DPs gave Sony a wish list. Higher resolution than any previous digital motion picture camera1. Even greater exposure latitude, dynamic range and wider color gamut than Sony's previous best. Plus file-based SR Codec recording for fast, efficient episodic TV production workflow. Plus 16-bit linear RAW to support the most demanding feature films. On the Sony F65 digital motion picture camera, it's all true. And it's only the beginning.
1. As of August 2011.

The tyranny of the weekly schedule imposes unique production requirements on episodic television. Under this time-is-money pressure, the F65 thrives. In addition to the camera's phenomenal image making potential, you also get the simplicity of file-based capture with the companion SRMASTER™ field recorder. File-based recording saves time, enabling you to start your edit immediately. And Sony's SR Codec is the industry's de facto standard for mastering. The codec provides broad compatibility with NLEs and convenient playback on a laptop PC.

While all previous Sony cameras aimed to equal 35mm film, the F65 was designed from the outset to exceed 35mm. Higher resolution than any previous digital motion picture camera (as of August 2011) comes together with the vast potential of 16-bit linear RAW recording, giving cinematographers a brilliant new canvas on which to tell stories. RAW recording captures the full detail and performance of Sony's remarkable image sensor, preserving a latent image with the maximum potential for exploration, refinement and improvement in post. This is ideal for commercials, music videos and feature films—any production committed to full-on color grading.

4K is just the beginning

The F65 exceeds the resolution of any previous digital motion picture camera (as of August 2011), the result of a remarkable Sony Super 35 image sensor. Sony has been developing semiconductor image sensors since 1973 and manufacturing commercial quantities since 1985. Through all the decades, our design goal has always been to match the photographic quality of 35mm film. But now we're setting our sights even higher: to surpass the limits of human vision. The F65 image sensor is the first of this new breed.

back to top expand

4K is just the beginning

The F65 is the world's highest resolution digital motion picture camera (as of August 2011), the result of a remarkable Sony Super 35 image sensor. Sony has been developing semiconductor image sensors since 1973 and manufacturing commercial quantities since 1985. Through all the decades, our design goal has always been to match the photographic quality of 35mm film. But now we're setting our sights even higher: to surpass the limits of human vision. The F65 image sensor is the first of this new breed.


The sheer resolution of the F65 gratifies the eye in this still from "The Arrival," directed and shot by Curtis Clark, ASC. (JPEG from an actual F65 frame.)

In its ability to resolve detail, to handle lighting extremes, to see into the darkness and still come up with a clear image, the F65 is blowing away veteran cinematographers and colorists. The Sony F65 is a stand-out in every one of these areas largely because the sensor incorporates technology that cannot be found anywhere else.


The F65 employs a unique Sony CMOS sensor which achieves higher resolution than any previous digital motion picture camera (as of August 2011) while delivering superb exposure latitude and sensitivity.

A study in superlatives, the F65 image sensor boasts the most photosites of any digital motion picture camera (20 million) and is the world's first to offer a dedicated green photosite for every pixel in the 4K output image. The F65 can provide exquisite images of supersampling 1080p high definition, perfect for the time-is-money pressures of episodic television. The F65 can also output 16-bit linear RAW, which preserves all the information obtained from every photosite on the image sensor—up to 8K of resolution. This gives you phenomenal ability to demosaic, adjust grayscale, color correct, composite and even re-frame the image in post.The advantage here is ability to derive 4K, 2K, HD from 16-bit linear RAW.

Exquisite supersampling HD and 2K

Even if your postproduction workflow and deliverable are currently high definition or 2K, the 20 million photosites of the F65 deliver a powerful imaging advantage. The difference is "supersampling." All cameras deliver high contrast on large image areas. But as the detail gets finer and finer, contrast suffers. We can draw up a chart of this loss with the vertical axis representing contrast from 0% to 100% and the horizontal axis representing picture definition, which can be measured either as line pairs per millimeter (LP/mm) in the optical domain or TV lines per Picture Height (TVL/ph) in video terms.

Conventional HD cameras start at near 100% contrast and begin to drop off as the picture details get progressively finer. Thanks to the new image sensor, the F65 contrast remains strong, even in fine details. So the picture is dramatically sharper.


Conventional HD cameras (orange curve) incur a noticeable loss of contrast as picture detail approaches the resolution limit. As applied in the F65, supersampling and electronic downconverting deliver far higher contrast at high frequencies, for a noticeably sharper picture.

20 million photosites versus "4K"

Some camera manufacturers measure their sensor resolution on the basis of "K," a unit that equates to 1024 horizontal photosites. So a 4K sensor might have 4096 photosites on every row. Unfortunately, the actual resolution is less because these sensors use Bayer color filter arrays. This design leverages two facts. First, the human eye is more sensitive to black & white (luminance) detail than to color detail. Second, the largest component of luminance is Green. In the Bayer array, 50% of the photosites detect Green light only, 25% detect Blue only and the remaining 25% detect Red only.

The 4K Bayer array runs into challenges when you try to construct a 'true' 4K RGB output image from the compromised RGB Bayer components. This requires a de-Bayering process, an exercise in guesswork that must estimate two out of three color values for each pixel. For example, on a Red photosite, the de-Bayering algorithm must guess at Green and Blue values. However sophisticated the de-Bayering algorithms may be, they still cannot fully recreate image information that was never captured to begin with. For this reason, the final resolution falls, to various degrees, short of true 4K.


The de-Bayering process is an attempt to guess at data that was never present to begin with. The result is something less than the full resolution promised by the simple count of image sensor photosites.


A typical 4K Bayer sensor with 4096 x 2160 photosites falls short of true 4K resolution.

As a leader in image sensor technology, Sony was able to develop an original image sensor of substantially higher pixel density.Compared to the 8.8 million photosites of the typical 4K sensor, the F65 sensor has 20 million photosites. Where the 4K sensor has half as many green photosites as there are 4K output pixels, the F65 sensor has a one-to-one ratio: one green photosite for each pixel of the 4K output image. This new "Zig-Zag" sampling structure results in best-in-class image sharpness, including full 4K resolution on the all-important Green channel. In this way, when an F65 RAW image is demosaicked to 4K, there's absolutely no guesswork required in the Green channel, and twice as much precision for the Blue and Red.


Sony's F65 is the first digital cinema camera to deliver true 4K, with full horizontal, vertical and even diagonal resolution on the Green channel, plus full V and H resolution on the Blue and Red channels.

collapse back to top

Exposure latitude and sensitivity

Conventionally, increased resolution comes at the sacrifice of other photographic qualities. But the F65 is no conventional camera. It takes advantage of Sony's expertise in creating ever smaller photosites with ever higher performance in sensitivity and signal-to-noise ratio. Thanks to Sony CMOS advances, the F65 empowers the cinematographer with prodigious exposure latitude, high sensitivity and extremely low noise.

back to top expand

Exposure latitude and sensitivity

Conventionally, increased resolution comes at the sacrifice of other photographic qualities. But the F65 is no conventional camera. It takes advantage of Sony's expertise in creating ever smaller photosites with ever higher performance in sensitivity and signal-to-noise ratio. Thanks to Sony CMOS advances, the F65 empowers the cinematographer with prodigious exposure latitude, high sensitivity and extremely low noise.


The F65 holds detail in the sunlit exterior, as well as the interior blacks in this still from "The Arrival," directed and shot by Curtis Clark, ASC.
(JPEG from an actual F65 frame.)


In another still from "The Arrival," even dimly lit details are exceptionally clean. (JPEG from an actual F65 frame.)

collapse back to top

Extended color gamut

In kindergarten, you probably wanted the biggest box of crayons. In digital cinematography, you definitely want it. Many HD cameras are limited to the Rec.709 color space. While this produces broadcast-legal color for television productions, it still falls short of motion picture film. The Sony F65 transcends this limitation. The camera features a new Color Filter Array on the sensor, along with a 3D lookup table (LUT) and proprietary color management systems. In this way, the F65 can shoot in either Rec.709 or F65 Gamut, which actually exceeds the SMPTE specification for color negative film in every direction.

back to top expand

Extended color gamut

In kindergarten, you probably wanted the biggest box of crayons. In digital cinematography, you definitely want it. Many HD cameras are limited to the Rec.709 color space. While this produces broadcast-legal color for television productions, it still falls short of motion picture film. The Sony F65 transcends this limitation. The camera features a new Color Filter Array on the sensor, along with a 3D lookup table (LUT) and proprietary color management systems. In this way, the F65 can shoot in either Rec.709 or F65 Gamut, which actually exceeds the SMPTE specification for color negative film in every direction.


Here's the bigger box of crayons you always wanted. The range of available colors in Sony's F65 Gamut is larger than that of the SMPTE specification for color negative film.

collapse back to top

SRMASTER™ recording

While others design cameras, Sony designs comprehensive production systems that anticipate your needs from the set to postproduction, delivery and archiving. That's why the F65 camera is designed to work with the docking SR-R4 SRMASTER field recorder, which captures your work to solid-state SRMemory™ cards. Here is file-based recording of phenomenal versatility, capacity and image quality. Best of all, the SR-R4 is just one part of a comprehensive, next-generation production system that includes field recorders, studio decks, a transfer station as well as the SRMemory™ cards.

The SRMASTER system represents a significant in advance in two distinct production styles: episodic TV and cinema.

back to top expand

SRMASTER™ recording

While others design cameras, Sony designs comprehensive production systems that anticipate your needs from the set to postproduction, delivery and archiving. That's why the F65 camera is designed to work with the docking SR-R4 SRMASTER field recorder, which captures your work to solid-state SRMemory™ cards. Here is file-based recording of phenomenal versatility, capacity and image quality. Best of all, the SR-R4 is just one part of a comprehensive, next-generation production system that includes field recorders, studio decks, a transfer station as well as the SRMemory™ cards. The SRMASTER system represents a significant in advance in two distinct production styles: episodic TV and cinema.

For episodic television: SR Codec

The tyranny of the weekly schedule imposes unique production requirements on episodic television. Under this time-is-money pressure, the SRMASTER system thrives thanks to Sony's SR Codec.

  • Well-established postproduction system that's already a fixture in high-end facilities all over the world via the HDCAM SR™ tape format
  • Virtually lossless and visually lossless recording at 440 and 880 Mbps plus space-saving 220 Mbps SR Lite
  • Choice of 4:2:2 YCbCr or 4:4:4 RGB recording
  • Superb grayscale rendition with 10-bit and 12-bit recording
  • Faster than real-time file transfers
  • File playback on a laptop PC
  • Broad file compatibility with popular editing and color correction systems
  • Compatible with HDCAM SR tape for archiving and program exchange

For cinema: 16-bit linear RAW recording

For music videos, commercials and feature film production, the SRMASTER system delivers stunning image quality and flexibility of 16-bit linear RAW recording.

  • Preserves the full quality of the original captured image, including the full resolution of 20 million photosites
  • Flexible demosaicking "develops" the latent RAW image into RGB output files
  • Your choice of resolution: gloriously supersampled HD, supersampled 2K, true 4K or even 8K
  • Maximum image quality for vigorous color correction and grayscale enhancement
  • Incredible resolution for compositing at the very highest quality
  • Overhead resolution for punching in and motion stabilization in post
  • Flexibility to extract 4K, 2K, and HD quadrants from the full-resolution image
collapse back to top

Choice of picture composition

The F65 adheres to the 1.9:1 aspect ratio of the DCI projection standard (4096 x 2160 or 2048 x 1080). This canvas enables a choice of picture composition as needed: 1.85:1, 1.78:1, 1.66:1, 1.33:1, 2.35 spherical, 1.3x anamorphic, or 2x anamorphic cropped.

back to top expand

Choice of picture composition

The F65 adheres to the 1.9:1 aspect ratio of the DCI projection standard (4096 x 2160 or 2048 x 1080). This canvas enables a choice of picture composition as needed: 1.85:1, 1.78:1, 1.66:1, 1.33:1, 2.35 spherical, 1.3x anamorphic, or 2x anamorphic cropped.

collapse back to top

Up to 120 frames per second

To support slow motion and fast motion, the F65 provides over- and undercranking at frame rates of 1 to 60 frames per second (4Kx2K resolution), and up to 120 frames per second (4Kx1K resolution). In both modes, you get high-speed shots without "windowing," crop factor or change of effective focal length.

back to top expand

Up to 120 frames per second

To support slow motion and fast motion, the F65 provides over- and undercranking at frame rates of 1 to 60 frames per second (4Kx2K resolution), and up to 120 frames per second (4Kx1K resolution). In both modes, you get high-speed shots without "windowing," crop factor or change of effective focal length.

collapse back to top

Rotary shutter option

Typical CMOS sensor cameras are prone to "rolling" shutter defects, where the exposure timing of each row of pixels is slightly offset from the next. Row after row, these differences can trigger geometric distortion in moving objects or camera movements, particularly visible in the horizontal movement of objects with strong vertical lines. Rolling shutter artifacts are especially troublesome in 3D mirror rigs, where one camera is upside down. The artifacts in the left camera don't match those in the right, causing unwanted disparities. Rolling shutter also incurs "flash banding" where a strobe light illuminates only a horizontal band across the frame. As with other Sony cameras, the F65 uses an advanced CMOS design to reduce rolling shutter artifacts to a bare minimum.

back to top expand

Rotary shutter option

Typical CMOS sensor cameras are prone to "rolling" shutter defects, where the exposure timing of each row of pixels is slightly offset from the next. Row after row, these differences can trigger geometric distortion in moving objects or camera movements, particularly visible in the horizontal movement of objects with strong vertical lines. Rolling shutter artifacts are especially troublesome in 3D mirror rigs, where one camera is upside down. The artifacts in the left camera don't match those in the right, causing unwanted disparities. Rolling shutter also incurs "flash banding" where a strobe light illuminates only a horizontal band across the frame. As with other Sony cameras, the F65 uses an advanced CMOS design to reduce rolling shutter artifacts to a bare minimum.


The curved housing accommodates Sony's optional Rotary shutter.

But for productions that demand complete geometric accuracy, the F65 can go further still.The Rotary shutter eliminates rolling shutter artifacts. The Rotary shutter takes the form of rotating blades and supports variable shutter angles (shutter speeds). With the Rotary shutter, the geometric integrity of on-screen objects is preserved. And flash banding is not an issue.

collapse back to top

What they're saying about the F65

"The F65 is the first camera I've seen that elevates the platform to achieve something that might not only be comparable to 35mm film in all of its spectacular glory and 4K scan resolution, but also might even exceed it."
—Curtis Clark, ASC

back to top expand

What they're saying about the F65

"The F65 is the first camera I've seen that elevates the platform to achieve something that might not only be comparable to 35mm film in all of its spectacular glory and 4K scan resolution, but also might even exceed it."
—Curtis Clark, ASC

Look behind the scenes at the making of Curtis Clark's short film, "The Arrival."

Winner: TV Technology Mario Award 2011

Sony unveiled the F65 at NAB 2011, where it was recognized as a technical breakthrough with a Mario Award from TV Technology's legendary Masked Engineer.

Sony's Kazuo Endo and Peter Crithary pose with TV Technology's "Mario" Award.

Winner: Cine Gear Expo 2011: Best Camera Technology

At the 2011 Cine Gear Expo, the show's panel of expert judges recognized the Sony F65 with the award for Best Camera Technology.

Preview of the F65 in Jon Fauer's Film and Digital Times

Read Jon's exclusive coverage of his trip to Sony's Atsugi Tech Center (camera engineering) and Kumamoto Tech Center (image sensor production).

collapse back to top

Fast, file-based workflow

The F65's companion SR-R4 SRMASTER recorder captures your work onto solid state SRMemory™ cards, where your footage is written as MXF data files. This yields benefits throughout the production process.

back to top expand

Fast, file-based workflow

The F65's companion SR-R4 SRMASTER recorder captures your work onto solid state SRMemory™ cards, where your footage is written as MXF data files. This yields benefits throughout the production process.

  • No more fast forward or rewind; instant access to each take.
  • Read, back up, copy and transfer these just like any other data files.
  • Transfers and backups can happen faster-than-real time.
  • Backups are mathematically lossless clones of the original.
  • You can enjoy direct-to-edit operation in the native SR Codec, using popular third-party NLEs.
  • You can finish productions in the native SR Codec, using powerful third-party systems.
  • You can even play back the files on laptop PCs, using free Sony software for Windows® OS.

While some MXF file structures can be complex, SRMASTER files are simple, interleaving audio and video in a single file. This is the same "Operational Pattern 1a" (OP1a) data structure used by XDCAM® HD files. The files also support robust, camera-specific metadata according to SMPTE RDD-18 (Sony) guidelines.

A product of open standards, the SR Codec uses
ISO/IEC compression: MPEG-4 Simple Studio Profile (SStP).

collapse back to top

Easy Computer Playback

The SR encoding process is hugely complex and processing intensive. But the decoding process is fast and simple. As a result, SR files will play on a laptop PC, using Sony's SRV-10 SR File player application for Windows® OS. The software supports the DirectShow framework so you can output from the Blackmagic™ DeckLink™ card to an external HD display or recorder. Download the Codec Player application for Windows OS® here.

back to top expand

Easy Computer Playback

The SR encoding process is hugely complex and processing intensive. But the decoding process is fast and simple. As a result, SR files will play on a laptop PC, using Sony's SRV-10 SR File player application for Windows® OS. The software supports the DirectShow framework so you can output from the Blackmagic™ DeckLink™ card to an external HD display or recorder. Download the Codec Player application for Windows OS® here.

collapse back to top

Direct-to-edit NLE and finishing workflow

The combination of MXF file transfers and third-party support for the SR Codec translates into something wonderful: native SR Codec editing. Sony has been cooperating with nonlinear editing vendors to deliver on this promise.

back to top expand

Direct-to-edit NLE and finishing workflow

The combination of MXF file transfers and third-party support for the SR Codec translates into something wonderful: native SR Codec editing. Sony has been cooperating with nonlinear editing vendors to deliver on this promise.

  • Avid Media Composer 5.5 (and higher) and Symphony Nitris 5.5 (and higher). The Avid AMA plug-in decodes SRFiles, enabling you to edit and directly read the files. (Encoding/creating SRFiles is not currently supported.)
    Download the free SRPA-10 Avid AMA plug-ins for Mac OS® or Windows OS® here.
  • Final Cut Pro v7. The Final Cut Pro QT v7 plug-in decodes SRFiles, enabling you to edit and directly read the files. (Encoding/creating SRFiles is not currently supported.) The plug-in maps the MXF wrapper to the QuickTime environment so no re-wrapping or other conversion process is needed. This enables native, direct to edit access of the files in Final Cut Pro.
    Download the free SRPM-10 plug-in for Final Cut v7 here.
  • Sony Vegas® V10.d incorporates native, direct-to-edit workflow with the SR Codec.
  • Final Cut Pro X. No support at launch time. Sony is currently studying the development of a 64-bit plug in compatible with Final Cut Pro X.

FilmLight Baselight systems natively support SR Codec files in both hardware and software. For DI compositing and finishing, the SR Codec is natively supported by BlackMagic Design DaVinci Resolve.

collapse back to top

Complete SRMASTER™ production platform

It's not hard to record data onto memory cards. The real challenge is developing a solid state platform with superb data integrity, fast on-set backup, efficient post production and the headroom required for next-generation imaging. You need a system that simplifies data wrangling and minimizes sleepless nights. And for the F65, you need a system that supports master-quality recording at resolutions of HD, 2K, 4K and beyond. This is the SRMASTER™ production platform.

 
back to top expand

Complete SRMASTER™ production platform

It's not hard to record data onto memory cards. The real challenge is developing a solid state platform with superb data integrity, fast on-set backup, efficient post production and the headroom required for next-generation imaging. You need a system that simplifies data wrangling and minimizes sleepless nights. And for the F65, you need a system that supports master-quality recording at resolutions of HD, 2K, 4K and beyond. This is the SRMASTER™ production platform.

The SRMASTER platform is a comprehensive, next-generation production system that includes field recorders, studio decks, a transfer station and SRMemory™cards.

The SRMemory™ card

About the size of a smart phone, the SRMemory™ card delivers capacity and transfer speed far beyond previous cards. Where HDCAM SR tape achieves a sustained 440 and 880 Mbps and SxS™ cards can achieve momentary bursts of up to 1.2 Gbps1, SRMemory™ cards go much further. Sustained write speed is 5 Gbps. Made possible by dedicated memory controller circuits inside each card, this speed is a vital advantage when you're backing up your original camera masters after a day's shoot. The maximum capacity of 1 Terabyte (1,000 GB2) exceeds any previous memory card.3 Other cards will be offered in capacities of 256 GB2 and 512 GB2.

1. Read speed measured with benchmark software. Actual transfer speed varies based upon the measurement conditions.

2. 1 GB equals one billion bytes, a portion of which is used for data management functions.

3. As of August 2011.


Remarkable to see on a memory card: the designation "1 TB."

The next-generation capacity and transfer rate of SRMemory™ cards enable productions to enjoy powerful recording options. Choices include 10-bit, 12-bit, the new 220 Mbps SR Lite level of the SR Codec, 440 Mbps, or 880 Mbps and extend all the way up to 16-bit RAW. SRMemory™ cards can record and output two data streams at the same time, enabling stereoscopic 3D recording and simultaneous, independent read/write operations. Sony is also upgrading the audio, going from 12 channels of uncompressed audio on HDCAM SR tape to 16 channels on SRMemory™ cards.

The SR-R4 SRMASTER field recorder

The F65 benefits from a dedicated, docking field recorder: the SR-R4. (Expected availability: January 2012).

  • 16-bit linear RAW recording
  • 12-bit SR Codec recording 880 Mbps (4:4:4 RGB HQ mode) of 1080p high definition
  • 10-bit SR Codec recording of 1080p high definition
    • 880 Mbps (4:4:4 RGB HQ mode)
    • 440 Mbps (4:2:2 YCbCr and 4:4:4 RGB SQ mode)
    • 220 Mbps (4:2:2 YCbCr SR Lite mode)
  • Selectable fps (Slow & Quick motion)
    • 4Kx2K (4096 x 2160): up to 60 fps
    • 4Kx1K (4096 x 1080): up to 120 fps

The F65 camera docked to the equally remarkable
SR-R4 SRMASTER field recorder.

Smarter, speedier data wrangling

The SRMASTER platform has you covered from the set, through data backup and well into post production. Sony provides the entire process, end to end. To back up your precious original camera masters, Sony created the SR-R1000 deck (expected availability September 2011). The SR-R1000 is essentially a multi-channel server, with four SRMemory™ card slots and up to 8 TB4 of internal memory storage. Depending on the type of data, up to four SRMemory™ cards can be ingested at the same time. A 1 TB SRMemory™ card can store about an hour of F65 16-bit RAW data. The SR-R1000 can offload a full 1 TB card in less than 30 minutes, moving the data into internal memory storage. This makes the R1000 ideal for efficient data management on the set and in the post production studio.

4. 1 TB equals one trillion bytes, a portion of which is used for data management functions.

The SR-R1000 multi-channel server has slots for four SRMemory™ cards.

The SRPC-5 transfer station features a 10 Gigabit Ethernet interface.

The SRPC-5 transfer station (expected availability December 2011) connects to a computer or server via 10 Gigabit Ethernet to quickly move data from the SRMemory™ cards and into post production. A single Rack Unit high, this component also has 3G-SDI and HD-SDI outputs, and can back up data to HDCAM SR digital tape at up to 2x real time. The SRPC-5 also complements existing on-set data ingest solutions.

 
collapse back to top

SR Codec: the de facto standard for mastering

Many of today's motion picture productions are recorded, stored, exchanged or archived using the SR Codec, as featured in the HDCAM SR™ tape format. Regardless of the acquisition camera brand, regardless of the acquisition codec, productions trust the de facto standard SR Codec to protect their assets. With the SRMASTER system, exactly the same codec comes to file-based recording. The advantages are decisive.

back to top expand

SR Codec: the de facto standard for mastering

Many of today's motion picture productions are recorded, stored, exchanged or archived using the SR Codec, as featured in the HDCAM SR™ tape format. Regardless of the acquisition camera brand, regardless of the acquisition codec, productions trust the de facto standard SR Codec to protect their assets. With the SRMASTER system, exactly the same codec comes to file-based recording. The advantages are decisive.

  • Very mild compression; picture quality close to uncompressed at a significantly lighter data payload.
  • 880 Mbps HQ mode is virtually lossless compared to uncompressed recording
    • 4:2:2 up to 60p
    • 4:4:4 RGB 10-bit up to 60p
    • 4:4:4 RGB 12-bit recording up to 30p
  • 440 Mbps SQ mode is visually lossless compared to uncompressed recording
    • 4:2:2 up to 30p
    • 4:4:4 RGB 10-bit recording
  • 220 Mbps SR Lite mode, 4:2:2 10-bit recording.
  • Significant savings in bandwidth and RAID hard disk arrays compared to uncompressed, for example 76% savings in 440 Mbps SQ mode.


The Gigabytes really add up. Uncompressed 1920x1080 recording can require 671 GB for a single hour of material. The three SR Codec modes substantially lighten the load.

  • Superb grayscale rendition with a choice of 10-bit and 12-bit in RGB
  • Multi-generation robustness: up to seven generations at 220 Mbps with very little quality loss
  • Developed and supported by a company with a decades-long commitment to imaging professionals and a full understanding of the need to protect archival assets
  • Each progressive frame or interlaced field is calculated independently
  • Extraordinarily powerful encoding via Sony large-scale integrated circuit with tens of millions of transistor gates; uses the efficiencies of both lossless DPCM and DCT compression technology within each field or frame
  • Simple decoding on a PC with modest CPU resources and HDD performance; Ideal for multi-track editing, finishing and laptop workflow
  • Algorithm is highly scalable: HD, 2K, and up to 4K (four times 440 Mbps)
  • Up to 16 channels of uncompressed audio: 24-bit depth, 48 kHz sampling; up to 8 channels at 96 kHz sampling

Perfect for television: 220 Mbps SR Lite recording

Another boon to television production, the combination of the F65 camera and docking SR-R4 recorder supports acquisition at the new SR Lite data rate: 220 Mbps. This brings with it a host of practical advantages, including faster file transfers, lighter storage requirements and an 88% savings in storage cost versus 4:4:4 uncompressed. Interestingly, it is very difficult to see the difference between the 220 Mbps and 440 Mbps.

collapse back to top

SRMemory™/SR tape hybrid workflow

The HDCAM SR™ tape format is nearly ubiquitous in studios and high-end post houses. Sony anticipates years of synergy between HDCAM SR™ tape and SRMASTER memory recording. For example, HDCAM SR tape users can take advantage of file-based operations with the SRW-5800/2 deck outputting 440 and 880 Mbps tape-recorded clips as SR Codec data files. Because the files are clones of the original essence data, the operation is mathematically lossless. You can also transcode 440 Mbps 4:2:2 HDCAM SR assets and 140 Mbps HDCAM® tapes to 220 Mbps SR Lite files. This is a brilliant way to future-proof HDCAM archival assets.

back to top expand

SRMemory™/SR tape hybrid workflow

The HDCAM SR™ tape format is nearly ubiquitous in studios and high-end post houses. Sony anticipates years of synergy between HDCAM SR™ tape and SRMASTER memory recording. For example, HDCAM SR tape users can take advantage of file-based operations with the SRW-5800/2 deck outputting 440 and 880 Mbps tape-recorded clips as SR Codec data files. Because the files are clones of the original essence data, the operation is mathematically lossless. You can also transcode 440 Mbps 4:2:2 HDCAM SR assets and 140 Mbps HDCAM® tapes to 220 Mbps SR Lite files. This is a brilliant way to future-proof HDCAM archival assets.

The SRPC-5 transfer station (expected availability December 2011) can dock to an SRW-5800/2 tape deck and clone the SR Codec files to an HDCAM SR digital tape at up to twice real time speed. In the case of 440 and 880 Mbps recordings, the tapes will be mathematically lossless clones of your originals. The SRPC-5 can also transfer the data from the SRMemory™ card into a server environment.

collapse back to top

Academy IIF-ACES Workflow

After decades of development, motion picture film was graced by a stable, predictable workflow. Today the Digital Intermediate is king, Digital Cinema is reaching the tipping point and digital motion picture cameras have gone from strength to strength. But the digital workflow still has hiccups and speed-bumps when it comes to color. The color captured on-set doesn't always make it to the screen. It was to resolve these issues that the Academy of Motion Picture Arts and Sciences worked to develop the definitive color-encoding workflow. It's called the Image Interchange Format—Academy Color Encoding Specification (IIF-ACES). We are honored to report that the world's first IIF-ACES production, an episode of the FX series Justified, used the Sony F35 digital camera. Needless to say, the F65 was built from the ground up to support IIF-ACES.

back to top expand

Academy IIF-ACES Workflow

After decades of development, motion picture film was graced by a stable, predictable workflow. Today the Digital Intermediate is king, Digital Cinema is reaching the tipping point and digital motion picture cameras have gone from strength to strength. But the digital workflow still has hiccups and speed-bumps when it comes to color. The color captured on-set doesn't always make it to the screen. It was to resolve these issues that the Academy of Motion Picture Arts and Sciences worked to develop the definitive color-encoding workflow. It's called the Image Interchange Format—Academy Color Encoding Specification (IIF-ACES). We are honored to report that the world's first IIF-ACES production, an episode of the FX series Justified, used the Sony F35 digital camera. Needless to say, the F65 was built from the ground up to support IIF-ACES.

Thanks to the enormous color-handling potential of 16-bit linear OpenEXR storage, the IIF-ACES workflow beautifully maintains color values from scene to screen. To get the picture from stage to stage, the workflow protects color integrity with a series of tightly defined transforms: Input Device Transform (IDT), Look Modification Transform (LMT), Reference Rendering Transform (RRT) and Output Device Transform (ODT). In this way, the cinematographer's vision can be reliably conveyed through postproduction and into distribution. IIF-ACES is a breakthrough in color reproduction. And the F65 supports it.

collapse back to top

16-bit linear RAW, the ultimate archive

Originally applied to digital still cameras, RAW recording captures the full potential of the image sensor. The RAW file consists of information from all 20 million photosites on the F65 sensor, preserving maximum resolution. Sixteen-bit linear recording equates to 65,536 shades of tonal gradation, preserving the maximum in grayscale accuracy and dynamic range. The RAW image also reflects a minimum of in-camera processing: no white balancing, no color matrix, not even conversion to a viewable RGB file. In this way, RAW recording maintains all the potential of the latent image, the beauty of which is only revealed in post production. And RAW recording preserves the integrity of your precious camera masters into the archive; where the images will remain as vivid as the moment they were captured.

back to top expand

16-bit linear RAW, the ultimate archive

Originally applied to digital still cameras, RAW recording captures the full potential of the image sensor. The RAW file consists of information from all 20 million photosites on the F65 sensor, preserving maximum resolution. Sixteen-bit linear recording equates to 65,536 shades of tonal gradation, preserving the maximum in grayscale accuracy and dynamic range. The RAW image also reflects a minimum of in-camera processing: no white balancing, no color matrix, not even conversion to a viewable RGB file. In this way, RAW recording maintains all the potential of the latent image, the beauty of which is only revealed in post production. And RAW recording preserves the integrity of your precious camera masters into the archive; where the images will remain as vivid as the moment they were captured.

collapse back to top

Digital negative development

Just as Bayer pattern RAW files need to be de-Bayered to generate viewable RGB images, F65 RAW files need to be developed. While the structure of the F65 RAW file is completely determined, the development process allows for considerable freedom and creativity. Post houses and software vendors are free to pursue everything from quick and simple single-channel interpolation to edge-directed interpolation, constant-hue based interpolation, Laplacian second-order gradient enhancement and even high-frequency reconstruction. This means you can match the de-mosaicking to your budget, your time constraints and your artistic ambitions.

back to top expand

Digital negative development

Just as Bayer pattern RAW files need to be de-Bayered to generate viewable RGB images, F65 RAW files need to be developed. While the structure of the F65 RAW file is completely determined, the development process allows for considerable freedom and creativity. Post houses and software vendors are free to pursue everything from quick and simple single-channel interpolation to edge-directed interpolation, constant-hue based interpolation, Laplacian second-order gradient enhancement and even high-frequency reconstruction. This means you can match the de-mosaicking to your budget, your time constraints and your artistic ambitions.

collapse back to top

Choice of HD, 2K, 4K or 8K output resolution

Because RAW recording preserves the full resolution of the 20 million photosites, the F65 RAW files maintain extraordinary flexibility in output resolution.

back to top expand

Choice of HD, 2K, 4K or 8K output resolution

Because RAW recording preserves the full resolution of the 20 million photosites, the F65 RAW files maintain extraordinary flexibility in output resolution.

  • Supersampled HD. At the end of your production process, you're free to deliver a gorgeous, oversampled HD master, with detail beyond the reach of conventional HD cameras.
  • Supersampled 2K. The same advantages that extend the picture quality of F65 high definition productions also apply to digital cinema 2K files.
  • Supersampled 4K. The F65 supports this burgeoning market with a superior 4K master. Unlike 4K cameras, each pixel in the F65 4K output file is based on a green photosite in the image sensor.
  • 8K. Pushing resolution to the maximum, in the future you will be able to de-mosaic files from 16-bit linear RAW.


Conventional HD cameras (orange curve) incur a noticeable loss of contrast as picture detail approaches the resolution limit. As applied in the F65, supersampling and downconverting deliver far higher contrast at high frequencies, for a noticeably sharper picture.

collapse back to top

Complete SRMASTER™ production platform

It's not hard to record data onto memory cards. The real challenge is developing a solid state platform with superb data integrity, fast on-set backup, efficient post production and the headroom required for next-generation imaging. You need a system that simplifies data wrangling and minimizes sleepless nights. And for the F65, you need a system that supports master-quality recording at resolutions of HD, 2K, 4K and beyond. This is the SRMASTER™ production platform.

back to top expand

Complete SRMASTER™ production platform

It's not hard to record data onto memory cards. The real challenge is developing a solid state platform with superb data integrity, fast on-set backup, efficient post production and the headroom required for next-generation imaging. You need a system that simplifies data wrangling and minimizes sleepless nights. And for the F65, you need a system that supports master-quality recording at resolutions of HD, 2K, 4K and beyond. This is the SRMASTER™ production platform.

The SRMASTER platform is a comprehensive, next-generation production system that includes field recorders, studio decks, a transfer station and SRMemory™™ cards.

The SRMemory™ card

About the size of a smart phone, the SRMemory™ card delivers capacity and transfer speed far beyond previous cards. Where HDCAM SR tape achieves a sustained 440 and 880 Mbps and SxS™ cards can achieve momentary bursts of up to 1.2 Gbps1, SRMemory™ cards go much further. Sustained write speed is 5 Gbps. Made possible by dedicated memory controller circuits inside each card, this speed is a vital advantage when you're backing up your original camera masters after a day's shoot. The maximum capacity of 1 Terabyte (1,000 GB2) exceeds any previous memory card.3 Other cards will be offered in capacities of 256 GB2 and 512 GB2.

1. Read speed measured with benchmark software. Actual transfer speed varies based upon the measurement conditions.

2. 1 GB equals one billion bytes, a portion of which is used for data management functions.

3. As of August 2011.

Remarkable to see on a memory card: the designation "1 TB."

The next-generation capacity and transfer rate of SRMemory™ cards enable productions to enjoy powerful recording options. Choices include 10-bit, 12-bit, the new 220 Mbps SR Lite level of the SR Codec, 440 Mbps, or 880 Mbps and extend all the way up to 16-bit RAW. SRMemory™ cards can record and output two data streams at the same time, enabling stereoscopic 3D recording and simultaneous, independent read/write operations. Sony is also upgrading the audio, going from 12 channels of uncompressed audio on HDCAM SR tape to 16 channels on SRMemory™ cards.

The SR-R4 SRMASTER field recorder

The F65 benefits from a dedicated, docking field recorder: the SR-R4. (Expected availability: January 2012).

  • 16-bit linear RAW recording
  • 12-bit SR Codec recording 880 Mbps (4:4:4 RGB HQ mode) of 1080p high definition
  • 10-bit SR Codec recording of 1080p high definition
    • 880 Mbps (4:4:4 RGB HQ mode)
    • 440 Mbps (4:2:2 YCbCr and 4:4:4 RGB SQ mode)
    • 220 Mbps (4:2:2 YCbCr SR Lite mode)
  • Selectable fps (Slow & Quick motion)
    • 4K (4096 x 2160): up to 60 fps
    • 2K (2048 x 1080): up to 120 fps

The F65 camera docked to the equally remarkable
SR-R4 SRMASTER field recorder.

Smarter, speedier data wrangling

The SRMASTER platform has you covered from the set, through data backup and well into post production. Sony provides the entire process, end to end. To back up your precious original camera masters, Sony created the SR-R1000 deck (expected availability September 2011). The SR-R1000 is essentially a multi-channel server, with four SRMemory™ card slots and up to 8 TB4 of internal memory storage. Depending on the type of data, up to four SRMemory™ cards can be ingested at the same time. A 1 TB SRMemory™ card can store about an hour of F65 16-bit RAW data. The SR-R1000 can offload a full 1 TB card in less than 30 minutes, moving the data into internal memory storage. This makes the R1000 ideal for efficient data management on the set and in the post production studio.

4. 1 TB equals one trillion bytes, a portion of which is used for data management functions.

The SR-R1000 multi-channel server has slots for four SRMemory™ cards.

The SRPC-5 transfer station features a 10 Gigabit Ethernet interface.

The SRPC-5 transfer station (expected availability December 2011) connects to a computer or server via 10 Gigabit Ethernet to quickly move data from the SRMemory™ cards and into post production. A single Rack Unit high, this component also has 3G-SDI and HD-SDI outputs, and can back up data to HDCAM SR digital tape at up to 2x real time. The SRPC-5 also complements existing on-set data ingest solutions.

collapse back to top

Re-framing, punching in, motion stabilization

Compared to 4K, the 20 million photosites of the F65 represent a tremendous overhead in resolution. There are many ways to use this overhead to your advantage. For example, you can punch in, reframing a shot after the fact; at the very least to remove stands, cards and mic booms. For shots marred by camera shake, you can use the resolution to perform motion compensation. You can even extract 2K, HD quadrants from the 4K canvas.

back to top expand

Re-framing, punching in, motion stabilization

Compared to 4K, the 20 million photosites of the F65 represent a tremendous overhead in resolution. There are many ways to use this overhead to your advantage. For example, you can punch in, reframing a shot after the fact; at the very least to remove stands, cards and mic booms. For shots marred by camera shake, you can use the resolution to perform motion compensation. You can even extract 2K, HD quadrants from the 4K canvas.

collapse back to top

4K and the digital cinema revolution

Sony 4K projectors have already been installed in over 9,000 cinema screens worldwide. Mindful of Sony's success, competing cinema vendors have announced 4K projectors of their own. No wonder the roster of films distributed in 4K continues to grow month by month. In this environment, producing in digital 4K is not only a smart artistic decision; it's also a business decision that maximizes the theatrical impact and archival life of your production.

back to top expand

4K and the digital cinema revolution

Sony 4K projectors have already been installed in over 9,000 cinema screens worldwide. Mindful of Sony's success, competing cinema vendors have announced 4K projectors of their own. No wonder the roster of films distributed in 4K continues to grow month by month. In this environment, producing in digital 4K is not only a smart artistic decision; it's also a business decision that maximizes the theatrical impact and archival life of your production.

collapse back to top

Academy IIF-ACES Workflow

After decades of development, motion picture film was graced by a stable, predictable workflow. Today the Digital Intermediate is king, Digital Cinema is reaching the tipping point and digital motion picture cameras have gone from strength to strength. But the digital workflow still has hiccups and speed-bumps when it comes to color. The color captured on-set doesn't always make it to the screen. It was to resolve these issues that the Academy of Motion Picture Arts and Sciences worked to develop the definitive color-encoding workflow. It's called the Image Interchange Format—Academy Color Encoding Specification (IIF-ACES). We are honored to report that the world's first IIF-ACES production, an episode of the FX series Justified, used the Sony F35 digital camera. Needless to say, the F65 was built from the ground up to support IIF-ACES.

back to top expand

Academy IIF-ACES Workflow

After decades of development, motion picture film was graced by a stable, predictable workflow. Today the Digital Intermediate is king, Digital Cinema is reaching the tipping point and digital motion picture cameras have gone from strength to strength. But the digital workflow still has hiccups and speed-bumps when it comes to color. The color captured on-set doesn't always make it to the screen. It was to resolve these issues that the Academy of Motion Picture Arts and Sciences worked to develop the definitive color-encoding workflow. It's called the Image Interchange Format—Academy Color Encoding Specification (IIF-ACES). We are honored to report that the world's first IIF-ACES production, an episode of the FX series Justified, used the Sony F35 digital camera. Needless to say, the F65 was built from the ground up to support IIF-ACES.

Thanks to the enormous color-handling potential of 16-bit linear OpenEXR storage, the IIF-ACES workflow beautifully maintains color values from scene to screen. To get the picture from stage to stage, the workflow protects color integrity with a series of tightly defined transforms: Input Device Transform (IDT), Look Modification Transform (LMT), Reference Rendering Transform (RRT) and Output Device Transform (ODT). In this way, the cinematographer's vision can be reliably conveyed through postproduction and into distribution. IIF-ACES is a breakthrough in color reproduction. And the F65 supports it.

collapse back to top