files. You can also check highlight handling, scrutinize image noise and select takes.

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F5 camera firmware upgrades

read more

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F5 camera firmware upgrades

Firmware upgrade v1.03 (March 1, 2013). Release notes and download.

Firmware upgrade 1.10 for F55, F5 and AXS-R5 (March 8, 2013). Release notes and download.

Firmware upgrade 1.12 for F55, F5 and AXS-R5 (April 4, 2013). Release notes and download.

Firmware upgrade 1.13 (April 26, 2013). Release notes and download.

Firmware upgrade 1.14 (June 7, 2013). Release notes and download.

Firmware upgrade 1.15 (June 21, 2013). Release notes and download.

Firmware upgrade 1.2 (July 26, 2013). Release notes and download.

Firmware upgrade 2.0 (September 30, 2013). Release notes and download.

Firmware upgrade 2.1 (November 6, 2013) with support for 4K live via CA-4000 fiber adaptor. Release notes and download.

NOTES: RAW recordings require optional AXS-R5. End user firmware updates are FREE of charge.
Features, specifications and timeline are subject to change. (As of September 12, 2013).

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Project frame rates

read more

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Project frame rates

NOTES: All updates are subject to change without notice and descriptions here-in do not represent all features being implemented
End user firmware updates are FREE of charge. Features, specifications and timeline are subject to change. (As of November 8, 2013).

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AXS-R5 recorder firmware upgrades

read more

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AXS-R5 recorder firmware upgrades

Firmware upgrade 1.10 (March 8, 2013). Release notes and download.

Firmware upgrade 1.12 (April 4, 2013). Release notes and download.

Firmware upgrade 1.20 (June 6, 2013). Release notes and download.

Firmware upgrade 1.21 (July 26, 2013). Release notes and download.

Firmware upgrade 2.0 (September 30, 2013). Release notes and download.

NOTES: RAW recordings require optional AXS-R5. End user firmware updates are FREE of charge.
Features, specifications and timeline are subject to change. (As of September 12, 2013).

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F5 Production in France: “Images”

Lucie Wendremaire reports on this new variation on the theme of boy meets girl.

Read the story in the FD Times Special Report.

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F5 Production in France: “Images”

Lucie Wendremaire reports on this new variation on the theme of boy meets girl.

Read the story in the FD Times Special Report.

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USC F5 Productions

The faculty at the USC School of Cinematic Arts put the Sony F5 to the test in two demanding—and dramatically different—productions. Assistant Dean Douglas Wellman describes the challenges and the results.

Read the story in the FD Times Special Report.

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USC F5 Productions

The faculty at the USC School of Cinematic Arts put the Sony F5 to the test in two demanding—and dramatically different—productions. Assistant Dean Douglas Wellman describes the challenges and the results.

Read the story in the FD Times Special Report.

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